The multi-talented, GRAMMY-winning music mogul Jermaine Dupri has been making waves in the music world from a young age, beginning with launching Kris Kross into fame when he was just 19 years old. Dupri wrote and produced their debut hit single, "Jump," and has contributed in some capacity to way too many hits to count since his early days.

He is also only the second hip-hop artist (Jay-Z was the first in 2017) inducted into the Songwriters Hall of Fame. On the eve of the opening of the GRAMMY Museum's new exhibit showcasing his contributions to music, we take a trip down memory lane, looking at our favorite songs that Dupri either wrote or co-wrote.

"Jump" – Kris Kross (1992)

You can't talk about Dupri's beginnings as a writer/producer without mentioning Kris Kross, the duo of 12 year olds he discovered at the mall and signed to his new label. The first song that he wrote and produced for them, "Jump," gave them almost instant fame as it shot to No. 1 on the Billboard Hot 100. The song was nominated for Best Rap Performance By a Duo Or Group at the 35th GRAMMY Awards.

"Always Be My Baby" – Mariah Carey (1995)

A young Mariah Carey collaborated with Dupri for the first time on her widely successful fifth studio album, Daydream, which he helped produce with legendary R&B artist/producer Babyface. Dupri and Carey co-wrote her now-classic single together, "Always Be My Baby," along with regular Dupri collaborator Manuel Seal, Jr. The single was nominated for Best Female R&B Vocal Performance at the 38th GRAMMY Awards, where she received six nominations in all for the album and its singles.

"You Make Me Wanna" – Usher (1997)

An up-and-coming Usher worked with Dupri for the first time on his hit sophomore album, My Way. The two co-wrote the classic "You Make Me Wanna" together, along with Seal, Jr. Dupri and Babyface teamed up again, co-producing the track, along with other tracks on the album. Usher received his first GRAMMY nod for the single, which was nominated for Best Male R&B Vocal Performance at the 40th GRAMMY Awards.

"Welcome to Atlanta" – Jermaine Dupri ft. Ludacris (2001)

Dupri has also released his own music as a rapper, including the early-2000s classic "Welcome to Atlanta" with Ludacris. The song was featured on both artists' sophomore albums, on Dupri's Instructions and on Ludacris' Word of Mouf as a hidden track. Dupri also released a "Coast 2 Coast Remix" version of the song, which brought on P. Diddy, Snoop Dogg and Murphy Lee to spread the love past Luda and Dupri's hometown of Atlanta.

"Burn" – Usher (2004)

In 2004 Usher and Dupri joined forces again, this time on his hugely popular fourth album, Confessions, which won Best Contemporary R&B Album at the 47th GRAMMY Awards and was also nominated for Album of the Year. That year Usher took home three wins for the album and its singles, as well as wins eight nominations total, including for Best Male R&B Vocal Performance and Best R&B Song for "Burn." We all felt the heat from Usher and Dupri on this winning collaboration.

"We Belong Together" – Mariah Carey (2005)

Dupri teamed up with Carey for her tenth studio album, The Emancipation of Mimi. He again helped produce and write several songs for the album, including one of her other mega-classics "We Belong Together," which they co-wrote along with several others writers. The 48th GRAMMY Awards in 2005 was a huge year for Carey, as she received a total of eight nominations and would take three wins including Best Female R&B Vocal Performance and Best R&B Song for "We Belong Together" and Best Contemporary R&B Album for The Emancipation of Mimi.

To learn more about all of the musical magic Dupri has worked over the years, check out the GRAMMY Museum's new exhibit, Jermaine Dupri & So So Def: 25 Years of Elevating Culture. The celebration kicks off on Sept. 20 with a launch party and conversation with Dupri and friends.

Nobody can deny Herbie Hancock is a jazz artist, but jazz cannot box him in. Ditto Quincy Jones; those bona fides are bone deep, but he's changed a dozen other genres.

Cautious Clay doesn't compare himself to those legends. But he readily cites them as lodestars — along with other genre-straddlers of Black American music, like Lionel Richie and Babyface.

Because this is a crucial lens through which to view him: he's jazz at his essence and not jazz at all, depending on how he wishes to express himself.

"I'm not really a jazz artist, but I feel like I have such a deep understanding of it as a songwriter and musician," the artist born Joshua Karpeh tells GRAMMY.com. "It's sort of inseparable from my approach to this album, and to this work with Blue Note."

Karpeh is talking about, well, KARPEH — his debut album for the illustrious label, which dropped in August. In three acts — "The Past Explained," "The Honeymoon of Exploration," and "A Bitter & Sweet Solitude," he casts his personal journey against the backdrop of his family saga.

As Cautious Clay explains, the title is a family name; his grandfather was of the Kru peoples in Liberia. "It's a family of immigrants. It's a family of, obviously, Black Americans," he notes. "I just wanted to give an experience that felt concrete and specific enough — to be able to live inside of something that was a part of my journey."

On KARPEH, Cautious Clay is joined by esteemed Blue Note colleagues: trumpeter Ambrose Akinmusire, saxophonist Immanuel Wilkins, vibraphonist Joel Ross, guitarist Julian Lage, and others.

Vocalist Arooj Aftab and bassist Kai Eckhardt — Karpeh's uncle — also enhance the proceedings. The result is another inspired entry from Blue Note's recent resurgence — one lyrically personal and aurally inviting.

Read on for an interview with Cautious Clay about his signing to Blue Note, leveling up his recording approach, and his conception of what jazz is — and isn't.

This interview has been edited for clarity.

Tell me about signing to Blue Note Records, and the overall road to KARPEH.

I kind of got connected to Don [Was, the president of Blue Note] through a relationship I had with John Mayer, who had, I guess, connected Don to my music.

Don reached out via email probably a year ago, and so we connected over email. And I had sort of been in a situation where I was like, OK, I want to do something different for this next project. We kind of met in the middle and it just made a lot of sense based on just what I wanted to do, and then what they could potentially kind of work with on my end. 

So, [I was] just recording the album in six days, and doing a lot of prep work beforehand and getting all these musicians that I really liked to be able to work on it. It was just a really cool process to be able to unpack that with Blue Note.

That's great that you and Mayer go back.

Yeah, man, we have a song. We worked on each other's music a little bit together. The song "Carry Me Away" on his [2021] album [Sob Rock] I actually worked on, and then we did a song together called "Swim Home" that I released back in 2019.

You said you wanted to "do something different." What was the germ of that something?

I felt like it could be interesting to do a more instrumental album, or something that felt a little bit more like a concept album, or more experimental. I wanted to be more experimental in my approach to the music that I love.

I wanted to call it a jazz album, but at the same time I didn't, because I felt like it wasn't; it was more of an experimental album.

But I felt like calling it jazz in my mind kind felt like a free way to express, because I think of jazz much more as a philosophy than necessarily a genre.

So, it was helpful for me in my mind to be able to like, OK, let me completely deconstruct my conception of the music I make and how I can translate that music.

And then it eventually evolved into a story about my family and about American history to a certain extent in the context of my family's journey, and then also just their interpersonal relationships. That sort of made itself clear as I continued to write and I continued to delve deeper into the process.

Not that KARPEH ended up being instrumental. But instrumental records are lodestars for you? I'm sure that blurs with the Blue Note canon.

There's a lot of different stuff. There was that red album that Herbie Hancock released [in 1978, titled Sunlight] that I really liked. "I Thought It Was You" was super inspirational — sonically how they arranged a lot of that record.

Seventies jazz fusion was an overall influence. I felt inspired by the perfect meld of analog synthesizers, and then also obviously organic instruments like horns and guitars of that nature. So I wanted to create something that felt like a contemporary version of what could be a fusion record to a certain extent.

Any specific examples?

Songs like "Glass Face," for example, are pretty fusion-y, but also very just experimental in a way that doesn't feel like jazz, even.

My uncle [Kai Eckhardt] is a pretty big-time bass player, and he played on "Glass Face." I just was like, OK, dude, do your thing, and he just did this sort of chordal bass solo. Then, I did all these harmonies over top of the song.

And then, Arooj Aftab is a really good friend and musical artist; she was able to work off of that as well. So, it was an interesting journey to make a lot of these songs and sort of figure out how they all fit together.

How did you strike that balance between analog and synthesized sounds?

I recorded most of this album at a studio, which is very different for me.

I don't normally do that. I use a lot of found sounds like drums and stuff that I've either made or sampled, but I did all of the drums and bass and upright and electric guitars we'd recorded at a studio called Figure 8 in Brooklyn. That was the backbone for a lot of the music that I created for the album. 

Then, I took it back home to my home studio. After we had recorded all of the songs, I essentially had some different analog synths and things that I wanted to add into it either at the studio that I worked at or my own personal studio, which happens to also be eight blocks [away] on the same street away.

I struck a balance just mostly with it in the context of working at a very formal studio and then having an engineer and just getting sounds that I wanted that could be organic and more specific in that way. And also using some of the synths they had.

In terms of the approach, I kind of wanted it to be different. And so part of that was just being at more of a formal studio and having an engineer and overseeing the overall process outside of just being inside of my Ableton session.

Tell me more about the guests on KARPEH.

I knew Immanuel through a couple of mutual friends, and he has a certain sort of bite to his sax playing that I felt was so juxtaposed to my sax playing.

And same with Ambrose. I feel like his trumpet style couldn't be more esoteric and out, in the context of how he approaches melodies. It's almost in some ways like, Whoa, I would never play that way.

They're also soloists, and conceptually for me, the idea of being in isolation or being in bittersweet solitude was conceptually a part of the last part of the album. They as soloists have so much to offer that I feel like I can't do and I don't possess.

So, I wanted to have them a part of this album, to demonstrate that individuality within the context of what it takes to make a song.

Julian is just a beautiful and spirited man, a beautiful guitar player. I've liked his sound for a while. I think it was back in 2015 when I first heard him; he had a couple of videos on YouTube that I thought were just super gorgeous.

I feel like he just has this way of playing that's folky. Also, it's jazz in the context of his virtuosic playing style, but it's also not overbearing. I felt like as a writer and as a musician, it would be a really great connecting point for a few of the more personal songs on the record.

And then my uncle Kai as well, — he's not on Blue Note, but he used to play with John McLaughlin and run bass clinics with Victor Wooten and Marcus Miller back in the early 2000s. Dude is a real heavy hitter, and he happens to be my uncle, so it's just cool to be able to have him on the record.

Cautious Clay. Photo: Meron Menghistab

With KARPEH out, where do you want to go from here — perhaps through a Blue Note lens?

I really love a lot of the people there, and I feel like this could be the first of many. It's also a stepping stone for me as an artist.

I feel really connected to the relationship I have, and our ability to put this out. It's hard to say what exactly the future holds, but I am genuinely excited for this album. I feel excited to be able to put out something so personal and so connected to everything that sort of made me, in a very concrete way.

From what I understand, this is a one-time thing, but it could potentially be two. It depends, obviously. I'm very open-minded about it. I'd love to keep the good relationship open and see where things go.

I really have enjoyed the process and I feel like this next year is going to be something interesting. So, we'll see.

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Divorce can be complicated, messy, and heartbreaking. But those feelings are prime fodder for songwriting — and it's something that artists of all genres have harnessed for decades.

Writing through the pain can serve many benefits for an artist. Marvin Gaye used Here, My Dear as a way to find closure in the aftermath of his divorce. Adele told Vogue that her recording process gave her somewhere to feel safe while recording 30, a raw account of the aftermath of her marriage ending. And Kelly Clarkson's new album, chemistry, finds her reclaiming herself, while fully taking stock of everything that happened in her marriage, good and bad. 

As fans dive into chemistry, GRAMMY.com has compiled a list of 10 divorce albums from all walks of music. Whether you need to cry, vent, or maybe even laugh, there's a divorce album that has what you need.

Tammy Wynette, D-I-V-O-R-C-E (1968)

During her life, Tammy Wynette was a prolific country songwriter and singer, releasing numerous albums exploring all aspects of love. She was also deeply familiar with divorce, with five marriages throughout her adulthood.

The most intimate album on the topic is her bluntly titled 1968 project D-I-V-O-R-C-E, which explores how sensitive the topic was to speak about. The title track is a mournful tune about hiding a separation from her children, but also conveys the general difficulty of discussing the topic with anyone. Elsewhere on the album, "Kiss Away" is a longing ballad about wishing for a more tender resolution when words have failed.

Fleetwood Mac, Rumours (1977)

After recording 10 albums together, Fleetwood Mac were in disarray. During the recording of their eleventh record, the members of the band were going through affairs, divorces, and breakups, even some with each other. Against all odds, they created Rumours — and it became the band's most successful and iconic album.

The spectrum of emotions and sounds on the album is wide. "The Chain" is all fire and bombast, while the laidback acceptance of "Dreams" seeks to find peace in the storm. Fleetwood Mac sorted out their issues and are still going strong to this day, but their heartbreak created something special in Rumours.

Beck, Sea Change (2002)

Beck has had a prolific career, with 14 studio albums to his name. One of his most affecting is 2002's Sea Change, written in the aftermath of his engagement and nine-year relationship ending.

It's a deeply insular album, even by Beck's standards. Tracks like "Already Dead" are slow and mournful, while standout "It's All In Your Mind" finds him burrowing deep into his own thoughts to parse out how exactly he's feeling with his new life.

Open Mike Eagle, Anime, Trauma, and Divorce (2020)

Divorce isn't a topic that immediately brings laughter, but rapper Open Mike Eagle seemed to find humor in his personal story with his album Anime, Trauma, and Divorce. The album title gives a pretty good rundown of what inspired the project, and Mike's laidback rapping sells how silly the aftermath of pain can be.

"Sweatpants Spiderman" finds him trying to become a functional adult again, and discovering the various ailments of his aging body and thinner wallet that are getting in the way. The fed-up delivery on standout track "Wtf is Self Care" is a hilarious lesson on how learning to be kind to yourself post-breakup is harder than it sounds.

Carly Pearce, 29: Written In Stone (2021)

Heartbreak is a common topic in all genres, but country has some of the most profound narratives of sorrow. Carly Pearce added to that legacy with 29: Written in Stone, her 2021 album centered around her 29th year — a year that included both a marriage and a subsequent divorce.

The emotional whiplash of such a quick change can be felt all over the project, from an upbeat diss track like "Next Girl" to more poignant pieces like the title track, which finds Pearce reflecting on her tumultuous year. Her vulnerability resonated, as single "Never Wanted To Be That Girl" won Pearce her first GRAMMY, and her latest single, "What He Didn't Do," scored the singer her fourth No. 1 at country radio. 

Kanye West, 808s & Heartbreak (2008)

Kanye West's fourth album 808s & Heartbreak came from a deep well of pain. Besides the end of his relationship, West was also in turmoil from the death of his mother, Donda. The result is one of the bleakest sounding records on this list — but also one of West's most impactful.

808s & Heartbreak is minimalistic, dark, and brooding, with a focus on somber strings and 808 drum loops (hence the album's title). West delivers most of his lyrics in a monotone drone through a thick layer of autotune, a stylistic choice that heightens the sense of loss. Besides being a testament to West's pain, the electronic sound pioneered on 808s & Heartbreak would serve as a foundational inspiration for the next several years of hip-hop.

Toni Braxton & Babyface, Love, Marriage, & Divorce (2014)

Toni Braxton and Babyface are two stalwarts of R&B in their own rights, and in 2014, the pair connected over their shared experiences going through divorce. Their bond sparked Love, Marriage, & Divorce, a GRAMMY-winning album that intended to capture the more universal feelings the life of a relationship conjures up.

Each artist has solo tracks on the record — Babyface wishing the best for his ex on "I Hope That You're Okay" and Braxton sharing her justified anger on "I Wish" and "I'd Rather Be Broke" — but where they shine is on their collaborations. The agonizing "Where Did We Go Wrong?" is heartbreaking, and the album ends with painful what-ifs in the soulful "The D Word."

Adele, 30 (2021)

Divorce is hard no matter the circumstances, but it gets even more complicated when children are involved. That was the reality for Adele, and it served as major inspiration for her fourth album, 30.

Like every album on this list, there's plenty of sorrow on the record, but what really sets it apart is just how honestly Adele grapples with the guilt of putting her son Angelo through turmoil as well. The album's GRAMMY-winning lead single "Easy On Me" addresses it in relation to her son, and standout track "I Drink Wine" is a full examination of the messy feelings she went through during her divorce.

Kacey Musgraves, star-crossed (2021)

As many of these albums prove, divorce triggers a hoard of emotions, from anger to sadness to eventual happiness. On star-crossed, Kacey Musgraves goes through it all.

There's the anthemic "breadwinner" about being better on her own, "camera roll" looking back on happier times with sorrow, and "hookup scene" about the confusion of adjusting back to single life. Star-crossed sees Musgraves continue to evolve sonically — incorporating more electronic sounds into her country roots — but ultimately, she comes out the other side at a place of renewed acceptance and growth.

Kelly Clarkson, chemistry (2023)

Kelly Clarkson's tenth album chemistry was born out of her 2020 divorce. In true Kelly fashion, she addresses the subject with thoughtful songwriting and a pop-rock vibe fans have adored for 20 years on. 

Chemistry focuses not just on the pain of divorce, but on the tender feelings that many couples still have for each other even after the end. Tracks like "favorite kind of high" mirror the euphoria of love, juxtaposed with ballads like "me," in which Clarkson finds comfort in herself and her inner strength — an inspiring sentiment for anyone who has had their heart broken.

Kacey Musgraves' Road To 'Star-Crossed': How The Breakup Album Fits Right Into Her Glowing Catalog

For 15 years, The Roots have gathered the music’s brightest and fastest-rising talents to perform in Philadelphia for their annual Roots Picnic, and this year’s lineup was nothing short of star-studded. 

After kicking off the weekend with Dave Chappelle’s comedy show at the Wells Fargo Center on Friday, the action moved to the Mann Center in Fairmont Park where fans witnessed surprise crew reunions, unexpected cameos, and a taste of the Las Vegas strip across three performance stages. 

On Saturday, legendary rap group State Property reunited for the first time in years, Lil Uzi Vert rocked out with the Park Stage crowd for his third picnic appearance. Supported by the Soulquarians, legends the Isley Brothers and Roy Ayers lit up the Park stage. Lauryn Hill closed out day two by commemorating her GRAMMY-winning album, The Miseducation of Lauryn Hill, and bringing out Pras and Wyclef Jean for a Fugees reunion. 

Sunday featured high-powered performances from soulful songstress Ari Lennox, former Ruff Ryders first lady Eve, and the devastating femmes of South Florida, the City Girls. Philly’s own DJ Drama drew out home-grown talents like D-Surdy, Armani White, and Bronx legend Fat Joe on the Presser stage. 

To close out the weekend, Usher brought the magic of his Vegas residency to West Philly for a string of era-defining hits in the twilight of the festival. Read on for some of the most captivating moments and exciting sets from the 2023 Roots Picnic. 

GloRilla Shines In Roots Picnic Debut

GloRilla | Kayla Oaddams/Getty Images

Unapologetic rebel GloRilla may have just one EP under her belt, but her growing fandom came alive during her Roots Picnic performance.

The Presser Stage crowd swooned along with femme-empowering smashes like "Phatnall," as well as more provocative songs like "Nut Quick" and "Lick or Sum." Legions of newly single fans  screamed the lyrics to crunk hit "F.N.F. (Let’s Go)." 

Big Glo kept the momentum going at high speed, loosening the relatively stiff crowd. And while Cardi B wasn’t present for her part in "Tomorrow 2," GloRilla brought out an energized and visibly pregnant Chrisean Rock for a twerk-worthy cameo. 

GloRilla truly embraced her rowdy nature and southern charm, which has helped her earn garner recognition from her peers and even notch her first GRAMMY nod for Best Rap Performance. 

Usher Brings Sultry And Sin To The City, With A Few Special Guests

Usher and Black Thought perform | Taylor Hill/Getty Images for Live Nation Urban

Before Usher had even closed out the festival, radio and podcast personality Charlamagne and comedian Jess Hilarious talked about wrapping up their own event early to snag a close seat to watch the R&B star in action.

Though decades into his musical career, Usher hasn't missed a step. Dressed in leather, the eight-time GRAMMY winner delivered his classic, slow-burning album cuts and glossy radio hits under the glimmering lights of the open air Park stage. 

Usher put on an electrifying performance that covered hits from various eras in his catalog. Songs like "Love in This Club," "U Don’t Have to Call," and "Lil Freak" had Sunday’s crowd staring in awe, even for those looking to get ahead of the departing traffic. He also brought The Roots on stage before Philly natives Jazmine Sullivan, Eve and Black Thought joined the singer to perform "U Got Me." 

Lauryn Hill (And Some Famous Friends) Took The Crowd Way Back 

Wyclef Jean, Lauryn Hill, and Pras Michel of the Fugees | Taylor Hill/Getty Images for Live Nation Urban

Lauryn Hill’s reputation precedes her. Some fans joked about her tardiness — or even potential absence — but the legendary vocalist arrived about 30 minutes past her scheduled set time and put on a performance that was met with shockwaves of cheers.

Hill's headlining performance coincides with a big milestone: the 25th anniversary of her groundbreaking album The Miseducation of Lauryn Hill. "Even though it's been 25 years, everything is still everything," she told the enlivened crowd. 

She performed tracks from the masterful GRAMMY-winning album, including "Everything Is Everything" and "When It Hurts So Bad," but perhaps the biggest surprise throughout the weekend was the reunion between her, Pras and Wyclef Jean. The trio came together as the Fugees to perform hits "Ready Or Not" and "Killing Me Softly" for a spirited celebration of the group’s 1996 album The Score. 

"We’re out here doing 25 years of Miseducation. But there’s another 25 years we didn’t do a couple of years ago because of COVID," Hill said of the group’s project. The group closed out with "Fu-Gee-La," with Hill switching from her soothing alto to her "L-Boogie" persona of old, bringing the joyous crowd to its knees. 

City Girls Bring The Twerkers Out To Play

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The City Girls brought headliner energy to Sunday’s picnic, with JT and Young Miami inciting a twerkathon with hot summer girl anthems like "Act Up" and "Do It On The Tip" playing out center stage. 

The Miami duo kept the energy high with on-stage twerk moves, pulsating hits like "Twerkulator," and efforts to draw out the crowd’s inner act-bad attitude by screaming: "If you’re a bad bitch, say, ‘Hell, yeah!’" And by the end of the group’s performance, fans were left with a racing heartbeat or sweating from the constant flow of high-powered hits and go-get-him-girl records. 

Lil Uzi Vert Knows What The City Wants

Lil Uzi Vert | Taylor Hill/Getty Images for Live Nation Urban

Now in their third appearance since 2016, Philly native Lil Uzi Vert took to the Park stage on Saturday, bringing enough bass and adoring screams that could be heard across Fairmont Park. 

 "I ain’t going to do too much talking. Let’s do it," they said to the roaring crowd. While Lil Uzi’s voice occasionally drowned in a song’s instrumental, their effortless magnetism and signature shoulder roll dance brought excitement to the growing crowd. 

The rumblings of hits like "444+222" and "Sauce It Up" rang in fans’ ears, and songs like "Money Longer," and the Diamond-selling smash "XO Tour Llif3" nearly turned portions of the crowd into mosh pits. Lil Uzi’s performance came to a welcomed halt when fans were invited to the stage to dance to the massively popular "Just Wanna Rock," which has become an unofficial anthem in their hometown. "I’m in the city, this they s—."  Fans pulled out their phones as the rap star capped off the set with the viral hit. 

Lucky Daye Drips In Allure

Only a year removed from his breakthrough album, Candydrip — a genre-drifting and soul-stirring project riddled with pop and R&B hits — Lucky Daye has risen to star status. And with songs like "Real Games" and "Late Night," it’s easy to be drawn to the New Orleans-born artist. 

While initially draped in glimmering red garments, it didn’t take the artist long to strip down (well, shirtless, that is), and render impassioned vocals over the cheers and screams of his admirers. He dove into songs across his various albums and fell to his knees to deliver a burningly passionate rendition of "F—kin’ Sound" before the 37-year-old vocalist exited the Mann’s amphitheater stage.

Ari Lennox Conjures Soul In Comforting Fashion

Ari Lennox | Taylor Hill/Getty Images for Live Nation Urban

It’s unclear if Ari Lennox still has plans to step away from the touring circuit for good, but if her Sunday evening performance is any indication,  her presence would be sorely missed. The "Shea Butter Baby" vocalist conjured every fragment of her soulful and poetic artistry, bringing vibes despite having a slight cold.   

The DC-born R&B singer danced to the flowy breeze setting over the stretched-out crowd while singing favored tracks like "New Apartment," as well as "Waste My Time" and "Pressure" from last year’s Age/Sex/Location. Lennox encouraged fans to close their eyes and sway their hips, and many raised drinks as Lennox’s soothing voice and sultry lyrics wrapped around their bodies.

Busta Rhymes And Eve Come To Devastate

Spliff Star and Busta Rhymes | Taylor Hill/Getty Images for Live Nation Urban

Joined by The Roots’ Black Thought, Busta Rhymes and Spliff Star tore down the Park stage, even with distracting audio woes hindering the early part of their set. Shot mic or not, Busta’s lion-like voice could be heard from yards away as he spewed the lyrics to "Put Your Hands Where My Eyes Could See" and A Tribe Called Quest’s "Scenario" to a cheering audience. 

Eve arrived during the latter part of the DJ J. Period curated set. The former First Lady of Ruff Ryder burst onto the stage and held her own alongside the fellow hip-hop heavyweights. As she swayed the crowd with songs like "Tambourine" and her verse on the late DMX’s "Ruff Ryders Anthem (Remix)," it harkened back to her days as a lyrical wild card in the early 2000s before she ventured into acting and hosting gigs. 

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As Jagged Edge and Nelly asked in 2001, where the party at? On May 6, it's at the Las Vegas Festival Grounds thanks to Lovers & Friends.

The star-studded festival largely celebrates the R&B and hip-hop stars of the '90s and 2000s, with a lineup that boasts Missy Elliott, Mariah Carey, Boyz II Men, Usher, Christina Aguilera, Nelly, and 50 Cent, among countless other hitmakers. With a jam-packed roster, it's hard to believe the fest is only one day. But one thing is guaranteed: it's going to be a day full of bangers.

There's also a good chance that there will be some viral moments from the second annual Lovers & Friends fest. Several of the stars on the bill have delivered some smash hits together, and they may just take the stage together to perform them — whether it's Chris Brown and Busta Rhymes for "Look At Me Now," Frankie J and Baby Bash for "Suga Suga," or, yes, even Jagged Edge and Nelly for "Where The Party At."

Even if you didn't get a ticket to this year's sold-out fest, that certainly doesn't mean you can't get in on the nostalgia. GRAMMY.com has curated a 50-song playlist to highlight all 50 performers on the Lovers & Friends 2023 lineup (which also includes current stars like Summer Walker, Bryson Tiller and Partynextdoor), and it will undoubtedly get you pumped up.

Below, jam out to GRAMMY.com's Lovers & Friends 2023 playlist, or listen to it on Apple Music, Amazon Music or Pandora.