Meet Nathalie Joachim. The Brooklyn-born Haitian-American flutist, vocalist and composer received her first-ever GRAMMY nomination this year for her debut solo album, Fanm d'Ayiti. The project, whose name translates to Women Of Haiti, was inspired by her late grandmother and is a tribute to three pioneering Haitian female musicians—Carole Demesmin, Emerante de Pradines and Toto Bissainthe, weaving together their voices, stories and traditional Haitian folk music traditions.

The beautiful project, which Joachim recorded with Chicago's Spektral Quartet, is in the running for Best World Music Album at the 2020 GRAMMYs.

The Recording Academy spoke with Joachim to learn more about the rich stories and in-depth research process behind Fanm d'Ayiti, her classical training at Julliard and why she sees using her platform as a vital necessity. She also shares what gives her the most hope in the world right now and how she has found strength in her identity.

What does it mean to you to be nominated for a GRAMMY for Fanm d'Ayiti?

It's huge, honestly, on so many levels. It's a humongous triumph. I mean it's my first solo record so to do that, to put myself out there in this way. I think most people know me from a classical world, and to put out a vocal record that's really personal and tied to my family's heritage in such a deep way, to really step into myself as an artist in this way and to have the record be received really positively was enormous. To receive this kind of attention for it and acknowledgment of the work feels tremendous.

And on top of that, again, bringing in my family and our heritage and history and just being able to represent Haiti in this way, and to highlight some deeply important music and political and social history of Haiti through this project, is really such a huge honor. I feel incredible about it.

What was your initial reaction when you found out about the nomination?

It's the kind of thing where you don't really know how to react. You're like, should I scream? Should I run out of the room? I actually was in the middle of this mountain town in Sweden. I was so far away and I got a text message from Allison Loggins-Hull, who co-produced the record with me and is a long-time creative collaborator. She's like, "You got nominated for a GRAMMY!" I was jet-legged, in a car on my way to a venue for a performance in this little town. And I was just like, "Oh wow," and the friend sitting next to me was like, "What happened?" "I got nominated for a GRAMMY." It was this interesting moment where you just wanted to be able to put out all of this energy but I was sort of stunned into silence a bit.

It was absolutely unexpected. I think we're all always watching in our industry to see who gets nominated and it's been so many years of seeing so many of my colleagues get nominated. So it just felt a little surreal for it to be happening to me.

Can you speak to the message behind the album and the Haitian women you chose to celebrate within it?

Absolutely. The story behind the record really came out of the passing of my maternal grandmother, who was just a hugely important voice in my life and such an inspiration to me personally and musically. We spent so much of our time together singing songs. She was really one of the first people to encourage me to use my voice, not just to make music but also to share stories. So, the loss of her voice really got me thinking a lot about women's voices in Haiti. That led me to become more curious about female artists from Haiti because the popular music scene is so male-dominated.

I started to talk to my parents about women who are popular musicians that they could recall. And that small list of women really led me to not only a lot of really gorgeous music but some extremely powerful stories of women who truly use their voices to highlight the strength of the people of Haiti, to uplift them and to help the country continue to move forward. I had such a deep pleasure diving into my research of these women and meeting with them if they were alive, both here in the United States and also in Haiti. And meeting with their family members, going to the spaces and places where they made music throughout their careers. I found such a kinship in their stories as artists, and specifically female artists, really trying to make it in a field where women's voices are ever-present but really under-represented.

And so, those stories led me to thinking about myself and what it means to really be a part of that legacy. The three women that are really featured on the record are Carole Demesmin, Emerante de Pradines and Toto Bissainthe. I chose those three because they're all different generation but their work and their missions were so connected. Also on the record is my grandmother, whose voice I recorded years before she passed away, and the girl's choir from our tiny little farming village in the southern part of Haiti called Dantan.

It's amazing to be able to hear the voices of all those little girls here. They are all grown now but when I hear them, I think of each of them individually and know that our families have all shared so much. For some of us, it's nine, ten generations of growing up in that small farming community together, of our families having really grown together. I feel really lucky to have been able to share my own voice in a space with all of them.

That's so cool, it's really like a collage.

Yeah, absolutely. The three women are established artists who didn't have to share their stories with me but really opened up their homes and hearts. I shared some really powerful and meaningful moments with them that helped bring a beautiful sense of place to the record and a deeply personal connection.

Do you feel that working on the album shifted or further developed your connection to your Haitian roots?

Yes, of course. I'm a first-generation Haitian-American and most Haitian parents really want their children to become nurses, doctors, lawyers or teachers, something practical. My family has always been really supportive of my career, but they were always like, "We don't know, you're always in there making strange sounds with your instruments, we don't really understand." Especially coming from having studied classical music and then really being quite focused on performing contemporary classical music.

For my family in Haiti, music is such a huge part of how we engage with each other culturally as Haitians. And so, all of them are like, "Yeah, you make music, so does everybody else." This project was really, really incredible because it was my first professional project that my family was deeply involved and engaged in. I think it was the first time that they really got to see the connection between my art and my passion behind the music; just really understanding why making music means everything to me.

I think it was the first time they really saw it and understood it. This was something that, from the very beginning stages of the project, they were a part of conceptualizing it. They were a part of helping me research and understand the history as I was going through it. They really got to be with me and work with me through every single phase of it. I think it deepened all of our connection to our heritage and our celebration of our culture that felt really beautiful.

So, being able to have my family be a part of it helped me have such a deeper appreciation for our culture and heritage. It was something that was always important to me but has now become that much more valuable to me. Also, being able to see the reaction, especially after the GRAMMY nomination, of the Haitian community. I feel so incredibly celebrated and supported by them. There's just been this outpour of love and support and everyone cheering me on. I feel like the whole country's standing behind me and that feels amazing. It's like, I feel more deeply connected to every Haitian person that I meet now more than ever.

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"There's just been this outpour of love and support and everyone cheering me on. I feel like the whole country's standing behind me and that feels amazing."

I'd love to learn more about the overall creative process of the album and what it was like working with the Spektral Quartet.

Totally. This project has really changed my artistic practice in a meaningful way. It's my first really research-based project of anything I've ever made. It is also the first time that I really had to give in to the process for it to be successful. Rather than going in and being like, "I'm going to do this music and it's going to take this form and be this shape," I spent about a year and half of what was really a two-year process building this project, mostly meeting with people and collecting oral histories and field recordings. I did a lot of deep listening and being open to what was presented to me.

It was the first time that I ever really just allowed the material to tell me what it needed to be. I think that the work really benefited from that because a lot of people have really commented on how it's able to bring together, like you mentioned, this collage or this hybrid of all of these different sounds with the field recordings and the interviews. I think that was really because I took a lot of time to just genuinely interact with people, to really listen and connect with them.

When you allow yourself to do that, the stories begin to take shape in a beautiful and brand new way and you allow yourself to be present for when the through-line or the common thread begins to emerge from the experiences you're having. By the time I sat down to really get to writing the music, I had been in this really deep listening space for a long time. It felt much easier for it to be the vehicle that all of these things could exist in and that I could also express myself in as well.

That is a new way of working for me, so it's also terrifying. For a long time, there was no music being written and you're like, I hope I come up with something. In the end, it showed me that this way of engaging with people makes us stronger. It makes the work stronger, it makes my understanding of what is necessary or what is valuable about the stories that much more clear. I already have a few new projects underway that are really influenced by this change in my practice. It has really allowed me to center how I would like to work going forward because I feel so deeply interested in connecting with people through my work. With the state of the world right now, that feels particularly important to do through my work as an artist.

One of your projects I'm really interested in learning more about is Discourse with Carolina Performing Arts. Can you speak to that a little bit, and how you hope to engage in community building with it?

Yeah, absolutely. I'm glad you mentioned it because the process for that project has really been influenced by my experience creating from Fanm d'Ayiti. Allison, my creative partner in Flutronix, she and I have been embedding ourselves in the Chapel Hill, Durham and Raleigh community. The whole project is commissioned by Carolina Performing Arts, which is through the University of North Carolina at Chapel Hill. And so, for the past two years we've been doing exactly as I described I had done for Fanm d'Ayiti. We've been going down there, engaging with community partners, doing everything from holding music workshops to just simply breaking bread with people. It's been about embedding ourselves in the community and connecting ourselves to their leaders.

We've been doing that in an effort to really gain a deeper understanding of American history and that has been incredible. I think you learn so much more about a space by simply sitting and having a conversation with an elder of the community, with a young person to get a sense of what they feel like, or a homeless person who has to engage in a community where they're overlooked. And the transient university community; how does their engagement change the shape and the history of a place? We've also been talking to members of the indigenous community there as well, and how have they been impacted as people who've been there long before any of these other people.

So, that's been beautiful. Allison and I were both really dismayed after the last election, not just about who was elected but about the fact that there is this huge divide in America that we have lost a sense of connecting with each other on a personal level. And so, we're really hoping that through discourse, by connecting with real narratives of real people and by showcasing the value of those narratives, that we are fostering connectivity within a community, creating a sonic representation of a history of the space. And again, doing that through an evening-length musical work that deeply features the stories and the collected histories of the community itself.

We are very excited for that to premiere this Spring, April 2 and 3 at Carolina Performing Arts. It's been a deeply moving process and we feel a great responsibility to honor the stories of the people who have been so generously sharing their time with us. And we're just excited that an institution like Carolina Performing Arts would get behind such an experimental work about social change. This will be our first iteration of it in Chapel Hill.

We do have future iterations planned in cities across the country, which is also really exciting. And each space sounds different, every story has been completely different and beautiful but also universal in that it brings us back to our sense of humanity. North Carolina is not just some distant place that's far removed; it's full of people who all have stories and love and light in them just like the rest of us. We're hoping that this project is able to travel the country and show that there's a lot of good to be had in simply opening yourself up to truly connecting with people.

"You can start to feel small but then you realize music is a universal language. It's something you can share with anyone across the globe and that in itself puts you in a position of power, where you can use your platform to connect to people anywhere."

Why do you think it's important to use your music and platform as an artist as a catalyst for social change?

It feels important to me. Historically, if you look timeline-wise, just about every major artistic movement coincides with a major change happening in the world. So, I think artists have always been really tapped into what's happening with communities and have always taken on the responsibility of commenting on it because we have a platform to do so, whether it was 1,000 years ago or now.

I think it is the job of an artist to be reflective of our time, I don't think it's enough to operate in a vacuum. And I think that the reflection can take many different shapes and forms. Even just looking at the Best World Music Album category, you see such a beautiful reflection of our times in every single album that's represented. Which is another reason I'm so proud to be a part of such an incredible group of artist and thinkers who are really tapping into that.

It can feel daunting when you wake up and the news is sort of dismaying every single day. You can start to feel small but then you realize music is a universal language. It's something you can share with anyone across the globe and that in itself puts you in a position of power, where you can use your platform to connect to people anywhere. For me, it feels like the right thing to do because you're moving the needle even just a little bit and I think every bit counts.

Yes, it does. And what is the biggest thing you hope to see shift in the next couple of years?

So, we're living in a digital age which is a blessing and a curse. But if there's one thing that Fanm d'Ayiti and Discourse have shown me is the value of coming off the computer screen and talking to people in real life. We all have very busy schedules but it's important to get to know your neighbor. Know that you can step out into the world and really connect with people. I hope that is something people elect to do more often.

I think that the internet can be an awfully expanding place but an awfully isolating space also. I'm hoping to see more people really reaching out person to person and getting to know their communities and that is maybe the best first step in helping us move forward. I think the more we're connecting with one another, the more we're able to help each other, whether you're talking about climate change, social justice or politics.

I think it's all connected to us really taking a good look at one another and appreciating who we all are in all of our shapes and sizes and colors. I hope to see people move more towards a sense of togetherness and to step away from the sense of divide.

When you were younger, what drew you to making music and to the flute specifically?

I started playing piano when I was four years old. It was the first instrument that I played and I was very bad at it but I obviously really loved music. At that age I was spending a lot of time with my grandmother; we would always sing tons of songs together as a way of doing stuff around the house or just making up stories and songs together. When I was nine, I had the opportunity to choose an instrument at school and I pretty randomly chose the flute. I took to the flute much more quickly than I took to piano, and my band director recognized that right away. She was a flutist herself and gave me private lessons during our lunch period and I started to excel pretty quickly.

At that point, the Julliard School had started their music advancement program, in response to a lot of music education getting cut from public schools throughout the five boroughs [of New York City]. It was essentially Julliard's community schools program for students who weren't necessarily beginners and showed promise but were losing access to music lessons in their schools. I got in and started going when I was 10 years old.

A few years later, my teacher there had me audition for Julliard's pre-college program and I got in. I've spent most of my musical life at Julliard. People often ask me how I decided to be a musician. My honest answer is I think it chose me more than anything else. It's truly the one thing that I have always loved and could never imagine my life without. I feel really lucky to have been able to find something that I genuinely love so deeply, so early on.

Julliard gets all the credit for my musical training of course, but I have started openly crediting two other kind of funny sources. One being my grandmother, who in truth was really one of my first music teachers without really knowing it. Also, for anyone who's an old-school New Yorker, there used to be a Tower Records right across the street from Julliard and I used to spend all of my free time over there at the listening stations. That's really where I found my love for electronic music, hip-hop, jazz, you name it.

I would spend hours in there hanging out at the listening stations. It expanded my musical pallet in a beautiful way, and you have to imagine that it had some impact when I was having such deep musical training at Julliard. While my brain was being shaped in that way, I was spending a lot of time not just listening to the music at the music stations but on some level analyzing or really understanding like "how does this Bjork album relate to what I just learned in my music theory class?" All of that, I think is reflected in my musical style today. On the record there's this huge influence of my classical training but also the electronics and bringing in these other voices in this way and the folk elements.

I think a couple questions ago you asked me about Spektral Quartet and I didn't talk about that.

Yes, please do. Thank you!

I would be so upset with myself if I didn't mention that they are incredible collaborators. The project was commissioned by Kate Nordstrum, who is the curator of the Liquid Music series. I originally premiered Fanm d'Ayiti with members of the St. Paul Chamber Orchestra. After that, I was asked to do a performance here in Chicago, so I reached out to Spektral Quartet there. They weren't available for that date but where totally game to record it with me. It felt great that we all got to work on it and record it here in our home city, which was really wonderful.

They're exceptional musicians, and if there's one thing that's true about making music in Haiti, it is really more than about being about any individual, it's about every single person contributing a deep part of themselves to the process. That was something that I really learned through my grandmother, that it was really about you sharing what you can for the group. Music-making in Haiti is about a communal practice and so much of the music that we have is not written down in a western way, but it in fact is passed down through an oral tradition. Spektral Quartet was incredibly flexible; everything thinks of classical musicians as being totally rigid and they are the exact opposite. They really gave themselves to the process and opened up to experimenting. It was really that spirit of their musicality that allowed for the project to become as beautiful as it really did on the album and is now even still growing as we're touring it together. People should try to catch it live; it's definitely been growing and evolving ever since we recorded and I'm so happy and lucky to be working with them.

"It is important to seek out the people who are living the life that you want to lead and if you don't see that person, to have the courage to become that person so that somebody behind you can see you as a role model."

Do you have a message for young people, especially young women and/or people of color, interested in pursuing a career in music now?

You know, it wasn't until very recently that I felt like I could stand in my whole identity as a black woman, as a Haitian-American artist creating new work in today's climate. For a very long time, it was hard for me to call myself a composer because I came from a world where composers generally didn't look like me or live a life like me at all. Or to call myself a vocalist, when I had come up in this oral tradition of singing with my grandmother, which felt very different than my very buttoned-up conservatory training took a lot. It took a long time for me to really embrace all of the pieces of my identity as assets, as the true beauty of who I am, not just as a person but certainly as an artist.

I feel a huge responsibility to be standing in that truth and to really be embracing that side of me because I know how valuable it would have been for me at nine years old to have seen someone doing exactly what I'm doing. It would have helped me more easily step into that space because it feels so much more possible. I don't think I had even played a piece of music by a person of color probably for decades with my training. That's insane to think of that.

So, to every young artist out there today, it is important to know that it is absolutely possible for you to stand in your truth and for it to not necessarily look like Beethoven or Mozart and to still have it be real. To still be able to claim those titles as your own because what we see is that each of these practices, whether it's folk tradition, or hip-hop or something incredibly fringe and experimental, each of them is really valid in their own right. It is important to seek out the people who are living the life that you want to lead and if you don't see that person, to have the courage to become that person so that somebody behind you can see you as a role model.

"To every young artist out there today, it is important to know that it is absolutely possible for you to stand in your truth and for it to not necessarily look like Beethoven or Mozart and to still have it be real."

I think what's true on the record and I'll echo what Carole, Emerante and Milena Sandler [the daughter of late Bissainthe] say on the very last interlude of the record, which is to be yourself and to keep moving forward and to know that there is a little one behind you who's looking to see if they can become what you are. It's really huge. It can be life-changing for someone.

I know that in researching this album and talking to all of these women, I left almost every single interview in tears because I felt more capable in talking to them, knowing that they had a led a life where they really were able to stand in their truth and to make the world a better place against all odds, in a world that was really against them.

If you look at Emerante, she was somebody who came to popularity in the '40s and '50s, at a time where women were not supposed to be doing anything and she really defied that. She's a true hero and without women like her, it would've been really hard for me to even me to have the career that I have now. And so, it is important for each of us to stand in our truth and in doing so, stand against anything that says that we cannot do so because you absolutely can do. I hope that every little girl, every little person of color is out there seeing role models. I think that's happening a lot more today but it's been possible at moments where there was no one else doing it. And so, it's totally possible for each of us and for every person who's coming up behind us.

What gives you the most hope right now?

Honestly, the thing that gives me the most hope right now is the voices of young people who I think are more courageous than I ever was at their age. I think who are really coming together in a way that's really beautiful. And also, becoming much wiser much sooner, I think in my opinion. I would have been terrified as a little girl to stand up to authority or question the adults. I think there is space for both. I think adults can learn a lot from the young and there's nothing better than having a conversation with somebody who's been on earth for almost 100 years, like Emerante.

Children are honest and more aware and tapped into their spaces in a way that adults can sometimes become too busy to be. I feel a lot of hope when I'm going into communities and talking with young people who are really just able to say, "I'm young and I have a lot of life to live but I also know what's right and wrong and I'm here to lend my voice." You see this in young people like Greta Thunberg.

That does truly give me hope, I think we all have a lot to learn by talking and listening to young people and understanding where their hearts and heads are at. I think the generation of kids coming up right now is a generation to be admired and they certainly have their work cut out for them.

Don't forget to tune in to the 62nd GRAMMY Awards next Sun., Jan. 26, live on CBS at 8 p.m. ET/5 p.m. PT on CBS, and the Premiere Ceremony and Red Carpet live streams right here on GRAMMY.com—your home for all things GRAMMYs.

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Even after a flight and an hours-long photo shoot, Coi Leray exudes brightness and warmth as she discusses her monumental year. She carries a vibrant energy that matches her music — all of which is reminiscent of hip-hop's beginnings and bright future. 

Leray brought that vitality to "A GRAMMY to 50 Years of Hip Hop," where she held her own among genre legends with a dynamic performance of her smash hit, "Players." Exactly one month prior to the Dec. 10 event, Leray added another milestone to her booming career: her first GRAMMY nominations.

"Players" earned Leray a nod for Best Rap Performance at the 2024 GRAMMYs, where she's also nominated in the new Best Pop Dance Recording Category, for her collaboration with David Guetta and Anne-Marie, "Baby Don't Hurt Me."

"One of the biggest things and accomplishments for me as a artist is for people to know me and admire my versatility," Coi told the Recording Academy. "To be nominated for two of my voices — my melodic, my rap, my singing — it's a dream come true. I wouldn't want it no other way." 

Her versatility expands outside of her music, too. From her signature braided hairstyle to launching her own beauty and haircare products, the New Jersey-raised rapper is also building a name for herself in the fashion and beauty industries. What's more, Leray has entered the philanthropic space as well, with plans to launch her mental-health-focused Camp Courage World Foundation later this year. 

Even just a few years into her career, Leray is steadfast in leaving a multi-faceted legacy for herself — one that takes inspiration from icons like Beyoncé and J.Lo, but feels uniquely hers. And while she sees herself in every business venture, the rapper vows for one thing to remain true: she'll always be having fun. 

Ahead of the 2024 GRAMMYs, Leray sat down with GRAMMY.com to discuss what she learned in 2023 — and how her breakthrough year was the perfect setup for a long career. 

Congratulations on a wonderful year — from receiving your first GRAMMY nominations for "Players" and "Baby Don't Hurt Me" to opening up for Beyoncé at the Renaissance World Tour in Los Angeles. How would you describe 2023 for you?

This year was the icing on the cake to what my future entails. You know with "Players" being nonstop on the radio, getting nominated to all these big award shows, performing on Beyoncé's stage, and getting a written letter from Beyoncé. 

She told me that she's been watching me grow. It shows how hard I have been working. Most importantly, it shows them what to look forward to in the future. I feel like I'm one of those artists that is going to be here for a very, very long time.

As you described, "Players" has maintained a chart-topping position since its release. The single has a sweeter meaning to it because you are paying homage to the rappers, such as The Grandmaster Flash & The Furious Five, who have come before you.  The group has even publicly thanked you for re-introducing them to the younger generation. 

I wanted to ask about your decision to pay homage to them, because we exist in an era where a majority of songs have samples, but few artists go out of their way to pay respect to the pioneering artists.

I feel like it is my job to educate the youth as much as possible.

I'll be 27 in May. As I get older, I remember when I was 16, 13, 10, 18, 21. Everything that you hear now is inspired by so many great artists, such as Busta Rhymes and The Grandmaster Flash & The Furious Five; those icons in hip-hop made a huge statement. What's derived from Busta's creativity, his flows, his music videos and everything — a lot of kids have to understand the music they hear today and the videos they see are inspired by him and that's where it came from.

I remember the moment where I sat down and listened to Sade. She has one of the most beautiful tones in the music industry, and one of my biggest inspirations. When I go to the studio, I try to master my tone, my melodies, and my voice.  Sade helped me grow, and [I] realize how big she is to hip-hop, the industry, and music in general.

All the icons study music. The way in which you spoke about developing your melodies and voice speaks to that, and shows your dedication to the craft. Another icon that you have spoken of in high regard and worked with is Pharrell Williams. 

He's not only an icon in music, but fashion as well. You sat front row at his debut collection for Louis Vuittion and have become a regular attendee for other notable luxury fashion houses. Are you carving out your own path as an entertainer who has one foot in music and the other in fashion?

I have always been into fashion. I have been building my brand. To me, it's bigger than being an artist. It helps me build my brand. 

I've been building my relationship with YSL. When I landed my Fendi by Marc Jacobs campaign, I was on the frontpage of Fendi's website, alongside Kendall Jenner. I have done Fashion weeks and been dressed by amazing designers, like Jeremy Scott at Moschino, Alexander Wang, AREA, Diesel, and more.

As I continue to elevate and and my music continues to grow, "TWINNEM" ended up on the charts, the success of "Players" and to land with Pharrell, then sit front row at Louis Vuitton; it just shows how much I have been progressing. 

It's also a reminder that through all the hate and negativity that I am going through, even my personal tribulations, it's those moments that make me realize, "Yo! You are a star!" and this is happening in real life. Whether it's next week, next month, you're elevating.

The weekend where I sat front row at Louis Vuitton, I was in the studio with Pharrell. We made four records. I learned so much in my 24 hours with him. I built the most amazing relationship. Pharrell is a mastermind not only when it comes to not only fashion, but when it comes to music. 

In previous interviews, you referred to yourself as a "walking brand." As of late, you have garnered partnerships with brands such as Yves Saint Laurent, Tommy Hilfiger, Ray-Ban, and more. In your interview with Angie Martinez, you mentioned the possibility of a haircare line. I would like to hear more about the business components of your brand and how you are building an empire, adjacent to the music industry?

I have always had braids since I was a kid. When I did my first song, "Huddy," and throughout the beginning of my career, I always wore braids. I always had my baby hairs out.

It was important to me when I signed my deal to make sure that I'm good in the long run. So I sat down and thought about, what is going to help me be a better person? 

Create longevity. Create an asset. 

As much as I did my baby hairs, I ended up inventing a baby hair brush. I'm just getting my first mold. It's been a process because I want this brush to be perfect, and it's crazy because once it's complete, I want to go add something else. It's a learning process, and it feels so good to be able to financially invest into myself, grow my brand, continue to learn, have errors, make mistakes at this age and in my career.

I got my first top 10, but I never got a top five. I'm aiming bigger and everything is on God's timing. With my branding, my music and my YouTube series, "Cooking with Coi Leray," my skincare products, and my nail line products that's coming, it's all going to come in perfect timing because everything's on God's timing.

It brings me joy to hear a young woman artist, especially a Black woman, discuss their plans on building their legacy and ensuring longevity for the duration of their career. I saw this in your decision to have Trendsetter Studios, your creative agency, direct the music video for "Players." Could you walk me through the decision making process to start your agency?

I started Trendsetter Studios because I have always been into content. I've always been the creator behind everything I do. They say that I'm big on TikTok and a lot of these platforms, which I am, and I take pride in it because I'm good at what I do.

I'm great at making content. I'm great in front of the camera. I love the camera. When I signed my deal, I invested in a lot of equipment because I knew this is something. When I want to do a video, I want to be able to just grab the camera whenever I want to. Be able to create my own thing.

There's so many music videos up that Trendsetter Studios produced. I'm very grateful for my team. We're still learning. We're still growing. 

It's still in development. The goal and the key is longevity, having access and being able to build, do what you want, when you want, and how you want it.

**When you look at the projects you have worked on in 2023, such as "Self-Love" on  Spiderman: Across The Spider-Verse soundtrack and your sophomore album, Coi. What are some lessons that you've learned from those projects that you're going to apply in 2024?**

I learned to have fun. This [past] year, I kind of got wrapped up in it. It's hard to not get wrapped up in the political stuff or the numbers or the fans. I don't pay attention to the negative comments and stuff like that. But, it was at a point where I was paying attention to what someone else wanted versus myself.

I realized, in 2024, I'm only catering to what I want to do. I'm going to live in my truth. I'm going to keep growing as a young lady, as a young woman. Do what I want to do, and keep making great music, and just have fun, not get too wrapped up in the other stuff.

I want to have fun. Life is about having fun, and I'm at an age where I need to have fun. In 2024, we're having fun, and I feel like everybody's gonna feel that in my music, in my videos, in my vlogs, and whatever it is I'm doing, they're gonna feel that energy, and I'm gonna make sure of that, because that's the goal.

It seems to be a trend that icons release self-titled albums. 2023 was the 10-year anniversary of Beyoncé's self-titled album. When you look back at Coi, an album that will always be synonymous with you, where do you place that album in your legacy as an artist? 

It's gonna be here forever. It's gonna be one of those records where people are gonna go back and they're going to be like "Yo, what the hell?!"and I know that because it's such an amazing body of work. 

I write through experience, so as I go through new experiences, as I learn new things in the studio or work with more amazing creatives — creatives in all aspects, whether they're producers, engineers, songwriters, videographers, directors, creative directors, labels. As I'm working with all those people. I'm learning and every single time I just end up scoring better.

My next body of work is always my best body of work, but that doesn't mean take away the greatness from that work. It just means that I've been elevating in every single way. Coi is one of those projects where I elevated it, it has amazing music just like Trendsetter.

The more I create and the bigger I get, the more people will go back, listen, and really appreciate the body of work for what it is.  

You have not only achieved success domestically, but internationally with high placements on the Global and K-Pop charts, as well as participating in Paris and Milan fashion weeks. You have crossed over to being a well-known performer across the world. You're a girl from Jersey who has received global recognition. How does that feel for you? 

Recognition is dope. When you go over to places like Australia and Paris, they treat you like a major star. The love over there is immaculate. I get really inspired overseas. There's so many great things.

For example, Paris has so many great music video directors. Their music videos are insane. I had to go out there to really understand that.

It made me want to be the voice that when I come to America, "I'm like, I want to use more videographers so people can see how amazing they are too." It's a blessing to be able to travel.

You mentioned a desire to work with music video directors in Paris and abroad. You have already worked with international talents such as David Guetta and TOMORROW X TOGETHER. It seems you are pivoting yourself as an entertainer who uses music to bridge the gap between these cultures. 

Well, David Guetta is an incredible artist.

He is a mastermind when it comes to the studio, and I want to continue to work with David. We have an incredible relationship, and amazing chemistry in the studio. He's one of the first DJs to bring hip-hop and EDM together. That's another life experience for me that I'm going to remember forever.

You know, being a young Black queen in the music industry and being able to have so much versatility, it allows me to collaborate with so many great artists. David Guetta, he's a mastermind. That's another way to educate the young kids on David Guetta too. I know he's already a major, but they don't know the history.

Some people might not know the history, and I feel like it's important. David Guetta getting nominated with me — I'm getting nominated with my rap song and the pop electronic recording record. It's just a dream come true, I'm telling you. 

**In your music video for "Wasted" with Taylor Hill from Blue Moon, you showed a side of you that is different from your previous works. The video displayed a tender and vulnerable side of you. Can we expect to see more of that from you in 2024?** 

I can admit that I haven't done my best at showing that side. I was under my rock a little bit, but I promised to myself that in 2024 I am going to show more of my process, bring people into my world, my fans, and I think I owe it to my fans 1000%. I think that they want to know Coi Leray outside of Instagram, The Shade Room, social media, and blogs.

I want them to also understand who I am as a woman, as a person. Music is important, but relationships are important. Just as much to me, and I admire that.

Read More: Women In Hip-Hop: 7 Trailblazers Whose Behind-The-Scenes Efforts Define The Culture

Icons not only inspire us through music, but the way they invest in their community. In 2023, you organized a Thanksgiving Giveback in your hometown. What led you to start doing philanthropy efforts? I think people will always want to root for the girl who made it big and paid it forward.

That's why I started my Camp Courage World Foundation. I'm super excited to launch that at the top of 2024.

It's something I've wanted to do for a long time. I finally thought of an amazing name for it and I'm excited. We're focusing on mental health because I feel like that's something that I've dealt with my entire life, my childhood, growing up and now, and there's so many things that I do that I'm pretty sure that these girls would want to know and learn.

For example, just reading books and waking up every day, praying, finding my spirituality and sticking through it, staying consistent, going to church, even if they're not physical, online every Sunday, speaking to my pastors, my life coach, getting therapists, whatever it is that's going to make me better, that doesn't have me relate to anything that can self harm myself mentally, physically, financially, emotionally.

I'm excited for that launch because that's also going to be the next step in a big part of my career that I feel is one of the most important things. 

Having major records is cute. That's fire. Everybody wants a number one record, but with that number one record, you want to be able to give back and inspire because, at that point, what are you doing it for?

Since your debut, conversations about your body, your image, and your contributions to hip-hop have been a point of contention in the cultural zeitgeist. It seems you have decided to take control of the narrative in the media and the press. Whether it is through the development of your brands or the creation of your talent agency, do you feel as if you are on a path of reclamation? 

I'm taking control of it. I should be able to tell it. It's my life.  

I was sitting down talking to my people. I had told them. I said, "Yo. 2024. The future is so bright that the only thing that can stop me is me."

A lot of people don't know what I go through outside of this stuff. I go through a lot, you know what I mean? But going through what I went through, it taught me a lot about myself. 

I realized this year was all about self-awareness, and it prepped me for 2024. Like I said, I'm the only one that can get in my way. 

It's about just staying focused, staying level-headed, staying consistent. And staying prayed up. 

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Coco Jones is feeling more inspired than ever following a year of exciting surprises and breakthroughs. In 2023, the 25-year-old budding star celebrated her first Billboard Hot 100 entry thanks to her platinum-selling "ICU" single, embarked on her first headlining tour, and earned her first GRAMMY nominations.

"Being a GRAMMY-nominated artist changes everything. It's such a different creative mindset when the world says, 'You're good, we like what you do,'" Jones tells GRAMMY.com. "It's like a gold star. It makes you want to work harder, it makes you wanna continue to impress, and it makes you impressed with yourself, too."

Jones is nominated across five categories at the 2024 GRAMMYs: Her 2022 EP What I Didn't Tell You is up for Best R&B Album and its "ICU" will compete for Best R&B Performance and Best R&B Song. Her feature on Babyface's "Simple" has received a nod for Best Traditional R&B Performance. Jones is also up for the coveted golden gramophone for Best New Artist.

In recent years, her vocal prowess has received praise from SZA, Janet Jackson, and Beyoncé, but anyone who's even remotely familiar with Jones' story knows that her newfound success is anything but overnight. Jones first found success at age 14, when she starred in the 2012 Disney movie musical Let It Shine. The Tennessee native faced colorism early on, which she addressed in a 2020 YouTube video that went viral.

"I always wanted that representation that my dreams were possible growing up," she shares. "I definitely was not based in reality of what the entertainment industry is. It's tough and it's challenging and sometimes it isn't fair and that is not what I was prepared for as a kid."

During the pandemic, Jones secured a spot in "Bel-Air" (Peacock's reimagining of "The Fresh Prince of Bel-Air") as the spoiled yet beloved Hilary Banks, but she never let go of her love of  music. Following her 2014 departure from Hollywood Records, Jones released music independently, including the ominous "Hollyweird" and "Depressed"; when Def Jam approached her in the summer of 2021, she was ready for her close-up.

Fast forward to present, and Jones is gearing up for one of the most pivotal nights of her blossoming career. But perhaps the most precious thing she's collected along the way is self-assurance. "I'm learning that I have to believe in my creative choices and that I shouldn't second guess what I feel because it does well," she says with a laugh.

Of her recent success, Jones says the back-to-back accolades shocked her, but like a true artist, she's already thinking ahead and manifesting an exciting first for 2024: "I want my debut album to hit No. 1 on the Billboard 200 chart."

Ahead of the 2024 GRAMMYs, Jones discusses the power of representation for dark-skinned Black women, why her mother is her biggest inspiration, and how joining forces with Babyface created momentum in her career.

This interview has been condensed and edited for clarity.

After finding out that you received five GRAMMY nominations, you posted an Instagram video showing you and your mother reveling in the excitement of it all. Tell me more about that moment and your mother's role in this journey.

I'm one of four children and my mom owned multiple businesses, but she made us all feel loved and supported while also being a boss. Watching her navigate the entertainment industry — which she had no prior experience with — was very inspiring. She took every challenge head-on and still managed to make time with all of her kids. 

She's always been a visionary, so I think for her, it's like, This is exactly what we worked for. The end goal is to be award-winning, to be show-stopping, to be classic, to be timeless. That's what she saw for me even when I was a little girl on stage singing Aretha Franklin.

There were times when it was hard for me to see what she saw in me, especially when you're dealing with the rejection that is the music industry. But she always knows the right thing to say to keep me going and to keep my faith. So, when it wasn't like how it is now, she was the entire team. She did anything she could to help me progress.

You retweeted a meet-and-greet with a fan, who donned your merch from 2018, which seemed to take you by surprise. It seems like your 2023 breakthrough was a win for not just yourself, but for those early supporters as well.

I would definitely say it's a win for my fans and my supporters, but also for young Black women who look like me and have big dreams and just want to see what they are dreaming about is possible. I know that I inspire so many young Black women — they tell me almost every day that seeing me win helps them believe in themselves winning.

My goal is to continue to break those barriers down for young Black women so that it's not such a surprise when we succeed.

In a 2022 interview, you said you wanted to experience the highs of being an entertainer and being on stage "even if it meant a lot of lows." Many creatives feel that way. Do you have any advice for struggling artists who feel like no one's paying attention?

You can make it this thing where you feel like you're running out of time, or you can make it feel like you're adjusting to time. Time is whatever you decide it is.

There were so many obstacles I didn't understand, but hindsight is 20/20. I needed the lessons that I learned, I needed the self-reliance, I needed the optimism and the faith. So, I think it was all very growing but still tough not knowing what was going to happen, not knowing if I was going to have that life-changing job, that life-changing song. 

I'm just grateful to God for protecting me through all the confusion and for not giving up. I had enough support around me and enough doors to open even though they felt far and few between to keep me sustained and pursuing this dream, even though I was pursuing it without any guarantees.

What I Didn't Tell You isn't the first EP you released, but it's the one that made you a first-time GRAMMY nominee. What was different this time around?

I was very supported; when Def Jam approached me, they seemed so understanding of my vision that I couldn't help but feel like we were already a team. They helped me put the pieces together. Before this, I was just on my own or it was me and my mom, so I felt more supported with this EP release. My label understands me and what I want to be, and there's no pushback against who I am and what I can naturally do. It's all about enhancing. 

As part of R&B's new class, what do you want to bring to the genre?

More uptempo! I want to be able to sing my heart out but make a bop that you wanna dance to. I love how Whitney Houston would do that with some of her songs like "I'm Your Baby Tonight" and "How Will I Know."

Your breakthrough single, "ICU," is up for Best R&B Song, but what lesser-known song off What I Didn't Tell You (Deluxe) would you nominate in the same category if you could?

"Fallin'" because it's a sensual song, and I feel like it sits in a really cool, pretty place in my voice. It also tells a good story of the chaos that my life is while also starting to fall for somebody.

In 2022, you joined forces with R&B legend Babyface for his collaborative Girls Night Out project. Your "Simple" duet with him is nominated for Best Traditional R&B Performance. Do you think collaborating with Babyface acted as a precursor for the incredible year you had?

When I learned Babyface wanted me on his album, I was beside myself. He was really one of the first legends to give me that stamp of approval. I definitely think the recognition I got from him was like a turning point in what was next for my life. The world started to notice around that time. 

When I interviewed Babyface soon after the release of Girls Night Out, he talked about doing his homework to better understand the differences in today's R&B. That was surprising to hear, because he's clearly an expert at writing hit songs but not above learning from others. What did you learn from his mentorship?

I just learned that you can be a legend and you can still be open to ideas, open to new talents, and open to suggestions. Just stay open to what’s new, who's new, and why they're doing well, and that's what will keep you legendary. 

I'm a big fan of studying music, so I will continue to be a student. Creating music and studying music are two different things to me. I study it and then I feel creative, so I think it's about separating them because sometimes if you're creating while studying, you just end up repeating exactly what somebody's doing and that doesn't feel authentic. It's more about getting inspired and then creating.

My love for music and being a creative is what keeps me going because it's not always fun, it's not always easy. Sometimes it's about business, sometimes it's about pushing past your exhaustion. I don't think I would do that, not for this long, if I didn't love the payoff of being a creative. 

How will you celebrate if you win a GRAMMY?

I haven't thought about how I'm gonna celebrate. I think my favorite type of celebrations are intimate. They're with people who are in the mud with me — my family, my team. I would probably just want to have a great dinner and think about how far we've come and what's next.

2024 GRAMMY Nominations: See The Full Nominees List

Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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Coachella 2023 has now come to a close. The second weekend of the Southern California mega-festival concluded with another series of bespoke performances that continued to build the event’s reputation as a place where legendary moments become history.

Weekend two was packed with drama and intrigue, led by the last-minute removal of Frank Ocean from the Sunday lineup due to injury. Fans were already buzzing following his controversial first weekend performance, while organizers worked quickly to replace his headlining set. The results were top notch, closing Coachella on a very energetic and celebratory note.

As a result, Blink-182 — who had a surprise set on Friday afternoon of the first weekend — were given a main stage slot on Sunday night, followed by an act to be announced. 

The mystery act didn't remain hush-hush for long, though. Sunday's headliners were revealed to be the supergroup DJ trio of Skrillex, Four Tet, and Fred Again.., who in their brief time playing music together have become one of the most sought-after acts in the world. (So much so that they sold out Madison Square Garden in two minutes after announcing the show.) 

Beyond the Sunday scramble, weekend two of Coachella 2023 brought much of the same excitement as the previous week — replete with more stand-out sets than even the most experienced festival goer could manage to catch. Below, relive seven sets that showcase Coachella’s reign as one of the most popular festivals in the world. 

Wet Leg Encourages Communal Release 

The British alternative rock band only has one self-titled album’s worth of material, which they've been diligently touring around the globe. And yet they still managed to bring a sense of zeal and authentic excitement to their second Coachella set.

Wet Leg's Rhian Teasdale and Hester Chambers set the example of this energy. Throughout the performance, they shared excitable looks, occasionally dropping lyrics in favor of laughter. Other times, they led the crowd in an epic scream, just for the sake of it. Dave Grohl even showed up to scream with them.

The climax of the performance at the Mojave stage on Friday afternoon was "Chaise Longue," the upbeat rock and roll heater that earned the group a 2022 GRAMMY for Best Alternative Performance. When Teasdale would ask, "Excuse me," the crowd would shout back "What?!" with all their might. Then the rapid fire guitar came in, and everyone in the crowd understood that the assignment was to dance.

Gorillaz Take Special Guests Appearances To The Next Level

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Gorillaz last performed at Coachella in 2010 as Sunday headliners, and brought headliner energy to Friday night's penultimate set. When it comes to special guests — a Coachella tradition already ingrained in Gorillaz's music — the group stepped up their game. 

By the third song, the L.A. alternative legend Beck was on stage to sing his feature on "Valley of the Pagans" from Gorillaz’s 2020 album, Song Machine, Season One: Strange Timez. From there, more than half of the 17-song set included a guest.

Thundercat came on for his contribution to the title track of Gorillaz's latest, Cracker Island, Little Simz performed "Garage Palace" off 2017's Humanz, and Yasiin Bey, formerly known as Mos Def, joined Gorillaz along with the Hypnotic Brass Ensemble for "Sweepstakes" from 2010’s Plastic Beach. Minutes before his own headlining set, Bad Bunny came out in a mask to perform "Tormenta," his feature on Cracker Island. 

An IRL Bad Bunny collab may have been the ultimate surprise guest coup de grâce, but Gorillaz weren't finished yet. In a touching moment of unity, Gorillaz paid tribute to their late collaborator David Jolicoeur after the surviving members of De La Soul joined Gorillaz for a performance of "Feel Good, Inc."

Eric Prydz Brings Artificial Into Reality With His HOLO Show

If Eric Prydz had decided to simply play a DJ set, he still likely would have landed one of the festival's top booking slots; instead, he brought his HOLO show to Indio. 

This unique live production is known in the global dance music circuit for pushing the limits of visuals in the live space. There are hundreds of videos on the internet heralding its epicness, but those videos don’t compare to experiencing it in person.

Prydz’s closing set at Outdoor Theater on Saturday night was scheduled to begin at 10:20 p.m., but when the time rolled around, the screens remained dark. However, a keen ear could tell that the scene had actually begun; a subtle line emanated through the speakers and, for 20 minutes, kept getting louder and extending in its repetition.

At 10:40, a giant mechanical hand appeared on the screen, as if it was floating out into the audience. With an iPhone between its Transformers-esque fingers, the hand took photos as a wash of electronic music started building. Then as the hand flipped the phone to show an image of the audience on its screen, the first track of the set took full form, and a tidal wave of energy was released from the crowd.

For the remainder of the set, every new song was accompanied by an evermore impressive audiovisual creation. One frame was Prydz himself wearing a spacesuit. Another was a team of spacemen firing laser guns at the crowd. It felt so real that someone probably ducked to avoid the virtual projectiles.

Christine & The Queens Do So Much With Not-So-Much

Coachella is a festival where most artists like to do a lot, but Christine & The Queens demonstrated that you can actually do a lot with a little. 

Production during the Sunday sunset slot at Mojave was minimalistic: two separate platforms on stage, one for Christine and her three-piece band, the other open for use. Like her stage setup, Christine & The Queens' music is generally minimalistic — though Christine doesn't require much to completely enthrall her audience. 

Songs began calmer, exemplified by the use of Red Hot Chili Peppers' alt-rock ballad of "By The Way" as a transition into her hit song, "Tilted." As that steady and simple beat moved along the intensity only increased. Christine threw her body around, ending up on the floor, on the platform, all the while nailing every note with her serenading tones.

Other than her soothing yet powerful vocals and mesmerizing stage presence, Christine was just as much a preacher as a musician. She decried patriarchal capitalism and stood strong in her belief that music is the greatest weapon against it.

"You are not going to surrender!" she shouted as her drummer threw down a high speed solo. 

Boygenius Provide A Musical Safe Space

When the indie supergroup took the Outdoor stage for the first set of Saturday night in complete darkness, everyone was primed and ready to feel all the things. Thus commenced the musical therapy session that was boygenius' Coachella performance, as members Phoebe Bridgers, Lucy Dacus, and Julien Baker sang the first few lines of "Without You Without Them" together on a single mic.

"I want to hear your story and be a part of it," the trio sang — their message a call to everyone in earshot, from the audience to the security guards and production workers. 

Although the crowd wasn’t the biggest that the Outdoor stage would see throughout the weekend, the environment allowed for plenty of space for the audience to be with themselves under the stars. Then as the band went through the various moods on their debut album, the record, the audience responded to their energy in kind.

When the trio were rocking out on songs like "$20" and "Satanist," the energy was high and lively as everyone took in Bridgers' towering shouts before returning with their own. Then when the volume came down for the raw, unfiltered honesty in songs like "True Blue" and "Emily I’m Sorry," the people who were shouting before began to gently sway, murmuring the lyrics to themselves word for word, experiencing them on a personal level.

Björk Reworks Her Classics With An Orchestra 

Iceland’s own Björk last performed at Coachella in 2007, when she headlined Friday. For her first Coachella set in over 15 years, the artist returned with a full orchestra that performed original interpretations of her past works.

Backed by the Hollywood String Ensemble and conducted by fellow Icelander, Bjarni Frímann, pleasant indie songs such as "Aurora" and "Come To Me" became operatic epics. The orchestra allowed her to accurately and succinctly reproduce "Freefall," a song from her latest album, 2022’s Fossora, which integrates orchestral composition with alternative production. 

Closing the set, Björk embarked on an exploration of orchestral techno, as Hollywood String Ensemble rearranged her industrial masterpiece, "Pluto."

Visually, Björk satisfied expectations on all levels. Her dress was reminiscent of a spider web, with feathers caught in the adhesive like several birds all flew through at the precise angle. Above the stage, an aerial drone show reacted to her voice as if her tones were literally reaching the heavens.

Skrillex, Four Tet & Fred Again.. Party In The Round

Saving the day, Skrillex, Four Tet, and Fred Again.. took their last-minute headlining set to epic proportions. The trio of DJs performed in the round on the satellite stage, while extra speakers were brought in so fans in every part of the field could bathe in their electronic sounds.

Their set was just a straight party, complete with plumes of glowsticks flying into the air during various drops. Then when they fell other people would scavenge the field and pick them up so they could throw them on the next great drop.

At other performances like MSG where they were the sole act, the trio had as long as five hours to explore all the music they wanted. This time they had less than two, and filled the set with as many bangers as they could. 

Some examples were the scraping dubstep track "COUNTRY RIDDIM" by the rising dubstep producer HOL!, "RATATA," a breakbeat tune supported by a vocal feature from Missy Elliott, and even "Party In The USA" by Miley Cyrus.

But the glue holding together the set were the booming bass tones of UK grime rapper Flowdan. The new trio made new versions of his hook from the massive collaboration with Skrillex and Fred Agan.., "Rumble." 

7 Jaw-Dropping Sets From Coachella 2023 Weekend 1: BLACKPINK, Bad Bunny, Blink-182 & More