"Being in the studio…[feels] like my second home," R&B artist Ella Mai says over Zoom from her sun-drenched Los Angeles abode. The singer's eyes brighten as she recounts her stream of consciousness creative process, where she transforms the disorienting unfamiliar into art. "I made almost 80 songs during this process," she confesses, chuckling. "Narrowing them down to 15 was very hard."

Those tracks now comprise Ella Mai's long-awaited sophomore album, Heart On My Sleeve. Out in May through Interscope Records, the album is an introspective compilation of poetry outlining the healing that produces emotional growth. At the soul of Mai's sophomore record are lyrics orienting honesty, womanhood and emotional prowess gained from years of turbulence; her heartstrings are utterly exposed from the album's opening track.

Yet that growth, and commitment to self-work, has long been present in Mai, a UK-born singer who moved to New York at age 12. The past four years have been big for Mai, whose debut single, "Boo’d Up," won the GRAMMY Award for Best R&B Song in 2019. At the 62nd GRAMMY Awards, her eponymous debut album was nominated for Best R&B Album. Now 27, Mai is more surefooted about herself and what her music stands for. 

But her ascent hasn't been without tribulation. "I have always thought I had it together but sometimes, you will make the wrong decision," Mai says, reflecting on the emotional hurdles she faced in 2020, as well as mistakes made throughout her early career. "The important part really is how you pick yourself up, and that is [what] I learned making this album that made me think: I am really proud of myself.

"Heart On My Sleeve is about the chaos and the peace put together," Mai continues, adding that "it was difficult at times to find that balance."

The album's varied styles and sonics reflect that balance. The first single closes with a trailing violin, leading into the lustful composition of "Not Another Love Song." The turbulent song features a recorded memo from Mary J. Blige, who  praises Mai for being open and advises her to love with faith despite the existence of pain. On "Fallen Angel," Mai testifies to a potentially deceitful lover buoyed by a suspenseful chorus that ushers into a gospel sermon featuring choirmaster Kirk Franklin. Other collaborators include L.A. rapper, Roddy Ricch, as well as Latto and Lucky Daye.

Heart On My Sleeve is an R&B symphony of sentiments that shows the capriciousness of human nature. Prevailing through the protection of her own heart and learning from emotional turbulence, Ella Mai is emphatically going to do as her album suggests and wear her heart out in the open. Ella Mai spoke with GRAMMY.com about the multi-year journey that it took to be here. 

This interview has been condensed and edited for clarity.

What have you learned about yourself in the past four years since you exploded in the R&B scene?

When I was recording my debut album, I was 21, 22 and thought I knew everything. The last four years I realized I know absolutely nothing. It's funny because albums are great ways to look back on areas of your life because they are eras. 

In terms of being an artist, in 2018 when everything blew up for me and "Boo’d Up" went crazy and then "Trip." I didn't really have time to even realize what was going on. I was checking off so many things on my bucket list…but the world was moving so quickly that I didn't even realize the impact of it all. When I went on tour, I was able to tour the whole world and really experience that with my fans.

Where do you see Heart On My Sleeve landing in terms of your development as an artist?

There was a lot of pressure coming off of my debut album and I tried my best to not get caught up in that cycle. With "Boo’d Up" and "Trip" being so big, that was what a lot of people knew me for and still know me for. 

With this album, specifically, I was so heavily invested and involved with the entire process. I knew what I wanted to say and what I wanted to sound like. I've always been a confident person, I think that helped me out a lot. Touring was a big part of my confidence, it helped me believe in myself even more as an artist. Especially, for somebody who really loves R&B music and really loves to make music.

Why were some of the songs healing for you to create in the studio? 

I was so inspired and so excited to be back in the studio in 2020 because it had been a while and I took some time off for a whole year. Every song, every session, it did kind of feel like a therapy session for me. 

I was wearing my heart on my sleeve in the studio, and just really explaining how I was feeling at the time. One thing I didn't even realize is that with the album out, it's almost like reliving those moments. I'm so excited to tour it because I feel like it would just mean that much more when you're super, super connected to the music.

Were there any songs that were extremely hard for you to apply your pen to? If so, why?

"Fallen Angel" was actually one of my most favorite sessions. It definitely has a gospel feel, which is why I wanted to put Kirk Franklin at the end of it. I grew up in church, my grandma was a minister, and everyone in the session comes from that type of background. 

"Pieces" was a difficult song to write. I think the production moves more, the second verse changes from the first verse sonically, which I've never done before. At the same time, it was exactly what I was feeling. So I think the difficulty comes from wondering, is this too vulnerable? But actually, it was everything that was on my heart. 

Did you receive any revelatory musical guidance that pushed you closer to completing this record?

I've always been confident and I've always known how strong I am as a person. But I think through creating this album, I realized how resilient I am, even if I'm in a situation that I haven't really experienced before. 

Even though I'm vulnerable, I'm not ever a doormat. I am always conscious of who I am in my own life. I know a lot of my fans are my age, and they're probably going through similar things with me because we kind of have grown up together. So I always want to make sure I'm a role model, I guess.

Why do sports have deep symbolism in your songs?

I played football for nine years and I've always been an athlete and it's really the influence I received from my brother. I have an older brother…that's my only sibling. When I was younger, I just wanted to do everything that he did. So I started playing soccer because he played soccer.

When we moved to New York, he got into basketball. So I got into basketball. I play tennis now and I think being active is always something that I've always found really fun. When I got to a stage in my life where I wanted to decide what I wanted to do, in my head it was music or soccer. So [sports have] always been a very, very prominent part of my life. 

Most of the songs on your past album had spoken poetry at the end. Was that an artistic element you wanted to option out on Heart On My Sleeve?

I love to storytell, but I do understand sometimes that it doesn't always need to be there. I was aware of that and I love it, which is why I had Mary J. Blige and Kirk Franklin on this album. I still didn't want to take that element out of it completely. Even the start of my song with Lucky Daye, that audio [was] obviously from our session. 

Are there any female R&B artists you really would love to collaborate with in the future?

There's a lot of different types of R&B artists, especially women. I personally would love to collaborate with them all, but who comes to mind right now is Snoh Aalegra.

What is the key message you want your fans to resonate with when listening to Heart On My Sleeve?

Honesty. That's what I've been saying really throughout Heart On My Sleeve. I'm…definitely an honest person. I will say that I also am aware of how scary that feeling is, but I've been trying to embrace it. 

And… Wear your heart on your sleeve. There is a certain…feeling of freedom if you're honest with yourself and, not even just to everyone else, but being honest with yourself. An honest way of living is as cliche as it sounds, but I think it's incredibly freeing.

Revisiting 'Supa Dupa Fly' At 25: Missy Elliott Is Still Inspired By Her Debut Record

Ahead of the 2023 GRAMMYs, GREY GOOSE is kicking off the second year of its partnership with The Recording Academy as the "Official Spirits Partner of the 65th Annual GRAMMY Awards" with GREY GOOSE x GRAMMYs: Sound Sessions, a weekly digital series that will feature current GRAMMY nominee Muni Long, acclaimed singer/songwriter Pink Sweat$, and GRAMMY winner and current GRAMMY nominee Ella Mai. Debuting Jan. 23, the series will stream on Instagram and YouTube now through GRAMMY weekend.

"We are thrilled to be continuing our partnership with the Recording Academy for a second year," said Aleco Azqueta, Vice President of Marketing for GREY GOOSE Vodka. "A celebration of the year's best music deserves the best cocktails, so GREY GOOSE is honored to toast to all of this year's nominees. Like the lyrics and melody of a great song, our Sound Sessions series shows just how well music and GREY GOOSE cocktails go together. It features some incredible talent and even a few surprises, so you won't want to miss each installment."

"The Recording Academy is dedicated to celebrating excellence in the recording industry and protecting music's place in our culture," said Adam Roth, Senior Vice President, Partnerships & Business Development at the Recording Academy. "We firmly believe GREY GOOSE shares this same sentiment, which is why we're so excited to partner together for a second year. Our Sound Sessions content series is a perfect example of what our two brands stand for when it comes to music: celebrating artistic expression and elevating creative voices."

The first Sound Sessions episode featuring Muni Long is now available on YouTube and will be followed by Pink Sweat$ on Thursday, Jan. 26, and Ella Mai on Thursday, Feb. 2. With every episode, fans can expect to see intimate musical performances and exclusive interviews where each artist will take them through the "ingredients" of their hit songs, while mixing together the ingredients of one of their favorite GREY GOOSE cocktails. 

"It's been a pleasure to be a part of Sound Sessions with GREY GOOSE Vodka and the Recording Academy to celebrate a year of incredible music," said four-time GRAMMY-nominated recording artist Muni Long. "I'm thrilled to perform my nominated song 'Hrs and Hrs,' and I hope it brings joy and inspiration to all my fans as their support means so much to me. It was also so fun to try my hand at making the official cocktail of the GRAMMYs, The Passion Drop!"

In addition to the Sound Sessions series, GREY GOOSE will have a full-scale presence at a variety of events throughout GRAMMY weekend, including the second iteration of their hit Sound Sessions Brunch on Saturday, Feb. 4. The star-studded affair will be held in Los Angeles and feature a live performance from two-time GRAMMY winner Jazmine Sullivan. The Passion Drop, a citrusy-sweet martini cocktail, will also return as the official drink of the GRAMMY Awards and be served at all Recording Academy events throughout the weekend.

All "GREY GOOSE x GRAMMYs: Sound Sessions" content can be accessed by following each artist, along with @greygoose and @recordingacademy, on all social platforms, as well as on the official GRAMMYs Content Hub.

GREY GOOSE PASSION DROP

• 1.5 oz GREY GOOSE ​Vodka

• .5 oz Small Hand Foods Ginger Syrup ​

• .5 oz Fresh Lemon Juice ​

• .5 oz Boiron Passionfruit Puree ​

• .25 oz Simple Syrup (1:1 ratio of sugar to water) ​

Method: Combine all ingredients in a shaker packed with ice. Shake and strain up in a GREY GOOSE martini glass.​

Garnish: Lemon twist

2023 GRAMMY Nominations: See The Complete Nominees List

2022 was a glowing year for R&B, with newcomers and legends alike shattering claims that the genre is on the brink of losing its popularity. It was quite the opposite, actually — newer R&B stars like Flo helped revive '00s nostalgia, and veterans like Babyface showed that there's strength in collaboration.

As the world re-emerges from the pandemic, artists channeled a brighter energy in their music, using more upbeat melodies and lyrics that emphasized fun and romance. Chlöe provided the twerk-friendly anthems, while FKA Twigs' Caprisongs mixtape featured a song for every kind of party imaginable.

There were plenty more R&B stars new and old who contributed to the genre's shine this year. Below, revisit some of 2022's biggest moments in R&B.

The Ladies Seduced Us

R&B has always maintained a sensual core, and the women of the genre confidently reminded listeners of that fact throughout 2022. On her second album Age/Sex/Location, ​​Ari Lennox explored the ebbs and flows of lust with songs like the NSFW "Leak It" (featuring Chlöe) and the flirtatious "Hoodie." Chlöe also continued to unleash her seductive goddess on her solo single, "Surprise."

Two years before SZA dropped her long-anticipated second album, SOS, in December, she showed off her pole-dancing skills in a 2020 Instagram post teasing single "Shirt." (And when lead single "Good Days" arrived in March, she continued her seduction in the outro of the music video.) The LP details the journey of post-lust heartbreak and how to regain one's confidence, from the sneaky affair of "Low" to feeling empty on the punk rock-inspired "F2F."

Peacock's Bel-Air star Coco Jones proved her singing ability was equally as strong as her acting skills, as she captured hearts with her debut EP, What I Didn't Tell You, including the yearning single "ICU." Amber Mark, also a fellow newcomer, released her debut album Three Dimensions Deep. The LP features an array of genres, but songs like "Softly" are what really entranced listeners.

Singers From Across the Pond Ruled

The appreciation for R&B spans shores, and British artists delivered fresh spins on the genre. Cheltenham's FKA Twigs set the energetic tone with the January release of her first mixtape, Caprisongs, which is filled with a kaleidoscope of sounds from drum and bass to trap. Leicester's Mahalia navigated heartbreak with her Letter To Ur Ex EP. Southampton native Craig David tapped back into his '00s style with his nostalgic eighth album, 22, which opens with an interpolation of fellow R&B star Jon B.'s 1998 classic, "They Don't Know."

After winning over stateside fans in 2018 with her GRAMMY-winning single "Boo'd Up," London-born Ella Mai returned with her sophomore album Heart on My Sleeve — a self-described "therapy session" that highlighted the artist's diaristic songwriting. London also spawned a new girl group this year with Flo, a trio who channeled the heydays of '00s pop&B with their debut EP, The Lead.

Afrobeats Trickled Into The Genre

Afrobeats' international popularity has surged over the past few years, so much so that other genres are now borrowing its infectious groove. This year, R&B singers infused the genre into their own sounds, further showcasing Afrobeats' versatility.

FKA Twigs' Caprisongs features "Jealousy," a mellow collab with burgeoning Nigerian artist Rema. Two months later, Rema dropped R&B-infused music of his own on his debut album, Rave & Roses, which featured guests like 6lack and Chris Brown.

The month of June gave way to sweltering summer collaborations. Diddy paired up with Bryson Tiller on the brooding "Gotta Move On," which scored the music mogul his 11th No. 1 on Billboard's Adult R&B Airplay chart. And in true Diddy fashion, he dropped a "Queens" version featuring Yung Miami and Ashanti.

Not long after, Chris Brown and Wizkid joined forces for "Call Me Every Day." Marking their third collaboration, the sultry smash illustrated just why they're crowned the princes of R&B and Afrobeats, respectively.

Artists Took It Back To The Club

R&B is not always about love songs and heartbreak. Rather than dwell in their feelings, a handful of singers opted for a more lighthearted approach in their music. After jumpstarting her solo era with last year's booty anthem "Have Mercy," Chlöe kept the ode to curves going with "Treat Me." Built atop a sample of Bubba Sparxxx and the Ying Yang Twins' 2005 hit "Ms. New Booty," "Treat Me" is a self-confidence anthem.

Baby Tate also borrowed an Atlanta crunk staple from the same year for "Ain't No Love." Featuring fellow Georgia native 2 Chainz, the bouncy tune samples Ciara's "Oh" collaboration with Ludacris, spinning the '00s classic into a modern-day jam.

On the opposite coast, Los Angeles' own Blxst solidified his signature laid-back style with his debut album, Before You Go. Lead single "About You" is best served with a cold one and a two-step.

Kehlani then took listeners to their native Bay Area with April's Blue Water Road album (where Blxst also makes an appearance). The Slick Rick-sampling "Wish I Never" is the ultimate '90s house party jam while the upbeat "Up At Night" with Justin Bieber will do just what its title implies.

Other club genres also came into play, with Ravyn Lenae experiencing house euphoria on Hypnos' "Xtasy" and FKA Twigs going full dancehall alongside shygirl with Caprisongs' "Papi Bones."

There Were Many '90s Celebrations

The '90s still has a tight grip on R&B's current sound, and the artists who ruled that decade proudly reminded us of that fact in 2022. For the 25th anniversary of Mariah Carey's transitional Butterfly album, the icon released a special re-edition that features an updated version of "The Roof" (with added vocals from Brandy) and "Whenever You Call" (with Brian McKnight), a live version of "My All" from VH1 Divas Live, the "Amorphous Anniversary Club Remix" of the title track and more.

Usher also got in the commemorative spirit, releasing My Way (25th Anniversary Edition) — which happens to share the same Sept. 16 anniversary as Carey's Butterfly. The new edition included reimagined versions of three tracks: "My Way (Ryan James Carr Remake)," "Nice & Slow (Ryan James Carr Remake)" and "You Make Me Wanna… (Ryan James Carr Remake)."

To commemorate another 25th anniversary, Erykah Badu celebrated her GRAMMY-winning Baduizm debut with a pair of shows at London's Royal Festival Hall.

Other '90s celebrations came from R&B quartet Xscape, who received the Lady of Soul honor at the 2022 Soul Train Awards, and new artist LAYA, who honored Missy Elliott with a cover of the rapper's 1997 single "Sock It 2 Me" for Women's History Month.

Alt-R&B Girls Made A Return

The beauty of R&B is in its sonic diversity. Alternative R&B has blossomed in popularity over the years, and 2022 saw the return of some of the subgenre's leaders.

Santigold made a thrilling return with Spirituals, the singer's first album in six years. An emotional journey through lockdown, the LP fuses gospel, electronica, punk and pop, all tied together with Santigold's signature yelps.

Another long-awaited comeback came from Kelela, who re-emerged in September after a five-year hiatus. Her single "Washed Away" is the launchpad to her second album Raven, which will be released next February. "Raven is my first breath taken in the dark, an affirmation of Black femme perspective in the midst of systemic erasure and the sound of our vulnerability turned to power," Kelela shared in a press release.

Although Solange didn't give fans new music in 2022, the singer was honored with the 2022 NYU Global Trailblazer Award for Creative and Artistic Excellence in March. And ever the ever-unpredictable star, she composed a score for the New York City Ballet that came to life with a performance at the Lincoln Center in September.

Old School Met New School

This year, there was no separation of generations. Rather, the "legend vs. newcomer" hierarchy was completely dismissed, as artists from the '60s to today joined forces in the recording studio.

Ronald Isley and Beyoncé wooed soul fans with their rework of "Make Me Say It Again, Girl," which originally appeared on the Isley Brothers' 1975 album, The Heat Is On. Isley's wife/manager Kandy told Billboard that Beyoncé's mother Tina Knowles-Lawson was integral in the collaboration, marking a full-circle moment for the star, who grew up listening to the group. "The fact that they are giving us permission to put it out at this time is just overly special," Kandy said.

Ciara and Summer Walker's lilting vocals complemented each other on "Better Thangs," while  SZA (whose stage name pays homage to Wu-Tang Clan member RZA) featured the late Ol' Dirty Bastard on SOS. Elsewhere, PJ Morton's latest album is a celebration of collaboration, with guests Stevie Wonder and Nas on "Water," and Jill Scott and Alex Isley on "Still Believe."

In October, Babyface passed down his GRAMMY-winning torch to the women of R&B with his collaboration album, Girls Night Out. Solely featuring the new generation of female singers, from Muni Long to Ari Lennox, the album showed that romance has no age.

Mary J. Blige donned her Queen of Hip-Hop Soul crown on her latest album, which features rappers like Dave East and Fivio Foreign. On the opposite end, Toronto R&B duo dvsn teamed with male R&B group Jagged Edge on "What's Up" from the former's Working on My Karma album.

Whether it was R&B's legends or promising newcomers making waves, this year had plenty of proof that the genre is still thriving — and never going anywhere.

R&B Isn't Dead: Listen To 51 Songs By Summer Walker, Josh Levi & More Artists Who Are Pushing The Genre Forward

It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown. The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.

Brown's 1965 classic, "Papa's Got a Brand New Bag," became one of the first funk hits, and has been endlessly sampled and covered over the years, along with his other groovy tracks. Of course, many other funk acts followed in the '60s, and the genre thrived in the '70s and '80s as the disco craze came and went, and the originators of hip-hop and house music created new music from funk and disco's strong, flexible bones built for dancing.

Legendary funk bassist Bootsy Collins learned the power of the one from playing in Brown's band, and brought it to George Clinton, who created P-funk, an expansive, Afrofuturistic, psychedelic exploration of funk with his various bands and projects, including Parliament-Funkadelic. Both Collins and Clinton remain active and funkin', and have offered their timeless grooves to collabs with younger artists, including Kali Uchis, Silk Sonic, and Omar Apollo; and Kendrick Lamar, Flying Lotus, and Thundercat, respectively.

In the 1980s, electro-funk was born when artists like Afrika Bambaataa, Man Parrish, and Egyptian Lover began making futuristic beats with the Roland TR-808 drum machine — often with robotic vocals distorted through a talk box. A key distinguishing factor of electro-funk is a de-emphasis on vocals, with more phrases than choruses and verses. The sound influenced contemporaneous hip-hop, funk and electronica, along with acts around the globe, while current acts like Chromeo, DJ Stingray, and even Egyptian Lover himself keep electro-funk alive and well.

Today, funk lives in many places, with its heavy bass and syncopated grooves finding way into many nooks and crannies of music. There's nu-disco and boogie funk, nodding back to disco bands with soaring vocals and dance floor-designed instrumentation. G-funk continues to influence Los Angeles hip-hop, with innovative artists like Dam-Funk and Channel Tres bringing the funk and G-funk, into electro territory. Funk and disco-centered '70s revival is definitely having a moment, with acts like Ghost Funk Orchestra and Parcels, while its sparkly sprinklings can be heard in pop from Dua Lipa, Doja Cat, and, in full "Soul Train" character, Silk Sonic. There are also acts making dreamy, atmospheric music with a solid dose of funk, such as Khruangbin’s global sonic collage.

There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music, Amazon Music and Pandora.

Say She She

Aptly self-described as "discodelic soul," Brooklyn-based seven-piece Say She She make dreamy, operatic funk, led by singer-songwriters Nya Gazelle Brown, Piya Malik and Sabrina Mileo Cunningham. Their '70s girl group-inspired vocal harmonies echo, sooth and enchant as they cover poignant topics with feminist flair.

While they’ve been active in the New York scene for a few years, they’ve gained wider acclaim for the irresistible music they began releasing this year, including their debut album, Prism. Their 2022 debut single "Forget Me Not" is an ode to ground-breaking New York art collective Guerilla Girls, and "Norma" is their protest anthem in response to the news that Roe vs. Wade could be (and was) overturned. The band name is a nod to funk legend Nile Rodgers, from the "Le freak, c'est chi" exclamation in Chic's legendary tune "Le Freak."

Moniquea

Moniquea's unique voice oozes confidence, yet invites you in to dance with her to the super funky boogie rhythms. The Pasadena, California artist was raised on funk music; her mom was in a cover band that would play classics like Aretha Franklin’s "Get It Right" and Gladys Knight’s "Love Overboard." Moniquea released her first boogie funk track at 20 and, in 2011, met local producer XL Middelton — a bonafide purveyor of funk. She's been a star artist on his MoFunk Records ever since, and they've collabed on countless tracks, channeling West Coast energy with a heavy dose of G-funk, sunny lyrics and upbeat, roller disco-ready rhythms.

Her latest release is an upbeat nod to classic West Coast funk, produced by Middleton, and follows her February 2022 groovy, collab-filled album, On Repeat.

Shiro Schwarz

Shiro Schwarz is a Mexico City-based duo, consisting of Pammela Rojas and Rafael Marfil, who helped establish a modern funk scene in the richly creative Mexican metropolis. On "Electrify" — originally released in 2016 on Fat Beats Records and reissued in 2021 by MoFunk — Shiro Schwarz's vocals playfully contrast each other, floating over an insistent, upbeat bassline and an '80s throwback electro-funk rhythm with synth flourishes.

Their music manages to be both nostalgic and futuristic — and impossible to sit still to. 2021 single "Be Kind" is sweet, mellow and groovy, perfect chic lounge funk. Shiro Schwarz’s latest track, the joyfully nostalgic "Hey DJ," is a collab with funkstress Saucy Lady and U-Key.

L'Impératrice

L'Impératrice (the empress in French) are a six-piece Parisian group serving an infectiously joyful blend of French pop, nu-disco, funk and psychedelia. Flore Benguigui's vocals are light and dreamy, yet commanding of your attention, while lyrics have a feminist touch.

During their energetic live sets, L'Impératrice members Charles de Boisseguin and Hagni Gwon (keys), David Gaugué (bass), Achille Trocellier (guitar), and Tom Daveau (drums) deliver extended instrumental jam sessions to expand and connect their music. Gaugué emphasizes the thick funky bass, and Benguigui jumps around the stage while sounding like an angel. L’Impératrice’s latest album, 2021’s Tako Tsubo, is a sunny, playful French disco journey.

Franc Moody

Franc Moody's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.

Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether.

The Rise Of Underground House: How Artists Like Fisher & Acraze Have Taken Tech House, Other Electronic Genres From Indie To EDC

Living Legends is a series that spotlights icons in music still going strong today. This week, GRAMMY.com spoke with Billy Idol about his latest EP,  Cage, and continuing to rock through decades of changing tastes.

Billy Idol is a true rock 'n' roll survivor who has persevered through cultural shifts and personal struggles. While some may think of Idol solely for "Rebel Yell" and "White Wedding," the singer's musical influences span genres and many of his tunes are less turbo-charged than his '80s hits would belie.  

Idol first made a splash in the latter half of the '70s with the British punk band Generation X. In the '80s, he went on to a solo career combining rock, pop, and punk into a distinct sound that transformed him and his musical partner, guitarist Steve Stevens, into icons. They have racked up multiple GRAMMY nominations, in addition to one gold, one double platinum, and four platinum albums thanks to hits like "Cradle Of Love," "Flesh For Fantasy," and "Eyes Without A Face." 

But, unlike many legacy artists, Idol is anything but a relic. Billy continues to produce vital Idol music by collaborating with producers and songwriters — including Miley Cyrus — who share his forward-thinking vision. He will play a five-show Vegas residency in November, and filmmaker Jonas Akerlund is working on a documentary about Idol’s life. 

His latest release is Cage, the second in a trilogy of annual four-song EPs. The title track is a classic Billy Idol banger expressing the desire to free himself from personal constraints and live a better life. Other tracks on Cage incorporate metallic riffing and funky R&B grooves. 

Idol continues to reckon with his demons — they both grappled with addiction during the '80s — and the singer is open about those struggles on the record and the page. (Idol's 2014 memoir Dancing With Myself, details a 1990 motorcycle accident that nearly claimed a leg, and how becoming a father steered him to reject hard drugs. "Bitter Taste," from his last EP, The Roadside, reflects on surviving the accident.)

Although Idol and Stevens split in the late '80s — the skilled guitarist fronted Steve Stevens & The Atomic Playboys, and collaborated with Michael Jackson, Rick Ocasek, Vince Neil, and Harold Faltermeyer (on the GRAMMY-winning "Top Gun Anthem") —  their common history and shared musical bond has been undeniable. The duo reunited in 2001 for an episode of "VH1 Storytellers" and have been back in the saddle for two decades. Their union remains one of the strongest collaborations in rock 'n roll history.

While there is recognizable personnel and a distinguishable sound throughout a lot of his work, Billy Idol has always pushed himself to try different things. Idol discusses his musical journey, his desire to constantly move forward, and the strong connection that he shares with Stevens. 

Steve has said that you like to mix up a variety of styles, yet everyone assumes you're the "Rebel Yell"/"White Wedding" guy. But if they really listen to your catalog, it's vastly different.

Yeah, that's right. With someone like Steve Stevens, and then back in the day Keith Forsey producing... [Before that] Generation X actually did move around inside punk rock. We didn't stay doing just the Ramones two-minute music. We actually did a seven-minute song. [Laughs]. We did always mix things up. 

Then when I got into my solo career, that was the fun of it. With someone like Steve, I knew what he could do. I could see whatever we needed to do, we could nail it. The world was my oyster musically. 

"Cage" is a classic-sounding Billy Idol rocker, then "Running From The Ghost" is almost metal, like what the Devil's Playground album was like back in the mid-2000s. "Miss Nobody" comes out of nowhere with this pop/R&B flavor. What inspired that?

We really hadn't done anything like that since something like "Flesh For Fantasy" [which] had a bit of an R&B thing about it. Back in the early days of Billy Idol, "Hot In The City" and "Mony Mony" had girls [singing] on the backgrounds. 

We always had a bit of R&B really, so it was actually fun to revisit that. We just hadn't done anything really quite like that for a long time. That was one of the reasons to work with someone like Sam Hollander [for the song "Rita Hayworth"] on The Roadside. We knew we could go [with him] into an R&B world, and he's a great songwriter and producer. That's the fun of music really, trying out these things and seeing if you can make them stick. 

I listen to new music by veteran artists and debate that with some people. I'm sure you have those fans that want their nostalgia, and then there are some people who will embrace the newer stuff. Do you find it’s a challenge to reach people with new songs?

Obviously, what we're looking for is, how do we somehow have one foot in the past and one foot into the future? We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol. 

You want to do things that are true to you, and you don't just want to try and do things that you're seeing there in the charts today. I think that we're achieving it with things like "Running From The Ghost" and "Cage" on this new EP. I think we’re managing to do both in a way. 

Obviously, "Running From The Ghost" is about addiction, all the stuff that you went through, and in "Cage" you’re talking about  freeing yourself from a lot of personal shackles. Was there any one moment in your life that made you really thought I have to not let this weigh me down anymore?

I mean, things like the motorcycle accident I had, that was a bit of a wake up call way back. It was 32 years ago. But there were things like that, years ago, that gradually made me think about what I was doing with my life. I didn't want to ruin it, really. I didn't want to throw it away, and it made [me] be less cavalier. 

I had to say to myself, about the drugs and stuff, that I've been there and I've done it. There’s no point in carrying on doing it. You couldn't get any higher. You didn't want to throw your life away casually, and I was close to doing that. It took me a bit of time, but then gradually I was able to get control of myself to a certain extent [with] drugs and everything. And I think Steve's done the same thing. We're on a similar path really, which has been great because we're in the same boat in terms of lyrics and stuff. 

So a lot of things like that were wake up calls. Even having grandchildren and just watching my daughter enlarging her family and everything; it just makes you really positive about things and want to show a positive side to how you're feeling, about where you're going. We've lived with the demons so long, we've found a way to live with them. We found a way to be at peace with our demons, in a way. Maybe not completely, but certainly to where we’re enjoying what we do and excited about it.

[When writing] "Running From The Ghost" it was easy to go, what was the ghost for us? At one point, we were very drug addicted in the '80s. And Steve in particular is super sober [now]. I mean, I still vape pot and stuff. I don’t know how he’s doing it, but it’s incredible. All I want to be able to do is have a couple of glasses of wine at a restaurant or something. I can do that now.

I think working with people that are super talented, you just feel confident. That is a big reason why you open up and express yourself more because you feel comfortable with what's around you.

Did you watch Danny Boyle's recent Sex Pistols mini-series?

I did, yes.

You had a couple of cameos; well, an actor who portrayed you did. How did you react to it? How accurate do you think it was in portraying that particular time period?

I love Jonesy’s book, I thought his book was incredible. It's probably one of the best bio books really. It was incredible and so open. I was looking forward to that a lot.

It was as if [the show] kind of stayed with Steve [Jones’ memoir] about halfway through, and then departed from it. [John] Lydon, for instance, was never someone I ever saw acting out; he's more like that today. I never saw him do something like jump up in the room and run around going crazy. The only time I saw him ever do that was when they signed the recording deal with Virgin in front of Buckingham Palace. Whereas Sid Vicious was always acting out; he was always doing something in a horrible way or shouting at someone. I don't remember John being like that. I remember him being much more introverted.

But then I watched interviews with some of the actors about coming to grips with the parts they were playing. And they were saying, we knew punk rock happened but just didn't know any of the details. So I thought well, there you go. If ["Pistol" is]  informing a lot of people who wouldn't know anything about punk rock, maybe that's what's good about it.

Maybe down the road John Lydon will get the chance to do John's version of the Pistols story. Maybe someone will go a lot deeper into it and it won't be so surface. But maybe you needed this just to get people back in the flow.

We had punk and metal over here in the States, but it feels like England it was legitimately more dangerous. British society was much more rigid.

It never went [as] mega in America. It went big in England. It exploded when the Pistols did that interview with [TV host Bill] Grundy, that lorry truck driver put his boot through his own TV, and all the national papers had "the filth and the fury" [headlines].

We went from being unknown to being known overnight. We waited a year, Generation X. We even told them [record labels] no for nine months to a year. Every record company wanted their own punk rock group. So it went really mega in England, and it affected the whole country – the style, the fashions, everything. I mean, the Ramones were massive in England. Devo had a No. 1 song [in England] with "Satisfaction" in '77. Actually, Devo was as big as or bigger than the Pistols.

You were ahead of the pop-punk thing that happened in the late '90s, and a lot of it became tongue-in-cheek by then. It didn't have the same sense of rebelliousness as the original movement. It was more pop.

It had become a style. There was a famous book in England called Revolt Into Style — and that's what had happened, a revolt that turned into style which then they were able to duplicate in their own way. Even recently, Billie Joe [Armstrong] did his own version of "Gimme Some Truth," the Lennon song we covered way back in 1977.

When we initially were making [punk] music, it hadn't become accepted yet. It was still dangerous and turned into a style that people were used to. We were still breaking barriers.

You have a band called Generation Sex with Steve Jones and Paul Cook. I assume you all have an easier time playing Pistols and Gen X songs together now and not worrying about getting spit on like back in the '70s?

Yeah, definitely. When I got to America I told the group I was putting it together, "No one spits at the audience."

We had five years of being spat on [in the UK], and it was revolting. And they spat at you if they liked you. If they didn't like it they smashed your gear up. One night, I remember I saw blood on my T-shirt, and I think Joe Strummer got meningitis when spit went in his mouth.

You had to go through a lot to become successful, it wasn't like you just kind of got up there and did a couple of gigs. I don't think some young rock bands really get that today.

With punk going so mega in England, we definitely got a leg up. We still had a lot of work to get where we got to, and rightly so because you find out that you need to do that. A lot of groups in the old days would be together three to five years before they ever made a record, and that time is really important. In a way, what was great about punk rock for me was it was very much a learning period. I really learned a lot [about] recording music and being in a group and even writing songs.

Then when I came to America, it was a flow, really. I also really started to know what I wanted Billy Idol to be. It took me a little bit, but I kind of knew what I wanted Billy Idol to be. And even that took a while to let it marinate.

You and Miley Cyrus have developed a good working relationship in the last several years. How do you think her fans have responded to you, and your fans have responded to her?

I think they're into it. It's more the record company that she had didn't really get "Night Crawling"— it was one of the best songs on Plastic Hearts, and I don't think they understood that. They wanted to go with Dua Lipa, they wanted to go with the modern, young acts, and I don't think they realized that that song was resonating with her fans. Which is a shame really because, with Andrew Watt producing, it's a hit song.

But at the same time, I enjoyed doing it. It came out really good and it's very Billy Idol. In fact, I think it’s more Billy Idol than Miley Cyrus. I think it shows you where Andrew Watt was. He was excited about doing a Billy Idol track. She's fun to work with. She’s a really great person and she works at her singing — I watched her rehearsing for the Super Bowl performance she gave. She rehearsed all Saturday morning, all Saturday afternoon, and Sunday morning and it was that afternoon. I have to admire her fortitude. She really cares.

I remember when you went on "Viva La Bam" back in 2005 and decided to give Bam Margera’s Lamborghini a new sunroof by taking a power saw to it. Did he own that car? Was that a rental?

I think it was his car.

Did he get over it later on?

He loved it. [Laughs] He’s got a wacky sense of humor. He’s fantastic, actually. I’m really sorry to see what he's been going through just lately. He's going through a lot, and I wish him the best. He's a fantastic person, and it's a shame that he's struggling so much with his addictions. I know what it's like. It's not easy.

Musically, what is the synergy like with you guys during the past 10 years, doing Kings and Queens of the Underground and this new stuff? What is your working relationship like now in this more sober, older, mature version of you two as opposed to what it was like back in the '80s?

In lots of ways it’s not so different because we always wrote the songs together, we always talked about what we're going to do together. It was just that we were getting high at the same time.We're just not getting [that way now] but we're doing all the same things.

We're still talking about things, still [planning] things:What are we going to do next? How are we going to find new people to work with? We want to find new producers. Let's be a little bit more timely about putting stuff out.That part of our relationship is the same, you know what I mean? That never got affected. We just happened to be overloading in the '80s.

The relationship’s… matured and it's carrying on being fruitful, and I think that's pretty amazing. Really, most people don't get to this place. Usually, they hate each other by now. [Laughs] We also give each other space. We're not stopping each other doing things outside of what we’re working on together. All of that enables us to carry on working together. I love and admire him. I respect him. He's been fantastic. I mean, just standing there on stage with him is always a treat. And he’s got an immensely great sense of humor. I think that's another reason why we can hang together after all this time because we've got the sense of humor to enable us to go forward.

There's a lot of fan reaction videos online, and I noticed a lot of younger women like "Rebel Yell" because, unlike a lot of other '80s alpha male rock tunes, you're talking about satisfying your lover.

It was about my girlfriend at the time, Perri Lister. It was about how great I thought she was, how much I was in love with her, and how great women are, how powerful they are.

It was a bit of a feminist anthem in a weird way. It was all about how relationships can free you and add a lot to your life. It was a cry of love, nothing to do with the Civil War or anything like that. Perri was a big part of my life, a big part of being Billy Idol. I wanted to write about it. I'm glad that's the effect.

Is there something you hope people get out of the songs you've been doing over the last 10 years? Do you find yourself putting out a message that keeps repeating?

Well, I suppose, if anything, is that you can come to terms with your life, you can keep a hold of it. You can work your dreams into reality in a way and, look, a million years later, still be enjoying it.

The only reason I'm singing about getting out of the cage is because I kicked out of the cage years ago. I joined Generation X when I said to my parents, "I'm leaving university, and I'm joining a punk rock group." And they didn't even know what a punk rock group was. Years ago, I’d write things for myself that put me on this path, so that maybe in 2022 I could sing something like "Cage" and be owning this territory and really having a good time. This is the life I wanted.

The original UK punk movement challenged societal norms. Despite all the craziness going on throughout the world, it seems like a lot of modern rock bands are afraid to do what you guys were doing. Do you think we'll see a shift in that?

Yeah.  Art usually reacts to things, so I would think eventually there will be a massive reaction to the pop music that’s taken over — the middle of the road music, and then this kind of right wing politics. There will be a massive reaction if there's not already one. I don’t know where it will come from exactly. You never know who's gonna do [it].

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