Turnstile have deeply entrenched roots in hardcore, a genre and subculture as diametrically opposed to mainstream awards shows as you can possibly get.

But when you ask them about their first set of GRAMMY nominations, they dispense no punk-like opposition — just humility and gratitude.

"It's cool to be just honored from our circle," says Brendan Yates, vocalist for the Baltimore punks, who are up for Best Rock Performance ("Holiday"), Best Metal Performance and Best Rock Song ("Blackout") at the 2023 GRAMMYs. "But [the GRAMMYs represent] a whole other world of musicians, and recognition for things that the music industry does."

Read More: 2023 GRAMMY Nominations: See The Complete Nominees List

This broad-mindedness tracks with the overall aesthetic and vision of Turnstile, who expand the often monochromatic palette of hardcore to include all manner of vivid hues. Their breakout 2021 album GLOW ON contains everything from synths ("Mystery") to spacey balladry ("Alien Love Call," with Blood Orange). It  even receives signals from Sly Stone on "T.L.C. (Turnstile Love Connection), which interpolates "Thank You (Falettin Me Be Mice Elf Again)."

From separate locations in Baltimore — guitarist Pat McCrory, bassist Franz Lyons, and drummer Daniel Fang outdoors in one Zoom window, and Yates in his cozy-looking house in another — Turnstile opened up to GRAMMY.com.

Topics included strange bedfellows of punk and the mainstream, the fellow GRAMMY nominees they're thrilled about, their upcoming arena tour with a reconstituted Blink-182, and why "selling out" is for the birds.

This interview has been edited for clarity.

What was the Turnstile fan community's response to the GRAMMYs news? Obviously, perceptions of prestigious awards shows can wildly vary when it comes to subculture.

Daniel Fang: You know, it's wild, because it might be a selective thing, but I feel this unconditional support that surrounds our band — where they'd still be so happy for anything we could receive, or do. It was full-blown love, and it feels like no matter what, they've always got our back anyway. 

But it was one of those things where you're kind of rejoicing together. When you actually look at the people, anyone at the show,  and see what they're saying or feeling — especially when we made these videos for that whole last tour — it feels like unconditional love somehow. 

And I think it goes both ways, so it's like: Right on, they'll celebrate.

Through a punk lens, what's your relationship to the GRAMMY organization and show?

Franz Lyons: First and foremost, getting any sort of recognition and accolades from something so giant and formal is amazing. 

When you start in a band and your parents are driving you, and you get the van and the trailer, and then you get a bigger van, and then you get the Sprinter — once you've taken all these steps and made it, being recognized on that grand scale is awesome.

And it's sweet that [the Recording Academy] took the time to watch someone do their thing, and then actually put them on a platform to be celebrated along the same lines — these are larger-than-life perks.

Brendan Yates: I feel like I always watched the GRAMMYs growing up, because the only TV I was really watching was music-related things. I was watching music videos all the time — MTV and VH1. 

When the GRAMMYs came on — especially because I didn't have the internet much — I was like, Oh, I can see all these people that I love that are doing music. I could see them act as humans — sitting in the chair and stuff like that. That was kind of cool. And then, as I got older, I always paid attention just to see what was going on — seeing performances. 

When I was younger, if I was playing drums, my mom was like, "Alright, it's 9 o'clock. You have to stop playing drums." "Come on, please, 10 more minutes!" And she'd be like, "Alright, you can play for 10 more minutes, but when you go to the GRAMMYs, you know who you're bringing, right?" I was like, "Yeah, OK, fine, I'll bring you."

She said that believing it, but also, it was kind of a joke. To see that actually come to fruition is kind of a shock, and really just cool all around.

How do these GRAMMY nominations color or frame your goals in the music business, now that they've upped the ante for what you can be recognized for on a global scale?

Pat McCrory: It's kind of wild, because it does seem like one of those things that you never really feel like you'll actively be able to attain. And then, after you're getting nominated for something, you're like: Whoa, OK, hold on. I don't know what's possible.

That's a cool feeling. It busted another door open. I don't even know what's on the other side, but there's no door now.

Fang: First of all, we never had any goals as a band other than to pursue the creative impulses that we all have, and work together and collaborate and make something that we all love, and then share it in as many ways as possible.

We keep having these new doors open, so to speak, and having really fun and fulfilling experiences of being able to make certain kinds of art and tour and play in all these different countries for all different types of people.

And then with the GRAMMYs — it's exactly like how Pat said it — we didn't expect it. I just think it's really exciting to know that unexpected, beautiful things can happen. That sets an unhealthy bar of expectation, but we're looking forward to [the ceremony] and  all the experiences we can share together.

Lyons: A great friend of mine phrased our band as "We like to move forward, not upward."

Yates: There are never expectations for great things — opportunities like that. I think we have had so many amazing opportunities. Sometimes, you play a festival and you're playing to 100,000 people — a sea of people. It's not necessarily that at that moment, everything changes. Since day one, I've always kind of felt the same, even up to this point.

And as Daniel was kind of touching on, the acknowledgements and opportunities are amazing, and I think it's cool to see. I don't think it necessarily changed the trajectory or intention behind the original goal of just creating music we love, and creating environments where we can play the music, and touring, and doing whatever feels right to us.

Read More: Like Turnstile And Code Orange? 10 More Bands Expanding The Boundaries Of Hardcore

"Selling out" used to be heresy in guitar-music circles; now, that concept has eroded to borderline nonexistence. Can you talk about that shift in your world?

Yates: I think things have become so accessible with the internet, and the idea of selling out is something that is so transparent. At the end of the day, I feel like the general idea of it is doing something against your will — selling yourself to do something against what you would want to do, for fame or recognition or money or whatever it is.

As it still exists, when you see someone doing something that's genuinely themselves, any sort of recognition or opportunity is almost more celebrated. You can really see genuinely if someone truly cares about what they're doing and has a lot of intention behind it, and is in touch with what they're doing.

So, I think with the accessibility and transparency of everything, you can see a little bit more about what's going on and decide whether you support it or not.

Fang: I think that's a larger, logical kind of observation of what "selling out" means in the context of punk, especially. But like Brendan was saying, things are so accessible. You can put something on YouTube, Spotify or Bandcamp; you can create with really minimal barriers to access.

So, I think what that results in is people being motivated and inspired by things, rather than seeing this inaccessible platform that seems so far away. I can understand why that can result in resentment or feeling detached from something that felt so intimate and underground and subcultural.

I don't think those ceilings exist anymore, in the same way. People's perception of something they love is because they see it growing, or individuals do something that they like to do. Now, I just think people are inspired by that [more] than anything, and that's amazing.

Lyons: Originality is celebrated, bro.

**Speaking to Rolling Stone, Franz mentioned he's ready to "kick it" for a bit after your tour-intensive 2022. Once you're recharged and reset, what's on the table for the year?**

Yates: Our 2023 definitely has plans. We definitely have plans touring — not as much as [last] year, but there's some select touring. And there's time at home just to be making and living and existing. But, yeah, I think we'll just kind of take it day-by-day.

McCrory: It'll be a nice, busy year, but it will also buy us some time to do what we want. Write music or just sit on your ass, or go out and sit at the beach or in the woods or something. It's been a long couple of years since the world opened back up. 

It'll be a nice combo. I feel like it'll be a traditional mode, where we're out there and doing it a lot. And then there's also the affordable time where you can focus on anything you need to focus on.

What about you, Franz?

Lyons: Uhhh… skate. [Laughs.] Chill back in Ohio. Play music with Dan. Tour with Blink next summer! I mean, it's kind of like the year is going to be some playing shows, some creating. Finding our balance is to do that, but also maintain a healthy standard of living here as well.

Not being shoulder-to-shoulder for six months in a row.

Lyons: I mean, these are my guys. I'm down with the shoulder!

Fang: We all love spending time with each other. But it does have the sacrifice of seeing people at home and maintaining certain relationships. So, I have a lot of rainchecks to attend to — a lot of people I'd like to see, a lot of quality time I'd like to spend with my partner and family.

So, I'm really, really happy we're finding a better balance with that [this] year. It's a good problem to have, but I think it's really good for us to strike a balance.

*Turnstile. Photo: Alexis Gross*

That tour with Blink-182 will be a watershed achievement. What do you think about that, now that it's on the immediate horizon?

Lyons: I'm actually so incredibly down. But they [points to Daniel and Pat] really love that. Obviously, playing a big, giant show is sweet, but playing a show with the band that resonated so hard with my people, and playing with them all summer…

Not to mention that you get to see Blink every night, get to see Travis Barker play drums every night, and you get a whole venue to run around and just be crazy and do whatever — just completely soak up that environment.

Fang: We're pretty gassed up about it. For me, that was the first show I'd been to, so it's another full circle that'll be pretty surreal. Because you get another, different stage to do some wild stuff on, and be yourself for a sector of people, and also be inspired by one of the bands that changed the game.

Yates: It'll be our first arena tour as well. We always love accepting the opportunity to play in different environments — whether it's some field outside, or a basement, or a big festival, or a club venue. So, this will be checking off new territory, in that we're able to play in that environment for a full tour.

Before I let you guys go, what have you been listening to lately?

Lyons: I've been rocking the new SZA record lately.

Fang: JD Beck and DOMi. We're all really excited about them receiving GRAMMY nominations. We really want the world to see them and hear them. I think all of us are really looking forward to seeing how they blossom, because they're both really serious and phenomenal artists.

Yates: Fiddlehead. I've been listening to the new Caroline Polachek song; I'm excited for her album. Our friend Mary Jane Dunphe has a new album coming out; I'm really excited about that. The new Paramore album. [Editor's note: Yates directed a music video for the title track to Paramore's upcoming 2023 album, This is Why.] I'm also excited to see IDLES at the GRAMMYs.

McCrory: I was watching this Netflix documentary about drums last night, so I listened to a lot of Deep Purple yesterday. It's not a new band to shout out, but… shout out!

Brendan Yates On Turnstile's Vibrant New Album Glow On: "The Goal Was To Breathe As Much Imagination Into These Songs As Possible"

Six years after her last solo studio album, Beyoncé returned to the music industry with a bang thanks to RENAISSANCE. In homage to her late Uncle Johnny, she created a work of art inspired by the sounds of disco and house that wasn't just culturally impactful — it was history-making.

At the 2023 GRAMMYs, RENAISSANCE won Best Dance/Electronic Album. Marking Beyoncé's 32nd golden gramophone, the win gave the superstar the record for most gramophones won by an individual act.

In this episode of GRAMMY Rewind, revisit the historic moment Queen Bey took the stage to accept her record-breaking GRAMMY at the 65th Annual GRAMMY Awards.

"Thank you so much. I'm trying not to be too emotional," Beyoncé said at the start of her acceptance speech. "I'm just trying to receive this night."

With a deep breath, she began to list her praises that included God, her family, and the Recording Academy for their continued support throughout her career. 

"I'd like to thank my Uncle Johnny, who is not here, but he's here in spirit," Beyoncé proclaimed. "I'd like to thank the queer community for your love and inventing this genre."

Watch the video above for Beyoncé's full speech for Best Dance/Electronic Album at the 2023 GRAMMYs. Check back to GRAMMY.com for more new episodes of GRAMMY Rewind. 

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).

A Timeline Of Beyoncé's GRAMMY Moments, From Her First Win With Destiny's Child to Making History With 'Renaissance'

Puerto Rican singer/songwriter Pedro Capó made good use of quarantine quiet.  

With the world shut down, Capó carefully crafted his most personal and hands-on album yet, La Neta. That introspection had significant results; while Capó has spent more than a decade  writing for himself and artists like Ricky Martin, his first GRAMMY nomination offered a special validation. 

"I make music because I love it. It's who I am. It motivates me to keep doing what I'm doing," Capó tells GRAMMY.com. "To be considered by the Recording Academy is quite the achievement. It validates my path. It lets me know that I'm on the right track. I'm 43, so it's sweeter when it happens at this point."

Capó's La Neta is nominated for Best Latin Pop Album; its title translates to "The Truth." Capó was indeed operating from a place of truth, if not purity, while creating his sixth album. When stay-at-home orders were put in place in 2020, Capó built a home studio where he wrote, co-produced, and recorded La Neta. Capó often worked with his teenage son to develop the album's aural influences.

Across its 10 tracks, Capó blended the music of his youth that he grew up listening to in New York City with the rhythms from Puerto Rico. The swaggering "Hoy Me Siento Cabrón" fuses elements of grunge with a reggaeton-influenced breakdown. In the funky "FOMO," Capó translates the anxiety from the "fear of missing out" into Spanish. 

At the heart of La Neta is the feel-good "La Fiesta." At a time when people were stuck at home facing the dark reality of mortality, Capó wanted to comfort listeners with a carpe diem anthem reminiscent of Billy Joel. 

Although Capó has had hits before — including the global smash "Calma," which won Song Of The Year at the 2019 Latin GRAMMYs — he sees this GRAMMY nomination as a sign that honesty is the best policy. Ahead of the 66th GRAMMY Awards, Pedro Capó shares the story behind his LP, why La Neta garnered GRAMMY interest, and what's next in his career.

Seventeen years into your music career, how does it feel to receive your first GRAMMY nomination?

Elated. Grateful. [La Neta] was a homemade album. A pandemic album. Made with a lot of heart and very little expectations. It was a pure moment of photographic honesty. 

I'm happy to be embraced by the people first and foremost, and to get the highest of compliments, which comes from my peers. It's the first time I get an Anglo GRAMMY nomination, so it's pretty special seeing my name alongside people like Paul Simon, who have been so influential to me in my career. It's mind blowing. 

What about your sixth album La Neta finally garnered you a GRAMMY nomination?

I think it's honesty. After we had the huge hit with "Calma," I had to go through a process that was very new to me of rediscovery. Do I chase the dragon? Do I replicate the moment? Or do I go back to the studio and do exactly what I did with "Calma," which was to have fun, be honest, and express myself in a pure way? That's what I did. 

It took me back to the New York days where I lived over there and played in bars, the sounds that I used to mess around with. I went back to that aspect of my essence and it paid off. I think the connection level relies on honesty at the end of the day. That's what we did with La Neta alongside Diego Contento and Alexa Zabala. We just had fun in there and we portrayed what was happening, part of my reality at the moment. 

You were fully hands-on with this album as a co-producer and writer. Can you describe the experience of putting this album together?

Amazing! It was the album that I enjoyed the most. That's why it carries such honesty. It's really a byproduct of my walking in life. It was done in my home studio for the first time. The pandemic made me build a home studio in my house so that I can work. 

I spoke with Diego Contento, who hadn't produced before. [He is] a Berklee graduate [and] he worked at George Noriega's studio where I used to record at. I said, "Hey bro, why don't we start messing around in the studio and painting our story?" It was a lot of fun. I'm already working on the next album. La Neta taught me about that path and I definitely want to continue to explore it in such ways. 

Pop music is a very malleable genre. How did you make it your own for this album?

[By] going back to my honesty, my influences, and the things that move me. Funnily enough too, my 18-year-old kid, Jahví, kind of became an A&R of sorts or the musical director. The direction of the album comes from my bond with him. We show each other music. 

Curiously enough, that music that he's into has early '90s alternative as an influence and that's what I used to listen to when I was his age. It made sense to me to follow that direction and reconnect with my teen self and my son who is a teenager. It kept me fresh. I'm so grateful. He's my ears to the ground. 

I grew up listening from salsa and reggae to rap and blues in the New York years — all of that stuff is definitely present there. 

The biggest song from La Neta is "La Fiesta." Why do you think that millions of people have connected with that song dealing with death? 

We all have that in common. We're all going to go there. Even if we are strong in faith and have these rooted beliefs, in reality there's uncertainty. We have all this little bit of anxiety and curiosity about the mystery of that leap. It's the most natural thing in life. 

I spoke from my perspective, while also trying to find that common denominator in the human experience. People related to that, to the reality of the human condition, and also putting it in a light way.  I think we got to have the conversation and ease up a little bit about it. The unavoidable event of our departure is but an invitation to enjoy every second that we have here on this earth. 

You've also written a lot for Ricky Martin, who has won the GRAMMY Award for Best Latin Pop Album twice. What does it mean to you now that you're up for the award? 

It's wild! I remember being 17 or 18 when his Vuelve album came out and blew my mind away. I was also a big fan of Robi Draco Rosa, who was producing a whole bunch of songs on that album. When I walked into the studio to work with Ricky, it was crazy. I'm honored. 

It goes to show — and that I will tell to young artists as well — just stick to it. The possibilities are endless. The drop hits the rock so many times that it might break. I'm happy. Grateful. 

How will you celebrate if you win your first GRAMMY Award?

[By] heading back to the studio. That night I'm sure I'll have some champagne and hug my friends and call my family and celebrate it. [I'll] be present in that moment, but get back to it. 

Music is not only my job or my hobby. It's my way of expression. It's my therapy. It's my playground.

What do you want to achieve or accomplish next?

When I achieve a goal, there's a million more that come to mind. I want to write a musical theater piece. I want to go back to acting and keep growing in that area. 

Just make good music, music that impacts the world in a positive way. The way music has saved my life has been so instrumental in my evolution. I want to pay it forward as well. My channel and my way to contribute is through music. We're going to start releasing singles soon from the new album that we expect to fully drop around August. 

2024 GRAMMY Nominations: See The Full Nominees List

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

After a wildly successful debut and sophomore record, you'd think it was impossible for Harry Styles to top himself. Yet, his third album, Harry's House, proved to be his most prolific yet.

The critically acclaimed project first birthed Styles' record-breaking, chart-topping single, "As It Was," then landed three more top 10 hits on the Billboard Hot 100 with "Late Night Talking," "Music for a Sushi Restaurant" and "Matilda." The album and "As It Was" scored Styles six nominations at the 2023 GRAMMYs — and helped the star top off his massive Harry's House era with an Album Of The Year win.

In this episode of GRAMMY Rewind, revisit Styles' big moment from last year's ceremony, which was made even more special by his superfan, Reina Lafantaisie. Host Trevor Noah (who will return as emcee for the 2024 GRAMMYs) handed the mic to Lafantaisie to announce Styles as the winner, and the two shared a celebratory hug before Styles took the mic.

"I've been so, so inspired by every artist in this category," said Styles, who was up against other industry titans like Beyoncé, Adele, Lizzo and Coldplay. "On nights like tonight, it's important for us to remember that there is no such thing as 'best' in music. I don't think any of us sit in the studio, making decisions based on what will get us [an award]."

Watch the video above to see Harry Styles' complete acceptance speech alongside his collaborators Kid Harpoon and Tyler Johnson. 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).

Here Are The Album Of The Year Nominees At The 2024 GRAMMYs