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Carly Rae Jepsen
How Carly Rae Jepsen's Love Of Love Makes For Great Pop Music
The GRAMMY-nominated pop artist's latest project, 'Dedicated,' is a joyful romp through the different flavors of relationships, showcasing her "infatuation with infatuation," as Rolling Stone put it
On May 17, GRAMMY nominee Carly Rae Jepsen released the shimmering, exuberant Dedicated, her four-years-later follow-up to 2015's fan-favorite Emotion. The 15 tracks explore the ups and downs of love and relationships in all its forms while playing with different textures and sounds reminiscent of your favorite classic pop tracks from the last few decades.
On "Want You in My Room," she offers a healthy '80s dose of saxophone and synth, paired with the lyrics about longing to get a little closer to your crush. With "Party For One," a ridiculously catchy breakup anthem, Jepsen stays joyful as she celebrates self-love packaged as an authentically fresh sounding modern pop dance party bop.
Above the playful, candy-coated beats and lyrics, even above the songs feeling like exactly what Jepsen was meant to be performing as the cult-favorite "indie pop star" space she's carved for herself, the album reflects the main driver in her life; a love for love and relationships. Or, as her recent Rolling Stone interview put it, her "infatuation with infatuation."
Related: Carly Rae Jepsen Masters Emotion
"When you get to the place where you know somebody, and they've seen your absolute embarrassing worst and love you still, there's a rush and a high," she told R.S. "I try to create that with the music that I make: a feeling of a moment being so intense that you're present in it and you're nowhere else."
The feature goes in-depth into Jepsen's several-year journey that went into the new album, which, as they aptly suggested, shall hail her as "the new queen of heart-wrenching dance-floor catharsis." The pop darling explains the album's opening track, "Julien," about an inescapable "everlasting fantastical love," is the thesis statement of for the LP.
Working her way through the almost 200 songs she wrote in the process, the title track didn't make the final cut, but as the outlet details, "epitomized the album's strong emotions. Jepsen's greatest muse is 'new love.'"
As for her hopes for how her music is received, she is not concerned with repeating the hot-flash moment of pop superstardom she felt in 2011 with her huge GRAMMY-nominated No. 1 hit "Call Me Maybe."
"I would much rather have a small and mighty group of people who are getting what I love about music and connecting than a 'Call Me Maybe' ever again," she said. And as for how "true" love will pan out in her life, she is open to wherever things may go, as long as there's love, whether or not she got a ring on it, she'll be happy.
"I don't really have any rules for how the course of the adventures of my life will look. I know I'm gonna be happy as long as I've got [my] relationships in order."
You can catch Jepsen live on her Dedicated Tour, which currently has her singing her heart out in Europe, and then back stateside this summer.
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Photo courtesy of the artist
Meet The First-Time GRAMMY Nominee: Kabaka Pyramid On Embracing His Voice & The Bold Future Of Reggae
Kingston-born reggae star Kabaka Pyramid is one of a handful of artists bringing positivity back into the genre. His messages of consciousness are more powerful than ever on his third album, 'The Kalling' — and now, he’s a GRAMMY nominee because of it.
Kabaka Pyramid answers to a higher power — and his third album, fittingly titled The Kalling, is a testament to his beliefs.
The Kingston-born rapper, singer and producer is one of a handful of artists bringing positivity back into reggae, often channeling the empowered, political, and spiritual vibes of roots artists. Kabaka Pyramid is often labeled a "reggae revivalist" for this reason, but The Kalling manages to be both classic and incredibly of the moment. And while his previous albums Victory Rock and Kontraband are testaments of lyrical and genre-blending prowess, Kabaka's latest is a notable ascension.
One of five nominees for Best Reggae Album at the 65th GRAMMY Awards, The Kalling showcases Kabaka's passion for using hip-hop, soul and dancehall to iterate on the sound of conscious reggae. The record also overflows with messages of growth, contemplation of addiction, and gratitude — an antidote to some of the more crude attitudes present in Kabaka's favorite genres.
"The older I got, the more I felt responsible to represent myself in a certain way," Kabaka tells GRAMMY.com from his home in Miami. “I wanted to inspire, like how artists like Sizzla and Damian Marley inspired me. I wanted to have a similar effect, and I knew I needed to put out positive music to do that.”
Kabaka called upon his community to achieve this vision. The Kalling was produced by the reggae scion also known as Jr Gong, and features the late icon Peter Tosh in addition to Buju Banton, Jesse Royal and fellow 2023 nominee Protoje. Together, they created an album that pulls from contemporary pop, rap and '80s era reggae, with songs that are meditative ("Stand Up"), club-ready ("Energy" and "Mystik Man"), and fit for a kickback ("Mary Jane").
Ahead of the 2023 GRAMMYs, the first-time nominee spoke to GRAMMY.com about inspiring higher vibrations through music and action.
Was the GRAMMY nomination a milestone you were working towards, or one that caught you by surprise?
I was shouting, screaming, everything; a couple tears of joy. I'm probably the only person on my team and label that it kind of caught by surprise. I just always thought that the GRAMMY was just this huge thing and something that is best if I don't think about it too much, because I feel like that can lead to disappointment.
So I was just more focused on putting in the work and really representing myself with the music, and then let the awards come. But it's definitely a huge achievement for me. I wouldn't have dreamed of it when I was back in high school, but here I am now, so I have to give thanks.
It's cool to reflect on how far you've come — like, man, I'm living out my dreams from high school or dreams you didn't even know you had.
I'm 37 now, so it's been a 20-year journey since I first started to pencil down some lyrics. And most people start super early, whether they're in the church, or in the choir, or whatever it is. Or they come from a musical family, so they watch their parents do it or whatever. But for me, it wasn't that.
I always loved music, particularly hip-hop and dancehall. So I was just inspired by music, but I never thought of it as something I'd actually be doing until around 17, 18. That's when I realized that I have a talent for actually writing lyrics. And from then it was just working on my voice. A lot of self recording at home, home studios over the years, different places.
Tell me a bit about the creation of the album; what was going on in your life at that time?
The recording and writing and stuff was mostly throughout the pandemic. For the first few months, I was in Jamaica; Damien was sending me beats that he was working on from his studio in Miami. And eventually, I flew up and we started just going at it together in studio and from just jam sessions with me, him and his musicians, just coming up with ideas from scratch.
There were some conversations about what we want to do differently from the last album and what kind of song we wanted to go for, what kind of vibe. We wanted some traditional reggae, we wanted some hip-hop vibes in it, wanted to sample some classic reggae records as well as some soulful stuff. "Grateful" was a soul record that was sampled, and of course, "Mystik Man" [featuring] Peter Tosh is originally "Fade Away" by Junior Byles, a classic reggae record too.
Over two years, it just slowly but surely started to shape itself. We did "The Kalling" and Protoje and Jesse came to studio while Stephen [Marley] was recording, and they ended up dropping their verses that night. And I knew from that night that this would end up being the title track for the album. And we just kind of themed the whole album around "The Kalling." Having a higher calling, a higher purpose to the music, tying it into the teachings of Rastafari and what it means to me. It was just a beautiful process.
What do those Rastafari teachings mean to you and how are they presented on this album?
For me, Rastafari is first and foremost about knowing where you come from, seeing yourself as royalty, as kings and queens — especially for Black people who have been through slavery and coming to the West by force. So it's really a reconnection to Africa, but it applies to anybody that wants to reconnect with who they are, where they're from, and their identity.
We practice a vegan diet, ital, and man and woman relationships — being wholesome, the family unit. These are all Rastafari is and is coming from his Imperial Majesty, the emperor of Ethiopia. Ethiopia being the country that was never colonized in Africa, that really maintained their identity. That's really where Rastafari culture and expression stems from.
This record also has a lot of messaging around being aware of yourself and your addictions, and things that you're doing in your daily life that might not be so healthy. Was that something that you've been thinking about for a long time, or was it something that came to you during this production process?
As Rasta, we reason about these things all the time. It's all about looking at how we live, what's our mentality towards life. And a song like "Addiction" just came out of countless reasonings about social media, about our phones, about the radiation and our phones give off. I don't sleep with my phone near me because I wake up with headaches.
I felt like that song was so important because with the pandemic, we're taught to social distance, we're taught to stay inside and we just turned to our phones and our devices. So we're even more technologically oriented now after the pandemic than even before. It’s kind of continuing from a song I did from Kontrabrand called "Everywhere I Go."
The Kalling is much more centered in traditional reggae, though "Energy" is sort of pop and R&B, and the opening track from your last record is a pop tune. Yet you're branded as this revival reggae artist. What are your thoughts on that?
The whole revival thing came about in like 2011, 2012 when my first reggae project came out; Protoje's album was out, Chronixx [had] transitioned from being a producer/songwriter to being a recording artist, and he took Jamaica by storm. We started going to Europe with our bands, and I think that is what really cemented the whole idea of a revival, because …there was kind of a dying down of Jamaicans coming with their bands. And you had [Jamaican artists using] these backing bands that were local in Europe because it was more economical. And then a lot of artists couldn't travel anymore because of what I consider their freedom of speech being questioned and violated. So you had a lot of key artists that couldn't travel.
So because of that, when we came on the scene, it was very refreshing for people to see these young acts in their 20s coming with their bands and sacrificing where we could have made more money if we went with backing bands, or with track shows or whatever. And then not only that though, we were sampling Black Uhuru records and Sly and Robbie bass lines, and drum and bass.
If you check my song "Revival," "Here Comes Trouble" [by] Chronixx, and Protoje's "Kingston Be Wise," all of these tracks kind of brought back an '80s vibe. And then when we translate them on stage with the bands, people felt like it was a revival of the '70s and '80s.
Musically we definitely fuse a lot of the sounds. There's modern elements, there's hip-hop elements, R&B, pop elements to it too, because we're all influenced by that. We're in an era where artists kind of have more creative control with their sound — it's not like you just go to one producer that has one sound. We can call on different producers, we produce ourselves and the stuff that we are influenced by, that's what we try and recreate.
So it's partially a revival of sound but also a revival of style and performance.
Are there any tracks on The Kalling that you're particularly proud of?
"Mystik Man," I’m really proud of that, especially with the whole Peter Tosh family behind the song. We were able to list it officially as featuring Peter Tosh, so I have a song with one of my idols. Overall, his life, what he represents, his mission — him and Sizzla are right up there in terms of who inspire me the most. "Addiction" from a songwriting perspective, I'm really proud of that one.
I'm proud of the fact that I stuck to my roots. When I was early in my career, I couldn't sing to save my life; rapping was easier for me to do. I was working on my reggae, but I wouldn't let anybody hear those songs. So doing a song like "Kontraband pt. 2" where I'm rapping with this Jamaican accent, [or] "Mystik Man," — being able to represent that and still maintain my identity as a Jamaican [and] as a reggae artist, and to get nominated, is a great achievement for me.
I read in Dancehall Magazine that you think that the subject of a lot of Jamaican music is holding artists back. How did you try to combat that notion on The Kalling?
I think my music is naturally more wholesome. It's more readily accessible to older and the young. Maybe it can be a bit too deep for some people, but just generally speaking, I don't put a bunch of slack lyrics or derogatory lyrics to women or violence, gun violence. And that's kind of typical for Jamaican music. But I feel these younger artists are kind of pushing the limits of it. There's a lot of talk about drug use now in songs, and scamming, and all of them kind of things.
I've seen artists that are on the verge of breaking into mainstream do collaborations with other mainstream acts, but then it's just crazy curse words in the song and super derogatory lyrics. I could see somebody at a radio station like, "no, I can't playlist this because it's too difficult." Especially, being an international artist. So it's trying not to shoot ourselves in the foot by having too extreme lyrics.
How did you meet Damien Marley and what did he bring to this project?
I met him at the Bob Marley Museum, I think it was around 2013. He was shooting some videos with Nas for Distant Relatives.
The first time working with him, he sent me a riddim that he wanted to do a juggling [on]. It was originally a Wayne Marshall record, but he wanted to voice some other artists on it and Chronixx, Juliann Marley, others are on it too. I wrote the song "Well Done" on it, and we all loved the song. I was there when the song was being mixed and prepared, and that's when we really bonded, and we started to just hold our vibe, reason about music.
We played football at the field at his house. And it just felt like a brother kind of relationship from early. He's like a mentor to me; I ask him advice and everything musically. And just being with him, I learned so much about sharpening up my songwriting skills and making my lyrics more potent and more absorbable for people. From there, we just grew to the point where we had a discussion about doing two albums at minimum, and we did Kontrabrand.
He produced five of the tracks [on The Kalling], but it was all put together in his studio, [and] he executive produced the project. I wanted to give him the chance of doing a whole entire album. I felt like there was enough versatility with his production style to do it. I think he really did an excellent job. It's almost like it doesn't make sense to not do an album with him anymore.
Is there somebody who gave you props about this record that were really meaningful?
I just got a very long voicemail from Pressure Buss Pipe, who is an artist I'm really inspired by. He was telling me how much I stepped up with this album, and I'm just in the right gear now. It was really a heartfelt voice note. He's somebody that I listen to a lot, and his vocal ability inspires me, and his songwriting. I have five, six, maybe seven songs with him too.
I should say Protoje was one of the first people to call me when I got nominated. And obviously, I congratulated him as well. And even how excited Damian is [means a lot], because he's not somebody that gets excited very easy. There’s not many others who can impress you more than Damian Marley, you know what I mean?
Why did you want to feature Protoje on The Kalling and, together, what are you guys showcasing about contemporary Jamaican music?
Protoje is somebody I always want to collaborate with. He was instrumental in the start of my career; most of [my 2011 EP] Rebel Music was recorded at his home studio. About four of the beats were beats that he gave me and from other producers. Europe knew about me because Protoje kind of helped me to get my name out there. And I respect him so much.
We're all about innovation. I think Protoje's [nominated] album is super cool. The intro and "Family" and "Hills" kind of go back to his original, more hip-hop flavor. Both of us have evolved so much vocally; I love the vocal tones that he experimented with on his album. And sonically, he's always pushing the genre further and I really appreciate that about him. And similar with me, there's so much versatility around the album, but still rooted in reggae.
The two of you are nominated in a category that has a next generation artist and very established musicians. How do these nominees reflect the state of reggae?
It means a lot for everybody now because of who won last year. Big up to SOJA; I really think they put in a lot of work in this music industry, especially in the U.S. And they unified the whole U.S. reggae industry on their album; they featured all of the major acts in the U.S. and I really think it was effective.
But people see it and say, "Oh, reggae is being taken away from Jamaica" and there was a lot of backlash for that. Based on that, it's very refreshing to see an all-Jamaican lineup of artists; artists that have done so much for the industry who have been on the frontline internationally, who put out wholesome music too. It's not like any real slackness is being represented.
I would hope that this lineup of artists inspires the younger generation that you can do music without all of the negativity and it can reach the highest level. It's not that the U.S. is greater than any other nation, but it's our biggest market for the music. So to be recognized within the U.S. with this GRAMMY Award is tremendous, and everybody feels it and appreciates it.
There’s so much versatility represented: Shaggy, did a Frank Sinatra cover album. Sean Paul is modern dancehall pop. Koffee is kind of similar, but there's so much fusion going on there and she's so lyrical and so young and, just blowing up all over the place. Me and Protoje are kind of in a similar bracket. It's an interesting group.
Speaking of the next generation, who or what are you listening to these days that's giving you life? Anybody you want to big up?
There's a bunch of artists, Medicine, who actually did some songwriting on my album. Irie Soldier, Nattali Rize, Runkus, Royal Blue, Blvk H3ro, Imeru Tefari, Five Star. There's a bunch of artists out there that's doing good music, and I'm always here to support them and want to do some more production with them as well. The future is bright, for sure.
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Photo: Rachel Kupfer
A Guide To Modern Funk For The Dance Floor: L'Imperatrice, Shiro Schwarz, Franc Moody, Say She She & Moniquea
James Brown changed the sound of popular music when he found the power of the one and unleashed the funk with "Papa's Got a Brand New Bag." Today, funk lives on in many forms, including these exciting bands from across the world.
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'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 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 (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's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.
Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether.
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Photo: Steven Sebring
Living Legends: Billy Idol On Survival, Revival & Breaking Out Of The Cage
"One foot in the past and one foot into the future," Billy Idol says, describing his decade-spanning career in rock. "We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol."
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].
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Graphic: The Recording Academy
Hear All Of The Best Country Solo Performance Nominees For The 2023 GRAMMY Awards
The 2023 GRAMMY Award nominees for Best Country Solo Performance highlight country music's newcomers and veterans, featuring hits from Kelsea Ballerini, Zach Bryan, Miranda Lambert, Maren Morris and Willie Nelson.
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.