(The GRAMMY Insider keeps you up to date about news on your favorite GRAMMY winners, including new album releases, tour updates, notable media appearances, interviews, and more.)

Super Bowl XLVIII
He may be locked out of heaven, but he's locked into the National Football League. Bruno Mars has been selected as the featured performer for the Super Bowl XLVIII halftime show, taking place Feb. 2, 2014, at MetLife Stadium in East Rutherford, N.J. The pop crooner joins a list of recent GRAMMY winners to take the Super Bowl stage, including Beyoncé, the Black Eyed Peas, Madonna, Paul McCartney, Prince, the Rolling Stones, Bruce Springsteen, and Tom Petty And The Heartbreakers, among others.

Awards
Taylor Swift tied country newcomer Kacey Musgraves for the most nominations for the 47th Annual CMA Awards with six, including Entertainer of the Year, Female Vocalist of the Year and Album of the Year for Red. Additional GRAMMY winners garnering nominations include Kelly Clarkson, Lady Antebellum, Miranda Lambert, Carrie Underwood, Keith Urban, and Zac Brown Band. Hosted by Braid Paisley and Underwood, the awards show will air live Nov. 6. … The Memphis Music Hall of Fame has announced its 2013 class of inductees, which includes GRAMMY winners the Blackwood Brothers and Johnny Cash, as well as GRAMMY nominees Albert King, Phineas Newborn Jr., David Porter, Sid Selvidge, and Carla Thomas, among others. Inductees will be honored at a ceremony on Nov. 7 in Memphis. … Three multiple GRAMMY winners will be among those receiving Kennedy Center Honors for 2013. Five-time winner Billy Joel, 10-time winner Carlos Santana and 14-time winner Herbie Hancock will be feted on Dec. 8 and the program will air on CBS on Dec. 29.

New Music
Fans of recent GRAMMY winners Halestorm are in for some inclement weather as the band have announced a new covers EP, ReAnimate 2.0: The Covers EP. Set for release on Oct. 15, the set follows 2011’s ReAnimate: The Covers EP and will feature renditions of songs by bands such as AC/DC, Daft Punk, Pat Benatar, Fleetwood Mac, Judas Priest, and Marilyn Manson.

Tune In
"Saturday Night Live" is in for a loud and funny season premiere on Sept. 28. The series will kick off its 39th season with GRAMMY-nominated comedian Tina Fey as host and Arcade Fire as musical guests. Future musical guests will include Miley Cyrus and GRAMMY-nominated artist Katy Perry.

Books
Five-time GRAMMY winner Cee Lo Green's autobiography hit stores Sept. 10. The Lady Killer recounts his life's magic moments (so far) in Everybody's Brother with the help of GRAMMY telecast writer David Wild. 

In the latest episode of ReImagined, soul-pop newcomer Dylan Chambers delivers a fresh, heartfelt take on "Uptown Funk", using an electric guitar to drive the performance.

In the year of its inception, Mark Ronson and Bruno Mars' "Uptown Funk" quickly made strides across the map, from a No. 1 peak on the Billboard Hot 100 to a Record Of The Year and Best Pop Duo/Group Performance win at the 2014 GRAMMYs. Ten years after its release, it is the ninth most-viewed YouTube video of all-time and was named one of Billboard's "Songs That Defined The Decade."

Chambers named Mars as one of his most influential inspirations and praised Silk Sonic's Las Vegas residency as one of the "greatest concerts" he has attended in an interview with Muzic Notez.

"Don't believe me, just watch," Chambers calls in the chorus, recreating its notable doo-wop ad-libs with the strums of his instrument.

Chambers dropped his latest single, "I Can Never Get Enough" on April 10, following his March release "High (When I'm Low)." Both tracks will be a part of his upcoming EP, For Your Listening Pleasure!, out May 17.

Press play on the video above to watch Dylan Chambers' groovy rendition of Bruno Mars & Mark Ronson's "Uptown Funk," and check back to GRAMMY.com for more new episodes of ReImagined.

Behind Mark Ronson's Hits: How 'Boogie Nights,' Five-Hour Jams & Advice From Paul McCartney Inspired His Biggest Singles & Collabs

Country fans first got to know Tyler Hubbard as the voice of Florida Georgia Line. Upon his solo debut in 2022, they got a deeper look into his life as a devoted family man. Now, the chart-topping singer/songwriter wants to show his skills as the genre's feel-good party starter.

Hubbard's second album, Strong, turns up the energy with 13 tracks that focus on spreading the joy he's feeling in his own life. There's several parallels to his self-titled debut, including another tribute to his late father on "'73 Beetle" and reflections on his small-town Georgia upbringing with "Take Me Back" and "Back Then Right Now." Yet, every narrative feels more celebratory — buoyed by Hubbard's purposeful delivery, his hopeful lyricism, and uptempo melodies.

It's a natural evolution for Hubbard, who has projected positivity in his music and his image since his FGL days. And now that the world has welcomed him as a solo act — including two No. 1s at country radio with "5 Foot 9" and "Dancin' in the Country," and several sold-out shows in 2023 — he felt it was only right to bring good vibes with his second LP. 

"I was carrying the momentum from last year — the first album, being out on tour, the energy from the fans," Hubbard shares. "If you come to my live show, it's a lot of happy, fun dancing energy, and that's what I've really enjoyed kind of leaning into right now."

Ahead of Strong's release, Hubbard sat down with GRAMMY.com to chat about his album process. Below, he breaks down the most important components, from writing nearly every song on his tour bus to happily riding in the "good time lane."

Building On The First Album

The first album was more of an introduction to who I am, and this album is more settling in. It's inspired by the live show more than anything, and the fans themselves, as opposed to me and my story. 

I kind of want [these songs]to feel like distant relatives to the first album. I'll use that analogy a lot of times in sessions and just say, "Let's elevate, and let's move forward and progress, but let's keep it in the same family." 

When I was writing both these projects, it was a tough time. You know, going through the pandemic and all that brought along, transitioning into different careers and not knowing what was gonna happen with FGL for a while. Obviously, my marriage really inspired the song "Strong," but there's sort of that principle [from album one to album two] of going through a hard season that you come out on the other side of it stronger. 

Writing On The Road

Last year, I was getting in front of my audience for the first time [post-pandemic] and really getting to see what they wanted, what was resonating, what was working, maybe what was missing in the set. So I was able to pull that energy from the fans right back to the bus. The majority of this album I wrote on the road last year, which is where I love to write songs. I love to write in town too, but [there's] something about being out on the road — you just feel a little extra creative and a little less distracted. 

Back in the day, when we were starting off and really roughing it, we didn't have anything else to do but our careers, so we'd come home from the road and we'd write three or four days a week, and then we would go hit the road and play shows. But now that I'm a husband and a father, I try to compartmentalize it, so when I'm home during the week, I can take some time off to be with the kiddos and my wife.

And fortunately, now, I have my own bus, so I can bring writers out, and we can just hunker down on my bus all weekend and write songs. It's pretty fun because you kind of feel like you're binge writing a bit. But once you get in that creative space and your wheels are turnin', it's nice to stay there for more than four or five hours like we do in Nashville, turning it off at 4 o'clock and going home. It keeps it fun.

Creating Music For The Stage

We were mainly thinking about the live show [when we were writing]. It just felt like [we were writing] songs I couldn't wait to play live. 

There's some heart, there's some depth, there's emotion and vulnerability in a lot of these songs that I like to play live, but overall, I want it to just feel fun. There's enough stuff in our world to make us sad, so I'm just like, if I can put music out that makes people feel good, that's what I want to do. 

Especially in the context of our genre and our culture — it feels like there's a lot of sad boy country going on right now. You know, nothing wrong with that, I like to get real and emo a bit. But I think if everybody's doing one thing, I try to lean to the other. And right now I love where we're headed, in the good time lane.

I was soaking up everything Keith [Urban] was doing [while touring with him last year]. I watched his set most nights. He's kind of the king of fun tempo live energy. [We were] either [trying to] make Keith jealous or make Keith want to record one of the songs we write. So some of these songs are probably inspired by trying to get a Keith Urban cut. 

"Park," "Wish You Would" and "Vegas" are [three] of those songs. They go really well live and have been really, really fun. The crowd starts moving in a weird way when ["Wish You Would"] comes on. It looks like they're just, like, lettin' loose and not really coordinated at anything. [Laughs.]

"Back Then Right Now" is the single, so people are knowing that one [more] and it's cool to see them singing it and engaged. "BNA" is gonna be a lot of fun to play live. I could probably play this whole album top to bottom and be pretty happy with that being the set.

Honoring Where He Came From

I wanted this album to still be dynamic — as uptempo as it is, I still wanted the fans to be let in a little bit more into who I am and deeper into my life. Hopefully with each project I put out, I have some songs that let people in a bit more and tap into a vulnerable place, and challenge me as a person and a writer to just continue to go there. 

I have a unique relationship with my hometown. I love where I came from, and I'm proud of where I'm from, but it's not somewhere that I'm still living — I've been in Nashville longer than I was in Georgia, I've been here for over 18 years. A lot's changed since then. The house I grew up in is not there, my dad's gone, my mom's moved to Alabama. 

It's an interesting dynamic, because in our genre, it's cool to be really proud of where you're from, and really pay homage to where you're from. And I still do — a lot of these songs are literally born because of where I came from. But at the same time, I don't have that same relationship with where I'm from. I just thought it was a little bit of a different approach on the relationship with the hometown with ["Take Me Back"]. I hope people can relate to it.

Recruiting Trusty Collaborators, Like Producer Jordan Schmidt

The collaborators and songwriters on this project, there's a couple of new ones, but there's a lot of guys that I have a big history with. A lot of that's just due to the fact that if I'm bringing writers out on the road, it's guys that I know and trust, and that I've had success with. I'm not speed dating on the road — it's just very intentional, efficient time.

They've proven themselves, and so there's no reason to not go back to 'em. I just can't reiterate enough how thankful I am to be in this city, in this songwriting community. I have so many people that make me a better songwriter and push me as an artist and come with great ideas. It makes it that much more fun to write songs and do what I love.

Also, to know me, and who I am, and where I'm headed, and what I want to do and say, that helps tremendously because we're not just shooting in the dark. I think "Wish You Would" is a song that's a little unique and feels really fun. If I was going to pick a direction, that's a cool, fresh sound that I'm really enjoying right now.

Leaning Into Feeling Good

I'm in a really sweet season. Not just with the work stuff, but my family is in such a good spot. My kids are 3, 4 and 6, so they're in a really fun, just joyful season. I can have a bad session or a tough day, and I can go home and get overwhelmed with joy and love in the house. It's just awesome energy. I'm really grateful for that, and I'm really kind of leaning into it. 

I hope [fans] understand how grateful I am to be here to be still doing this 13 years later, and to be able to have another opportunity to experience a lot of firsts again, and get to continue to connect with them. I just love what I do, and I gotta give the fans a lot of credit for allowing me to do it. 

8 Artists Bringing Traditional Country Music Back: Zach Top, Randall King, Emily Nenni & More On Why "What's Old Becomes Beloved Again"

Legendary singer/songwriter Billy Joel, a five-time GRAMMY winner with 23 nominations, has always remained in the Recording Academy's spotlight, even during his lengthy hiatus from pop/rock music.

At the 2024 GRAMMYs, Joel marked his grand comeback with his new single, "Turn the Lights Back On" — and it was like he never turned them off at all.

Now, the era of Billy Joel rolls on. Tonight, April 14, viewers can witness his record-breaking 100th consecutive performance at Madison Square Garden, a streak that started when his franchise run began on March 28. Joel holds the amazing distinction of selling out Madison Square Garden more than any other artist.

Here's how and when to watch "The 100th: Billy Joel At Madison Square Garden – The Greatest Arena Run Of All Time."

The special will air Sunday, April 14 from 9-11:00 PM, ET/PT on the CBS Television Network, and be available to stream live and on demand on Paramount+. This is Joel's first-ever concert to air on a broadcast network — so don't miss the Piano Man at work, whether you watch on the night of, or stream it after the broadcast.

Freddy Wexler On Helping Billy Joel "Turn The Lights Back On" — At The 2024 GRAMMYs And Beyond

"Genres are a funny little concept, aren't they? In theory, they have a simple definition that's easy to understand. But in practice, well, some may feel confined."

With those words, spoken on "SPAGHETTII" by Linda Martell — the first commercially successful Black female artist in country music and the first to play the Grand Ole Opry solo — Beyoncé provides a proxy response to her original call on Instagram 10 days before COWBOY CARTER was released: "This ain’t a Country album. This is a “Beyoncé” album." 

She delivered on that promise with intent. Through a mix of homage and innovation, Beyoncé's latest is a 27-track testament to her boundless musicality and draws  from a rich aural palette. In addition to its country leanings, COWBOY CARTER includes everything from the soulful depths of gospel to the intricate layers of opera. 

Beyoncé's stance is clear: she's not here to fit into a box. From the heartfelt tribute in "BLACKBIIRD" to the genre-blurring tracks like "YA YA," Beyoncé uses her platform to elevate the conversation around genre, culture, and history. She doesn't claim country music; she illuminates its roots and wings, celebrating the Black artists who've shaped its essence.

The collective album proves no genre was created or remains in isolation. It's a concept stoked in the words of the opening track, "AMERIICAN REQUIEM" when Beyonce reflects, "Nothing really ends / For things to stay the same they have to change again." For country, and all popular genres of music to exist they have to evolve. No sound ever stays the same.

COWBOY CARTER's narrative arc, from "AMERICAN REQUIEM" to "AMEN," is a journey through American music's heart and soul, paying tribute to its origins while charting a path forward. This album isn't just an exploration of musical heritage; it's an act of freedom and a declaration of the multifaceted influence of Black culture on American pop culture.

Here's a closer look at some of some of the musical genres touched on in act ii, the second release of an anticipated trilogy by Beyoncé, the most GRAMMY-winning artist of all-time: 

Country 

Before COWBOY CARTER was even released, Beyoncé sparked critical discussion over the role of herself and all Black artists in country music. Yet COWBOY CARTER doesn't stake a claim on country music. Rather, it spotlights the genre through collaborations with legends and modern icons, while championing the message that country music, like all popular American music and culture, has always been built on the labor and love of Black lives. 

It's a reckoning acknowledged not only by Beyoncé's personal connection to country music growing up in Texas, but the role Black artists have played in country music rooted in gospel, blues, and folk music. 

Country legends, Dolly Parton ("DOLLY P", "JOLENE," and "TYRANT"), Willie Nelson ("SMOKE HOUR" and "SMOKE HOUR II"), and Martell ("SPAGHETTII and "THE LINDA MARTELL SHOW") serve mainly as spoken-word collaborators, becoming MCs for Queen Bey. Some of the most prolific country music legends receiving her in a space where she has been made to feel unwelcome in music (most notably with the racism surrounding her 2016 CMA performance of "Daddy Lessons" with the Dixie Chicks) provides a prolific release of industry levies. Martell, a woman who trod the dark country road before Bey, finally getting her much-deserved dues appears as an almost pre-ordained and poetic act of justice. 

"BLACKBIIRD," a version of the Beatles' civil rights era song of encouragement and hope for the struggle of Black women is led softly by Beyoncé, backed by a quartet of Black female contemporary country songbirds: Tanner Adell, Brittney Spencer, Tiera Kennedy, and Reyna Roberts. 

Beyoncé holds space for others, using the power of her star to shine a light on those around her. These inclusions rebuke nay-sayers who quipped pre-release that she was stealing attention from other Black country artists. It also flies in the faces that shunned and discriminated against her, serving as an example of how to do better. The reality that Beyoncé wasn't stealing a spotlight, but building a stage for fellow artists, is a case study in how success for one begets success for others. 

Read more: 8 Country Crossover Artists You Should Know: Ray Charles, The Beastie Boys, Cyndi Lauper & More

Gospel, Blues, & Folk (American Roots)

As is Beyoncé's way, she mounts a case for country music with evidence to back up her testimony. She meanders a course through a sequence of styles that serve as the genre's foundation: gospel, blues, and folk music.

"AMERIICAN REQUIEM" and "AMEN" bookend the album with gospel-inspired lyrics and choir vocals. The opener sets up a reflective sermon buoyed by  the sounds of a reverberating church organ, while the closer, with its introspective lyrics, pleads for mercy and redemption. The main verse on "AMEN", "This house was built with blood and bone/ The statues they made were beautiful/ But they were lies of stone," is complemented by a blend of piano, and choral harmonies. 

Hymnal references are interlaced throughout the album, particularly in songs like "II HANDS II HEAVEN" and in the lyrical nuances on "JUST FOR FUN." In the later track, Beyoncé's voice soars with gratitude in a powerful delivery of the lines, "Time heals everything / I don't need anything / Hallelujah, I pray to her." 

The gospel-inspired, blues-based "16 CARRIAGES" reflects the rich history of country songs borrowing from the blues while simultaneously calling back to songs sung by field laborers in the colonial American South. "Sixteen dollars, workin' all day/ Ain't got time to waste, I got art to make" serves as the exhausted plea of an artist working tirelessly long hours in dedication to a better life. 

Rhiannon Giddens, a celebrated musician-scholar, two-time GRAMMY winner, and Pulitzer Prize recipient, infuses "TEXAS HOLD 'EM" with her profound understanding of American folk, country, and blues. She plays the viola and banjo, the latter tracing its origins to Sub-Saharan West Africa and the lutes of ancient Egypt. Through her skilled plucking and bending of the strings, Giddens bridges the rich musical heritage of Africa and the South with the soul of country, blues, and folk music.

Pop, Funk, Soul & Rock 'n' Roll 

All in, Beyoncé is a pop star who is wrestling with labels placed on her 27-year career in COWBOY CARTER. Fittingly, she brings in two other pop artists known for swimming in the brackish water between country and pop, Miley Cyrus and Post Malone. Her intentional inclusion of two artists who have blurred genres without much cross-examination begs the question, Why should Beyoncé's sound be segregated to a different realm? 

On "YA YA" Linda Martell returns as the listener's sonic sentinel, introducing the track like a lesson plan: "This particular tune stretches across a range of genres. And that’s what makes it a unique listening experience." The tune sinks into the strummed chords of Nancy Sinatra's "These Boots Are Made for Walkin'" before leaping into a fiery dance track that features reimagined lyrics from the Beach Boys, with soulful vocal flourishes and breaks that show the throughline connection between '60s era rock, funk, and pop music.

Robert Randolph lends his hands on "16 CARRIAGES" with a funk-infused grapple on his pedal-steel guitar. It's a style he honed through his early years touring and recording with his family band and later in his career as an in-demand collaborator working with names including the Allman Brothers, and Norah Jones. 

The lesson is solidified as the album transitions into an interlude on "OH LOUISIANA," featuring a sped-up sample of a classic track by Chuck Berry. This moment emphasizes the pop superstar's nod to civil rights era music history, spotlighting a controversial artist celebrated for his pioneering contributions to rock 'n' roll. (It's a part of music history Beyoncé knows well, after starring as Etta James in the 2008 film Cadillac Records, a veiled biopic of the legendary Chicago label Chess Records.)

Classical & Opera

Opera was missing from many listeners' Beyoncé Bingo card, but didn't surprise those that know her background. Beyoncé was trained for over a decade starting at an early age by her voice teacher David Lee Brewer, a retired opera singer who once lived with the Knowles family. 

COWBOY CARTER gives sing-along fans a 101 opera class with "DAUGHTER." In Italian, Beyoncé sings passages from the 1783 Italian opera "Caro Mio Ben," composed by Giuseppe Tommaso Giovanni Giordani. The aria is a classic piece of vocal training that fittingly shows off her full range — taking us back to the earliest days of her vocal teachings.

Hip-Hop & R&B

Midway through the album on "SPAGHETTII" Beyoncé announces, "I ain't no regular singer, now come get everythin' you came for," landing right where expectations have confined her: in the throes of a romping beat, experimenting with sounds that blend hip-hop with R&B and soul. The track notably highlights the talent of Nigerian American singer/rapper Shaboozey, who also shows up to the rodeo on "SWEET HONEY BUCKIN'" brandishing his unique mix of hip-hop, folk-pop, and country music. 

Beyoncé worked with longtime collaborator Raphael Saadiq on this album, a career legend in the R&B industry, who lends his mark to several tracks on which he wrote, produced, and played multiple instruments. Beyoncé also utilizes the Louisiana songwriter Willie Jones on "JUST FOR FUN," an artist who draws on a contemporary blend of country, Southern rap, and R&B in the hymnal ballad. 

The violin-heavy "TYRANT" and "SPAGHETTII" both underscore hip-hop's long love affair with the classical string instrument (See: Common's "Be," and Wu Tang Clan's "Reunited" as the tip of that particular iceberg) with a blend of soulful R&B lyrics paired with beat-based instrumentalization. 

In a world quick to draw lines and label sounds, Beyoncé's COWBOY CARTER stands as a vibrant mosaic of musical influence and innovation. Ultimately, Beyoncé's COWBOY CARTER isn't seeking anyone's acceptance. As a Texan once told she didn't belong, her critical response claps back at this exclusion.  It's also a reminder that in the hands of a true artist, music is limitless.

Run The World: Why Beyoncé Is One Of The Most Influential Women In Music History