As 2017 began, one pop star's name served as a mainstay on lists of the year's most-anticipated albums: Lorde. 

The New Zealand singer/songwriter first made a name for herself at just 16 with her GRAMMY-nominated debut album, 2013's Pure Heroine. Aside from the 2013-2014 Pure Heroine Tour, Lorde spent much of the intervening four years living a mostly secluded life — until Nov. 6, 2016, the eve of her 20th birthday, when she revealed that her sophomore album did in fact exist. 

"Writing Pure Heroine was my way of enshrining our teenage glory, putting it up in lights forever so that part of me never dies, and this record — well, this one is about what comes next," she wrote in a Facebook post, as she left her teenage years behind. 

At the same time, Jack Antonoff had gone from fun. guitarist/drummer and Bleachers frontman to producing songs for major pop players like Carly Rae Jepsen and Taylor Swift. (Antonoff has credited Swift for getting his production career off the ground; he has two Album Of The Year GRAMMYs thanks to his work on 2014's 1989 and 2020's folklore). But until Melodrama, Antonoff had yet to take on a lead producer role for another artist. 

Antonoff and Lorde shared a friend in Swift, and after hitting it off at a GRAMMY party in 2014, they tried out their chemistry in the studio. As detailed in a 2017 New York Times profile, Antonoff's innate balance "between the intimate and the outsize" was a perfect fit for the musical world Lorde was looking to create with Melodrama — and the result was massive. 

Melodrama — released five years ago today, on June 16th, 2017 — not only cemented Lorde's legacy as a defining voice of pop's new generation, but altered pop around the sound Antonoff and Lorde created together.

The Lorde of Melodrama is very different from the Lorde of Pure Heroine, not only in sound but in demeanor. In 2013, Lorde was not that far removed from just being Ella Yelich-O'Connor, a kid from a suburban New Zealand town of less than 10,000. Early singles like "Tennis Court'' and "Royals" emphasize Lorde's humble upbringing, noting how she'd never seen a diamond or even been on a plane.

Even on tracks without such direct acknowledgements of her youth, Pure Heroine found Lorde wide-eyed and eager to explore the world opening up to her, with its Joel Little production matching the starstruck, humble demeanor of the lyrics. The charming honesty about her lack of worldliness combined with simple, sparse production resonated, with the album going triple platinum by 2016 and earning Lorde two GRAMMYS, including Song of the Year for "Royals."

As the title implies, Melodrama isn't quite as jubilant. The late teenage years can often be a tumultuous time for anyone, and Lorde is no exception. In the four years between albums, Lorde's long-term relationship with photographer James Lowe ended, and she had to suddenly grapple with being one of the most famous people on the planet before she even turned 18. 

As Lorde expressed in her birthday-eve post, she was "reckless and graceless and terrifying and tender." This shows up immediately on "Green Light," the album's opening track and lead single. Thematically, it unveiled a Lorde who was in a more liberated and mature, yet messy part of her life. Emphasized by a triumphant chorus, the song's message of getting the "green light" to simply live freely welcomed listeners into a more complicated world than the one she inhabited in 2013 — one that was also quite beautiful.

While "Green Light" opens with simple piano chords that wouldn't be out of place on Pure Heroine (notably, it's one of only two tracks that Little co-produced), it quickly ramps up into something so much more. By the time the first chorus hits, it's clear something new is happening with Lorde's music on Melodrama. The piano has given way to a dense jungle of euphoric production, built around synths and a looping melodic hook as she proclaims, "I'm waiting for it, that green light, I want it." It's a tone-setter both emotionally and musically for Melodrama as a whole, and a perfect introduction to this new era for both its pop star and producer.

The album also marked new territory for Antonoff, as he was deeply ingrained in the entire process of Melodrama. Antonoff co-wrote and co-produced 10 of the 11 tracks alongside Lorde, the only exception being the more club-oriented "Homemade Dynamite" (which still featured a heavy-hitting co-writer, indie-pop darling Tove Lo). 

Antonoff's production style can be described in two simple words: catchy and more. He finds a great hook and builds a towering sound in support of it, like on the richly nuanced "I Wanna Get Better" from Bleachers' debut LP, 2014's Strange Desire. In that way, the pairing of Antonoff and Lorde came at the perfect time for both of them: While Antonoff was beginning to push his production towards higher aspirations, Lorde was also wrapped up in the idea of more.

Throughout the album — and her life as a young adult — the singer strives for doing more, feeling more, and just being more. Some of the album's most touching moments are her journey towards more, as well as the moments of doubt on whether more has become too much, like on "Liability" and "Writer in the Dark." Antonoff deftly dialed back his production on these tracks, though his rich layering still shines. 

The often-complicated quest of Melodrama reflects the journey of a teenager finding themselves — particularly, those in the late 2010s. As social media became a ubiquitous part of everyday life and the news, it simultaneously gave everyone more room to explore who they are and exposed them to more adult, existential issues. The climate crisis, which later inspired Lorde's trip to Antarctica in 2019, loomed large even in 2017; it's hard not to hear the urgency to live life in the face of looming disaster on Melodrama, especially on tracks like "Perfect Places."

Lorde treats these issues with the same weight as the fraught relationships and breakups of the late teenage years — because for a teenager, they can carry the same weight. "All the glamor and the trauma/ And the f***in melodrama," she growls on "Sober II," an encapsulation of the entire project.

Upon its release, Melodrama was immediately lauded by critics and fans. The album received glowingreviews, earning both Lorde and Antonoff a lot of praise, including a GRAMMY nomination for Album of the Year in 2018. And even five years later, Melodrama still proves to be a pivotal moment for each of their careers.

The acclaim for the sounds of Melodrama resonated across the industry, and it certified Antonoff an in-demand collaborator. While he'd still be recruited for singles from artists like BANKS, his role became much more prominent on some of pop's biggest albums that were to come.

Swift had Antonoff produce six tracks on her experimental 2017 album, reputation, the majority of her 2019 LP Lover, and a handful of folklore tracks; he produced almost all of Lana Del Rey's universally acclaimed 2019 album, Norman F*cking Rockwell!, and its followup, 2021's Chemtrails Over The Country Club; the Chicks put their 2020 comeback album, Gaslighter, in his hands. 

Across all of these albums, Antonoff brought his big, layered sound along with him, melding it with the often disparate styles all of the artists had previously employed. It can be heard in the constant buildup and stacking of instrumental lines on Del Rey's sprawling "Venice B****," the way the vocal harmonies resonate on the Chicks' "Gaslighter," or on the towering "King" from Florence + The Machine's latest album Dance Fever. Antonoff and Lorde also reunited in 2021 for her third album, Solar Power, proving their collaboration could work across a brighter sound palette as well.

As pop packed in more production for sounds to become bigger and bolder going into the 2020s, it can certainly be traced back to Melodrama. The pairing of Lorde and Jack Antonoff raised both of their stars immeasurably — at the same time, spawning an album that captured the mood of growing up in a fast-moving world, and coining a sound that the biggest names in pop are still chasing today. 

Run The World: How Taylor Swift Has Become One Of The Most Powerful Women In Music History

"All’s fair in love and poetry," Taylor Swift declared when she announced her 11th studio album, The Tortured Poets Department, at the 66th GRAMMY Awards. 

Taken from the proverb "All’s fair in love and war," the pop phenom gave us a fair warning: there’s no limit to what she’ll go through to achieve her ends. 

On the freshly released The Tortured Poets Department, Taylor Swift has a few things to get off her chest — so much that it required a surprise second record, The Tortured Poets Department: The Anthology, adding an additional 15 songs. The sprawling album is a masterclass in songwriting and so personal that it's analogous to performing a post mortem autopsy; The musical shapeshifter is here to exhume the tortured poets of her past and make peace with them. 

In an Instagram post, Swift called the record an anthology that reflects "events, opinions and sentiments from a fleeting and fatalistic moment in time - one that was both sensational and sorrowful in equal measure." With the release of Tortured Poets, "there is nothing to avenge, no scores to settle once wounds have healed…our tears become holy in the form of ink on a page." 

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Describing Swift’s work as a collection of tracks about boys and break-ups has always felt underbaked and disingenuous, but much of The Tortured Poets Department is just that. In true Swiftian fashion, she plays on preconceived theories, opting to toy with the five stages of grief — denial, anger, bargaining, depression, and acceptance — after a break-up, bringing listeners along on a peregrination exploring the depths of her relationships and personal growth. 

Analyzing her feelings to craft songs is muscle memory at this point, but with every release Taylor Swift somehow does so with a refreshed and reimagined perspective. The stories she shares with her fans in TTPD might’ve made her feel like she died, but she’s a revenant no longer tortured by the whims and words of other poets.

With The Tortured Poets Department open for business, read on for five key points to consider when listening to Taylor Swift’s new album.

It's Much More Than A Break-Up Record

Although the record orbits around a break-up, The Tortured Poets Department demonstrates Swift's ability to shapeshift as a songwriter. A song about a break-up is layered, typically forcing Swift to unveil her own flaws while wearing her broken heart on her sleeve.

The fifth track on a Taylor Swift album is typically the most emotionally cutting, and "So Long London" is no exception. On the standout track, Swift views the loss of her lover and the breakdown of her relationship to Joe Alwyn through the lens of the city they once shared together. It’s a cathartic release for Swift who point-blank notes the pain they inflicted upon her and how, in turn, they ended up just as heartbroken as she is. 

The high-spirited "Down Bad" and subdued "The Smallest Man in The World" are two sides of the same coin. The former is hopeful that a love could be reignited, whereas the latter sees Swift at her grittiest, pointing the finger at her former lover. "Smallest" poses a series of questions, accusing her ex of being a spy who only wanted to get intel on her.

On piano ode "loml," Swift looks back at the "get-love-quick" schemes she first wrote about in "Why She Disappeared," a poem for reputation. The poem originally considered the death of her reputation and how its aftermath made her stronger while she was simultaneously nursing a new relationship. 

The track has a similar energy to fan favorite "All Too Well," but is even more accusatory — seemingly unlocking another level of her songwriting prowess as she teeters between seething rage and mourning with lines about picking through a "braid of lies" spewed by a partner who "claimed he was a lion" but is really a coward. While Swift is honest about never feeling a loss so deeply, she maturely accepts that the effort she put into keeping the relationship afloat was all she could do. It’s distinctly different from the battles she bravely fought in "The Great War," "Daylight" and "long story short."

She's Grappling With Fame & Owning Her Choices

That Taylor Swift struggles with her own celebrity and the public's perception is nothing new. On reputation’s album prologue, she stated, "We think we know someone, but the truth is that we only know the version of them they have chosen to show us." 

On The Tortured Poets Department, Swift has never been more honest about her feelings towards those who claim to know better than she does. On "But Daddy I Love Him," she doubles down on these frustrations, taking aim at self-righteous "vipers" and "judgmental creeps" who condemn her choice of a lover. Swift holds nothing back, declaring "I'll tell you something about my good name/It's mine alone to disgrace."

Swift stated that her life sometimes feels like a public autopsy with people psychoanalyzing her every thought and feeling. Following the release of Midnights and her larger-than-life Eras Tour, Swift’s been in her "glittering prime" despite experiencing her long-term relationship ending and the media hysteria around it would make anyone feel the opposite. "I Can Do It With A Broken Heart" confirms fans' theories that the GRAMMY winner was indeed putting on a brave face.  

On "Clara Bow" — a song named for the silent film actress whose public life was so scrutinized that she admitted herself into a sanatorium — Swift sings "Beauty is a beast that roars/Down on all fours/Demanding, 'More.'" Again, Swift plays with the double-edged sword of fame, comparing herself to a performing circus animal — something she sings about in "Who’s Afraid Of Little Old Me?" 

Taylor Swift Gets By With A Little Help From Her Friends

Swift has always looked up to and honored the greats in her music and art, and Tortured Poets is no exception. She recruits rock icon and songwriter Stevie Nicks to help build TTPD’s world, and Nicks penned a poem featured in Swift’s physical album. Written in Texas, the poem is "For T and me..." and tells the tale of two ill-fated lovers. (Swift also namedrops Nicks in "Clara Bow," touching on the comparisons made between Clara, Nicks and herself.)

There are two additional guest appearances on TTPD: Post Malone appears on "Fortnight" and Florence Welch of Florence + the Machine is featured on "Florida!!!" (a surprisingly toned-down lead single). Swift particularly shines when paired with Welch, and the soaring "Florida!!!" sees their intertwined vocals creating a sound as infectious as the "drug" they sing about.

J.M. Barrie’s Peter Pan inspired Swift on "cardigan" ("Tried to change the ending/Peter losing Wendy") but now the Lost Boy gets his own track on The Anthology’s "Peter." The ever-inquisitive Swift pleads, "You said you were gonna grow up/Then you were gonna come find me" and confronts this man who wouldn’t grow up. She even puts herself in the shoes of Wendy who waited for Peter Pan to return but has grown tired of waiting.

TTPS Is All Quill And Fountain Pen Songs

A few years ago, Taylor Swift categorized her songwriting according to three writing devices: glitter gel pens for fun tracks, fountain pens for songs using modern imagery and lyrics, and quill pens for tracks with flowery, figurative language. Although devoid of the glittery gel pen songs that comprise many of Swift's hits, TTPD and its accompanying anthology are steeped in fountain and quill writing. 

Most of The Tortured Poets Department are fountain pen tracks — thanks to 2024 Producer Of The Year Jack Antonoff’s sleek pop production and synth use. Tracks like "Fresh Out The Slammer" and "My Boy Only Breaks His Favorite Toys" are sharp, snappy, tongue-in-cheek tales of love affairs about to begin and coming to an end with the same sonic exuberance of past Swift & Antonoff songs, like "Out of the Woods" and "Getaway Car."

Tracks on The Anthology, mostly produced by Aaron Dessner, are stripped-back, folk-tinged quill songs brimming with sorrow and harrowing thematics and dives even deeper into her chaotic psyche. "The Prophecy" sees Swift beg to change a prophecy that has been laid out ahead of her — likely stemming from the pressure of being a global superstar when all she wants is to be loved.

This Is The End Of An Era (Or A Chapter)

To her occasional disdain, Swift's highly personal songwriting has created a global obsession with her inner life.  Although she's tired of the "public autopsy," Tortured Poets offers her time to reflect on the "events, opinions, and sentiments" over a time that was equal parts transient and transformative. 

From her growth from the country-twanged teen singer on her self-titled debut to woman who is fearless in her pursuit of happiness, love, and peace, Swift has transformed time and time again. By viewing her work in eras — or, in this case, a chapter in a book of her life — it’s clear that Swift sees this current chapter of her life coming to a close, turning the last page and no longer longing to look back. 

One could argue that Swift is an unreliable narrator, only ever presenting her side of the story. But she says that while considering the pain described on TTPS, many now-healed wounds turned out to be self-inflicted. With these stories immortalized, Taylor Swift has spoken her saddest story and is now "free of it." The tortured poets and poems will no longer take up space in this next chapter of her life.

Songbook: An Era-By-Era Breakdown Of Taylor Swift's Journey From Country Starlet To Pop Phenomenon

We’ll be wandering through this Department for the foreseeable future.

Not only has Taylor Swift unleashed an absolute maelstrom with her 16-song new album, The Tortured Poets Department; she’s dropped a whopping 15 additional tracks via its expanded version, The Tortured Poets Department: The Anthology.

Clearly, there’s an absolute treasure trove here — for Swifties and the merely Swift-curious alike. A mostly downbeat and discursive affair, The Tortured Poets Department feels like the shadow cast by the gilded, giddy, exhilarating Eras Tour, which isn’t over yet. (Which makes all the sense in the world, as she was simultaneously chipping away at the album while crisscrossing the globe.)

If you’re reading this, you’re probably bracing yourself for this long, solemn, darkly funny journey. Don’t go alone: here’s a brief breakdown of what you should know going in. (And keep checking GRAMMY.com, as there’s plenty more Taylor and Tortured Poets coming your way.)

The Tracklisting

As previously reported, here’s the standard tracklist for The Tortured Poets Department:

Side A
"Fortnight" (feat. Post Malone)
"The Tortured Poets Department"
"My Boy Only Breaks His Favorite Toys"
"Down Bad"

**Side B**
"So Long, London"
"But Daddy I Love Him"
"Fresh Out the Slammer"
"Florida!!!" (feat. Florence + the Machine)

**Side C**
"Guilty As Sin?"
"Who’s Afraid of Little Old Me?"
"I Can Fix Him (No Really I Can)"
"Loml"

**Side D**
"I Can Do It With a Broken Heart"
"The Smallest Man Who Ever Lived"
"The Alchemy"
"Clara Bow"

The Expanded Tracklisting

Aside from The Black Dog Edition, The Albatross Edition, The Bolter Edition, and The Manuscript Edition — which consist of the standard edition of the album with its titular bonus track — here are the additional tracks that complete The Tortured Poets Department: The Anthology.

"The Black Dog"

"Imgonnagetyouback"

"The Albatross"

"Chloe or Sam or Sophia or Marcus"

"How Did It End?"

"So High School"

"I Hate It Here"
"thanK you aIMee"

"I Look In People’s Windows"

"The Prophecy"
"Cassandra"
"Peter"
"The Bolter"
"Robin"

"The Manuscript"

The Guests

Physical copies of The Tortured Poets Department feature an original poem by the one and only Stevie Nicks.

Titled "For T and me…," the poem starts off with "He was in love with her / Or at least she thought so / She was brokenhearted / Maybe he was too." It goes on to trace a doomed relationship — one party being "way too hot to handle" and the other "way too high to try."

Elsewhere, Post Malone lends a haunting vocal to opener and lead single "Fortnight," and Florence + the Machine elevate "Florida!!!".

https://www.youtube.com/watch?v=FiqoZyauhdA

The lion’s share of the album was produced by Jack Antonoff; Aaron Dessner handled a handful of tunes on the standard edition and the majority of The Anthology.

The Easter Eggs

Where do we begin? For starters, most of the songs seem to be directed at ex Matty Healy of the 1975, but Joe Alwyn and Travis Kelce seem to pop up here and there as well.

In the title track, Swift describes embracing the "cyclone" of a relationship with a partner akin to a "tattooed golden retriever." And they’d be remiss to compare themselves to Patti Smith or Dylan Thomas or any other famously tortured poet of the 20th century: "We’re modern idiots… we’re two idiots."

Elsewhere, Lucy Dacus of boygenius — and Antonoff himself — pop up ("But you tell Lucy you’d kill yourself if I ever leave / And I had said that to Jack about you / So I felt seen").

Far be it from us to speculate on exact subjects, but there are shades of depression ("You sacrificed us to the gods of your bluest days"), a betrothal that wasn’t to be ("You swore that you loved me but where were the clues? / I died on the altar waiting for the proof") and the racket of fame ("The circus life made me mean").

As usual, Swift has dumped puzzle pieces on the carpet — daring her ardent, global fanbase to start at the edges and work their way to the center. But never to this degree, across such an ocean of material.

Tortured poets — and those who fall in love with them — assemble!

Songbook: An Era-By-Era Breakdown Of Taylor Swift’s Journey From Country Starlet To Pop Phenomenon

From Miley Cyrus winning her first GRAMMY to Billy Joel’s comeback performance after 30 years, the 2024 GRAMMYs were filled with a range of special moments at Crypto.com Arena.

Backstage at the Recording Academy’s media center and press room, GRAMMY U spoke with several GRAMMY winners just as they stepped off the stage. Each spoke about the vital role of collaboration in the studio, and the role they played in their GRAMMY-winning Categories. 

Read on for insights from Jack Antonoff (Album Of The Year and Producer Of The Year, Non-Classical), Laufey (Best Traditional Pop Vocal Album), Jacob Collier (Best Arrangement, Instruments and Vocals), Natalia Lafourcade (Best Latin Rock or Alternative Album ), and Brandy Clark (Best Americana Performance).

Jack Antonoff Can Truly Fly Free With A Collaborator

The 10-time GRAMMY winner took home several golden gramophones on Feb. 4, including the prestigious Album Of The Year for Taylor Swift’s Midnights as well as Producer Of The Year, Non-Classical for the third consecutive year. 

Antonoff told GRAMMY.com that, as a producer, collaboration is simply "everything."

"The visual I have is a balloon. When it's your words, lyrics, and your life, you have to be able to fly free without being scared of drifting away," Antonoff continues. "I see the producer holding that string, and I know both ends." 

When he’s not creating hits for other artists, Antonoff delves into his own artistry as the founder and lead singer of indie rock band Bleachers, known for their hit single "I Wanna Get Better."

"When I’m making the Bleachers records, I’ll have these crazy thoughts and then [producer] Patrik Berger will ground me in it. I think it’s really about trust," Antonoff reflects.

Laufey Won In The Same Category As Many Idols

Laufey first wowed audiences with a live performance of her hit song "From the Start" at the 66th GRAMMY Awards Premiere Ceremony. Later in the day, the 24-year-old won her first GRAMMY on Sunday in the Category of Traditional Pop Vocal Album for Bewitched. 

"This category means so much to me, so many of my inspirations and idols have won in this category before," she tells GRAMMY.com. 

Read more: With 'Bewitched,' Icelandic Singer Laufey Is Leaving Jazz Neophytes Spellbound

Laufey transcends the boundaries of genre, blending jazz and pop into her original music. With 18 million likes on TikTok and 3 million monthly listeners on Spotify, the Icelandic singer/songwriter effused awe an gratitude. 

"It feels so cool to make the kind of music I make today and still get recognized for it," she shares. 

Jacob Collier Shared His Imnprovisiation Techniques

Collier won his sixth GRAMMY Award this year, taking home the golden gramophone for Best Arrangement, Instruments and Vocals for his feature on "In the Wee Small Hours of the Morning" by vocal supergroup Säje. The first-time GRAMMY-winning vocal group is composed of Sara Gazarek, Amanda Taylor, Johnaye Kendrick, and Erin Bentlage. 

The multi-instrumentalist provided insight into the making of "In the Wee Hours of the Morning," revealing that this collaboration began with an improvisation Collier created around the song, which was later decorated with Säje’s harmonies. 

"The best types of collaborations reveal parts of oneself that you wouldn’t otherwise have access to, and I think the amazing thing about [Säje] is that the four [of them] brought colors out of me that were new," Collier says. 

"I feel so lucky to have been clothed by these four voices, it feels really wonderful," he says. 

Natalia Lafourcade Realized Her Own Importance

Known for infusing a variety of Latin genres with elements of folk, jazz, and alternative music, Natalia Lafourcade picked up her fourth GRAMMY win for Best Latin Rock or Alternative Album with De Todas Las Flores.

"It took seven years for me to realize I need to write my own music again," Lafourcade says. "This album has [helped me realize] the importance of my inner garden, my creative universe." 

Read more: Catching Up With Natalia Lafourcade: How Togetherness, Improvisation & The Element Of Surprise Led To Her Most Exquisite Album

The Mexican singer/songwriter also served as a presenter at the Premiere Ceremony, presenting in Categories such as Best Music Video and Best Song Written for Visual Media. Previously, Lafourcade won for Best Latin Rock or Alternative Album at the 58th GRAMMY Awards for Hasta La Raíz, and discussed the importance of reclaiming her sound in this category. 

"Having the producers, musicians, and my beautiful team has been an incredible experience. It means a lot," she says. 

Brandy Clark Loved Working With Brandi Carlile

After 17 nominations, Brandy Clark landed her first GRAMMY win in the category of Americana Performance. At the Premiere Ceremony, Clark performed a solo acoustic rendition of "Dear Insecurity," which features 10-time GRAMMY winner Brandi Carlile. 

Previous nominations for the Washington native include Best Country Song and Best Country Solo Performance. 

"The work I did with Brandi Carlile was really important for me. Seventeen nominations, first GRAMMY win — I’m mind blown," Clark says.

Clark's collaboration with Carlile is a key part of her support system, and she continues to push the boundaries of artistic expression — especially when it comes to her love for country music.

10 Must-See Moments From The 2024 GRAMMYs

The 2024 GRAMMYs have come and gone, but viewers haven’t stopped talking about their favorite highlights from the show. But between backstage, the red carpet and on the show floor itself, there were plenty of candid moments between music’s biggest stars that rival the biggest performances. 

The internet has already taken off running with some of the night’s best underseen GRAMMY moments —  from Miley Cyrus’ red carpet randomness to Flavor Flav linking up with boygenius and Dua Lipa bringing her dad as her date. Here are a few of our favorite GRAMMY moments you might have missed.

Taylor Swift & Jack Antonoff Linked Up With Boygenius Backstage

The boys were big at the GRAMMYs, winning three trophies, and fellow winners Taylor Swift and Jack Antonoff had to join in on the fun! The group posed with their golden gramophones backstage. 

…And So Did Flavor Flav?

The Public Enemy rapper posed for photos with boygenius, writing "Getting educated on the genius of Boy Genius." He wasn’t the only one coming to class — Troye Sivan snuck in for the photo op too.

Miley's iPhone Confusion On the Red Carpet

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"iPhones? What the hell?!" Before winning two GRAMMYs later that night, including Record of the Year, Miley’s surprise at cell phone photographers on the red carpet immediately went viral. What can we say, she’s just being Miley! 

Noah Kahan Brought His Mom

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How sweet is Noah Kahan?The Best New Artist nominee decided to bring his own mother as his GRAMMYs date. If there was a GRAMMY for best son, he’d take it home easily. 

Tyla’s Parents Almost Upstaged Her

Kahan wasn’t the only GRAMMY nominee with parents in tow. After 22-year-old Tyla won Best African Performance, she told journalists backstage "My father already told me that it’s going in his room." Now that’s one proud papa! 

Killer Mike Celebrates A GRAMMY Trifecta

"Atlanta it’s a sweep! Atlanta it’s a sweep!!" Killer Mike couldn’t help but hide his excitement as he collected not one, not two, but three GRAMMYs during the Premiere Ceremony. 

Taylor Swift Fixes Lana Del Rey’s Hair On Red Carpet

Hours before paying tribute to her friend and collaborator in her Album Of The Year acceptance speech, Taylor Swift wanted to make sure Lana Del Rey’s beautiful black ensemble was just right on the red carpet. Giving Goth Loretta Lynn realness is easier with a bestie by your side!  

Ice Spice Meets Jay-Z And Beyoncé

She’s really In Ha Mood! The pop-rap princess and Best New Artist nominee was totally fangirling upon meeting Queen Bey herself, resplendent in a white wig and cowboy hat. A dream come true! 

Terry Crews And Jon Batiste Chop It Up

A late night pro and a former football star may seem like an odd couple, but Jon Batiste and actor Terry Crews got along pretty well. Batiste, a previous Album Of The Year winner and a nominee this year, also performed during the ceremony. 

Jay-Z Sips Cognac From His Global Impact Award

So much for a gold sippy cup! With Blue Ivy nearly grown, Jay-Z was able to keep his Dr. Dre Global Impact Award all to himself. He was seen sipping D’Ussé from the special black gramophone in celebration. 

Joni Mitchell Wins Best Folk Album

Before giving an astonishing, first-ever GRAMMYs performance during the GRAMMYs TV ceremony, Joni Mitchell collected a golden gramophone of her own, winning Best Folk Album during the Premiere Ceremony — 50 years after her first win. 

Lil Uzi Vert Hangs With Jay And Bey

As music’s most famous couple attempted to make a stylish exit, Lil Uzi Vert decided to join them! The Philly rapper could be seen sauntering between Hov and daughter Blue Ivy Carter as the Carter-Knowles clan left the arena. 

Celine Dion Makes A Bold Entrance Backstage

Even for a night filled with icons, none were so legendary as Celine Dion. The singer looked resplendent as she arrived backstage ahead of presenting the GRAMMY for Album Of The Year. 

Big First Wins At The 2024 GRAMMYs: Karol G, Lainey Wilson, Victoria Monét & More