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Resources For Music Creators & Professionals Affected By COVID-19: West Region

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Resources For Music Creators & Professionals Affected By COVID-19: West Region

The Recording Academy's Los Angeles, San Francisco, Pacific Northwest and Texas chapters are committed to sharing resources for music creators and professionals affected by the coronavirus/COVID-19 pandemic

GRAMMYs/Mar 20, 2020 - 01:25 am

In the current coronavirus/COVID-19 pandemic, music creators and many of the professionals who support them have been greatly affected. The Recording Academy’s Los Angeles, San Francisco, Pacific Northwest and Texas chapters are committed to creating, amplifying, and sharing resources that will provide some form of comfort.

Below you will find resources available to those in the music community who live in the Recording Academy’s West Region. Please visit regularly for updates.

ARIZONA

Tucson Musicians COVID19 Relief (GoFundMe)
The COVID-19 outbreak has created an unprecedented loss of work for Tucson’s local musicians. This fund is set up to temporarily help those who could use some money for food, medicine, bills, childcare and other essentials.

CALIFORNIA

Los Angeles Department of Cultural Affairs

This program provides emergency relief grants to City of Los Angeles-based dance, music, and theatre artists, as well as small ensembles who have had their public performances, shows, or concerts canceled. Solo artists are eligible for up to $400 and ensembles up to $1,200 to cover losses in time and/or materials that were committed toward events, which were to have taken place at a venue within the City of Los Angeles and were to be open to the general public. Eligible events should have been publicly advertised and scheduled to take between March 16, 2020 and May 16, 2020, AND must have been canceled (or postponed to after August 30, 2020).

Due to a modest amount of available fund in round one of this fund, artists who were scheduled to perform pieces within a festival, teach private solo or group lessons, or perform at a private function for an invite-only audience are not eligible. The first round will focus on artists and groups who were headlining an entire public event/evening.

COVID-19 Emergency Health Grant for Artists
In light of the rapidly escalating impacts of COVID-19 on the health and wellbeing of our Southern California creative community, Women’s Center for Creative Work has re-worked its 2020 Emergency Health Grant for Artists, and is now offering $1,000 grants. Low-income artists who work in any genre or medium, who identify as a woman, as Trans or non-binary, and/or as a person of color, who live in Los Angeles, Orange, Riverside or San Bernardino Counties are eligible to apply.

Creative Community Fund
Winston House, a musician’s social club based in Venice, CA, has set up a fund that pairs people in the music industry who need financial help due to COVID-19 with people who can help.

Backline Care
Billed as “The Music Industry’s Mental Health and Wellness Hub,” this organization’s mission connects music industry professionals and their family with a trusted network of mental health and wellness providers.

COVID-19 California Arts Field Survey
The California Arts Council is surveying the arts field at-large to gather data on the potential financial impacts of this public health emergency. If you are an organization or individual in the arts field that anticipates losing personal or business income related to COVID-19, consider filling out this brief survey. This data will be an important resource to inform the California Arts Council and the state of California.

Los Angeles County Economic Development Corporation COVID-19 Response Page
This online hub is designed to help employers and related workforce in L.A. County respond to the challenges of the COVID-19/coronavirus. Updates are made daily. 

The Musicians Union of Los Angeles - Coronavirus COVID-19 Emergency Relief Funds
AFM Local 47 and the Music Fund of Los Angeles have established Emergency Relief Funds to assist members in need who have been subject to work stoppages relating to the coronavirus COVID-19 outbreak.

Music Fund of Los Angeles Emergency Relief Fund
The Music Fund of Los Angeles Executive Board has established an Emergency Relief Fund for AFM Local members who have lost revenue due to work stoppages resulting from the coronavirus COVID-19 emergency. This fund will be able to extend a limited amount of grants for members who work for employers covered by a Local 47 contract or collective bargaining agreement (CBA).

Musicians Union Local 6 – San Francisco
For members of this union who have lost their income from playing and teaching, run the risk of losing their homes or healthcare due to their inability to pay. The Local 6 Board of Directors is meeting on March 30, 2020, to evaluate all applications, and evaluate relative need.

LA Mayor’s Economic Relief Package
Los Angeles Mayor Eric Garcetti announced an $11 million economic relief package for small businesses impacted by COVID-19. Small businesses anchored in the city of Los Angeles can apply for no-fee microloans of $5,000–$20,000 that may be used to cover working capital. The program will offer relaxed underwriting with no credit score minimum, a generous allowance to meet debt service and a 100% loan-to-value ratio.

Opera San José Artists and Musicians Relief Fund
The opera company has set up an emergency cash reserve to support the “musicians, singers, carpenters, stitchers, designers and other hourly company members” that make its productions possible.

COLORADO

Denver Metro Area Artist COVID-19 Relief Fund
Artists are one of the largest segments of the Denver metro area population that make up the "gig economy" and are being hit hard by the COVID-19 pandemic. This fund aims to help said artists basic daily expenses. Priority will be given to those artists who are part of historically marginalized groups "because of the intersectional economic realities they face already."

NEW MEXICO

New Mexico Musicians Relief Fund amid COVID-19
Freelance classical musician and music educator Thomas Goodrich organized this fund, with a goal of raising $30,000 to help New Mexico musicians who have been financially impacted by coronavirus-related cancellations. Priority will be given to artists of color, LGBTQ and non-binary artists, and disabled artists.

OKLAHOMA

Red Dirt Relief Fund
The Red Dirt Relief Fund has offered financial assistance to Oklahoma music professionals in times of need since 2012. It has pledged $50,000 to a new coronavirus relief fund, offering one-time emergency grants of up to $250 on a first-come, first-served basis. Apply for a grant here.

 

PACIFIC NORTHWEST

Northwest Folklife: COVID-19 Artist & Community Resource List
Northwest Folklife is committed to supporting artists and community groups and has compiled a list of resources for financial assistance, mutual aid and advocacy, and informational support.

Seattle Artists Relief Fund Amid COVID-19
This fund is aimed at helping those in the greater Seattle arts community who have been financially impacted by cancellations due to COVID-19. Depending on funding levels and amount of requests, priority may be given to artists from communities that have been historically and systemically economically disadvantaged in the Seattle Area: BIPOC artists, transgender & non-binary artists, and disabled artists

Seattle Foundation COVID-19 Response Fund
A coalition of philanthropy, government, and business partners has joined together to create a COVID-19 Response Fund that will rapidly deploy resources to community-based organizations at the frontlines of the coronavirus outbreak in the Puget Sound region.

Seattle Hospitality Emergency Fund
Seattle hospitality workers are currently able to apply for full or partial unemployment, and the city is working to pass a ban on evictions during this time. Despite these reliefs, there is no 100% rent forgiveness, and unemployment payments take time to arrive and are often not enough to cover basic living costs in one of the most expensive cities in the nation. Additionally, those laid off from jobs that also pay for their medical insurance may have to buy into COBRA or the open market, which can be a devastating cost while relying on unemployment payments alone. The aim is to provide everyone who applies with emergency funds, but the fund will prioritize the BIPOC, LGBTQIA+, disabled, and immunocompromised members of the community.

Seattle Independent Artist Sustainability Effort
A comprehensive document listing all available resources for every gig-based sector, including actors, musicians, composers, choreographers, dancers, designers, directors, drag performers, DJs, and more.

Seattle Music Teachers Fund
For musicians living and working in Seattle "the odds are you make 30%-50% of your income teaching lessons." Often the length of shifts falls short of state requirements for state income programs like disability or worker’s compensation. This fund is meant to help with income lost due to canceled lessons and other non-performance music work.

Financial Resources for Washington Residents Impacted by COVID-19
The Washington State Department of Financial Institutions has developed a list of financial resources for Washington consumers impacted by the coronavirus.

COVID-19 Oregon Musicians Relief Fund
This fund organized by the Jeremy Wilson Foundation is raising $25,000 to go toward medical expenses, lodging, food and other vital living expenses for musicians based in Oregon and Clark County, Washington, impacted by sickness or loss of work due to the pandemic.

Seattle Mayor Jenny Durkan’s Arts Stabilization Fund
In addition to donating $50,000 to the Seattle Artists Relief Fund and another $50,000 to the Artist Trust COVID-19 Artist Relief Fund, the city’s mayor has launched a $1 million Arts Stabilization Fund to help mitigate revenue losses due to the moratorium on events and public gatherings.

Seattle Musicians Access to Sustainable Healthcare
SMASH helps connect Seattle musicians to healthcare, dental services and health education.

COVID-19 Handbook for Creative Industries
King County, Washington has created an online handbook that “is being rapidly updated to bring together resources to take care of yourself and your family; to support the arts and culture community; and to prepare for recovery.”

COVID-19 AND THE FILM, MUSIC, NIGHTLIFE, AND EVENT INDUSTRIES
Seattle’s Office of Film + Music and Special Events’ online resource for current activity and updates on permit restrictions and resources small businesses, employees, contractors, and gig workers can take advantage of during the current climate.

COVID-19 Relief Resources for Hawaii Based Artists
List of resources available to Hawaii locals seeking information on relief funds, health and prevention tips, resources for musicians, information for small businesses and ways to donate to help those in need. 

TEXAS

Houston Music Foundation
Houston Music Foundation is a crisis relief fund created to help our city’s musicians in times of need. The goal of Houston Music Foundation is to raise funds for local musicians residing in Harris County during times of crisis, and to get donations into the hands of those in need as quickly as possible. Qualified applicants are eligible for a one-time grant of $500. 

Banding Together - ATX
The Red River Cultural District is Banding Together with the Austin live music community to support the venues, artists, creatives, service/hospitality and production workers, businesses and additional organizations that rely on SXSW, regular programming and continual income to survive. Donations to the local non-profit will help provide financial relief to those in the Austin live music community that have been economically impacted by the cancellation of SXSW and COVID-19.

DFW Musician & Gig Worker Fund
This fund aims to assist two groups of people: full-time musicians who perform at bars, restaurants, weddings, and private gigs; and live music gig workers (stagehands, FOH, box office employees, etc.) who are having a hard time paying necessary living expenses.

Health Alliance for Austin Musicians
HAAM provides access to affordable healthcare for Austin’s low-income working musicians, with a focus on prevention and wellness. Many Austin musicians are self-employed and have no access to health insurance or basic healthcare. They often work multiple jobs and struggle to pay for food, clothing and shelter, with nothing left for healthcare. Since 2005, HAAM has helped 5,300 musicians access over $73 million dollars in healthcare value. These include routine dental work, doctor visits and prescriptions, psychiatric counseling sessions, eye exams, out-patient procedures, specialist referrals, hearing screenings and more.


Southern Smoke Foundation
Southern Smoke Foundation provides funding to individuals in the food and beverage industry who are in crisis. Established in 2017, our emergency relief fund has distributed more than $830,000 to individuals in the food and beverage industry in crisis. The application process is completely anonymous.

SIMS Foundation
SIMS Foundation provides mental health and substance use recovery services for musicians, music industry professionals, and their families to support the well-being of the Austin music community.

Creating Our Future Dallas Low Income Artist Relief Fund
For Dallas area artists and/or freelancers who are experiencing a decline in business as a result of Covid-19 closures.

Austin Texas Musicians
The musician advocacy nonprofit formed by local artist Nakia Reynoso is working to secure relief funds and resources for musicians. In the meantime, it has created a continually-updated resource list.

Dallas Artist Relief Fund
Creating Our Future is a group of artists and arts advocates in Dallas who are raising money to support artists and freelancers who are taking financial hits as a result of closures and lost income from COVID-19. The GoFundMe campaign has set a goal of $5,000 to raise funds to provide emergency and preventative resources to those at financial risk. The support is aimed at helping support for low-income, BIPOC, trans/GNC/NB/Queer artists who can apply here.

Health Alliance for Austin Musicians
HAAM provides access to affordable healthcare for low-income musicians living in Austin.

Housing Opportunities for Musicians and Entertainers
H.O.M.E provides financial housing assistance for needy aging musicians in Austin with grant assistance and other support, including referrals to additional available resources.

I Lost My Gig- Austin
Designed to benefit Austin locals who lost work due to SXSW’s cancellation, I Lost My Gig is currently soliciting donations. As of Sunday (March 15), it had already received over 750 submissions representing over $4.2 million in lost income.

Small Business Administration Economic Injury Disaster Loan Program
This centralized guide was created for small businesses and nonprofits in Texas who have been impacted by the coronavirus pandemic and are looking to apply for SBA loans. Those who have suffered “substantial economic injury” from COVID-19 may be eligible for economic injury disaster loans of up to $2 million.

Texas Music Office
Though the office isn’t offering benefits itself, it can help music workers affected by the pandemic apply for the state’s disaster unemployment assistance, which extends unemployment benefits to those who don’t traditionally qualify.

Texas Workforce Commission
Texas residents can submit an application for unemployment benefits here.

Workforce Solutions Capital Area
WFS, the nonprofit governing body for the regional workforce, is offering layoff support both for businesses and workers in light of the coronavirus outbreak.

GENERAL RESOURCES:

Crew Nation
Live Nation has committed $10 million to Crew Nation – contributing an initial $5 million to the fund, then matching the next $5 million given by artists, fans and employees dollar for dollar. Crew Nation is powered by Music Forward Foundation, a charitable 501c3 organization that will be administering the fund.

Coronavirus (COVID-19): Small Business Guidance & Disaster Loans
The U.S. Small Business Administration notes small business owners in the following designated states are currently eligible to apply for a low-interest loan due to Coronavirus (COVID-19): California, Connecticut, Delaware, the District of Columbia, Florida, Georgia, Indiana, Maine, Massachusetts, Montana, Nevada, New Hampshire, New Jersey, New Mexico, North Carolina, Rhode Island, Utah, and Washington.

Creative Capital’s List of Arts Resources During the COVID-19 Outbreak
Creative Capital has created a list of resources for artists working in all disciplines, as well as arts philanthropists, and arts professionals.

Foundation for the Contemporary Arts Emergency Fund
The Foundation for Contemporary Arts has created a temporary fund to meet the needs of artists who have been impacted by the economic fallout from postponed or canceled performances and exhibitions. For as long as the foundation’s Board of Directors determines it is necessary and prudent to do so, the Foundation will disburse $1,000 grants to artists who have had performances or exhibitions canceled or postponed because of the COVID-19 virus.

Jazz Foundation of America
The Jazz Foundation’s Musicians’ Emergency Fund provides housing assistance, pro bono medical care, disaster relief and direct financial support in times of crisis.

Rauschenberg Emergency Grants Program
New York Foundation for The Arts has partnered with the Robert Rauschenberg Foundation to administer a new emergency grant program that will provide one-time grants of up to $5,000 for medical emergencies. The grants are available to visual and media artists and choreographers who are U.S. citizens or permanent residents in the United States, District of Columbia, or U.S. Territories.

SAG-AFTRA Foundation COVID-19 DISASTER FUND
The SAG-AFTRA Foundation and the SAG-AFTRA Motion Picture Players Welfare Fund (MPPWF) have created the COVID-19 Disaster Fund that is now available to eligible SAG-AFTRA members who have been impacted by this pandemic.

Sound Girls
Sound Girls, an organization that supports women working in professional audio and music production, is compiling a list of resources to utilize during this forced downtime and unemployment. From best business practices, career development, continuing education, and side hustles to get you through this trying time.

Sweet Relief Musicians Fund
Sweet Relief Musicians Fund provides financial assistance to all types of career musicians and music industry workers who are struggling to make ends meet while facing illness, disability, or age-related problems.

American Association of Independent Music
A2IM is surveying indie music companies about how the coronavirus pandemic is disrupting their businesses. The results will inform the organization’s discussions with the New York Mayor’s Office of Media and Entertainment, as well as its investigations of federal assistance programs.

American Guild of Musical Artists Relief Fund
Any AGMA member in good standing is invited to apply for financial assistance under the AGMA Relief Fund, which has temporarily doubled the amount of assistance available to those in need during the coronavirus pandemic.

Artist Relief Tree
Anyone who is an artist can request funds from the Artist Relief Tree, which plans to fulfill every request with a flat $250 on a first-come-first-serve basis. The fund is currently not accepting new requests until it can secure more funding, but if you would like to be informed if and when the opportunity becomes available again, click here.

AudioAssemble.com
AudioAssmeble.com has put together a list of online remote opportunities for musicians that are available for U.S.-based musicians during the COVID-19 outbreak. Their financial resources page has short-term and long-term job opportunities, as well as governmental resources to help musicians generate revenue.

Blues Foundation HART Fund
The HART Fund helps underinsured or uninsured blues musicians and their families in financial need due to a range of health concerns.

COVID-19 Music Production Response Group*
A Facebook group meant as an “open forum for constructive debate about the effects of COVID-19 on music production industry professionals,” according to administrators. Its nearly 4,000 members (as of March 18) are sharing news updates, suggested actions, job opportunities and other resources.

Equal Sound Corona Relief Fund*
Equal Sound, an organization that strives to break down traditional genre boundaries through events and advocacy, is inviting musicians who have lost income due to the pandemic to apply for funds. Applicants must provide proof they had a confirmed concert canceled over the coronavirus to receive the money.

Facebook Small Business Grants Program
In response to the pandemic, Facebook is offering $100 million in cash grants and ad credits for up to 30,000 eligible small businesses around the world, including music and live events businesses. More details to come (you can sign up for updates here). Facebook also has a new Business Resource Hub to help small businesses prepare for and manage disruptions like COVID-19.

Freelance Coop Emergency Fund
The Freelance Coop, which connects creative freelancers with business resources, created an emergency fund for freelancers adversely affected by the pandemic. Examples of funding usage are unexpected childcare costs due to school closures, client cancellations, and medical expenses due to the virus itself. As of March 18, the fund had $35,279 in requests and $5,299.69 raised, and is continuing to call for donations to keep up with demand.

Gospel Music Trust Fund
Individuals working in the gospel music field can submit a request for financial assistance to the Gospel Music Trust Fund, which grants funding in the event “of an emergency or major catastrophe, terminal or severe illness,” according to their website.

Independent Venue Week*
Non-profit organization Independent Venue Week has compiled a list of indie music venues that have launched GoFundMe and other fundraising campaigns to stay afloat during the nation-wide closures.

International Bluegrass Music Association’s BlueGrass Trust Fund
Current or former bluegrass music professionals can apply here for financial grants and loans, which are generally between $500 and $5,000. The association has also created a coronavirus-specific resource page.

Leveler.info
The “peer-to-peer wealth distribution” service is a tool for salaried workers to donate funds across a database of freelancers, service industry and gig economy workers who are impacted by coronavirus health and safety restrictions.

Missed Tour*
Artists and bands who have been displaced from touring due to the pandemic can list their merchandise on this site to help offset lost revenue — with zero charges or fees. Apply to be added to the site here.

Music Health Alliance
The Nashville-based Music Health Alliance provides healthcare support services to uninsured members of the music industry.

Music Maker Relief Foundation
The foundation, which provides ongoing support to American artists 55 and older who live in chronic poverty, also gives out emergency grants to artists in crisis. It is now soliciting donations to ensure the stability of vulnerable elderly musicians during the pandemic.

NOMAD Fundraiser for the Touring Crew (GoFundMe)
Touring manager Frank Fanelli is aiming to raise $20,000 for touring crew members and roadies who have lost income due to gig cancellations and postponements. Donations close at the end of March.

Pinetop Perkins Foundation’s Assistance League
PAL provides financial assistance to elderly musicians for medical and living expenses. Preference is given to blues artists, though musicians in other genres may be eligible depending on available funds.

Small Business Administration Economic Injury Disaster Loan Program
The Small Business Administration has designated COVID-19 as a qualifying event for economic injury disaster loans. However, you must be located in a “declared disaster area” to apply for assistance. Check if your state qualifies here.

Tour Support Free Online Therapy
Tour Support, a mental health nonprofit for the live music industry, is offering independent touring contractors whose tours have been postponed or canceled one month of free online therapy through Better Help.  

Viral Music — Because Kindness is Contagious
Independent musicians are invited to use this more than 21,000-member Facebook support group to connect with music fans. “Use this joint to post links to your merch store, online shows, Patreon, or online music lessons,” organizers write. “If you’ve had a gig canceled, post the city and your Venmo/PayPal -- many of us would love to pass along our ticket refunds to you.”

Resources for Writers in the Time of Coronavirus
As writers, teachers, publishers, and booksellers in local, national, and international communities “grapple with how to proceed in their creative, financial, professional, and personal lives during this time of uncertainty,” POETS & WRITERS has compiled a list of resources.

Queer Writers of Color Relief Fund
Started by Luther Hughes, founder of Shade Literary Arts, this relief fund seeks to “help at least 100 queer writers of color who have been financially impacted by the current COVID-19. Priority will be given to queer Trans women, and queer disabled writers of color. The minimum disbursement is $100, and the maximum is $500.

The New Music Solidarity Fund 
This fund is an artist-led initiative that aims to grant emergency funding to musicians impacted by COVID-19.
The Fund has raised over $130,000, primarily from fellow musicians, composers, and music professionals. At least two hundred and sixty, $500 emergency assistance grants will be made available to applicants who meet the criteria.

American Guild of Musical Artists Relief Fund
Any AGMA member in good standing is invited to apply for financial assistance under the AGMA Relief Fund, which has temporarily doubled the amount of assistance available to those in need during the coronavirus pandemic.

AudioAssemble.com Online Resources For Musicians< br / > The website has compiled a list of online remote opportunities that are available for U.S.-based musicians during the COVID-19 outbreak. Their financial resources page has short-term and long-term job opportunities, as well as governmental resources to help musicians generate revenue. 

Coronavirus: Resources for Property Owners
National Association of Realtors has compiled an online hub of resources for property owners impacted by the global pandemic

The Creator Fund
The fund covers up to $500 per creator to help cover medical, childcare, housing or grocery needs.

Federal Housing Finance Agency’s Mortgage Help for Homeowners Impacted by Coronavirus (COVID-19)
Fannie Mae, Freddie Mac (the Enterprises) and the Federal Home Loan Banks are taking steps to help people who have been impacted by the coronavirus.   If your ability to pay your mortgage is impacted, and your loan is owned by Fannie Mae or Freddie Mac, you may be eligible to delay making your monthly mortgage payments for a temporary period

Feeding America
The Feeding America nationwide network of food banks secures and distributes 4.3 billion meals each year through food pantries and meal programs throughout the United States and leads the nation to engage in the fight against hunger.

HART Fund (Handy Artists Relief Trust)
The Blues foundation’s fund helps underinsured or uninsured blues musicians and their families in financial need due to a range of health concerns.

THE INNER LIGHT CHALLENGE
The Material World Foundation, created by George Harrison in 1973, is today donating $500,000 to the MusiCares COVID-19 Relief Fund, Save the Children, and Medecins Sans Frontieres (Doctors Without Borders) charities, which are providing much-needed aid and care during this COVID-19 pandemic. For every person that shares their own “Inner Light” moment on social media using the hashtag #innerlight2020, the MWF will give another $1 to help those affected by COVID-19 (up to $100k.)

Harpo Foundation Visual Arts Grant
This grant provides direct support to under-recognized artists 21 years or older. Amount awarded can be up to $10,000. Application deadline is May 1, 2020

MORE RESOURCES:

Resources For Music Creators & Professionals Affected By COVID-19: East Region
Resources For Music Creators & Professionals Affected By COVID-19: South Region

Recording Academy And MusiCares Establish COVID-19 Relief Fund

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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A Guide To Modern Funk For The Dance Floor: L'Imperatrice, Shiro Schwarz, Franc Moody, Say She She & Moniquea
Franc Moody

Photo: Rachel Kupfer 

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A Guide To Modern Funk For The Dance Floor: L'Imperatrice, Shiro Schwarz, Franc Moody, Say She She & Moniquea

James Brown changed the sound of popular music when he found the power of the one and unleashed the funk with "Papa's Got a Brand New Bag." Today, funk lives on in many forms, including these exciting bands from across the world.

GRAMMYs/Nov 25, 2022 - 04:23 pm

It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown. The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.

Brown's 1965 classic, "Papa's Got a Brand New Bag," became one of the first funk hits, and has been endlessly sampled and covered over the years, along with his other groovy tracks. Of course, many other funk acts followed in the '60s, and the genre thrived in the '70s and '80s as the disco craze came and went, and the originators of hip-hop and house music created new music from funk and disco's strong, flexible bones built for dancing.

Legendary funk bassist Bootsy Collins learned the power of the one from playing in Brown's band, and brought it to George Clinton, who created P-funk, an expansive, Afrofuturistic, psychedelic exploration of funk with his various bands and projects, including Parliament-Funkadelic. Both Collins and Clinton remain active and funkin', and have offered their timeless grooves to collabs with younger artists, including Kali Uchis, Silk Sonic, and Omar Apollo; and Kendrick Lamar, Flying Lotus, and Thundercat, respectively.

In the 1980s, electro-funk was born when artists like Afrika Bambaataa, Man Parrish, and Egyptian Lover began making futuristic beats with the Roland TR-808 drum machine — often with robotic vocals distorted through a talk box. A key distinguishing factor of electro-funk is a de-emphasis on vocals, with more phrases than choruses and verses. The sound influenced contemporaneous hip-hop, funk and electronica, along with acts around the globe, while current acts like Chromeo, DJ Stingray, and even Egyptian Lover himself keep electro-funk alive and well.

Today, funk lives in many places, with its heavy bass and syncopated grooves finding way into many nooks and crannies of music. There's nu-disco and boogie funk, nodding back to disco bands with soaring vocals and dance floor-designed instrumentation. G-funk continues to influence Los Angeles hip-hop, with innovative artists like Dam-Funk and Channel Tres bringing the funk and G-funk, into electro territory. Funk and disco-centered '70s revival is definitely having a moment, with acts like Ghost Funk Orchestra and Parcels, while its sparkly sprinklings can be heard in pop from Dua Lipa, Doja Cat, and, in full "Soul Train" character, Silk Sonic. There are also acts making dreamy, atmospheric music with a solid dose of funk, such as Khruangbin’s global sonic collage.

There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music, Amazon Music and Pandora.

Say She She

Aptly self-described as "discodelic soul," Brooklyn-based seven-piece Say She She make dreamy, operatic funk, led by singer-songwriters Nya Gazelle Brown, Piya Malik and Sabrina Mileo Cunningham. Their '70s girl group-inspired vocal harmonies echo, sooth and enchant as they cover poignant topics with feminist flair.

While they’ve been active in the New York scene for a few years, they’ve gained wider acclaim for the irresistible music they began releasing this year, including their debut album, Prism. Their 2022 debut single "Forget Me Not" is an ode to ground-breaking New York art collective Guerilla Girls, and "Norma" is their protest anthem in response to the news that Roe vs. Wade could be (and was) overturned. The band name is a nod to funk legend Nile Rodgers, from the "Le freak, c'est chi" exclamation in Chic's legendary tune "Le Freak."

Moniquea

Moniquea's unique voice oozes confidence, yet invites you in to dance with her to the super funky boogie rhythms. The Pasadena, California artist was raised on funk music; her mom was in a cover band that would play classics like Aretha Franklin’s "Get It Right" and Gladys Knight’s "Love Overboard." Moniquea released her first boogie funk track at 20 and, in 2011, met local producer XL Middelton — a bonafide purveyor of funk. She's been a star artist on his MoFunk Records ever since, and they've collabed on countless tracks, channeling West Coast energy with a heavy dose of G-funk, sunny lyrics and upbeat, roller disco-ready rhythms.

Her latest release is an upbeat nod to classic West Coast funk, produced by Middleton, and follows her February 2022 groovy, collab-filled album, On Repeat.

Shiro Schwarz

Shiro Schwarz is a Mexico City-based duo, consisting of Pammela Rojas and Rafael Marfil, who helped establish a modern funk scene in the richly creative Mexican metropolis. On "Electrify" — originally released in 2016 on Fat Beats Records and reissued in 2021 by MoFunk — Shiro Schwarz's vocals playfully contrast each other, floating over an insistent, upbeat bassline and an '80s throwback electro-funk rhythm with synth flourishes.

Their music manages to be both nostalgic and futuristic — and impossible to sit still to. 2021 single "Be Kind" is sweet, mellow and groovy, perfect chic lounge funk. Shiro Schwarz’s latest track, the joyfully nostalgic "Hey DJ," is a collab with funkstress Saucy Lady and U-Key.

L'Impératrice

L'Impératrice (the empress in French) are a six-piece Parisian group serving an infectiously joyful blend of French pop, nu-disco, funk and psychedelia. Flore Benguigui's vocals are light and dreamy, yet commanding of your attention, while lyrics have a feminist touch.

During their energetic live sets, L'Impératrice members Charles de Boisseguin and Hagni Gwon (keys), David Gaugué (bass), Achille Trocellier (guitar), and Tom Daveau (drums) deliver extended instrumental jam sessions to expand and connect their music. Gaugué emphasizes the thick funky bass, and Benguigui jumps around the stage while sounding like an angel. L’Impératrice’s latest album, 2021’s Tako Tsubo, is a sunny, playful French disco journey.

Franc Moody

Franc Moody's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.

Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether.

The Rise Of Underground House: How Artists Like Fisher & Acraze Have Taken Tech House, Other Electronic Genres From Indie To EDC

Living Legends: Billy Idol On Survival, Revival & Breaking Out Of The Cage
Billy Idol

Photo: Steven Sebring

interview

Living Legends: Billy Idol On Survival, Revival & Breaking Out Of The Cage

"One foot in the past and one foot into the future," Billy Idol says, describing his decade-spanning career in rock. "We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol."

GRAMMYs/Nov 25, 2022 - 04:19 pm

Living Legends is a series that spotlights icons in music still going strong today. This week, GRAMMY.com spoke with Billy Idol about his latest EP,  Cage, and continuing to rock through decades of changing tastes.

Billy Idol is a true rock 'n' roll survivor who has persevered through cultural shifts and personal struggles. While some may think of Idol solely for "Rebel Yell" and "White Wedding," the singer's musical influences span genres and many of his tunes are less turbo-charged than his '80s hits would belie.  

Idol first made a splash in the latter half of the '70s with the British punk band Generation X. In the '80s, he went on to a solo career combining rock, pop, and punk into a distinct sound that transformed him and his musical partner, guitarist Steve Stevens, into icons. They have racked up multiple GRAMMY nominations, in addition to one gold, one double platinum, and four platinum albums thanks to hits like "Cradle Of Love," "Flesh For Fantasy," and "Eyes Without A Face." 

But, unlike many legacy artists, Idol is anything but a relic. Billy continues to produce vital Idol music by collaborating with producers and songwriters — including Miley Cyrus — who share his forward-thinking vision. He will play a five-show Vegas residency in November, and filmmaker Jonas Akerlund is working on a documentary about Idol’s life. 

His latest release is Cage, the second in a trilogy of annual four-song EPs. The title track is a classic Billy Idol banger expressing the desire to free himself from personal constraints and live a better life. Other tracks on Cage incorporate metallic riffing and funky R&B grooves. 

Idol continues to reckon with his demons — they both grappled with addiction during the '80s — and the singer is open about those struggles on the record and the page. (Idol's 2014 memoir Dancing With Myself, details a 1990 motorcycle accident that nearly claimed a leg, and how becoming a father steered him to reject hard drugs. "Bitter Taste," from his last EP, The Roadside, reflects on surviving the accident.)

Although Idol and Stevens split in the late '80s — the skilled guitarist fronted Steve Stevens & The Atomic Playboys, and collaborated with Michael Jackson, Rick Ocasek, Vince Neil, and Harold Faltermeyer (on the GRAMMY-winning "Top Gun Anthem") —  their common history and shared musical bond has been undeniable. The duo reunited in 2001 for an episode of "VH1 Storytellers" and have been back in the saddle for two decades. Their union remains one of the strongest collaborations in rock 'n roll history.

While there is recognizable personnel and a distinguishable sound throughout a lot of his work, Billy Idol has always pushed himself to try different things. Idol discusses his musical journey, his desire to constantly move forward, and the strong connection that he shares with Stevens. 

Steve has said that you like to mix up a variety of styles, yet everyone assumes you're the "Rebel Yell"/"White Wedding" guy. But if they really listen to your catalog, it's vastly different.

Yeah, that's right. With someone like Steve Stevens, and then back in the day Keith Forsey producing... [Before that] Generation X actually did move around inside punk rock. We didn't stay doing just the Ramones two-minute music. We actually did a seven-minute song. [Laughs]. We did always mix things up. 

Then when I got into my solo career, that was the fun of it. With someone like Steve, I knew what he could do. I could see whatever we needed to do, we could nail it. The world was my oyster musically. 

"Cage" is a classic-sounding Billy Idol rocker, then "Running From The Ghost" is almost metal, like what the Devil's Playground album was like back in the mid-2000s. "Miss Nobody" comes out of nowhere with this pop/R&B flavor. What inspired that?

We really hadn't done anything like that since something like "Flesh For Fantasy" [which] had a bit of an R&B thing about it. Back in the early days of Billy Idol, "Hot In The City" and "Mony Mony" had girls [singing] on the backgrounds. 

We always had a bit of R&B really, so it was actually fun to revisit that. We just hadn't done anything really quite like that for a long time. That was one of the reasons to work with someone like Sam Hollander [for the song "Rita Hayworth"] on The Roadside. We knew we could go [with him] into an R&B world, and he's a great songwriter and producer. That's the fun of music really, trying out these things and seeing if you can make them stick. 

I listen to new music by veteran artists and debate that with some people. I'm sure you have those fans that want their nostalgia, and then there are some people who will embrace the newer stuff. Do you find it’s a challenge to reach people with new songs?

Obviously, what we're looking for is, how do we somehow have one foot in the past and one foot into the future? We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol. 

You want to do things that are true to you, and you don't just want to try and do things that you're seeing there in the charts today. I think that we're achieving it with things like "Running From The Ghost" and "Cage" on this new EP. I think we’re managing to do both in a way. 

**Obviously, "Running From The Ghost" is about addiction, all the stuff that you went through, and in "Cage" you’re talking about  freeing yourself from a lot of personal shackles. Was there any one moment in your life that made you really thought I have to not let this weigh me down anymore?**

I mean, things like the motorcycle accident I had, that was a bit of a wake up call way back. It was 32 years ago. But there were things like that, years ago, that gradually made me think about what I was doing with my life. I didn't want to ruin it, really. I didn't want to throw it away, and it made [me] be less cavalier. 

I had to say to myself, about the drugs and stuff, that I've been there and I've done it. There’s no point in carrying on doing it. You couldn't get any higher. You didn't want to throw your life away casually, and I was close to doing that. It took me a bit of time, but then gradually I was able to get control of myself to a certain extent [with] drugs and everything. And I think Steve's done the same thing. We're on a similar path really, which has been great because we're in the same boat in terms of lyrics and stuff. 

So a lot of things like that were wake up calls. Even having grandchildren and just watching my daughter enlarging her family and everything; it just makes you really positive about things and want to show a positive side to how you're feeling, about where you're going. We've lived with the demons so long, we've found a way to live with them. We found a way to be at peace with our demons, in a way. Maybe not completely, but certainly to where we’re enjoying what we do and excited about it.

[When writing] "Running From The Ghost" it was easy to go, what was the ghost for us? At one point, we were very drug addicted in the '80s. And Steve in particular is super sober [now]. I mean, I still vape pot and stuff. I don’t know how he’s doing it, but it’s incredible. All I want to be able to do is have a couple of glasses of wine at a restaurant or something. I can do that now.

I think working with people that are super talented, you just feel confident. That is a big reason why you open up and express yourself more because you feel comfortable with what's around you.

Did you watch Danny Boyle's recent Sex Pistols mini-series?

I did, yes.

You had a couple of cameos; well, an actor who portrayed you did. How did you react to it? How accurate do you think it was in portraying that particular time period?

I love Jonesy’s book, I thought his book was incredible. It's probably one of the best bio books really. It was incredible and so open. I was looking forward to that a lot.

It was as if [the show] kind of stayed with Steve [Jones’ memoir] about halfway through, and then departed from it. [John] Lydon, for instance, was never someone I ever saw acting out; he's more like that today. I never saw him do something like jump up in the room and run around going crazy. The only time I saw him ever do that was when they signed the recording deal with Virgin in front of Buckingham Palace. Whereas Sid Vicious was always acting out; he was always doing something in a horrible way or shouting at someone. I don't remember John being like that. I remember him being much more introverted.

But then I watched interviews with some of the actors about coming to grips with the parts they were playing. And they were saying, we knew punk rock happened but just didn't know any of the details. So I thought well, there you go. If ["Pistol" is]  informing a lot of people who wouldn't know anything about punk rock, maybe that's what's good about it.

Maybe down the road John Lydon will get the chance to do John's version of the Pistols story. Maybe someone will go a lot deeper into it and it won't be so surface. But maybe you needed this just to get people back in the flow.

We had punk and metal over here in the States, but it feels like England it was legitimately more dangerous. British society was much more rigid.

It never went [as] mega in America. It went big in England. It exploded when the Pistols did that interview with [TV host Bill] Grundy, that lorry truck driver put his boot through his own TV, and all the national papers had "the filth and the fury" [headlines].

We went from being unknown to being known overnight. We waited a year, Generation X. We even told them [record labels] no for nine months to a year. Every record company wanted their own punk rock group. So it went really mega in England, and it affected the whole country – the style, the fashions, everything. I mean, the Ramones were massive in England. Devo had a No. 1 song [in England] with "Satisfaction" in '77. Actually, Devo was as big as or bigger than the Pistols.

You were ahead of the pop-punk thing that happened in the late '90s, and a lot of it became tongue-in-cheek by then. It didn't have the same sense of rebelliousness as the original movement. It was more pop.

It had become a style. There was a famous book in England called Revolt Into Style — and that's what had happened, a revolt that turned into style which then they were able to duplicate in their own way. Even recently, Billie Joe [Armstrong] did his own version of "Gimme Some Truth," the Lennon song we covered way back in 1977.

When we initially were making [punk] music, it hadn't become accepted yet. It was still dangerous and turned into a style that people were used to. We were still breaking barriers.

You have a band called Generation Sex with Steve Jones and Paul Cook. I assume you all have an easier time playing Pistols and Gen X songs together now and not worrying about getting spit on like back in the '70s?

Yeah, definitely. When I got to America I told the group I was putting it together, "No one spits at the audience."

We had five years of being spat on [in the UK], and it was revolting. And they spat at you if they liked you. If they didn't like it they smashed your gear up. One night, I remember I saw blood on my T-shirt, and I think Joe Strummer got meningitis when spit went in his mouth.

You had to go through a lot to become successful, it wasn't like you just kind of got up there and did a couple of gigs. I don't think some young rock bands really get that today.

With punk going so mega in England, we definitely got a leg up. We still had a lot of work to get where we got to, and rightly so because you find out that you need to do that. A lot of groups in the old days would be together three to five years before they ever made a record, and that time is really important. In a way, what was great about punk rock for me was it was very much a learning period. I really learned a lot [about] recording music and being in a group and even writing songs.

Then when I came to America, it was a flow, really. I also really started to know what I wanted Billy Idol to be. It took me a little bit, but I kind of knew what I wanted Billy Idol to be. And even that took a while to let it marinate.

You and Miley Cyrus have developed a good working relationship in the last several years. How do you think her fans have responded to you, and your fans have responded to her?

I think they're into it. It's more the record company that she had didn't really get "Night Crawling"— it was one of the best songs on Plastic Hearts, and I don't think they understood that. They wanted to go with Dua Lipa, they wanted to go with the modern, young acts, and I don't think they realized that that song was resonating with her fans. Which is a shame really because, with Andrew Watt producing, it's a hit song.

But at the same time, I enjoyed doing it. It came out really good and it's very Billy Idol. In fact, I think it’s more Billy Idol than Miley Cyrus. I think it shows you where Andrew Watt was. He was excited about doing a Billy Idol track. She's fun to work with. She’s a really great person and she works at her singing — I watched her rehearsing for the Super Bowl performance she gave. She rehearsed all Saturday morning, all Saturday afternoon, and Sunday morning and it was that afternoon. I have to admire her fortitude. She really cares.

I remember when you went on "Viva La Bamback in 2005 and decided to give Bam Margera’s Lamborghini a new sunroof by taking a power saw to it. Did he own that car? Was that a rental?

I think it was his car.

Did he get over it later on?

He loved it. [Laughs] He’s got a wacky sense of humor. He’s fantastic, actually. I’m really sorry to see what he's been going through just lately. He's going through a lot, and I wish him the best. He's a fantastic person, and it's a shame that he's struggling so much with his addictions. I know what it's like. It's not easy.

Musically, what is the synergy like with you guys during the past 10 years, doing Kings and Queens of the Underground and this new stuff? What is your working relationship like now in this more sober, older, mature version of you two as opposed to what it was like back in the '80s?

In lots of ways it’s not so different because we always wrote the songs together, we always talked about what we're going to do together. It was just that we were getting high at the same time.We're just not getting [that way now] but we're doing all the same things.

We're still talking about things, still [planning] things:What are we going to do next? How are we going to find new people to work with? We want to find new producers. Let's be a little bit more timely about putting stuff out.That part of our relationship is the same, you know what I mean? That never got affected. We just happened to be overloading in the '80s.

The relationship’s… matured and it's carrying on being fruitful, and I think that's pretty amazing. Really, most people don't get to this place. Usually, they hate each other by now. [Laughs] We also give each other space. We're not stopping each other doing things outside of what we’re working on together. All of that enables us to carry on working together. I love and admire him. I respect him. He's been fantastic. I mean, just standing there on stage with him is always a treat. And he’s got an immensely great sense of humor. I think that's another reason why we can hang together after all this time because we've got the sense of humor to enable us to go forward.

There's a lot of fan reaction videos online, and I noticed a lot of younger women like "Rebel Yell" because, unlike a lot of other '80s alpha male rock tunes, you're talking about satisfying your lover.

It was about my girlfriend at the time, Perri Lister. It was about how great I thought she was, how much I was in love with her, and how great women are, how powerful they are.

It was a bit of a feminist anthem in a weird way. It was all about how relationships can free you and add a lot to your life. It was a cry of love, nothing to do with the Civil War or anything like that. Perri was a big part of my life, a big part of being Billy Idol. I wanted to write about it. I'm glad that's the effect.

Is there something you hope people get out of the songs you've been doing over the last 10 years? Do you find yourself putting out a message that keeps repeating?

Well, I suppose, if anything, is that you can come to terms with your life, you can keep a hold of it. You can work your dreams into reality in a way and, look, a million years later, still be enjoying it.

The only reason I'm singing about getting out of the cage is because I kicked out of the cage years ago. I joined Generation X when I said to my parents, "I'm leaving university, and I'm joining a punk rock group." And they didn't even know what a punk rock group was. Years ago, I’d write things for myself that put me on this path, so that maybe in 2022 I could sing something like "Cage" and be owning this territory and really having a good time. This is the life I wanted.

The original UK punk movement challenged societal norms. Despite all the craziness going on throughout the world, it seems like a lot of modern rock bands are afraid to do what you guys were doing. Do you think we'll see a shift in that?

Yeah.  Art usually reacts to things, so I would think eventually there will be a massive reaction to the pop music that’s taken over — the middle of the road music, and then this kind of right wing politics. There will be a massive reaction if there's not already one. I don’t know where it will come from exactly. You never know who's gonna do [it].

Living Legends: Nancy Sinatra Reflects On Creating "Power And Magic" In Studio, Developing A Legacy Beyond "Boots" & The Pop Stars She Wants To Work With

Hear All Of The Best Country Solo Performance Nominees For The 2023 GRAMMY Awards
2023 GRAMMYs

Graphic: The Recording Academy

list

Hear All Of The Best Country Solo Performance Nominees For The 2023 GRAMMY Awards

The 2023 GRAMMY Award nominees for Best Country Solo Performance highlight country music's newcomers and veterans, featuring hits from Kelsea Ballerini, Zach Bryan, Miranda Lambert, Maren Morris and Willie Nelson.

GRAMMYs/Nov 23, 2022 - 03:01 pm

Country music's evolution is well represented in the 2023 GRAMMY nominees for Best Country Solo Performance. From crossover pop hooks to red-dirt outlaw roots, the genre's most celebrated elements are on full display — thanks to rising stars, leading ladies and country icons.

Longtime hitmaker Miranda Lambert delivered a soulful performance on the rootsy ballad "In His Arms," an arrangement as sparing as the windswept west Texas highlands where she co-wrote the song. Viral newcomer Zach Bryan dug into similar organic territory on the Oklahoma side of the Red River for "Something in the Orange," his voice accompanied with little more than an acoustic guitar.

Two of country's 2010s breakout stars are clearly still shining, too, as Maren Morris and Kelsea Ballerini both received Best Country Solo Performance GRAMMY nods. Morris channeled the determination that drove her leap-of-faith move from Texas to Nashville for the playful clap-along "Circles Around This Town," while Ballerini brought poppy hooks with a country edge on the infectiously upbeat "HEARTFIRST."

Rounding out the category is the one and only Willie Nelson, who paid tribute to his late friend Billy Joe Shaver with a cover of "Live Forever" — a fitting sentiment for the 89-year-old legend, who is approaching his eighth decade in the business. 

As the excitement builds for the 2023 GRAMMYs on Feb. 5, 2023, let's take a closer look at this year's nominees for Best Country Solo Performance.

Kelsea Ballerini — "HEARTFIRST"

In the tradition of Shania Twain, Faith Hill and Carrie Underwood, Kelsea Ballerini represents Nashville's sunnier side — and her single "HEARTFIRST" is a slice of bright, uptempo, confectionary country-pop for the ages.

Ballerini sings about leaning into a carefree crush with her heart on her sleeve, pushing aside her reservations and taking a risk on love at first sight. The scene plays out in a bar room and a back seat, as she sweeps nimbly through the verses and into a shimmering chorus, when the narrator decides she's ready to "wake up in your T-shirt." 

There are enough steel guitar licks to let you know you're listening to a country song, but the story and melody are universal. "HEARTFIRST" is Ballerini's third GRAMMY nod, but first in the Best Country Solo Performance category.

Zach Bryan — "Something In The Orange"

Zach Bryan blew into Music City seemingly from nowhere in 2017, when his original song "Heading South" — recorded on an iPhone — went viral. Then an active officer in the U.S. Navy, the Oklahoma native chased his muse through music during his downtime, striking a chord with country music fans on stark songs led by his acoustic guitar and affecting vocals.

After his honorable discharge in 2021, Bryan began his music career in earnest, and in 2022 released "Something in the Orange," a haunting ballad that stakes a convincing claim to the territory between Tyler Childers and Jason Isbell in both sonics and songwriting. Slashing slide guitar drives home the song's heartbreak, as Bryan pines for a lover whose tail lights have long since vanished over the horizon. 

"Something In The Orange" marks Bryan's first-ever GRAMMY nomination.

Miranda Lambert — "In His Arms"

Miranda Lambert is the rare, chart-topping contemporary country artist who does more than pay lip service to the genre's rural American roots. "In His Arms" originally surfaced on 2021's The Marfa Tapes, a casual recording Lambert made with Jack Ingram and Jon Randall in Marfa, Texas — a tiny arts enclave in the middle of the west Texas high desert.

In this proper studio version — recorded for her 2022 album, Palomino — Lambert retains the structure and organic feel of the mostly acoustic song; light percussion and soothing atmospherics keep her emotive vocals front and center. A native Texan herself, Lambert sounds fully at home on "In His Arms."

Lambert is the only Best Country Solo Performance nominee who is nominated in all four Country Field categories in 2023. To date, Miranda Lambert has won 3 GRAMMYs and received 27 nominations overall. 

Maren Morris — "Circles Around This Town"

When Maren Morris found herself uninspired and dealing with writer's block, she went back to what inspired her to move to Nashville nearly a decade ago — and out came "Circles Around This Town," the lead single from her 2022 album Humble Quest.

Written in one of her first in-person songwriting sessions since the pandemic, Morris has called "Circles Around This Town" her "most autobiographical song" to date; she even recreated her own teenage bedroom for the song's video. As she looks back to her Texas beginnings and the life she left for Nashville, Morris' voice soars over anthemic, yet easygoing production. 

Morris last won a GRAMMY for Best Country Solo Performance in 2017, when her song "My Church" earned the singer her first GRAMMY. To date, Maren Morris has won one GRAMMY and received 17 nominations overall.

Willie Nelson — "Live Forever"

Country music icon Willie Nelson is no stranger to the GRAMMYs, and this year he aims to add to his collection of 10 gramophones. He earned another three nominations for 2023 — bringing his career total to 56 — including a Best Country Solo Performance nod for "Live Forever."

Nelson's performance of "Live Forever," the lead track of the 2022 tribute album Live Forever: A Tribute to Billy Joe Shaver, is a faithful rendition of Shaver's signature song. Still, Nelson puts his own twist on the tune, recruiting Lucinda Williams for backing vocals and echoing the melody with the inimitable tone of his nylon-string Martin guitar. 

Shaver, an outlaw country pioneer who passed in 2020 at 81 years old, never had any hits of his own during his lifetime. But plenty of his songs were still heard, thanks to stars like Elvis Presley, Kris Kristofferson and Waylon Jennings. Nelson was a longtime friend and frequent collaborator of Shaver's — and now has a GRAMMY nom to show for it.

2023 GRAMMY Nominations: See The Complete Nominees List