meta-scriptDavid Crosby On His New Album 'For Free' & Why His Twitter Account Is Actually Joyful |
David Crosby On His New Album 'For Free' & Why His Twitter Account Is Actually Joyful

David Crosby

Photo: Anna Webber


David Crosby On His New Album 'For Free' & Why His Twitter Account Is Actually Joyful

David Crosby has had a rough go of it recently, losing his income, a child and nearly his house. So why does his new album, 'For Free,' sound so springy, joyful and enamored with the gift of human existence?

GRAMMYs/Jul 23, 2021 - 12:23 am

The music community murmurs about David Crosby's Twitter account like it's a mythical sea monster. To many people online, he's the consummate curmudgeon, an octogenarian sourpuss who shares his dislike for hip-hop and shared his disapproval of the Phoebe Bridgers guitar smash on TV. (Bridgersretort: "Little b****.") While that vibe is certainly present, a cursory look at Twitter reveals the opposite: An 80-year-old rolling around with his dogs, digging into tacos by the pool and giving thanks for the gift of life.

"It's a game I'm playing, really," Crosby tells from his Santa Ynez, California, home on a "stunning" day. "I love my friends and my family and I'm trying to be a decent member of society. I've got no problem with me right now. Since I am here today, all I want to do is use today to do whatever I can to make stuff better." Despite a series of recent, brutal tests, he sounds lighter than ever over the phone — and his new music is his bounciest and most galvanized to date.

We're talking about For Free, his new album which arrives July 23 and represents the brightest star in his recent constellation of albums. (In the 2010s, he put out the good-to-excellent CrozLighthouseSky Trails and Here If You Listen.) Aside from the elegiac closer, "I Won't Stay For Long," the mood is inexhaustibly upbeat, whether he's covering his beloved Joni Mitchell on the title track or teaming up with his hero Donald Fagen on "Rodriguez for a Night."

Ahead of his performance at the GRAMMY Museum, spoke with Crosby about what Twitter teaches him, why he recently sold his catalog and why he's not really a grumpy contrarian, but a man enamored with music and human beings.

This interview has been edited and condensed for clarity.

How are you, David?

Elderly and confused! No, I'm fine, man. I'm sitting up here in central California and it's a stunning day. I'm a very happy guy. How are you?

I'm good. I'm originally from around your area. Is the heatwave still happening?

No, it's not real drastic, no. It's OK. It's in the 70s someplace.

Some people tend to paint your Twitter account as being cantankerous, but I find it to be the opposite. It's all about appreciating life as you just described it. It's a very joyful account to me.

To me, it is too, man. Every once in a while, I take a shot at somebody I don't like when they get really pretentious and blown-up. The Kanye Wests of this world, I'll occasionally stick a pin in their balloon. But mostly, I'm not trying to be Howard Stern. I'm really trying to just have fun here. I like people. I think they're fascinating. I like communicating with people.

The other thing about Twitter is that if someone tries to pick a fight, you just delete them. You don't have to deal with it. I don't have to engage in a fisticuffs battle with someone who thinks QAnon is real, for God's sake. If you're that dumb, I don't have to waste my time with you! I like that a lot. It makes it more fun.

It's interesting that you willfully open yourself up to both good people and the lowest common denominator of your fanbase.

Well, some of them are fascinating. You've got to remember: There are both kinds on here. There are Trumpers and other kinds of people who just don't understand what's going on. But there are a ton of fascinating people there too, man. People I've found up being friends with. That's where I met Steve Silberman, my friend from San Francisco. I met him on the Net.

You do meet people. It takes a while. You have to watch what they say and then you get a glimpse of who they are. Then, you test them out. You send something, they respond to it and you eventually suss out who's who. I have actually found some very fascinating people there, and I enjoy it. I like it.

I've seen Steve's tweets. He seems like a sweet guy.

He's a really bright guy. He used to write for Wired. He wrote the best book that anyone's ever written on autism. It's called NeuroTribes. It's a very scientific book, but it's written so well. It reads like a mystery novel. He won some awards with it and stuff. If you're interested in autism, I highly recommend it.

You recently sold your catalog to Irving Azoff. I've seen a lot of opinions out there as to why artists are doing this in droves, much of it misguided. Beyond the financial reality of it, what do you think this deal might do for your catalog and legacy?

It doesn't enrich my catalog or my legacy. I didn't want to do it. I did it because I had to. Here's what happened: We had two ways of making money: Touring, records. Streaming came along; streaming doesn't pay us. It's like you did your job for a month and they paid you a nickel. You'd be pissed. We're pissed. It's a wrong thing.

They threw half of our income away. Half. Gone. So then, we're trying to keep our heads up and we say, "OK, we'll be grateful we can still play live because we're paying the rent and taking care of our families. It's all good." And then, here comes COVID-19, and we can't play live!

What the hell was I supposed to do? I've got a family. I've got a home. I didn't want to lose my house. I don't want them to throw me out in the street. Are you kidding? I take this responsibility seriously. I love these people. I'm trying to do my job. So I did the one thing I could do: I sold my publishing.

Now, the reason everybody did it at the same time is a little more prosaic. A little more grubby. Everybody did it when they did it not because they were out of money like me, but because they know their taxes are all going to be different next year. In the case where you're doing a deal like $300 million, well, you're talking a $10, $20 million difference in taxes. So of course, they did it when they could get that advantage.

Regarding streaming, do you think the other shoe will drop?

I do not. I do not think it will change. I think all content — audio and video — will be streaming.

What happened, man, is they thought the technology up. They went to the record companies and they said, "Imagine no physical object." The record companies, who are not stupid, said "That'd be wonderful! No packaging? No pressing plants? No shipping! No returns! Nothing! We just send a signal and collect the money?"

They said, "What do we have to do to do that?" The streamers said, "You have to change the pay structure. You're paying all that money to these rich rock stars. You have to pay it to us instead." The record companies said, "We can do that! All you'd have to do to get us to do that is give us a piece of your company!" And they did. 

The reason the record business is doing just fine on paper is they're making a f***ing ton of money. Except they're not sharing it with the people who make the music. So, that's why we did it. I didn't want to. That's the one thing that I own. I didn't want to sell it. Of course, I didn't.

The Cameron Crowe documentary Remember My Name showed how you live modestly in a comfortable home. You don't live in the lap of luxury.

Yeah. It is comfortable, and you're right, it's not grandiose. I live in a little adobe house in the middle of a cow pasture, in the middle of a clump of trees. But it's really pretty and really peaceful and really sweet. We've been planting these plants and trees for 25 years and we love it a whole lot. So, yeah, we didn't want to lose it.

Clearly, having to sell your sailboat was heartbreaking.

Yeah, that hurt. I've had a lot of painful stuff in the last couple of years. Things couldn't go right.

Leaving CSN, I feel, was a very good thing, but very hard. I didn't like the guys. Nash and I were really not getting along at all. 

So, I'm kind of glad I did it, but the following couple of years have been hard. Financially hard, physically hard — a lot of physical stuff going on. I lost a son, which was just painful to a level that's hard to describe. And I, frankly, am very worried about my country. I think we're in a lot of trouble. I think it's better than it was, but I think we've got some real problems.

But, you know, I'm not whining and sniveling here, man. I'm lucky that I'm alive. Let's start there. There's a very good chance I wouldn't be. And I am, and I'm grateful for it. I'm lucky that I get a family that's wonderful, and I love them. 

I'm lucky that I can still sing. That's sheer luck. I did everything wrong. There's no excuse. And yet, here I am and I can sing. What do I do? I don't know if I've got two weeks or 10 years. I do know that I'm here right now. And if I concentrate on that, I can still have a lot of fun right now, today, making art that's good.

Frankly, man, the world is in kind of s*** shape. There's a lot of stuff wrong. Music's a lifting force. It makes things better.

That's what I feel when I listen to For Free. The music is so bouncy and galvanized. It seems like a tribute to the way music can be a counterweight to boredom and suffering.

Yeah, that's the idea. Yes, the record does feel like that, mostly. We didn't have a plan, man, but we certainly like it. That's what we certainly want to do: Be as joyful as we possibly can.

The best song on the record isn't joyful. It's thoughtful and sad and spooky and beautiful: "I Won't Stay For Long." There's a joy to that, too: That's how good [my son and collaborator] James [Raymond] has grown up to be.

And that seems like another part of the record's essence: Your love and admiration for your family, friends and fellow musicians.

It's a thing that happens to me, man. I wrote "Wooden Ships" with Stephen Stills and Paul Kantner. At the time, it just sort of happened. But in retrospect, I realize that's really a good thing. The other guy always thinks of something you didn't. It widens your palette of colors. It widens the possible reality that you're addressing. It's an excellent idea.

Most people take all the credit and all the money and they play it that way. [affects smarmy tone] "I'm the one who did it. Just me." I think my willingness, my joy at writing with these other people have extended my useful life as a writer for about 10 years, 20 years. And that's really a good thing, because here I am. I'm 80 years old, I've got a really good record ready to drop and I'm working on two more.

How has James developed as a songwriter and musician over the years?

He's written a ton of good songs with me. Frankly, a lot of the best stuff I've done in the last 20 years — Crosby & Nash; Crosby, Stills & Nash; the Croz record; the Sky Trails record; and now this record. He's matured as a writer. That's the best song on the record, "I Won't Stay For Long." No question.

It gave me shivers earlier.

Oh, my god. It's a beautiful song. He nailed it. Am I proud of him? Yes, I am. Am I grateful that he's still my joyful pal? Yes, I am. I just got off the phone with him. We're a really good match. The only weird thing about the relationship with James is that he's the adult and I'm the kid.

How's that?

Well, there's a rumor that I was going to grow up, but it just didn't really pan out. I'm not really a very adult person. I'm sort of like the nine-year-old in the relationship and he's the 30-year-old. He's the designated driver. He's a much more serious person than I am and definitely smarter.

David Crosby performing with the Byrds in 1965. Photo: CBS via Getty Images

On the topic of your family — and feel free to not broach this at all — I was thinking about Beckett and the saddening news about him. Losing a child is tragic on any level, but I was thinking that it must have kicked up extra-complicated emotions since another couple raised him.

Yeah, very tough. He was a nice kid. If you'd have known him, you would have been devastated, because he was a shiny, brainy, funny, laughing, curious, sweet, extremely bright kid. He and his sister, that was me and [my wife] Jan [Dance] trying to be good human beings and share the joy that we had.

We had Django; that was a stunning kid. Melissa [Etheridge] and Julie [Cypher] came to visit us and said "Oh my god, how do you get one of those?" Jan pointed at me, and they said "Wha… you kidding?" And she said, "No, he'll do it." I thought it over and I said "Yeah." We liked them a lot. They had been together for nine years or something. They looked stable and good. It seemed to us that lesbians have just the right to have kids as anybody else.

So, we volunteered to do that and the kids were stunners. Bailey [Jean Cypher] is just an absolutely brilliant girl, and beautiful. Beckett was the same. Bright and beautiful. Well, it didn't go well for that family. They wound up fighting each other, Melissa and Julie. That's not good, and he wound up being unhappy and he went out in the world and ran into some fentanyl that killed him.

It's a bitter pill, man. There's nothing you can do to make it light or funny or good. It's just awful.

Well, the joyful thing I can think of is in Beckett's life. You mentioned your insatiable curiosity about the human condition, which stretches through your work. I imagine the apple didn't fall from the tree with those kids, since you describe them as so brilliant.

Mm-hmm. Yep. The visits here were a lot of fun. They got along very well with Django and we were a joyous bunch together. 

From Croz to Lighthouse to Sky Trails to Here if You Listen to For Free, the throughline, to me, is you holding onto life kicking and screaming: "Please give me more years on the planet. Don't take music away from me. I love my house and family and dogs and horses. The world is largely a beautiful place."

That's a really clear read on it, man. That's good. You can do my eulogy. It is like that. It's just like that. I'm very grateful and I'm going to keep working until I drop. It's more fun than sitting around waiting to drop.

All these people are like, "Crosby's such a bitter old man!" and I'm like, "What are you talking about? He's more positive than anybody my age!"

I try to be, man. There's a certain curmudgeon thing that's fun to do. To be a crabby old man. [affects geriatric voice] "You kids don't know nothin'!" That kind of thing. It's fun and I'll do it to a degree, but it's a game I'm playing, really. 

I feel good. I feel good about the choices that I make and I feel good about my life. I feel good about what I think is valuable. I'm behaving relatively sanely. I have a good time. I smoke a little pot; it doesn't seem to hurt anything. I love my friends and my family and I'm trying to be a decent member of society. I've got no problem with me right now. Since I am here today, all I want to do is use today to do whatever I can to make stuff better.

We're arguably living through the most turbulent era since the '60s, but back then, someone like CSNY would write "Ohio" and it'd be on the radio within days. It doesn't seem like culture is stepping up to produce work that reflects or shapes the times. Do you feel that way, and if so, is it frustrating to watch?

Yeah, to a degree, I do feel that way. I wish the art were addressing the situation more. You see people being very brave. This Greta Thunberg girl is so brave out there telling the truth. 

You think, "Geez, why aren't the adults going along?" Well, we've got a whole bunch of people in our government who don't even believe global warming's real and couldn't care less anyway. They want power, and they're going to try to stop everything Joe Biden and the Democrats want to do to address it. Not because it's wrong, but because they want to stop everything the Democrats want to do. It's about power. It's not about the subject at all. 

And in so doing, they're ruining us and the rest of the world, many of whom are trying to do the right thing. It's a tough situation. Tough. I don't know how it's going to play out. The point is, if you can read and think, you'd better get down to your voting office and vote as often and as responsibly as humanly possible.

Jackson Browne On New Album 'Downhill From Everywhere,' Balancing Music & Messaging

How The 2024 GRAMMYs Saw The Return Of Music Heroes & Birthed New Icons
Victoria Monét backstage at the 2024 GRAMMYs.

Photo: Matt Winkelmeyer/Getty Images for The Recording Academy


How The 2024 GRAMMYs Saw The Return Of Music Heroes & Birthed New Icons

Between an emotional first-time performance from Joni Mitchell and a slew of major first-time winners like Karol G and Victoria Monét, the 2024 GRAMMYs were unforgettably special. Revisit all of the ways both legends and rising stars were honored.

GRAMMYs/Feb 9, 2024 - 09:02 pm

After Dua Lipa kicked off the 2024 GRAMMYs with an awe-inspiring medley of her two new songs, country star Luke Combs followed with a performance that spawned one of the most memorable moments of the night — and one that exemplified the magic of the 66th GRAMMY Awards.

Combs was joined by Tracy Chapman, whose return to the stage marked her first public performance in 15 years. The two teamed up for her GRAMMY-winning hit "Fast Car," which earned another GRAMMY nomination this year thanks to Combs' true-to-form cover that was up for Best Country Solo Performance. The audience went wild upon seeing a resplendent, smiling Chapman strum her guitar, and it was evident that Combs felt the same excitement singing along beside her.

Chapman and Combs' duet was a powerful display of what the 2024 GRAMMYs offered: veteran musicians being honored and new stars being born.

Another celebrated musician who made a triumphant return was Joni Mitchell. Though the folk icon had won 10 GRAMMYs to date — including one for Best Folk Album at this year's Premiere Ceremony — she had never performed on the GRAMMYs stage until the 2024 GRAMMYs. Backed by a band that included Brandi Carlile, Allison Russell, Blake Mills, Jacob Collier, and other accomplished musicians, the 80-year-old singer/songwriter delivered a stirring (and tear-inducing) rendition of her classic song "Both Sides Now," singing from an ornate chair that added an element of regality.

Later in the show, Billy Joel, the legendary rock star who began his GRAMMY career in 1979 when "Just the Way You Are" won Record and Song Of The Year, used the evening to publicly debut his first single in 17 years, "Turn the Lights Back On." (He also closed out the show with his 1980 classic, "You May Be Right.") It was the latest event in Joel's long history at the show; past performances range from a 1994 rendition of "River of Dreams" to a 2022 duet of "New York State of Mind" with Tony Bennett. The crooner, who died in 2023, was featured in the telecast's In Memoriam section, where Stevie Wonder dueted with archival footage of Bennett. And Annie Lennox, currently in semi-retirement, paid tribute to Sinéad O'Connor, singing "Nothing Compares 2 You" and calling for peace.

Career-peak stars also furthered their own legends, none more so than Taylor Swift. The pop star made history at the 2024 GRAMMYs, claiming the record for most Album Of The Year wins by a single artist. The historic moment also marked another icon's return, as Celine Dion made an ovation-prompting surprise appearance to present the award. (Earlier in the night, Swift also won Best Pop Vocal Album for Midnights, announcing a new album in her acceptance speech. To date, Swift has 14 GRAMMYs and 52 nominations.)

24-time GRAMMY winner Jay-Z expanded his dominance by taking home the Dr. Dre Global Impact Award, which he accepted alongside daughter Blue Ivy. And just before Miley Cyrus took the stage to perform "Flowers," the smash single helped the pop star earn her first-ever GRAMMY, which also later nabbed Record Of The Year.

Alongside the longtime and current legends, brand-new talents emerged as well. Victoria Monét took home two GRAMMYs before triumphing in the Best New Artist category, delivering a tearful speech in which she looked back on 15 years working her way up through the industry. Last year's Best New Artist winner, Samara Joy, continued to show her promise in the jazz world, as she won Best Jazz Performance for "Tight"; she's now 3 for 3, after also taking home Best Jazz Vocal Album for Linger Awhile last year.

First-time nominee Tyla became a first-time winner — and surprised everyone, including herself — when the South African starlet won the first-ever Best African Music Performance GRAMMY for her hit "Water." boygenius, Karol G and Lainey Wilson were among the many other first-time GRAMMY winners that capped off major years with a golden gramophone (or three, in boygenius' case).

All throughout GRAMMY Week 2024, rising and emerging artists were even more of a theme in the lead-up to the show. GRAMMY House 2024 hosted performances from future stars, including Teezo Touchdown and Tiana Major9 at the Beats and Blooms Emerging Artist Showcase and Blaqbonez and Romy at the #GRAMMYsNextGen Party.

Gatherings such as A Celebration of Women in the Mix, Academy Proud: Celebrating LGBTQIA+ Voices, and the Growing Wild Independent Music Community Panel showcased traditionally marginalized voices and communities, while Halle Bailey delivered a GRAMMY U Masterclass for aspiring artists. And Clive Davis hosted his Pre-2024 GRAMMYs Gala, where stars new and old mingled ahead of the main event. 

From established, veteran artists to aspiring up-and-comers, the 2024 GRAMMYs were a night of gold and glory that honored the breadth of talent and creativity throughout the music industry, perfectly exemplifying the Recording Academy's goal to "honor music's past while investing in its future." If this year's proceedings were any indication, the future of the music industry is bright indeed. 

10 Must-See Moments From The 2024 GRAMMYs: Taylor Swift Makes History, Billy Joel & Tracy Chapman Return, Boygenius Manifest Childhood Dreams

I Was A Trophy Holder At The 2024 GRAMMYs Premiere Ceremony
GRAMMY U Representative Rachel Owen


I Was A Trophy Holder At The 2024 GRAMMYs Premiere Ceremony

During the 66th GRAMMY Awards Premiere Ceremony, four GRAMMY U Representatives presented golden gramophones to Billie Eilish, boygenius, Tyla, and others. Read on to learn how GRAMMY U Reps were able to grace the stage on Music's Biggest Night.

GRAMMYs/Feb 8, 2024 - 07:33 pm

From lighting technicians to audio engineers to writers, hundreds of people make the GRAMMYs possible. Whether these professionals are on stage or working behind the curtain, all of these vital roles help produce Music’s Biggest Night.

Another vital role on GRAMMY night is that of trophy holder, where one is tasked with bringing out the physical golden gramphones and winner envelopes to presenters. Trophy holders then usher the award recipient off the stage after their speech. Representatives from GRAMMY U’s Atlanta (Jasmine Gordon), Texas (Pierson Livingston), Pacific Northwest (Chloe Sarmiento), and Chicago (Rachel Owen) Chapters were selected to be trophy holders at the 2024 GRAMMYs Premiere Ceremony, and went behind the scenes.

The real preparation actually commences before the show lands on screens back home. Prior to GRAMMY Sunday, the four representatives visited the Peacock Theater to get the rundown on stage positions, proper handling of the GRAMMY Award, proper attire for the event, and various other subtle details that would normally go unnoticed.

On the day of the show, trophy holders arrived for their 10 a.m. call time, receiving a final rehearsal of the show with the backing music and stage lights. Post-rehearsal, they headed into hair and makeup for final touch-ups to become camera-ready. From then, focus shifts to getting into place and calming restless nerves before the show kicks off at noon.

"At first there were so many nerves taking over my body," said Jasmine Gordon, Atlanta Chapter Rep. "But, as soon as I walked on stage there was a rush of excitement and happiness that took over."

This year, following an opening performance from Pentatonix, Jordin Sparks, Larkin Poe, J. Ivy, and Sheila E., host Justin Tranter introduced the GRAMMY U Representatives as they lined up on the stage. From there, the show commenced and winners were announced.

Before trophy holders take the stage, the envelopes are meticulously triple-checked to make sure they are representing the right category and a GRAMMY is placed in their hands. The envelope is given to the presenter to announce the winner. 

As the audience applauds and the winner makes their way to the stage from their seat, the presenter trades the envelope for the golden gramophone which they give to the winner. While the trophy holder typically stands in the shadows to the side of a presenter like Jimmy Jam or Natalia Lafourcade, they occupy a very important and visible place on the GRAMMY stage.

After an approximately 45-second acceptance speech, trophy holders escort the winner backstage for photos and media.  The trophy holders rinsed and repeated that routine dozens of times,handing off golden gramophones and escorting artists such as Billie Eilish, boygenius, and Tyla

Chicago GRAMMY U Rep Rachel Owen shared that one of her favorite moments included being on the side stage, standing right next to music icon Joni Mitchell when she won the GRAMMY for Best Folk Album.

"I’ll never ever forget the moment Joni Mitchell won for Best Folk Album. Everyone was cheering her on and she just got so happy, I feel so lucky to have witnessed that moment," Owen says. "I hadn’t realized before how close I would be to the winners; it was a great surprise."

Reflecting on the ceremony, the GRAMMY U Representatives shared how surreal the entire experience was for them and their professional development.

"Being right with artists as they win or right after they won was such a surreal experience," says Owen. "The overwhelming joy I got to witness from so many artists was contagious, I simply had an amazing time."

Rewatch The 2024 GRAMMYs Premiere Ceremony In Full: Featuring Performances From Pentatonix, Jordin Sparks, Robert Glasper, Brandy Clark, Laufey & Many More

9 Ways Women Dominated The 2024 GRAMMYs
Taylor Swift, SZA and Lizzo attend the 66th GRAMMY Awards at Arena on February 04, 2024 in Los Angeles, California.

Photo by Johnny Nunez/Getty Images for The Recording Academy


9 Ways Women Dominated The 2024 GRAMMYs

From Taylor Swift and Tyla's historic wins, to Miley Cyrus' first GRAMMYs and Joni Mitchell's first performance, the 66th GRAMMY Awards put ladies first.

GRAMMYs/Feb 6, 2024 - 12:01 am

Women shined particularly bright at Music's Biggest Night this year. As Trevor Noah put it in his monologue: "There’s a band that has already won today called boygenius, it’s three women. That’s how good a year it is for women."

Beyond boygenius' first GRAMMY wins, the conversation about female artists' legacy at the 2024 GRAMMYs had been building since the nominations were announced, when it was revealed that seven of the eight nominees for Album Of The Year were women. The majority of the performers for the 66th GRAMMY Awards were also women, including the legendary Joni Mitchell, Billie Eilish, SZA, and Dua Lipa. And several female artists were on the precipice of making history (chief among them, Taylor Swift, who later became the first ever four-time winner of Album Of The Year.

The results of the ceremony were no less centered on the ladies. At the Premiere Ceremony, Julien Baker, Phoebe Bridgers, and Lucy Dacus won three of the six Rock Categories for their work as boygenius. Lainey Wilson nabbed Best Country Album, Joni Mitchell won Best Folk Album, and Victoria Monét won Best R&B Album and Best New Artist. Gaby Moreno, Karol G and Tyla nabbed trophies as well.

As the night went on, that tally continued. In fact, other than Producer Of The Year and Songwriter Of Year, a woman won every category in the General Field, including Billie Eilish's "What Was I Made For?" winning Song of the Year and Taylor Swift's Midnights pulling off the big fourth Album Of The Year win.

From every corner of the room, Music’s Biggest Night was filled with powerful women taking the spotlight. Here are eight moments where women ruled the 2024 GRAMMYs — with no sign of this reign ending.

Taylor Swift Hits Lucky Number 13 (And 14, Too)

While it’s true that Taylor Swift’s name has been at the center of what feels like 98 percent of music in the past year, and that continued at the 2024 GRAMMYs. Much speculation ahead of the 66th GRAMMY Awards came down to whether she would make history by winning her fourth Album Of The Year award.

Adding to the excitement, the iconic Celine Dion surprised the world and took the stage to announce the winner for the night’s final award, and it happened: "Taylor Swift."

Rather than bask in her own glory, Swift seemed shocked, fumbling to get a high-five and hug connected with close friend and uber-producer Jack Antonoff. And her acceptance speech made it clear that while she appreciated and was honored by the award, she wasn’t about to rest on any laurels, no matter how massive they may be.

"I would love to tell you that this is the best moment of my life, but I feel this happy when I finish a song, or when I crack the code to a bridge I love, or when I'm shot-listing a music video, or when I'm rehearsing with my dancers or my band, or getting ready to go to Tokyo to play a show," she said. "For me the award is the work. All I wanna do is keep being able to do this. I love it so much, it makes me so happy."

True to that word, the evening also featured Swift announcing a new album — after Midnights won Best Pop Vocal Album (her lucky number 13th GRAMMY) earlier in the night, Swift made the surprise announcement that she’d be releasing her 11th studio album, The Tortured Poets Department, on April 19.

There was something inspiring, too, about the way Swift got to the stage — practically yanking Lana Del Rey from her seat at the same table, demanding she join her onstage. "I think so many female artists would not be where they are and would not have the inspiration they have if it weren’t for the work that she’s done," Swift told the assembly. "She’s a legacy artist, a legend in her prime right now."

Always a booster of other women in the industry, of course she had to share the spotlight even with her history-making fourth Album Of The Year award in hand.

Tracy Chapman Returns To The GRAMMY Stage

Sure, it was Luke Combs nominated for Best Country Solo Performance, but he made it crystal clear that he was there because of Tracy Chapman.

"That was my favorite song before I even knew what a favorite song was," he said in a video package prior to his performance, evocatively describing trips in his dad’s pickup truck, Chapman’s self-titled debut on the cassette player. Combs loved the song so much, he explained, that he wanted to put a cover of it on his 2023 album, Gettin' Old.

He went on to laud its universal appeal, the way Chapman’s chorus gets full-throated sing-alongs no matter the listener’s background — a powerful message, considering that Combs’ recording winning the Country Music Awards' Song Of The Year award made Chapman the first Black woman to receive that honor. "To be associated with her in any way is super humbling for me," Combs said.

The show transitioned from that heartfelt praise directly to Chapman’s hand on her guitar neck, picking out that iconic acoustic riff. Thirty-five years after its initial release, there was Chapman again on the GRAMMYs stage, this time dueting with a country star clearly in awe of sharing her space, mouthing along with the lines he wasn’t singing. It was an unforgettable performance, astonishing in its ability to pull us all out of our bodies and into the spirit of music.

The Endless Allure Of SZA

"Nobody got more nominations this year than SZA," Trevor Noah announced during his opening monologue — and that was after the experimental R&B artist born Solana Rowe had already won two GRAMMYs at the Premiere Ceremony earlier in the evening.

SZA had many more special moments left in the night. She performed a section of the GRAMMY-nominated "Snooze" in a black trenchcoat and hat, and the blade-wielding rebuke triggered the transition to another smash hit from 2022’s SOS: "Kill Bill". The cinematic performance featured a squad of leather-clad woman assassins slicing and dicing a series of men in suits, as SZA effortlessly walked the stage to deliver the world’s sweetest anthem centered on homicide. (For the record, the sight of Phoebe Bridgers’ outright glee at the sight of a sword-wielding dancer standing on her table at the song’s outset has to go down as one of the night’s best moments.)

Later, she would take home the GRAMMY for Best R&B Song for "Snooze" — her tally of three awards tying for the second largest of any artist at the 66th GRAMMY Awards. SZA was handed the golden gramophone by Lizzo, the two women clearly sharing a special moment.

"Lizzo and I have been friends since 2013 when we were both on a tiny Red Bull tour, opening up in small rooms for like 100 people. And to be on the stage with her is so amazing, I’m so grateful," SZA said after sprinting onstage, having just changed out of her performance attire. The tearful, brief acceptance speech that followed showed the incredibly honest and passionate person — and performer — that she is.

Boygenius Win Their First GRAMMY Awards

For a trio of badasses like boygenius, one or two GRAMMYs just wouldn’t do. They needed an award apiece: Best Rock Performance, Best Alternative Music Album, and Best Rock Song (all handed to them by queer icon Rufus Wainwright, no less). Julien Baker, Phoebe Bridgers, and Lucy Dacus sprinted down the aisle in their matching white suits at the Premiere Ceremony, giddy, shocked, together.

Befitting the trio’s history — both together and separately — as brilliant writers and lyricists, each had their own memorable line. 

"Music saved my life. Everyone can be in a band, this band is my family," Baker said, beaming after they won the Best Rock Performance award. "We were all delusional enough as kids to think that this might happen to us one day," Dacus said with a laugh. But just two days after the public announcement that the band was going on hiatus to focus on their own solo projects, it was this quick aside from Bridgers during their acceptance for Best Rock Song that brought the warmth: "I owe these boys everything. I love you guys so much." 

Tyla Makes Africa Proud

Trevor Noah may have been the host, but he wasn't the only one bringing South African flavor to the 2024 GRAMMYs.

"What the heck!?" Tyla said earlier in the evening at the Premiere Ceremony, grinning as her Johannesburg accent dripping with gleeful shock. At just 22 years old and a month out from even releasing her debut studio album, the viral pop star was nominated in the stacked inaugural Category of Best African Music Performance, including Asake & Olamide, Burna Boy, Davido and Musa Keys, and Ayra Starr. But it was Tyla’s "Water" — an amapiano-driven pop instant classic — that took home the award.

The song had already made history, as the first South African single to reach the Billboard Hot 100 since jazz legend Hugh Masekela achieved that feat in 1968, not to mention that the song reaching number seven made Tyla the highest-charting African female solo musician in Billboard history. 

"If you don’t know me, my name is Tyla, I’m from South Africa, and last year God decided to change my whole life," she said, the glow of the GRAMMY gold radiating on her face.

Annie Lennox Knows We Are Never Forgotten

The In Memoriam segment inevitably provides some of the most touching moments of any GRAMMY Awards. But every once in a while, a truly special performance will stand out amidst the heartache. Such was the case with Annie Lenox’s tear-stained performance of "Nothing Compares 2 U" from the late Sinéad O’Connor. The Eurythmics vocalist sat piano-side, a tear-like streak of glitter applied below her left eye, delivering the Irish legend’s best-loved song with every ounce of gravitas the moment demanded — and then some.

"Nothing compares/ Nothing compares to you," she sang with her eyes gazing skyward, before clenching them tight, her lips quivering. And as the song rounded to a finish, Lenox raised a fist, and spoke a simple, direct sentence that the outspoken activist O'Connor surely would have appreciated: "Artists for ceasefire, peace in the world."

Joni Mitchell Proves It's Never Too Late For Firsts

When word got out that Joni Mitchell would be making her first performance at the GRAMMYs, the global anticipation for the ceremony seemed to hit a boiling point. Since recovering from a brain aneurysm in 2015, Mitchell has been stepping into the spotlight more in recent years, but the thought of her onstage at the 66th GRAMMY Awards still felt miraculous.

But then there was Brandi Carlile, extolling Mitchell’s many virtues before introducing one of the greatest singer-songwriters of all time. "Joni just turned 80 my friends, but we all know she’s timeless," Carlile smiled, noting as well that "the matriarch of imagination" had already won a GRAMMY that same evening for Best Folk Album. 

And then the lights came up on Joni, seated in a gold-framed armchair, clutching a cane with a silver cat’s head on its hilt, singing the first lines of the all-time classic "Both Sides Now." Backed by a band of GRAMMY-winning heroes in their own right (Carlile, along with SistaStrings, Blake Mills, Lucius, Allison Russell, and Jacob Collier), it seems impossible that any eye in the room could have remained dry, let alone focused anywhere except right on Mitchell, with her beating heart and sky-scraping lyricism. Even Carlile, seated at her left, couldn’t stop looking up from her guitar to smile in awe.

"Well something's lost, but something's gained/ In living every day," she sang with a soft hint of a smile, before the well of strings, clarinet, guitars, and piano brought the final chorus in. 

Miley Finally Gets Her Flowers 

With what appeared to be four outfit changes between the red carpet and the stage and a sky-high, Dolly Parton-inspired brown bouffant, pop superstar Miley Cyrus delivered her fair share of memorable moments throughout the evening. Cyrus arrived at the 66th GRAMMY Awards without any GRAMMYs to her name, despite two previous nominations, a slew of hit albums, and 11 Top 10 singles dating back 17 years — which made her two wins even more noteworthy.

The GRAMMY drought ended thanks to smash single “Flowers,"which won Best Pop Solo Performance and Record Of The Year, solidifying Cyrus’ place both in GRAMMY history and as one of the year’s most celebrated pop stars. 

The former teen star took the stage at the 66th GRAMMY Awards as well, delivering “Flowers” to a star-studded — a daunting task for anyone, even a seasoned star. But it should have come as no surprise that Cyrus would be comfortable in that spotlight, as evidenced by her joking question for the entire room (and, it seemed, viewers at home, too): "Why are you acting like you don't know this song?" 

Despite her glowing near-speechlessness at finally earning a GRAMMY, the comfortable quips didn’t stop there. "I don't think I forgot anyone, but I might've forgotten underwear... bye!" she exclaimed before zipping offstage with her brand new GRAMMY hardware.

Celine & Mariah: Presenters Make History, Too

Even when just presenting awards, powerful women were at the forefront at the 66th GRAMMY Awards. The evening’s first presenter was Mariah Carey, onstage just three days after receiving the Impact Award from the Recording Academy’s Black Music Collective. The five-time GRAMMY-winner received the honor for her art’s influence and her inspirational legacy of service — and considering the ovation in the room, that impact was felt by her peers as well as the fans watching along at home.

Carey was presenting for Best Pop Solo Performance, and used her inimitable falsetto to deliver the ecstatic announcement: "And yes, this year all five nominees are women!" The sight of Carey handing Miley Cyrus her first GRAMMY (in honor of disco-tinged bop "Flowers") was, as Miley aptly put it, "too iconic."

While that opening set the stage for women dominating the show, the other bookend to the evening’s awards proved perhaps even more tear-jerking. At the end of 2023, the update came that Celine Dion’s battle with the rare neurological disorder "stiff person syndrome" had left the legendary vocalist without full control of her muscles, sometimes causing trouble walking or even using her vocal cords. As such, the sight of her walking down the golden tunnel and up to the microphone to announce the nominees for Album Of The Year felt like a special honor in and of itself.

"When I say that I’m happy to be here, I really mean it from my heart," she said. "Those who have been blessed enough to be here at the GRAMMY Awards must never take for granted the tremendous love and joy that music brings to our lives and to people all around the world."

Dion offering those lines — that positivity and beauty in the face of unprecedented difficulty — before presenting the award that would make history for Taylor Swift felt so fitting, emblematic of the powerful women who made the evening what it was.

Check Out The Full Winners & Nominees List For The 2024 GRAMMYs

10 Must-See Moments From The 2024 GRAMMYs: Taylor Swift Makes History, Billy Joel & Tracy Chapman Return, Boygenius Manifest Childhood Dreams
(L-R) boygenius, Taylor Swift and Jack Antonoff at the 2024 GRAMMYs.

Photo: Kevin Mazur/Getty Images for The Recording Academy


10 Must-See Moments From The 2024 GRAMMYs: Taylor Swift Makes History, Billy Joel & Tracy Chapman Return, Boygenius Manifest Childhood Dreams

The 66th Annual GRAMMY Awards wrote another monumental chapter in music history with returns from legends like Celine Dion and wins by a promising new generation of artists like Victoria Monét.

GRAMMYs/Feb 5, 2024 - 08:35 pm

Just like that, another GRAMMYs has come and gone — but the 2024 telecast brought many moments that will be immortalized in pop culture history.

It was the evening of legends, as Billy Joel and Tracy Chapman returned to the stage for the first time in decades and Joni Mitchell made her debut with a performance of her 1966 classic, "Both Sides, Now." Stevie Wonder and Celine Dion honored greats, both those we've lost and those who are dominating today. And Meryl Streep had two memorable moments at the show, making a fashionably late entrance and getting a hilarious GRAMMY lesson from Mark Ronson.

But it was the younger generation of artists who ultimately dominated the show. Boygenius — the supergroup of Phoebe Bridgers, Lucy Dacus, and Julien Baker — won numerous awards in the Rock, Metal & Alternative Music Field. Billie Eilish and SZA scooped up a couple more golden gramophones, respectively, and Best New Artist winner Victoria Monét celebrated three wins in total, also winning Best R&B Album and Best Engineered Album, Non-Classical.

Taylor Swift built on the momentum of her colossal year with more GRAMMY records and an unexpected announcement of her next studio album.

Check out the full list of winners here, and take a look at our top 10 highlights from another show-stopping installment of the GRAMMYs below.

Boygenius Run To Accept Their First GRAMMY Award

Boygenius won the first trophy of their careers during the Premiere Ceremony, and they were so ecstatic they sprinted through the crowds to get to the stage.

"Oh my God, I want to throw up," Lucy Dacus said as the group accepted their Best Rock Performance trophy for "Not Strong Enough."

Even though the trio was over the moon, they weren't entirely shocked by their win: "We were delusional enough as kids to think this would happen to us one day," she continued. Phoebe Bridgers would sing at a local Guitar Center "in hopes of getting discovered," while Julien Baker dreamed of performing in stadiums as she played in multiple bands, and Dacus has been perfecting her acceptance speech for years.

Their hard work was manifested three times over, as the trio also won Best Rock Song for "Not Strong Enough" and Best Alternative Music Album for the record.

Killer Mike Makes A Clean Sweep

Killer Mike had the largest GRAMMY night of his career, winning all three of the Rap Categories for which he was nominated: Best Rap Performance and Best Rap Song for "SCIENTISTS & ENGINEERS," and Best Rap Album for MICHAEL.

"I'm from the Southeast, like DJ Paul, and I'm a Black man in America. As a kid, I had a dream to become a part of music, and that 9-year-old is very excited right now," he cheered. "I want to thank everyone who dares to believe art can change the world."

Minutes after his sweep, the LAPD detained the Run the Jewels rapper. However, he was released and still able to celebrate his achievements, Killer Mike's lawyer told Variety.

Miley Cyrus Finally Receives Her "Flowers"

Miley Cyrus entered the GRAMMYs with six nominations for her eighth studio album, Endless Summer Vacation. After she won Best Pop Solo Performance for "Flowers," she delivered a jubilant performance in celebration. "Started to cry, but then remembered, I just won my first GRAMMY!" she exclaimed at the song's bridge, throwing her hands in the air and joyfully jumping around the stage.

Cyrus' excitement brought a tangible energy to the performance, making for one of the night's most dynamic — and apparently one of Oprah Winfrey's favorites, as the camera caught the mogul dancing and singing along.

"Flowers" earned Cyrus a second GRAMMY later in the night, when the No. 1 hit was awarded Record Of The Year. 

Tracy Chapman Makes A Rare Appearance

Luke Combs breathed a second life into Tracy Chapman's "Fast Car" when he released a cover of the track in April 2023. He quickly climbed to the top of the Billboard charts and received a nomination for Best Country Solo Performance at this year's show. Of course, it called for a special celebration — one that was meaningful for both Combs and GRAMMYs viewers.

Chapman joined the country star on stage for her first televised performance since 2015, trading off verses with Combs as he adoringly mouthed the words. The duet also marked Chapman's first appearance on the GRAMMY stage in 20 years, as she last performed "Give Me One Reason" at the 2004 GRAMMYs. (It also marked her second time singing "Fast Car" on the GRAMMYs stage; she performed it in 1989, the same year the song won Best Pop Vocal Performance, Female and Chapman took home three awards total, including Best New Artist.)

Naturally, Chapman's return earned a standing ovation from the crowd. As Combs fittingly put it in an Instagram post thanking the Recording Academy for the opportunity, it was a "truly remarkable moment."

Read More: 2024 GRAMMY Nominations: See The Full Winners & Nominees List

Joni Mitchell Takes The GRAMMY Stage For The First Time At 80

In one of the most emotional parts of the night, Joni Mitchell performed on the GRAMMYs stage for the first time in her nearly 60-year career.

Accompanied by Brandi Carlile — who referred to Mitchell as "the matriarch of imagination" before the performance — Lucius, SistaStrings, Allison Russell, Blake Mills, and Jacob Collier, Mitchell sang a touching rendition of "Both Sides Now."

"Joni is one of the most influential and emotionally generous creators in human history," Carlile  added in her introduction. "Joni just turned 80, my friends, but we all know she's timeless!"

Mitchell also won her 10th golden gramophone at the 2024 GRAMMYs, as her live album Joni Mitchell at Newport was awarded Best Folk Album at the Premiere Ceremony.

Stevie Wonder Salutes The Late Tony Bennett, Duetted By His Hologram

Another heartfelt moment came during this year's In Memoriam segment, when Stevie Wonder memorialized his friend, Tony Bennett, who passed away from Alzheimer's disease in 2023.

"Tony, I'm going to miss you forever. I love you always, and God bless that He allowed us to have you in this time and space in our lives," Wonder proclaimed. Thanks to a hologram of Bennett, the two singers could duet "For Once in My Life" one last time.

This year's tribute also saw Annie Lennox covering Sinéad O'Connor's "Nothing Compares 2 U," Jon Batiste's medley of Bill Withers' hits, and Fantasia's reimagining of Tina Turner's "Proud Mary."

Meryl Streep Gets Educated On Album Vs. Record And Single

Meryl Streep joined Mark Ronson — who happens to be her son-in-law — to announce the Record Of The Year winner, which sparked a funny interaction between the two when Streep thought she was announcing Album Of The Year.

"A record is an album!" Streep confidently declared, only for Ronson to give a quick 101 on the difference between Record, Song, and Album Of The Year.

"It's a really important award, and it's an award that recognizes everything that goes into making a great record — the producers, the recording engineer, and the artist, and all their contributions," Ronson explained of Record Of The Year.

"It's the Everything Award! It's the best," Streep smiled.

Celine Dion Surprises The World With A Special Cameo

Before the GRAMMYs commenced, producer Ben Winston told viewers they would be in for a treat because of a surprise presenter for the final award of the night, Album Of The Year. "They are an absolute global icon. I think jaws will drop to the floor. People will be on their feet," he shared.

It was none other than Celine Dion, who has largely been out of the limelight after her stiff person syndrome diagnosis.

"When I say that I'm happy to be here, I really mean it with my heart," Dion said. "It gives me great joy to present a GRAMMY award that two legends, Diana Ross and Sting, presented to me 27 years ago."

Dion is referring to her Album Of The Year win at the 39th GRAMMY Awards in 1997, when her smash LP Falling Into You won the honor. 

Taylor Swift Breaks The Record For Most AOTY Wins

It was a historic night for Taylor Swift in more ways than one.

She began the evening by winning her 13th GRAMMY for Best Pop Vocal Album for Midnights. To commemorate the milestone (13 is her lucky number), Swift announced her 11th studio album, The Tortured Poets Department, arriving on April 19.

She ended the evening with a coveted fourth Album Of The Year win, which made Swift the artist with the most AOTY nods in GRAMMY history.

"I would love to tell you this is the best moment of my life, but I feel this happy when I finish a song or crack the code to a bridge that I love or when I'm shot listing a music video or when I'm rehearsing with my dancers or my band or getting ready to go to Tokyo to play a show," she said. "The award is the work. All I want to do is keep being able to do this."

Billy Joel Serves Double GRAMMY Duty

After Swift's momentous win, Billy Joel ended the ceremony with a feel-good performance of his 1980 single, "You May Be Right." Along with being a rousing show closer, it was also his second performance of the night; Joel performed his newest offering, "Turn the Lights Back On," before Album Of The Year was announced.

Joel's performances included three firsts: It was the debut live rendition of "Turn the Lights Back On," his first release since 2007, and the performances marked his first time playing on the GRAMMYs stage in more than two decades. It was a fitting finale for a history-making show, one that beautifully celebrated icons of the past, present and future.

A Timeline Of Taylor Swift's GRAMMYs History, From Skipping Senior Prom To Setting A Record With 'Midnights'