In the early 2000s, when Andrew Mayer Cohen was in his 20s, he moved from his hometown of Ann Arbor, Michigan to Los Angeles to pursue a career as a hip-hop DJ. He had been DJing clubs and parties in Detroit but was ready to take things more seriously.

At a party in L.A., the artist now known as Mayer Hawthorne handed hip-hop producer and Stones Throw record label owner Peanut Butter Wolf a demo: Wolf said the beats were no good but loved the soul samples in the background. When Wolf found out they weren’t samples — Hawthorne had created all the soul sounds on his own, playing all the instruments, to avoid paying to sample classic soul songs — Wolf suggested he pursue soul music.

Hawthorne has since released five albums — including For All Time, released on Oct. 27 —  and continues to tour, pursue side projects and collaborations, and DJs parties and events. With his glasses, coiffed hair, and suits and loungewear, he’s like the Buddy Holly or Hugh Heffner of contemporary soul music. 

GRAMMY.com spoke with Hawthorne recently over Zoom about his latest album, upcoming tour, his unexpected beginnings as a soul singer, and what he's learned from collaborating with younger artists.

Describe the plan going into this most recent album: How did this new batch of songs come together, and what did that process look like? 

I did a lot of mushrooms and came up with a lot of super psychedelic sounding stuff. This is definitely my most psychedelic record. I was listening to a lot of Ethiopian and Turkish jazz and African funk. 

I’ve been really obsessed with the song “Mot Adèladlogn” by Tèshomè Meteku, and music from Mulatu Astatke. I remember buying a Mulatu LP at a record fair in the mid 2000s for like $10 and now it's a thousand-dollar LP. Ethiopian music can be dark and mysterious sounding, and that really hooked me. 

But the really big thing is that I met someone and got married. This album is a lot about finding real love that is for all time. 

Congratulations. That’s a big milestone.

Dating in L.A. is brutal. It can be a very lonely place. I’m so unbelievably grateful to the universe for sending me my wife. I definitely went through some dark times, so this album is a celebration of love.

So much of your music is about love and romance. What’s different or unique with this new batch of songs?

It’s definitely the sexiest album I've ever made. I'm predicting a baby boom in 2024. Music about love is the music I probably love the most, like Isaac Hayes and Barry White. All the best Beatles songs are about love. 

I think prior to this record, I was known for bitter, angsty breakup songs. My (2016) Man About Town LP was all about frustration and loneliness and the inability to find love and happiness. They are still fun songs, but I was trying to hide the sadness in the fun. This new record is like a 180 from that. 

Typically, where do new song ideas come from for you? 

My best ideas come when I’m in the car. When you’re driving you switch off part of your brain, and something else pops up, and it frees up something in your brain. Mayer Hawthorne songs just come out of the sky. It’s more about me trying to reverse engineer out of my head and get it on tape. I don't usually come up with something on the spot like I might when I work with other artists. Mayer Hawthorne stuff is more personal. 

Sometimes I come up with demos that I think would be cool for another artist, and they’ll listen and say well this is amazing but you are the only person who could do this song. I have my own unique style of songwriting and the only thing that matters with music is that you do something unique and original that can cut through the noise, and that’s not easy.

You produce and write for other artists, including Doja Cat. What’s your approach to producing? When other artists come to you and want to collaborate, what do you think they’re looking for, exactly?

I’m at the point where I have some experience under my belt and something to offer when I work with younger artists. Sometimes they don't know the difference between a pre-chorus and a bridge or a major triad and a minor 7th chord. Some don't play an instrument, they just do everything in FruityLoops. It’s very liberating and so much fun. It's inspiring for me. 

I love being around the energy of young people, it keeps me young. Blu DeTiger played bass for me on my record, and I’m in awe of her playing. She’s incredible. I worked with Jordan Ward a lot, and his writing is so instinctual and creative. I get more out of these sessions than they do. It helps me so much to not become that old cranky guy and say music now sucks. I don’t ever wanna be that guy.

You were nominated for a GRAMMY Award for the special box set of your 2013 album How Do You Do, and nominated again for your work on Doja Cat's Planet Her. How have those nominations affected your musical career?

It’s always cool to be recognized by your peers in the business, people I have tremendous respect for. It feels cool to be part of something. We’re all out here working hard, but you never know what will be a hit or what will have an impact. You do the best you can all the time and cross your fingers, and if you're lucky, some shit really goes. 

To have started the way I did, as a DJ from Ann Arbor who moved to L.A. and tried to make hip-hop music, and ended up sort of accidentally having a career in soul music, and now still being here and being involved with someone as cool as Doja Cat. It's so cool to stay relevant in that way and have so much fun doing it. 

You started off as a DJ, and you still DJ for parties and events. How do you approach DJing, and how has it evolved over the years?

I’ve been DJing since high school. I still consider myself a better DJ than a musician or singer. I can DJ with my eyes closed, it's like second nature to me at this point. So much of it is just reading the room. You have to know instinctively what to play at the right moment to make people move.

I DJed a pool party for Kourtney Kardashian and she wanted only 1950s music. That was so much fun, playing doo wop and sock hop jams. I love things like that, I had so much fun. I did a Star Wars disco party for Disney recently, and got to pull all my Italian disco, spaced-out vocoder jams, and electronic shit. That was so cool. I love doing that. DJing is still my number one love. 

Your vinyl collection has been described as "insane." How so?

That is accurate. I listen to so many styles of music, and I collect everything from Doris Day records and the Chordettes to Sun Ra and British psych rock. I’m all over the map. 

Siamese Dream from Smashing Pumpkins is one of my favorite albums of all time. I used to set my alarm clock in high school to Helmet because it was the only way to get me out of bed. I recently got on a plane to Toronto just to go to this crazy record convention for super vinyl nerds like me. It’s an expensive ass habit, but vinyl is my thing.

You live-streamed “Wine and Vinyl Hour” DJ sets from your house during Covid. How did that come about?

It’s something I do anyway at home, just spinning records and having wine, so my manager said why not just turn the camera on and let other people in on it? 

It turned into this thing and became bigger than me. People started showing up just to talk to each other. It was something to look forward to every Thursday and it turned into this big community I was not expecting. It was amazing.

Since 2015, you’ve collaborated with producer Jake One on the boogie funk group, Tuxedo. You’ve released three albums and done multiple world tours. How did that project come about? How is Tuxedo different from your solo work?

Tuxedo is just Jake and I making songs we want to ride around in my 87 Benz and listen to for fun. Jake and I both have successful careers without it, so Tuxedo is just icing on the cake. That's why it's good. It’s a celebration of having a good time and dancing and being happy. It’s about joy.

You told the Detroit Free Press in 2009 that Mayer Hawthorne is a character torn in time between 1965 and 2009, heavily influenced by Motown and '60s soul, but moving the music forward and creating something new. How has your character evolved over the years?

Over the years, Mayer Hawthorne has definitely become less of a character. It comes much more from a genuine place of my real life, as I get older and experience things and live life. 

When you’re young you don't have much experience, so you have to make stuff up. Then you live and you can tell your story for real. As I get older, it’s much more the real me you’re getting, which is very cool, and scary at the same time. There’s less to fall back on. 

And how do you make '60s soul sound new?

I never want people to hear my records and wonder if it's new or not. When you listen to this new album, it's clearly influenced by the Delfonics and Isaac Hayes and Steely Dan, but there’s no way you're confused and think it's an old record you missed from the '70s. I’ll never do classic '70s Philly soul better than the Delfonics. Plenty of artists do regurgitation of something old, but I’m all about putting my new spin on it. 

I grew up in the Detroit area, but Motown had long moved to California and there was nothing really left. I grew up listening to J Dilla and Slum Village — that was my music, not my parents' music. Classic soul music had a profound effect on me, but I learned more about it from hip-hop producers who sampled it than the actual artists. 

**Your debut album, Just Ain’t Gonna Work Out, came out in 2008 on Stones Throw. It was soulful and fun and also very youthful; it sounded retro and modern at the same time. You were 29 then.** 

I just really wanted to make it as a rap producer in LA, and was so excited to meet Peanut Butter Wolf. I met him at a party and gave him my rap beats. He said they were terrible, but asked about the soul samples. They weren’t samples; I had made them on the side so I could sample myself for free and not have to pay for royalties. He said you're not that good at making rap beats, but youre good at making soul, so you should do that. 

I thought for sure it would be a side project. I didn't think there would be a possibility of that being my trajectory. But then it just connected with people. I was like holy s—, now I have to perform these songs live, and I had never sang in front of an audience and I didn’t have a band. I was like how does anybody do this? It was so unorthodox.

How did you get into hip-hop initially? What/who were you listening to? What was the appeal?

Rap music exploded in Ann Arbor around 1993. If you didn't have Black Moon's "Enta Da Stage" or Snoop Dogg’s Doggystyle on cassette or CD you were wack. My friend's high school rap group needed a DJ, so I saved up and bought two used turntables off eBay. I had about a dozen 12" singles from Nas, Pharcyde and Wu-Tang, and I practiced scratching and mixing in my bedroom all day, every day.  

I think I was mostly drawn to hip-hop because it was different and rebellious. My parents hated it, so it made me love it more.

Did you always want to pursue music seriously or were there other pursuits you had considered? 

My dad is a bass player and he taught me to play when I was 6 or so. I wanted to play drums but my parents didn't want me banging on s— all day in the house. I would do my own Michael Jackson performances just for my family with the one sparkly white glove. 

I was in a bunch of bands throughout middle school and high school, including one experimental rock band with Andrew WK who was my neighbor growing up. I studied computer science in college but it was mostly to please my parents. 

I always knew I wanted to make music, but I never imagined I would be a soul singer.  I never sang in any of the groups I was in, I was always the bass player or the DJ somewhere in the background.

You’ve had a great 15-year run so far. 

I wake up every morning still unbelievably grateful and thankful that I get to do this for a living. Part of the reason I’m still here is that I always expected one day it would be over. I just try to have as much fun as I can while I'm doing it. I just never want to be boring, or middle of the road, that’s the worst.

I’m still learning so much. Every time I do a session with a 19-year-old from the UK, I learn so much also. I’m supposed to be the veteran in the room, but I learn just as much from them as they do from me.

You’ll do a short tour in January and February. What do you have planned for those shows? How has your live show evolved over the years? 

The tour is called Hawthorn Rides Again. We will switch things up with new band members and live drums. I’m not the same 20-something guy I was when I first started touring. I feel like I'm a different person, so I want the show to reflect that. 

It will sound as close to the record as possible. I can't stand it when I see a band and it doesn't sound like the record. Mainly I want the tour to be a joyous celebration of love. 

Looking ahead, what’s next for you in 2024 after the tour?

I'm really looking forward to writing and producing more with other cool artists like MAX, Eyedress, Aaron Frazer, and Blu DeTiger. When you're working with other artists you just gotta cross your fingers and hope that the songs actually get released. 

I've been working on so many cool projects behind the scenes and a lot of them are finally coming out. It's an exciting new frontier for me.  I have so many artists on my dream list to work with. Rosalía, if you're reading this, call me.

Hemmed In By Early Successes, Black Pumas Creatively Flourish On 'Chronicles Of A Diamond'

While every headliner at last year’s Coachella held some sort of historical cultural significance, Coachella 2024’s roster instead represented a series of graduations from opening slots and side stages to top-tier main stage titan status.

Friday featured Lana Del Rey, whose sole previous Coachella performance was at the Outdoor Theatre in 2014. Saturday was capped by Tyler, The Creator appearing for the third time in Indio (his last appearance as runner up to Haim and Beyoncé on the main stage in 2018). And on Sunday, Doja Cat occupied the uppermost spot after her penultimate main stage appearance in 2022.

Yet Coachella Weekend 1 this year’s attendees got astronomically more bang for their buck than they counted on, due to a surprise-guest-heavy lineup. The bulk of those special moments came from  A-list talent, from Billie Eilish with Lana Del Rey to Olivia Rodrigo with No Doubt, Justin Bieber joining Tems, Kesha with Reneé Rapp, most of the Fugees performing alongside YG Marley, Will Smith performing "Men in Black" with J Balvin … the list goes on. 

When all was said and done, the diversity, quality and impact of the weekend’s performances were tremendous. Even without elite bonus appearances, there were plenty of performances — quite a few of them newcomers, recent buzzbands and imminent breakthroughs — that made this year’s Coachella more than worthy of an early accolade for one of the first-rate fests of 2024. Read on for seven of the best sets from Coachella 2024.

Faye Webster Thrills Loyal Fans With Supreme Confidence

Underneath the shaded canopy of the Mojave Tent, Faye Webster held her sprawling audience in the palm of her hand during her Coachella debut on Friday. Deafening cheers rang out at the start of every song, which seemed to infuse the 26-year-old singer/songwriter with a level of energy unparalleled up to this point in her career.

Webster deftly worked her way through 11 tracks, each one received with wild cheers from fans, who sang with such gusto that they often nearly overpowered her own vocals. The crossroads of her confidence and creativity fully manifested during closing tune "Kingston," which saw her pausing to let the audience belt out the remainder of the line, a beckoning gesture that exuded self-assuredness. 

Notably, three of six new songs ("Wanna Quit All the Time," "He Loves Me Yeah!" and "Lego Ring") from her recently released fifth album Underdressed at the Symphony were live debuts. The fact that Webster saved them for Coachella showed a clear intention to ensure the set was extra special. Beyond any shadow of doubt, she succeeded. 

Lana Del Rey Taps Billie Eilish, Jon Batiste & Others For Standout Friday Set

With her notoriously downtempo demeanor, Lana Del Rey wasn’t the obvious choice for a Friday headlining spot on the main stage, but when all was said and done, her 20-song set delivered plenty to position her as a standout performer. 

Dressed in an elegant baby blue gown, her entrance — a slow ride on the back of a motorbike through the lanes of the crowd all the way to the stage — worked wonders to build excitement. And her first three song choices, a shortened version of "Without You" (not performed since 2014) and two more gems from the vault — "West Coast" (debuted 10 years ago to the day at her first Coachella appearance) and her superb cover of Sublime’s "Doin’ Time" — signaled her intention to make this show a truly special occasion (neither of the latter two tunes have appeared on a setlist since 2019).

From there it was a parade of hits culled from her robust catalog, as the GRAMMY-nominated singer waltzed her way across the expanse of a fairytale palace stage production, at several points venturing up flights of stairs to a towering terrace. Four of her 10 albums feature production from Jack Antonoff (who played with Bleachers on Saturday), so it was unsurprising when he took the helm of the white grand piano toward the end for a strikingly serene duet with a hologram Lana on "Hope is a Dangerous Thing for a Woman Like Me to Have — But I Have It."

Jon Batiste (who performed his own set on Saturday) also assisted on piano for an alluring take on "Candy Necklace," but the pinnacle moment arrived during performances of "ocean eyes" and "Video Games" alongside surprise guest Billie Eilish. Sitting side by side atop a balcony, the two harmonized through much of those tracks, and the occasions when Lana sat back to let Billie sing several sections solo were absolutely arresting. The two superstars stared adoringly at each other throughout, clearly just as awe-inspired by the unprecedented collaboration as the audience, which erupted with rapturous applause that rivaled the decibels of the set’s glittering fireworks finale.

Raye Races Toward Superstardom During Emotional Debut

After just one song of Raye’s Saturday afternoon performance, there was no question that her Coachella debut would be remembered as one of the most striking in recent years. The British songwriter and chanteuse, who shattered the record for most wins and nominations in a single year at this year’s BRIT Awards, poured every ounce of her soul into her 45-minute set. The crowd inside the Mojave tent hung on every note and went absolutely berserk all the way from the sultry intro of "The Thrill is Gone" to gloriously anthemic closer "Escapism."

Backed by a powerhouse band of eight backup singers, three string players, four brass aces and the standard guitar, drums and bass, each song was a showstopper. Without question, the most impactful moment came on "Ice Cream Man," which deals with her own experience with sexual assault and rape.

"I want you to know it’s not an easy song to sing," she started. And before she could continue, the audience released a loud roar of support, to the point that the singer shed tears. When she composed herself, she continued, "But it’s important to be loud .. and to be brave. This allows me to be loud about something I’ve been quiet about my entire life. I am very f—ing strong."

That moment — which culminated into a big band-style belter that evoked the power of Amy Winehouse and Billie Holiday — likewise drew tears from many in the audience. Further, it defined Raye as an artist destined for superstardom on the merits of genuine talent, an infinitely infectious spirit, and incomparably hard work ethic. To that end, it should be no surprise she’s the songwriter behind tunes from GRAMMY-winning artists including Beyoncé, no big deal. 

Sublime Revives Their Definitive Sound Alongside Jakob Nowell

Though many were referring to Sublime’s Saturday afternoon appearance on the Coachella main stage as a "reunion" in the days leading up to the festival, new frontman Jakob Nowell — son of the band’s deceased original singer Bradley Nowell — made it abundantly clear that wasn’t precisely the case.

"My name is Jakob Nowell and this is Sublime," he said following the conclusion of opening song "April 29, 1992," gesturing toward the beloved Southern California ska-punk band’s surviving members bassist Eric Wilson and drummer Bud Gaugh.

Read more: Sublime's Jakob Nowell On Leading His Father's Legendary Band & What To Expect At Coachella

His resistance to co-opt his dad’s legacy was admirable, which was an issue for some when Rome Ramirez joined Wilson and Gaugh in 2009 to form Sublime with Rome, a chapter that ended for those original members when Gaugh left the band in 2011 and Wilson subsequently exited in February. With all the pieces in place, the next hour played out as a fantastically fun alliance of old and new.

Jakob sounded strikingly like his dad during most moments, though he asserted his own spin on the classic sound by adding a hardcore-esque growl at various points in the set. Among the 14 songs, they revived early-era material that hadn’t been played live since the mid '90s, including "Date Rape," "Badfish" and "Doin’ Time." One cut, "Romeo," had not been performed live since 1988. The band likewise included tunes that Bradley never got to perform from the band’s final self-titled album, including some of their biggest commercial successes. Tracks such as "What I Got" and "Santeria" were sung by thousands, a chorus oozing with celebratory mass catharsis. 

By the end, there could be only one conclusion: the most definitive version of a revived Sublime has arrived and, should they choose to continue on, they’ll be received by fans with open arms. 

No Doubt Snatches Headliner Status During Jubilant Reunion

Though the reunion of No Doubt was billed as the runner-up to Tyler, the Creator’s Saturday night finisher, it’s absolutely valid to argue that the beloved Southern California outfit — playing their first show since 2015 — was the evening’s true headliner. The eye-popping expanse and unerring enthusiasm of the audience (the largest of the weekend), combined with the group’s sheer joy and explosive energy, drove the feeling home.

Every member of the core group — bassist Tony Kanal, guitarist Tom Dumont, drummer Adrian Young and frontwoman Gwen Stefani — emanated pure exultation, wide grins plastered permanently on their faces. Stefani was especially fired up; after the band powered through five treasured tracks — including opener "Hella Good" (performed at the end of long catwalk), "Ex-Girlfriend," and "Different People" (featured for the first time since 2009) — the singer stopped to address the sea of screaming fans.

"Wow … you showed up to Coachella Saturday night 2024 to see No Doubt play together on this stage for the first time in nine years. Are you crazy?!" Stefani said. "If I could just somehow explain the amount of love [we feel] and how much I wanna slap the s— out of you guys tonight!"

The sentiment was meant endearingly, but every song did hit intensely. In particular, a rendition of "Bathwater" featuring special guest Olivia Rodrigo — as hyped as Stefani with her never-ending spinning and bouncing antics — left a lasting mark. For old school fans, the Return to Saturn single was a special treat, and with Rodrigo in the mix, it elicited equal exuberance from younger audience members.

For the finale of the 16-song setlist, the band fulfilled the promise of euphoric nostalgia with a hard-hitting trio of tracks off 1995 breakthrough third album Tragic Kingdom: "Just a Girl," "Don’t Speak" and "Spiderwebs." The timeless tunes incited a sudden surge of fans toward the stage, and one would’ve been hard pressed to spot anyone not participating in the jubilant singalongs. It was a moment of multi-generational unity and unbridled joy — unquestionably unforgettable, and hopefully just the precursor to a triumphant new era of No Doubt.

Olivia Dean Enters the Stateside Festival Scene With Humbling Authenticity

Watching the first few moments of British neo-soul singer Olivia Dean’s Sunday afternoon performance in the Gobi tent, you’d never know this was her first American festival appearance. And what an incredible debut, at one of the States’ most prestigious festivals with only one album under belt (2023’s Messy) to boot. The 25-year-old stunned with utmost finesse and confidence, working the stage like a long-established diva and immediately eliciting rapturous applause after each of the first two songs, "OK Love You Bye" and "Echo."

While it can sometimes be off-putting when an artist introduces every song with a tidbit explaining what it’s about, this method had the opposite effect for Dean. Her context made each moment feel intensely personal, and the audience reaction was overwhelming. One of many tunes with a distinctly Motown bop, "The Hardest Part," was prefaced with the remark that it "recently changed [her] life," and spoke to the process of overcoming grief. After the final note was sung, she received a deafening standing ovation, prompting her to endearingly cover her face in response. And there was so much power in her anecdote before "Carmen," a tribute to how her grandmother made everything possible for her. 

"My granny came to London when she was 18 … had never been on a plane … left her life behind and had my mom, and my mom had me," she said, already being drowned out by cheers before the final remark: "This song is for my granny and anyone brave enough to move and any immigrant in the crowd right now."

As she wrapped up her short set with the bewitching single "Dive," the sun broke through the clouds, illuminating her with the loveliest natural spotlight to complement a performer who already naturally, effortlessly shines on her own.

Doja Cat Exudes Total Command & Flawless Flow For Sunday Finale 

It cannot be overstated: Doja Cat’s fest-closing performance on the main stage was a visionary masterpiece, and the strongest headlining set of the first weekend. That wasn’t certain from the stripped-down beginning moments when the GRAMMY-winning singer/rapper appeared on a circular b-stage mid-audience, dressed in a hazmat suit and encircled by a black and yellow biohazard pattern.

But excitement built steadily as she bombastically delivered opening song "ACKNOWLEDGE ME," which, even in an abbreviated format, lived up to its title and created a palpable air of anticipation. From there, she strutted back toward the main stage via a connected catwalk, meeting briefly in the middle with South African quintet the Joy (set to release their self-titled debut album on June 21) offering up fiery raps amidst the group’s arresting a cappella.

Shortly after, Doja appeared on the main stage dressed in a knee-length platinum blonde weave, flanked by an army of dancers who all wore matching getups covered in the same synthetic hair. The effect when they all converged, their movements completely in sync, created an optical illusion of one enormous hairy creature moving across the stage to punctuate the ferocity of "Demons." 

That was just the first taste of a breathtaking series of visual sequences over the course of the 70-minute show, each profoundly enhanced by cinematography that created the effect of watching a top-quality music video on the main stage’s massive screens. If you witnessed the camera work during Beyoncé’s Homecoming show back in 2018 or Rosalía’s production in 2023, you’ll understand the aesthetic. 

Other key moments when the video work was utterly astonishing arrived during the live debut of "OKLOSER" (one of five first-time song features) where the previously smooth camera went rogue, shakily weaving through the gang of dancers to create the effect of maneuvering through a chaotic house party; again during "Attention" as the lens wove through dancers in fur coats wielding Cruella de Vil-inspired cabrioles until it settled on Doja at the end of the line; and finally during closing track, "Wet Vagina," where Doja and her dancers rolled and writhed (in perfect choreographed unison) on the b-stage filled with brown mud, the sequel ending in a stunning birds-eye shot. 

Backtracking a few moments earlier, maybe the most jaw-dropping production element came on "WYM Freestyle" in the form of a giant T-Rex skeleton following Doja down the catwalk while flames erupted from the stage behind her. The precise reason for that wasn’t evident, but it certainly boosted the ferocity of her raw rap delivery.

The unending visual feast only served to amplify Doja’s already flawless flow. She never missed a vocal mark, whether singing or rapping. She didn’t even once pause to banter with the audience, creating the effect of total focus and command. Big bonuses: 21 Savage materializing mid-set to serve up "n.h.i.e.," Teezo Touchdown’s cameo on "MASC" and A$AP Rocky (who likewise performed with Tyler, the Creator on Saturday) swooping in for "URRRGE!!!!!!!!!!" before Doja dazzled with super-hit "Paint the Town Red."

When all was said and done, Doja Cat more-than-earned her graduation to festival headliner, and while she’s already set for an arena tour this year, she’s clearly destined to stun at stadiums not far in the future. 

Coachella 2024 Weekend 1 Recap: 20 Surprises And Special Moments, From Billie Eilish & Lana Del Rey To Olivia Rodrigo With No Doubt

As Doja Cat put it herself, the 2022 GRAMMYs were a "big deal" for her and SZA.

Doja Cat walked in with eight nominations, while SZA entered the ceremony with five. Three of those respective nods were for their 2021 smash "Kiss Me More," which ultimately helped the superstars win their first GRAMMYs.

In this episode of GRAMMY Rewind, revisit the night SZA and Doja Cat accepted the golden gramophone for Best Pop Duo/Group Performance — a milestone moment that Doja Cat almost missed.

"Listen. I have never taken such a fast piss in my whole life," Doja Cat quipped after beelining to the stage. "Thank you to everybody — my family, my team. I wouldn't be here without you, and I wouldn't be here without my fans."

Before passing the mic to SZA, Doja also gave a message of appreciation to the "Kill Bill" singer: "You are everything to me. You are incredible. You are the epitome of talent. You're a lyricist. You're everything."

SZA began listing her praises for her mother, God, her supporters, and, of course, Doja Cat. "I love you! Thank you, Doja. I'm glad you made it back in time!" she teased.

"I like to downplay a lot of s— but this is a big deal," Doja tearfully concluded. "Thank you, everybody."

Press play on the video above to hear Doja Cat and SZA's complete acceptance speech for Best Pop Duo/Group Performance at the 2022 GRAMMY Awards, and check back to GRAMMY.com for more new episodes of GRAMMY Rewind.

How 'SOS' Transformed SZA Into A Superstar & Solidified Her As The Vulnerability Queen

R&B is poised to make a huge impact at the 2024 GRAMMYs. 

Just a couple of years after critics questioned whether R&B was dead, stars such as SZA, Victoria Monét and Coco Jones are cleaning up with multiple nominations across fields. Women are at the forefront of the current R&B movement, and there’s a multigenerational reverence for recording artists with longevity.    

And they’re not the only ones making noise.

At the 66th GRAMMY Awards, the genre has a broad reach that extends even beyond the categories that have R&B in the title. The genre's sound is present in nominated works in the new Best African Music Performance category, and in Songwriters and producers who excel in this realm are being recognized alongside colleagues who stand out in pop, country, and Latin circles. 

R&B will have a place on the GRAMMY stage, too. SZA will be among the performers during the 2024 GRAMMYs telecast, while Robert Glasper, Terrace Martin, Jordin Sparks and gospel/Christian R&B artist Kirk Franklin will perform during the Premiere Ceremony.

Ahead of Music's Biggest Night on Feb. 4, read on for the myriad ways R&B will be a force to be reckoned with. 

R&B’s Impact Is Heard Across GRAMMY Categories

Comeback queen SZA is the most-nominated artist at the 2024 GRAMMYs, receiving nine nods. SZA's nominations  extend beyond the R&B categories into the general field and pop sphere: Her "Kill Bill" is nominated for Record Of The Year and Song Of The Year, her sophomore full-length SOS is up for Best Progressive R&B Album and Album Of The Year, both alongside Janelle Monáe’s The Age of Pleasure. And "Ghost In The Machine," a collaboration with Phoebe Bridgers, is vying for Best Pop Duo/Group Performance. 

Singer/songwriter Victoria Monét is not far behind in nominations, appearing in seven categories including Best New Artist. She’s also nominated for Record Of The Year and Best R&B Song for "On My Mama," Best R&B Album and Best Engineered Album, Non Classical for Jaguar II, Best Traditional R&B Performance for "Hollywood" and Best R&B Performance for "How Does It Make You Feel." 

Although she is vying for Best New Artist, Monét isn't a first-time nominee. She was nominated twice at the 62nd GRAMMYs for her work with Ariana Grande (Album Of The Year for thank u, next and Record Of The Year for "7 rings") and for Best R&B Song at the 63rd GRAMMYs for "Do It" by Chloe x Halle. Her current nominations  are her first that acknowledge her own solo work.

"I have GRAMMY dreams, I have award show performance dreams, I have world tour dreams," Monét told GRAMMY.com in 2020. "But really just being able to make music a career, and doing what I love—it’s a privilege. I think I’m just trying to keep that perspective, because you can really become wrapped up in this."

First-time GRAMMY nominee Coco Jones is up for golden gramophones in five different categories this year, including Best New Artist alongside Monét. She is also nominated for Best R&B Song and Best R&B Performance for her smoldering "ICU," Best R&B Album for What I Didn’t Tell You (Deluxe) and Best Traditional R&B Performance for "Simple" with Babyface (a single from his Best R&B Album nominee Girls’ Night Out).

"Being a GRAMMY-nominated artist changes everything. It’s such a different creative mindset when the world says, ‘You’re good, we like what you do,’" Jones recently told GRAMMY.com. "It’s like a gold star. It makes you want to work harder, it makes you wanna continue to impress, and it makes you impressed with yourself, too."

R&B has a strong presence in the Best Melodic Rap Performance category, which honors solo or collaborative performances that use rapping as well as R&B melodies. This year’s nominees include "Attention" by Doja Cat and "Low" by SZA, which respectively find the stars doing both the rapping and singing duties. Other nominees in the category are "Sittin’ On Top Of The World," the Brandy-sampling song by Nigeria’s Burna Boy and rapper 21 Savage; "Spin Bout U" by Drake and 21 Savage, which utilizes the R&B song "Give Me Your Lovin" by Oobie; and "All My Life" by Lil Durk featuring J. Cole, a different tune for the drill rapper.

Two of the nominees for Best African Music Performance, a new category for the 2024 GRAMMYs, bring an international take on R&B mixed with regional styles from the continent: "Rush" by Nigerian singer Ayra Starr and "Water" by South African artist Tyla. The latter song was written by an international team of songwriters including American producer Chris "Tricky" Stewart (who has won three GRAMMYs for his work with Beyoncé and received nominations  for releases by Rihanna and Katy Perry).

"I did not expect a whole GRAMMY nomination, especially so soon," Tyla told Complex. "So it's really just a blessing that I was able to be nominated and be one of the first in the category because it's a new category. It's amazing for South Africa especially." She added in the interview that she’d love to collaborate with fellow American R&B stars SZA and Summer Walker.

Like Victoria Monét, Walker has her first nomination for her own work this year: Best R&B Album for Clear 2: Soft Life EP. Walker was previously nominated for Album Of The Year for her writing work on Kendrick Lamar’s Mr. Morale & The Big Steppers.

R&B Grooves Behind The Scenes 

This year, GRAMMY nominees with significant R&B experience and accolades appear in both the Songwriter Of The Year, Non-Classical and the Producer Of The Year, Non Classical categories. Both categories are part of the general field this year, rounding out the new "big six" categories.

Nominees for Songwriter Of The Year, Non-Classical include the Virgin Islands-born Theron Thomas, whose place in the category is attributed to songs including Tyla’s "Been Thinking," Chlöe Bailey and Future’s "Cheatback," Chlöe and Missy Elliott’s "Told Ya," Ciara and Chris Brown’s "How We Roll" and Sekou’s "You and I." Thomas has previously been nominated for his work with Lizzo (Album Of The Year for Special and Song Of The Year for "About Damn Time") at the 63rd GRAMMYs and Best Rap Song for Saweetie and Doja Cat’s "Best Friend" at the 64th GRAMMYs.

In the Producer Of The Year-Non Classical category, Brooklyn’s Dernst "D’Mile" Emile II received a nomination in recognition of his work on Victoria Monét’s Jaguar II. Emile has an impressive five GRAMMY wins and 17 nominations under his belt. Three of his wins are with Silk Sonic for their slow jam, "Leave The Door Open," which won Record Of The Year, Song Of The Year and Best R&B Song. 

He also won golden gramophones for Song Of The Year for "I Can’t Breathe" by H.E.R. and Best Progressive R&B Album for his work on Table for Two by Lucky Daye at the at the 63rd and 64th GRAMMYs, respectively.

The engineers of Alicia Keys’ The Diary of Alicia Keys 20 — an anniversary release of the star’s second album — are nominated for Best Immersive Audio Album, a category created in 2005 and renamed in 2019. The new version of Diary is available in 360RA and Dolby Atmos.

Last year, Chicago house DJ, producer and remixer Terry Hunter was nominated for Best Remixed Recording for his remix of "Break My Soul" by Beyoncé. In 2024, his remix of "Workin’ Hard" by Mariah Carey is in the same category. The song, which appears on Carey’s Music Box: 30th Anniversary Edition, tosses the original’s boom bap hip-hop beat and adds robust instrumentation that lives comfortably in the Venn diagram space that R&B and house shares.

R&B Veterans Get Their Shine

R&B’s longevity will be on full display at the 2024 GRAMMYs via nominees who have withstood personal and professional obstacles to remain relevant in the music business for decades. 

With 11 GRAMMY wins and 53 nominations — including three at the 2024 GRAMMYs — Babyface can always be counted on to stay current with today’s R&B trends. He supports younger artists such as Coco Jones, Ella Mai and Baby Tate on Girls’ Night Out, which is nominated for Best R&B Album, and he is a producer of SZA’s Best R&B Song contender, "Snooze." His current work welcomes back old fans and feeds new listeners who have a taste to explore nostalgia. 

Chris Brown won his first golden gramophone for Best R&B Album at the 54th GRAMMYs in 2012 for F.A.M.E., and dedicated the win to those who have stuck by him. Twelve years later, he is up for Best R&B Performance for "Summer Too Hot" — his 22nd GRAMMY nomination.

To take it even further back to R&B in the rhythm & blues sense, check out I Am Everything, a movie about the late rock and R&B progenitor Little Richard (1932-2020) that is up for Best Music Film. Little Richard was a GRAMMY Lifetime Achievement Award recipient and a GRAMMY Hall of Fame inductee. And Written In Their Soul: The Stax Songwriter Demos, a collection of various artists from the seminal record label founded in 1957, is a contender for Best Historical Album.

GRAMMY vets Earth, Wind & Fire have six wins and now 18 nominations under their sparkly belts; the latest nomination is for Best Traditional R&B Performance for "Hollywood" by Victoria Monét. The multi-generational song also features a cooing contribution at the end from Monét’s daughter, Hazel. The two-year-old would become the youngest-ever GRAMMY winner, should "Hollywood" come out on top in the category.

With a live performance by SZA and so much influence and representation across categories, it’s truly R&B’s year at the GRAMMYs. Tune in on Sun., Feb. 4 to watch it on CBS.

2024 GRAMMY Nominations: See The Full Nominees List

The air is thick with anticipation less than a week ahead of the 2024 GRAMMYs. Before the stars gather for Music's Biggest Night, spend some time getting to know the music that made the 66th GRAMMY Awards.

The Official 2024 GRAMMYs Playlist features 80 GRAMMY-nominated tracks that are up for a golden gramophone on Sun. Feb 4. It spans all categories and genres, starting with Olivia Rodrigo's "vampire" from her album GUTS, which helped her earn Record and Song Of The Year as well as  Album Of The Year nods, respectively. 

The 80-piece playlist also includes Jon Batiste's "Butterfly," nominated for Song Of The Year; "Angry" from the Rolling Stones, nominated for Best Rock Song; and Best New Artist nominee Victoria Monét, among many others. Collectively, the featured artists represent the range of musical talent and wealth of experience — and they’ll all make the 2024 GRAMMYs a night to remember.

The 2024 GRAMMYs, officially known as the 66th GRAMMY Awards, will air live from the Crypto.com Arena in Los Angeles on Sunday, Feb. 4 (8 -11:30 p.m. LIVE ET/5-8:30 p.m. LIVE PT) on the CBS Television Network and will stream on Paramount+ (live and on demand for Paramount+ with SHOWTIME subscribers, or on demand for Paramount+ Essential subscribers the day after the special airs).

Listen to the Official 2024 GRAMMYs Playlist on Spotify, Apple Music and Amazon Music below, and stay tuned to GRAMMY.com for more updates as we approach Music's Biggest Night!

How To Watch The 2024 GRAMMYs Live