meta-scriptPerformance Lineup Set For MusiCares MAP Fund Benefit | GRAMMY.com
Performance Lineup Set For MusiCares MAP Fund Benefit
Jane's Addiction's Dave Navarro and Perry Farrell

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Performance Lineup Set For MusiCares MAP Fund Benefit

All-star group of musicians to perform at benefit honoring Dave Gahan and Kevin Lyman on May 6 in Los Angeles

GRAMMYs/Dec 3, 2014 - 05:06 am

Jane's Addiction, Linkin Park vocalist Chester Bennington, concert promoter Gary Tovar and Aerosmith's Steven Tyler are set to appear at the seventh annual MusiCares MAP Fund benefit concert at Club Nokia in Los Angeles on May 6. Tovar will present Vans Warped Tour founder Kevin Lyman with MusiCares' From The Heart Award for his unconditional friendship and dedication to the mission and goals of the organization. Tyler will present Depeche Mode lead singer Dave Gahan with the Stevie Ray Vaughan Award for his dedication and support of the MusiCares MAP Fund, and for his commitment to helping other addicts with the addiction recovery process.

Performers include Jane's Addiction, Bennington, drummer Curt Bisquera and guitarists Jason Orme and Joel Shearer of Pedestrian, who join previously announced performers Gahan with producer/musician Vincent Jones and bassist Martyn LeNoble; Ozomatli; Paramore; and Adam Bravin and Justin Warfield from She Wants Revenge.

Hosted by comedian Greg Behrendt, guests set to attend the benefit include actress Christina Applegate; MusiCares Board Chair Emeritus John Branca; Dan Davies, singer/guitarist for Year Long Disaster; Bob Forrest, "Celebrity Rehab"; Billy Morrison, guitarist for Billy Idol and Camp Freddy; Matt Sorum, drummer for Camp Freddy; and President/CEO of The Recording Academy and GRAMMY Foundation Neil Portnow, among others.

This special dinner and concert offers Living Room Sets that seat 10 for $12,500, Individual Floor Seats for $1,250 per person, and General Admission Floor — Standing Room Only (limited availability) for $500. Contact Wynnie Wynn for ticket information at 310.392.3777 or wynniew@grammy.com. VIP Balcony Seats for $250 per person and General Admission Balcony Seats for $125 per person are available only through Ticketmaster. Out of respect for the clients the MusiCares MAP Fund serves, the event will be alcohol-free.

All proceeds from the benefit will support the MusiCares MAP Fund, which provides members of the music community access to addiction recovery treatment regardless of their financial situation.


 

2023 In Review: 10 Trends That Defined Rock Music
(L-R): blink-182, Phoebe Bridgers, Hayley Williams, Dave Grohl, Bruce Springsteen

Photo: Estevan Oriol/Getty Images, Taylor Hill/Getty Images, Bryan Bedder/Getty Images for The New Yorker, Kevin Mazur/Getty Images, Sergione Infuso/Corbis via Getty Images

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2023 In Review: 10 Trends That Defined Rock Music

Rock acts young and old helped the genre stay alive in 2023. Take a look at 10 of the genre's most prominent trends, from early aughts revivals to long-awaited reunions.

GRAMMYs/Dec 11, 2023 - 05:32 pm

The rock scene may no longer be the dominant force it once was — blink-182's One More Time... is the only Billboard 200 chart-topper this year to predominantly fall under this category. But 2023 has still been an interesting and eventful period for those who like their guitar music turned up to eleven.

Over the past 12 months, we've had the two biggest groups of the Swinging Sixties returning to the fray in style, a new European invasion, and a wave of blockbuster albums that may well go down as modern classics. And then there's the revivals which will no doubt spark nostalgia in any kids of the 2000s, a resurgence in all-star line-ups, and a residency that could possibly change how we experience live music.

As we gear up for the holiday season, here's a look at 10 trends that defined rock music in 2023.

European Rock Traveled To America

From Lacuna Coil and Gojira to Volbeat and Rammstein, the Billboard charts aren't exactly strangers to European rock. But 2023 was the year when the continent appeared to band together for a mini invasion. Italian quartet Måneskin continued their remarkable journey from Eurovision Song Contest winners to bona fide rock gods with a Best New Artist nod at the 2023 GRAMMYs, a top 20 placing on the Billboard 200 albums chart for third album Rush!, and a Best Rock Video win at the MTV VMAs.

Masked metalers Ghost scored a fourth consecutive Top 10 entry on the Billboard 200 with covers EP Phantomime, also landing a Best Metal Performance GRAMMY nomination for its cover of Iron Maiden's "Phantom of the Opera," (alongside Disturbed's "Bad Man," Metallica's "72 Seasons," Slipknot's "Hive Mind," and Spiritbox's "Jaded"). While fellow Swedes Avatar bagged their first Mainstream Rock No. 1 with "The Dirt I'm Buried In," a highly melodic meditation on mortality which combines funky post-punk with freewheeling guitar solos that sound like they've escaped from 1980s Sunset Strip.

Age Proved To Be Nothing But A Number

The theory that rock and roll is a young man's game was blown apart in 2023. Fronted by 80-year-old Mick Jagger, The Rolling Stones reached No.3 on the Billboard 200 thanks to arguably their finest album in 40 years, Hackney Diamonds, with lead single "Angry" also picking up a Best Rock Song GRAMMY nod alongside Olivia Rodrigo's "aallad of a homeschooled girl," Queens of the Stone Age's "Emotion Sickness," Boygenius' "Not Strong Enough," and Foo Fighters' "Rescued." (The latter two will also battle it out with Arctic Monkeys' "Sculpture of Anything Goes," Black Pumas' "More than a Love Song," and Metallica's "Lux Aeterna" for Best Rock Performance.)

The eternally shirtless Iggy Pop, a relative spring chicken at 76, delivered a late-career classic, too, with the star-studded Every Loser. And Bruce Springsteen, KISS, and Paul McCartney all proved they weren't ready for the slippers and cocoa life yet by embarking on lengthy world tours.

Death Was No Barrier To Hits

Jimmy Buffett sadly headed for that tropical paradise in the sky this year. But having already recorded 32nd studio effort, Equal Strain on All Parts, the margarita obsessive was able to posthumously score his first new entry on the Billboard Rock Chart since 1982's "It's Midnight And I'm Not Famous Yet."

But he isn't the only artist to have recently achieved success from beyond the grave. Linkin Park reached the U.S. Top 40 with "Lost," a track recorded for 2003 sophomore Meteora, but which only saw the light of day six years after frontman Chester Bennington's passing.

Perhaps most unexpectedly of all, The Beatles topped the U.K. charts for the first time since 1969 thanks to "Now and Then," a psychedelic tear-jerker in which surviving members McCartney and Ringo Starr brought previously unheard recordings from George Harrison and John Lennon back to life.

The Giants Stayed Giant

Foo Fighters also overcame the death of a core member on what many rock fans would consider this year's most eagerly awaited album. Drummer Taylor Hawkins, who passed away in early 2022, doesn't feature on the poignant but vibrant But Here We Are. Yet the two-time GRAMMY nominated LP still proved to be a fitting tribute as well as an encouraging sign that Dave Grohl and co. can extend their legacy:lead single "Rescued" became their 12th number one on Billboard's Main Rock Chart.

The Best Rock Album category for the 2024 GRAMMYs proves that veterans were alive and mighty in 2023. Along with the Foos' latest LP, the nominees include another Grohl-affiliated band,, Queens of the Stone Age's first album in six years, In Times New Roman..., Paramore's This Is Why, Metallica's 72 Seasons and Greta Van Fleet's Starcatcher.. (Metallica's 72 Seasons also struck gold with its singles, three of which landed at No. 1 on Billboard's Mainstream Rock chart, where lead single "Lux Æterna" spent 11 consecutive weeks on top.)

Of course, we also have to give a shout-out to U2. Not for March's Songs of Surrender album (for which they re-recorded 40 of their biggest and best tracks), but for the immersive, eye-popping Las Vegas residency at The Sphere which potentially reinvented the future of live music.

The Rock Supergroup Continued To Thrive

2023 spawned several new rock supergroups including Mantra of the Cosmos (Shaun Ryder, Zak Starkey and Andy Bell), Lol Tolhurst x Budgie x Jacknife Lee, and Better Lovers (various members of The Dillinger Escape Plan and Every Time I Die). But it was an already established all-star line-up that took the GRAMMY nominations by storm.

Consisting of Phoebe Bridgers, Lucy Dacus, and Julien Baker, boygenius bagged a remarkable seven nods at the 2024 ceremony. Throw in a well-received headline set at Coachella, U.S. Top 50 follow-up EP, and even a "Saturday Night Live" showing alongside Timothée Chalamet, and the trio couldn't have asked for a better way to continue what they started together in 2018.

The Early 2000s Enjoyed A Revival

The cyclical nature of the music industry meant that the era of choppy bangs and super-skinny jeans was always going to come back into fashion. And following throwbacks from the likes of Olivia Rodrigo and Willow, the original punk-pop brigade returned this year to prove they could still mosh with the best of them.

Possibly the defining nasal voice of his generation, Tom DeLonge headed back into the studio with blink-182 for the first time in 12 years, with the resulting One More Time... topping the Billboard 200. Linkin Park ("Lost"), Papa Roach ("Cut the Line"), and a reunited Staind ("Lowest in Me") all scored No. 1s on the Mainstream Rock Airplay Chart, while Sum 41, Bowling For Soup, and Good Charlotte were just a few of the high school favorites who helped cement When We Were Young as the millennial's dream festival.

The Emo Scene Went Back To Its Roots

After channeling the new wave and synth-pop of the 1980s on predecessor After Laughter, Paramore returned from a six-year absence with a record which harked back to their mid-2000s beginnings. But it wasn't their own feisty brand of punk-pop that Best Rock Album GRAMMY nominee This Is Why resembled. Instead, its nervy indie rock took its cues, as frontwoman Hayley Williams freely admits, from touring buddies Bloc Party.

Paramore weren't the only emo favorites to rediscover their roots. Fall Out Boy reunited with Under the Cork Tree producer Neal Avron and old label Fueled By Ramen on the dynamic So Much (for) Stardust. And while Taking Back Sunday further veered away from their signature sound, the Long Islanders still embraced the past by naming seventh LP 152 after the North Carolina highway stretch they used to frequent as teens.

Country Artists Tapped Into Rock Sensibilities

We're used to seeing rock musicians going a little bit country: see everyone from Steven Tyler and Bon Jovi to Darius Rucker and Aaron Lewis. But the opposite direction is usually rarer. In 2023, however, it seemed as though every Nashville favorite was suddenly picking up the air guitar.

Zach Bryan repositioned himself as Gen-Z's answer to Bruce Springsteen with the heartland rock of his eponymous Billboard 200 chart-topper (which is up for Best Country Album at the 2024 GRAMMYs alongside Kelsea Ballerini's Rolling Up the Welcome Mat, Brothers Osborne's self-titled LP, Tyler Childers' Rustin' in the Rain, and Lainey Wilson's Bell Bottom Country). Meanwhile, Hitmaker HARDY — who first cut his teeth penning hits for Florida Georgia Line and Blake Shelton — leaned into the sounds of hard rock and nu-metal on his second studio LP, The Mockingbird & the Crow.

But few committed more to the crossover than the one of country's greatest living legends. Dolly Parton roped in a whole host of hellraisers and headbangers including Richie Sambora, Joan Jett & The Blackhearts, and Rob Halford, for the 30-track Rockstar — her first rock-oriented project of her glittering 49-album career.

Post-Grunge Reunions Were Abundant

Fans of the mopey '90s scene known as post-grunge had all their dreams come true this year thanks to several unexpected reunions. Turn-of-the-century chart-toppers Staind and Matchbox Twenty both returned with new albums after more than a decade away. Creed, meanwhile, announced they'd be headlining next year's Summer of '99 cruise after a similar amount of time out of the spotlight.

The insatiable appetite for all things nostalgia, of course, means that any band — no matter how fleeting their fame — can stage a lucrative comeback. Take Dogstar, for example, the unfashionable outfit boasting Hollywood nice guy Keanu Reeves. Twenty-three years after appearing to call it a day, the Los Angeles trio surprised everyone by hitting the Bottlerock Napa Valley Festival before dropping a belated third LP, Somewhere Between the Power Lines and Palm Trees and embarking on a headlining national tour.

The New Generation Gave The Old Their Dues

Say what you want about today's musical generation, but they know to pay respect where it's due., Olivia Rodrigo, for example, doffed her cap to '90s alt-rock favorites The Breeders by inviting them to open on her 2024 world tour.

New working-class hero Sam Fender invited fellow Newcastle native Brian Johnson to perform two AC/DC classics at his hometown stadium show. While ever-changing Japanese kawaii metalers Babymetal debuted their latest incarnation on "Metali," a collaboration with one of their musical idols, Rage Against the Machine's Tom Morello.

Whether new artists are teaming up with the old or veterans are continuing to receive their flowers, 2023 proved that rock is alive and well.

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GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016
Kendrick Lamar

Photo: Jeff Kravitz/FilmMagic

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GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016

Upon winning the GRAMMY for Best Rap Album for 'To Pimp a Butterfly,' Kendrick Lamar thanked those that helped him get to the stage, and the artists that blazed the trail for him.

GRAMMYs/Oct 13, 2023 - 06:01 pm

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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10 Amazing Sets From Bonnaroo 2023: Paramore, Kendrick Lamar, Rina Sawayama & More
Hayley Williams and Zac Farrow of Paramore

Photo: Pooneh Ghana for Bonnaroo 2023

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10 Amazing Sets From Bonnaroo 2023: Paramore, Kendrick Lamar, Rina Sawayama & More

The four-day festival in Manchester, Tennessee was completely sold out this year, drawing more than 80,000 people. Relive the excitement with these 10 incredible sets from Bonnaroo 2023.

GRAMMYs/Jun 20, 2023 - 06:24 pm

Following a few rocky years, Bonnaroo 2023 made a triumphant comeback to Great Stage Park (affectionately dubbed "The Farm") under glorious skies. The Manchester, Tennessee festival was completely sold out this year, drawing more than 80,000 people for four days of music, laughter, food, and plenty of sun

From the Midnight and their showstopping saxophonist, to Amber Mark’s masterful lyricism and Three 6 Mafia's guests (which included a surprise cameo by country star Jelly Roll), to young musician Ben Goldsmith’s country-inspired tunes and Hayley Williams joining Foo Fighters to perform "My Hero." And if all-day music wasn’t enough, Bonnaroo 2023 featured numerous food vendors and relaxing areas, and even a place to get married

While at times the lines were long, the sun was hot, and getting from one remote area to another proved difficult, rousing sets by headliners and larger-than-life moments at the smaller tents made everything worth it. Here are 10 of the most exciting sets from Bonnaroo 2023.

Suki Waterhouse Shines Despite Difficulties

10 sets from Bonnaroo 2023 suki waterhouse

Suki Waterhouse ⎹ Dusana Risovic for Bonnaroo 2023

After a severely delayed set due to technical difficulties, Thursday’s performance at That Tent saw English actress-turned-singer Suki Waterhouse playing through much of her debut album, I Can’t Let Go

Drenched in pink light with an enveloping fog, Waterhouse’s cinematic performance and comforting vocals could draw anyone into the tent. She flitted through "Moves," "Bulls— on the Internet," "My Mind" and TikTok favorite "Good Looking" with a robust collection of layered drums and guitar for support. 

Big Freedia Fires Everybody Up

10 sets from Bonnaroo 2023 big freedia

Big Freedia ⎹ Charles Reagan for Bonnaroo 2023

Across the park, Big Freedia treated audiences to an extra-special taste of New Orleans bounce. The 1:45 a.m. set time after a sweltering day did not deter the amped-up audience, many of whom likely attended Thursday’s Pride Parade — also helmed by Big Freedia.

"I just want to wish everyone happy Pride," Big Freedia, donning an outfit made of rainbow feathers, said to momentous cheers. "We about to turn up, we about to celebrate!" 

Folks from the audience jumped on stage for a 2 a.m. twerk contest, dancing along with Big Freedia as she performed "Azz Everywhere" and "Rock Around the Clock." It was a lot of energy to be had for the wee morning hours, but if there’s anything the Bonnaroo crowd does better than others, it’s the late nights. 

Black Midi Brings The Noise

Translating a distinctively chaotic discography into a sensical live set isn’t an easy task. Compound that with a fickle festival audience in the hot sun, and sometimes it can be downright impossible. Yet, Black Midi's experimental arrangements seemed to delight the audience relatively quickly on Saturday. 

With songs that took a slower cadence ("Still") and others that were characterized by sharp tonal shifts and dramatic tempo changes ("Eat Men Eat!", "953"), the bulk of the excitement came in not knowing what to expect next. It was the kind of organized mayhem that invited people to start chucking inflatable dinosaurs, rubber chickens, bananas, toilet paper, anything they had in hand. 

The charm in Black Midi’s music, at least on that stage, was that it didn’t take itself too seriously. In translating their mind-melting, seemingly random studio style to the Bonnaroo stage, Black Midi taught us, song after song, that some shows just have to be some degree of chaos.   

Rina Sawayama Cycles Through Every Genre

10 sets from Bonnaroo 2023 rita sawayama

Rina Sawayama ⎹  Cora Wagoner for Bonnaroo 2023

To see Rina Sawayama live is a gift. The rising pop (and rock, and country) artist shined on Friday at the Which Stage, moving with elegance through choreographed dance routines. Her performances included  a two-dancer ensemble and various spur-of-the moment outfit and character changes. 

There’s a transporting magic wrought by Rina’s one hour set; every song she performed felt like an individual production with a story to tell, beginning with the fearlessly reflective "Hold The Girl" and ending with the rousing "This Hell" (featuring a surprise cameo by MUNA, who had just finished playing the What Stage). 

For a set that started with hard rock, cycled through bubblegum pop, and ended with country, it felt every bit as extraordinary and arresting as she is. Rina Sawayama doesn’t demand your attention — she’s not begging for it. She simply acquires it whether you like it or not. 

Paris Jackson Conjures Pixies And Nirvana

10 sets from Bonnaroo 2023 paris jackson

Paris Jackson ⎹ Gary Miller/WireImage

Paris Jackson may have just one album under her belt, but that didn’t stop the 25-year-old singer/songwriter from packing sets on Saturday and Sunday at two different stages. The crowd clearly couldn’t get enough of their Nirvana-inspired music as they overflowed the Toyota Music Den on Saturday to listen to acoustic versions of her new tracks, and then This Tent on Sunday for the full-instrumental versions of those songs. 

Highlights of both sets included her lighthearted guitar tuning interlude — a seemingly out-of-place folk song her bandmate plays as she tunes her guitar in her earpiece — and "bandaid," the title track off of her forthcoming new album. 

"Most of my songs are about heartbreak," Jackson told GRAMMY.com during a backstage chat. "This is the most raw and vulnerable I’ve ever been in my lyrics, but it’s still vague enough for people to make it about what they want it to be about." 

Though a departure from her old sound— which leaned more towards indie folk, watching her perform "bandaid" and her other two singles "Just You" and "Lighthouse" felt like we were watching her come into her own. The depth of the songwriting felt right at home amongst the covers of Blind Melon’s "No Rain" and Pearl Jam’s "Even Flow." 

Kendrick Lamar Performs On His Birthday

10 sets from Bonnaroo 2023 kendrick lamar

Kendrick Lamar ⎹ Roger Ho for Bonnaroo 2023

The first of the weekend’s headliners to perform, Kendrick Lamar, spent his 36th birthday eve putting on a theatrical performance that blended cuts from last year’s Mr. Morale and the Big Steppers ("Count Me Out") with back catalog material ("A.D.H.D.", "Backseat Freestyle"). 

After a modest, humble response to the audience singing him "Happy Birthday" at the stroke of midnight, Lamar leaned into the melodrama, as he rapped alongside a group of suit-wearing doppelgängers dancing with uncanny, uniform movements. For his second-to-last act, Lamar brought out his cousin Baby Keem, who brought vigorous rhymes to the stage for "family ties". And even though Kendrick’s set ended 20 minutes early with "Savior," its high energy and dramatic visuals were the cherry on top to an already exhilarating Friday evening.

The Band Camino Brings Their Music Back Home

10 sets from Bonnaroo 2023 the band camino

The Band Camino ⎹ Nathan Zucker for Bonnaroo 2023

Tennessee’s own The Band Camino were slated to appear at two canceled Bonnaroos in a row, and by this year's festival the Memphis band were visibly happy to be there. They revived their song "California" just for Bonnaroo, and played the ever-popular "2/14" alongside some of their newer singles, "What Am I Missing" and "Last Man in the World" — the latter of which was a huge hit with the crowd. 

Speaking to GRAMMY.com backstage, vocalists Spencer Stewart and Jeffery Jordan discussed the song’s provenance: "We were trying to write something that was verbally heavy-hitting, that paints a really good picture about what it feels like to be with this very special person. It feels like everyone else is gone and you’re just left with this one person left; you’re the last people in the world." 

Lil Nas X Rides ’Til He Can’t No More

10 sets from Bonnaroo 2023 lil nas x

Lil Nas X ⎹ Pooneh Ghana for Bonnaroo 2023

The main stage at Bonnaroo is always a grand marvel, and Lil Nas X gave the Bonnaroo audience nothing short of that, drawing an enormous crowd on Saturday just after nightfall. Bobbing and weaving across a stage he shared with giant costumed animals, a six-person dance ensemble, and swirling rock formations, it’s obvious the rapper has an insatiable desire to entertain and magnetize. 

As expected, songs like "Old Town Road" and "What I Want" proved their staying power as fans from all walks of life sung along unabashedly, celebrating Nas X's Black queer joy. 

"It's f—ing Pride month, y'all better make some noise for this gay ass s—!", Lil Nas X yelled, prompting applause from both the audience and his dancers, who were just as integral a part of the show as he was. The GRAMMY-winning performer gave each of his dancers gave the audience a chance to hype up the crowd, too, showcasing their dancing abilities to songs by J. Balvin, Lola Brooke, and Beyonce. 

With dance arrangements full of vogueing, ass shaking, and straight-up boogie, the Nas X show was a spectacle to behold, and kept the crowd whipped up in a frenzy until the very last notes of GRAMMY nominated "Industry Baby."

Paramore Dabbles In Nostalgia

10 sets from Bonnaroo 2023 paramore

Hayley Williams and Zac Farrow of Paramore ⎹ Pooneh Ghana for Bonnaroo 2023

"Does anybody here tonight feel like cashing in on a little nostalgia? Anyone here feel like taking a trip down memory lane?" yelled Hayley Williams of Paramore. The four-piece formed just 70 miles north in Franklin, Tennessee in 2004, and led the audience right back to 2007’s Riot!, where a young Hayley Williams boldly sang "Once a whore you’re nothing more/I’m sorry that’ll never change" ("Misery Business"). 

She doesn’t sing that lyric live anymore because of its misogynist tone, but their setlist resembled something of a greatest hits record. The band powered through standouts for those who had been supporting "since day one" ("All I Wanted", "Last Hope"), and incredible renditions of their newer songs, like "Rose-Colored Boy", performed with samples of Whitney Houston’s "I Wanna Dance with Somebody" and Tom Tom Club's "Genius of Love" intermixed.

In a raw and potent performance before a thousands-strong audience it was the band’s second appearance at the festival — Paramore proved that they will remaina treat to see live for years to come.

Pixies Prove They're Larger Than The That Tent

Being the gold-standard of alt rock is just what the Pixies are all about, and their Sunday evening performance at the That Tent seemed intent on showing everyone that. 

The That Tent was spilling out from every corner, uncomfortably so, as the reclusive ‘80s stalwarts rocked and rolled through through favorites from albums past— including "Here Comes Your Man" and "Where is My Mind" — and songs from their newest project, Doggrel — "Who's More Sorry Now?" and "Get Simulated." 

It was 23 songs in just an hour’s time. And in true Pixies fashion, they did this all without a setlist, coursing seamlessly from song to song without a plan, solely from the heart. As the band closed with a Neil Young cover ("Winterlong") to raucous applause, everyone was reminded that, much like the festival, you don’t always need a plan to have a good time.

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How Ozomatli's 1998 Debut Album Heralded A New Generation Of Latin Fusion
Ozomatli on the porch of one of their houses in Echo Park neighborhood of Los Angeles.

Photo: Ann Summa/Getty Images

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How Ozomatli's 1998 Debut Album Heralded A New Generation Of Latin Fusion

Released 25 years ago on June 16, Ozomatli updated Latin fusion for the 1990s. Their distinctly Angeleno blend of Latin genres with hip-hop, funk and reggaeset the pace for a lengthy career with a devoted following.

GRAMMYs/Jun 16, 2023 - 03:17 pm

The opening track from Ozomatli’s 1998 self-titled debut album immediately sets the tone for the group’s musical voraciousness. "Como Ves" is awash with the sounds of urban Los Angeles — car traffic, a radio playing, a dog barking — and Brazilian batucada drumming, eventually becoming an energetic party song featuring a funky melodic bassline, lyrics in Spanish, and an African soukous-like guitar line accompanying the vocals. 

Released 25 years ago on June 16, Ozomatli heralded a new generation in Latin fusion. While they were not pioneers of the genre — their forebears were the rock and blues-based fusion of California-born groups like Santana and Los Lobos — Ozomatli took Latin fusion to a whole other level and updated it for the 1990s. Their seamless blending of distinct Latin genres with hip-hop, funk, and reggae further marked the group as distinctly Angeleno. There have been other groups who followed Ozomatli’s blueprint, like the Bay Area’s O-Maya, but none that achieved its longevity or devoted following.

While the album’s sound and musicianship truly set the band apart, Ozomatli's lyrics also resonated with young audiences. On their debut (and throughout their career), Ozomatli has tackled local and global social justice issues, including police brutality, anti-immigrant policies, and U.S. imperialism in Latin America. 

This is not surprising, given that the members of Ozomatli first met in the arena of labor organizing. Inspired by the Zapatista movement in Chiapas, the founding members — Raúl Pacheco, Asdrubal Sierra, Wil-Dog Abers, Justin Porée, Jiro Yamaguchi, Ulises Bella, DJ Cut Chemist, Chali 2na, William Marrufo, and Jose Espinoza — adopted a band name from an indigenous Nahuatl term that refers to the monkey figure found on the Aztec sun calendar. Their links to Mexican/Chicano identity and folk traditions were also apparent in ballads like "Aquí No Será," featuring accordion and requinto (a smaller, higher-pitched guitar) played by a member of Los Lobos, and the frenetic, Norteño-style song that closes the album, "La Misma Canción." 

Ozomatli’s ideological leanings permeate the record. On the lovely Mexican folk-style ballad "Aquí No Será," the band employs an anti-imperialist message referencing the U.S. interventions in Central America in the 1980s: "We won’t have another Vietnam here/The Americas won’t allow another intervention into El Salvador," the chorus states. On "Chota" — the title is Salvedorian slang for the police — Ozo critiques U.S. immigration policy and warns "Careful, here comes the badge, the cops. Careful, here they come, cover your face." Its sung verse is followed by a rapped verse connecting anti-Black police brutality to the criminalization of Latino immigrants. 

Notwithstanding the largely Latino identity of the group, Ozomatli’s sound can’t be divorced from the culturally diverse city in which the band was born. Their bassist is Jewish, their main percussionist is Japanese American, and two of their founding members belonged to the hip-hop group Jurassic 5 — MC Chali 2na and DJ Cut Chemist — which gave Ozomatli credibility among fans of L.A.'s thriving hip-hop community.  

Hip-hop is, in fact, one of the main ingredients in the Ozomatli stew, with Chali 2na verses featured on half the album’s tracks, and frequent scratching interludes by Cut Chemist. The second song of the album, "Cut Chemist Suite," demonstrates the group’s funkified, acoustic hip-hop style backed by horn riffs and melodic bass lines. It’s notable that at the same time, across the country, the Roots were also making a name for themselves as a live hip-hop band.

Despite its folkloric intro, "O Le Le" is a good example of this funk-based hip-hop, with Chali 2na rapping over a sung chorus. This track also displays Ozomatli’s penchant for changing up rhythms and genres in the middle of their songs: at the 3:12 mark, there’s a brief foray into bebop with Chali 2na rapping over a furious sax solo. 

"Coming War," does something similar with an interlude at the 2:33 mark featuring the distinct sounds of the Brazilian cuica drum, while  "Super Bowl Sundae" features an extended intro with a sitar and tabla drums (from North Indian classical music) before transitioning into a hip-hop song whose chorus features a relaxed reggae beat and falsetto vocals.  

Other songs on the album are more Latin-oriented, displaying a wide variety of influences and genres. Standout "Cumbia de los Muertos," a cumbia-reggae fusion, pays homage to the ancestors and features a memorable Chali 2na verse. While the sung verses reference Latin traditions such as Dia de los Muertos, Chali 2na’s relates to violence and premature death in the Black community: "Soon as we're rid of society's small terrors/The sooner these teenagers don't have to be pallbearers/And carry their pals nearer to graves."

This song is immediately followed by "Donde se fueron," which opens with a percussion-heavy Cuban rumba and harmonized singing. The lyrics reference the orishas, deities in the Afro-Cuban religion known as Santería, as the singer proclaims himself a "son of Yemayá" (deity of the sea). It eventually transitions into an earthy salsa, but the last third of the song switches up the pace yet again, moving into a sort of cha cha rhythm. The group is never content to rest on its laurels, always keeping the listener guessing.

The song "Chango" provides both another reference to the orishas (Changó is the deity of the drums, thunder, and lightning), and another fascinating rhythmic change. Opening with an incredibly fast merengue, the rhythmic change comes at the 2:48 mark, where the music suddenly stops and the chorus comes back in over a slowed-way-down reggae beat. At 3:17, the merengue beat comes back in and there’s a gradual acceleration until the song reaches full speed again.

Although Ozomatli never achieved mainstream success, it did well on the Billboard Latin charts and peaked at No. 7 on Top Latin Albums chart. The band joined Carlos Santana for his Supernatural tour the following year.  

Ozomatli’s second album, 2001's Embrace the Chaos, garnered more critical and commercial attention despite the line-up changes following their debut release. In fact, both their second and third album (Street Signs) broke the Billboard 200 chart and won GRAMMY Awards for Best Latin Rock/Alternative Album. However, while Ozomatli’s debut album may have flown under the radar nationally, it paved the way for the group’s sound.

Ozomatli’s debut album tapped into a feeling of social change being just over the horizon. It was party music — and their live shows at the time were incredibly energetic and participatory — but it was also aspirational, and felt very much of California. It remains a favorite for many fans a quarter century later.  

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