Country music lost one of its singular icons with the passing of Loretta Lynn, who died on Oct. 4 just months after her 90th birthday.

A creative beacon for singers and songwriters who was also beloved by fans, Lynn’s deep influence ricochets through the decades. Her work and life is an example of a true artist who sang from her heart, preached empowerment and gave voice to the voiceless.

A self-taught artist who was born into poverty, Lynn later became known as the Coal Miner’s Daughter — the title of her signature hit and her first song inducted into the GRAMMY Hall of Fame in 1998. The artist received  a slew of GRAMMY honors during her lifetime, with three wins and eighteen nominations in addition to a Lifetime Achievement Award bestowed on her in 2010. 

"It has been a privilege for the Recording Academy to honor Loretta throughout her illustrious career and celebrate her contributions to the music community," said Recording Academy CEO Harvey Mason Jr. "Loretta has had an indelible impact on country music and her voice will continue to resonate with generations of music lovers for years to come."

Lynn's first GRAMMY honor came during the ninth-ever GRAMMY Awards in 1967, with a nomination for "Don’t Come Home A Drinkin'," an upbeat track where she tells her husband to sober up, famously crooning, "liquor and love just don’t mix." Her first GRAMMY win arrived in 1972 for "After the Fire Has Gone," a duet with fellow country legend Conway Twitty.

"The main thing about country music is that I love to sing it and there’s a lot of people who love to hear it," she said during her acceptance speech after her most recent GRAMMY win, this one for Best Country Album in 2005 for Van Lear Rose, a collaboration with Jack White.  It was a succinct way to encapsulate a seismic career.

In tribute to Lynn, GRAMMY.com gathered a disparate group of Loretta’s peers and fans to reflect on her legacy.

The Trailblazin’ Queen Of Country

Jeannie Seely (GRAMMY-winning singer, Grand Ole Opry legend): As an artist/songwriter, her impact will be felt and studied by historians for years to come. Aside from being such a legendary artist, Loretta was my Opry sister, a connection that has always meant the world to me. That is a special bond to us as we’ve all shared the same dreams, same disappointments, the same personal challenges, and, most of all, the same love of the Grand Ole Opry.

Joe Bosnall (GRAMMY-winning member of The Oak Ridge Boys): She was truly the Queen of country music. One of the greatest American success stories of all time. Humble beginnings to iconic legend, with a meaningful career and body of work that may never be equaled.

Sunny Sweeney (Country singer-songwriter): Loretta Lynn was a trailblazer for all of us following in her footsteps, making it ok to write and sing about real-life situations, even if they weren't always pretty.  

Ingrid Andress (GRAMMY-nominated singer/songwriter): There are not enough words to thank Loretta Lynn as one of the first to make a path for women in country to ride on. She paved the way for so many by sharing her talent and voice at a time when women’s voices weren’t being heard. May we be so lucky as to have artists and songwriters continue this country music tradition of sharing the stories that unite us in the most important ways.

Connie Smith (GRAMMY-nominated singer-songwriter):  Loretta was always my favorite singer and a great friend.

Rita Wilson (Actress, singer): She was smart, she was strong and she was kind.  As she said, "I ain’t got much education but I got some sense."

"Grace, With Vocals That Sounded Like A Million Bucks"

Amanda Shires (GRAMMY-winning singer-songwriter, member of The Highwoman): My grandad listened to a lot of music. When we’d go selling flowers (he was a wholesale nursery man), one of the artists he loved to play was Loretta Lynn. I admire the way he loved fearless women. Loretta was fearless. Both Garland Shires and Loretta Lynn helped me learn how to lean into my gut feelings and strength inside my own self.  And I’m grateful that he introduced me to her music."

Connie Smith: The first time I came to Nashville I went to the Ernest Tubb Record shop and a guy said my wife wants to meet you and it was Loretta. She said "I heard you up there and you’re going to make it. I’m going to do for you what Patsy Cline did for me." She even brought me out on stage for the Grand Ole Opry during her show for the first time.

Sunny Sweeney: She was such an inspiration to me personally. I carry the words of advice she gave me many years ago to every writing appointment: "Just write what you know, baby, just write what you know."

Joe Bosnall: I joined the Oak Ridge Boys 49 years ago and right away we found ourselves on a Loretta Lynn CBS special. We wore these checkered coats that exist today in Loretta’s museum. I thought she was beautiful, gracious and kind. That never changed over the years.

Sierra Hull (Bluegrass singer, guitarist and mandolinist): I first saw Loretta perform six or seven years ago from backstage at the Grand Ole Opry in Nashville. I was so struck by how gorgeous she was in her long, flowing, red sequined dress. I couldn’t stop watching her as she took the stage with such grace and her vocals still sounded like a million bucks. I’ll never forget it. I went home and started obsessing over her albums with a fresh excitement.

Michael Trotter (Singer-songwriter, The War And Treaty): Growing up, in my bedroom was my grandmother's old school ACME radio. FM was happening back then....playing all the latest in Hip Hop and R&B. AM played all the religious stuff like Moody Bible. But at night the classic country western music played all night long. Mama rigged my radio to only play that AM station and I went to sleep to Loretta Lynn nightly.

Rita Wilson: You didn’t have to be from the south to love Loretta Lynn. Her force of talent reached me as a young woman in another kind of south, Southern California.  To hear a woman singing "You Ain't Woman Enough To Take My Man" was shocking. It was the ultimate diss track and ahead of its time. She enabled women to have a voice literally and metaphorically. It was so empowering to hear this in a song. 

A Discography Of Country Classics

Jeannie Seely: My favorite song is "Blue Kentucky Girl." It’s so sincere you have to believe every word she’s singing because she makes you feel it.  And anyone can relate it to wherever they are from, like I did.

Connie Smith: I love all of her songs, but my favorite is "Here I Am Again."

Michael Trotter: The first song I ever heard from Loretta was back in the '80s.... "Don’t Come Home A Drinkin'." In fact when Daddy would come home drunk and he and Mama were fighting I’d go in their room and start singing that song to Daddy and they’d actually stop fighting. That’s when I knew she had super angelic powers. I will never forget the first time I ever heard her.

Joe Bosnall: [My favorite Loretta song is] "Don’t Come Home A Drinkin'." Every man alive knew what that meant.

Amanda Shires: "The songs I love the most are the ones I can relate to the most: "Don’t Come Home a Drinkin'," "The Pill." She was pro-choice. And when I read that in her memoir, I thought, amen…glad there’s more of us than I thought."

Sunny Sweeney: "She was already my queen with her music from her first single on, but when she released Van Lear Rose she was placed on the highest of high pedestals. "Miss Being Mrs" is quite possibly one of the greatest songs of all time."

Rita Wilson: [My favorite song is]  "Coal Miner’s Daughter." My dad was an immigrant and came to America on a freighter ship where he shoveled the coal powering the boat’s engines. Loretta seemed to be singing about my family.

Loretta’s family didn’t have a lot of money but they were happy and they had love. She sang about her life with pride, not embarrassment. In this song she embraced the values that are important in life: family, love, hard work and a spiritual life.

Tanya Trotter (Singer-songwriter, The War And Treaty): "You Ain’t Woman Enough To Take My Man" was my first song [of Loretta Lynn's that I loved].  It was the most classy way I had ever heard a woman tell another woman off, ha! 

Hard Hitting And Meaningful

Joe Bosnall: She wrote songs that were hard hitting and meaningful. Great Britain lost their long reigning Queen and now we have lost OUR Queen as well.

Tanya Trotter: She leaves this world with no regret, no recourse or no shame and we’ll  work hard on earth's playground with her in memory.

Amanda Shires: I’m grateful for the times I got to be in her presence or sing for her. We’re all in a better world because of her. Loretta will always remain a hero and a light.

Sunny Sweeney: I'm so brokenhearted that we have lost another of my heroes. My deepest sympathy is with Miss Loretta's family.

Country & Western's New Generation Is Defiantly Of The Moment: Meet Charley Crockett, Colter Wall, Sierra Ferrell, Bella White & Others

At this stage, a Jason Isbell album isn't just an album; it's a juncture in his ongoing press narrative, another breadcrumb trail as per his personal life.

His first three after he left Drive-By Truckers represent the man in the wilderness; 2013's Southeastern and 2015's Something More Than Free were reflective of his newfound sobriety and marriage to musician Amanda Shires. 

The birth of his daughter figured heavily in 2017's GRAMMY-winning The Nashville Sound; that album's "If We Were Vampires," a duet with Shires, stands as Isbell's monument to mortality and won a GRAMMY.

With 2020's Reunions came a splashy New York Times feature about Isbell and Shires' marital struggles, with a lede about a brush with a relapse — suddenly, his ascendance seemed freighted, complicated. 

All this begs the question: is having his private life codified and illuminated with each record ever irksome, or frustrating, for Isbell?

"Honestly, I think I appreciate that. I think that serves the ultimate purpose of making art — to document your life, because it is really a way of holding on to these things," he tells GRAMMY.com. "If you leave those things behind, they'll sneak up on you, and then you'll find yourself in a bad place, and you won't know why."

Isbell's new album, Weathervanes, is out June 9; it's his sixth with long-running backing band the 400 Unit. At its essence is a psychologically splintered cast of characters, found on highlights like "Death Wish," "King of Oklahoma" and "This Ain't It."

"They're fallible and they're human. And I think they're all trying to do their best in one way or another," Isbell says of the ties that bind them. "There's a lot of me that's in each of them — some moreso than others."

Rather than commenting on his marriage or sobriety, Weathervanes is the product of his changed relationship with pressure, and being in the public eye. The album arrives in the wake of Running With Our Eyes Closed, a raw-nerved HBO documentary about Isbell. He just acted in his first major film, in Martin Scorcese's Killers of the Flower Moon, headed to theaters in October.

"It's OK to say, 'This is a scary thing to do. I'm afraid that people aren't going to connect with it in the same way, and my work is not going to have the same impact on folks that it's had in the past,'" Isbell says. "And once I learned how to admit that to myself and the people that I care about, things got a lot easier."

Read on for an in-depth interview with Isbell about the road to Weathervanes, how being directed by Scorcese informed his process in the studio and surviving his hard-partying, hard-touring Drive-By Truckers days.

This interview has been edited for clarity.

Can you draw a thread between where you were at during the Reunions period, and where you're at during the Weathervanes era? The HBO documentary certainly captured the former.

Yeah, yeah. And then, in the middle, we had the lockdown and all that kind of stuff.

For me, the pandemic era — although it's not finished yet, but what we call that pandemic era, that year or two where we were all stuck in the house — was ultimately a good time for me to revisit some psychological, emotional questions that I had for myself, and I sorted a lot of that stuff.

When the bulk of the documentary was made, I was having a hard time dealing with the pressures of my work, and the pressures of family. And the main reason why I was dealing with that was because I just wasn't recognizing it for what it was, and I wasn't aware of the effect that those things were having on me.

Getting stuck in the house with my family and myself for that long, I think, really helped me; it forced me to confront that stuff and admit what it really was that was causing me difficulties. And once I got through that, things opened up and got a lot easier for me.

I had a really, really good time making Weathervanes. I don't know if I had a good time writing it, because I don't know if that's ever exactly fun. It's fun when you finish a song; it feels like you just left the gym. 

But when you're sitting down in front of the blank page, it feels like you're walking into the gym, and you might have just gotten four hours of sleep the night before.

What were you dealing with internally? Just childhood stuff, stuff bugging you from the past?

There was some of that. It was also just relationship difficulties; they were just constant. 

Amanda and I have been married for 10 years, and it's the kind of thing where you get in this rhythm of life where you go through the same sort of rituals every day, and you ask the same questions and you get the same answers, and it's easy to get into that monotony and not really reach and look for ways to grow.

I think before the pandemic happened, I'd gotten to a point where I was in this rhythm: go out and play shows, make records, come home, spend time with the family. I was sort of ignoring the pressure of all that, and especially in the work.

I've been very fortunate with my last few albums that they were well-received and things have gone really well. And when I go into the studio to make a record… it was hard for me to admit to myself that that caused me anxiety and a lot of stress, because I didn't like how it made me look. I wanted to look tough and look like I had everything under control.

And after making Reunions, I realized that that's not necessarily the case. And once I learned how to admit that to myself and the people that I care about, things got a lot easier.

What psychological or spiritual wells were you drawing from for these songs?

I try to make these characters, and then I follow them around. And I don't know exactly what they're going to do next. I think that's the only way to keep it really natural.

There's a lot of me that's in each of them — some moreso than others. Some of the songs I write, I am writing about me. 

But one of the things that I like about songwriting is that you don't really categorize music in that way. You categorize movies and books in that way; there's fiction and nonfiction, there's documentaries and other movies. But for songs, it's all of the above.

So, a lot of this is me, and a lot of it is synthesized characters that have characteristics of multiple people that I know. Then, I just let them act naturally and follow them around, and the themes find there way in there. 

I don't have to insert the themes, because there's enough in my unconscious mind that the songs will wind up dealing with real things — as long as I'm honest with everybody.

There's a wide variety of perspectives and experiences in these songs. What do the Weathervanes characters have in common?

I think when it's done right, they have the same things in common that the listeners have. They're fallible and they're human. And I think they're all trying to do their best in one way or another.

That's maybe what I'm exploring more than anything else — not as a mission statement, but a connector, in hindsight, is this idea that people have different circumstances, influences and pressures exerted on them. But what does it mean to try to keep hope, and survive, and do your best in all these different stations of life?

I'm a Randy Newman fanatic; he can dispense a novel's worth of detail in just a few lines, by implying so much negative space. I've noticed you've written in character from the beginning, like him.

When I met Randy at Newport [Folk Festival], I told him the thing about how much I loved his work and everything, and he leaned in really close where nobody could hear and whispered in my ear, "I like your songs, too." That was a huge, huge moment for me. I said, "Well, you don't strike me as much of a bulls—er, so I'm going to take that."

One of your guiding lights for Reunions' sound was the '80s rock you enjoyed as a kid. What was the aural aesthetic for Weathervanes? And can you talk about the learning curve of self-production?

I started thinking, OK, here's how these records by Dire Straits and the Police sounded, and this is why they sounded that way, and this is what worked about that, and what translates to now and what doesn't, and what can be replicated and what can't. 

So, I brought some of that with me into the Weathervanes recording. Most obviously, on a song like "Save the World," there was an intention I had before I went in the studio. This happens to me a lot. I'll get a big idea, and I'll think, Oh, this is great. We can do the whole record this way.

And by the time I'm in the studio, I'll think, OK, maybe we just use this as a tool. We don't do the entire record like this. Because then, that would take over the concept and distract from everything else.

At first, I wanted to make a dry record. I was listening to [1978's] Outlandos [d'Amour], the Police record, and there's hardly any room or reverb or anything. "Roxanne" — all those songs are right in your ear. And that's a flex, because to do that, you have to be able to sing and play with great tuning and great timing.

And the Police — first of all, there's just three of them, so it's easier to do than it is with five or six people. But they also were master musicians, and you have to be really on point to make a dry record like that, or it's going to be a mess when you go to sing the harmony.

That was something that I wound up using as a tool. I think a lot of this record has less reverb and less room on it than you would expect. I think it was done in a way where you don't necessarily notice it off the bat.

Also, watching the Get Back documentary, I thought, Man, these guys didn't have tuners.  They just tuned it by ear for the whole record.

I didn't want to torture my guitar techs, so I wasn't going to make a whole record without any tuners. But there are some moments on this record where we tuned by ear rather than tuning to a machine, so it would sound more human. Really, a lot of my production style — if there is such a thing — is how do we get a little dose of humanity of something that is sort of slick and polished.

I interviewed [Drive-By Truckers co-leader] Patterson [Hood] on Zoom last year, and I was struck at how sweet and energetic he was. How did you guys walk away from those hard-touring years alive and intact?

We don't know the answer to that. We got very lucky. Also, we were white and we were male, and I think that plays a lot pinto it. I think if we had not been white, some cop would've shot us all a long time ago.

I don't know if there was some kind of divine intervention in some of those situations, but I still look back on it and think, I don't know how we survived all that. I really don't.

Were there any near-death experiences?

Oh, there were so many. We saw huge, disastrous accidents happen right in front of us. There were times when we'd be on snowy mountain passes and lose control of the van for 20 seconds, and then finally it would snap back into place. I don't know how it happened.

On a different note, you touched on gun violence in "Save the World." I was struck by how un-preachy it was. I felt like I was in your head, or privy to a family meeting.

That's the trick, you know? You have to be really personal with it, I think.

If you're writing a song about a big, heavy topic like that, don't try to ascend somebody else's perspective. Love, romance, breakups, heartbreak, death; we all have experiences with those things.

So, if that's what you're writing about, you're free to take other perspectives other than your own, because we all have that commonality. We know what those things feel like, or what the fear of those things feels like.

But when you're writing about something like school shootings: I have not been involved in one of those. I've not seen one of those go down firsthand. I've been close a couple of times, but it's not something that I could write from the perspective of somebody who was actually in the building.
So to be honest with the work, what I have to do is think: How does this affect me? How do I feel about this? And then write from that perspective. I don't think anybody's ever noticed this, but the songs where I'm tackling the biggest, most complicated issues are the ones where I'm writing from the most personal point.

Give me your personal MVP moments from the members of the 400 Unit on Weathervanes.

[Guitarist] Sadler [Vaden] has this old Vox guitar that has built-in fuzz effects, and he played on that on "Miles," the last song on the album, and really added something special to that.

It's a vintage guitar, but not a highly collectible, very expensive guitar. It's got this weird kind of freak-out fuzz tone that is included in the instrument, and he used that on that song to great success.

Jimbo [Hart]'s bass on "Middle of the Morning" is just a beautiful groove. It's a simple part, but the timing of it it is just exactly right. He's just right in the pocket.

Chad [Gamble], on the outro to Miles, where there's multiple drum kits happening — I think he handled that beautifully, and built up to that big cymbal crash at the end. 

We wanted a gong, but Blackbird [Studio in Nashville] didn't have a gong. They had this crash cymbal that was 72 inches or something; it was huge. It took up the whole reverb chamber. When Chad made the big crash at the end, we were all jumping up and screaming in the control room when it happened because it was so f—ing hilarious.

Derry [deBorja] — I feel like his synthesizer part on "Save the World" was a big moment for him. He spent a lot of time on that. We tried to send the clock from the Pro Tools session to the analog synthesizer and get it to line up.

It proved to be a very complicated exercise, because we were trying to marry new technology and old technology, but he found a way to make it work.

Let's end this with a lightning round. I polled my Facebook friends on what they'd want to ask you; it's a mix of New York music industry people and hometown friends from California.

This one's from Ryan Walsh, who leads a rock band called Hallelujah the Hills. He asks if when "white nationalist monsters" figure out your politics and tell you on Twitter they won't listen to you again, "do they really abandon ship, or is even that promise nothing but some sad barkin'?"

I don't think most of those were ever fans to begin with. I refuse to believe that those people have been actually listening to my songs all along. I think they see something that somebody's retweeted, and then they Google me and they see that I'm a musician, and they say, "I was your fan until just now." I think it's all just a b—shit tactic.

The jazz-adjacent singer/songwriter Dara Tucker says, "I'd like to hear his thoughts on Gordon Lightfoot."

Oh, Gordon was amazing. I played a song that I wrote, "Live Oak," last week, after Gordon's passing. I mentioned from the stage that I don't think I could have written that song without Gordon's work. The way he dealt with place, and the way he made folk music very specific to his own life.

I think "Carefree Highway" was the first song where I had that kind of lightbulb moment, where I thought, Oh, he's feeling really bad about something. This is not a celebration. This is not hippy-dippy s—. This is somebody saying, "I'm sorry." And that was a big moment for me.

Journalist Tom Courtenay asks, "Does he think Nashville/radio's gatekeeping is fixable, or does it only make sense for anyone remotely subversive to work outside of it at this point?"

I think what, if anything, will fix it, is when this particular brand of straight white male country music is no longer as popular as it is. 

I don't think that's a good thing. I would love to see it fixed from the inside. But the way I picture the state of popular country music right now is they're staring at a machine with a whole bunch of buttons, and there's one button that they know will spit out money when they hit it, so they just keep hitting it.

They won't take their hand off of it long enough to try any of the other buttons, even though some of the other buttons might spit out more money. 

Singer/songwriter Ephraim Sommers asks, "What is his greatest difficulty, obstacle or weakness as a songwriter, and how has he worked to overcome it?"

Humor is hard. It's hard because I laugh a lot in my everyday life, and it's hard to find a way to work humor into a song. The way that I work to overcome it is just by trying to notice different situational details that would create a funny image in a song.

It's something I'm not very good at. John Prine was great at it; Todd Snider's great at it. But to be funny without being bitter in the kind of songs that i write is a real challenge.

I don't want it to be funny in a self-referential way. I would like for it to be funny no matter who was saying it or writing it. That's a tough one for me, but I just keep trying over and over and over, until finally the joke is present enough for somebody to get it.

I'll close with my own question: What's grist for the mill creatively for you right now? What are you listening to, reading or watching?

Jennifer Egan, The Candy House; I'm reading that right now. Last night, we watched Guy Ritchie's The Covenant, the war movie. That was good. Of course, I like "Succession."

Right now, I'm just super excited about the Scorcese movie that I was in. I heard rumors that the trailer's coming out tomorrow.

Tell me about that.

That process of working on that movie really found its way into the studio when I went back to record — just the way Scorcese was able to hear other people's opinions and collaborate while still keeping his vision. 

Actors are people — they're not instruments — so you can't completely manipulate them, no matter how good you are at directing. So, it's not like the director is the guitar player and the actor is the guitar. There are a bunch of real humans in the room, so they're all going to have opinions and ways of delivering things.

To see him navigate that and hear everything — and still make the movie that he saw in his mind — was a pretty incredible thing for me.

Drive-By Truckers' Patterson Hood On Subconscious Writing, Weathering Rough Seasons & Their New Album Welcome 2 Club XIII

​​It's where fans were once caught in the crossfire of a silly string war between Tracy Lawrence and Kenny Chesney. It's where Garth Brooks signed autographs continuously for 23 straight hours. It's where Craig Morgan first met Miranda Lambert when she was just a young fan, and where Patty Loveless stood in line to get an autograph from future collaborator Vince Gill. It's where Lainey Wilson realized country music is what she was born to do.

That place is CMA Music Fest, and this year "The Ultimate Country Music Fan Experience" celebrates 50 years of bringing fans and artists together in the heart of country music, Nashville, Tennessee. Originally known as Fan Fair, the event was created by WSM radio and the Country Music Association to provide fans their own unique experience — though it was also a clever marketing ploy to keep fans from crashing the annual country music disc jockey convention, an industry-only annual event. Now, each year, more than 80,000 country music lovers from around the world ascend to Nashville to see their favorite stars.

The first Fan Fair in 1972 drew 5,000 country music lovers to Nashville's Municipal Auditorium, and by 1982, its growth warranted a move to the Nashville Fairgrounds, In 2001, it moved downtown, occupying numerous locations including Nissan Stadium, Riverfront Park and the Music City Center — officially becoming CMA Music Festival, and later CMA Fest.

"The secret to the success of CMA Fest is the preservation of the original Fan Fair," CMA CEO Sarah Trahern tells GRAMMY.com. "The tradition and unique connection between the fans and the artists is celebrated throughout our event, and it becomes a momentous part of an artist's career to be able to say, 'I played at the Riverfront Stage, or I played Nissan Stadium and was part of the television show.' The magic of what CMA Fest is today comes from the history and heart that was created five decades ago."

Trahern has seen firsthand how important CMA Fest is to the fans, and one of her personal highlights each year comes from surprise seat upgrades. "I specifically remember one year we had changed the configuration on the floor based on some sodding issues with the stadium, and one fan was particularly upset that we moved her seats even though we had moved her to a closer section," Trahern recalls. "We later found out that she had brought her husband's ashes and had placed some of them under her seat at the stadium because they used to come to Fan Fair together. It reiterated to me the power of our event to truly become a part of people's lives."

It becomes part of the fabric of country artists' careers, too. CMA Fest is where many artists are discovered, where they perform for the first time, where they celebrate milestone achievements, and where they make invaluable memories with fans. As Morgan puts it, "You know that when you're performing at CMA Fest, you're performing for those who love you the most."

Before CMA Fest kicked off its 50th iteration on June 8, some of country music's legends and newcomers shared their most cherished, hilarious and sometimes embarrassing memories from CMA Fest.

A Thousand Horses

Graham DeLoach: Playing CMA Fest for the first time was gratifying, to say the least. We had really been honing our sound and figuring ourselves out as artists, both on the stage and making an album in the studio during months leading up to the show. I remember it almost getting rained out, but when the weather cleared and we finally got on the stage, we had a defining moment as a band. We had it dialed in more than ever and we're playing to a real crowd who came to listen to real music. It was a big change from the bar rooms that we had toured across America in the years prior. So, we mark our first CMA fest as a defining moment for A Thousand Horses.

Michael Hobby: My favorite memory takes me back to 2015. We were performing on the Chevy stage, right outside the Bridgestone arena in Nashville. It was super hot outside and the sun was beating down on everyone, but the atmosphere was still buzzing with the excitement from all the fans. It was a huge moment for us as a band. Our debut album Southernality was being introduced to the world, and our single "Smoke" had just gone No. 1. I'll never forget hearing the crowd singing the words to all our songs back to us, and the album had only been out a few days. That day had everything I love about music — its ability to move people, bring them together, and to create these unforgettable shared moments.

Bill Satcher: One year at a signing booth, a fan asked us to autograph and write our band name on her arm. Afterwards, she told us that she was going to go get it tattooed on her later that day. Sure enough, she came back to the same signing booth the next year and had our handwritten band name inked on her arm.

David Bellamy of the Bellamy Brothers

Fan Fair was always a special time for us early in our career. We'd be on the road playing shows and our mom, Frances, would load up our cousin Sylvia and my two oldest sons, Jesse and Noah, and make her way to Nashville to decorate our Fan Fair booth. We'd meet them there and spend the next few days meeting and greeting fans for hours at a time every day of the event.

We met so many artists that have remained friends to this day. We even met the Forester Sisters at Fan Fair and ended up recording a duet together, "Too Much Is Not Enough," that went No. 1.

When Fan Fair was over, we'd make our way on down to Alabama's June Jam in Ft Payne. We enjoy CMA Fest also but we're usually in Europe a lot during that time every year so we don't get there as much as we used to.

Our Mom used to live for that time of year. She loved putting our booth together and meeting all the artists new and old — in fact, I think she probably knew more artists than we did. We still run into people that knew our Mom from then.

(L-R) Frances Bellamy and Loretta Lynn at Fan Fair. Photo: Courtesy of David Bellamy

Joe Bonsall of the Oak Ridge Boys

The Oak Ridge Boys go way back to the very beginning of what was then called Fan Fair. My fondest memory of those days was performing in 1982 on the heels of "Elvira" and "Bobbie Sue." It was amazing to see the crowds at the shows and the signing booth. I am thankful that from time to time we still take part even after all these years. 

BoomTown Saints

Ben Chism: This is our first year playing CMA Fest. It means the world to me, to Chris, to our families.  When we got that email saying we were invited to play CMA Fest, I told my wife and she just jumped up and down. She's been waiting 10 years for this and so have I. Chris has too. We have family coming in from all over the country to watch this 25-minute set because it means as much to them as it does to us.  

It's just an amazing feeling to go out there and meet the people at CMA Fest. That's the biggest thing me and Chris have always said is, "Don't ever be afraid to come up to us and talk to us. We'll go on a walk and talk to you all day long."

Chris Ramos: As a musician growing up, I always thought it would be the coolest thing ever to get to play CMA Fest. It's definitely a career defining moment. You have various people say, "My career defining moment was when I headlined Nissan Stadium." We get that, but along the way this is one of those things that when it happens, it's a bucket list item. I wanted to just take a minute and absorb the fact that we got invited by the CMA to play CMA Fest. Talk about career aspirations being fulfilled!

Breland

My first CMA Fest experience was very non-traditional, as last year was my very first year not just performing but attending as well. I had the privilege of getting to perform on the Chevy Riverfront Stage and with one of my favorite bands, Lady A, on the main stage. It was a crazy experience. 

Something funny happened ahead of the Chevy Riverfront performance, too — I was about to walk on stage and broke my glasses. I didn't have a backup pair so I had to throw on my stylist's sunglasses for the performance. Such a great time regardless!

Tyler Braden

My favorite memory so far of CMA Fest is playing Ascend Amphitheater with my label mates. Warner Music Nashville put together an amazing lineup, and it's a show I'll never forget.

CMA Fest is so unique because it brings together so many artists and so many fans in one place for the weekend. It's an amazing opportunity to be able to interact with fans and create memories you'll never forget. I love running into fans all over the country and hearing about how they discovered us at CMA Fest!

Charles Esten

My first CMA Fest performance was in 2014 on the CMA Close Up Stage at the Music City Center, and it was amazing. As much as the show Nashville had been embraced by TV viewers and the city of Nashville itself, that performance was my first taste of how popular it had become with the group that mattered, perhaps, the most: country music fans. The place was packed, the fans were amazing, and I felt blessed to be there with them, playing my songs and Deacon's, too. I still smile just to think of it.

I can easily tell you my favorite moment. It was in 2016. I, like everyone else, had recently heard the bad news that Nashville, the show that had brought me to Nashville and had changed my life completely, was not being picked up by ABC for a fifth season. That was a hard pill to swallow — not just for those of us who worked on the show, but for the actual Nashvillians and the country music fans that had grown to love the show so much. 

For me, it was no small consolation to be stepping out onto the Riverfront Stage that day to perform for CMA Fest. It was a hot but beautiful summer afternoon, and the riverbank was completely covered with amazing Nashville fans who, like me, seemed not quite ready to say goodbye. They poured out their love — even more so when I brought out my co-stars Clare Bowen and Chris Carmack to sing a couple songs. They cheered and sang along with us to their favorite songs from the show that they already missed so much. That was incredibly memorable. 

But, what put it over the top — way over the top — was when CMT's Leslie Fram and Cody Alan joined me and my friends onstage for a surprise announcement that, actually, Nashville would NOT be ending. Not yet! CMT was picking it up for Season 5 [and eventually for Season 6]. The crowd went wild. And the show went on!

Randy Goodman, Chairman and CEO of Sony Music Nashville

Jennifer and I got married June 11, so our anniversary would, more likely than not, land during Fan Fair/CMA Music Fest. One of our early, if not first anniversaries, I was at Fan Fair. Of course, Jennifer was with me. I'm working. It was at the Fairgrounds. We had just signed Juice Newton, and she found out it was our anniversary. She sang "The Sweetest Thing" and dedicated it to us. That was pretty cool, and very sweet of her.

Morgan Evans

I'll never forget the first night I landed in Nashville. It was the Tuesday of CMA Fest. I walked down to Broadway and it was like all my Aussie-Country boy musical dreams came true all at once! 

Janie Fricke

I remember the first time I had a booth at Fan Fair. It was so exciting. That year Alabama was a huge success and the fans screamed for them. Soon after, my records hit the top of the charts, and I got booked to open all their concerts for a couple years. What a thrill and huge boost for me!  So thankful!

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Vince Gill

Way back when Fan Fair was still at the Tennessee State Fairgrounds, I was in the RCA Records booth signing autographs with some other artists. This woman came through the line, and I was signing something for her, and I think we got a picture together. Then she said to me, "We're gonna record together some day." And I thought "Well alright." Turns out that woman was Patty Loveless! We ended up singing on lots of each other's records including our first No. 1 hits. She sang harmonies on "When I Call Your Name" and I sang on her single "Timber I'm Falling in Love."

Wade Hayes

I vividly remember my very first Fan Fair in 1995 because the line was so long and I just could not believe it. I think we were there for eight hours signing autographs. I was amazed and just so thankful. I was still a very young, naive country boy, and I just remember my mind being absolutely blown that there were that many people standing there to meet me.

Country fans are the best! I remember one year I mentioned something about being gone so much on tour, I didn't have time to go home and wash my socks or something like that and then all of a sudden, I start getting underwear and socks at all the shows for a while. It was pretty funny.

Ty Herndon

I had been to CMA Fest — then called Fan Fair — many times before I signed my record deal, but 1995 was different. My first single "What Mattered Most" had just gone to No. 1, and when I looked out over that crowd of 60,000 people to perform it, I couldn't hold myself together. The tears started welling up, and was all I could do to get through the song. To hear folks singing my lyrics back to me, there's nothing like it, even today. Words cannot describe it.

HunterGirl (R) and her mom at CMA Fest 2022. Photo: Courtesy of HunterGirl

HunterGirl

The funniest fan interaction last year was during the meet and greet at the signing booth. Someone came up and asked me to sign a picture, and I looked down and it was an old photo I used to promote my music in high school. Then, one after another people kept bringing the same photo to sign, and I asked, "Where did y'all get this?" They all go, "the lady in the back corner was passing them out." I looked over and it was my mom giving them to everyone she saw. It was like she was handing out mixtapes on Broadway. I have never laughed so hard. My mom is the best.

Chris Janson

The first year I did the stadium was pretty awesome. Me and Hank Jr. did "Born To Boogie." It was me and him and Justin Moore. It was just great because I grew up listening to Hank Jr., and we had toured together so it was great comradery. Then I did "Buy Me A Boat" and it had just hit No. 1 so that was a great time.  

I've had a lot of fun fan encounters. I'm pretty easy going, but people get so scared sometimes to say hello. Sometimes I'll notice it, so I'll just initiate the conversation because I can tell they want to say hello or want a picture or something. And I always think to myself, "Be Luke Bryan," because Luke is always very kind to people. So I've always tried to model myself after people like him. He's just a great template for that. Treat people how you want to be treated. 

So if I notice somebody wanting to talk or they look like they might want a picture, but they are about to let me walk by because they don't want to bother me, I just tell them, "Hey listen, you ain't bothering me. We're all just putting our pants on the same way this morning and if you'd like a picture, you might as well get it now. This is perfect timing." I appreciate how respectful people are in 99 percent of the cases, but it also just cracks me up that just because I sing songs and have hits and I'm in the public eye doesn't mean I'm not a normal person. I'm probably more normal than most people I know so if you see me out there, come and say hey.  

Tracy Lawrence

My favorite memory goes way back to when it was called Fan Fair and was held at the fairgrounds. All the artists would be assigned to a booth and we'd be there all day which consisted of signing for two to three hours plus appearances and performances. All the artists would try to outdo each other with our booth setup. We'd also do pranks on each other. One time Kenny Chesney and I had a silly string fight across from each other in our booths.

The first time I performed was at the Fairgrounds in 1992. They set up the main stage on the race track, and my producer, James Stroud, gave me a blue Harley Motorcycle to celebrate Sticks and Stones going Gold. So, it didn't suck.

Tracy Lawrence at Fan Fair 1992. Photo: Courtesy of Tracy Lawrence

Scotty McCreery

I got to perform with Josh Turner on the stadium show the first time I did CMA Music Fest, which was a moment I'll never forget. Through the years, I've done a lot of different events at CMA Music Fest and it's always been fun. The fans who attend are amazing, and music is truly around every corner. I'm glad to be a part of CMA Music Festival's history. The event is truly legendary.

Reba McEntire

Fans love country music and are so devoted. What I remember best is sitting there at the Polygram/Mercury booth at Fan Fair and sitting there for about two hours and probably signing one autograph. One time mama was there with me, and I had my little Sharpies in front of me and my little stack of pictures and nobody was coming over. Finally, this man and woman looked up at my name over my head and looked at me and walked over to me and mama said, "Get ready! Get ready!" And they walked over to me. I said, "Can I help you?" and they said, "Do you know where the bathroom is?" That was my introduction to Fan Fair. [Laughs.]

Of all the genres that I've been a part of — Broadway, television, the movies and in the clothing line — everybody always says how nice the country folks are, and how appreciative the fans are, and the artists are of their fans. So coming back to CMA Fest just emphasizes how much the artists do appreciate their fans and the fans of country music appreciate the artists and entertainers. I am proud to be a part of country music and a part of a group that do appreciate each other, and they don't take each other for granted.

Jo Dee Messina

My favorite CMA Fest memories are the Fan Club parties that I used to do with my mother. She geared up for them months in advance and I got to see the fans bring her such joy with their love. Thank you for those memories. They meant so much to both of us.

Craig Morgan

One year I played the stadium with a cast on my leg. There's a picture of me somewhere, climbing the trusses with my broken leg hanging off the sides of the stadium.

One of the years I played CMA Fest back when I was younger, I remember a young lady asking me for an autograph. I signed something for her and we chatted for a few minutes. Years later, that young lady became a big star in country music: Miranda Lambert. 

Megan Moroney

I am so excited to perform at CMA Fest again. Last year I was on the Spotlight Stage in Fan Fair X and it was one of the first times I heard fans singing my songs back to me. This year I get to play the Chevy Riverfront Stage & Nissan Stadium Platform Stage which is really exciting! 

Ian Munsick

I can't think of another event where fans travel from all over the world to listen to live country music. It's pretty special to have people from different cultural and geographical locations come together to share their love for their favorite songs and artists. I can't wait to fully experience CMA Fest for the first time and put a little western into the lineup.

Read More: Ian Munsick Is Bringing The West To The World With 'White Buffalo'

David Nail

My favorite was my first, which I believe was the first time it was downtown. I was 21 and on Mercury Records. I had a sleeveless Michael Jackson t-shirt on, which was borrowed from a friend back home. I was so nervous, but I remember it was really the first time I'd played in front of a crowd that size. I was high on adrenaline for days!

Joe Nichols

I have a long history with CMA Fest, going all the way back to the late '90s, like '96-'97. I had long hair and a cowboy hat. I was maybe 18 years old starting off my career. I had a booth. That's how you did it back then. You'd put these booths in these real hot buildings, and you'd sit there and sweat all day and say, "Please, look at me, look at me! Let me sign something for you that you don't care about!" [Laughs.]

Those are my original memories of Fan Fair, and as we've moved on through the years with CMA Fest, I've noticed there's a really different vibe around CMA Fest nowadays. It's a big show, a big stadium show that's always been one of my favorite things to play. 

We debuted "Tequila Makes Her Clothes Fall Off" in front of 40,000 people at the stadium at CMA Fest, sung it in the rain I believe. I have a lot of fond memories about CMA Fest performing on all the stages, Riverfront, Stadium Stage, CMT Stage in front of Bridgestone, and I've had a blast at all of them. That's what's wonderful about CMA Fest — you have so many fans there that are doing so many things, you're going to find a great crowd anywhere. 

Kimberly Perry

My favorite memory of CMA Fest is at Nissan Stadium. Luke Bryan and I actually got to co-host the broadcast, and it was such an amazing moment. We got to talk to so many artists that I hadn't really even got to meet before rehearsing that, and obviously being a co-host with Luke was so much fun.  

Over the years, I've had a ton of funny interactions with fans. The most embarrassing one for me, though, happened when there was a guy who said, "Hey, can you come and sign this thing for me?" I thought that he was pointing at his motorcycle, so I got my sharpie and signed the bumper of his motorcycle. Then [my brothers] Reid and Neil pointed out to me that he was actually pointing to the T-shirt laying over his motorcycle. He actually did not see me do it in real time and I didn't know how to tell him, so I just sort of sheepishly crawled back on the tour bus because I didn't know what to do.

Drew Parker

I got mistaken for Cody Johnson a couple years ago by a large crowd of fans. I just went along with it. [Laughs.]

Lily Rose

As a fan, [I saw] Morgan Wallen perform in the rain on the Riverfront Stage and it was incredible. He only had "Up Down" as a hit at the time, and it always leaves me inspired to keep working and growing. You never know where a song or two will take you. As an artist, getting to play the stadium last year — my first CMA Fest invited to play as an artist— was so humbling and a massive check off of the bucket list. 

I have so many fans always asking me to sign their arms and then they get it tattooed. It's a lot of pressure, but hilarious at the same time. Commitment is level 10, always!

Alana Springsteen

One of my first memories of CMA Fest is seeing Keith Urban play the stadium when I was about 12. I was young but, by then, I already knew music was going to be my life, so I went with the intention of learning as much as I could from his live show. 

I vividly remember how small he made that massive stadium feel. There aren't many artists who are such good entertainers that I forget to watch as an artist and naturally fall into watching as a fan, but he's one of them. He's so engaging. I remember hoping I'd have a chance to make that many people feel that way about my music one day. 

The fans are what makes CMA Fest so special. They're so incredibly passionate about the music and the artists. There's nothing like it. They go above and beyond for you, so it makes you want to go above and beyond for them. One of the first CMA Fests I played, there was a guy who showed up to watch every one of my performances with a poop emoji hat on. You couldn't miss him. I remember not being able to hold it together every time he'd walk in. Just the most ridiculously hilarious thing and we connected over it. I still haven't forgotten it.

Jeannie Seely signing autographs at the first Fan Fair in 1972. Photo: Barry Amato

Jeannie Seely

Thinking back on the first Fan Fair, I remember how excited I was to be entertaining so many wonderful fans all in one place! It was also exciting to be able to spend time with so many other artists, including some you didn't get to see very often, and some that I had not even met. I was in awe watching everyone else perform, and proud to be presenting our new package show with Jack Greene.  

Dottie West and I had a great time posing as each other just to watch the puzzled expressions on folks faces as they tried to figure it out. We even did radio promos for some of the DJs as each other. There was such a closeness of the artists back then, and we had so much fun together. Fan Fair gave us that opportunity too. There were a lot of stories told, guitar pulling, clothes and jewelry sharing, and memories made. Sometimes I wonder if the fans had as good a time as we did!

Matt Stell

My favorite memory of CMA Fest is getting to play the different stages. They're all cool in their own way. I started playing solo acoustic at Fest, which is fun because those fans typically come to hear artists and songs that are new to them. Now, we get to play the Chevy Riverfront Stage with a full band, and hopefully the crowd will be singing my songs with us, which is such a party! 

Tigirlily Gold

One of our first times ever visiting Nashville was for CMA Fest. A friend of ours ended up having two extra tickets to the last day of the stadium shows, and it poured down rain. We were still so happy to be at Nissan Stadium with 60,000 other country music fans at the most magical festival ever. We couldn't believe how many people were there! We held trash bags over our heads and sang along to all the country songs we grew up on the entire night.

We recently played in London for the first time, and we had several people tell us that they can't wait to see us play over CMA Fest. It really put into perspective how global the event is! 

Noah Thompson

Man, going from a nobody to somebody overnight was life-changing, and then going straight to CMA Fest right after winning American Idol. I was shocked how many people recognized me, stopped me in the street, and were singing along to my song! An incredible feeling that I will never forget.

Mark Wills

My most memorable experience at CMA Fest was truly magical. Just moments before I was about to step on stage and perform in 2022, I received the call that my daughter was going into labor. It was an overwhelming rush of emotions, knowing that my family was expanding and that I was about to become a grandparent. That moment filled me with an incredible sense of joy, love, and anticipation. It reminded me of the power of music to bring people together and create cherished memories that will last a lifetime.

Lainey Wilson

I went every year to CMA Fest from the time I was 14. My parents would take me there so literally I could go get inspired. They would make it like a family vacation really just for me. It felt like country music Christmas to me and my family.

When I finally got to play CMA Fest, it honestly felt like one of those out-of-body experiences because I'd dreamed about it for so long. Every summer we would go and I'd sit there. I wouldn't be jumping up and down with excitement, and my mama would look over at me and be like, "Are you having fun?" The truth is, I was just soaking it up. I was not whooping and hollering. I was just trying to learn and trying to watch the people on the Riverfront stage and on the Hard Rock stage, and then go over to the stadium that night and pick up little tips and tricks.' I was really educating myself, and I loved every single minute of it, so when I actually got the chance to do it myself I felt like, "Dang! We have arrived!" We have a long way to go, but we're heading in the right direction.

Country music brings people together. Of course, country music festivals are special anywhere you place those roots, but there is something so magical about playing for folks in a city where the music was made, and the team of people are there in that town that pushed that music, that played on that song. Everybody feels that when they roll into town for CMA Fest. You feel it to your core in a different kind of way.

Charlie Worsham

I have too many favorite memories to count, but I'll have to go with the year we revived the Ernest Tubb Record Shop Midnite Jamboree, bringing Vince Gill, Brothers Osborne, Brandy Clark, Eric Church and others down to the world's first country music record shop on lower Broadway. The crowd was crammed inside, where the air conditioning couldn't get us any cooler than 115 degrees. We had cops on horses out front as we shut down CMA Fest three nights in a row. I saw the sun come up that Saturday morning before going to bed! Finally, on Sunday morning, it was time for my Donuts and Jam fan party — and I barely made it in time, with my new puppy at the time, Peggy Sue.

One of my favorite stories to tell is the story of my first year at CMA Fest as a solo artist. I was a bit overconfident in my popularity, you see. A couple was approaching me on the sidewalk, pointing to their camera like they wanted a photo together. As I approached them to take a photo and sign autographs, they pointed to the Elvis impersonator behind me and asked, "Do you mind taking our photo with Elvis?" [Laughs.] A lesson in humility, I tell ya!

CMA Fest is unique because there's no other community quite like the country music community and no other place quite like Nashville. Our entire business is built on the close relationship between artists and fans, and CMA Fest is basically Nashville's annual open house. You can feel a spirit of gratitude and excitement and love in the air. As a singer, I'm reminded of how lucky I am to get to be in country music, and as a fan I'm reminded how lucky I am to have country music as the soundtrack to my life.

Brett Young

I didn't come to Nashville as a kid because I grew up in Southern California, so I found out about CMA Fest after I moved here. It was always very much a bucket list thing for me as an artist. The first year I got to perform, I got a call last minute that my second single "In Case You Didn't Know" was going No. 1 that week. I wasn't booked to perform at Nissan Stadium, but they were like, "We can't have the No. 1 song in the country not being performed." They said, "We know it's only two days away, but would Brett play the pop-up stage in the middle of Nissan Stadium for that one song?" I was in North Carolina at the time and the answer was obviously yes! We bussed back, I popped up on this little stage out in the middle of the field at Nissan Stadium, and got to play the No. 1 song in the country. It was really cool.

Chris Young

My favorite memory is probably getting to go as a kid. It was a really big deal when my mom took me when I was really young. We used to go when it was back at the fairgrounds.

The first time I performed was a really long time ago. It was a really tiny acoustic show. It was a lot different playing Riverfront up to the Stadium. It was definitely something I looked forward to, and I remember thinking how cool it was to be on a CMA Fest Stage anywhere.

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A moving 2023 GRAMMYs segment featured friends, family and bandmates honoring their departed loved ones in song — including tributes from Kacey Musgraves, Quavo, and Sheryl Crow, Mick Fleetwood, and Bonnie Raitt.

The GRAMMY Awards' annual tribute to music industry icons who passed in the preceding year is always a bittersweet highlight of the ceremony — and this year's moving edition was certainly no exception.

In addition to honoring the many artists, producers, executives, and more who we lost, three legendary musicians received individual recognition from their close friends, collaborators, and loved ones.

A longtime admirer of Loretta Lynn, Kacey Musgraves became friends with the late country legend after opening for Lynn's 2012 tour — and thus was the perfect person to honor the four-time GRAMMY-winner.

Surrounded by a spray of red flowers and wearing a red dress that would've suited the Songwriter Hall of Fame honoree, Musgraves delivered a sterling rendition of Lynn's autobiographical "Coal Miner's Daughter."

With each strum of her guitar — with Lynn’s name inlaid on the neck in enamel — Musgraves brought more of her hero's trademark warmth and country legacy into fuller bloom, the names and images of other lost legends materializing behind her.

The rap world was stunned when it lost Migos member Takeoff in a tragic shooting in November, and his uncle and bandmate Quavo paid tribute with the elegiac "Without You." The rapper's soulful delivery was rounded out by the rich harmonies of gospel group Maverick City Music, the pain evident in his face as he sat next to an empty stool, his nephew’s chain hanging from a tragically unused mic stand.

As the song concluded, Quavo rose, holding that chain up to the heavens, his hope to see Takeoff again ringing out.

While clips of heroes like Jeff Beck and David Crosby surely brought tears to many an eye, the heartfelt tributes were rounded out by the trio of Sheryl Crow, Bonnie Raitt, and Fleetwood Mac's Mick Fleetwood. Together, they honored Christine McVie with a poignant rendition of Fleetwood Mac's "Songbird."

While Fleetwood stood with a resonant hand drum, Crow took to the piano with Raitt seated at her side. "And the songbirds are singing/ Like they know the score," they sang: "And I love you, I love you, I love you/ Like never before."

The crystalline performance immaculately suited the songwriter's immense spirit and unparalleled writing, with Fleetwood’s somber hand drum lending a beautiful final note.

Check out the complete list of winners and nominees at the 2023 GRAMMYs.

Head to live.GRAMMY.com all year long to watch all the GRAMMY performances, acceptance speeches, the GRAMMY Live From The Red Carpet livestream special, the full Premiere Ceremony livestream, and even more exclusive, never-before-seen content from the 2023 GRAMMYs.

The lineup for the 2023 GRAMMYs on Sunday, Feb 5, will include an In Memoriam segment paying tribute to some of those from the creative community that were lost this year with performances by GRAMMY-winning and -nominated artists.

The segment will feature Kacey Musgraves performing "Coal Miner's Daughter" in a tribute to three-time GRAMMY winner and 18-time nominee Loretta Lynn; Sheryl Crow, Mick Fleetwood and Bonnie Raitt honoring three-time GRAMMY winner Christine McVie with "Songbird"; and Maverick City Music joining Quavo for "Without You" as they remember the life and legacy of Takeoff.

The 2023 GRAMMYs, hosted by Trevor Noah, will broadcast live on Sunday, Feb. 5, at 8 p.m. ET/5 p.m. PT on the CBS Television Network live from the Crypto.com Arena in Los Angeles. Viewers will also be able to stream the 2023 GRAMMYs live and on demand on Paramount+.

Before, during and after the 2023 GRAMMYs, head to live.GRAMMY.com for exclusive, never-before-seen content, including red carpet interviews, behind-the-scenes content, the full livestream of the 2023 GRAMMY Awards Premiere Ceremony, and much more.

Where, What Channel & How To Watch The Full 2023 GRAMMYs