When Los Angeles-based producer and songwriter Ricky Reed appears on Zoom in early August, it feels no different than his new normal pandemic routine. The GRAMMY-winning musician has, since the early days of quarantine here in the U.S., invited fans to take a magnifying glass to his process in regular live streams (cheekily called "Nice Live" in a wink to the name of his record label, Nice Life) with artists, singers, songwriters, producers, instrumentalists, mental health experts and fans alike. The streams have provided an urgent way for a creative community and fandom to gather and support each other when gathering in-person is still inadvisable. They’ve also been a beacon of hope for brighter days ahead.

And the Nice Live streams were not only a window into the world of one of the most in-demand hitmakers in Hollywood—including Lizzo’s "Truth Hurts" and recent beloved collaborations with Maggie Rogers, Halsey, Leon Bridges, Kesha, Camila Cabello and more—but also the springboard Reed needed to help him gather the materials for his first "solo" album in seven years, The Room. Though prior Reed solo material featured his vocals, The Room adopts his new chosen family as contributors and guiding voices throughout, including Bridges, Alessia Cara, Dirty Projectors, My Morning Jacket’s Jim James, Terrace Martin, Kiana Ledé, St. Panther and more.

<style>.embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }</style><div class='embed-container'><iframe src='https://www.youtube.com/embed/W7MVnE4rSgY' frameborder='0' allowfullscreen></iframe></div>

The result is a 10-song album radiating with warmth and hope at a time when we need those things the most. "Real Magic" finds joy and light in the mundane. "Fav Boy" brilliantly pairs Alessia Cara and John-Robert on one of the year’s most connective duets. Bridges and Ledé intertwine emotional vocals on the smooth, stunning "Better." At every turn, The Room does what Reed himself does best: it not only supports its myriad guests, it elevates them to sweeping new heights.

Earlier this month, Ricky Reed spoke with us about The Room, helping Lizzo tell her story for the past half-decade and the lessons we should all be learning from the ongoing global pandemic.

How are things?

We're stable and safe. Seven is the new 10, you know? I was going to say I can't complain, but I don't subscribe to that. I think that everybody should be allowed to grieve the changes to their own life. Empathy is not finite, right? So you can grieve your own situation or the changes in your life, even if you don't have it as bad as other people, and you can still have empathy for them too.

Plus having conversations like this help us unpack those changes. And making music—like you’ve done with this new album, The Room—seems like it’s done that for you too.

I didn't know that I was doing sessions for the album until I was halfway done with it. When the shit hit the fan, just like every other knucklehead in the music industry, I was like, "I know what to do: live stream, along with 1000 of my peers." In an anxious or a depressed state, my response is overfunctioning—planning, checklists, tasks. The live stream started as this... maybe unhealthy outlet that I was using to escape the terror that was all around, and the walls that were caving in.

10 streams in, I was doing this thing where I produce stuff on the spot and talk to people. And I'd gotten a keyboard part from my friend, Terrace Martin, earlier in the day. As I was sitting down for dinner with my family, I texted it to [singer, producer, and instrumentalist] St. Panther and just said, "If you can lay a vocal on this, I'll work on it tonight on the stream. People in the chat can hear your voice. It'd be cool exposure and I just need something to do." I had had a really rough week that week. This was like mid-April, so things were pretty heavy.

I listened to her vocals live on the air for the first time. The combination of the rough time I was having with how transcendent her vocal part was? It brought me to tears in the middle of a live stream. I cried in front of the whole community watching me. It just got me. It may have been the first time that I'd let myself cry since the pandemic had really hit in the States. It let me let my guard down—which as a father can be a really complicated thing.

I worked on the music the rest of that night, and I felt actually relieved. The process was an actual salve for me, as opposed to this escapism overfunctioning I had been doing. I was like, "I need to do more of this because this is actually good for me. And I need to make sure this comes out because if I could share this feeling that I'm having, this need for cracking yourself open, having a good cry or a good honest moment with yourself, and then maybe using that to find a little hope, I need to share this with other people." Over the weeks that would follow, it started to become evident to me that I was making my first album in seven years.

<style>.embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }</style><div class='embed-container'><iframe src='https://www.youtube.com/embed/Rh9NwqAtsIk' frameborder='0' allowfullscreen></iframe></div>

How did that song unlock what became the rest of The Room for you, creatively or otherwise?

I think I realized that live-streaming became a form of therapy for me because of the community that started to gather and galvanize around the music that I was making. They're just really amazing people that show up every week and hang out. I've continued to try to make the process more about tapping in, checking in with yourself and listening to your body. In realizing that it was therapy for me, I tried to let it be therapy for anyone else who needed it.

The music-making didn't change. What did change is that I started to also work on music not during the live streams, because then I had officially been bitten by the bug and things were getting progressively more intense. The heat was rising as we moved into summer, including the untimely death of George Floyd. The social progress movement happening in this country is incredible and long overdue, but obviously with it comes even more heat and tension and the expenditure of emotional energy. So I felt like I had more to say, and I also needed to process. So music-making started happening in the daytime too.

Were you having conversations with yourself about like, "Is now the right time for this?"

Oh yeah, major. It was interesting because this album was made as a response to the pandemic, to put it plainly, and it's something that's given me some respite and some hope, and something that has helped keep me close to my community, my collaborators, my friends.

But there have been a lot of conversations with myself. Why do something, why do this now? Is this of any value? Are you adding to the conversation in any way? A white, cisgendered male putting out his art project in the middle of all this. Is it necessary?

With The Room, I decided that in place of how you would traditionally market an album, we’d put this art to practical use. When we released "Us," we tied it to a campaign which was focused on how lucky we are to still have the ones that we have around. Use this as an excuse to check in on relatives or friends or family you haven't spoken to in awhile. Then we launched the Room-Aid Community Fund with this organization called The Solutions Project. We're raising money for three amazing grassroots community organizations, each of which is tied to one of the singles. All three of these organizations do everything from fighting climate change, to creating green jobs and green spaces, like the Life Garden—all black and Brown and indigenous-owned or led groups.

This album was made by a community of people that I'm really grateful to be a part of. I want to make sure that through the process of telling this story, it's always community first.

<style>.embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }</style><div class='embed-container'><iframe src='https://www.youtube.com/embed/UxAk-J6pSR4' frameborder='0' allowfullscreen></iframe></div>

Your life and career have only continued to blossom and expand since the last time we talked. What does it mean to you now, this many years into such a successful career, to be able to work with newer and underappreciated voices instead of just the A-listers I know you could be pulling into a project like this?

For me, it's music first, but it's also people first. Michael Sneed is a great example. I did the song [album-opener "Shipwreck"] with him, brought him on the live stream, and was like, "This guy is just great." I loved the music and also thought that we would click as people. From a career perspective, I spent a lot of time chasing down the legacy artists. That gives you something to talk about when you're home for Thanksgiving. You can say, "Oh, I worked with famous artist X." Maybe it's a little less cool to go home for Thanksgiving in 2014 and say, "I'm working with this band called twenty one pilots. They're going to be huge.” And they're like, "Oh, that's cool. Do you still talk to Pitbull?"

Everything about working with new artists is so exciting. Seeing St. Panther on the Michelle Obama playlist? That shit goes 10,000 times further for me than congratulations or back-patting from people about working on famous artist XYZ. I live for those moments.

Has the role you play as a producer changed in this all-digital moment—and as you focus on your own project instead of working with and for another artist?

The thing that was cool about doing these records remotely was that the artists are recording in their own spaces, on their own time. I would send most of them anywhere between three and 10 things. "Do any of these speak to you?", as opposed to, "I need you to cut a verse on this song here, and it should be about this." I'd say, "Whatever inspires you. The only rule is to be honest and be current. What are you feeling now?"

What that allowed for is these incredible performances and songwriting that is beyond reproach or critique from me. How am I going to tell an artist, "Be honest, do this at your home on your own time,” and then get it back and say, "Meh." The only times that there was workshopping with the artists would be: they would send me something, I'd say, "Oh my God, that gave me an idea. Well, what if we tried this? What if you pushed that 10% further? What's the idea that we're trying to say here?” Doing things remotely for a project like this was really nice, because it forced me to be hands off.

<style>.embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }</style><div class='embed-container'><iframe src='https://www.youtube.com/embed/UaViqgdEAgs' frameborder='0' allowfullscreen></iframe></div>

You’ve been running full speed for as long as I’ve known you. Did this project allow you to slow down and enjoy the process more, given the circumstances?

I have three small children now—a three-year-old and twin one-year-old boys. Home life is crazy. I have to do basically all my work late at night, but I am a lot more grounded. I'm a lot more centered in myself. And I'm listening to how I feel a lot more than I was for a lot of the last decade. That means some really, really hard days, and it means some really great days. I have a garden here at home that is a pretty big priority of mine. I make popcorn on the stove at three o'clock almost every day.

I almost wish that for the last 10 years I’d had some other things to do besides music, some other things that would help me tune into myself, because the process of making music is a lot more rewarding when you're not just able to be in a studio 12 hours a day. When I get that hour now, oh boy, I'm on fire and it feels great.

Now that we're firmly on the other end of Lizzo's groundbreaking album cycle and ensuing GRAMMY glory, can you sum up what it was like going through that time with her?

Bro. Man. My first number one song was "Truth Hurts." I think it's one of the first times in my career where success felt as good as everyone says it's supposed to feel. It was mind-boggling just to get the news of the nominations, let alone attend the GRAMMYs.

That night, I was in the fifth row, but right on the center aisle. Lizzo opened the show. For people who have never attended the GRAMMYs—most people, and myself until recently—the lights, the sound, the pyro, everything has to be 10000% overblown when you're in the room for it to actually look big and colorful and fun on TV. So to be at the GRAMMYs is a sensory overload, an explosive experience. To be in the fifth row, right on the catwalk, is so explosive that it's hard for your body to even handle what you're getting hit with.

To watch the artist that you signed and helped develop open the GRAMMYs 20 feet away from me with lights, and pyro, and choreography, and blaring music? I felt like my rib cage had split open and there was a beam of light shooting out of me to the sky. I was f**king screaming and tears were streaming down my face—I didn't realize that until afterwards. It was an actual out-of-body experience watching her perform at the GRAMMYs. And then when she thanked me, when she won on stage, I immediately wept. My whole upper body whipped forward uncontrollably and I cried into my hands when she said my name on stage. My body just took control and was overwhelmed by the whole thing. It was one of the most incredible nights of my life.

It's a reminder of why working with new artists is everything and I'm proud for that to be the lifeblood of my career.

<style>.embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }</style><div class='embed-container'><iframe src='https://www.youtube.com/embed/T5TYhoFvPus' frameborder='0' allowfullscreen></iframe></div>

This is the silliest question that anyone has likely ever asked you but: you'll continue working with her as long as she wants you to, right?

Completely. We are definitely continuing to rock, without saying too much. But at the same time, she is a true visionary, and part of what made her last album so special was that she executive produced it. She knew exactly what she wanted and knocked it out of the park, so I'm super stoked to continue being a part of her story and a part of her journey. But it is her story and I'll contribute to it in any way that I can.

You mentioned "Truth Hurts" topping the Hot 100 was the first moment for you when success felt like what people said it would. How do you define success for yourself in 2020?

Success looks like not having fear. Success looks like having real hope. I think being able to be present with my kids and my wife, success means being able to wake up and water the vegetables and make popcorn at three o'clock every day. That's all it is.

I'm not the kind of person that's going to say money isn't everything, or money is overrated. It's just not fair to me that you have to acquire a certain amount of money in this country to feel safe, to feel peace, to have hope, because all the things I'm talking about are things that anybody should be able to do. I hope I'm clear-eyed enough to really understand that my success has allowed me to enjoy these simple things. I just think it's regrettable in this country that to enjoy the little things, to not live in fear, to not live in constant worry, you have to have some amount of money. You have to buy peace of mind. I think that's terrible.

<style>.embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; }</style><div class='embed-container'><iframe src='https://www.youtube.com/embed/uL5kmDTSC1E' frameborder='0' allowfullscreen></iframe></div>

You’ve long been politically active and socially conscious, constantly using your platform to amplify voices and causes for the betterment of the greater good. How can people follow you in stepping up to the plate?

Try to vote in local elections, because when you vote in local elections, it causes you to read up on things and educate yourself about what's happening around you. For me, the big change that needs to happen is: we need to save this planet and to recognize that climate justice and racial justice are the same thing. It's only going to come from a lot of learning and understanding that, regardless of what side of the political spectrum you're on, we need to be pushing our leaders to take care of us—to really be pushing them. Just because the guy on your team wins, it doesn't necessarily mean that they're going to make your life better and it doesn't even mean that they have the ability to make your life better.

It might be laws enacted at the state level, like Gavin Newsom refusing to shut down this leaking gas facility in Southern California that's caused health problems for tens of thousands of people, or Eric Garcetti continuing to allow oil to be drilled in neighborhoods across the street from schools in South L.A. I'm talking about two Democratic leaders. I would vote for them before I'd vote for someone on the other side of the aisle, but I think if we don't really start to pay attention to whether our leaders are taking care of us or not, then we shouldn't expect them to take care of us. They're not going to unless we beat them up a little bit.

Educate yourself as much as you can. Vote. Find some great community organizations or advocacy groups. Man, just get educated. Voting is everything.

Songwriter Justin Tranter On Pride Anthems, Protesting & Pop Superstardom

Hundreds of music professionals gathered Jan. 27 for the Los Angeles Chapter of the Recording Academy’s annual nominee celebration, held at NeueHouse Hollywood. Hailed by Academy CEO Harvey Mason Jr. as the "unofficial kickoff to GRAMMY Week," the event featured performances by three of this year’s nominees from the chapter: Gaby Moreno, Robert Glasper, and Jordin Sparks. 

Chapter Board Vice President Lynne Earls said that the unofficial theme for both the board and the chapter this year is "belonging," and those vibes certainly trickled down to the nominee celebration. People from every part of the recording industry came together to enjoy brunch, have some drinks, and mix and mingle. 

Groups of attendees called out friendly greetings to each other, catching up over mimosas and waffles, and attendees exchanged hugs while clad in everything from cocktail dresses to platform combat boots. Not unlike at the actual GRAMMY Awards, fashion was truly on parade at the nominee celebration. Attendees rocked fully bedazzled suits, bespoke leather jackets, and plush safari print hoodies; at least one crystal-covered clutch resembling an old school cassette was spotted.

While many attendees at the event undoubtedly hope to take home a golden gramophone on Feb. 4, Mason took pains to remind the room that being nominated for the award is just as life-changing. "Being a GRAMMY nominee… that goes with you for your entire life and your entire career. On your bio, it's always going to say ‘GRAMMY nominee,’ and hopefully it's going to say ‘GRAMMY winner.’"

In his remarks, Recording Academy President Panos Panay agreed with Mason but made a special effort to remind attendees that being a member of the GRAMMY family is more than just attending an awards show once a year. 

"We're known for the GRAMMYs, which are the big graduation ceremony … but what's important to know is that the Academy works 365 days a year," he said. "We're here to advocate for the creative class." He encouraged non-member attendees to join the Academy, saying "We really would love to have you become a member of this incredible group of professionals." 

View this post on Instagram

A post shared by Recording Academy / GRAMMYs (@recordingacademy)

Qiana Conley Akinro, the Senior Executive Director of the Recording Academy Los Angeles Chapter, also encouraged attendees to stop into the D.R.E.A.M. Lounge on the second floor of NeueHouse, which had been set up in partnership with Pacific Bridge Arts, Paper Magazine, and Netflix and featured a gifting suite full of Hallmark Mahogany items and a bloom bar by Postal Petals. Several panels were held in the space, which was given the D.R.E.A.M. acronym from the phrase "Diversity Reimagined Engaging All Musicians." Earls talked about her work with Women In The Mix and Academy Proud, while Academy Governor Kev Nish hosted a panel talking about the Gold Music Alliance, which aims to boost the impact of Pan-Asian people within both the GRAMMY organization and the recording industry.

After the panels, various nominees stopped by the D.R.E.A.M. video studio to give testimonials about how they found out they’d been honored. Best Jazz Arrangement, Instrument and Vocals nominee Maria Mendes relayed the importance of being the first Portuguese person nominated for a GRAMMY in the category, as well as her pride in repping her country’s music. Mendes even shouted out the jewelry and fashion designers behind her upcoming GRAMMY ceremony look, both of which are from Mendes’ home country. 

Colombian singer and Best Latin Pop Album nominee AleMor said she’s proud to represent her home country and independent artists. "I'm honored that I get to be here, and I am grateful that I'm alive at the same time as all of the people that are alive now," she told onlookers. "I think music is like invisible medicine, you know, like you listen to a song and it might make you feel good and you have no idea why. We are little magicians in the world, We get to change people's moods, and we get to change the way people see life."

2024 GRAMMY Nominations: See The Full Nominees List

The Los Angeles Chapter Nominee Celebration was made possible by generous support from Premier Sponsor Netflix, Co-Presenting Sponsors Pacific Bridges Arts, Paper Magazine, Official Sponsors SESAC Latin and NeueHouse Hollywood, and Gifting Sponsors Hallmark Mahogany, HYPNO, Fox Dog Productions, the Canadian Consulate, and VYDIA.

Since the start of her career, four-time GRAMMY winner Lizzo has been making music that radiates positive energy. Her Record Of The Year win for "About Damn Time" at the 2023 GRAMMYs proved that being true to yourself and kind to one another always wins.

Travel back to revisit the moment Lizzo won her award in the coveted category in this episode of GRAMMY Rewind. 

"Um, huh?" Lizzo exclaimed at the start of her acceptance speech. "Let me tell you something. Me and Adele are having a good time, just enjoying ourselves and rooting for our friends. So, this is an amazing night. This is so unexpected."

Lizzo kicked off her GRAMMY acceptance speech by acknowledging Prince's influence on her sound. "When we lost Prince, I decided to dedicate my life to making positive music," she said. "This was at a time when positive music and feel-good music wasn't mainstream at that point and I felt very misunderstood. I felt on the outside looking in. But I stayed true to myself because I wanted to make the world a better place so I had to be that change."

As tracks like "Good as Hell" and "Truth Hurts" scaled the charts, she noticed more body positivity and self-love anthems from other artists. "I'm just so proud to be a part of it," she cheered.

Most importantly, Lizzo credited staying true to herself despite the pushback for her win. "I promise that you will attract people in your life who believe in you and support you," she said in front of a tearful audience that included Beyoncé and Taylor Swift in standing ovation, before giving a shout-out to her team, family, partner and producers on the record, Blake Slatkin and Ricky Reed. 

Watch the video above for Lizzo's complete acceptance speech for Record Of The Year at the 2023 GRAMMYs. Check back to GRAMMY.com for more new episodes of GRAMMY Rewind, and be sure to tune into the 2024 GRAMMYs on Sunday, Feb. 4, airing live on the CBS Television Network (8-11:30 p.m. LIVE ET/5-8:30 p.m. LIVE PT) and streaming on Paramount+ (live and on-demand for Paramount+ with SHOWTIME subscribers, or on-demand for Paramount+ Essential subscribers the day after the special airs).

10 Must-See Moments From The 2023 GRAMMYs

The beginning of a new year often results in moments of reflection as well as anticipation about what lies ahead. And with the myriad of feelings that ensue upon New Year's Eve, music serves as a powerful source for both introspection and inspiration.

There are countless songs that give listeners a chance to reflect and resonate with the possibilities of what's yet to come. Whether it's the pulsingly hopeful beat of Jamie xx's "I Know There's Gonna Be (Good Times)," the inspiring narrative of The Notorious B.I.G's "Juicy," or Elton John's pumped-up "I'm Still Standing," a good soundtrack is the perfect catalyst for starting a new year on the right note.

As you envision what the coming year has in store, enjoy this playlist from GRAMMY.com — curated not just to celebrate the moment the clock strikes 12, but to infuse the coming year with inspiration and cheer.

79.5 — "B.D.F.Q"

Inspired by singer Kate Mattison's experiences in Detroit, 79,5's "B.D.F.Q." is about perseverance in the face of a music industry marred by misogyny. Short for "B—, Don't F—ing Quit," "B.D.F.Q." amplifies a mood of independence and strength with the declaration, "They! Don't mean a thing/ Don't mean a thing, just do your thing!" While the message is timeless, "B.D.F.Q." will certainly amp you up for any challenges the new year presents.

The Beatles — "Here Comes The Sun"

Whether you spin the 1969 original or the reinvigorated 2019 mix, the Beatles' "Here Comes The Sun,"  remains a classic symbol of continuation and hope. A track from the Fab Four's iconic Abbey Road album, this George Harrison composition is celebrated for its uplifting melody and serene lyrics that playfully describe a new dawn and brighter days ahead.

Elton John — "I'm Still Standing"

Elton John delivered an upbeat ode to durability and the ability to bounce back with "I'm Still Standing," a 1983 track that resonates 40 years on. Between its catchy melody and John's energetic performance (particularly in the beach-set music video), the song conveys a triumphant message about overcoming challenges and emerging stronger.

"Hamilton" — "My Shot"

Of the many dynamic numbers in Lin-Manuel Miranda's renowned musical "Hamilton," "My Shot" is arguably the most inspirational and universal. A powerfully charged manifesto that embodies ambition and determination — delivered with an electrifying blend of hip-hop and theatrical flair — "My Shot" celebrates seizing opportunities and making a mark. It's a welcome New Year's song choice for those compelled to channel their inner strength and embrace new challenges in the year ahead.

J Balvin — "6 AM" feat. Farruko

This vibrant reggaeton track from J Balvin's 2013 album La Familia encapsulates the spirit of spontaneity. Its infectious beat and catchy lyrics manifest as a celebration of lively nights and the adventures that unfold in the early after hours — hence, the 6 a.m. title. This one's for the night owls, who may see the sun rise at the turn of the new year.

Jamie xx — "I Know There's Gonna Be (Good Times)" feat. Young Thug, Popcaan

"I Know There's Gonna Be (Good Times)" by Jamie xx is as upbeat and optimistic as hip-hop tracks come. Featuring Young Thug and Popcaan, the 2015 track melds elements of dance and reggae for an infectious ode to good times ahead — an enduring NYE sentiment.

Jimmy Chamberlin Complex — "Life Begins Again"

The title track of their 2005 album, "Life Begins Again"  is an intricate and evocative composition that blends elements of jazz and rock with a bit of emo sentiment. The track showcases Jimmy Chamberlin's exceptional drumming prowess while promising that life is cyclical — every day can be the first of your life with the right attitude.

John Lennon — "Just Like Starting Over"

With themes of rekindling love and starting anew, John Lennon's "[Just Like] Starting Over" is a fitting tribute to fresh starts and the enduring power of renewal in all aspects of life. And as the final single released while he was alive, it's a bittersweet testament to Lennon's enduring legacy.

Katy Perry — "Roar"

Katy Perry's "Roar," from her 2013 album Prism, is a proud declaration of self-empowerment and finding one's voice. An electrifying track with a booming chorus and spirited lyrics, it embodies the journey from silence to strength. Its message of embracing one's true self and speaking out makes it an inspiring celebration of new beginnings.

Lisa LeBlanc — "Pourquoi faire aujourd'hui"

For those looking to give themselves a little break as the new year begins, Lisa LeBlanc's "Pourquoi faire aujourd'hui" may be the song for you. A single from her 2021 album Chiac Disco, the energetic, disco-inspired French language track features playful lyrics about procrastination, with its titular line asking, "Why do today what you could do tomorrow?" — starting the year off in laid-back fashion. If tu ne parles pas Français, LeBlanc's catchy dance beats are fuel for a joyful New Year's Eve atmosphere.

Lizzo — "Good As Hell"

Like many of Lizzo's songs, "Good as Hell" captures a vibrant, empowering spirit. It celebrates self-care and resilience in the face of adversity, blending a lively rhythm with Lizzo's dynamic vocals. Its uplifting lyrics and infectious energy encourage a sense of confidence and self-appreciation — a powerful anthem of positivity any time of the year.

Nina Simone — "Feeling Good"

A timeless classic first made famous by Nina Simone, "Feeling Good" is a powerful anthem of rejuvenation and hope. Simone's jazz-infused rendition was released in 1965; its resolute delivery captures a spirit of personal transformation and empowerment, offering an enduring sentiment going into the new year: "It's a new dawn/ It's a new day/ It's a new life for me, ooh/ And I'm feeling good."

Notorious B.I.G. — "Juicy"

Although The Notorious B.I.G.'s "Juicy" is a personal account of the late rapper's rise to the top, the song encapsulates a spirit of triumph that can inspire anyone with a dream. From its bouncy beat to the iconic "If you don't know, now you know" hook, "Juicy" will have you reaching for the stars.

Otis Redding & Carla Thomas — "New Year's Resolution"

Memphis legends Otis Redding and Carla Thomas' aptly titled 1967 album King & Queen is notable for being the final studio release before Redding passed away that December. The album also spawned a NYE classic: "New Year's Resolution." With lyrics that explore the concept of ​​making resolutions and embracing change in the new year. While the song lacks Redding's trademark soulful wail, "New Year's Resolution" is temperate and contemplative — a reprieve from the let-it-all-out powerful Stax sound to ease your way into the new year.

Peter Cat Recording Co. — "Portrait of a Time"

Both modern and nostalgic, Peter Cat Recording Co.'s "Portrait of a Time" blends jazz, and indie rock for an eclectic and nostalgic, introspective jam. The song carries a reflective mood of contemplation and transition, with lyrics that encourage leaving "confusion and darkening clouds" in the past and hopping in the Lamborghini of life for a new wild ride.

Taylor Swift — "New Year's Day"

After all of the bold, empowered statements on Taylor Swift's 2017 album reputation, she closes the LP with a tender, piano-driven ballad that captures the quiet intimacy and hopeful sentiments of a new year. Aptly titled "New Year's Day," the song's reflective and heartfelt lyrics contemplate love and loyalty found in life's fleeting moments. Swift's delicate vocal delivery and the track's gentle melody evoke a sense of warmth and enduring connection, making it a poignant choice to embrace the new year with a sense of closeness.

TikTok's Musical Class Of 2023: 8 Artists Who Transformed Virality Into Stardom, From Tyla to FIFTY FIFTY

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. 

10 Essential Facts To Know About GRAMMY-Winning Rapper J. Cole