Photo: Allister Ann
Carly Pearce on '29: Written In Stone,' Relating to Kacey Musgraves & Becoming The Country Artist She's Always Wanted To Be
Country star Carly Pearce opens up about how a divorce and the death of her producer led to her most meaningful album yet, '29: Written In Stone'
"So much has happened to me in the last year," Carly Pearce wrote in an Instagram post announcing her forthcoming third album, 29: Written in Stone. It's a bit of an understatement: Nine months after losing her longtime producer busbee to brain cancer in 2019, the country star filed for divorce from fellow country singer Michael Ray.
But, as Pearce wrote, in the wake of the heartbreak, "Some unbelievable things started happening." Just days before her divorce went public, Pearce landed her second No. 1 on Billboard's Country Airplay chart with the apologetic Lee Brice collaboration "I Hope You're Happy Now," which went on to win Pearce her first Country Music Award and Academy of Country Music Award (she took home two ACMs, including Single of the Year).
Last fall, the Kentucky native released the lead single from her next project, the uptempo cautionary tale "Next Girl." The song's twangy production is arguably the most reminiscent of the '90s country that inspired Pearce to pursue her own music career when she began performing at just 11 years old. The singer herself could feel it, too.
"When we wrote 'Next Girl,'" she recalls to GRAMMY.com, "I was like, 'Wait a minute, this is what I always wanted to do.'"
Pearce harnessed that same energy as she continued to process her hardships and write songs. Five months later, she unveiled an EP titled 29, a raw and emotional account of what she'd been through. But as Pearce says, songs "just kept happening," and she quickly realized there was more to her story.
29: Written in Stone—arriving Sept. 17 via Big Machine—is an exceptional combination of Pearce's crafty songwriting (see: "Liability") and '90s country influence, resulting in the singer's most confident display yet. And that was clearly apparent from the first portion: The morning of Pearce's chat with GRAMMY.com saw the singer earn CMA nominations for Female Vocalist of the Year and Album of the Year, her first in each category. While she admits the nods are "hard to process," she also acknowledges the kind of impact her vulnerability has had on fans and industry players alike. "People have really responded to this so amazingly."
Ahead of the album's release, Pearce will have an in-depth conversation at the GRAMMY Museum on Sept. 13, also performing as part of Big Machine's Spotlight Saturdays on Sept. 18. Her interview will be viewable on the Museum's official streaming platform, COLLECTION:live.
GRAMMY.com caught up with Pearce before release week (and her GRAMMY events) to hear how 29 evolved into a full-length album, the women of country who inspired her and why she's finally the artist that pre-teen Carly envisioned.
Take me through the progression of 29 the EP into 29: Written in Stone. How did your feelings change in the time between the two?
In the beginning, I wasn't quite sure what 29 was. I just knew I needed to get some things off my chest. "Messy" felt like a really good stopping point. I'm very much a situational writer, so when I wrote that song, I was like, "Okay, this feels like I'm done for a while."
I remember turning it in, and continuing to feel inspired to write. The songs just kept happening. These ideas would come to me, and it was forming almost faster than I could keep up.
Losing my producer, busbee, was a really interesting experience for me of looking at music completely different. I was very overwhelmed with the idea of even continuing on in music without him. I felt like I had unleashed this part of me that I was always supposed to find musically and sonically with this really country sound.
I think what I didn't realize is, I was kind of going through all of this in real time. Now when I go back and I listen to this project, it really is grief and realization of something that was so difficult—but then getting on the other side, which is a really powerful part of it. That's why I wanted the second half to be in color instead of black and white like the first.
Was there anything outside of your divorce and losing busbee that inspired songs on this album?
I think it was those two things. It was a blow to my professional life, losing my counterpart. [Busbee] is who helped form my sound, so to think he wasn't there was so difficult. Then, to have such an equal blow to my personal life—it still makes me quite emotional to think about how lost I felt in the beginning. Just, "How is this all happening to me at once?"
Was there anything you learned from busbee that had an impact on the making of this project?
The biggest thing—and I have just started to even be able to talk about this without being so emotional—but I went to see him two weeks before he died. The very last thing that he said to me was that he just wanted me to fly. I remember not really understanding what that meant in the beginning.
He knew that I had taken so much time in Nashville trying to make this whole career happen, and he knew the struggles. He knew the insecurities—how I was just a little unsure of myself in a writer's room or in front of a mic. Now, looking at it, I knew I needed to show him I could fly in all of those ways. Even when I woke up today and saw the album of the year [nomination], I was like, "God, I did it. I I tapped into what he told me to do and just gave it everything I had."
That's a heavy thing, but it's also so incredible.
I don't even know how to explain it. Also, the fact that "I Hope You're Happy Now" was the last song he ever worked on in his career, and look at what that song did for me as well. It almost feels like he's been here at every single step, like he really never did leave me.
You've said that this album is the biggest representation of the kind of music you've always wanted to make as a country artist. Was there a certain song that felt like a turning point for you in getting to that feeling?
"Next Girl" was one of the very first songs we wrote for this project. As soon as that one came out the way that it did, just with that '90s country feel to it, I was like, "Wait a minute, this is what I always wanted to do."
One of the musicians on the album, Josh Matheny, he's been with me for all of my albums. While I was singing the scratch vocal for "Next Girl" in the studio, he texted me and said, "I've never heard you sing more like yourself than right now."
Did you feel that too?
Yes. I knew it. That's the music that I grew up on.
What made it feel different?
In interviews, people would ask me, "What do you want to be?" and I was always like, "I want [to be a member of] the Grand Ole Opry and I want to be a country music purist." I never quite felt like my music translated that completely, because it was still heavily pop-produced on a lot of things.
What I found was [29: Written in Stone co-producers] Shane McAnally and Josh Osborne loved '90s country like I did. It opened this understanding of the same way that we listened to music growing up that I had never experienced with busbee, [since] he was a pop producer.
Do you think that you would have worked with Shane and Josh if you hadn't lost busbee?
That's such an interesting thing that I've thought about quite a bit. It's almost like you don't know what you're missing until you find it. I knew that there was a little bit of a disconnect that I was still trying to find, but I don't necessarily think that I thought, "I need to change my producer."
It's interesting, because I feel like this is how it was supposed to be. I believe wholeheartedly that busbee was supposed to help me find my way, and I was supposed to make those two albums with him and start this beautiful journey in country music. But I do think I was meant to move on.
I wrote with both of [Josh and Shane] previously—I wrote one of my favorite songs ever with Shane and busbee, "If My Name Was Whiskey" from my first record. But [Josh and Shane] were blown away at my ability as a writer [now]. I've written so many songs in this town, but I hadn't really written like that.
Was there a '90s country song that helped you get through the pain you were experiencing as you wrote this album?
"You Don't Even Know Who I Am" by Patty Loveless is one of my absolute favorite songs. That shows you exactly the kind of artist that I wanted to be, in the lyric and the honesty.
Patty Loveless is the big influence for me. Loving her music, loving how she wrote songs, loving the kind of songs she cut. A strong woman with true substance to her lyrics, but songs that just felt so good.
Even before she became a part of the full-length album [on "Dear Miss Loretta," a doting tribute to Loretta Lynn], I had this thought of "What would Patty Loveless do?" and it stemmed from when we wrote "Next Girl." [Her song] "Blame It On Your Heart" is where "Next Girl" came from.
I was pushed to own what happened to me and own my truth in a way that I never had quite thought about—because nobody thinks, "Oh, my marriage is gonna fail in front of the world." Thinking about her and the way she would write songs is why I just owned it.
You co-wrote with a lot of female singer-songwriters on this album, including your peers Kelsea Ballerini on "Diamondback" and Ashley McBryde, who features on "Never Wanted to Be That Girl." What do you feel like your female collaborators brought to the storytelling for an album of this context?
I think just having a female perspective—a lot of these women were my friends, and it was important for me to feel safe by women, and almost affirming my feelings through women. These women were the first to message me as soon as my divorce came out, and really care about me as a person. I was able to be brutally honest in those rooms because I felt safe with them.
29: Written in Stone is coming out a week after Kacey Musgraves released her own post-divorce album with star-crossed. In a way, did having someone going through a similar situation at the same time—and in the public eye—make you feel less alone? Or at least give you some reassurance that being this honest in your music is what you should be doing?
It's very interesting, because so much of Golden Hour was about her husband, and so much of my sophomore album was about mine. I remember her divorce announcement came out very soon—I mean weeks—after mine. I've known her for a long time, and just hurting for her, and knowing what that felt like, and very much feeling like, "Oh my God, somebody else my age knows what it feels like."
I have to say that as a fan of music, I'm very much looking forward to her album. I feel like in a lot of ways, I will be able to listen to something and maybe not feel alone myself in the way that some people are probably listening to our music.
I do think it's a very powerful thing that two women didn't get it right the first time. We're young, we're only two years apart, and we're owning our truth in our own artistic ways. It reminds me of the kind of music that I grew up on with Loretta Lynn and Tammy Wynette singing these unapologetic songs, like "The Pill" or "D-I-V-O-R-C-E.," and just owning it. I'm proud of that, and I'm proud of Kacey for doing that.
In the very beginning of putting this album out, I remember the hundreds of messages that I got from fans in a way that I've never gotten. Sure, I've had fans say, "I relate to your music" and "You helped me through a hard time," but this felt different.
Now that we're back out on the road, I can't tell you how many people have come up to me and shared their stories. I helped them let go of a relationship, I helped them file for divorce, I helped them regain their worth, I got them out of an abusive relationship. All of these things that, to me, matter so much more than just being an artist singing on a stage.
Everybody experiences pain, and to hear that people have clung on to my music as hope, that's more empowering than anything I could ever imagine. I'm proud to have gone through what I went through for that.
Which is probably something that you weren't thinking you'd be able to say when you were initially going through all of it.
Absolutely not. And that's the beautiful part of it. I had a fan recently come up to me and she was like, "I just went through a divorce and I just don't know what to do." I said, "You're gonna be okay." She's looking at me, on the other side, and she's like, "Are you sure?" and I said, "Yes, I know it." That's such a cool relationship that I now have with fans.
Is there a song on 29: Written in Stone that feels like the pinnacle Carly Pearce song to you, at least thus far?
Gosh, that's so hard. "29" is the song that I never wished I'd write, but am now so blown away that I wrote. I never wanted to write a song that talked about something like going through a divorce. But the fact that I went that deep, just went for it, and was brutally honest, that just really, really makes me proud.
[Written in Stone comes from] a lyric in the very last song on the album, "Mean It This Time"—"When I say forever/ I'm gonna write it in stone." So I kind of got to thinking about what "write it in stone" means to me.
I came up with, "Life is indelible, and your words, your actions, and your truth should be written in stone." That's exactly what I've done on this project. I can put it out there, let it out, and shut the door. This is the kind of album I never wanted to make, but in hindsight, it's the best thing that ever happened to me.
Photo: Focus On Sport / Contributor / Getty Images
The GRAMMY Museum Announces 'Shakira, Shakira: The GRAMMY Museum Experience,' Honoring Her Creative Legacy; Opening March 2023
To showcase Shakira's enduring career, the GRAMMY Museum presents 'Shakira, Shakira: The GRAMMY Museum Experience,' opening on Saturday, March 4, as part of the Museum's permanent Latin Music Gallery
On Saturday, March 4, The GRAMMY Museum will open Shakira, Shakira: The GRAMMY Museum Experience, showcasing Shakira's enduring creative legacy spanning more than three decades as a singer, songwriter, producer, dancer, visual artist, philanthropist, and global icon.
Visitors can see the exhibit on display in downtown Los Angeles at the Museum's permanent Latin Music Gallery.
A multi-GRAMMY-winning and Latin GRAMMY Award-winning artist, Shakira has sold more than 85 million records worldwide and has won numerous awards in addition to those from the Recording Academy. Her albums and releases consistently break records, and she is the most-viewed and -streamed Latin female artist of all time on YouTube and Spotify. She was also honored as the Latin Recording Academy’s Person of the Year in 2011 for her artistic achievements in the Latin music industry as well as their humanitarian efforts.
"It's an honor to have the journey of my career displayed at the GRAMMY Museum," Shakira said in a statement. "These pieces are a testament to so many indelible moments that I cherish, and I'm so happy to be able to relive these memories with those who have and continue to support me as an artist."
Shakira, Shakira explores the artist's musical evolution, from her origins as a Latin rock-loving singer/songwriter in Barranquilla, Colombia, to a global superstar whose catalog spans multiple genres, from bhangra and bachata to rock and reggaetón.
Early in her career, Shakira began fusing elements of her ethnicities and multicultural roots to construct a richly layered sonic universe that allowed her to grow as a creator while appealing to a worldwide audience. Partly by incorporating her Lebanese heritage on her father's side — along with Arabic dancing and the mainstream pop rock that she grew up with — she achieved international crossover success and broke boundaries for Latin artists.
To deepen visitors' appreciation and understanding of how these cultural elements have shaped every aspect of her songs, music videos, performances, and world tours, the first museum exhibit about Shakira features interactive features that provide fresh insights into her creative process.
It also includes a songwriting notebook with handwritten lyrics from her personal archive along with 40 other artifacts, acoustic and Swarovski-studded electric guitars, iconic outfits from her performances and album covers, three original films, and an immersive space that draws inspiration from her El Dorado tour.
Highlights from the Shakira, Shakira: The GRAMMY Museum Experience include:
Forty artifacts from Shakira’s personal archive
Shakira’s two 2020 Super Bowl LIV outfits (one red, one gold) and her Gibson Firebird electric guitar, covered with 70,000 black Swarovski crystals
Taylor acoustic guitar that Shakira uses for songwriting
Fender Stratocaster, covered with pink Swarovski crystals, that Shakira played on her Oral Fixation tour (2006-2007)
Gold Yamaha Revstar electric guitar Shakira played on her 2018 El Dorado tour
Iconic outfits from Shakira’s 2018 El Dorado tour
Leaf-covered bikini Shakira wore on the cover of her 2005 album, Oral Fixation, Vol. 2
Songwriting notebook with handwritten lyrics
This announcement comes on the heels of Shakira's latest release with Argentinian producer and DJ Bizarrap, "SHAKIRA || BZRP Music Sessions #53," which has made history in its own way. With the most streams in a single day for a Spanish-language song, it raked in more than 14 million streams in the first 24 hours and became the fastest Latin song to reach 100 million streams. Another historic moment for Shakira, the song debuted at #9 on the Billboard Hot 100, making her the first solo woman to reach the Top 10 on the chart with a song recorded in Spanish. She has also broken the all-time record for most monthly listeners for a Latin artist in Spotify history. The video amassed 160 million views on YouTube in the first week.
"Shakira is the rare superstar who has discovered a way to keep evolving as an artist while growing her expansive audience along with her," said Jasen Emmons, Chief Curator & Vice President of Curatorial Affairs at the GRAMMY Museum. "She's a serious student of music, and the GRAMMY Museum is excited to offer a dynamic exhibit that reflects her intelligence and artistry."
Photo: Allister Ann
Meet The First-Time GRAMMY Nominee: How Carly Pearce's Darkest Personal Moments Helped Her Reach Milestones
Blending her personal story of heartbreak with her passion for traditional country storytelling, Pearce’s "Never Wanted to Be That Girl" earned her new career highs — including her very first GRAMMY nod.
Carly Pearce and Ashley McBryde may reflect different corners of the country music spectrum, but they share a reverence for tradition and a penchant for heartbreak songs. The singers explore their stylistic common ground in “Never Wanted to Be That Girl,” a duet that tells the story of two women who have been cheated by the same man.
The country ballad resonated deeply with audiences, both because of its traditional leanings and its gripping personal narrative. At a spring 2022 show in Albany, N.Y., Pearce even saw two fans holding a sign saying that the song told their story of being romantically entangled with the same unfaithful man. The experience brought them together, and they wound up becoming friends.
"Never Wanted to Be That Girl" reached the top of the country radio chart — one of only three female-female duets to do so since 1993. One of those, Reba McEntire and Linda Davis’ “Does He Love You,” specifically influenced Pearce and McBryde. In addition to its chart success, "Never Wanted to Be That Girl" won Musical Event of the Year at the 2022 CMA Awards, and earned Pearce her first GRAMMY nomination, for Best Country Duo/Group Performance.
Pearce’s personal missive is at the center of a breakthrough personal and musical era ushered in by two enormous heartbreaks: Her highly public divorce from fellow artist Michael Ray and the untimely death of her producer, Busbee. Rather than retreat from the spotlight, Pearce used her grief and trauma to create 29: Written in Stone, a grippingly personal artistic statement. The singer’s authenticity paid dividends: She started seeing more commercial success, more critical recognition and extra passion from her fans.
Ahead of the 2023 GRAMMY Awards, Pearce caught up with GRAMMY.com to discuss her first nomination, her powerful musical friendship with McBryde, and why she considers 29 to be the album that changed everything.
After you learned you were nominated, what was the first thing you said to Ashley McBryde?
You know, this isn’t her first GRAMMY nomination, but it is her first No. 1 song, and so we’ve kind of had this thing where we’ve given each other firsts. It wasn’t my first No. 1 song, but it was my first GRAMMY nomination. So we were just texting, and I said thank you.
I wanted so badly to collaborate with her — and I knew that it was an unlikely pairing — but I knew that if we really tried to write a song together we could do something really special. And we did.
Take me back to the day you wrote the song.
I feel like this song in particular wasn’t written like any other song I’ve been a part of. We were in the room and we had zero ideas of what we were gonna write. No riffs, no hooks, no musical hints at all. We just started talking. She was privy to what was happening in my life, and obviously [co-writer and 29 producer] Shane [McAnally] was too, so when we wrote that song, we started a story. We had no idea where it was gonna land.
We wrote this song in top to bottom chronological order. But we wanted to make sure that the choruses were the same, even though the women were experiencing different perspectives. I think we very carefully wanted to not pit the women against each other, but to show that you can both be burned by the same man.
You and Ashley have known each other since early on in your time in Nashville, just from being at the same songwriter’s nights and shows. How has your relationship evolved?
I’ve always loved her. We did kind of come up together in a lot of ways. We would play shows together and sing each other’s songs, and I just felt like she understood my voice and I understood hers. I was making this album and brainstorming with one of the members of my team, and he said, "Wouldn’t it be so awesome if you had a collaboration with Ashley? She’s so different from you, but we miss those female-female duets. There haven’t really been any since the ‘90s." So I just texted her and asked, "I don’t know if this would ever interest you, but would you write a song with me for my record?" And she was in, immediately. It just felt like it was always destined to happen.
Speaking of female-female ‘90s duets, one of your fellow nominees in this category is Reba McEntire’s new version of "Does He Love You" with Dolly Parton. I know the original version of this song with Linda Davis, in 1993 helped inspire "Never Wanted to Be That Girl."
We definitely referenced "Does He Love You" that day in the write. We knew we couldn’t touch that, but we were striving to make something as impactful. So it feels very full circle to have watched this song climb the charts, and watch it win all these different awards, and now be nominated in a category with the same woman that inspired us to even sing that song.
Have you talked to Reba about your song’s connection to "Does He Love You"?
I haven’t seen her, but I’m hoping to get to do that. Maybe at the GRAMMYs! Not that she needs any other women to tell her she’s a trailblazer, but certainly, she inspired us to double down.
When you think back to the beginnings of 29, when you were preparing to release all these personal songs. What were some of your biggest questions or fears, and how have they been resolved?
I remember turning in the first half of my album and wondering if my record label would even put it out, because it felt so personal — almost to a fault. And I remember thinking the production on it was so country that I wondered if it was going to be commercially accepted. I actually have a distinct memory of playing my song "29" for a group of friends and none of them were divorced, but they were crying, because they were inserting their own story into it.
I think this is the album that I will look back on in my life and say it was the one that changed everything for me in my career. It gave me such direction. It gave me hope that I’m not alone. That’s been the most amazing thing; when I look at it now, I go, Gosh, this album brought so many people to a place of feeling not alone, and in return, through their stories and their showing up for me when I needed it, they made me feel not alone. That’s all you ever want, when you’re an artist, to have that kind of connection.
Do you feel like people, even outside of country fans, are connecting with your story and responding to your music?
I’ve had a few albums out — this is my third — but I feel like in a lot of ways it was my first. I think we all go through the same struggles in life, and I think that people really resonated with me on a human level with this record. Everybody’s experienced heartache. And sometimes people need to feel hope, and that they’re not alone. So yes, I feel that very much.
You’re in the middle of making a new album now. What can you share about that process?
As a writer, I wish I could go through a divorce every time I make a new album, because it makes you feel so inspired. But I think what I learned through making that record is, people wanna hear how I see the world. They wanna hear what I’m going through. From [age] 29 to 32, almost 33, there’s been a lot of life that I’ve intentionally kept more private. [Now], people say to me, "Oh my gosh, you’re so happy, but we’re not gonna get those Carly Pearce heartbreak songs."
Honestly, yes, you can be happy and struggle to get there. I think there are songs that are reflective, there are songs that are nostalgic, there are songs that are in love and happy. But you don’t realize how much you’ve been affected until you try to love somebody else. I don’t think that’s a topic that’s really talked about, but it’s something that I think a lot of people go through, and I kind of share my take on that.
You’ve teased a little bit of a song called "Trust Issues." How does that song fit into your new music?
I felt very overwhelmed when I first started writing — just, you know, what this direction was. And I wrote in my phone, "trust issues." That’s kind of on the theme of, you never know how hurt you are until you try to love somebody else. But I wanted to spin it into a hopeful and happy thing, because I love titles where you look at them and you think it’s gonna be one thing, but it’s a totally different thing.
So I got in the room with two of my favorite people, [songwriters] Nicolle Galyon and Jordan Reynolds, and we crafted this song that felt so hopeful. It’s a love song, but it’s a love song out of pain. And I remember when we wrote it — I see my albums in pictures, and I thought this was such an important facet to this transitional period of my life —of moving on.
Photo: Jill Furmonvsky; courtesy of THE-DREAM
The GRAMMY Museum Announces Official GRAMMY Week 2023 Programming Schedule
Join in on the GRAMMY Museum's GRAMMY Week 2023 education programs and panels ahead of Music's Biggest Night. Here's the lineup for the upcoming, can't-miss events from Jan. 30 - Feb. 3.
Flush with unique education and community engagement programs, the events offer conversations, live performances and exclusive content from GRAMMY Award-winning and -nominated musicians and industry professionals. From panels discussing what it takes to have a career in the music industry to a celebration of GRAMMY nominee Muni Long, you won't want to miss the GRAMMY Museum’s GRAMMY Week programming.
Join in on these GRAMMY Week festivities from Monday, Jan. 30, to Friday, Feb. 3, with the full lineup as listed below.
Watch the 2023 GRAMMYs, officially known as the 65th GRAMMY Awards, on Sunday, Feb. 5, live on the CBS Television Network and live and on-demand on Paramount+ at 8-11:30 p.m. ET/5-8:30 p.m. PT.
Mon, Jan. 30:
EVENT: Careers in Music: Music Producers Panel with Isla Management
WHAT: A conversation with GRAMMY® Award-winning and -nominated producers Boi-1da, Jahaan Sweet, Sevn Thomas, Leon Thomas, and Isla Management Founder and Manager Simon Gebrelul on the creative process, working with artists, and what it takes to have a career in the music industry as a music producer.
WHEN: 11 a.m. – 12 p.m.
REGISTER: Click here.
EVENT: Careers in Music: Latin Music Panel
WHAT: A conversation celebrating the culture and impact of Latin Music with singer-songwriter, Gaby Moreno, Vice President of Latin Division at Peermusic, Yvonne Drazan, and Founder and President of Cosmica Records, Gil Gastelum.
WHEN: 1 p.m. – 2 p.m.
REGISTER: Click here.
Tues, Jan. 31:
EVENT: Backstage Pass: Global Music Panel
WHAT: A conversation celebrating music from around the world with GRAMMY-nominated artist Zakes Bantwini, CEO of Creative Agency GridWorldwide Adam Byars, TV/Radio personality and entrepreneur Anele Mdoda, Talent Manager and Music/Entertainment Executive Sibo Mhlungu, and Entrepreneur CEO & Founder of Bathu Sneakers Theo Baloyi. This program will also include a live performance by Zakes Bantwini and Nomcebo Zikode.
WHEN: 11 a.m. – 12 p.m.
REGISTER: Click here.
EVENT: Backstage Pass: LGBTQ Panel & Performance presented by the Ally Coalition
WHAT: Backstage Pass is a career exploration program that gives students a first-hand look at what it takes to get a job in the music industry. This Backstage Pass program will consist of a question-and-answer session with music industry professionals from the LGBTQ community.
WHEN: 1 p.m. – 2 p.m.
REGISTER: Click here.
EVENT: Celebrating GRAMMY® Nominee: Muni Long
WHAT: Join us for this exclusive GRAMMY Week event to celebrate this year’s three-time GRAMMY nominee, Muni Long, just ahead of GRAMMY Sunday. Nominated for Best New Artist, Best R&B Song and Best R&B Performance, Long was an in-demand songwriter for Rihanna, Mariah Carey, Madonna, Ariana Grande, and more before breaking through as a solo artist.
WHEN: 7:30 p.m.
TICKETS: Click here.
Wed, Feb. 1:
EVENT: Careers in Music: 1500 Sound Academy
WHAT: 1500 Sound Academy is a trailblazing music education institution that strives to produce passionate sound creators through mentorship, positive mindset and professional development. Join us for a moderated Q&A with founders of the 1500 Sound Academy and of the legendary musical ensemble, 1500 or Nothin', GRAMMY Award winners James Fauntleroy and Larrance "Rance" Dopson.
WHEN: 11 a.m. – 12 p.m.
REGISTER: Click here.
EVENT: Live Out L!ve Presents: Beyond the Mainstage – Black Professionals in Live Music
WHAT: Join us as we go beyond the mainstage and explore the success, challenges and reality of being a Black professional in the live entertainment industry. In this conversation, we will hear from professionals of color who are leading innovation and change in their respective roles. Our panelists will share their journey of becoming a live industry leader and resources for breaking into the industry, and answer questions from the next generation of music industry leaders.
WHEN: 1 p.m. – 2 p.m.
REGISTER: Click here.
Thurs, Feb. 2:
EVENT: Backstage Pass: Hawaii Day w/ Bobby Moderow, Jr. & Kawika Kahiapo
WHAT: A celebration of the music and culture of Hawaii, this Backstage Pass program will consist of a question-and-answer session as well as a live performance of two to three songs.
WHEN: 11 a.m. – 12 p.m.
REGISTER: Click here.
Fri, Feb. 3:
EVENT: Careers In Music: Merck Mercuriadis, Nile Rodgers and 2023 Six-Time GRAMMY®-nominated Singer/Songwriter/Producer THE-DREAM
WHAT: A conversation with Merck Mercuriadis, Nile Rodgers and The-Dream discussing their background in the music industry, the importance and power of the songwriter, sustaining a career, and celebrating the songs past and present that have led to The-Dream having more than 20 GRAMMY nominations and five wins throughout his career. The-Dream is one of the first nominees for the inaugural Songwriter Of The Year, Non-Classical Award and we are here to celebrate his achievements and those of the other great songwriters being honored including his collaboration with Nile Rodgers, Beyoncé and others on "CUFF IT."
WHEN: 1 p.m. – 2 p.m.
REGISTER: Click here.
Photo: Zhang Yixing Studio
Global Spin Live: LAY Combines East And West With A Magnetic Performance Of "Veil" At The GRAMMY Museum
Chinese rapper LAY combines traditional Chinese instruments with contemporary Western choreography in this live performance of "Veil."
With every release, singer/songwriter LAY has paid homage to his Chinese heritage. His latest EP, West, is no different, as he croons over the sounds of traditional instruments.
Released as a sequel to his 2021 EP, East, West continues LAY's global exploration and comprehension of western culture through the lens of his upbringing in China. "I'm a proud Chinese person first before an artist," LAY detailed in a media conference. "I just want to share the good things about my culture. I hope it inspires others to do the same."
In this episode of Global Spin Live, LAY offers a highly energetic performance of West's lead single, "Veil," at the GRAMMY Museum. He smoothly transitions between English and his native language, Mandarin.
It's a metaphor for LAY's multicultural mindset that's not only manifested in his lyricism, but additionally in the song's choreography and production; he balances contemporary hip-hop moves with the soft tapping of the Chinese erhu.
Though West presents two versions of "Veil" — one in Mandarin and one predominantly in English — LAY performs the latter on the GRAMMY Museum stage. "'Veil' is [asking listeners to] be more real. Take off your mask and show me the real you," he shares, further emphasizing the message of "Veil" that encourages listeners to share our most authentic selves.
Global Spin Live is held in conjunction with GRAMMY Museum and GRAMMY.com as a live event extension of the popular online series, Global Spin, showcasing Global Music artists. Press play on the video above to watch LAY's suave performance of "Veil," and check back to GRAMMY.com for more episodes of Global Spin.