Garth Brooks is the biggest-selling solo artist of all time in any genre; Charley Pride was unfairly, bizarrely viewed as an outlier in country music due to being a Black man. But at the Country Music Hall of Fame in 1991, it was Pride who assured Brooks that he was meant to be there — not the other way around.

"You're at the CMA Awards as a new guy, man. You just try to melt into a wall somewhere," the two-time GRAMMY winner recalls to GRAMMY.com over FaceTime, illustrating his impostor syndrome. "And Charley Pride comes and seeks you out, with that beautiful gap-toothed smile. The first thing he asked Brooks? "Hey, you're an Aquarian, ain't ya?" — because he had researched his birthday in advance.

Such was and is the beauty of Pride, the country music icon and three-time GRAMMY winner. On Dec. 12, 2020, Pride passed away of complications from COVID-19, just a month after appearing at the CMA Awards. As the first anniversary of his tragic death loomed, Brooks took the stage on Oct. 25 at the National Museum of African American music, where the RIAA honored Pride with a posthumous Lifetime Achievement Award. There, Brooks paid homage to his fallen hero.

Read More: For Charley Pride, Black Country Music Was A Self-Evident Truth

This tribute included Brooks' renditions of songs made famous by Pride, including "Mountain of Love," "Kiss an Angel Good Mornin'" and "Is Anyone Goin' to San Antone." Regarding Pride's uncanny range, Brooks says the latter song is nothing short of an endurance test: "You just push the pedal all the way to the floor and try to hang on to that song for as long as you can."

All in all, Pride's gargantuan talent, whole-hearted humility and aw-shucks sweetness doesn't just make Brooks a fan: "I absolutely worship him," he says. And about the roadblocks Pride faced due to his melanin content: "How much bravery, how much courage, but how much confidence in yourself you must have to survive that and still have the attitude that you have!"

GRAMMY.com caught up with Brooks to discuss his appearance at the National Museum of African American music, what Pride means to him and his 2021/2022 touring plans — which, yes, will require proof of full vaccination to behold in person.

This interview has been edited for clarity.

It's crazy to me that Charley Pride got any grief for being a Black man in country music, when Black people invented that style of music.

It's funny, because when you say that — when you talk about Charley Pride and his music — the fact that he was a Black guy is nothing. It doesn't matter.

This is the statement that I made last night, and I need everybody to hear the whole thing: When it comes to Charley Pride being a Black guy, it did not matter. But it mattered so much that Charley Pride was a Black man.

So, in the places where it shouldn't matter, it didn't. And in the places it should matter, it did. One hundred percent. He walked that line so good. He seemed to be the only guy who really didn't have an issue with it, you know what I mean? It just seemed natural to him.

And what I loved about last night, too, when you talk about all artists that can sing any format, you're going to see them do this and that. He could have sung anything he wanted, but he chose country music. I absolutely worship him for that reason.

How did the night go? How did it feel to pay homage to the man?

It was cool. We started the whole night with, "Hey, look, when you talk about black and white" — especially with journalism. My major was in journalism, so I have this ultimate worship and respect for journalism. But in this time, journalism is looking for any kind of slip or anything they can to put the two against each other.

So, the first statement I said last night was, "This is all going to be about love — all about a man who was all about love. To listen to the heart and sincerity of two guys that loved one another." That immediately diffused the whole black-and-white thing.

And even though Alice Randall, a friend of mine who was doing the Q&A, touched on the black-and-white thing a couple of times, it was nothing in a poking kind of way, but more in a salute to a man. 

Me and you are probably like this — I think we're all like this — our biggest enemy in our whole lives is going to be ourselves. It just is. We're the reason why we succeed and fall so many times. He had that same enemy, but after he cleared that hurdle, he was staring at a wall that most of us didn't have to stare at.

Again, that's another reason for my respect and love for him to go through the roof.

What internal hurdles are you referring to, as far as Pride is concerned?

We shoot ourselves in the foot every time. Our own ego. It's not just country singers; it's you, me, my wife, everybody. Our biggest enemy is ourselves. Our imaginations scare us out of doing a lot of things we should do, and our own ignorance [Chuckles] talks us into doing things we shouldn't do.

We all have those internal wars, but once you clear those and take a deep breath — "OK, I got through that part of my day" — he was staring at being a Black guy in country music. He was staring at a bigger hurdle than any of us who is not a Black guy in country music was going to face.

He always seemed to approach the topic with either indifference or humor, and he didn't have to do that. He could have rightfully felt victimized, but he chose not to.

Yeah, but his talent was also his strength enough to get through anything. In a controversy, it's going to come down to physical, always. It's when strength gets to have the upper hand. With him, any controversy is going to come down to talent: "Step up. You try to sing 'Roll On Mississippi' every night, because the lows are extremely low and the highs are extremely high."

I hate trying to sing that song [Laughs]. I did it last night to embarrass myself, to show everybody — because I'm pretty proud of my range. I don't know how that guy did it — and he did it every freakin' night! That's the crazy thing.

He was pretty much the quintessential country singer in every possible way.

Isn't that great? That's a great way to put it. And, oh yeah, he's Black! [Laughs.]

His voice disarmed people. It made me a fan. My mom loved "Kiss an Angel Good Mornin'"; that was her song. So, I already loved him before I knew anything about him.

Tell me about your history with Pride, coming up in the country world. What did he mean to you through the years, leading up to this night?

Well, you have your idols, your heroes. Buck, Haggard, Jones, Pride — that era of guys.

Then, you're at the CMA Awards as a new guy, man. You just try to melt into a wall somewhere, and Charley Pride comes and seeks you out. [Voice grows hushed.] With that beautiful, gap-toothed smile. And the first thing he says to you: "Hey, you're an Aquarian, aren't ya?" He knew everybody's sign. He knew everybody's birthday.

I was telling this story last night: One of my really, really sweet gifts that I did and do not deserve was, when you become a member of the [Country Music] Hall of Fame, for some reason, they'll trot out all the members right before the show starts. And for some reason — I don't know why — every year, Charley Pride and I sat together. It was just the order they put us in.

I couldn't figure it out, because it was never alphabetical, but I was always sitting next to Charley Pride. I just loved it, man. He was so much fun to be around and be with, and in between the awards, he'd tell you stories about the person who was there. He knew a lot about everything.

Including your birthday!

Yeah! And if he knew you, he'd know your birthday as well! That's just the kind of guy he was. He was great with numbers, and what an unbelievable memory.

If that's not enough, he would sit there and always kind of poke or touch you before he talked to you. He'd reach over and grab your knee and go [Sings]  "I went to work for her that summer!" And you're thinking, "Charley Pride's singing a Garth Brooks song! It's so good!"

He made you feel like you belonged, and you don't. You're a new guy. Even if you're in the Hall of Fame, you don't belong with those names. But he made you feel like you do.

I love that you illuminated what a great singer he was by poking fun at yourself a bit.

He was also what I call an "against-the-wall" singer. He had this real push in his voice. That's how he jumped off the radio. So, if you're going to imitate Pride, get ready: It's going to take everything you've got in your chest to get it out.

Like, "Is Anyone Goin' to San Antone": You just push the pedal all the way to the floor and try to hang on to that song for as long as you can. And, again, knowing that this guy did this every night — "Mountain of Love," so many good, good things that this guy did.

I think my favorite part of last night was Dion, his son. Because the truth is, you're only a good person if your children are good people, because it means you're focused in the right areas, right? That kid is as sweet as his dad, as articulate as his dad. Not as outgoing as his dad, but more reserved, which makes you love him even more.

Beautiful kid, like his dad. I mean, when you look at him, you go, "Holy s*! It's Charley!" Charley is well-represented in the next generation by his son, and his son is not trying to be Charley Pride's son. Dion is trying to be Dion at the same time.

He understands the weight that's on his shoulders of representing his father and [his mother] Miss Rozene in such a way. He does it well.

Looking at the big picture, this part of music history still doesn't make sense to me: Why would a Black-founded style of music flip to where Black artists were seen as interlopers?

I don't know — I don't know the history all the way back like you do. I can just tell you this: There's a guy named Buddy Mondlock, and he's a singer/songwriter out of Chicago. He's got this song, and it's a beautiful song ["No Choice"], about why this guy did what he did.

So, let's talk about why Charley Pride ended up singing country music: Buddy Mondlock's song says, "He had no choice." It wasn't like, "I'm going to choose this or this." He had no choice, because his heart and soul told Charley Pride, "You're going to be a country singer. Not just a country singer — you're going to be one of the greatest ones ever."

What I love is that Charley never questioned his faith: "If that's what I'm supposed to do, then that's what I'm supposed to do. Well, here comes all the hell and high water that comes with being a Black guy being a country singer in the '60s."

Jiminy Christmas! How much bravery, how much courage, but how much confidence in yourself you must have to survive that and still have the attitude that you have! Never once did I hear him bitch about anything. He was one of those guys who said, "OK, if you're going to make my track twice as long, I'm going to roll up my sleeves and I'm going to run twice as fast." 

You see that work ethic in Reba McEntire. You see it in Dolly Parton. You can see it in the greats out there: "Hey, if this is my road, then this is what I've got to do, because I have no choice, and I firmly believe that." I think Charley believed that as well.

I think you encapsulated your feelings on Pride well. What else is going on with you lately?

Nothing, man. In a pandemic, you're trying to do your best to be something good for society, so we're set on the stadium shows — kind of opened the dive bar tour back up a little bit, because those are going to be fully vaccinated. I think we're doing the Ryman; it's about 1,500 seats, fully vaccinated.

So, we'll do this probably until the end of this year, and then in '22 we'll start the last year of the stadium tour. It was supposed to end around the late summer of '22; that still is the plan. We've lost a lot of cities in the pandemic. It breaks my heart. There's some cities I really, really wanted to play in that we're just not going to get to.

But, hopefully, we'll finish up in '22 and figure out what we're going to do after that. Being married to somebody 10 times more talented than you makes you go, "Hey, what does she want to do, and do I need to be by her side when she does it?" So, we're going to have a conversation and see what we're going to do after the summer of '22.

Garth Brooks. Photo: Diana King

I appreciate you being so conscientious about vaccination. Some artists I won't name are jumping out saying, "I won't play there!"

[Laughs.] Hey, man, just remember: If it's not a law, then it's a choice. As much as you might respect or not respect people's choices, still: Be prepared for them to make that choice. So, until it becomes a law, that's all we can do.

So, to Nancy [Seltzer], my publicist, I said "What do I do?" She said, "You don't have to do anything. You don't have to tell people to do something. Just tell people what you've done." I'm fully vaccinated. The tour is fully vaccinated. That's how we roll. And I get it if that's not how you roll, but that's what we do.

Anything else you want to say about Pride or yesterday evening?

No. Since you're 40 years younger than me, anything you can do — and your generation can do — for Charley Pride, I would appreciate as a country music fan.

Charley Pride Honored With GRAMMY Museum Mississippi's Inaugural Crossroads Of American Music Award

Many tribute shows for legacy artists end in a plume of confetti and a feel-good singalong. But not Paul Simon's.

At the end of the songbook-spanning "Homeward Bound: A GRAMMY Tribute To Paul Simon," the only person on the darkened stage was the man of the hour. Sure, the audience had been baby-driven through the Simon and Garfunkel years, into the solo wilderness, through Graceland, and so forth. But all these roads led to darkness.

Because Simon then played the song that he wrote alone, in a bathroom, after JFK was shot.

It doesn't matter that Simon always ends gigs with "The Sound of Silence." After this commensurately cuddly and incisive tribute show, it was bracing to watch him render his entire career an ouroboros. 

That "The Sound of Silence" felt like such a fitting cap to a night of jubilation speaks to Simon's multitudes. The Jonas Brothers coolly gliding through "50 Ways to Leave Your Lover," juxtaposed with the ache of Garth Brooks and Trisha Yearwood's "The Boxer," rubbing up against Dave Matthews getting goofy and kinetic with "You Can Call Me Al," and so on and so forth.

The intoxicating jumble of emotions onstage at "Homeward Bound: A GRAMMY Tribute To Paul Simon" did justice to his songbook's emotional landscape — sometimes smooth, other times turbulent, defined by distance and longing as much as intimacy and fraternity.

Here were eight highlights from the telecast on Dec. 21 — which you can watch on demand on Paramount+ now.

Read More: Watch Jonas Brothers, Brad Paisley, Billy Porter, Shaggy & More Discuss The Legacy And Impact Of Paul Simon Backstage At "Homeward Bound: A GRAMMY Salute To Paul Simon"

Woody Harrelson's Lovably Bumbling Speech

After Brad Paisley's rollicking opening with "Kodachrome," the momentum cheekily ground to a halt as Harrelson dove into a rambling, weirdly moving monologue.

"The songs of Paul Simon really are like old friends," the cowboy-hatted "The Hunger Games" star remarked, interpolating one of his song titles and crooning the opening verse.

Harrelson went on to recount a melancholic story from college, where the spiritually unmoored future star clung to Simon songs like a liferaft. We can all relate, Woody.

Garth Brooks & Trisha Yearwood's Pitch-Perfect "The Boxer"

Brooks has always been one of the most humble megastars in the business, praising his wife Trisha Yearwood — and his forebears — a country mile more than his own. (Speaking to GRAMMY.com, he described being "married to somebody 10 times more talented than you.")

The crack ensemble could have made "The Boxer" into a spectacle and gotten away with it, but Brooks wisely demurred.

Instead, the pair stripped down the proceedings to guitar and two voices; Brooks provided an aching counterpoint to Yearwood.

Billy Porter's Heart-Rending "Loves Me Like A Rock"

The "Pose" star blew the roof off of Joni Mitchell's MusiCares Person Of The Year gala in 2022 with "Both Sides Now," so it was clear he would bring napalm for a Simon party. 

Given the gospel-ish intro, one would think he was about to destroy the universe with "Bridge Over Troubled Water." 

Instead, he picked a song of tremendous personal significance, "Loves Me Like a Rock," and dedicated it to his mother. The universe: destroyed anyway.

Stevie Wonder & Ledisi's "Bridge Over Troubled Water"

The question remained: who would get dibs on the still-astonishing "Bridge Over Troubled Water"? A song of that magnitude is not to be treated lightly.

So the producers gave it to generational genius Wonder, who'd bridged numberless troubled waters with socially conscious masterpieces like Songs in the Key of Life.

But he wouldn't do it alone: R&B great Ledisi brought the vocal pyrotechnics, imbuing "Bridge Over Troubled Water" with the grandiosity it needed to take off.

Jimmy Cliff & Shaggy Brought Jamaican Vibes With "Mother & Child Reunion"

Simon embraced the sounds of South Africa with his 1986 blockbuster Graceland, yet his island connection is criminally underdiscussed; since the '60s, Jamaican artists have enthusiastically covered his songs.

For instance, it's impossible to imagine a "Mother and Child Reunion" not recorded in Kingston, pulsing with the energy of Simon's surroundings.

Enter genre luminaries Jimmy Cliff and Shaggy, who flipped the tribute into a bona fide reggae party.

Take 6 Dug Deep With "Homeless"

Leave it to the Recording Academy to avoid superficiality in these events: Mitchell's aforementioned MusiCares tribute included beyond-deep cuts like "Urge for Going" and "If." 

Most remember "Homeless" as Ladysmith Black Mambazo unaccompanied vocal cooldown after bangers like "You Can Call Me Al"; eight-time GRAMMY-winning vocal group Take 6 did a radiant, affectionate rendition.

When Simon took the stage at the end of the night, he was visibly blown away. Touchingly, he shouted out his late guitarist, Joseph Shabalala, who founded Ladysmith Black Mambazo.

"Imagine a guy born in Ladysmith, South Africa, [who] writes a song in Zulu and it's sung here by an American group, singing his words in his language," Simon remarked. "It would have brought tears to his eyes."

Angélique Kidjo & Dave Matthews' Love Letter To Africa

Graceland was Simon's commercial zenith, so it was only appropriate that it be the energetic apogee of this tribute show.

Doubly so, that this section be helmed by two African artists: Angélique Kidjo, hailing from Benin, and Dave Matthews, born in Johannesburg.

"Under African Skies," which Simon originally sang with Linda Ronstadt is a natural choice — not only simply as a regional ode, but due to its still-evocative melody and poeticism.

"This is the story of how we begin to remember/ This is the powerful pulsing of love in the vein" drew new power from Kidjo's lungs. 

Afterward, Matthews — a quintessential ham — threw his whole body into Simon's wonderful, strange hit, "You Can Call Me Al."

The Master Himself Took The Stage

With his still-gleaming tenor and still-undersung acoustic guitar mastery, Simon brought the night home with "Graceland," a Rhiannon Giddens-assisted "American Tune" and "The Sound of Silence."

At 81, Simon remains a magnetic performer; even though this is something of a stock sequence for when he plays brief one-off sets, it's simply a pleasure to watch the master work.

Then, the sobering conclusion: "Hello darkness, my old friend," Simon sang, stark and weary. With the world's usual litany of darknesses raging outside, he remains the best shepherd through nightmares we've got.

And as the audience beheld Simon, they seemed to silently say: Talk with us again.

15 Essential Tracks By Paul Simon: In A Burst Of Glory, Sound Becomes A Song

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

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

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

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

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

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

Say She She

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

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

Moniquea

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

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

Shiro Schwarz

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

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

L'Impératrice

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

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

Franc Moody

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I did, yes.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

I think it was his car.

Did he get over it later on?

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

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

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

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

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

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

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

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

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

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

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

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

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

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