In October 2018, ATEEZ, a new boy band determined to become a group fans could believe in, stepped onto the K-pop scene with their singles "Pirate King" and "Treasure" from their Treasure Ep.1: All To Zero EP.

As K-pop continues to expand in the U.S. with the popularity of BTS and BLACKPINK, thanks in part to the Hallyu, or "Korean wave," that has globalized the genre, ATEEZ have captured the curiosity of U.S. media. MTV said they were "poised to break big in 2019," and Billboard was quick to point out their chart success as their debut album landed on the World Charts, peaking at No.12. 

Although the octet, made up of members Seonghwa, Yunho, Yeosang, San, Mingi, Wooyoung, Jongho, and Hongjoong, are new on the block, the charts back up their potential for mass success. Their second EP, Treasure EP 2 featuring the single "Say My Name," peaked at No. 5 on the Wolrd Albums and went to No. 7 on the Heatseekers Albums chart, which Billboard noted doesn't typically list many K-pop acts. Meanwhile, MTV reports that "Say My Name" saw "upwards of 1.4 million" views on YouTube in two days. 

But rather than focus too much on where they stand compared to veterans K-pop groups, whom they refer to as their seniors, the young band (the oldest member is 21) is humble about being new to the game, even if they've already had a taste of success in the U.S.

"We’re still rookies who lack a lot to even consider competing against other artists," Seonghwa says. "But the reality is that we still have to grow amongst the competition, so we’re earnestly practicing and researching. We’re also strengthening our teamwork by talking amongst ourselves more."

The group looks up to the international Korean acts that paved the way for them and want to follow in their footsteps. For now, ATEEZ are working hard to show fans who they are through group expression, which U.S. followers will get to see live soon when their sold-out tour kicks off in Los Angeles on March 15, a feat within itself this early in their career. 

So, how did ATEEZ end up touring the U.S. so soon? Well, turns out it was their fans, also known as "ATINY," made the tour happen through an online service called MyMusicTaste, which brings fans together to request their favorite artists' concerts, according to MyMusicTaste Head of Marketing and User Communication Sarah Shim.

And the band isn't stopping after their trip to the States; next up, they're embarking on a European tour. Still, despite their seeming ubiquity, not much is known about the driven young band. Chatting with the Recording Academy over email, ATEEZ told us about who they are, who they count as musical influences, what they think about K-pop groups before them, what's next for them, and more.

What's the story behind your name? 

Seonghwa: There’s no specific story behind our name, but I can share the meaning of ATEEZ with you; ATEEZ stands for "A TEENager Z." It means we’re a team that can demonstrate the collective charms and styles of this generation’s teenagers. The name, "ATEEZ," was also created in the hopes that we would become a team that could get many people passionate about. 

What are your musical influences? 

Hongjoong: When I was young, I was greatly influenced by Michael Jackson. I still believe I’m being inspired by him even to this day. Other than musical influences, I’ve recently picked up redesigning old clothes as a hobby. Through this, I’ve been exposed to a lot of different creative elements so I’ve been getting inspiration from that as well. I also get inspired from fan letters we receive from our ATINY. In many ways, I think I’ve been getting inspiration from everything I see and experience in life. 

Mingi: I think I get musically influenced whenever an artist I really like comes out with new music. If that artist took new challenges and incorporated unique elements in their work, I’ll focus on that and try to study it. I also get a lot of musical inspiration from dramas or animations. 

Describe each member in one word: 

Hongjoong on Seonghwa: Seonghwa is a "mom." Moms are people who firmly and steadily lead families, right? Within our team, Seonghwa warmly embraces our members. He also readily tackles difficult tasks or chores other people don’t want to do. That’s why we call him the “Mom of ATEEZ.” 

Seonghwa on Yunho: Yunho is a "beagle" because he’s always overflowing with energy and has the ability to put people around him in a good mood, just like beagles do. I think the word “beagle” and everything it encompasses really matches Yunho. 

Yunho on Yeosang: Yeosang is the embodiment of the word: "pure."

Yeosang on San: San is "HALA HALA." I naturally think of the phrase "HALA HALA" when I think of San because I’ve been finding San’s HALA HALA performances especially charming these days. 

San on Mingi: Doberman... I think Mingi really looks like those sturdy and trustworthy Doberman dogs. 

Mingi on Wooyoung: Full-of-charms. Wooyoung is really charming and he’s really good at expressing it.

What is the inspiration behind "Say My Name"? 

Hongjoong: "Say My Name" was a song we were preparing long before we worked on our previous single, "Pirate King," so we had a high level of understanding and anticipation for it. When we write our lyrics, we incorporate many elements to help us more strongly convey our aspirations and ambitions to the listener. We had hidden spellings in the lyrics of “Say My Name," so when read vertically they came together to spell A.T.E.E.Z.  We worked on this song with the goal of solidifying ATEEZ’s name and presence.

Eweossa dureugo jigyeobwa (Wrap around me and watch over me)

Ireum ttak ne geulja yeogida (These four letters, it’s right here)

Ti nage namgyeonwa (Leave it behind so it’s noticeable)

Zoom in here, Cause I’m the Captain

When the bolded letters are read out loud, they sound like E.I.T.Z  (ATEEZ)

What can fans expect on the tour? 

Hongjoong: This might be the first time many of our overseas fans will see us perform live. I think when you see our stages in person, it’ll be a whole nother experience from watching us online or through a medium—you’ll be able to witness a much more powerful and engaging performance live. 

Seonghwa: If you watch our performances in person, you’ll be able to more vividly experience and feel ATEEZ’s energy.  

Yunho: You won’t be able to escape our charms after seeing ATEEZ live.

Yeosang: Yeosang’s charms, of course.

San: I think international fans didn’t have many opportunities to see us live yet. When you see us singing and dancing in person, I don’t think you’ll be able to escape ATEEZ.

Mingi: Our performance. You’ll be able to directly feel our energy. We’re practicing really hard so please look forward to it!

Wooyoung: The various charms of our eight members, and our performances. All eight of us have very different charms and strengths. Through this tour, I’d like to show all our colors to our international ATINYs.

Jongho: We've prepared a lot of things to show you. Please look forward to them!

When can we expect a full-length album? What's next for you? 

Hongjoong: It wouldn’t be much fun if I revealed when our full-length album might be released, right? I’ll just say that our album is part of a much bigger picture and story that is continuously being built! I think that’s all I can tell you for now…

We're thinking of this upcoming tour as a starting point and are planning to keep working hard in order to be acknowledged not just in Korea, but abroad as well. We’re also diligently preparing right now in order to meet and be closer to our fans, so you’ll be able to see us more often in 2019. Everyone: Please look forward to it, and please love us a lot! 

K-pop entertainment agency KQ Entertainment are proving that the boys are back in town. Five years after the debut of the agency's successful ATEEZ, xikers are making waves as KQ's first new boy group.

One of most discussed fifth-generation K-pop groups, the 10-member xikers have quickly risen to the genre's heights. Expectations were high for the rookie group, and xikers delivered. Less than two weeks after their March 2023 debut, xiker's first mini-album HOUSE OF TRICKY: Doorbell Ringing charted at No. 75 on the Billboard 200. 

Xikers developed an international following in their pre-debut days. Originally dubbed KQ Fellaz 2 as trainees, the group were featured on KQ Entertainment web series "Ready To One." The series followed the group's training journey in Los Angeles and their eventual debut.

By 2023, the group took on the moniker xikers, a combination of "hiker" for their love of travel and the unknown variable "x" as a coordinate. The group consists of Korean musicians MINJAE, JUNMIN, SUMIN, JINSIK, HYUNWOO, JUNGHOON, SEEUN, YUJUN and YECHAN; member HUNTER is from Thailand. 

Xikers' second mini-album, the six-song HOUSE OF TRICKY: How To Play, dropped on Aug. 2 and hit No. 9 on the Billboard World Albums chart. Accompanied by an alternative rock backing track, single "DO or DIE" encourages listeners to be fearless and take risks with confidence. With its hip hop influence, "HOMEBOY" simply enjoys the present without worry. 

"I get a lot of inspiration from dramas, and I tend to apply them to my lyrics," YECHAN tells GRAMMY.com.

Xikers recently performed at KCON L.A. 2023, where they wowed audiences with a cover of ATEEZ’s “BOUNCY" along with originals from their new record. In October, xikers will embark  on their first U.S. tour, dubbed WORLD TOUR TRICKY HOUSE : FIRST ENCOUNTER IN USA, hitting six cities. Ahead of their KCON performance, the group spoke with GRAMMY.com about their training journey, debut and staying tricky. 

This interview has been edited for clarity.

HOUSE OF TRICKY: How To Play has two lead singles instead of the traditional one. Which do you like more?

SUMIN: I hope the fans will like both tracks. Personally though, I think "DO or DIE" really fits me. After I dyed my hair green this time, I seem to suit the concept of the title track well. It just feels like my hair change helped me get even more immersed into the track.

Do you feel like xikers has defined its identity since debuting or are you still figuring it out?

MINJAE: I think we learned about what we’re good at to a certain extent through our first mini album promotions, but there’s so much more that xikers as a group can show. 

We have so many charming points and concepts that we’re so excited to show everyone. I’d say we’re still in the middle of figuring it out.

MINJAE, SUMIN and YECHAN, you all have writing credits on both mini-albums. Did ATEEZ leader HONGJOONG, who assisted on both records, share any words of wisdom?

MINJAE: HONGJOONG said that he would like it if we just enjoyed the process of recording and allowed our personalities to shine naturally for this album. I truly focused on just enjoying the time spent working on this new album!

SUMIN: [On] our debut album, I really focused on the storyline to write the lyrics. For the second mini album, HONGJOONG and the amazing EDENARY [production] team, told us to have more freedom in our writing. They gave us advice [to try] whatever we wanted to.

YECHAN: They gave us the reins to take it in a direction we wanted to. I think this free direction allowed us to try something new!

Last year, you performed as KQ Fellaz 2, opening for ATEEZ’S Break the Wall US Tour. Did performing as a trainee group prepare you for your official debut as xikers at KCON L.A. this year?

SEEUN: Performing in the U.S. as part of ATEEZ’s tour in North America was really helpful. We were able to really understand and learn about the attitude and enjoyment of the stage through it. It’s actually going to be my birthday while we’re in L.A., so I'm looking forward to spending my birthday in the U.S.

Prior to your debut, did you have any turning points in your life as a group or individually?

JINSIK: As we were preparing to debut, we worked on audio recordings a lot. Both in terms of my mentality and my skills, I think I grew the most during this period because we got to experience so many things. 

What vocal techniques or exercises do you use to preserve your singing voice? 

HYUNWOO: I am trying my best to find a way to create vocal sounds as comfortably as possible. Since each person has a different tone, I practice vocalization of various tones to develop the tone that I can produce.

Some groups are asked about who they look up to as vocalists and rappers but not so much about the dancers. Who are some artists you admire for their dancing?

HUNTER: I really look up to ATEEZ’s SAN dance-wise. I believe dancing is all about expressing the song’s message through movement, and using your facial expressions can really help a lot with embodying the story. 

I remember watching his facial expressions on stage and being in constant awe of how he really gives his all for every performance. Ever since then, I’ve been working really hard on improving my ability to express myself on stage.

What movie title best describes your life as an artist so far? 

YUJUN: The Greatest Showman. I think there are similarities between xikers and the movie. They practice and work hard to create a grand show, just as we work hard and practice to put on an amazing performance.

Imagine 50 years from now, and you’re still making music. What stories do you want to tell the younger generation of artists? 

HUNTER: I’d like to think that we’ll have a lot of good memories and stories to tell to the younger generation of artists. Whenever we find ourselves struggling, we always try to find a positive outlook; something that we can take from the experience to learn from it. 

I’d like to be reminded not only of the good times, but also the difficult times that we’ve overcome. It’s a message I’d like to pass on to future younger generations, so that they can embrace both the lows and highs to cultivate a positive mindset.

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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.

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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].

Living Legends: Nancy Sinatra Reflects On Creating "Power And Magic" In Studio, Developing A Legacy Beyond "Boots" & The Pop Stars She Wants To Work With

Country music's evolution is well represented in the 2023 GRAMMY nominees for Best Country Solo Performance. From crossover pop hooks to red-dirt outlaw roots, the genre's most celebrated elements are on full display — thanks to rising stars, leading ladies and country icons.

Longtime hitmaker Miranda Lambert delivered a soulful performance on the rootsy ballad "In His Arms," an arrangement as sparing as the windswept west Texas highlands where she co-wrote the song. Viral newcomer Zach Bryan dug into similar organic territory on the Oklahoma side of the Red River for "Something in the Orange," his voice accompanied with little more than an acoustic guitar.

Two of country's 2010s breakout stars are clearly still shining, too, as Maren Morris and Kelsea Ballerini both received Best Country Solo Performance GRAMMY nods. Morris channeled the determination that drove her leap-of-faith move from Texas to Nashville for the playful clap-along "Circles Around This Town," while Ballerini brought poppy hooks with a country edge on the infectiously upbeat "HEARTFIRST."

Rounding out the category is the one and only Willie Nelson, who paid tribute to his late friend Billy Joe Shaver with a cover of "Live Forever" — a fitting sentiment for the 89-year-old legend, who is approaching his eighth decade in the business. 

As the excitement builds for the 2023 GRAMMYs on Feb. 5, 2023, let's take a closer look at this year's nominees for Best Country Solo Performance.

Kelsea Ballerini — "HEARTFIRST"

In the tradition of Shania Twain, Faith Hill and Carrie Underwood, Kelsea Ballerini represents Nashville's sunnier side — and her single "HEARTFIRST" is a slice of bright, uptempo, confectionary country-pop for the ages.

Ballerini sings about leaning into a carefree crush with her heart on her sleeve, pushing aside her reservations and taking a risk on love at first sight. The scene plays out in a bar room and a back seat, as she sweeps nimbly through the verses and into a shimmering chorus, when the narrator decides she's ready to "wake up in your T-shirt." 

There are enough steel guitar licks to let you know you're listening to a country song, but the story and melody are universal. "HEARTFIRST" is Ballerini's third GRAMMY nod, but first in the Best Country Solo Performance category.

Zach Bryan — "Something In The Orange"

Zach Bryan blew into Music City seemingly from nowhere in 2017, when his original song "Heading South" — recorded on an iPhone — went viral. Then an active officer in the U.S. Navy, the Oklahoma native chased his muse through music during his downtime, striking a chord with country music fans on stark songs led by his acoustic guitar and affecting vocals.

After his honorable discharge in 2021, Bryan began his music career in earnest, and in 2022 released "Something in the Orange," a haunting ballad that stakes a convincing claim to the territory between Tyler Childers and Jason Isbell in both sonics and songwriting. Slashing slide guitar drives home the song's heartbreak, as Bryan pines for a lover whose tail lights have long since vanished over the horizon. 

"Something In The Orange" marks Bryan's first-ever GRAMMY nomination.

Miranda Lambert — "In His Arms"

Miranda Lambert is the rare, chart-topping contemporary country artist who does more than pay lip service to the genre's rural American roots. "In His Arms" originally surfaced on 2021's The Marfa Tapes, a casual recording Lambert made with Jack Ingram and Jon Randall in Marfa, Texas — a tiny arts enclave in the middle of the west Texas high desert.

In this proper studio version — recorded for her 2022 album, Palomino — Lambert retains the structure and organic feel of the mostly acoustic song; light percussion and soothing atmospherics keep her emotive vocals front and center. A native Texan herself, Lambert sounds fully at home on "In His Arms."

Lambert is the only Best Country Solo Performance nominee who is nominated in all four Country Field categories in 2023. To date, Miranda Lambert has won 3 GRAMMYs and received 27 nominations overall. 

Maren Morris — "Circles Around This Town"

When Maren Morris found herself uninspired and dealing with writer's block, she went back to what inspired her to move to Nashville nearly a decade ago — and out came "Circles Around This Town," the lead single from her 2022 album Humble Quest.

Written in one of her first in-person songwriting sessions since the pandemic, Morris has called "Circles Around This Town" her "most autobiographical song" to date; she even recreated her own teenage bedroom for the song's video. As she looks back to her Texas beginnings and the life she left for Nashville, Morris' voice soars over anthemic, yet easygoing production. 

Morris last won a GRAMMY for Best Country Solo Performance in 2017, when her song "My Church" earned the singer her first GRAMMY. To date, Maren Morris has won one GRAMMY and received 17 nominations overall.

Willie Nelson — "Live Forever"

Country music icon Willie Nelson is no stranger to the GRAMMYs, and this year he aims to add to his collection of 10 gramophones. He earned another three nominations for 2023 — bringing his career total to 56 — including a Best Country Solo Performance nod for "Live Forever."

Nelson's performance of "Live Forever," the lead track of the 2022 tribute album Live Forever: A Tribute to Billy Joe Shaver, is a faithful rendition of Shaver's signature song. Still, Nelson puts his own twist on the tune, recruiting Lucinda Williams for backing vocals and echoing the melody with the inimitable tone of his nylon-string Martin guitar. 

Shaver, an outlaw country pioneer who passed in 2020 at 81 years old, never had any hits of his own during his lifetime. But plenty of his songs were still heard, thanks to stars like Elvis Presley, Kris Kristofferson and Waylon Jennings. Nelson was a longtime friend and frequent collaborator of Shaver's — and now has a GRAMMY nom to show for it.

2023 GRAMMY Nominations: See The Complete Nominees List