Today, Sept. 16, Bonnaroo announced a star-studded three-day "Virtual Roo-Ality" fest, streaming on their YouTube channel Sept. 24–26. The event will feature both live and archival music sets, as well as programming like Hayley Williams' Sanctuary of Self Love, which she has hosted at past Bonnaroos.

David Lynch, Laura Jane Grace, Charli XCX, Nubya Garcia, Tank and the Bangas, Chromeo, CloZee, Billy Strings, Big Gigantic, Ashley McBryde, Denzel Curry, Jamila Woods and many more will make live appearances during the weekend. As for the archival sets, of which over a dozen will be aired, Metallica (2008), Alabama Shakes (2015), Tears For Fears (2015), Run The Jewels (2015), the xx (2015), Nile Rodgers & CHIC (2018) and the Beastie Boys (2009) will be featured. The Beastie Boys show was their final live performance and will be its full-length streaming premiere.

Related: GRiZ & Friends Honored Dr. John And Other Music Legends During Bonnaroo SuperJam Set

Bonnaroo 2020 was originally slated for June 11–14 with Lizzo, Tame Impala, Flume, DaBaby and others on the stacked lineup. It was later postponed to Sept. 24–27 due to COVID-19. Like other festivals, it has since been pushed to 2021 and, now, the virtual event will offer a musical balm during these live-eventless times.

The entire three-day event will be streamed on their YouTube channel, and some content will be available after on-demand. The event is free to tune in to, but Bonnaroo will be fundraising for voting rights org HeadCount.org and the ACLU. As their website explains, "donations collected during the weekend for these and additional organizations will be made by the Bonnaroo Works Fund, whose mission is to foster community, creativity and positive influence."

The schedule will be announced soon. For the full lineup and more info on Bonnaroo Virtual Roo-Ality Lineup and Bonnaroo 2021, visit their website.

Trent Park On Crafting His New Music Video For "Fly," GRAMMY U & More

Editor’s note: This article was updated on March 19 to reflect Lollapalooza’s announced lineup.

Down in Austin, South by Southwest has returned — and it's a harbinger of so much to come. SXSW 2024 is the unofficial start of festival season, which kicks off in earnest with Coachella on April 12 in California.

If you're not west of the Mississippi, fear not. Spring, summer and beyond will bring a plethora of can't-miss music bashes, all over the country.

Obviously, it's impossible to cover them all in one post. But GRAMMY.com can provide a cross section, demonstrative of the sheer range of genres at play. So let this list spur you to find all the festivals near you!

Check it out below — and we'll see you stagefront, under the sun! (This list will be continually updated once more info comes out.)

Rolling Loud 

Inglewood, California (Mar. 14–17)

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All rap fans know Rolling Loud as the summit of hyped — as Billboard once declared, they're "the be-all of hip-hop." The lineup for Miami hasn't been announced yet, but Nicki Minaj, Post Malone and Lil Uzi Vert are confirmed to rock the mic.

Tortuga Music Festival

Fort Lauderdale, Florida (Apr. 5–7)

From incredible, cross-genre tunes to important ocean conservation work, Tortuga Music Festival has got it all! This year, don’t miss artists like Lainey Wilson, Hardy, Jason Aldean, and many more.

Coachella

Indio, California (Apr. 12–13 & Apr. 20–21)

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Coachella is arguably the mother of them all — and it's coming right up! (Exactly a month from now, at press time.)

Coachella 2024 offers two major reunions, in No Doubt and Sublime — for the latter, Jakob Nowell, son of Bradley, has taken the helm — and attention-grabbing headliners in Lana Del Rey; Tyler, the Creator; and Doja Cat.

Read More: Official Coachella 2024 Lineup: Headliners Lana Del Rey, Tyler, The Creator And Doja Cat To Lead A Pack of Performers Including No Doubt & Others

Ultra Music Festival

Miami, Florida (Mar. 22–24)

This preeminent haven for electronic music is back, with the cream of the crop from the DJ world — everyone from David Guetta to Elderbrook and beyond will be bringing the heat!

Stagecoach 

Indio, California (Apr. 26–28)

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Of course, Coachella is a multi-genre festival. But if country is specifically your cup of tea — well, there's another reason to bomb out to the desert.

A week after Coachella's second weekend, Stagecoach will throw down with headliners Eric Church, Miranda Lambert and Morgan Wallen. The rest of the lineup is highly rangey, with a country essence: Jelly Roll, Post Malone, Willie Nelson, and many more will grace the stage.

Breakaway Music Festival

Nationwide (April-October)

Pop, dance, EDM — Breakaway Music Festival has got it all. And it’s probably coming to a city near you; it hits the Midwest, the South and the West Coast.

New Orleans Jazz & Heritage Festival 

New Orleans, Louisiana (Apr. 25–May 5)

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A massive swath of music contains jazz, and NOLA Jazz Fest underlines this reality every year. The Rolling Stones? Neil Young and Crazy Horse? Doo-wop is baked into them. So on and so forth.

Outside of dyed-in-the-wool jazzers like Samara Joy, Nicholas Payton and Jon Batiste, this year's two-weekend lineup will also feature Foo Fighters, the Revivalists, Queen Latifah, and other greats — as well as Mardi Gras Indians "Big Chief" Monk Boudreaux and the Golden Eagles, and a slew of local talent.

Head In The Clouds 

Queens New York (May 11–12)

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As spring drifts into the summer, don't miss Head in the Clouds if you're in the Northeast; it's chock full of Asian American music and heritage, across a multitude of genres, just in time for AAPI Heritage Month.

Held at Queens' Forest Hills Stadium, Head In The Clouds features (G)I-DLE to Balming Tiger to Spence Lee and others.

BottleRock Napa Valley 

Napa, California (May 24–26)

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This three-day music, wine, food, and brew fest in the heart of wine country will feature headliners Stevie Nicks, Pearl Jam and Ed Sheeran, rounded out by giants like St. Vincent, Queens of the Stone Age, Norah Jones, and many more.

Outlaw Music Festival

Nationwide (June-September 2024)

With the Rough and Rowdy Ways tour in the rearview, Bob Dylan is rolling around the Willie Nelson & Family, Robert Plant & Alison Krauss, and Celisse for what will be an unforgettable, legend-stuffed night of music for all.

Bonnaroo 

Manchester, Tennessee (June 13–16)

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This world-renowned fest outside of Nashville boasts an incredibly vibey lineup for 2024; if you'd like to party to the sounds of Post Malone, Red Hot Chili Peppers, Fred Again.., and dozens more, make a beeline down south this June.

Glastonbury

Somerset, England (June 26–30)

No, it’s not in the United States, but it’s momentous enough to mention anyway. This year, Dua Lipa, Coldplay, SZA, and so many more will perform at the epic Brit blowout.

Essence Festival 2024 

New Orleans, Louisiana (July 4–7)

Essence Festival is turning 30! This bastion of Black music, culture and identity will ring in three decades with what's sure to be an outstanding lineup of artists.

Pitchfork Music Festival

Chicago, Illinois (July 19–21)

Artists as varied as Black Pumas, 100 Gecs, Alanis Morrissette, and Brittany Howard will headline the biggest day for the massively influential music site’s in-house fest.

Lollapalooza 

Grant Park, Chicago (Aug. 1–4)

The lineup for Lollapalooza has been announced! SZA; Tyler, the Creator; Blink-182, the Killers, Skrillex, and more will headline. Check out the full lineup below.

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Hinterland Music Festival

St. Charles, Iowa (Aug. 4-6)

Hinterland won’t just feature some serious indie heavyweights, like Vampire Weekend, Noah Kahan and Orville Peck; it features curiosity-piquing arts and crafts vendors and spectacular camping.

Outside Lands 

San Francisco, California (Aug. 9–11)

Ditto the Bay Area favorite — but we do know it's happening from August 9 to 11. Kendrick Lamar, Foo Fighters, Megan Thee Stallion and other mighty artists performed last year.

North Coast Music Festival

Chicago, Illinois (Aug. 30–Sept. 1)

Calling all EDM fans: North Coast is bringing Above & Beyond, Subtronics, Sullivan King, and many more to the Windy City in 2024.

Austin City Limits 

Austin, Texas (Oct. 4–8, & Oct. 11–13)

No lineup yet for the longest-running music series in TV history — but you can sign up to be the first to know about it.

Aftershock Fest

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Real rockers only: Aftershock Festival has been rolling for more than a decade, and its momentum is only building. Topping the bill in 2024 are Iron Maiden, Motley Crue, Slipknot, a reunited Slayer… and that's just for starters.

Golden Sky

Sacramento, California (Oct.18–20)

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Country music and beer are two of America's pastimes, and Golden Sky will feature the best of both. Come for Keith Urban, Thomas Rhett, Luke Bryan, and so many more, and stay for the brews!

When We Were Young

Las Vegas, Nevada (Oct.19–20)

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It's always momentous when the emo kids of yesteryear come back out to play — and if you can believe it, it's almost time for another When We Were Young.

My Chemical Romance, Fall Out Boy, Coheed and Cambria, and many more will be there for another helping of Myspace-era sounds — and long-dormant emotions. And they'll be playing the full albums you know and love — just check the poster!

Artists Who Are Going On Tour In 2024: The Rolling Stones, Drake, Olivia Rodrigo & More

Laura Jane Grace is on the precipice of a brand new life.

The Against Me! frontwoman just got married in a whirlwind, to comedian Paris Campbell. Her Jeep got sideswiped by a drunk driver; when we spoke, the pair were on an Amtrak from Chicago to St. Louis to pick it up from the mechanic. At press time, Grace and Campbell will soon drive it back to their new, shared home in Chicago: they've been handed the keys, and they're in the center of that maelstrom.

"We've moved Paris' apartment from New York to Chicago, and now we're moving my apartment to the house we got," Grace tells GRAMMY.com over the phone, sitting on the tracks with Campbell in Joliet, Illinois. "It's scientifically proven that moving is one of the most stressful things you can do in life.

"Just take my word for it," she quips, when asked if that's true. "Don't Google it."

Grace has done a lot of Googling as of late — to mixed results. Her latest solo album, Hole in My Head — helmed by Drive-By Trucker and Dexateen Matt Patton — dropped Feb. 16, and the press cycle rolls on.

Warm, lived-in and melodic songs like "Dysphoria Hoodie," "Birds Talk Too" and "Tacos and Toast" comprise a satisfying continuation of what Grace does best: yowly, heartfelt punk rock. But presenting them to the world has been challenging. Tidbits from the bio get blown out of proportion. Flat-out mischaracterizations make it to print, and stay there.

She's not bitter about any of it; she's mirthful. "I do think that, ultimately, [you shouldn't] read the reviews, and that you shouldn't live and die by what people say about the art you're making," she says. "But I would rather people are saying good things than bad things. I notice that people are saying good things."

They certainly are. Read on for an interview with Grace about the process behind Hole in My Head, parenting, espresso, Slash versus Izzy Stradlin, and much more.

This interview has been edited for clarity.

I'm sure you've talked about these songs to death. I want to talk about the — let's say indignities — of releasing a record. Like, "Hey guys, it's three weeks old! Do… you still like it?" as it recedes into the rearview.

Yeah. I was thinking that to myself last night, because I'm a little burnt out on social media at the moment. But I feel that pressure of like, Alright, you put out a record, you've got to promote on social media — you'd better make a post or else people are going to forget that literally last week you put out a record that you've been waiting a year to put out!

And it can be a little disheartening at times, for sure.

Psychologically, what's it like to read the reviews? It seems like the doomsday clock for digital media is at 11:59. Reviews used to make or break careers; these days, they seem to comprise an irrelevant sideshow.

It's strange, because I still think of reviews ultimately in the context of how I thought about them with zines. Oftentimes, you would look through zines and you would see the reviews, and that would be your clue and context of what was happening — other bands to tour with if they had a record coming out, or whatever. People that you'd reach out to.

I do think that, ultimately, [you shouldn't] read the reviews, and that you shouldn't live and die by what people say about the art you're making. But I would rather people are saying good things than bad things. I notice that people are saying good things.

And then also, as you said, I'm aware of the layoffs [in music journalism and digital media as a whole], and I'm aware that you've almost got to be thankful for [any press], as a whole community.

Part of my job is promoting those media outlets in a way, too. And that's just through literally just moving your thumb a couple of inches or whatever and pressing repost or retweet or whatever.

You had a funny tweet recently about how the reviews focus on the relative brevity of the songs, even though that's conventional on pop radio. Is that kind of thing somewhat bemusing — or frustrating?

I get frustrated with it, because the record took two years to write, and then it takes however long to record. But then, it all comes down to the bio. The bio is what all the journalists use as their touch points or talking points.

So, if you say the wrong thing in the bio, then everyone is asking those wrong questions for every interview. It's like that the whole time. It's almost like the bio makes or breaks your record.

And then, you're also tasked with trying to understand something that you just made; with a bio, that's oftentimes really hard to do. You're like, "I don't know, I just wrote it. I don't know what it means. I don't want to have to explain it," but then you got to explain it for the bio.

Without naming any names — and you can obscure the language if you like — what's an example of a wrong question you get asked?

The song length thing is one thing, but then the whole thing where people being like, "Oh, the record has a real '50s influence." It's like, "Shut the f— up. It just says that in the bio. Did you even listen to the record? Have you heard it?"

It just sounds like an Against Me! record. It's literally the same process that I've been doing for the past 25 years. I'm not writing songs any differently or approaching them any differently. I read one review that said that it had "handclaps and whoas, which are decidedly not punk." I'm like, What?

Outside of the press, where are we catching you in life, with Hole in My Head out in the world? You're on the precipice of a completely new epoch of existence.

That's what it is. Huge, massive changes happening in life. And that's the thing you don't want to happen in a way, with a record — where a year in between completing it and putting it out because you've got to pull yourself back to that place to even talk about it for interviews then, which can be hard sometimes.

I'm excited about songs that we recorded back in December and then excited about writing new music and just now having a record released holds you in place in that way. So, having it out is a good thing, and [being] free to move forward.

This is a cliché, but whatever: Hole in My Head sounds like a snapshot of where you are in the moment. Some records feel like promotional noise and don't tell me anything about the artist. Have you written in that slice-of-life, "Tacos and Toast" way before?

I think I was building towards that. I am happy with the way that song came out, but it took a lot of work to get to that kind of flow. But I think a song like "Shelter In Place," off of Stay Alive, was a precursor to that style, maybe.

Are you talking about honing your focus on syllables and stresses and stuff? Or themes?

More just relaxing into it.

Tell me more about that.

Like I said, the song "Shelter In Place" was a precursor to that song, because they both mention espresso. So, you're singing about your morning coffee, which to an 18-year-old punk kid probably seems really uninteresting. But when you're in your forties, you're like, Hell yeah. My morning cup of espresso — looking forward to that. I want to sing about that. I'm excited about that.

But I think it takes a nuance to be able to work that into a song. And I admire songwriters like John Prine or Dan Reeder, who were able to sing about their morning breakfast steaks and s— like that and make it good.

**I'm a huge John Prine fan. I don't sense he sat down and overworked anything. It all seemed as natural as breathing. So, it's almost like unlearning.**

Totally. That is what it is: natural as breathing, if you're writing about eggs, you're not trying, and it's coming off way better. And there we are with a Jonathan Richman reference: "They're not tryin' on the dance floor."

I'm not going to make you explain this song, because it's a song. But "I'm Not a Cop" touched a nerve in me, as per how we police each other day-to-day.

There's that, and then I think also it even relates to being a parent and realizing you don't have the authoritarian bone in your body and that that's not you, but I don't know. There might not be many things I'm confident about in life, but I'm definitely confident about that statement.

And, also the observation of seeing a cop at Superdawg eating a hot dog. It makes me smile every time I sing it.

Tell me more.

Literally, I drove by the Superdawg, which is a famous hot dog place in Chicago, and there was a cop in there eating a hot dog. It's f—ing hilarious.

Has parenting been a mind-bending, acid-like experience for you? Or did it all come naturally?

Yeah, mind-bending for sure. Last night, I got in a pseudo-argument with my kid, because they were criticizing me for only playing rhythm guitar that I never played solos. [Note: Grace's child uses they/them pronouns.]

They were specifically saying this because they're just a better guitar player than me already. And they really have focused on solos and doing really intricate guitar playing parts. I'm like, Goddamn, this is just surreal to have your kid digging into you about your guitar playing style. 

Basically, they're saying they're Slash, and you're Izzy Stradlin — suck it.

Are they hitting ultimate-guitar.com? What's going on?

They're rad. They're really, really, really good. I feel like they're seconds away from starting their own band.

What are their influences?

I gave them a Fleas and Lice record yesterday to listen to. They're really into punk, and really into odd stuff. At this point, I'm looking to them to see what's going on and what I should be listening to.

You mentioned that this is the process you've always abided by. But, can you talk about any special production flourishes here, or anything like that?

I was working with what I had. If I had had a drummer with me at the time, it would've been a  different record. But I didn't, so the drums came out the way they did.

I think the biggest addition and blessing with the record is Matt Patton. Him raising his hand and going to drive up to St. Louis — having never met me before — and spending a week in the studio. The parts he came up with are so rad; they make those songs. If it weren't for him, it would've been an entirely different record.

One thing I don't like to do when finishing a record, is listen to it comparatively to the record before it. Even sonically, I want to be surprised by it down the road.

Is making a record almost an uncomfortable experience, where you don't want to look at it too long? Is it like staring into the sun?

Yeah. That's ill-advised. I was actually thinking about that earlier. We were driving down and the sun was coming up and I was staring at it and I was like, Don't look into the sun you fucking idiot."

I think the uncomfortable part of the experience is the necessary part of the experience, and you have to push through the uncomfortable to get to the comfortable part — to know that you've got a good record.

Decoration Day At 20: How Drive-By Truckers Dialed Back The Satire And Opened Their Hearts

The rock scene may no longer be the dominant force it once was — blink-182's One More Time... is the only Billboard 200 chart-topper this year to predominantly fall under this category. But 2023 has still been an interesting and eventful period for those who like their guitar music turned up to eleven.

Over the past 12 months, we've had the two biggest groups of the Swinging Sixties returning to the fray in style, a new European invasion, and a wave of blockbuster albums that may well go down as modern classics. And then there's the revivals which will no doubt spark nostalgia in any kids of the 2000s, a resurgence in all-star line-ups, and a residency that could possibly change how we experience live music.

As we gear up for the holiday season, here's a look at 10 trends that defined rock music in 2023.

European Rock Traveled To America

From Lacuna Coil and Gojira to Volbeat and Rammstein, the Billboard charts aren't exactly strangers to European rock. But 2023 was the year when the continent appeared to band together for a mini invasion. Italian quartet Måneskin continued their remarkable journey from Eurovision Song Contest winners to bona fide rock gods with a Best New Artist nod at the 2023 GRAMMYs, a top 20 placing on the Billboard 200 albums chart for third album Rush!, and a Best Rock Video win at the MTV VMAs.

Masked metalers Ghost scored a fourth consecutive Top 10 entry on the Billboard 200 with covers EP Phantomime, also landing a Best Metal Performance GRAMMY nomination for its cover of Iron Maiden's "Phantom of the Opera," (alongside Disturbed's "Bad Man," Metallica's "72 Seasons," Slipknot's "Hive Mind," and Spiritbox's "Jaded"). While fellow Swedes Avatar bagged their first Mainstream Rock No. 1 with "The Dirt I'm Buried In," a highly melodic meditation on mortality which combines funky post-punk with freewheeling guitar solos that sound like they've escaped from 1980s Sunset Strip.

Age Proved To Be Nothing But A Number

The theory that rock and roll is a young man's game was blown apart in 2023. Fronted by 80-year-old Mick Jagger, The Rolling Stones reached No.3 on the Billboard 200 thanks to arguably their finest album in 40 years, Hackney Diamonds, with lead single "Angry" also picking up a Best Rock Song GRAMMY nod alongside Olivia Rodrigo's "aallad of a homeschooled girl," Queens of the Stone Age's "Emotion Sickness," Boygenius' "Not Strong Enough," and Foo Fighters' "Rescued." (The latter two will also battle it out with Arctic Monkeys' "Sculpture of Anything Goes," Black Pumas' "More than a Love Song," and Metallica's "Lux Aeterna" for Best Rock Performance.)

The eternally shirtless Iggy Pop, a relative spring chicken at 76, delivered a late-career classic, too, with the star-studded Every Loser. And Bruce Springsteen, KISS, and Paul McCartney all proved they weren't ready for the slippers and cocoa life yet by embarking on lengthy world tours.

Death Was No Barrier To Hits

Jimmy Buffett sadly headed for that tropical paradise in the sky this year. But having already recorded 32nd studio effort, Equal Strain on All Parts, the margarita obsessive was able to posthumously score his first new entry on the Billboard Rock Chart since 1982's "It's Midnight And I'm Not Famous Yet."

But he isn't the only artist to have recently achieved success from beyond the grave. Linkin Park reached the U.S. Top 40 with "Lost," a track recorded for 2003 sophomore Meteora, but which only saw the light of day six years after frontman Chester Bennington's passing.

Perhaps most unexpectedly of all, The Beatles topped the U.K. charts for the first time since 1969 thanks to "Now and Then," a psychedelic tear-jerker in which surviving members McCartney and Ringo Starr brought previously unheard recordings from George Harrison and John Lennon back to life.

The Giants Stayed Giant

Foo Fighters also overcame the death of a core member on what many rock fans would consider this year's most eagerly awaited album. Drummer Taylor Hawkins, who passed away in early 2022, doesn't feature on the poignant but vibrant But Here We Are. Yet the two-time GRAMMY nominated LP still proved to be a fitting tribute as well as an encouraging sign that Dave Grohl and co. can extend their legacy:lead single "Rescued" became their 12th number one on Billboard's Main Rock Chart.

The Best Rock Album category for the 2024 GRAMMYs proves that veterans were alive and mighty in 2023. Along with the Foos' latest LP, the nominees include another Grohl-affiliated band,, Queens of the Stone Age's first album in six years, In Times New Roman..., Paramore's This Is Why, Metallica's 72 Seasons and Greta Van Fleet's Starcatcher.. (Metallica's 72 Seasons also struck gold with its singles, three of which landed at No. 1 on Billboard's Mainstream Rock chart, where lead single "Lux Æterna" spent 11 consecutive weeks on top.)

Of course, we also have to give a shout-out to U2. Not for March's Songs of Surrender album (for which they re-recorded 40 of their biggest and best tracks), but for the immersive, eye-popping Las Vegas residency at The Sphere which potentially reinvented the future of live music.

The Rock Supergroup Continued To Thrive

2023 spawned several new rock supergroups including Mantra of the Cosmos (Shaun Ryder, Zak Starkey and Andy Bell), Lol Tolhurst x Budgie x Jacknife Lee, and Better Lovers (various members of The Dillinger Escape Plan and Every Time I Die). But it was an already established all-star line-up that took the GRAMMY nominations by storm.

Consisting of Phoebe Bridgers, Lucy Dacus, and Julien Baker, boygenius bagged a remarkable seven nods at the 2024 ceremony. Throw in a well-received headline set at Coachella, U.S. Top 50 follow-up EP, and even a "Saturday Night Live" showing alongside Timothée Chalamet, and the trio couldn't have asked for a better way to continue what they started together in 2018.

The Early 2000s Enjoyed A Revival

The cyclical nature of the music industry meant that the era of choppy bangs and super-skinny jeans was always going to come back into fashion. And following throwbacks from the likes of Olivia Rodrigo and Willow, the original punk-pop brigade returned this year to prove they could still mosh with the best of them.

Possibly the defining nasal voice of his generation, Tom DeLonge headed back into the studio with blink-182 for the first time in 12 years, with the resulting One More Time... topping the Billboard 200. Linkin Park ("Lost"), Papa Roach ("Cut the Line"), and a reunited Staind ("Lowest in Me") all scored No. 1s on the Mainstream Rock Airplay Chart, while Sum 41, Bowling For Soup, and Good Charlotte were just a few of the high school favorites who helped cement When We Were Young as the millennial's dream festival.

The Emo Scene Went Back To Its Roots

After channeling the new wave and synth-pop of the 1980s on predecessor After Laughter, Paramore returned from a six-year absence with a record which harked back to their mid-2000s beginnings. But it wasn't their own feisty brand of punk-pop that Best Rock Album GRAMMY nominee This Is Why resembled. Instead, its nervy indie rock took its cues, as frontwoman Hayley Williams freely admits, from touring buddies Bloc Party.

Paramore weren't the only emo favorites to rediscover their roots. Fall Out Boy reunited with Under the Cork Tree producer Neal Avron and old label Fueled By Ramen on the dynamic So Much (for) Stardust. And while Taking Back Sunday further veered away from their signature sound, the Long Islanders still embraced the past by naming seventh LP 152 after the North Carolina highway stretch they used to frequent as teens.

Country Artists Tapped Into Rock Sensibilities

We're used to seeing rock musicians going a little bit country: see everyone from Steven Tyler and Bon Jovi to Darius Rucker and Aaron Lewis. But the opposite direction is usually rarer. In 2023, however, it seemed as though every Nashville favorite was suddenly picking up the air guitar.

Zach Bryan repositioned himself as Gen-Z's answer to Bruce Springsteen with the heartland rock of his eponymous Billboard 200 chart-topper (which is up for Best Country Album at the 2024 GRAMMYs alongside Kelsea Ballerini's Rolling Up the Welcome Mat, Brothers Osborne's self-titled LP, Tyler Childers' Rustin' in the Rain, and Lainey Wilson's Bell Bottom Country). Meanwhile, Hitmaker HARDY — who first cut his teeth penning hits for Florida Georgia Line and Blake Shelton — leaned into the sounds of hard rock and nu-metal on his second studio LP, The Mockingbird & the Crow.

But few committed more to the crossover than the one of country's greatest living legends. Dolly Parton roped in a whole host of hellraisers and headbangers including Richie Sambora, Joan Jett & The Blackhearts, and Rob Halford, for the 30-track Rockstar — her first rock-oriented project of her glittering 49-album career.

Post-Grunge Reunions Were Abundant

Fans of the mopey '90s scene known as post-grunge had all their dreams come true this year thanks to several unexpected reunions. Turn-of-the-century chart-toppers Staind and Matchbox Twenty both returned with new albums after more than a decade away. Creed, meanwhile, announced they'd be headlining next year's Summer of '99 cruise after a similar amount of time out of the spotlight.

The insatiable appetite for all things nostalgia, of course, means that any band — no matter how fleeting their fame — can stage a lucrative comeback. Take Dogstar, for example, the unfashionable outfit boasting Hollywood nice guy Keanu Reeves. Twenty-three years after appearing to call it a day, the Los Angeles trio surprised everyone by hitting the Bottlerock Napa Valley Festival before dropping a belated third LP, Somewhere Between the Power Lines and Palm Trees and embarking on a headlining national tour.

The New Generation Gave The Old Their Dues

Say what you want about today's musical generation, but they know to pay respect where it's due., Olivia Rodrigo, for example, doffed her cap to '90s alt-rock favorites The Breeders by inviting them to open on her 2024 world tour.

New working-class hero Sam Fender invited fellow Newcastle native Brian Johnson to perform two AC/DC classics at his hometown stadium show. While ever-changing Japanese kawaii metalers Babymetal debuted their latest incarnation on "Metali," a collaboration with one of their musical idols, Rage Against the Machine's Tom Morello.

Whether new artists are teaming up with the old or veterans are continuing to receive their flowers, 2023 proved that rock is alive and well.

2023 In Review: 5 Trends That Defined Hip-Hop

Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

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He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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