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BTS & Bad Bunny Make History, Harry Styles Earns Big Nods And More Firsts From The 2023 GRAMMY Nominations
Upon the announcement of the 2023 GRAMMY nominees, take a look at some of the unique firsts that artists like Beyoncé, Adele and BTS are celebrating.
The nominations for the 2023 GRAMMYs are officially here, and those who received nods are rejoicing. Of course, there are several artists who are celebrating GRAMMY nominations for the first time — as GRAMMY.com will highlight in January — but there are also several previous GRAMMY nominees with notable firsts this year.
For one, Beyoncé adds two new categories to her impressive GRAMMY resumé, earning two nods in the Dance/Electronic Music Field. (She earned a total of nine nominations, bringing her total to 88, which ties her and Jay-Z as the most nominated artists in GRAMMY history.) Bad Bunny and BTS also made history with their nominations, taking their global superstar statuses to an even higher level.
Those are just a few examples of firsts that came out of the 2023 GRAMMY nominations. Be sure to tune into the show on Feb. 5, 2023 — and in the meantime, check out some of the ways history could be made yet again on the GRAMMYs stage.
The 2023 GRAMMY nominations are officially here. See the complete list of nominees across all 91 GRAMMY categories.
After Bad Bunny smashed records with his fourth album, Un Verano Sin Ti, he's making history again at the GRAMMYs. Un Verano Sin Ti is the first album from the Latin Field to be nominated for Album Of The Year.
BTS received a nomination for Best Music Video for "Yet To Come," not only marking their first in the category — they're the first K-pop group to be nominated for Best Music Video.
First-Time Nominees (Sort Of)
As Beyoncé tied the all-time record for most nominations in GRAMMY history, she also earned her first nominations in the Best Dance/Electronic Recording and Best Dance/Electronic Music Album categories (for "BREAK MY SOUL" and RENAISSANCE, respectively).
Along with Beyonce, two other R&B artists celebrate their first nominations in the Dance Field: H.E.R. and Miguel. Both are nominated for Best Dance/Electronic Recording — H.E.R. with KAYTRANADA for "Intimidated," and Miguel with Diplo for "Don't Forget My Love."
They're far from alone in celebrating nominations in new categories, too. Adele earned her first nomination in the Best Music Film Category (for Adele One Night Only); Future received his first nominations in the Rap Field categories, Best Melodic Rap Song (for "BEAUTIFUL" with DJ Khaled & SZA and "WAIT FOR U" with Drake & Tems) and Best Rap Album (for I Never Liked You); and Brandi Carlile landed her first nominations in two Rock Field categories, Best Rock Performance and Best Rock Song (both for "Broken Horses").
There are also several General Field nominees who are celebrating new noms. Harry Styles scored his first nominations for Record Of The Year, Song Of The Year and Album Of The Year (for "As It Was" and Harry's House, respectively); DJ Khaled has his first Song Of The Year nomination with "GOD DID"; ABBA earned their first nomination in the Album Of The Year category with Voyage.
What's more, ABBA are also first-time nominees in the Pop Field, as they are nominated for both Best Pop Duo/Group Performance and Best Pop Vocal Album.
As announced in June, there will be five new categories awarded for the first time at the 2023 GRAMMYs: Songwriter Of The Year, Non-Classical; Best Alternative Music Performance; Best Americana Performance; Best Score Soundtrack For Video Games And Other Interactive Media; and Best Spoken Word Poetry Album. There will also be a Special Merit Award given for Best Song For Social Change.
Read More: 2023 GRAMMYs Explained: 6 Reasons To Be Excited About The New Categories & Changes
A couple of '80s and '90s stars make their GRAMMYs return this year, as Bryan Adams earned his first nomination since 1998 and Sheryl Crow earned her first since 2009. Adams is nominated in the Best Rock Performance category for "So Happy It Hurts," and Crow is nominated in the Best American Roots Song category for "Forever."
Bonnie Raitt — who also had her heyday in the '90s but continues to tour and create, like Adams and Crow — earned her first GRAMMY nominations in 10 years, and in major fashion: She scored four nods, including the coveted Song Of The Year for "Just Like That."
Cool GRAMMY Feats
Mastering engineer Randy Merrill — who has won six GRAMMYs in the past six years thanks to his contributions to albums by Taylor Swift and Beck, among others — adds a first to his GRAMMY repertoire. He is nominated three times in the Album Of The Year category for his work on Adele's 30, Coldplay's Music Of The Spheres and Harry Styles' Harry's House — Merrill's first time being nominated for AOTY three times in the same year.
Jamie Foxx now has his first non-music nomination, as he's up for Best Spoken Word Album this year. To date, Jamie Foxx has won one GRAMMY and received nine nominations overall, with all of his prior nominations landing in the R&B and Rap Fields.
Another 2023 Best Spoken Word Album nominee is Viola Davis. Not only is the nod special because it's her first GRAMMY nomination, but if she wins, she'll officially be an EGOT winner.
Lots of potential history-making moments could happen at the 2023 GRAMMYs. Be sure to tune in when the 65th GRAMMY Awards air live on CBS on Feb. 5, 2023!
The 2023 GRAMMYs, officially known as the 65th GRAMMY Awards, returns to Los Angeles' Crypto.com Arena on Sunday, Feb. 5, 2023, and will broadcast live on the CBS Television Network and stream live and on-demand on Paramount+ at 8-11:30 p.m. ET/5-8:30 p.m. PT.
The eligibility period for the 65th GRAMMY Awards is Friday, Oct. 1, 2021 – Friday, Sept. 30, 2022. All eligible awards entries must be released within this timeframe.
The Recording Academy and GRAMMY.com do not endorse any particular artist, submission or nominee over another. The results of the GRAMMY Awards, including winners and nominees, are solely dependent on the Recording Academy’s Voting Membership.
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10 College Courses Dedicated To Pop Stars And Music: Taylor Swift, Bad Bunny & Hip-Hop
In honor of Music in Our Schools Month, check out nine college-level music courses that dissect punk and EDM, global hip-hop culture and the discographies and careers of superstar acts like the Beatles and Harry Styles.
There’s never been a better time to be a music-loving college student.
Beginning in the mid to late aughts, an increasing number of academic institutions have begun offering courses dedicated to major music acts. In the late aughts, rap maverick Jay-Z made headlines after becoming the subject of a Georgetown University course taught by Michael Eric Dyson, a sociologist and best-selling author of Jay-Z: Made in America. In the Sociology of Hip Hop: Jay-Z, students analyzed Hova's life, socio-cultural significance and body of work.
It's easy to see why students would be attracted to these courses — which fill up quickly and are often one-time-only offerings. The intertwining of celebrity and sociology present such fertile grounds to explore, and often make for buzzy social media posts that can be a boon to enrollment numbers. For instance, Beyhivers attending the University of Texas at San Antonio were offered the opportunity to study the Black feminism foundations of Beyoncé's Lemonade in 2016. Meanwhile, Rutgers offered a course dedicated to dissecting the spiritual themes and imagery in Bruce Springsteen's catalog.
Luckily for students clamoring to get a seat in these highly sought-after courses, institutions across the country are constantly launching new seminars and classes about famous pop stars and beloved musical genres. From Bad Bunny to Harry Styles, the following list of popular music courses features a little something for every college-going music fan.
Bad Bunny's Impact On Media
From his chart-topping hits to his advocacy work, Bad Bunny has made waves on and off stage since rising to fame in 2016. Now graduate students at San Diego State University can explore the global superstar's cultural impact in an upcoming 2023 course.
"He speaks out about Puerto Rico; he speaks out about the Uvalde shooting victims and uses his platform to raise money and help them," said Dr. Nate Rodriguez, SDSU Associate Professor of Digital Media Studies. "How does he speak out against transphobia? Support the LGBTQ community? How does all of that happen? So yes, it’s very much relevant to journalism and media studies and cultural studies. It’s all of that mixed into one."
A Deep Dive Into Taylor Swift's Lyrics
Analyzing Taylor Swift's lyrics is a favorite pastime among Swifties, so it's fitting that her work and its feminist themes have been the focus of a string of university courses over the years.
In spring 2022, the Clive Davis Institute of Recorded Music at New York University launched an offering focused on the "Anti-Hero" singer's evolution as an entrepreneur, race and female adolescence. The waitlisted course — the first-ever for the institution — drew loads of media attention and Swift received an honorary degree from NYU in 2022.
In spring 2023, honors students at Sam Houston State University in Huntsville, Texas can analyze the 12-time GRAMMY winner's music and career in a seminar titled Culture and Society- Taylor Swift.
Kendrick Lamar's Storytelling & The Power Of Hip-Hop
Since dropping good kid, m.A.A.d. City in 2012, Kendrick Lamar has inspired a slew of academics to develop classes and seminars around his lyrical content and storytelling, including an English class that juxtaposed his work with that of James Baldwin and James Joyce.
More recently, Concordia University announced that the 16-time GRAMMY winner will be the focus of The Power of Hip Hop, It’s Bigger Than Us, a course examining the lyrical themes of Lamar’s works, such as loyalty, fatherhood, class and racial injustice.
"No artist speaks to this ethos louder and more intricately than King Kunta, the prince of Compton, Kendrick Lamar, 10 years after good kid, m.A.A.d. City dropped," said Yassin "Narcy" Alsalman, the Montreal hip-hop artist and Concordia Professor who developed the class which launches in winter 2023. “He showed us it was okay to work on yourself in front of the world and find yourself internally, that family always comes first, that community and collective missions are central to growth and that sometimes, you have to break free."
EDM Production, Techniques, and Applications
If you dream of hearing your own EDM tracks played at a massive music festival à la Marshmello, Steve Aoki and Skrillex, this all-in-one course at Boston's Berklee College of Music has you covered. Learn about the cultural origins of the various EDM styles — like techno, trance, drum and bass and more — and the techniques that artists use to achieve these sounds.
In between thought-provoking cultural seminars, students will receive lessons on how to operate the technologies necessary to create their own EDM masterpieces, including synths, digital audio workstations (DAW) and samplers.
Harry Styles And The Cult Of Celebrity
While many celebrity-focused courses center around sociology, the Harry’s House singer/songwriter has inspired his own digital history course at Texas State University in San Marcos: Harry Styles and the Cult of Celebrity: Identity, the Internet and European Pop Culture.
Developed by Dr. Louie Dean Valencia during lockdown, the class will cover Styles’ music along with topics like gender, sexual identity and class — but the singer-songwriter’s personal life is off limits. Stylers who are lucky enough to grab a spot in this first-ever university course dedicated to their fave can expect to revisit One Direction’s catalog for homework.
"I’ve always wanted to teach a history class that is both fun, but also covers a period that students have lived through and relate to," Dr. Valencia wrote in a Twitter post. "By studying the art, activism, consumerism and fandom around Harry Styles, I think we’ll be able to get to some very relevant contemporary issues. I think it’s so important for young people to see what is important to them reflected in their curriculum."
Global Hip Hop Culture(s): Hip Hop, Race, and Social Justice from South Central to South Africa
Since its inception, hip-hop has left a lasting mark on the world, influencing language, fashion, storytelling and beyond. At the University of California Los Angeles, students can learn about how the art form has shaped young minds as they analyze the various hip-hop scenes worldwide.
As part of a mission to establish the university as a leading center for hip-hop studies, UCLA’s Ralph J. Bunche Center for African American Studies launched a hip-hop initiative featuring an artist-in-residence program, digital archives, and a series of postdoctoral fellowships. Chuck D, the founder of the barrier-breaking hip-hop group Public Enemy, was selected as the first artist-in-residence.
"As we celebrate 50 years of hip-hop music and cultural history, the rigorous study of the culture offers us a wealth of intellectual insight into the massive social and political impact of Black music, Black history and Black people on global culture — from language, dance, visual art and fashion to electoral politics, political activism and more," said associate director H. Samy Alim, who is leading the initiative.
The Music Of The Beatles
With their catchy two-minute pop hits, artsy record covers, headline-making fashions and groundbreaking use of studio tech, the Fab Five are among the most influential acts in music history. It’s no surprise, then, that they are the subjects of courses in a number of colleges and universities.
Boston’s Berklee College of Music offers The Music of Beatles, which digs into the group’s body of work as well as the music they penned for other acts. Alternatively, if you’re more interested in their post-breakup works, The Solo Careers of the Beatles dives into those efforts. Meanwhile, the University of Southern California takes a look at their music, careers and impact in The Beatles: Their Music and Their Times.
Symbolic Sisters: Amy Winehouse and Erykah Badu
Whether you want to learn about craft, management, building a career, or marketing your work, the Clive Davis Institute at NYU offers an impressive curriculum for musicians and artists. With seminars focusing on the works of Prince, Joni Mitchell, Stevie Wonder, Paul McCartney, and J. Dilla, a unique duo stands out: Erykah Badu and Amy Winehouse.
Framing the pair as "symbolic sisters," this two-credit seminar explores and compares how each songstress fused different genres and styles to forge a magnetic sound of their own. Winehouse rose to prominence for her retro spin on the sounds of Motown and Phil Spector and rebellious styling. A decade before "Back to Black" singer hit the mainstream, Badu — who is recognized as one of Winehouse's influences — rose to stardom thanks to her seamless blend of jazz, R&B, and hip-hop and captivating urban-bohemian style, creating a template for singers like SZA and Ari Lennox.
Selena: Music, Media and the Mexican American Experience
From ascending to the top of the male-dominated Tejano genre to helping introduce Latin music to the mainstream, Selena Quintanilla's impact continues to be felt decades after her untimely death. Artists including Selena Gomez, Demi Lovato, Victoria "La Mala" Ortiz, Becky G and Beyoncé cite the GRAMMY-winning "Queen of Tejano" as an influence.
Throughout the years, her legacy and cultural impact have been the focus of dozens of college courses. In 2023, Duke University continues this tradition with Selena: Music, Media and the Mexican American Experience. The course will explore the life, career and cultural impact of the beloved Tejano singer.
The Art of Punk: Sound, Aesthetics and Performance
Since emerging in the 1970s, punk rock has been viewed as a divisive, politically charged music genre. Its unique visual style — which can include leather jackets, tattoos, chunky boots and colorful hair — was absorbed into the mainstream in the '90s, where it continues to thrive (to the chagrin of hardcore punks everywhere). Over the decades, dozens of subgenres have cropped up and taken the spotlight — including riot grrrl and pop-punk — but very few have left the impact of the classic punk sound from the '70s and its anti-establishment themes.
If you're interested in learning more about the genre that inspired bands like Nirvana, check out Stanford University's The Art of Punk seminar, which explores the genre's visual and sonic origins, as well as its evolution and connections to race, class, and gender.
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Photo: Sarah L. Voisin/The Washington Post via Getty Images
8 Artists Who Were Inspired By Their Teachers: Rihanna, Adele, Jay-Z & More
In honor of Music In Our Schools Month this March, take a look at how teachers made a heartwarming impact on superstars like Katy Perry and John Legend.
Before Rihanna, Billy Joel and Jay-Z became some of the biggest names in music, they were students just like the rest of us. Without some particularly special teachers, they might not be the superstars they are today, and they all remember who first encouraged them.
Within the past few years, Rihanna made a special trip to a cricket match in England to reunite with her old P.E. teacher from Barbados, who she calls her "MVP"; Joel traveled back to his New York hometown to honor the teacher who said he should be a professional musician; and Jay-Z told David Letterman that his sixth grade English teacher made him fall in love with words.
In honor of Music In Our Schools Month — which raises awareness for supporting and cultivating worthwhile music programs in K-12 — GRAMMY.com highlights eight artists who have praised their teachers for making a lifelong impact.
After watching Joel tackle Tchaikovsky's Piano Concerto No. 1 in B-flat Minor, Op. 23, his high school music appreciation teacher Chuck Arnold suggested that he consider music as a career.
"He said to me, you should be a professional musician," Joel recalled of his Hicksville High School mentor during a 1996 event at C.W. Post College. "Now, for a teacher to say that, it's like condemning someone to a life of poverty, drug taking, alcoholism and failure.
"A teacher is telling me this," he added seriously. "It had a huge influence on me."
In 2022, Joel was on hand to congratulate Arnold during the dedication of the Charles "Chuck" Arnold Theatre at the school. "This is for the coolest teacher there ever was," he praised.
.@CBSSunday surprised Lizzo with her high school band director, who encouraged her to apply herself when she was learning to play the flute — and her reaction was priceless: “Wow, I did it, didn't I?” https://t.co/dwffNvYzpb pic.twitter.com/xp5kDK5pWB— CBS News (@CBSNews) October 6, 2019
In 2019, CBS Sunday arranged a surprise visit with the singer and Manny Gonzales, the former band director at her alma mater, Elsik High School in Houston. She told the network that Gonzales helped her get a scholarship to study classical flute at University of Houston.
"You told my ass!" Lizzo exclaimed as she squeezed him. "You were like, 'Get it together, girl, 'cause you are special. Apply yourself!' Those moments meant so much to me."
The Atlanta DJ/producer and king of crunk has done more than take parties to the next level — he has invested in the educational future of children in Africa by building two schools in Ghana with the non-profit organization Pencils of Promise. He credits a mentor at Frederick Douglass High School in Atlanta for sparking his brain when he was a teenager.
"It was my music teacher [who inspired me to dream bigger]," he said in a 2019 interview with Yahoo! "I wanted to play drums, and if I didn't play drums, I wouldn't make music, and drums are the foundation for what I do."
Roddy Estwick was Rihanna's P.E. teacher in Barbados and is now the assistant coach of the West Indies cricket team. The two had an emotional reunion at the 2019 Cricket World Cup in England.
"He made a lasting impact on my life and he really offered great advice to me and many others when we were at school at Combermere," she told Barbados Today amid their reunion. "I just wanted to let everyone know what he meant to me in my development and what he did for us back at school in Barbados." Essence reported that Rihanna described him as, "My mentor, my champ, my MVP" on her Instagram stories.
The Ohio native credits his English teacher Mrs. Bodey at North High School in Springfield for setting him on the path that culminated in his music career.
"Until her class, I hadn't believed in my ability as a writer," Legend shared in a 2017 op-ed for Huffington Post. "She recognized my potential and showed me that I could write with creativity, with clarity, with passion."
He continued, "Mrs. Bodey, along with a few other teachers, helped me gain confidence in my skills and pushed me to challenge myself. They pushed me to graduate second in my class. They pushed me to deliver the speech at our graduation. They pushed me to earn a scholarship to the University of Pennsylvania, to hone my writing as an English Major and, ultimately, toward a successful career as a songwriter."
The singer was reunited with the most pivotal teacher in her life during her "An Audience with Adele" concert special in 2021. While the singer took questions from the crowd, actress Emma Thompson asked Adele if she had a supporter or protector in the past.
"I had a teacher at [south London high school] Chestnut Grove, who taught me English. That was Miss McDonald," Adele said. "She got me really into English literature. Like, I've always been obsessed with English and obviously now I write lyrics… She really made us care, and we knew that she cared about us."
Miss McDonald then surprised Adele on stage, and the singer was brought to tears — a touching highlight of the special. She even told her former teacher that she still has the books from her class!
While Perry has admitted that she wishes she had a better overall education, her former music school teacher gave her confidence to pursue singing seriously.
"I'm kind of bummed at this stage that I didn't have a great education because I could really use that these days," she said in a 2014 interview with Yahoo! "There was a teacher named Agatha Danoff who was my vocal teacher and music teacher at the Music Academy of the West. It was very fancy and I didn't come from any money… and she always used to give me a break on my lessons. I owe her a lot of credit and I appreciate that she looked out for me when I didn't have enough money to pay."
Picture a young Shawn Carter — now better known as Jay-Z — with his head stuck in a dictionary.
"I had a sixth grade teacher, her name was Ms. Lowden and I just loved the class so much," Jay-Z said during his appearance on My Next Guest Needs No Introduction with David Letterman in 2018.
He later realized how much Renee Rosenblum-Lowden, who taught him at Intermediate School 318 in the Williamsburg neighborhood of Brooklyn, had an influence on his passion for language. "Like, reading the dictionary and just my love of words," he explained. "I just connected with her."
"I knew he was extremely bright, but he was quiet," Rosenblum-Lowden told Brut in 2019, sharing that he scored at the 12th-grade level on a sixth-grade reading test.
"He's been very kind," she added. "Every famous person has a teacher who probably influenced them, and I wish they would all shout out the way Jay-Z did."
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Photo: Rebecca Sapp
6 Things To Know About Bonnie Raitt: Her Famous Fans, Legendary Friends & Lack Of Retirement Plan
During "A Conversation With Bonnie Raitt" at the GRAMMY Museum, 13-time GRAMMY winner detailed her career trajectory, history of big-name collaborations, and how her win for Song Of The Year at this year’s GRAMMY Awards was "a total surprise."
For the uninitiated, Bonnie Raitt is just an "unknown blues singer" — albeit one who managed to nab the Song Of The Year award at the 2023 GRAMMYs, plus two other trophies. But to the millions in the know, and the choice few in attendance for a chat with Raitt at the Grammy Museum on March 5, she is a living legend.
Over the course of her decades-long career, Raitt has earned 30 GRAMMY nominations, taking home 13 golden gramophones for tracks like "Nick Of Time," "Something To Talk About," and “SRV Shuffle,” as well as albums such as Luck Of The Draw and Longing In The Hearts. Last year, Raitt was awarded the GRAMMY Lifetime Achievement Award, and at this year’s ceremony, she snagged GRAMMYs for Best American Roots Song, Best Americana Performance and the coveted Song Of The Year.
Before she heads out on a tour of the western United States and Australia, Raitt sat down to chat with moderator David Wild for about two hours, musing not only about her "total surprise" about snagging the Song trophy, but also about her experience at the ceremony. It was an illuminating and downright charming experience — as well as an educational one. Here are six things we learned at "A Conversation With Bonnie Raitt."
Taylor Swift Is A Fan — And A Humble One At That
Raitt recounted being chatted up by Taylor Swift during the GRAMMYs, with Swift telling Raitt backstage that she felt okay losing Song Of The Year to her. Swift's "All Too Well (10 Minute Version)" was in competition, alongside works by Lizzo, Adele and Harry Styles.
Swift also introduced herself to Raitt, whom she’d never met, saying,"Hi, I’m Taylor." Raitt said she responded, "Ya think?" — which made the audience in the Clive Davis Theater crack up.
She’s A Master Collaborator, With More On The Way
"No one commands more respect" amongst their musical peers than Bonnie Raitt, said Wild, who's worked on the GRAMMY Awards as a writer since 2001. Whenever the show’s team has struggled to think of who could best pay tribute to someone like John Prine, Ray Charles, or Christine McVie, "the answer is always Bonnie Raitt."
That’s probably why, as Raitt noted, she’s recorded duets with more than 100 different musical acts — from Bryan Adams to B.B. King. Raitt added that she’d still love to work with Keith Richards, Bob Dylan, and H.E.R., and that fans can anticipate new collaborative work coming from work she’s done with Brandi Carlile and Sheryl Crow.
Raitt added that she’s gotten really into Unknown Mortal Orchestra lately, who she heard about through Bruce Hornsby.
She’s Learned From And Befriended Musical Masters
Raitt was effusive about her love for King, among others, saying that one of the great joys of her career has been sitting at the feet of blues greats like Sippie Wallace and Son House. The singer/songwriter expressed her gratitude for being able to help get so many of these once-forgotten masters both the attention and the pay they deserved. She cited her work with the Rhythm And Blues Foundation as being of great importance to her personally, saying that it’s vital that the roots of blues and jazz are taught in schools today.
Wild also got Raitt to open up about her friendship with legendary gospel-soul singer Mavis Staples, who toured with Raitt just last year. Calling Staples, "all the preacher I’ll ever need," Raitt said she thinks she and Staples bonded over being the daughters of famous fathers. "It’s a great honor of my life being friends with her," Raitt said of her "mutual sister."
Later, Raitt also waxed rhapsodic about another famous daughter, Natalie Cole, who she said she’d been thinking about all day.
Raitt’s Got An Independent Spirit And An Independent Label
A good portion of Wild and Raitt’s chat was devoted to the star’s career trajectory. The two detailed how, as a 21-year-old college student, Raitt signed to Warner Bros. only after they promised her complete creative control of her own indie label, Redwing.
Raitt said it was only with the help of a"team of mighty women" that she was able to go independent. She cited lessons from friends like Prine, Staples, and Jackson Browne, from whom she learned going it alone could be done successfully.
Bonnie Raitt Almost Missed Out On "I Can’t Make You Love Me"
Raitt also talked a bit about her previous GRAMMY triumphs, including her run of nominations and wins around 1989’s Nick Of Time. Her popular single, "I Can’t Make You Love Me," was originally written for Ricky Skaggs, who intended to make it a lively bluegrass record.
Raitt added that she thinks the song "Nick Of Time" struck a chord because she opened up about what it means to be getting older.
She’s Not Planning On Retiring (Or Dying) Any Time Soon
After joking that COVID lockdown felt like "house arrest" and "hibernation," Raitt said that her recent tours have been a blessing. "It feels like I was under the earth without any sunshine," Raitt says, reassuring attendees that she’s "never retiring." She said that while she’s lost eight friends in the past three or four weeks, including the great David Lindley, the 73-year-old is optimistic that she can "be here and celebrate for another couple of decades."
Raitt capped off the event doing what she loves best, teaming with long-time bassist Hutch Hutchinson for an intimate four-song set that included "Angel From Montgomery," "Shadow Of Doubt," "Nick Of Time," and the GRAMMY-winning "Just Like That." Raitt ended the evening by thanking the Recording Academy for inviting her out, joking, "I can’t believe I get to do this for a living."
Bonnie Raitt Essentials: 11 Songs That Showcase The Breadth And Depth Of The 2023 GRAMMYs Song Of The Year Winner
Photo: Alberto E. Rodriguez/Getty Images for The Recording Academy
Meet Tobias Jesso Jr., The First-Ever GRAMMY Winner For Songwriter Of The Year
"I felt the weight of what it meant," the man behind the curtain of massive songs by Adele, Harry Styles, Marcus Mumford and more says about his win in the brand-new GRAMMY category.
Tobias Jesso Jr. wanted to know how to write a hit song, so he read How to Write a Hit Song. Not that he needed to figure out how to break into the mainstream: he had already written a tune with Sia and Adele that cracked the Billboard Hot 100. But in an effort to take his young career seriously — that of writing behind the curtain for the stars — he cracked open the book at a café.
Just then, a voice: "What the hell are you doing?" He glanced up. It was Sia.
"She was like, 'Why are you reading that?' and I was like, 'I honestly don't know,'" Jesso remembers with a laugh. "I think I just put the book away from that point on and was like, OK, I don't need the books. And I just felt like there's been a different one of those lessons at every step of the way where I'm just like, Man, I think this is what I got to do, and then I just figure it out."
Since that exchange, Jesso has written with a litany of contemporary stars: John Legend, Shawn Mendes, Pink, Haim, Harry Styles — the list goes on. (As per the latter, he co-wrote "Boyfriends" on Harry's House, which was crowned Album Of The Year at the 2023 GRAMMYs.)
And at said ceremony, he received a historic honor — the first-ever golden gramophone for Songwriter Of The Year. As Evan Bogart, Chair of the Songwriters & Composers Wing, recently toldput it to GRAMMY.com: "We're looking for which songwriters have demonstrated, first and foremost, that they're considered a songwriter first by the music community. We want to recognize the professional, hardworking songwriters who do this for a living."
Read More: Why The New Songwriter Of The Year GRAMMY Category Matters For The Music Industry And Creator Community
Clearly, Jesso fits the mold, and possesses technical chops worthy of How to Write a Hit Song. But his realization — that he can literally throw out the rulebook — speaks volumes as to his flexible, collaborator-first and fun-first process.
"I get into a room and I really want to enjoy the people, and the songs will come if we're all just being honest," he tells GRAMMY.com. "If you take a few days or weeks to get to know somebody, all of a sudden, your songs are deeper."
And while working his interpersonal and collaborative magic, he keeps his ears and imagination open — a momentary trifle can become the heart of a song. It happened with Cautious Clay's "Whoa," which came from messing with some, well, whoas.
"It was a little silly at first," says Jesso,the songwriter whose first output was "inappropriate" high-school joke songs. "But now it wasn't silly anymore."
GRAMMY.com sat down with Jesso about his creative beginnings, the experience of working alongside pop titans, and how his inaugural GRAMMY win for Songwriter Of The Year happened during the happiest, most creatively fruitful period of his burgeoning career.
This interview has been edited for clarity.
How did it feel to take home the golden gramophone — the first ever in this category?
It felt tremendous. It felt amazing. It's such an honor to have received it, and I felt the weight of what it meant. I get really stage frightened, and so I kept telling myself there's no way I was going to win, just so I wouldn't be nervous or anything like that.
But weirdly, when I did win, I was very not nervous. I don't know how to put it, but it was the opposite of what I thought I would feel. I don't know if I've never been awarded something so prestigious. My elementary school did a piece on me after I won the GRAMMY, and it was sort of largely a "We didn't see any talent at all" kind of thing.
So, I'd say "tremendous" would be probably the one word I would feel most aptly describes it. I'm just really, really proud of the category and its creation, and super lucky to have been a part of it at all. Especially in the year that it comes out. I was baffled that I was nominated.
I had already felt like that rush of whoa, this amazing thing happened when I was nominated. And then winning was the next level of completely beyond what I could have ever expected.
How does the win help chart the next stage of your career?
As a songwriter, your job is to serve the artist. Your job is to serve the artist — the person who the song's for. And I think because of that, most songwriters have a very serve mentality, which generally doesn't work out well on the business side of things for you.
I think if you took all the producers in the world and took all the songwriters in the world and tried to look at which ones are more business savvy, I'd say nine times out of 10, it's probably the producers.
I think a lot of people — artists or songwriters among them — have imposter syndrome, feeling like they don't really know whether they belong there or they're just lucky or they have what it takes for the next one, even. If they know they had a good run or whatever, they're always going back to the well and praying that there's something in there.
And I think this GRAMMY is almost like having a symbol of a really good run — a really good, fertile time of creativity or something. TI think the way I see it is sort of a symbol of this period of time where I had a lot of ideas, and worked really hard, and managed to somehow win this thing, which is, for me, is huge. It means a lot.
For the songwriting community to have the award to look forward to, to have this symbol of Hey, you can be creative as a songwriter and just be a songwriter who doesn't sing and doesn't produce, and [the fact] you can get this prestigious symbol of your gifts that the world will now recognize — I think that's a wonderful thing for songwriters to have.
Take me back to the beginning of your career writing songs, either for yourself or others. The first time you really embraced this magical act of creation.
I was such a lazy songwriter for so many years because I always loved writing songs, writing songs with my friends in high school and stuff like that. But I never really wanted to play an instrument, and I never really wanted to sing them myself.
I think probably back in high school, in 1998 or '99, it was because they were joke songs. So I probably didn't want to sing them because they were inappropriate or something. I always wanted to. The beginning for me was definitely a sort of moment of hearing Tracy Chapman when I was like, Oh, this is what I'm going to do. Not be Tracy Chapman, but write songs.
From there I was really lazy and I just tried to do as little as possible, but I had this sort of confidence that I was somehow good at it. So, I would sometimes have my friends who played guitar or my friends who played piano, or whoever was around, do the music part for me, and I could just kind of pipe in and direct where I felt like my skillset was.
I started writing on piano for the first time when I was 27. That was a big moment for me where I was. I feel like I finally figured it out. It took me a long time: I still don't know how to play the piano, but I know I'm going to figure this out now.
I made a lot of mistakes along the way with bands and with albums or whatever. Things that just didn't exactly go the way [I planned them]; my gut was eventually telling me it just wasn't right. And then, when I started playing piano, it just finally all felt right, and I didn't think too much about it. I just sort of started doing it.
During that time, I unfortunately had to sing to get my album out, which was sort of a means to an end. But as soon as I was able to, I ducked away from that and started writing. Then I just had a new job. I was like I got promoted or something.
As you honed your ability and developed your craft, how did you follow that chain of connections to be able to write for who you've written for?
It's funny because Adele was the first person I worked with — [but] not in a professional way where managers and stuff like that are involved, and it's not just a friend of mine from high school or something. She was sort of my blueprint for how those things went.
I couldn't have gotten any luckier than with Adele, because her blueprint for how to do a writing session is the most pure in the game. There's nothing to hide behind. There's no producer in the room. She came to my friend's grandparents' where there are no mics; there's no studio equipment at all. There's a piano. And she just goes, "Great, let's write a song."
I don't know that that even exists much anymore. There's not even a microphone to capture what's going on, let alone one of the biggest players in the entire world doing it — just showing up, being like, "Let's write a song." And there's nothing to record her. I thought that was really cool. I'm like, "That's how I write songs. I just sit in front of a piano and just do what I think I like." And she was like, "And me too."
So, that's how we got along real great off the bat. And then from there, I would say it was just the most epic amount of failures and trial and error to figure out what the hell I was doing in every different session. I mean, I was treading water at times, and I felt like I was smoking crack sometimes, because I was so creative in a certain scenario I didn't expect to be creative in or something like that.
I think it's just this kind of learning process. There are a lot of people who are typically geared towards one style of writing. You're the country guy or you're the pop guy, or you're the ballad guy. And I could see that I was getting typecast. I was starting to get typecast, especially early on in my career because ballads, that's just the tempo that's naturally within me. It's sort of my soul tempo to just slow things down. I can write much easier in that tempo. I'll always sort of naturally progress there.
But I wanted to push the limits of that, and I wanted to figure out a way to get out of that typecast. And so I tried as quickly as I could to pick people who would be like, "Please don't play a ballad."
And when I started doing that, it was, again, trial and error. I think Niall [Horan of One Direction] was the first person I worked with who was in the pop world, and he was very much an acoustic singer. So I think that I was going into that session thinking I wanted to do upbeat pop. So I don't know — you get in the door and then you just try to acclimate yourself to the environment and help out as much as you can.
I think that's the best way to put it, because you never know what you're going to be doing. You never know what the artist is going to want from you or not want from you. A lot of the job is just figuring all that stuff out and then trying to just have fun while you're doing it. I think it's just that good energy, good attitude, and good people tend to sort of gravitate together.
How would you characterize the state of your artistic journey at this point?
I would say it feels the richest, in the sense that I'm the happiest I've been working.
I've found my rhythm — my perfect work-life balance kind of thing — so I can spend time with my son. And I think because of all of the time I've spent writing songs and how many songs come out, which is not a lot compared to how much you spend writing, you kind of learn that the relationships you make in the room are really the things that you really take out of it. It can be a lot more than, "I'm just a songwriter here to serve this artist" or whatever.
Lately, probably because of all the time I've spent doing it, I get into a room and I really want to enjoy the people. And the songs will come if we're all just being honest. We all know why we're here. We don't need that pressure in the room, and we don't need the A&R sitting in the room. We can get a song, but let's just be honest and really enjoy each other's company for a while.
And I think once that starts happening, it's way, way more fruitful in the long run. Because if you take a few days or weeks to get to know somebody, all of a sudden, your songs are deeper.
As a songwriter, your job is to point out metaphors or parallels — and things that could spark some interest in an artist's mind. And the better you get to know somebody, the more amazing the writing process can be.
That's been happening a lot in my recent sessions with Dua [Lipa] and Harry, another just amazing person. He is a great guy, but we haven't done that much writing together, but we know each other mostly through Kid Harpoon — Tom [Hull], who's the best.
I'm getting to know the people, and that's the most important part for me — I'm working with the people I want to work with. That's my journey now. I'll always work with new people, but I don't need to work with people I don't really vibe with or listen to. That's not really my interest anymore, especially if I'm in it for the right reasons. I'd say it's just more intentional, and I'm being more honest.
When you walk into a room to write with somebody, what are the first steps, or operating principles?
My operating principle is: Do I want to get to know this person, and do they want to get to know me at all, or do they just want to write a song and not want to open up?
If it's somebody who seems very open to talk, that's usually a good sign. And if not, then you just do what they want. You start writing a song and that's fine too. Sometimes there's great, catchy stuff. It's not always the deepest stuff.
Maybe they're the ones writing the lyrics, so maybe it is. But my operating principle is kind of, if I'm having a good time and everyone's having a good time, we're doing something good. We're not writing a bad song. We're just not. If we were writing a bad song in this room of professionals, we wouldn't be having a good time.
And when you're having a good time, good ideas do come. Even if they are silly at first and they're more openly accepted, and everything in the room is flowing better when those channels of enjoyment are sort of open, and everyone's laughing and having fun and dancing and being silly, that's how you get creative.
I don't know of many songwriters who are just dead serious. I've maybe met a couple. So I think my operating principle is to have a good time. That's going to be the funnest day, no matter what. It's probably going to be a better song for it if you're having fun and you like the people and they like you, and everything's going well.
Why is it crucial that the Recording Academy honor not only public-facing creators, but those behind the curtain?
I won't speak for myself as much as just the amazing people who I've worked with. You can't understand what kind of work has to go into a song. It's so funny, because it's a three-minute thing that sounds like most people can do it in an hour or something, but some of these things take months of work to get right.
I think it's really important to acknowledge everyone involved in each of the processes, because to give credit to just producers and artists, and then it's like, "Yeah, but the storytellers aren't even in the room," is like the congratulating a director and an actor, and then being like, the writer is s—. It's like, what? The movie wouldn't exist without them!
That just wouldn't happen. So, it feels like the right thing. I'm a bit overwhelmed and still a bit in disbelief, but it's snowing in LA, so miracles do happen.
What would you tell a young songwriter who wants to roll up their sleeves and do this?
I would say just be a good person and keep learning. Everyone's not perfect at the start. But if I had to give one piece of advice that was super, super important to me, is the good guys are winning in the end sometimes.
Like I said, the friendships and the artists, you don't want to come in being a d—. And I don't mean that strictly for men. I just mean whoever's coming in, you want to be a nice person. I think there's a lot of good people, and there's a lot of bad people too. You find your crew — energy finds energy.
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