(For a complete list of 52nd GRAMMY Award winners, please click here.)

Current GRAMMY Award nominees Beyoncé, the Black Eyed Peas, Lady Antebellum, Maxwell, and Taylor Swift are the first performers announced for the 52nd Annual GRAMMY Awards telecast.

A 10-time GRAMMY winner, Beyoncé leads with 10 nominations: Record Of The Year and Best Female Pop Vocal Performance for "Halo"; Album Of The Year and Best Contemporary R&B Album for I Am…Sasha Fierce; Song Of The Year, Best Female R&B Vocal Performance and Best R&B Song for "Single Ladies (Put A Ring On It)"; Best Traditional R&B Vocal Performance for "At Last"; Best Rap/Sung Collaboration for "Ego" (with Kanye West); and Best Song Written For Motion Picture, Television Or Other Visual Media for "Once In A Lifetime" (from Cadillac Records, with Ian Dench, James Dring, Amanda Ghost, Scott McFarnon, and Jody Street).

Swift has eight nods: Record Of The Year, Song Of The Year (with Liz Rose), and Best Female Pop Vocal Performance for "You Belong With Me"; Album Of The Year and Best Country Album for Fearless; Best Pop Collaboration With Vocals for "Breathe" (with Colbie Caillat); and Best Female Country Vocal Performance and Best Country Song (with Liz Rose) for "White Horse."

Three-time GRAMMY winners the Black Eyed Peas and Maxwell each are up for six awards: the Black Eyed Peas for Record Of The Year and Best Pop Performance By A Duo Or Group With Vocals for "I Gotta Feeling," Album Of The Year and Best Pop Vocal Album for The E.N.D., and Best Dance Recording and Best Short Form Video for "Boom Boom Pow"; and Maxwell for Song Of The Year, Best Male R&B Vocal Performance, and Best R&B Song for "Pretty Wings," Best Male Pop Vocal Performance for "Love You," Best Pop Instrumental Performance for "Phoenix Rise," and Best R&B Album for Blacksummers' Night.

Lady Antebellum has two nominations: Best Country Performance By A Duo Or Group With Vocals and Best Country Song (with Tom Douglas) for "I Run To You."

As previously announced on "The GRAMMY Nominations Concert Live!!" on Dec. 2, music fans can upload a 20-second video of themselves singing along to a portion of the Black Eyed Peas' "I Gotta Feeling" for a chance to have their video appear as part of the Peas' performance on Music's Biggest Night. Videos may be uploaded to CBS.com through Jan. 15, 2010.

The 52nd GRAMMY Awards will take place live on Sunday, Jan. 31, 2010, at Staples Center in Los Angeles and will be broadcast in HDTV and 5.1 Surround Sound on the CBS Television Network from 8–11:30 p.m. (ET/PT). The show also will be supported on radio via Westwood One worldwide, and covered online at GRAMMY.com and CBS.com, and on YouTube. Additional performers, presenters and special segments will be announced soon. For GRAMMY coverage, updates and breaking news, please visit The Recording Academy's social networks on Twitter and Facebook.

The 52nd Annual GRAMMY Awards are produced by John Cossette Productions and AEG Ehrlich Ventures for The Recording Academy. Ken Ehrlich and John Cossette are executive producers, and Louis J. Horvitz is director.
 

It's been a turbulent five-year journey for Travis Scott bridging the worlds of ASTROWORLD to UTOPIA.

Since the 2018 GRAMMY-nominated album solidified Scott as part of rap's A-list, he's endured the highest of highs and the lowest of lows. Amid working on the album (which he began teasing in 2020), his 2021 iteration of Astroworld Festival resulted in a crowd crush that killed 10. 

Three months later, he welcomed his second child with Kylie Jenner. Earlier this year, the pair reportedly split; just weeks before UTOPIA's arrival, Scott was cleared of any criminal liability for the Astroworld Festival incident, but civil lawsuits remain to be sorted.  

Expectations were already sky-high for Scott to maintain luminary status with his ASTROWORLD follow-up. But after he experienced tragedy and heartbreak alongside triumphs and joy, Scott had all eyes on him as UTOPIA arrived on July 28. Yet, the pressure didn't seem to faze the Houston-born rapper — UTOPIA creates another euphoric world for his loyal fans.

In honor of La Flame's star-studded fourth studio LP — which is loaded with 18 features across 19 tracks — here are five early takeaways surrounding UTOPIA. 

CIRCUS MAXIMUS Is UTOPIA's Visual Companion

Fans didn't know what to expect with Scott's CIRCUS MAXIMUS, which hit select theaters mere hours prior to UTOPIA. The 76-minute film — which takes its name from a UTOPIA track — serves as more of a series of music videos centered around a conversation between the rapper and producer Rick Rubin.

"You've come a long way — is the house half empty or completely empty? How are the kids? I heard there was a tragedy," Rubin asks Scott at one point, but he takes the conversation in a different direction.

The Harmony Korine-directed movie features about half of the songs from UTOPIA and includes appearances from Sheck Wes, Yung Lean and James Blake. Scott goes from DJing a colorful dance party for "MODERN JAM" to smashing chairs and nearly burning down an ancient Italian racing stadium while "FE!N" rings off.

CIRCUS MAXIMUS also allows Scott to share his rather unexpected interpretation of what UTOPIA means inside his world. "UTOPIA is not all pretty," he says in the film. "It's how you balance the idea of confrontation."

Yeezus Rises Again

Scott and Kanye West have had a longstanding musical partnership, as Scott played an integral role behind-the-scenes of West's rebellious 2013 album, Yeezus. A decade later, West's fingerprints are all over UTOPIA — even without a vocal guest appearance.

West earned production credits on "MODERN JAM," "THANK GOD," "TELEKINESIS" and "GOD'S COUNTRY." The latter two were originally on the track list for 2021's Donda before Ye passed them off to Scott to bring across the finish line. 

Elsewhere, "CIRCUS MAXIMUS" is essentially a "Black Skinhead" part two; it interpolates the rugged Yeezus standout, and it was co-produced by Noah Goldstein, Ye's audio engineer for most of his career. 

Trav's most blunt pledge to Kanye came on "Skitzo," which calls back to West's alleged presidential bid for 2024. "I'm loyal, b—, I got Ye over Biden," Scott candidly raps.

Drake And Travis Scott Take Aim At Their Opps Once Again

Drake and Travis Scott have proven to be a winning combination in the past with diamond-certified smashes like "SICKO MODE," and they aimed to recreate that magic with "MELTDOWN."

Right out of the gate, Drake makes a fiery statement with bars seemingly addressing Pusha T — but he's really sniping his close friend Pharrell, mirroring his shots at Kanye West in his "SICKO MODE" verse.

"I melt down the chains that I bought from yo' boss," Drake raps in reference to a Skateboard P pendant he recently purchased at an auction from Pharrell. The 6 God goes on to diss Pharrell's new position as a creative director at Louis Vuitton and claims nobody's messing with the designer brand since the 2021 death of former head Virgil Abloh.

"Give a f— about all of that heritage s—/ Since V not around, the members done hung up the Louis/ They not even wearing that s—," he continues.

Scott joined Drake in the sinister "tensions rising" theme, subliminally dissing Wonka star Timothée Chalamet, who has reportedly been dating his ex Kylie Jenner. "Chocolate AP and chocolate the Vs (Vs), got the Willy Wonka factory/Burn a athlete like it's calories, find another flame hot as me, b—," Scott spits.

While "Meltdown" may not reach the same commercial heights as "SICKO MODE," it has certainly caused a stir on social media. "Drake went crazy… I love when dude starts gettin' chippy!" Hot 97's Ebro Darden wrote on Twitter. As another fan claimed, "Rap been boring. I gotta thank Drake honestly for wanting to get back in the ring."

Scott Finally Got His Dream Collab

Perhaps one of UTOPIA's buzziest cameos comes from Beyoncé, who appears on "DELRESTO (ECHOES)." It marks a full-circle moment for Scott, too, as he has long tried to manifest a collab with his fellow Houston native, publicly declaring his hopes for a Bey team-up to Complex in 2016. (Prior to UTOPIA's release, eagle-eyed fans noticed that the newspaper cover art for "DELRESTO (ECHOES)" had been incorporated as part of Bey's Renaissance Tour decor.)

As Bey continues to ride out her RENAISSANCE groove, Scott fits in well with his hypnotic flow. And in a rather surprising twist, Bon Iver's Justin Vernon rounds out the track by pouring in his ethereal vocals behind the triumphant Hit-Boy production.

While Bey does much of the heavy lifting on "DELRESTO (ECHOES)," Scott's verse still stands out as he declares he won't give up on a new love interest. "The starry nights, they start to fade (Come on)/ At times, for miles I see your face, yeah," Scott testifies, borrowing from Kanye's "Coldest Winter" flow.

"MODERN JAM" Is The Hit Fans Will Eventually Catch On To

Scott's Ragers normally rush to collide for a sweaty moshpit when his music comes on. But with the genre-bending UTOPIA track "MODERN JAM," La Flame's moving the crowd from the mosh pit to the dance floor.

According to Kanye West fan page Donda's Place, "MODERN JAM" is a 10-year-old alternate version of the raw beat that became Yeezus' "I Am A God." Travis expertly meshes the abrasiveness of Ye's hard-hitting 808s with a groovy baseline. And with production help from Daft Punk's Guy-Manuel de Homem-Christo, the Teezo Touchdown-assisted track is a good bet to slow-burn its way to major chart success — even if it has a different feel than what Scott's fans are used to.

Since the beginning of Scott's career, he has been a trendsetter pushing the boundaries of what's considered mainstream hip-hop. He knows how to introduce foreign sonics in such a digestible way that it allows him to take creative risks and still thrive as a commercial titan — and UTOPIA is proof that he hasn't lost his Midas touch.

12 Post Malone Songs That Showcase His History-Making Vision, From "White Iverson" To "Mourning"

Since the 2021 release of SOUR, critics and listeners alike have touted Olivia Rodrigo for her knack to eloquently pen the relatable woes of adolescence and the pitfalls of falling in love too hard. Her latest single, "vampire," is no different.

Despite trading in her "drivers license" teenage loverboy for an older man, the perfectly executed expression of agony remains. As Rodrigo wails on the chorus, "You made me look so naïve/ The way you sold me for parts/ As you suck your teeth into me/ Bloodsucker, famef—er/ Bleeding me dry like a g——n vampire."

But before there was Rodrigo, there was Avril Lavigne, Taylor Swift, and Alanis Morissette — none of which would be where they were without pioneers of diaristic songwriting, Carole King and Carly Simon. Thanks to the immortalization of their music, we can relive the shift from poetic disclosures of hurt, which King exemplifies on "It's Too Late," to more unrepentant, straightforward jabs (like Kate Nash says on "Foundations," "Don't want to look at your face 'cause it's making me sick") and harrowing battle cries (as Miley Cyrus roars, "I came in like a wrecking ball"). 

Below, revisit 15 songs by empowered women, from 1971 all the way to 2021, who reclaimed the breakup narrative with their fervent sentences of damnation — because, as the age-old saying goes, hell hath no fury like a woman scorned.

Carole King — "It's Too Late" (1971)

When Carole King released "It's Too Late" in 1971, it marked a new era of songwriting. Discussions about divorce were generally unheard of, but even more so when initiated by a woman. Yet, King carried on to unapologetically release "It's Too Late," which later won a GRAMMY for Record of the Year and is lauded by Rolling Stone as one of the 500 Greatest Songs of All Time.

On this folky track, King and her husband's inevitable parting is on the horizon, but she isn't resentful per se. Instead, she's more troubled by the embarrassment of her husband's growing discontent, admitting, "I feel like a fool." And at this point, she's ready to move on and can be grateful for the times they've shared. 

Carly Simon — "You're So Vain" (1972)

In her '70s chart-topper, Carly Simon narrates the tale of an arrogant man who believes every woman is enchanted by his aura. But the folk songstress wants to make it very clear she's not impressed by his embellished stories or luxurious closet.

Usually, it's easy to guess the subject of a breakup song, but "You're So Vain" has led to decades of speculation. Many have assumed it could be about James Taylor, who Simon married in 1972 and divorced in 1983, or Mick Jagger, who provided vocals to the track (a theory that was later debunked). To this day, she has only revealed the track's inspiration to a select few, including Taylor Swift, who names Simon as one of her role models.

Joan Jett And The Blackhearts — "I Hate Myself For Loving You" (1986)

Joan Jett might not give a damn about her bad reputation, but she despises nothing more than her ex-lover making her look like a lovesick fool.

On "I Hate Myself for Loving You," the '80s chanteuse wraps herself around a classic glam rock beat, unveiling her contempt for a man who's neglected her. Stripped of her pride, Jett begins to resent herself for holding onto her feelings — as evidenced by the song's title. 

She tries to hide her dwelling desires ("I want to walk, but I run back to you") but ultimately fails to rid herself of the emotions, leaving her to fantasize about the sweet justice of one day roping him back in, just to leave him. 

Alanis Morissette — "You Oughta Know" (1995)

It's impossible to talk about scathing breakup songs without acknowledging Alanis Morissette's quintessential heartbreak anthem, "You Oughta Know." At the time of its release, the Jagged Little Pill single contained some of the most honest and vitriolic lyrics in existence.

Morissette begins with an illusive statement, "I want you to know that I'm happy for you," which, by the second verse, crumbles into a revelation, "I'm not quite as well, you should know." As she culminates into her most confessional, the instrumental rises into an addicting ruckus, with Morissette revealing the thoughts most of us would be too ashamed to admit: "It was a slap in the face how quickly I was replaced/ And are you thinkin' of me when you f— her?"

Shania Twain — "That Don't Impress Me Much" (1997)

Shania Twain has a particular superpower of delivering each of her lyrics with an air of lightheartedness and confidence. So, when you hear a track like "That Don't Impress Me Much," her disappointment and irritation becomes undetectable.

A quick examination of Twain's story proves — despite the song's bouncy melodies — she's jaded by her ex's preoccupation with his vehicle, appearance and intelligence. Sure, he might be perfect on paper, but he lacks the qualities of a forever lover, and his unmerited ego should be reserved for true big shots like Elvis Presley and Brad Pitt.

Michelle Branch — "Are You Happy Now?" (2003)

In the opening verse of "Are You Happy Now?," Michelle Branch pleads, "No, don't just walk away/ Pretending everything's okay, and you don't care about me." At first, she is in disbelief that her once admirer would swiftly brush her off, but as she reaches the chorus, she begins to question whether his actions were a lie all along.

Her mind racing, Branch teeters between shameless questions of "Do you really have everything you want?" and "Could you look me in the eye and tell me you're happy now?" But by the song's end, she gets the most satisfying payback of all — peace without him: "I'm not about to break/ 'Cause I'm happy now."

Avril Lavigne — "My Happy Ending" (2004)

"My Happy Ending" finds 2000s pop-punk maven Avril Lavigne grasping onto the shards of a broken relationship and trying to pinpoint where everything went wrong. She could have said the "wrong" thing, or her partner's misfit friends might have spoken negatively about her. But there is one thing she does know with certainty: there is no way to pick up the pieces.

Coming to terms with the truth, Lavigne repositions her anger toward the other person for stripping her of her fairytale ending, sarcastically acknowledging him for their time spent together over a somber piano: "It's nice to know you were there/ Thanks for acting like you care/ And making me feel like I was the only one."

Kelly Clarkson — "Gone" (2004)

Kelly Clarkson has traversed almost every emotion in love, from her epic breakup anthems like "Behind These Hazel Eyes" to her most recent LP chemistry. But "Gone" may just be her most unrelenting to date.

Introduced by its Breakaway counterpart "Since U Been Gone," the mononymous "Gone" extends Clarkson's journey of healing — this time, with a more explicit and mature diatribe against her ex's character. Rather than using trivial attacks, Clarkson instead chooses to call out his assumption she'd run back into his arms, later declaring an end to her toleration: "There is nothing you can say/ Sorry doesn't cut it, babe/ Take the hit and walk away, 'cause I'm gone."

Lily Allen — "Smile" (2006)

With "Smile," Lily Allen gets her sweet revenge through the sight of her former flame's tears and misfortune. But the lyrics of Allen's breakthrough single doesn't exactly clarify the specifications of her antics, only an explanation for its origins.

After a cheating scandal ends her relationship, her mental health plummets — until he comes crawling back for her mercy. Upon hearing his pleas, she comes to a realization: "When I see you cry, it makes me smile." And as the conniving music video shows, anyone who cheats on her will get their karma — perhaps in the form of organized burglary, beatings, and a laxative slipped into their morning coffee.

Kate Nash — "Foundations" (2007)

Following in the footsteps of her mentor Lily Allen, Kate Nash vividly paints the tragedy of falling out of love, made prismatic by her plain-spoken lyrics ("Your face is pasty 'cause you've gone and got so wasted, what a surprise!") and her charming, thick London accent.

In this story, Nash has not quite removed herself from the shackles of her failing relationship. In fact, she'd like to salvage it, despite her boyfriend's tendency to humiliate her and her irresistible urge to sneer back with a sarcastic comment. By the end of the track, Nash, becoming more restless, packs on new ways to inconvenience him — but in the end, still wonders if there's any saving grace to preserve their once blazing spark out of a fear of loneliness.

P!nk — "So What" (2008)

The year P!nk wrote "So What," she already had a bevy of platinum singles under her belt. With a gleaming social status and peaking career, she was apathetic to the temporary separation from her now husband, Carey Hart. Feeling the highs of newfound singlehood, P!nk was ready to incite personal tyranny, whether that meant not paying Hart's rent, drinking her money, or starting a fight.

Ironically, Hart appears as the antagonist in the music video, which P!nk revealed via her official fan website was a testament of their growth: "Carey hadn't heard the song before he did the video. That's how much he trusts and loves me [...] He gets it. He gets me," she said.

Taylor Swift — "Picture To Burn" (2006)

Taylor Swift has long solidified herself as the reigning queen of love songs, from ballads honoring the most committed relationships to diss tracks of heartbreaking adolescent flings. The latter houses one of the earliest (and most twangy) hits in Swift's sweeping catalog: "Picture to Burn."

In this deceivingly upbeat tune, Swift vows to seek vengeance on a boyfriend after he leaves her to date one of her friends — from getting with his friends to having her father give him a piece of his mind. And along the way, she will gladly dish out a few insults: "You're a redneck heartbreak who's really bad at lying/ So watch me strike a match on all my wasted time/ As far as I'm concerned, you're just another picture to burn."

Miley Cyrus — "Wrecking Ball" (2013)

Closing the door on her Hannah Montana days, Miley Cyrus' "Wrecking Ball" saw the childhood pop star in her most grown-up and vulnerable state to date. Months before the release, Cyrus had called off her engagement to her longtime boyfriend, Liam Hemsworth, paving the way for her thunderous performance on the Bangerz single.

Just as affecting as Cyrus' belting vocals is the track's iconic music video. Cyrus climaxes with a deafening cry — "All you did was wreck me" — as she swings across the screen on an actual wrecking ball, breaking down all her physical and metaphorical walls. 

Halsey — "You should be sad" (2020)

By the mid-2010s, the industry had put angst on the back burner in exchange for feel-good EDM and trap beats. Well, that is, at least, until Halsey entered the picture.

After just two years in the limelight, Halsey had cultivated a vibrant assortment of sonic melodrama — from the dirt and grime of toxic, failed love on tracks "Bad at Love" and "Colors" to the Bonnie and Clyde-esque heated passion of "Him & I."

In 2020, Halsey rounded out her discography with the genre-bending, introspective Manic, where a track like "You should be sad" commands your attention with matter-of-fact, vindictive comments: "I'm so glad I never ever had a baby with you/ 'Cause you can't love nothing unless there's something in it for you."

GAYLE — "abcdefu" (2021)

Unlike most love songs, GAYLE refuses to point her fury on "abcdefu" solely toward her heartbreaker. The then-16-year-old singer, instead, rages against his mother, sister and pretty much anyone (and anything) he's associated with — other than his dog — across a searing melody with a bewitching bassline.

Earlier this year, GAYLE revealed to GRAMMY.com that she was "angry at him and was angry at the people who enabled him and his behavior." That animosity was palpable in "abcdefu," creating a magic as empowering as it is cathartic — and, like many songs that came before it, proving that there can be power in pain.

Behind The Scenes Of The Eras Tour: Taylor Swift's Opening Acts Unveil The Magic Of The Sensational Concert

To say Taylor Swift's Eras Tour is leaving everyone wonderstruck would be an understatement.

Distilling a 17-year discography as iconic as Swift's into one show sounds impossible, but the star has proven that no task is too daunting for her. And while she has conquered stadiums with ease before, The Eras Tour transcends her foregoing concerts with its all-encompassing three-hour setlist, high-level production and powerful pathos: its worldwide magnificence is pure magic.

Enchanting hundreds of thousands since March, Swift's latest tour is as delightful as it is influential, providing a perfectly satisfying mix of nostalgia and surprises in true Swift fashion. Even though the musician is technically in her Midnights era, the celebration of her remarkable career is undoubtedly historic — and she's determined to share the moment with other artists during her trek across the globe.

The Eras Tour has featured a cohort of rising and established stars, from 2000s rock staples Paramore to indie rockers like beabadoobee and Phoebe Bridgers. They all have that same sparkle of charm and creativity that made Swift a sensation, and they also share a passion for her beloved discography. To understand what it's like playing a part in such a historic tour, GRAMMY.com spoke with some of Swift's opening acts about performing for sold-out stadiums.

"I shed a tear because I knew that it meant Taylor really believed in me," OWENN, who was a backup dancer on Swift's 1989 Tour, said of his invitation to open for the tour.

From special epiphanies to hilarious backstage moments, OWENN and his fellow openers Gracie Abrams, beabadoobee, girl in red, and GAYLE take us along their Eras Tour journeys — all the way back to the very first night.

These interviews have been edited for length and clarity.

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Tell us about the moment you were offered an opening slot for The Eras Tour. What did the invitation mean to you?

Gracie Abrams: Prior to ever dreaming about my own shows I dreamt about going on tour with Taylor… The invitation to join the Eras Tour felt like the biggest prank of all time. I was like, "this can't be right…"

It made my world stop and I just couldn't believe the scale of the honor. I still can't believe it, two months into playing the tour. It's the best for every reason and in every way.

OWENN: I was offered The Eras slot while I was on tour choreographing for Lil Nas X. It was definitely [a] moment that I will never forget… It meant that Taylor really believed in me and that my life was going to be forever changed.

beabadoobee: A serious pinch me moment! It was the end of last year, around the time I was doing "Jimmy Fallon" in December, and I was speaking with my manager about joining Taylor's tour as the main support. Funny because years ago I did an interview and mentioned how she would be my dream artist to go on tour with. I was thrilled to be a part of her Eras Tour.

girl in red: I was so stoked when I was offered to be opening act on the Eras Tour! I had never been to a stadium show, let alone play one, and the fact that my favorite artist invited me is just the coolest thing.

GAYLE: My manager and I — Kristina Russo, who has been my manager since I was 14 — were in my hotel room when she got a call and had a formal offer with all of the dates.  We cried, jumped around, and hugged.

My manager and I then surprised [my bandmates] by screaming "We're opening for Taylor Swift!" and they were shocked! We all hugged and cried, and I got two ice cream cakes from Uber Eats delivered to my hotel room, and we all ate them with plastic forks on the ground. It was truly one of the best days ever!

It was such an honor to be invited onto this tour. I know that's not a decision she takes lightly, so to be a part of that is the best thing ever.

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Walk me through your first night on the tour. What was going through your mind? What was the energy like?

Abrams: The first day of tour I just remember walking into the stadium for soundcheck and crying laughing as soon as I heard my voice on the PA. It felt insane, to be honest, I felt crazy.

But then walking on stage, it was all of a sudden just about the community of people, the beyond dedicated die-hard fans who looked gorgeous and sparkly and committed to their outfits — it was about celebrating Taylor's legacy. It was like everyone in the room could feel the weight of it. I felt the most amount of gratitude, and I was also just internally bubbling with anticipation to watch her show on this tour for the first time.

OWENN: The first night on tour was insane! I rehearsed so much and trained really hard, but nothing could have prepared me for that level of energy and intensity ... from my vocals to me dancing in front of all of those people. It was definitely a surreal moment. Electrifying!

beabadoobee: Honestly every emotion. I would go through being extremely excited to terrified, to wanting to throw up all over myself and then back to being just so pumped to get out there.

The energy was incredible — the stadiums, the stage, the crew, and the fans were all so supportive too. I always caught some fans singing and dancing to my songs; that really surprised me!

girl in red: The first day we were playing I remember walking up on stage for soundcheck and getting really nervous about playing later cause it was so big. I was worried I'd mess up the words and make a fool out of myself, but luckily it went well!

GAYLE: Opening up for the first night on the Eras tour was such a high honor and I was so scared. I practiced a million times in my hotel room because I was so anxious that I was going to forget the setlist. I made my whole family and my best friend's family go to the first two shows in Arizona. I also randomly really, really, really wanted my brother to think I did a good job.

Everyone in the crowd was so excited to kick off the tour, and so many people hadn't seen Taylor live in so long! It was such a kind crowd, and there was so much excitement and energy. It will forever be a memory I keep very close to my heart.

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How does this tour compare to other tours you've been part of? What makes it unique?

Abrams: Every single inch of this tour is unlike any other I've been a part of in the past. This is only my second year touring ever, and to have had the opportunity to see the inner workings of the biggest tour in the world so intimately is just the luckiest thing.

Everyone that I've gotten to know on the crew of the Eras Tour is an exceptional person. Everyone is so hard working and so passionate about their role in the tour, and that alone is inspiring, even more so to realize it is a direct result of Taylor's energy and attitude as a person and as a leader. I think everybody feels as proud and lucky as I do to be involved in any capacity.

OWENN: I feel like every tour is unique in its own way, but this one for sure is different for me because I'm singing instead of dancing in the background. A completely different experience!

beabadoobee: The sheer size of everything, how professional Taylor is, and of course how it felt like we entered her world. She played for three plus hours and she looked like she didn't break a sweat. She's a superstar through and through and one of the nicest people on top. Really inspiring to see her perform to like 100,000 people yet still make you feel like she's playing and singing to just you.

girl in red: I think the biggest difference is the scale of the venue and that people might not know who you are. People are there to see Taylor, so the crowd chemistry is a little different and you have to adapt to that! 

GAYLE: Well, Taylor was my first stadium tour ever — which is the craziest thing to say ever. With other tours I've been on, I can distantly remember at what age I heard their songs and fell in love with their music. I fell in love with AJR when I was 12. I fell in love with P!nk when I was 10, thanks to my mother. I got obsessed with My Chemical Romance when I was 14, and I heard Tate McRae when I was about 15 and I loved her music. I've heard of Taylor Swift my whole entire life and there was never a point in my life where I didn't know and love her.

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Share a special backstage moment — anything fun, silly, memorable that happened.

Abrams: I honestly just feel so lucky to be going through this tour with my crew and band, every one of whom are my second family now, the people I love more than anything and trust so deeply and laugh so hard with. I think for all of us having the opportunity to lean on each other as we've gone through these milestone firsts has been really formative.

OWENN: A very special backstage moment for me is when myself, my band and team all join hands in a circle and say a prayer. It's a beautiful moment for me as we're all connected and about to go on stage.

beabadoobee: We got to hang out backstage and just have fun, have a laugh and speak about our cats and whatever was on our minds. She's the loveliest person and even that she made the time meant a lot.

girl in red: I think the most memorable part of the tour, aside from playing my show, is getting to see Taylor play her show. After my show, I get ready to see her put on the performance of a lifetime and it feels like I'm in a very special time in my life. Very happy to be here.

GAYLE: I get very nauseous before and after I'm on stage and once, I walked off stage and started vomiting everywhere. The trash can was unfortunately right where Phoebe Bridgers was walking on stage, so I wished her and her band good luck as I was vomiting.

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What have you learned from watching Taylor's show? What's been your favorite song to hear live or a memorable onstage moment?

Abrams: Watching Taylor's show is like watching an Olympian. Watching Taylor's show is also like sitting in a tiny room and sharing secrets with your best friend. There's a strength and a sensitivity to her show that is unlike anything I have ever seen or heard of in my entire life, with the exception of knowing her as a friend.

She is as rare a person as she is an artist and performer. I think the most popular opinion in the world right now is that Taylor's show is the best in the history of time. To watch and study the ways in which she's able to hold herself fully, while also carrying these stadiums of so many tens of thousands as they sob and dance and laugh and scream, is just unimaginable until you're lucky enough to see it for yourself.

OWENN: I actually have a couple of favorite things. When Taylor goes through the 1989 and reputation eras, I have flashbacks of those tours from the memories with her and the dancers to the actual choreography, it's so nostalgic!

And the opening of The Eras Tour! "Miss Americana & the Heartbreak Prince" is actually one of my favorite songs from Taylor so that's always a treat.

beabadoobee: I think the biggest take away is hearing her amazing songwriting. She really has a knack for making incredible songs and storytelling, being so direct with her words and lyric choices, I personally love that!

It was mind-blowing watching her go through each era and nail everything — all the costume changes, the acting theatrical elements to the show, and of course her insane stamina to go for more than three hours every night. I've never seen anything like that.

My favorite moment has to be when she dedicated "Our Song" to me and then played it on the first night. That song means so much to me and I mentioned in an interview a while back how it was my ringtone when I was younger and shaped my childhood. It was awesome!

girl in red: I've learned so much from seeing her performance, but I think what sticks out the most to me is how perfected the show is and how that truly just reflects Taylor as an artist. She has created all this beautiful and fantastic music and now she's made the most entertaining show. I'm so inspired by her work ethic and she really puts the work in – and that's why she is the best.

GAYLE: "Cruel Summer" is a hit and the best thing ever! Also "my tears ricochet" kills me, but also "champagne problems, " but also "Bejeweled." Also, watching Ice Spice and Taylor play "Karma" together was iconic!

I've learned that Taylor Swift is a beast and can do the impossible — sing for three and a half hours for three days straight, and for multiple weekends in a row. She paces herself beautifully and the way she paces her setlist is amazing. [She] is captivating from beginning to end.

5 Reasons Why Taylor Swift's Eras Tour Will Be The Most Legendary Of Her Generation

According to the Spanish press, Beyoncé is a goddess, which, at this point in her 30 years career, is a rather irrefutable claim. Yet the artist is proving her status once again via her 56-date Renaissance World Tour, which arrives in the U.S. on July 12.

"Beyoncé isn't a human, isn't divine, she's something much more powerful," Spanish publication  El Confidencial proclaimed after her June 8 date in Barcelona, her eighth tour stop. 

I can't really argue with these claims, likely scribbled furiously by some of the men sitting near me inside Barcelona's Lluís Companys Olympic Stadium. There, the pop diva brought her GRAMMY-winning RENAISSANCE album — which celebrates queer Black culture, house music and disco — to life in a show that also samples from her rich catalog. 

Yet the humanity behind the most-decorated GRAMMY winner could be felt acutely throughout: when she'd shout out to the audience, or when she gave the floor to her daughter Blue Ivy or her incredible dance crew, and in the simple act of hearing her unparalleled voice in person. 

It's impossible to attend this stellar show — a two-and-a-half-hour work of art — and not attempt to calculate all the work and care that Beyoncé and her team put into executing a live celebration of RENAISSANCE and her wider catalog. One of the writers in my midst looked like he was performing calculus to determine how the hell Queen Bey brought so much magic on stage. 

Beyoncé will launch the North American leg of her tour in July in Toronto. If you are lucky enough to score a ticket, you’re in for a treat; the performance features a runway show of iconic looks (which change nightly), an energetic setlist brought to life by a large, stellar live band, and a ballroom performance. The show has been executed flawlessly of course, but by the time Queen Bey and her crew bring it to the U.S., they’ll have put in hours and hours of practice for what will undoubtedly make for a heavenly event.

Read on for a lowdown of what Beyoncé served up at her record-breaking Barcelona show (the sold-out crowd of 53,000 was the largest audience for a solo female artist in Spanish history) to get a taste of what you can anticipate when she brings the energy, glitz and glam to a city near you.

Expect Uninterrupted Dance Floor Ecstasy

"My intention was to create a safe place, a place without judgment. A place to be free of perfectionism and overthinking. A place to scream, release, feel freedom," Bey wrote in her announcement of the RENAISSANCE album last summer. "I hope it inspires you to release the wiggle. Ha! And to feel as unique, strong, and sexy as you are." 

She’s brought that intention fully to life with the Renaissance tour,  creating collective moments to stadiums full of dancing, euphoric bodies.

The expert curation of seemingly endless looks, incredible choreography and seamless setlist filled with "remix" moments made it hard to sit down. The show is so action-packed, you'll be catching your breath if you try to track every single sample and gravity-defying dance move. Even when the queen left the stage for a costume change, her incredible dancers continued the energy and kept the eye-catching show going. 

Just as the album plays like a DJ set, with each track leading directly into a juicy teaser of the next track, the stacked setlist of 40 songs is just as lively, energetic and flowing. "Samples" from across her catalog and her influences were woven into every song, offering fresh renditions of her music and a non-stop delivery of groove. 

Beyoncé's voice was impeccable; her vocal range shined through the expansive set list. On tracks like "Heated," Beyoncé reminded us she’s a badass rapper who can throw down bars.

The Custom Designer Looks Are A Show In Itself

The show’s plentiful fashion moments channeled the sparkle and glam of the disco era through a Afrofuturistic, space age lens, to eye-catching effect. Expect more fresh variations of her Renaissance lookbook stateside to be revealed each night. 

In Europe, Bey rotated her looks for each show, an extra special treat for fans (and surely for the fashionista herself) as she debuted new ones. Her European tour was filled with outfits from established and smaller designers — including some local brands —  with Balmain, David Koma and Loewe designs aplenty.  To commemorate Juneteenth at her Amsterdam show, she exclusively wore outfits by Black designers. The coordinating accessories were on-point as well; apparently, the singer brought 41 pairs of custom Jimmy Choos on the trek. 

In a rather legendary moment in Barcelona, Ms. Carter returned from a costume change lounging on a gigantic golden shell as she sang "Plastic Off The Sofa." In her peak shimmery moment of the evening, she soon revealed her head-turning golden custom Loewe catsuit, covered in sparkling red-fingernailed hands. She rocked sparkly black red finger-nailed gloves and gold rhinestone booties to match. The dancers wore matte, mesh catsuits, each with their "hands" in different positions.

Other stunning ‘fits from her Barcelona show included a colorful psychedelic mesh dress by David Koma paired with rimless bedazzled space-age sunglasses. She donned a silver, red and black leather space suit from Fendi with matching thigh-high boots, silver gloves and an upcycled fur stole she added on later. 

During the jaw-dropping "Mind Control" act featuring "America Has A Problem," Queen Bey channeled her nickname in a futuristic killer queen space bee look from Mugler with thigh high patent high-heeled boots and antennaed helmet. She’s served up an artsy, buzz-worthy selection of bee-inspired couture during this segment (near the end) of the show.

The BeyHive also adorned themselves in rhinestones, sequins, silver-everything, and cowboy hats and boots to pay tribute to their queen. 

It’s Not Just Glitz & Glam, There’s Plenty Of Feels

Beyoncé’s 11-year-old daughter Blue Ivy also made headlines during the European tour. During the impactful The Lion King: The Gift cut "My Power," Blue stole the show and spotlight. She rocked the same red suit as the dancers, but stood out as she danced next to her mom, deftly hitting every move with power. 

Kendrick Lamar's social justice anthem "Alright" was powerfully woven in with "My Power" and brought into the sonic, visual conversation, expanding the two tracks to new heights. This led to Bey’s inspiring Juneteenth 2020 track, "Black Parade" and ended with everyone on stage holding up their fists in the Black power symbol as the stadium cheered.

It's been almost a year since RENAISSANCE lead single "Break My Soul" dropped, and much has gone on in the world since. The refrain "you won't break my soul" remains a pertinent mantra, a cold glass of lemonade when things feel unbearable. And hearing the echoes of tens of thousands of voices singing it in unison felt like we could harness at least a little of Beyoncé's history-making, era-defining superpowers.

During 4 opener, "Love On Top," Beyoncé turned her mic to the crowd to amplify their voices. It felt as if the entire, 53,000-person audience — probably some of the staff too — was singing along in a moment of collective love and unity. 

Bey Shares The Stage With A Collective Of Powerhouse Dancers & Musicians

Just as she brought in an impressive team of co-producers collaborators to craft RENAISSANCE, she assembled a stellar cast of dancers, singers and musicians to help bring it to life on stage. Yes, everyone doled out the big bucks to see Beyoncé perform, but she clearly and beautifully made space for everyone to shine.

According to her website, there are 23 dancers, including Blue Ivy and Les Twins — a twin brother duo and regular Bey guests who can contort into gravity-defying shapes. In addition to sharing the credits online, she also made sure to shout everyone out during her final song.

"Pure/Honey" featured a full-on ballroom moment where the dancers with real-life ball experience, including Honey Balenciaga, wowed the audience. Together, they offered full-on, tens-across-the-board-worthy ball with dips, duckwalks and so much more. 

During an epic rendition of Bey and Jay-Z’s "Crazy in Love," her band got a chance to shine. The horn players came out front for their moment, and the female saxophonist got down for her solo. During the show, they served up world-class sound from an elevated silver platform.

When the star left to change after "Crazy in Love," her backup singers flawlessly sang Diana Ross' 1976 disco classic, "Love Hangover." They were serving futuristic Supremes in matching holographic silver dresses and gloves as a giant disco ball moved towards them, as if magnetized by their disco realness. 

Patron Saint Beyoncé Took Us To Church 

Beyoncé and her angelic voice were raised in the church, and during the show, the "Annointed" act brought her vision of worship to life, where all are welcome.

To announce the segment, lasers spelled out "Annointed" on the screen, followed by a gold and green church. In yet another breath-taking style moment (one that’s seemingly consistent throughout the tour) Queen Bey appeared in a long all-white robe-like dress. As she held her arms out in cross-form under the UV light, it was transformed into stained glass rainbow print. Japanese fashion brand Anrealage made that miracle possible.

As if her mind-blowing technicolor dreamcoat wasn't enough, Bey threw it off to reveal a shimmering Balmain silver sequin and pearl bodysuit, complete with a silver rhinestone-encrusted church hat. Her choir’s robes were also transformed by the light, but they also revealed black mesh outfits (presumably much easier to twerk in). 

This extravaganza led into "Church Girl," albeit a slowed down version, which added drama and showcased her heavenly vocals. When she went into "drop it like a thotty," the music sped up and the dancers started twerking. In a similar contrast of party-heater and soulful ballad, the 2007 Swizz Beatz-co-produced heater "Get Me Bodied" led to a stunning rendition of "Before I Let Go." The act ended with an a cappella moment where one of the dancers adorably looked at the real-life goddess with pure admiration.

On "Church Girl," Beyoncé preaches her vision of spirituality — you can be sexy and have fun as a child of God. And perhaps it's exactly the dancing with abandon, shaking your troubles away, that supports your path towards righteousness. 

The Flawless Production Will Leave Your Head Spinning – In A Good Way 

A massive, high-definition screen that ran the width of the stage with an archway in the middle provided extra context and visuals during the show, announcing each act and adding to the set with images of disco balls, robot legs, dancers, and more. The lighting and lasers were also amazing and added a dance club energy to the stadium. 

The stage itself was also large and unique, with an additional catwalk jutting from it, and a circle surrounding it. The stage brought Beyoncé  closer to the lucky fans at ground level, and allowed plenty of space to slay.

Stage props included a silver space tanker and disco horse, both of which Beyoncé rides on, along with robot arms that fan her off during "Heated." During that song — which she revealed is her favorite from RENAISSANCE —  a towering circle of mics surrounded her.

While it's quite hard to measure fabulous against fabulous, the Virgo queen progressively one-upped herself throughout the show. She saved the best for last, though, opening the jaw-dropping final act with Jim Morrison quote "Whoever controls the media controls the mind" flashed on screen, between "MIND" and "CONTROL," with Bey's face in the middle. It felt like a playful nod to the conspiracy theory that Bey and Jay are part of the Illuminati, as well as to the very real overload of information (and misinformation) we experience 24/7. The screen flashed images of fire, clocks, reCAPTCHA prompts, and more to a medley of Destiny's Child's songs.

This organized chaos set the tone for "America Has A Problem" during which a fake stock market ticker — with symbols like "HNY" that alluded to her song titles — inched along the edges of the screen. The supposed master puppeteer sat at an "on air" news desk, a la her RENAISSANCE photo shoot. 

And for the final moments of magic on stage, Beyoncé took us to heaven. She rode out on a disco horse a la the RENAISSANCE cover (and Bianca Jagger at Studio 54) to Donna Summers' disco hit "I Feel Love." She wore an impossibly long, blindingly shimmering disco cape, and wrapped the show with the "I Feel Love"-sampling track and RENAISSANCE closer, "Summer Renaissance." As silver confetti burst into the audience, she flew through the air high above the stage, her regal cape fluttering like angel wings.

Beyoncé Kicks Off Her Renaissance World Tour In Stockholm, Sweden: Watch Performance And Stage Videos, See Photos, View The Setlist & More