The Recording Academy Chicago Chapter played host for The GRAMMYs At Lollapalooza during the festival's 20th anniversary installment from Aug. 5–7 in Chicago's Grant Park. The Chapter conducted exclusive backstage interviews with artists performing at the festival, including UK indie rock sensation Arctic Monkeys and indie pop/rock trio Foster The People.

Arctic Monkeys lead vocalist Alex Turner discussed performing at Lollapalooza, the success of the band's debut album, 2006's Whatever People Say I Am, That's What I'm Not, early musical influences, and the band's rise in popularity on the Internet, among other topics.

"I'm really proud of what that album did," said Turner on the band's debut release. "Not just [because] it sold like hotcakes, but the fact that so many people connected to it in the way that they did. Especially in England, [the album] means so much to the people."

Formed in 2003 in Yorkshire, England, Arctic Monkeys features Jamie Cook (guitar), Matt Helders (drums), Andy Nicholson (bass), and Turner. The band's debut album became the fastest-selling debut album in UK history, producing the hits "I Bet You Look Good On The Dancefloor" and "When The Sun Goes Down." The album peaked at No. 24 on the Billboard 200, and UK online publication NME.com named it the best album of 2006. Favourite Worst Nightmare followed in 2007, peaking at No. 7 on the Billboard 200. The band's third album, 2009's Humbug, topped Billboard's Top Independent Albums chart. Their most recent release, Suck It And See, was released in June, peaking at No. 14 on the Billboard 200. The band is currently on tour throughout the United States, Canada and the UK.

Foster The People — Cubbie Fink (bass), Mark Foster (guitar/keyboards/vocals) and Mark Pontius (drums) — discussed being nominated for the 2011 MTV Video Music Awards, their songwriting process, performing live, plans for the future, and advice for young musicians.

"The most important thing is [to] find your identity and find your sound," said Foster on advice for aspiring musicians. "Don't follow any trends, just do what you like to do and trust that you'll find your audience."

Formed in Los Angeles in 2009, Foster The People combine elements of atmospheric, psychedelic and dance-oriented pop. After garnering significant airplay on Los Angeles alternative radio station KROQ-FM with their single "Pumped Up Kicks," Foster The People released a self-titled EP in January. Released in May, their debut album, Torches, topped Billboard's Rocks Albums and Alternative Albums charts, and peaked at No. 8 on the Billboard 200. The band is currently on tour the United States, Canada and the UK, and plans to begin recording their sophomore album next year.

Come back to GRAMMY.com tomorrow for more exclusive backstage interviews from The GRAMMYs At Lollapalooza.

(The GRAMMYs At Lollapalooza: Videography by Colleen Mares and Thomas Brankin; Interviews by Jackson Abbeduto, Kiana Basu, Liz Gassner, and Max O'Kane)

The GRAMMYs At Lollapalooza 2011: Arctic Monkeys, Atmosphere, Black Cards, Haley Bonar, Cage The Elephant, Cults, Dale Earnhardt Jr. Jr., Deadmau5, Dani Deahl, Deluka, DJ Lady D, Fitz And The Tantrums, Foster The People, Gold Motel, Ellie Goulding, Skylar Grey, Mayer Hawthorne, Kids These Days, Le Butcherettes, Maps & Atlases, My Morning Jacket, Tab The Band, and Young The Giant

For decades, Japanese music has been one of the hardest to access as a foreigner. Even with the popularization of cultural exports like anime and the emergence of streaming platforms, it is still considered a niche, and fans often have to dig deep in order to find albums, translations, or any kind of content at all.

"There weren’t many opportunities for Japanese music to go out into the world until now," says YOASOBI’s producer and songwriter, Ayase, over a Sunday morning Zoom from Tokyo. "If we were to break into the mainstream, I think there’s a lot more work to do. Being a part of Coachella is one of them."

The duo, composed of Ayase, 30, and vocalist Ikura, 23, is gearing up for their first performance at the mighty Californian festival next weekend, plus two sold out headline shows in Los Angeles and San Francisco. In August, they are set to play at Lollapalooza in Chicago, IL. 

"Performing at festivals like Coachella was one of our goals when we put our live team together, so I believe that it will be a place for us to grow further,” says Ikura, who lived in Chicago as a kid and considers these opportunities a "full circle" moment.

Read more: 10 Must-See Artists At Coachella 2024: Skepta, The Last Dinner Party, Mdou Moctar, Cimafunk & More

Formed in 2019, YOASOBI found overnight success with their debut single "Yoru ni Kakeru," a bright-sounding but harrowing tale that topped Billboard’s Japan Hot 100 chart for six non-consecutive weeks. They continued to rise further, recording five EPs (three in Japanese, two in English), the opening theme to Netflix’s anime series "Beastars," 2021’s "Kaibutsu," and their magnum opus so far: "Idol."

Released in 2023, "Idol" became a massive hit, placing No.1 at Billboard's Japan Hot 100 chart for 22 weeks and counting — an all-time record break. It was also the nineteenth best-selling song of 2023 worldwide, according to the IFPI. With these accolades, it’s easy to understand why the duo is fully booked, but what makes their music so enticing to global audiences? 

Listening to YOASOBI is like entering a rabbit hole. First, you get hypnotized by the glistening synths, bursting like fireworks, and the rock riffs taking melodies to full-speed. Then, you discover their adage is "novel into music," and all songs are based on fictional stories written by various authors. There’s also the animated music videos, each with a different style, giving their sounds another layer for interpretation. And finally, there are Ayase’s and Ikura’s (under the name Lilas Ikuta) own solo careers — treasure troves ready to be unearthed.

"I don't know, to be honest," says Ayase when asked about their growing popularity. "I guess the fact that a lot of Japanese [exports] have been prevalent around the world had to do with it. But also, maybe it's because people are experiencing this combination of music with storytelling that is interesting to them." Ikura agrees, adding that YOASOBI allows fans to "enjoy this bigger world that we are part of in a more three-dimensional way."

The experience is similar to how they create their music: mining, collecting, mixing, and transforming different threads into a new fabric. From fictional stories, Ayase transmutes his feelings into beats on his laptop with Logic Pro, then inputs melodies and lyrics through Vocaloid softwares like Hatsune Miku. Ikura listens to the Vocaloid demos, and then adds her own feelings and flair into the interpretations. For English-language tracks, they work with translator Konnie Aoki, who is "very mindful of phonetic sounds," and Ikura listens to the Japanese versions up until it’s time to record, so that she can have "the right emotions set."

It’s such a natural process for them that Ayase is surprised to know that there are still people who don’t consider Vocaloid as "real" music. “Those people probably don’t know what music is,” he says with a laugh. “Do they think that instrumental music, where there's no human singing, isn’t real music? There’s really great Vocaloid music out there, and it’s basically [voices] created through synthesizing softwares. It's very different from AI, which is auto-generated music. Vocaloid is humans creating music using these softwares. That's the only difference from a human singing a song.”

To Ikura, who maintains her burgeoning solo career in tandem with YOASOBI’s busy schedule, Vocaloid allowed her to broaden her talents. "It is my first time singing songs that somebody else wrote, so it was an opportunity to challenge myself with things that I wouldn't necessarily write, or sing in a tone or voice that I wouldn't come up with myself." She says that these experiences influence her solo works all the time, in a "synergy" that allows her to "have more colors to work with in my palette."

"I started producing music through Vocaloids,” adds Ayase. “And it truly broadened my ideas and imagination when it comes to creating music. It allows creators to come up with melodies that a human singer may not come up with. It's a fascinating culture. The possibility I feel is infinite, and it really makes the impossible possible, in a way.”

Read more: It Goes To 11: How One Piece Of Technology Makes YOASOBI's Musical Vision Come To Life

Endless possibilities are also a big allure in AI technologies, but Ayase doesn’t see this as a threat. With the right boundaries, it’s just a tool — like Vocaloid, Logic Pro, and the internet — that can be used positively. "However, as a creator myself, I really hope that creative works come out of the imagination and ideas of the human mind. In that sense, [AI] may not be 100% a positive thing for us," he shares.

But that’s something for the future. Now, YOASOBI is focusing on their very real, very tangible events ahead. "Finally, we have this opportunity where people around the world are discovering our music. So, performing at festivals like Coachella, Lollapalooza, or doing our solo shows, I think it's important that we communicate with the audiences and maximize this opportunity as much as possible," says Ikura.

And it’s not just YOASOBI getting all the attention: according to data and research company Luminate, J-pop in general is on the rise. "I’m very proud, as a Japanese person, for that situation. For us, it’s really about taking it one step at a time," says Ayase. “Our ultimate wish is to have our music or reach as many people around the world as possible, and so we will continue to work hard every day."

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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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Updated Monday, May 22, to include information about the re-air date for "A GRAMMY Salute To The Beach Boys."

"A GRAMMY Salute To The Beach Boys" will re-air on Monday, May 29, at 9 p.m. ET/PT on the CBS Television Network, and will be available to stream live and on demand on Paramount+.

After six decades of game-changing innovation and culture-shifting hits, the Beach Boys stand tall as one of the most legendary and influential American bands of all time.

Now, the iconic band will be honored by the Recording Academy and CBS with a star-studded "Beach Boys party" for the ages: "A GRAMMY Salute To The Beach Boys," a two-hour tribute special featuring a lineup of heavy hitters, including John Legend, Brandi Carlile, Beck, Fall Out Boy, Mumford & Sons, LeAnn Rimes, St. Vincent, Weezer, and many more, who will perform all your favorite Beach Boys classics.

Wondering when, where and how to watch "A GRAMMY Salute To The Beach Boys"? Here's everything you need to know.

When & Where Will The Special Air?

"A GRAMMY Salute To The Beach Boys" will air on Monday, May 29, at 9 p.m. ET/PT on the CBS Television Network, and will be available to stream live and on demand on Paramount+.* A one-hour version of the tribute will air on MTV at a future date to be announced.

Who Will Perform, And What Will They Perform?

The following is a list of artists and performances featured on "A GRAMMY Salute To The Beach Boys":

• Andy Grammer performing "Darlin'"

• Beck performing "Sloop John B"

• Beck & Jim James performing"Good Vibrations"

• Brandi Carlile performing "In My Room"

• Brandi Carlile & John Legend performing "God Only Knows"

• Charlie Puth performing "Wouldn't It Be Nice"

• Fall Out Boy performing "Do You Wanna Dance"

• Foster The People performing "Do It Again"

• Hanson performing "Barbara Ann"

• Norah Jones performing"The Warmth of the Sun"

• Lady A performing "Surfer Girl"

• John Legend performing "Sail on Sailor"

• Little Big Town performing "Help Me Rhonda"

• Luke Spiller & Taylor Momsen performing "Surfin' USA / Fun Fun Fun"

• Michael McDonald & Take 6 performing "Don't Worry Baby"

• Mumford & Sons performing "I Know There's an Answer"

• My Morning Jacket performing "I Get Around"

• Pentatonix performing "Heroes and Villains"

• LeAnn Rimes performing "Caroline No"

• St. Vincent performing "You Still Believe in Me"

• Weezer performing "California Girls" 

Read More: 5 Memorable Highlights From "A GRAMMY Salute To The Beach Boys": Weezer, St. Vincent, John Legend & More

Who Are The Special Guests & Presenters?

In addition to the musical performances, the special features appearances by Drew Carey, Tom Hanks, Jimmy Jam, Elton John, Bruce Springsteen, John Stamos, and Recording Academy CEO Harvey Mason jr.

Beach Boys core members Brian Wilson, Mike Love, Al Jardine, Bruce Johnston, and David Marks are featured guests.

What's The Context For The Special?

Filmed at the iconic Dolby Theater in Los Angeles after the 2023 GRAMMYs, "A GRAMMY Salute To The Beach Boys" airs during the year-long celebration of the Beach Boys' 60th anniversary. Counting more than 100 million records sold worldwide and recipients of the Recording Academy Lifetime Achievement Award, the Beach Boys are one of the most critically acclaimed and commercially successful bands of all time, and their music has been an indelible part of American history for more than six decades.

Keep an eye on GRAMMY.com for more exclusive content leading up to "A GRAMMY Salute To The Beach Boys."

*Paramount+ Premium subscribers will have access to stream live via the live feed of their local CBS affiliate on the service as well as on-demand. Essential tier subscribers will have access to the on-demand the following day after the episode airs.

Watch backstage interviews & exclusive content from "A GRAMMY Salute To The Beach Boys”

Alternative music triumphed in 2022, glistening with ambition, sincerity and yearning.

The Recording Academy introduced several new categories for the 2023 GRAMMY Awards, including an addition to the alternative genre's honors: Best Alternative Music Performance. Together with Best Alternative Music Album, these two categories celebrate the alternative genre's greatest music makers.

In the recently added Best Alternative Music Performance category, Arctic Monkeys are nominated for their down-to-earth track about a doomed relationship "There'd Better Be A Mirrorball," alongside Big Thief's folksy "Certainty" and Florence + The Machine's acute "King," which both examine a precarious future with sharpness and heart. 

Best New Artist nominee Wet Leg's tongue-in-cheek wit shines through on "Chaise Longue." In the same category, the Yeah Yeah Yeahs and Perfume Genius unite with a beautifully ominous quality on "Spitting Off The Edge Of The World."

Embracing visionary eclecticism, the following albums are nominated for Best Alternative Music Album: Arcade Fire's WE, Big Thief's Dragon New Warm Mountain I Believe In You, Björk's Fossora, Wet Leg's Wet Leg, and Yeah Yeah Yeahs' Cool It Down.

Listen to all of the above songs and albums in this comprehensive playlist of the Alternative Music GRAMMY nominees at the 2023 GRAMMYs.

Check it out on Amazon Music. Find out who wins on Music's Biggest Night on Sunday, Feb. 5!

Playlist powered by GRAMMY U.

2023 GRAMMY Nominations: See The Complete Nominees List