meta-scriptDavid Bowie Alumni Band Announce 2020 North American Tour | GRAMMY.com
Mike Garson & Corey Glover

Mike Garson & Corey Glover

Photo: Scott Dudelson/Getty Images

news

David Bowie Alumni Band Announce 2020 North American Tour

The powerhouse cast of bandmates kick off their trek in San Diego, Calif. on March 3, with shows across the U.S. and Canada until April 11

GRAMMYs/Feb 4, 2020 - 02:35 am

GRAMMY-winning celestial being David Bowie would've turned 73 last month. Unfortunately, however, the man of many shiny bodysuits left this planet four years ago, two days after turning 69. Yet, luckily for the globe full of Bowie fans, many of his longtime collaborators have kept the rocking spirit of his music alive with the "A Bowie Celebration" tour.

The cast of career musicians, many of whom spent many years touring, recording and working with the "Modern Love" artist, will embark on a 30-date 2020 North American tour. This iteration of "A Bowie Celebration" will include renditions of both Ziggy Stardust And The Spiders From Mars and Diamond Dogs in full.

The trek kicks off in San Diego, Calif. on March 3, with shows across the U.S. and Canada until April 11, for the final date in Ft. Lauderdale, Fla. Most recently, "A Bowie Celebration" toured Europe in January. The tour first began in fall 2018 in California and has not toured North America since March 2019.

Related: David Bowie's "Space Oddity" Getting Special Reissue For 50th Anniversary

At the touring group's core is keyboardist and bandleader Mike Garson, "the longest-standing member of any of Bowie’s bands, having performed with David at over 1,000 concerts," according to a press release. The rotating crew also includes Bowie musical director and guitarist Gerry Leonard, Let's Dance/Serious Moonlight/Glass Spider bassist Carmine Rojas and 1987 Glass Spider World Tour drummer Alan Childs.

Guitarist Kevin Armstrong, who recorded and played with Bowie at Live Aid and on other major projects, also performs with the talented band. "Between them, the alumni band have over 40 years tenure recording, writing and playing live with Bowie," the release notes.

Special guest vocalists for the tour include legendary, GRAMMY-winning Living Colour founder Corey Glover, Canadian rock queen Sass Jordan and "Westworld" star Evan Rachel Wood. Singer/songwriter/bassist Joe Sumner of Fiction Plane joins the list of very special guests, to which more will be added and will vary across locations

Below, you can watch a rousing rendition of "Rebel Rebel" from the "A Bowie Celebration" crew in London, with Glover on lead vocals.

<style>.embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }</style><div class='embed-container'><iframe src='https://www.youtube.com/embed//e1etBS74B9Y' frameborder='0' allowfullscreen></iframe></div>

Tickets are currently on sale for all North American dates; more info here.

Watch Jennifer Lopez And Shakira Deliver Dazzling Halftime Show At Super Bowl 2020

2 Live Crew
DJ Mr. Mixx, Fresh Kid Ice, Brother Marquis, Luke Skyywalker of 2 Live Crew in 1989

Photo: Michael Ochs Archives/Getty Images

feature

On This Day In Music: 2 Live Crew's 'As Nasty As They Wanna Be' Becomes First Album Declared Legally Obscene, Anticipates First Amendment Cases

Known for their raunchy take on hip-hop, 2 Live Crew made history when 'As Nasty As They Wanna Be' was declared legally obscene. Thirty-four years later, here's how they fought back and turned their battle into a landmark First Amendment case.

GRAMMYs/Jun 6, 2024 - 07:56 pm

When 2 Live Crew released their third studio album, they never imagined it would lead to a mammoth of legal entanglements. In 1989, the Miami-based hip-hop group dropped As Nasty As They Wanna Be, a title that held true throughout the ensuing legal battle.

In an effort to put their music on the map and distinguish themselves in the rap game, amidst one of hip-hops finest eras, the album featured sexually explicit themes and graphic content, leading to extreme popularity within pop culture. However, this widespread attention wasn’t all in a good light.

In Broward County, Florida, Sheriff Nick Navarro took a stand against the group, endeavoring to prevent local record store owners from selling the provocative album. In defiance of this censorship, 2 Live Crew filed a lawsuit in federal court, seeking legal recourse to halt the sheriff’s crackdown, prevent restrictions on album sales and legally defend their work as non-obscene.

Through the court's ruling, they deemed the work legally obscene and prohibited retailers from selling the album in Florida’s Broward, Dade, and Palm Beach counties.

Following the ruling, Florida record store owner Charles Freeman was arrested for selling As Nasty As They Wanna Be and three 2 Live Crew members were also arrested for performing their explicit music live at a nightclub in Hollywood, Florida. 

Challenging the initial ruling with tenacity, the group’s record label, Luke Records, founded by 2 Live Crew member Luther Campbell, brought the case in front of the Eleventh Circuit Court of Appeals.

In this legal battle, the Eleventh Circuit Court applied the Miller Test, a benchmark for obscenity set by the United States Supreme Court’s test in the 1973 Miller v. California case. To meet the standards of the test, the work being challenged must appeal to a prurient, or shameful interest in sex, depict sexual materials in a patently offensive way, and lack serious literary, artistic, political, or scientific value. Luke Records called four experts in their fields to the stand, while Navarro failed to provide concrete evidence that the album met the standards outlined by the Miller Test.

In the Court of Appeals, it was found that the album did not meet the standards of obscenity that were set forth in the Miller Test. Since As Nasty As They Wanna Be was a creative work of music, the court ruled that the album had artistic value and thus did not meet all the standards to be deemed as obscene. 

"I’ve been listening to the album by 2 Live Crew. It’s not the best album that’s ever been made, but when I heard they banned it, I went out and bought it," said David Bowie during his 1990 tour in Philadelphia, stopping in the middle of his performance to defend the group. "Freedom of thought, freedom of speech — it’s one of the most important things we have."

Last week, 2 Live Crew member Brother Marquis passed away, prompting Campbell to take to Twitter and honor his friend and fellow member, stating, "We took on so many fights for the culture, made great music together, something I will never forget."

To this day, the case against 2 Live Crew serves as a legal standard for First Amendment Rights, upholding the boundaries between censorship and freedom of speech within music.

"They really set a legal precedent for hip-hop artists today to be able to create in the way that they choose to," says Kiana Fitzgerald in her book "Ode to Hip-Hop." In the book, she also cites contemporary examples of hip-hop artists who openly speak about sex in their discography, like Megan Thee Stallion, Cardi B, Lil Wayne, and others.

Through 2 Live Crew’s legal fight, they paved the way as trailblazers for hip-hop artists to be As Nasty As They Wanna Be — without facing speech-smothering legal repercussions.

50 Artists Who Changed Rap: Jay-Z, The Notorious B.I.G., Dr. Dre, Nicki Minaj, Kendrick Lamar, Eminem & More

Wallows Press Photo 2024
Wallows

Photo: Aidan Zamiri

interview

Wallows Talk New Album 'Model,' "Entering Uncharted Territory" With World Tour & That Unexpected Sabrina Carpenter Cover

On the heels of releasing their amped-up third album, 'Model,' alt-rock trio Wallows detail how their "very unabashed" approach has expanded — and landed them in arenas for the first time.

GRAMMYs/May 30, 2024 - 07:11 pm

Over the past five years, Dylan Minnette, Cole Preston and Braedan Lemasters — together, known as alternative rock band Wallows — have acutely constructed a sonic landscape of earworm guitar hooks, snappy drums and sing-along lyrics. And their third album, Model, helps lift their career into a new sphere of guitar-driven stardom.

Wallows' growth from the indie-pop breakouts of 2019's Clairo-assisted "Are You Bored Yet?" to full-fledged alt-rock stars is abundantly clear across Model's 12 tracks. Produced by GRAMMY-winning alt-rock whisperer John Congleton (who also helmed Wallows' 2019 debut album, Nothing Happens), Model amps up their vintage-meets-contemporary sound. It's an album that sounds perfectly written for arenas — and that's by design. 

On The Model World Tour, which kicks off on Aug. 6, the trio will hit arenas and amphitheaters in North America, Europe and the UK, and Australia and New Zealand, including iconic venues like Madison Square Garden, Red Rocks and The Forum. With the tour in mind, they wrote wavy melodies fit for the masses to sing along, like on the racing "Your Apartment" or the howling chorus of "You (Show Me Where My Days Went)."

If the polished sound of Model sounds like the work of a band who has sharpened their talents for decades, that's because it is. Though they made their official introduction as Wallows with the 2018 EP Spring, Minnette, Preston and Lemasters — all in their late 20s — have been performing together since they were just 11 years old.

As Preston asserts, their longtime partnership has resulted in "this kind of synergy happening." It's seemingly helped them become more vulnerable, too, as Model sees the Wallows guys singing overtly about love for the first time, like on lead single "Calling After Me": "I knew the feeling would be forming/ After I took a look into your eyes/ But are you ready for it, darling?"

In celebration of the release of Model, Minnette, Lemasters and Preston mused to GRAMMY.com about their creative journey, why they recently became the unlikely scorn of Sabrina Carpenter fans, and how they're "filling a space" in mainstream alt rock.

You're about to embark on an arena tour, playing venues like Madison Square Garden and The Forum for the very first time. Does this feel like a new phase in your evolution as a band?

Braeden Lemasters: Yeah, I think it does. When we started the band seven years ago, when I look back it's been a very natural progression; it's not like we went straight from 200 capacity clubs to arenas. 

We've gone through the stages and right growth, and now we're entering this uncharted territory. We actually haven't even opened up at these venues for anyone, so it'll be our first time playing an arena. We have no idea what to expect.

Model as an album sounds bigger than your past ones, especially songs like "Anytime, Always" which may sonically fit right in at an arena with its sing-along hook. Did you have the arena tour in mind when you were working on Model?

Cole Preston: Yeah, this record was the first time we did know the tour routing [during the album process]. It didn't necessarily change the way that we worked; we always adapted a similar approach to writing where we naturally want it to be catchy and full, which all lends itself to the live show. But understanding that we're going to have this level of a moment, we'd need to make a record that represents that moment that belongs there.

You guys are an alternative rock three-piece, which is rare in today's musical climate. Does it seem that way to you?

Dylan Minette: Yeah, I definitely feel like there's a space where we're sort of filling [with] the way our music is and sounds. There's other bands that are playing the same rooms and can, but all of us feel pretty different from one another. 

Our music is very unabashed, and there's nothing we're trying to subdue or be cool, or worry about it sounding too pop. I'm not saying we're the only ones doing that, because that's obviously not true. But our favorite bands growing up — like Kings of Leon, Arcade Fire or The Killers — weren't afraid to go for it and let the music be larger than life. There used to be a lot more bands that just dominated and went for it, so we try to make sure we're filling that space that isn't really being filled right now. 

Were you guys always interested in this genre? I would think for the majority of people from your generation, the inclination would be to do bedroom pop  or electronic music, and not to start a band.

Lemasters: The interest for me stems from my dad, who was a guitar player in Ohio  local bands. I alway thought it was so normal; I'd be 5 years old and my dad would be playing a stratocaster around the house and listening to the Beatles. He bought me a guitar when I was really young and taught me how to play, so I've had this connection to these classic bands. 

When I met Dylan, we bonded over that, because he also liked that music at a young age. I think it was rare for a kid our age to like that kind of music. Cole was also just a very talented musician at a young age too. So we all loved band music at a young age and wanted to form one; there was no other reason than that. We didn't have to search out our passion for it. It was already there.

Speaking of, I've loved your distinctive covers, from "My Worst Enemy" by Lit (which you put a melancholy look at it) to "Espresso" just recently. What's the key to a solid cover and how do you decide what songs to put your spin on it?

Minette: We definitely don't have songs in our pocket. We always try to do something unexpected or unconventional to get people talking about it, otherwise what's the point? 

Cole recommended "Espresso," which I hadn't heard at the time — but if he's saying this new, popular song is good, I trust him. When I listened to it, I thought it'd be great, and when we worked on the first version it had a drum machine and was funkier. When we stripped it back and it became more emo, it was hilarious. 

Though there are some Sabrina Carpenter fans who are really mad I attempted to sing that song. "You could never be Sabrina!" I'm like, "I know I can never be Sabrina!" But you know what? She texted me recently and gave the seal of approval. That's all we needed.

Since you've all been playing together in some capacity since you were 11, what's kept you together all these years?

Preston: When we were young, our brains were super mushy and we all had a big influence on each other as people. We're all very different now as people in a lot of ways, but we all know each other enough to predict how someone will feel or react about something. 

So there's this kind of synergy happening because, since we were 11, we were practicing every day and performing original music, and we just didn't stop. By the time we became Wallows officially, we had been a band for seven or eight years at that point. 

Speaking of, I know you recently connected with the person who indirectly inspired your name? What's the story behind that?

Minette: So Wallows was named after a skate spot in Hawaii on Oahu, which we first heard about from the video game Tony Hawk's Underground where it was part of the Hawaii map. Braeden played it growing up and at a certain point he said it'd be a cool album title. Eventually, when we were thinking of band names, we realized Wallows would be a great name. 

Last week, we were on "The Today Show" and they said "We have a surprise for you!" And it was a message from Tony Hawk, which was so full circle. To go from being kids with all ambitions and dreams, and now Tony Hawk is surprising us — it was crazy. If our 13-year-old selves were experiencing this, that'd be insane.

Model was produced by John Congleton, who was also behind your first album. What brought you together again for this third record?

Lemasters: When we first started making music, we worked with John; he made some St. Vincent records and we really respected his work. We were just naive enough to be so excited to go with him and we didn't meet anybody else at the time. He did our first EP and first album. There's something really special about that connection and bond you make, that first time. 

For our second album, we worked with Ariel Rechtshaid, which was incredible and who we always wanted to work with. When we decided to work on Model, we didn't know who to go with, but we went in with Congleton again to record some demos for no project at all. We asked him what he pictured for us regarding a new album, and everything he said is exactly how we were feeling. 

I also always admired an artist working with a producer multiple times, like Nigel Godrich with Radiohead or George Martin with the Beatles; there's a camaraderie where you always know where you've been. So it was a no-brainer to go with John again for Model. I think it's our best work yet, and best production yet, and that's largely because of his passion for the project. 

What's the most gratifying part of the musical process as an artist: writing and producing, or going out and performing them on tour?

Lemasters: It's such a hard question, but my answer would be it's whatever process you're currently experiencing. Writing and recording is so exciting, but going on tour and seeing people sing the songs is the most rewarding thing. I know that's the most cop-out answer. 

Does it change over time?

Minette: Exactly. It's a cycle, when you're on tour you're thinking, "I can't wait to go back into the studio" by the end for sure. I'm interested to see what happens when time slows down to step away from both and take a step back. I don't think we're near that, but I'm already thinking ahead to the next album, and we haven't even toured this album yet! 

Right now, I'm more excited for this tour than ever, but I'm also more nervous. It all adds to the excitement and intrigue of it.

How Andrew Watt Became Rock's Big Producer: His Work With Paul McCartney, Ozzy Osbourne, Pearl Jam, & More

Twenty One Pilots performing in 2022
Twenty One Pilots perform at GPWeek Festival in 2022.

Photo: Mauricio Santana/Getty Images

feature

Twenty One Pilots' Road To 'Clancy': How The New Album Wraps Up A Decade-Long Lore

Three years after 'Scaled and Icy,' Twenty One Pilots' seventh studio album is here. Dig into the rock duo's journey to 'Clancy,' and how it further showcases their knack for vivid world-building.

GRAMMYs/May 24, 2024 - 07:28 pm

Long before Twenty One Pilots developed a cult following, the Columbus, Ohio natives were determined to not be put into a box. From their first EP, 2009's Johnny Boy, they've blended elements of emo, rap, alt-pop, electronica, incorporating hardcore and hip-hop into their shows. "No one knew where to put us," drummer Josh Dun told USA Today in 2014. "But we've approached live shows as a way to build something from nothing."

In the decade since, the band's sheer determination and eclectic onstage personality have made them one of the biggest rock groups of their generation. They're equally as spontaneous and intriguing in their music, building an entire world through dynamic soundscapes and visuals — and their new album, Clancy, ties all of it together.  

As the band revealed in a press release upon announcing the album in March, Clancy "marks the final chapter in an ambitious multi-album narrative" that began with Blurryface in 2015. But it certainly doesn't feel like an ending; Clancy further expands on the theatrical style and eclectic sound they've showcased from the start, offering both a resolution and an evolution.

While the makings of the signature Twenty One Pilots aesthetic began with its original formation as a trio — lead singer Tyler Joseph and his friends Nick Thomas and Chris Salih — it truly took shape when Dun replaced Thomas and Salih in 2011. Dun and Joseph had a common goal to re-formulate the way songs and shows were crafted; the drummer utilized samples and backing tapes at their gigs, helping the band dive deeper into their alternative style by fusing everything from reggae to pop together.

As a newly formed duo, Twenty One Pilots issued their album Regional at Best in 2011 — their last release before they signed to a major label (though, as they told Huffpost in 2013, they since consider the record a "glorified mixtape"). After significant social media buzz and selling out a show at Newport Music Hall in Columbus, the duo was courted by a dozen record labels, which set the stage for their big break.

"We went from no one in the industry caring to all of the sudden it was the hot thing for every label, independent and major, to be interested in some way," Joseph told Columbus Monthly in 2012 upon signing to Fueled by Ramen, which the singer said they were drawn to because they were able to retain "creative control" — a factor that would become increasingly more important with each release. 

Their 2013 album Vessel — which featured a combination of new and re-recorded songs from Regional At Best —spawned the band's first charting single, "Holding On to You," a rap-meets-pop track that oscillates from sensitive indie ballad to energetic anthem. Not only had they begun making a mark commercially, but it seemed to be the album that Twenty One Pilots felt they were hitting their stride creatively, too: "I know some people might not like this, but I kind of view Vessel as our first record," Joseph told Kerrang!at the time.

Though the character "Clancy" first came about with 2018's Trench, Twenty One Pilots actually introduced the world that Clancy would eventually live in with 2015's Blurryface, which focused on a titular character who embodies depression and anxiety. "It's a guy who kind of represents all the things that I as an individual, but also everyone around me, are insecure about," Joseph said of his alter-ego in a 2015 interview with MTV.

To convey the "feeling of suffocation" caused by insecurities from what he creates, Joseph began wearing black paint on his neck and hands in music videos and on stage to represent the "Blurryface" character. As Joseph told the Recording Academy in 2015, the "common thread" of all of the songs on Blurryface was that Joseph's alter-ego would be defeated, and each song wrestled with the dichotomy between darkness and optimism.

While Vessel kickstarted the band's commercial success, Blurryface saw their popularity explode and resulted in the band's best-selling single, the eerie rap-rock anthem "Stressed Out." The commercial success of Blurryface helped their hot streak continue into 2016 with the release of "Heathens." While the song served as the first single from the Suicide Squad soundtrack, its haunting production fits right into the world the pair had begun building with Blurryface. Their acclaim continued to grow, with Twenty One Pilots earning their first GRAMMY in 2017 for "Stressed Out" in the Best Pop Duo/Group Performance Category — and, in line with their affinity for stunts, dropping their pants as they accepted their award.

Ahead of the release of their 2018 concept album Trench, the lore surrounding "Clancy" really began. Twenty One Pilots began leaving clues for fans on a website known as DMAORG, which featured black-and-white images and letters from "Clancy," who ultimately became the protagonist of the album. Twenty One Pilots fans (often referred to as the"Skeleton Clique") began clamoring to deduce puzzling clues and posting their theories about the narrative's endgame online.

With Trench, they found more characters and a deeper narrative. The overall album depicts "a world where nine dictatorial bishops keep the inhabitants (Tyler included) of a fictional place named Dema from escaping its controlling clutches, with the help of the Banditos — a rebel organization (featuring Josh)." On a larger scale, the album grapples with mental illness, suicide and an expansion on Joseph's insecurities from Blurryface

But Trench isn't one cohesive story; rather, it's a series of songs with clues embedded within. For instance, in "Morph," the character Nico is introduced, who is also the subject of "Nico and The Niners." From there, fans gleaned that Nico was one of nine bishops controlling the citizens of Dema, and those nine bishops were represented by each of the songs on Blurryface. The bombastic "Pet Cheetah" references that the house has vultures on the roof which alludes to it — and Joseph's home — being Dema. 

As with Blurryface, visuals became an integral part of the album cycle. This time, they used them to illustrate life in the dystopian Dema, which personifies depression through the trilogy of music videos for "Levitate," "Nico and The Niners" and "Jumpsuit." While Joseph's black-painted neck and hands signaled the Blurryface era, dark green clothing marked with yellow tape signaled the Trench era. During this time, the "Clancy" character remained shrouded in mystery — though through videos and letters shared by the band, fans theorized that it is an opposing force to "Blurryface."

By the time Twenty One Pilots' 2021 album, Scaled and Icy, came around, fans quickly noticed that it paid homage to "Clancy" as an anagram for "Clancy is dead," while also acknowledging the COVID-19 pandemic as a shortened phrase for "scaled back and isolated." While Twenty One Pilots could have leaned into the harrowing events of lockdown, they instead chose to focus on what has driven the band itself, the power of imagination — something that has been behind much of the band's work since Blurryface.

With the album came three singles — the propulsive "Shy Away," the heartwrenching banger "Choker" and the funk-pop-tinged "Saturday — which were recorded when the duo was working virtually during the pandemic. Unlike the past two projects which grappled with this doomed slant, Scaled and Icy pivoted toward a sunnier sound, signaling a shift in the narrative. But it didn't mean the dark world of Blurryface and Trench were completely in the past; upon Scaled and Icy's release, Joseph revealed to Apple Music that there would be "one more record" and "an explanation and book end" before moving onto another story.

Three years following the release of Scaled and Icy, fans began receiving letters from the "Sacred Municipality of Dema" — a reference to the fictional city featured on Trench, signaling what appeared to be a new era diving deeper into the band's lore. Since the previous record featured an anagram about "Clancy" in its title, it seemed natural that the next album would be named after the character. 

"'Clancy' is our protagonist in this story we've been telling, stretched out over the last several records. 'Clancy' is the type of character who, for a long time, didn't know if he was a leader or not, didn't want to take that responsibility," Joseph told BBC Radio earlier this year.

As the singer had hinted in the Scaled and Icy era, Clancy brings fans back to the darker narrative that began with Blurryfacet. After Joseph's character escapes Dema a handful of times, joins a rebellion, then is captured again, he finally has the same abilities as the bishops and aims to free the people of Dema. The album attempts to answer a few conceptual questions along the way.

Clancy's blistering first single, "Overcompensate" is inherently hopeful, and answers the long-lingering question fans have been wondering: Who is "Clancy"? According to the psych-funk number, it's been Joseph all along ("If you can't see, I am Clancy/ Prodigal son, done running, come up with Josh Dun.") As Joseph further explained to BBC Radio, "[With] 'Overcompensate', there's a bit of a confidence and swagger in it that the character needed to embody in order to take on the new role in the story we've been telling, and Clancy is gonna rise up as that person."

But much of the album focuses less on the literal lore, instead tackling the overarching themes of its counterparts: Joseph's struggles with mental health. Despite the darker, anxious nature of the album's lyrics, the majority of Clancy has a self-assured breeziness to it, jumping off of the upbeat Scaled and Icy sound. 

On the ballad-like closer, "Paladin Strait" — named after a fictional body of water off the coast of Dema —Twenty One Pilots really digs into the narrative of "Clancy" the character in a literal way again. What's revealed is the final battle between "Clancy" and "Blurryface" with no apparent winner — alluding to the idea that there is not necessarily a triumph over depression. In the final line, the band offers a callback to a lyric from Blurryface: "So few, so proud, so emotional/ Hello, Clancy."

While the ending may remain ambiguous, it may not be a coincidence that Twenty One Pilots postponed Clancy's release date by a week (from May 17 to May 24) in order to finish filming music videos for each of the tracks, all of which were unveiled upon the album's release. So, there's still hope that fans will find out definitively what happened to "Clancy" — or maybe it means his story isn't completely finished. 

How Andrew Watt Became Rock's Big Producer: His Work With Paul McCartney, Ozzy Osbourne, Pearl Jam, & More

Photo of Lenny Kravitz wearing dark black sunglasses and a black leather jacket.
Lenny Kravitz

Photo: Mark Seliger

interview

Feel Lenny Kravitz's 'Blue Electric Light': How The GRAMMY-Winning Rocker Channeled His Teen Years For His New Album

'Blue Electric Light' is a laser beam through Lenny Kravtiz's musical ethos: a rocking, impassioned and defiantly Lenny production. The Global Impact Award honoree discusses his first album in six years, and the flowers he's received along the way.

GRAMMYs/May 24, 2024 - 02:22 pm

Lenny Kravitz is a vessel — a divining rod of creative direction. 

"I just do what I'm told. I'm just an antenna. So what I hear and what I receive, I do," he tells GRAMMY.com.  It's with that extra-sensory, spiritual guidance that Kravitz created his latest album, Blue Electric Light. "I just saw and felt this blue light — electric blue, almost neon light —radiating down on me."

Out May 24, Blue Electric Light is Kravtiz's first LP in six years and fittingly flits through the rocker's cosmology: Arena-ready booty shakers like "TK421" (the music video for which features the nearly 60-year-old unabashedly shaking his own booty), Zeppelin and Pearl Jam-inspired rockers like  "Paralyzed," and shared humanity-focused groovers like "Human." There's plenty of '80s R&B sensibility throughout, giving  Blue Electric Light a perfectly timed, timeless feeling.

It's as if Kravitz took a tour through his own discography, landing right back where he started: In high school. In fact, two of the album's tracks — "Bundle of Joy" and "Heaven" — were written when the four-time GRAMMY winner was still a teenager. While Kravitz's latest may lean into the sounds of his young adulthood, the album's underlying themes remain consistently spiritual, intimate and emotional. "My main message is what it has always been, and that is love," Kravitz told GRAMMY.com in 2018. And by staying true to himself and this message of love, Lenny Kravitz is thriving.

"I've never felt better mentally, spiritually, and physically. I've never felt more vibrant," he says today.

Kravtiz has also had a big year. He received a star on the Hollywood Walk of Fame and, during 2024 GRAMMY week, was honored with the Global Impact Award at Black Music Collective’s Recording Academy Honors. At the ceremony, Kravtiz was lauded for his work with his Let Love Rule foundation, and his iconic discography celebrated in a performance by Quavo, George Clinton, Earth, Wind & Fire bassist Verdine White, and Red Hot Chili Peppers drummer Chad Smith.

Reflecting on his achievements, Kravitz remains humble. "Success is wonderful, but I only want success by being me and doing what it is that I'm hearing, as opposed to following something or a formula."

Ahead of releasing Blue Electric Light into the world — just a few days shy of his 60th birthday on May 26— Lenny Kravitz spoke with GRAMMY.com about revisiting his past, following his gut, and stopping to smell the flowers.

You haven't released a record in about six years. Why did you feel now was the time to put new music out, and what was inspiring you?

Well, it was just by virtue of what was going on. So I released [2018's Raise Vibration and], I toured for two years. Then COVID hits two and a half years [later]. It wasn't like I went away or wasn't inspired. I had a whole other year planned. I was going to tour for three years on that last album.

But [when] COVID happened, the world shut down and I got stuck in the Bahamas for a couple of years and a half. And so during that time I was just being creative. I [wrote the whole album] during that time and a little bit afterwards; [I wrote] just maybe two songs afterwards.

When I finished, then I had to figure out when I wanted to put it out and how. I did the Baynard Rustin song ["Road to Freedom" from the Academy Award-nominated film Rustin], and then I ended up pushing my album so I could fully promote the film and the legacy of Bayard Rustin.

Anyway, here we are. Everything happens in the time that it should, and I'm looking forward to putting this out and getting back on the road.

I read that this record was like an album that you didn't make in high school and it has this very young spirit. What took you to that place?

At the beginning of the pandemic, I released a book called Let Love Rule, and it ended up on the New York Times bestseller list. It was about my life from birth to the first album [1989's Let Love Rule], so around 24 years old. In this book, I spent a lot of time in my teenage years when I was developing. That came out at the beginning of the pandemic and I was doing a lot of press for it.

And I think because I was exploring that time so much when I was writing the book and then talking about that time so much when I was promoting the book, it just came out. And it was a time in my life that I never really celebrated. I never put music out at that time.

When I found my sound [on] Let Love Rule, all that material I was working on at that time got buried before. And so I just went to that place. I didn't plan on it, it just happened. In fact, two songs on the record ["Bundle of Joy" and "Heaven"] are from high school. 

So it's a blend of where I am now and where I was then. And it's a really fun record and I had a really beautiful time making it. It's a celebration, and it's sensual and sexual and spiritual and social and it hits all the marks. I'm looking forward to getting out there.

You were obviously deep in your memories, and it sounds like you were probably listening to a lot of Prince in high school.

There's a lot of things. There's a blend of '80s technology and drum machines, and real instruments and synthesizers that I pulled out from then. During that time, yeah, I was listening to a lot of Bowie. I was listening to a lot of Prince, a lot of Rick James, a lot of just soul and R&B in general, and rock.

Are there any songs on the record that you are particularly proud of or that are really meaningful to you?

All of them. I hear it all as one piece. So it's just one flow of consciousness, but I'm really proud of the record. 

One of my favorite tracks would be the opening track, "It's Just Another Fine Day in this Universe." I just think it's such a vibe and I love the way the chorus makes me feel. I think "Stuck in the Middle" is really pretty and sensual.

Speaking of vibes, when I'm listening to the record, it feels very hopeful. Is that generally how you've been feeling or how you go through the world these days?

I'm pretty optimistic. But now even more than ever, just on a personal level, I've never felt better mentally, spiritually, and physically. I've never felt more vibrant and I'm becoming more comfortable within myself in my skin and in my place. 

I've learned that listening to that voice inside of me and sticking to what it is that was meant for me, my direction, has paid off and it feels good.

What do you attribute that growth and that deep comfort to, both personally and creatively?

Just [having] time to see the results. I'm blessed to live, to see the results of being faithful to what it is you've been given and told to do by the creative spirit, by God. People have always been trying to push me in different directions: "Do this, do that, follow this, go this way. This is what's happening right now." Follow the trends because they're looking at it as a business and they're trying to make money and have success.

Yes, success is wonderful, but I only want success by being me and doing what it is that I'm hearing, as opposed to following a formula that one thinks would work. Because once you follow that, you're already late, it's already happened. And I am not about being late. 

I don't mind setting the tone or the trend and being early and not getting recognized for it at the time. Because I'm not doing it for the reason of receiving accolades or whatever. I'm doing it to be expressive and to truthfully represent myself.

I think that's a fantastic way to be. People come around eventually, right?

Yes. I've been reading reviews of my heroes back in the day, and I remember seeing Led Zeppelin reviews just ripping them to shreds. Led Zeppelin [are] praised [for] being classic and genius, but at one time they were s—, somebody said. So if you live long enough and you keep doing what you're doing, if you're doing the right thing and what you're supposed to be doing, you'll see that shift in people's opinions. 

Not that that matters, but when you see it, it feels good because you know that you did it the way you were supposed to do it. 

I hear a little bit of that defiance on this record too, that and the centering of your own truth on "Human." Can you maybe tell me a little bit about that track and how it came to you?

Well, it just came like they all come. So I hear it and I think to myself, Okay, that's interesting. That has this real pop anthem, very uplifting feeling. [The song] speaks to us as spiritual beings having this human existence on this planet.

We are at our most powerful when we are authentic to ourselves. When you're authentic to who you are, you're shining and you represent what it is that you're meant to represent. And so the song just speaks on that, and really using this human existence to learn and to walk in your lane to reach your destiny.

In life since we've been born, we've been told what to do and how to do it: "Don't go this direction, go that way," and "No, don't do this, do that because this is the way it's done" or "This is what's safe." And we're all born with a gift; we're all born with a direction. And we don't all hit the marks because sometimes we don't accept what our gift is. Or we're too busy looking at others and what their gift is and we want what they have, and we leave behind what we were given. We go chase something that is not for us; it's that other person's calling.

So the more we shed all of that and really just walk in our lane, the better. And I am enjoying this journey of humanness and learning and growing, falling, getting up, climbing up the mountain, falling again, getting back up, continuing up. That's what it's about. It's not about how many times you fall... It's about how you get up and keep going. We're all here to live and learn and, hopefully, love. 

I'm curious if the title of the record translates to this idea at all. Does Blue Electric Light manifest in any real way to you as a spiritual guide?

To me, it's a feeling. I just saw and felt this blue light — electric blue, almost neon light —radiating down on me, and that light is life. It's God, it's love, it's humanity, it's energy. And just metaphorically, that's what that represents to me.

Right on. To take it away a little bit from the existential and the spiritual, you just received the Global Impact Award at the 2024 GRAMMYs. You said you're not doing these things for accolades, but I'm curious how it felt to be recognized for this aspect of your work something that isn't inherently musical that's a little more outside yourself.

Where I am in life right now is, if someone's going to hand you flowers, then stop, smell them and enjoy them. And that's what I'm doing. 

I make my art because I make my art and for no other reason, but when handed these flowers, I'm appreciative. I'm grateful, and I will enjoy them because I spent my whole career not doing that. I was always moving so fast and [was] not only concerned with the art and moving forward, that I didn't enjoy those moments when you get awards or things. So I made a promise to myself years ago, moving forward when the flowers are delivered, that I will stop and smell them, take a moment, breathe, and then move forward. 

And that's what I'm doing, because every day of life is beautiful. And when you can celebrate, why not celebrate?

Amen to that. It's that presence of mind and spirit that you have been talking about this whole time and seems to have flowed through your artwork as well. With regard to the work with your Let Love Rule foundation, are there any projects that you would love to tackle next?

There's so many. From some things I've been doing with friends, like building certain foundations in Africa with someone that's on the ground there, doing it firsthand with orphanages in schools, to the medical situation in the Bahamas, to continue providing medical and dental care for free to the people so they can have their basic health issues taken care of. 

And then also working with kids in the arts and helping to give them a foundation to work from. These are things that I'm interested in.

Yaya Bey Embraced Everything On 'Ten Fold': How Her Journey Out Of Grief Lit The Way For Her New Album