When South by Southwest takes over Austin, Texas every spring, the city explodes with culture, new ideas and fresh sounds. Hundreds of artists descend to perform a variety of engaging showcases, intimate sets and show-stopping performances hoping to make their mark.

Since the festival's inception in 1987, the SXSW music showcase has become one of the largest music festivals in the world; everyone from Patti Smith to Childish Gambino to Garth Brooks has been on the bill. But one of the biggest draws of SXSW is the chance for music discovery, as bands from all over the world travel to Austin each year — and this year alone, 1,400 bands will perform throughout the week.

As the 2023 iteration gets into full swing, check out nine buzzing artists appearing at SXSW, including a recent GRAMMY-winning duo, a viral rapper on a victory lap, and popular English music collective rock outfit who is starting to turn heads stateside.

Wet Leg

Performing as part of the British Music Embassy showcase, the curiously named Wet Leg is composed of Rhian Teasdale and Hester Chambers, who spin bright, buoyant pop that reflects an innocence. As a result, their knack for songwriting and performance garnered them two GRAMMYs in February for Best Alternative Music Performance for single "Chaise Longue"  and Best Alternative Album for their eponymous debut (they were also nominated for Best New Artist). As if that weren't enough, their charming hilarity has helped them they've also become TikTok darlings, collecting over 13 million likes on the platform.

"We're just trying to enjoy where we are and where we're going and see what happens," Chambers told GRAMMY.com last year. "I really can't think too far ahead right now — it's a bit scary."

Sans Soucis

Recently singled out by The Hollywood Reporter as a highlight of this year's festival, Italo-Congolese artist Sans Soucis' sound is branded as a "soul-invigorating" artist. They blend a variety of disparate styles — such as Congolese Rumba, R&B and alt-pop — into a tidy and refreshing sonic package, landing somewhere in between Solange and PinkPantheress. Just listen to the effervescent melodies of the standout track "All Over this Party" for evidence of a sharp talent.

"Sometimes I do solo improvisation sessions," they recently said of their songwriting technique. "I just connect pedals to my synth and record random stuff. On another day, I'll start sampling sounds from them." 

Armani White

Hot off his viral track "Billie Eilish," rapper  Armani White rolls into Texas as one of the festival's more well-known featured performers. It's a victory lap that also marks a new chapter for the 26 year-old Philadelphia native who recently released the follow-up single "GOATED," an extension of what he refers to as "happy hood music."

"You see the smile on my face, you see all my jagged teeth and you have no idea what the hell I've been through," he told Notion earlier this year. "That's really what I want to portray – no matter what you go through, you still find a way to stand up and smile."

Divino Nino

Influenced by '60s-era bands including the Beach Boys and the Lovin' Spoonful, Chicago natives Divino Nino trace their roots back to Bogota, Colombia. As a result, the mix of the music of their heritage along with their various influences from the '60s manifest itself in spirited and catchy songs like "XO" and "Drive" which boast both Spanish and English lyrics.

"When I listen to a good song, my body inherits the feelings of that track," said vocalist Javier Forero to the website 15 Questions. "I just become intoxicated and get inspired to dance or make a track that reminds me of those feelings."

Steam Down

Considered a household name in the busy London music scene, the collective Steam Down makes their American debut at SXSW to demonstrate why their star is rising back home. A music collective founded by the producer Ahanse, their debut single, "Free My Skin," promptly set the internet on fire upon its release. Along with now infiltrating the American market, they're currently prepping a highly anticipated debut album.

"How can we live in a more harmonious way?" says Ahnase of his overarching goal to Sussex Jazz Magazine. "How can we create the feeling of what that can be? That inspired what Steam Down is now, which is: how do we start thinking about how music can be the tool for creating harmony between people?"

Balming Tiger

From a London music collective to a South Korean one, Balming Tiger is made up of a ragtag group of creatives (including rapper Omega Sapien and the singer/songwriter Sogumm). Their esoteric production and melodically adventurous songs may make you think of BROCKHAMPTON, but with a K-pop twist. The group heads to SXSW riding high on their biggest success to date, the popular "섹시느낌 SEXY NUKIM" which features BTS member RM and has collected 52 million streams on Spotify alone.

"We are pushing our agenda to broaden the genre of K-Pop," frontman Omega Sapien told High Snobiety last year. "The world is not ready for this part of K-Pop yet. Welcome to the dark side."

Pigs Pigs Pigs Pigs Pigs Pigs Pigs

With a name like that, you could have perhaps guessed that the group is a stoner-rock band. Hailing from Newcastle, England, the eccentric group — also known as Pigs x7 — has been steadily rising since the release of their quirky 2017 debut Feed the Rats, which began a fearless hard-rock reputation. The group rolls into Austin weeks after the release of their fourth album, Land of Sleeper.

"As a band we're constantly playing on the edge of absurdity and absolute commitment to seriousness," guitarist/producer Sam Grant recently told The Line Of Best Fit. "Somehow we're constantly trying to sit in the middle of it..."

The Lemon Twigs

Hailing from Long Island, New York, this duo made up of brothers Brian and Michael D'Addario was born out of a childhood as Broadway performers. Now in their late 20s, the pair later zeroed an artist project of their own and set to release their fourth studio album, Everything Harmony, in May.

As a result of their indie-slash-glam rock sound, the group has won praise from everyone including Iggy Pop and Elton John, the latter of whom raved of the group: "They're so out of left field in their songs. They don't have any rules and that's sometimes the way it should be."

Baseball Gregg

After California native Samuel Regan met Bologna, Italy-born Luca Lovisetto while studying abroad in Italy, the two became musical partners — and now, they're eight years and four studio albums in. The shimmering sounds of Baseball Gregg will be on display all over Austin, including a showcase presented by the Italian Trade Agency. Their music, meanwhile, has inflections of sunny California pop; take for instance "Sad Sandra" which opens with a glistening synth and is complimented by falsetto vocals that joyfully shine like the sun.

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The Recording Academy has been celebrating the 50th anniversary of hip-hop year-round — now, it's joining in the celebration via its bounty of video content.

In honor of hip-hop's 50th Anniversary, GRAMMY.com has created a limited online series, Hip-Hop Re:Defined, a series paying tribute to some of hip-hop's greatest hits. In this new series, artists will perform an original, live cover of a classic hip-hop song. 

This 10-episode series launches on Aug. 9. Armani White, Bizzy Banks and Asha Imuno are among the artists included in Hip-Hop Re:Defined. 

Artists could pick a GRAMMY-winning or -nominated song, but hip-hop was around for 15 years before the Academy made a category for it, so artists were welcome to pick from the entire hip-hop catalog.

Hip-Hop Re:Defined will be posted weekly for six episodes and then begin posting every other week for the remainder of the series. 

Performances will be published to GRAMMY.com, as well as the Recording Academy's YouTube channel, Facebook and Instagram, with additional support from Twitter. Watch this space as this limited series flourishes and develops in service of a quintessential American artform!

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Neil Young once proclaimed that "rock and roll can never die," and while the genre isn't necessarily topping charts or playlists today, there are signs that rock music is coming back in a big way. In 2023, Neil's truth is being upheld by female rockers.  

Long a staple of the form — rock was pioneered by a woman, Sister Rosetta Tharpe, iterated on by female-led groups like Heart and Jefferson Airplane, revived and reformed by the likes of Bikini Kill, and onward to Paramore — women's contributions to rock remain less feted than those of their male counterparts. 

Yet female rockers and female-led bands are resonating with today’s younger audiences in big ways, following a culture shift that has resulted in more space for young women to express themselves. Gen-Z and younger millennial artists such as Billie Eilish, Olivia Rodrigo and boygenius are known for their honest lyricism; it’s only natural that they’ve gravitated toward the fiery release of rock to further reflect their own individual experience.

Eilish’s GRAMMY-nominated breakup anthem "Happier Than Ever" invokes the classic rock format of beginning acoustic and swelling into an epic band finish complete with a guitar solo and a final 20 seconds of feedback-driven noise. Rodrigo has several rock songs on her smash hit debut album SOUR including "good 4 u," another enraged breakup song with emo tinges that is currently sitting at 1.7 billion streams on Spotify. 

Finally, while the debut album from boygenius, the record, is mostly in the indie wheelhouse of members Phoebe Bridgers, Julien Baker, and Lucy Dacus, the single "$20" is an alt-meter rock song. The trio details the stories of early youth wherein all it takes to avoid responsibility is $20; Bridgers literally screams her request for money at the song's close.

But how to define rock —  is it a feeling or an attitude? A sound or a set of instruments? For the purposes of this list, rock is categorized as guitar-forward and band-based. First and foremost, guitar is at the forefront — generally distorted, though an acoustic or clean sound can lend an upbeat energy or psychedelic quality. Second, rock is a band genre, even if a group is named after one person, the band creates real cohesion (e.g. the Jimi Hendrix Experience, Steve Miller Band).  In 2023, women are leading the hell out of these bands.

Read on for a list of rising artists whose sound and spirit rock.

Wet Leg

As Wet Leg, Rhian Teasdale and Hester Chambers took home a number of golden gramophones at the 2023 GRAMMYs: Best Alternative Music Album for their self-titled debut, and Best Alternative Music Performance for "Chaise Longue." 

Although they didn’t win in the "rock" categories, their guitar-driven success defines the current generation of rock music (to the point that they even beat out well-established acts like Arctic Monkeys and Yeah Yeah Yeahs).

Utterly simple in its song form, "Chaise Lounge"  captures Gen Z's disillusionment about college, viewing it as more of a gateway to light-hearted debauchery than a path to vocational freedom. Then they tear through the disillusionment with a high-energy, limb-shaking guitar riff.

Gretel Hänlyn

Rock and roll was certainly invented by Black American artists, but British musicians have consistently innovated and expanded the genre —  from the Beatles launching the British invasion, to Sabbath morphing rock into heavy metal, to Pink Floyd’s exploration of progressive psychedelia. Coming out of London, Gretel Hänlyn (pronounced hen-line) is upholding all the best traditions of British rock. 

Hänlyn explores every current corner of rock on her recently released EP, Head of the Love Club, and her previous, Slugeye. 

With a uniquely deep and resonant tone, Hänlyn has the power and versatility of a crooner. That ability defines the sound of "Dry Me" and other works throughout Hänlyn's catalog. She alters her delivery to befit the yelping and joyful side of rock on "King of Nothing" as well as the seething and scary side on "Drive." 

BRATTY

Coming out of Sinaloa Mexico, BRATTY is one of the female rock artists playing Coachella 2023, sharing her invigorated brand of the languorous sound of surf rock.

BRATTY's seaside exploits surely influenced the loungey and chilled-out feel of songs like "Honey, No Estás" and "tarde." With swells and sustains that are reminiscent of ocean sounds, BRATTY’s music transcends language barriers. 

Given that the festival has been without a major rock headliner since Guns ‘N Roses in 2016, the rock artists on the lineup this year are there to demonstrate the lifeblood of the genre. BRATTY’s contribution demonstrates that rock can be slower, softer, and just as effective. 

Olivia Jean

Olivia Jean isn’t just a former member of Jack White’s touring band. She’s not just his wife, either. She’s an artist all on her own, and she rocks hard. 

As a solo artist, Jean has released two albums, an EP, and a single on White's Third Man Records. Prior to that, she was releasing on the label via The Black Belles, her all-female garage-goth project, which put out a self-titled album in 2011 along with four singles.

Jean’s fingerprints go even deeper into the Third Man archives via her session contributions to different releases like Tom Brosseau and John C. Reilly’s seven-inch single, Gonna Lay Down My Old Guitar.

No matter where she’s lent her vocal and instrumental talent, her loud yet bubbly sound is a welcome addition to the catalog.

Jean’s forthcoming album, Raving Ghost, (out May 5 on Third Man), and its first single, "Trouble," touches on all the traditional rock favorites like pentatonic power chords and call-and-response guitar squeals. You can check out Oliva Jean's rock on her American tour in May and June.  

Larkin Poe

Fun fact about the sisters Megan and Rebecca Lovell of Larkin Poe: They are distantly related to Edgar Allen Poe. With that kind of connection, it’s only natural their rendition of rock carries a certain connection to the sounds of generations past. Many of those older sounds of rock and roll stem from their native American South, and manifest in influences of blues and Americana that were born of the same region.

Larkin Poe's Venom & Faith was nominated for Best Contemporary Blues Album at the 2019 GRAMMYs. Grounded in swinging rhythms and twangy notes that have hallmarked the blues since its inception, the Lovells demonstrate their understanding of the music’s roots on a technical and emotional level, alongside their ability to carry the genre into the present.

Their latest album, Blood Harmony, follows the hereditary thread of blues giving birth to rock and roll. Larkin Poe dial back the swing just a bit and turn it up to 11 for hot and distorted tracks like  "Bad Spell," which features guitar breaks that will have Stevie Ray Vaughn jamming along in his grave.

Dutch Mustard

Another product of London, Sarah-Jayne Riedel fronts the just-out-of-the-gate alternative rock band, Dutch Mustard. Last year Dutch Mustard released their debut EP An Interpretation of Depersonalisation, and was quickly featured on BBC, getting airplay on Radio 1’s Future Artists and being selected by none other than rock's enduring sage Iggy Pop on 6 Music.

Dutch Mustard produces a sound that is as dreamy as it is heavy, finding that middle ground in guitar tone between fuzzy and pristine. Then on songs like "Something To You," vocal layering adds a hopeful flavor. Dutch Mustard, like the other artists on this list, make listeners feel hope not just for the band, but for the future of rock.

That future is especially bright considering Riedel wrote all the songs and demoed all the instruments herself in her bedroom before bringing in other musicians. The first EP was written entirely during the first COVID lockdown as well.

With that kind of creativity and versatility coming from her, there is no telling where she’ll take her music as her career moves forward into an open industry.

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GRAMMY U Chicago Representative Kegan Grace contributed to this story.

Another iconic year of South by Southwest has come and gone. And while the dust has settled in Austin, there's still much to reminisce about — from unforgettable live shows, to panels and behind the scenes interviews. 

The Recording Academy’s GRAMMY U team had their boots on the ground during the best events at SXSW Music Festival, held March 13-18. As the team hopped around town and watched a ton of showcases, they also went backstage to chat with artists about their time at SXSW. 

Read on for GRAMMY U's 10 favorite moments from SXSW, and be sure to visit their Instagram for more content from the festival .  

PinkPantheress, Rett Madison, Cafuné & Sueco Are So Satisfying

 PinkPantheress performs at Mala Vida | Lorne Thomson/Redferns

The GRAMMY U team started the week of music discovery at the IMGN x WMG So Satisfying House on March 14. This multi-day activation at bar/venue Mala Vida showcased a ton of music, with experiential photo areas and loads of LEDs displayed throughout.

Different acts took the stage throughout the night, beginning with singer/songwriter Rett Madison, whose powerful voice filled the room. Indie pop duo Cafuné and rapper Sueco followed, switching up the vibe but keeping the energy high. Pink Pantheress closed out the set for the night. Despite singing to a track, the audience sang along with all her viral hits, while other fans peeked over from outside the venue to catch her set.

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The So Satisfying House was also open on March 15 with performances by Tiago PZK, Pheelz, Rini and Elena Rose.

Life (And Career) Lessons From New Order, Killer Mike & More

Killer Mike | Rick Kern/FilmMagic

In the panel "A Songwriter’s Guide to Branding: The Power of No," moderator Evan Bogart, Seeker Music CEO and Recording Academy Songwriter and Composers Wing Chair, spoke with Bonnie McKee, Larry Waddell, and electropop artist/producer MNDR about the ways projects can affect your brand. A songwriter's brand can manifest in many ways, and the projects you take are a reflection of not only the tools you bring to the table, but the type of songwriter you are in a writing session. 

The SXSW Keynote conversation with legendary new wave synth pop group New Order. The British band discussed their lengthy recording history, current tour and what has kept them inspired over 40 years. "There’s something in what you're doing that you enjoy very much, otherwise you wouldn’t enjoy doing it," the band said. "The sense of achievement when you play a really good gig, the audience having a good time is a real boost…. It’s like having a party together."

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At "Introducing Michael: The Man Known as  Killer Mike," the rapper discussed being a thriving Black artist in the industry and how he has embraced his culture. "I have not fully accepted the wealth of knowledge and inspiration from the people who raised me and my culture… I understand how fortunate I am. I move with that intent," he told the audience. "I'm a believer inBlack people. When you hear my music, I'm giving you the power black music gives you when it works. We are capable, we are able. I don't have to be mad at everything or seeking escapism."

Killer Mike also offered wise advice about navigating the industry.  "You're going to have bad karma if you're bad to people," he said. "Leave your ego at the doors and enter a place with conversations that people would love." 

Acoustic Sounds At Antone’s

Brian Sella performs an acoustic set | GRAMMY U

On Wednesday evening, C3 Management brought their talent to the stage at iconic blues venue Antone’s. The crowd clearly was ready to have a great time, as the line for the event was long and out the door. Once inside, the atmosphere was electric and everyone was hyped for the upcoming acoustic sets by their favorite artists.

GRAMMY U caught Brian Sella of the Front Bottoms strumming his indie rock hits as fans sang along word-for-word. Andrew McMahon showed off his expert musicianship and songwriting on the keyboard, inserting funny anecdotes about how some of those songs came to be throughout his set. 

Tomorrow's Stars On The Rise At Bose x NME: C23

Renforshort | Lorne Thomson/Redferns

The Bose x NME: C23 launch party was truly the place to be to witness the future of music. The event featured an incredible outdoor stage and a 15-artist lineup, a fun walkway activation with a panel of all the artists as magazine covers, and swag bags of custom cassettes with all the artists featured that day. 

The pop-rock sounds of Canadian artist renforshort resonated with the crowd, and the singer was feeling comfortable. "I’ve done so many shows, it’s second nature to me. I love [performing] so it masks any anxiety I would typically have," she told GRAMMY U.

Singer/songwriter and bassist Blu DeTiger conquered the stage with her funky grooves and spunky energy. Known for showing off her bass skills in her music, DeTiger notes in an offstage interview "Bass is the best instrument ever. My whole mission as an artist is just to bring the instrument more to the forefront and inspire people to pick it up." 

Later that night, JVKE's piano stylings and steady, recognizable voice drew cheers as he played his hit "Golden Hour." In a backstage interview, JVKE told GRAMMY U that he "always want[s] to give people the 'feels,' whatever the feels are."

Eladio Carrión, Armani White & Deadmau5 Share The Stage

Eladio Carrión | Christopher Polk

This was the second year of Samsung X Billboard’s The Stage at SXSW, and the three-night concert series has become one of the most highly anticipated programs of the week. Rappers 03 Greedo, Lola Brooks, and Armani White kicked off the series at Moody Amphitheatre in Waterloo Park on Thursday. Lil Yachty was set to headline that night, but the event was cut short due to inclement weather.

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The next day, DJ Gabby Got It opened for Latin superstars Eladio Carrión and Feid. Carrión showed his vast range, performing hits "Kemba Walker" and "Tata." Feid followed, keeping the energy of the roaring crowd going with his own hits,  "Yandel 150" and "Hey Mar."

To wrap up The Stage for this year, Billboard brought in Kx5, a new project by electronic music veterans Kaskade and deadmau5 on Saturday night. They hyped up the crowd as they began their set with "Bright Lights" and dropped hit after hit through their hour-long set. 

Chloe Bailey, Remi Wolf & More At The Future of Music

Sudan Archives | Amanda Stronza/Getty Images for SXSW

Rolling Stone hosted the Future of Music, a four-night series featuring more than 20 acts. With a versatile lineup that included Sudan Archives, Remi Wolf and Chloe Bailey, the crowd could not have been more invested in the lineup.

In a backstage interview with Sudan Archives, the self-taught violinist and artist told GRAMMY U that the stress she feels before arriving to SXSW disappears as she sees "how everyone is rushing and working hard to help and make everything be amazing."

SXSW Goes International: SIPHO., Haru Nemuri & LØREN

SIPHO. (center) | Diego Donamaria/Getty Images for SXSW

SXSW is so much bigger than Texas. Artists from around the globe are a part of the festival's programming. 

UK singer/songwriter SIPHO. came across the pond for his first SXSW, showcasing his genre-bending music inspired from great modern R&B artists. Japan's Haru Nemuri attended SXSW for the second time, sharing her musical inspirations of J-pop, experimental pop, and art rock with the crowd.

LØREN, a pop-punk rocker, came from South Korea to attend SXSW for the first time. His past work includes collaborations with BLACKPINK, and singles that have collectively landed more than 14 million YouTube views. 

GRAMMY U interviewed these great international artists. Check out our SIPHO. Interview and Haru Nemuri interview on Instagram where they talk about their craft and inspirations.

The RnB Forever Showcase Highlights Emerging Acts

Hosted at The North Door in collaboration with the Recording Academy's Black Music Collective, the RnB Forever Showcase featured many rising stars. A live band backed all the artists, and the lineup was stacked with a spectrum of R&B sounds. 

Los Angeles-based Kenyon Dixon discussed his new record with GRAMMY U before heading on stage, noting it’s "really classic R&B vibes for fans of the late ‘90s and early 2000s, but also with a more modern [sound]." V. Rose said her favorite part of SXSW is "seeing so many people show up and believing in themselves, it’s so inspiring."

R&B and pop artist Byron Juane, who is also a member of the Recording Academy Atlanta Chapter, added that was thrilled to be "seeing so many talented people through every genre of music…it inspires me to keep living through my dream."

The Recording Academy Shows Out: A Mixer, A Masterclass & A Party

Andrew McMahon | GRAMMY U

The Recording Academy and its chapters hosted its own events throughout the week as well. The Texas Chapter hosted its annual block party in the outdoor garden at the Four Seasons, with hundreds of industry professionals and artists in attendance. Stellar musical acts like Superfonicos, Sugar Joiko and Lupita Infante kept everyone dancing throughout the night.

There was also a special performance by Dakota Cohen, New York Chapter GRAMMY U member and winner of the GRAMMY U Performer National Contest. Cohen and her five-piece band traveled all the way from Berklee College of Music and lit up the stage with her vibrant energy and a stylistic vocal range.

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GRAMMY U's Masterclass Presented by Mastercard featured artist and songwriter Andrew McMahon of Something Corporate, Jack’s Mannequin and Andrew McMahon in the Wilderness. Moderator Taylor Hanson, a GRAMMY-nominated artist and the Texas Chapter Board President, led a discussion about how to navigate a successful long-term career in the music industry. 

The Recording Academy also collaborated with Tunecore to present an industry mixer for artists and industry professionals.

Women That Rock — Onstage And Behind The Scenes

Ava Maybee performs at the Women That Rock day party showcase | Daniel Boczarski/Redferns

Founded by former GRAMMY U New York Chapter Representative Andie Aronow, Women That Rock is a music curation and discovery company that supports up-and-coming women and non-binary musicians. Their Music and Movement Celebration at Cheer Up Charlies featured performances from Cafuné, country singer Katie Toupin, and many others, as well as a pop-up shop of women-owned businesses. 

Women That Rock also held a music industry panel at Athleta, which featured artists and professionals from all backgrounds including Charlotte Rose Benjamin and GRAMMY U Director Jessie Allen. The panel dove deep into self-care for women in the music industry, and the best ways to maximize your impact while maintaining a healthy lifestyle.

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When Rhian Teasdale and Hester Chambers first started making music together, they never imagined their silly tracks would ever be heard — let alone get nominated for GRAMMYs.

It was December 2019, and the two singer/songwriters — now better known as indie rock duo Wet Leg — were in the midst of a six-week long sleepover at Chambers' house in the Isle of Wight, a small island off England's South coast where they both grew up. In between doing cozy activities like baking cookies and following Bob Ross tutorials, the two would stay up in the living room quickly getting out unserious song ideas with Chambers' boyfriend, Joshua Omead Mobaraki, who is now their touring guitarist. 

Two years later, a song birthed from those delirious jam sessions called "Chaise Longue" almost instantly took off. The quirky track hooked listeners with its effortlessly cool post-punk guitar riffs, sardonic vocal delivery, Mean Girls-referencing lyrics, and sexual innuendos. 

The viral popularity of the single — as well as of the other impishly upbeat tracks on the duo's 2022 self-titled debut — has propelled Wet Leg's whirlwind success, which includes landing three nominations at the 2023 GRAMMYs and an opening slot on Harry Styles' tour in the spring. (Their album also received two more GRAMMY nominations, Best Engineered Album, Non-Classical and Best Remixed Recording for the Soulwax Remix of single "Too Late Now," but those nominations go to the engineers and remixers, respectively.)

Though the two first met at Isle of Wight College — where they both studied music and subsequently dropped out — they first set out as individual solo artists. After becoming a little defeated from playing countless gigs with no certain direction, they both decided that they should stop taking things so seriously — and having a friend certainly helped.

"I feel like we're quite encouraging of each other," Chambers tells GRAMMY.com from a hotel room in New York City, where she and her bandmate had just arrived the night before. Teasdale grins, "Sometimes quite aggressively." 

This emphasis on joy and camaraderie has led Wet Leg to writing their most gutsy, hilarious lines ("I went to school and I got the big D," goes one cheeky line on "Chaise Longue") as well as lyrics that capture the modern anxieties of directionless millennials. Any sense of unease is erased when their songs descend into cathartic guitar strums — making the magic of Wet Leg as blissful as it is fun.  

Ahead of the 2023 GRAMMYs, Wet Leg reflect on their unexpected nominations, having retro sensibilities and leaning on goofiness.

Welcome to New York! How are you feeling?

Teasdale: A bit dozy, a bit tired. We went to see LCD Soundsystem [during their residency at Brooklyn Steel] last night. The night before that, we were flying from LA on a red eye. So a little bit weary, but it's good to be in New York. 

Congrats on the GRAMMY noms. How have you been processing them?

Teasdale: Well, it's so weird to see us nominated, for one. Then it's so weird to see us sandwiched between like, Karen O <a href="https://www.grammy.com/artists/yeah-yeah-yeahs/15944">of the [Yeah Yeah Yeahs] and Björk in the Alternative Album [category] — all these really legitimate artists. 

Chambers: It's surreal.

Do you have any hopes of winning?

Chambers: I don't really think it's for us to say. Maybe it's common for musicians to not really think about that part of the music industry. The main thing is that we're getting to make music, it's not really about the wins. To be honest, being in New York and getting to go to all these places and play music — that's the win for us that we're most focused on. 

Teasdale: It would just be nice to go. When we got nominated for the Mercury [Prize], it was just cool to see the show and how it all works. I've always dreamed of going to the Mercurys in particular, since it's Brit-centric. But I wouldn't have even thought, "I want to go to America and go to the GRAMMYs." So long and short of it is, I'm very excited to go and see the ceremonious happenings [Laughs]. 

I know you two met in college, but only started making music together in 2019. When you decided to become a duo, what kind of things did you connect on?

Teasdale: I'd say… fear? [Laughs.] I think when we started Wet Leg, we had just been to see some local bands at Isle of Wight Festival, and we were watching a lot of people playing music kind of nonchalantly and not being scared. We were like, "That looks really fun. Why don't we stop caring? Why don't we have a fun time?" It sounds simple and a little bit dumb, but before we started Wet Leg, both of us made music separately, and it was just scary. 

Chambers: Yeah, scary. I found [myself drifting] into not really wanting to do music when I was by myself. When we started [Wet Leg], I definitely felt this feeling of sunshine [wiggles fingers]. It was a big shift, and it's much easier to face the fear when you're not alone. 

Some of the big themes that stood out to me on the album was being a little dissociative and antisocial, and navigating weird sex stuff. When you were writing the songs, were you stopping to talk about these themes, or was it more fast and intuitive?

Teasdale: No, it was really funny when we finished the album and looked back at the patterns in what all the songs were about. It's funny, it's like a snapshot of that point in life. We were 26 and 27, and for me, I didn't really know what I was doing with my life, career-wise, and I had just been through a big breakup. I was feeling like all my friends around me were getting legit jobs and getting married, and I was just going to the same kind of festivals and parties. I was getting that feeling of like, "OK, maybe it's time to knuckle down and find my way." I guess that kind of all [leaks] it's way in there. But we didn't discuss it, because we also didn't really think that we could make an album. 

Chambers: Or that anyone would listen to it. 

Teasdale: Yeah, so it's gonna be interesting going into writing the second album knowing that we can do it. 

What was the vibe of the writing sessions when you were writing these songs on your debut? Can you set the scene? 

Teasdale: With "Chaise Longue" and "Wet Dream," they were both written off the cuff at Josh and Hester's house, in the living room. They were written quite late at night. 

Chambers: Not even writing for Wet Leg, it was just a fun thing to do.

Teasdale: Yeah, they were just supposed to stay in the folder on the computer and never see the light of day. Those ones were just kind of [born] out of silly energy. Oh, and "Ur Mom" was written in a Hilton hotel in Croydon [England] after a long day shooting an ad for KFC. 

Some of [the songs] were written in solitary, then we sent each other the demos. Then some of it was written together. "Too Late Now" would've been written in a band practice environment. So, there's no set way, which is maybe why the album is so jaggedy.

Watching your music videos, you two are wearing prairie dresses and there are retro television sets. I feel like your aesthetic calls back to an older time. Is there any particular reason?

Chambers: I think we do generally have an appreciation for old things. All of the furniture in our room is secondhand, and we wear a lot of vintage clothing. When we get to a city, we always [search for] vintage clothing shops, it's a really good hobby. Aesthetically, in movies and stuff, it's just comforting. 

Teasdale: I also think it's because we shot most of the videos on the Isle of Wight, where we're from. If you ever go there, it's like it's still the '70s over there. 

Chambers: It's also a nice juxtaposition. Because we're making music now.

Teasdale: Yeah, making music with the times, I suppose. 

In the "Wet Dream" video, you have lobster claws on. How did you think of that as a character?

Teasdale: Me and my friend Emma, who was the stylist I used to work for before we started doing music, were somehow like, "Yeah, let's make some lobster claws." Then we were like, "Should we dress everyone in blue, so it looks kind of cult-y?" I don't know where these ideas came from, it just kind of happened. 

Also, the song is "Wet Dream," so obviously the video had to be very sexy. I think that the only way for me to be able to [perform sexy moves in the video] is put on something goofy, like big lobster claws, to embrace my sexuality. There has to be something offsetting it. I'm getting a bit embarrassed saying that.

That reminds me of one of my favorite lyrics of yours, which is on "Too Late Now," when you say that you don't need someone to tell you to "shave your rat." I like it because it's a little gross and unexpected, since the typical slang word would be "kitty" or "cat." 

Teasdale: Maybe it's a U.K. thing, because when I was growing up, I'd hear things like, "Get your rat out!" Not that I'd call mine my rat, but some boy across the street would shout that at me. 

Growing up on an island, do you think that affects your mentality as a musician? Maybe it feels insular, or like you're in a pressure cooker environment?

Teasdale: Now that we've made some musician friends [who live] off the Isle of Wight, you can see how they fit into a scene and everything that they do, the music industry is right there [watching them]. There's an A&R person like, sniffing around.

Chambers: Whereas on the island, it's not as sizzling. There's not so many venues, and you don't get bands coming into town. You're much more incubated, I think. Pressure cooker is a good way to put it, because there's so many passionate, creative people anywhere you go [on Isle of Wight], but there's less [outside] influence. 

Teasdale: But part of Wet Leg being busy and doing alright is that, all of a sudden, bands from the Isle of Wight — like, Coach Party, for example — can ride the wave a little bit. [We're] kind of drawing peoples' attention to Isle of Wight bands, and that's cool. 

Do you have any goals for the far future?

Teasdale: To do 20 consecutive nights at Brooklyn Steel? Leave all our guitars up and not have to go anywhere. 

Chambers: Yeah, we were saying that it must be so nice that LCD can just pop home once they're done with a gig, wake up in their own beds, and then pop over to the venue and play a show. Touring is also nice, but it's just that traveling definitely makes you a little tired bean, doesn't it? 

I really like gigging and seeing places has been really rad, so we're just trying to enjoy where we are and where we're going and see what happens. I really can't think too far ahead right now — it's a bit scary. 

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