In the AAPI acronym, "AA" and "PI" are presented in parallel for a reason; it’s paramount to elevate those of Pacific Islander descent just as much as Asian American heritage. Yet, there’s sometimes been an imbalance — and an attendant fight to rebalance those scales.

Consisting of three ethnogeographic groupings — Melanesia, Micronesia and Polynesia — the Pacific Island region covers more than 300,000 square miles of land; as such, those two letters encompass a staggering array of cultures and peoples, from Hawaii and American Samoa to New Guinea and New Zealand.

Accordingly, the wellspring of musics that pours from these islands couldn’t be contained in one article — or a dozen. But a quick look at musicians of Pacific Islander descent currently getting their moment can act as a window into these worlds. 

Some, like Iam Tongi, are operating on a nationally broadcast stage. Others work in quieter, more localized spaces. What they share is profound connections to the Pacific Islands, which are founts of musical brilliance.

Read on for five of them, from vastly divergent genres and traditions.

Iam Tongi

Simon and Garfunkel’s "The Sound of Silence" has resonated far, far past the 1960s; its unflinching gaze into the void is for our time as much as any other. 

In 2016, Disturbed brought it back to television; Hawaiian high school senior Iam Tongi recently did the same thing — on "American Idol." In the process, he even made judge Katy Perry cry.

Tongi is a man who has known darkness well: he had lost his father, Rodney, a few years earlier to kidney disease. The cataclysm has informed his choices of tunes, like James Blunt’s father-son ballad "Monsters" and debut single "I’ll Be Seeing You."

Clearly, Tongi’s emotionally incisive pipes and gripping story have gone a long way: on May 21, he beat out finalists Megan Danielle and Colin Stough, and became the next American Idol — the youngest male winner in the show’s history.

Taimane Gardner

If you didn’t know ukulele virtuosity is a thing, get on board. Taimane Gardner is not just in her own league on the instrument; she’s a captivating performer as well. And on top of that, she’s a masterful songwriter and interpreter. Ukulele, meet your triple threat.

Gardner was born in Honolulu and is of Samoan descent; in the Samoan language, her name translates to "diamond." Indeed, she’s a rare gem, as she can deftly move from Bach to rock to flamenco and back again, all while weaving in impressive original compositions.

In 2022, Gardner released HAWAIKI, an album steeped in her Polynesian heritage — with the loss of her mother in 2018 weighing heavily in the material. 

Therein, the protagonist embarks on a journey of self-discovery "as she goes through Hawaiki, this special island where the gods and goddesses live," Gardner has described. "it's a spiritual place where Polynesians come from and go after they pass."

HAWAIKI may specifically point its arrow at Polynesia, but if there’s one takeaway from Gardner’s artistry, it’s that Pacific Islander music readily perforates boundaries and boxes.

Try The Pie

Further representing Polynesia is the Bay Area downer-punk band Try The Pie, led by Tonga-American vocalist and guitarist Bean Tupou — who also happens to be queer and nonbinary. 

Not only do they kick up an enticing duststorm musically; their psychologically freighted yet economical lyrics truly connect.

"We are not built like walls To hold up structures, to be the glue," Tupou sings in "Every Week," the opening track on their 2015 album Domestication. "I wanna do it all/ I wanna let go and remember you."

Rounded out by guitarist Laine Barriga, bassist Bailey Lupo and drummer Nick Lopez, Try The Pie most recently released A Widening Burst of Forever; on tunes like "Shell," "New Dust" and "3 Swords," their sound and aesthetic bloom like time-lapse flowers. So does the influence of Tupou’s heritage. 

"As a child, I would often wake in the mornings to my father playing guitar and singing Westlian style hymns in Tongan — a ritual I’ve come to miss dearly," Tupou said this year. "As a part of our family’s legacy, I have chosen to write songs and archive my own experience through music."

Kala’e Parish

Native Hawaiian country music? Consider your horizons expanded. Just as American country music celebrates the contiguous U.S.’s working-class South and heartland, Native Hawaiian music is all about island pride. And Kala’e Parish is right at the vanguard of this form.

Parish didn’t start writing his own music, however, until he attended college in Oregon, pursuing a degree in Business Marketing. Upon moving back to Hawaii, his star rose by way of his band Eden Roc.

In 2016, he struck out solo to clamorous applause; his 2020 EP Where I Reside was nominated for EP Of The Year at the Nā Hōkū Hanohano Awards, and he was featured on Kuha’o Maunakea, a compendium of tunes by Hawaii’s top performers.

Parish is still firing on all cylinders, while residing in Waimea. And considering the vitality of tunes like "These Islands," this terrific singer/songwriter has a lot more to say about the islands he hails from. 

"Crystal clear blue waters with a never-ending flow," he sings. "Here we go."

P-Lo

Despite being born and raised in a Filipino American household in the Bay Area, rapper and producer Paolo Rodriguez — better known as P-Lo — successfully transcends the confines of identity in his music.

"I never wanted to take that route and use that Asian thing as a crutch," Rodriguez, who's Filipino, once stated. "People are already going to identify with me 'cause I look like them. I never wanted to use that as a crutch to get where I wanted to be."

Disposing of that "crutch" hasn’t stymied P-Lo one iota. He’s worked with everyone from Wiz Khalifa to Iggy Azalea to Flo Rida; His songs have been featured in visual media from Space Jam: A New Legacy to "Insecure." the tour around his new album, Stunna, takes him across the U.S. until the end of June.

"Always adapt while bringing your own flavor," P-Lo has said, a sentiment which applies to everyone on this list, and emerging AAPI musicians of every stripe. They know and honor their roots. But their roots are just the beginning of the story.

Commonalities, Subtleties & Purpose: 7 Musicians Pushing Ancient Asian Instruments Into The Future

Sheryl Crow may be a nine-time GRAMMY winner and a Rock and Roll Hall of Fame inductee, but her legacy extends far beyond her music. She has dedicated her career to advocating for her fellow artists and social causes close to her heart — and that's why she's one of the honorees at this year's GRAMMYs on the Hill.

On April 30, Crow will be honored at Washington's premier annual celebration of music and advocacy alongside Senator Amy Klobuchar (D-MN) and Senator John Cornyn (R-TX) for their bipartisan spearheading of the Save Our Stages Act and the Fans First Act. The "All I Wanna Do" singer called receiving her GRAMMYs on the Hill award "a tremendous honor…because protecting the rights of creators is more important now than ever before."

Helping creators thrive has long been part of Crow's career. She has made it her lifelong mission to support other artists and stand up for causes she believes in, from co-founding a pioneering advocacy group for musicians to supporting the music program at her alma mater. 

Below, check out five ways Sheryl Crow has exemplified advocacy within the music industry — and beyond — over the course of her career.

The 2024 GRAMMYs on the Hill Awards is sponsored by City National Bank and benefits the GRAMMY Museum.

She Co-Founded The Recording Artists' Coalition

In 2000, Crow and fellow GRAMMY winner (and previous GRAMMYs on the Hill honoree) Don Henley founded the Recording Artists' Coalition. The organization's mission is to represent artists, defending their rights and interests and challenging unfair industry practices. 

One of the advocacy group's first major legislative wins came in its founding year, when then-President Bill Clinton signed a law repealing The Works Made for Hire and Copyright Corrections Act. The provision had designated musical recordings as "works for hire," thereby taking away many artists' rights to royalties.

In 2009, the Recording Artists' Coalition aligned with the Recording Academy to continue the organization's work as part of the Academy's Advocacy and Public Policy office. (Crow is also a member of the Music Artists Coalition, which was founded in 2019 and has a similar mission to protect artists' rights.)

She's Sounded The Alarm About The Dangers Of AI

Crow released her eleventh studio set, Evolution, in March and tackled the topic of artificial intelligence head-on via the LP's ominous title track. "Turned on the radio and there it was/ A song that sounded like something I wrote/ The voice and melody were hauntingly/ So familiar that I thought it was a joke," she sings on the opening stanza before questioning, "Is it beyond intelligence/ As if the soul need not exist?"

The prolific singer/songwriter explained her decision to put her concerns about AI's threat to creativity, songwriting and even artists' ownership over their own voices in an interview on the podcast Q with Tom Power earlier this month.

"It terrifies me that artists can be brought back from the dead; it terrifies me that I can sing to you a song that I had absolutely nothing to do with and you'll believe it," she said. "And so I'm waiting to see if the best of us will rise up and say, 'This cannot be' 'cause our kids need to understand that truth is truth. There is a truth, and the rest of it is non-truth." 

Later in the wide-ranging conversation, Crow added her insight into how technology, social media and the modern streaming economy are all negatively impacting listeners' relationship to music as well. "We need music that tells our story now more than we've ever needed it," she urged. "And yet, we're going to bring in technology — already, algorithms are killing our ability to even not only listen to a whole song, but to experience it at a spiritual level."

She's Championed Racial Equality In The Music Business

Amid the summer of marches, demonstrations and other civil actions in the wake of George Floyd's tragic 2020 murder, Crow used her platform and privilege as a white musician to help shine a light on the plight of Black musicians fighting for equality within the music industry.

"I stand in solidarity with the Black Music Action Coalition in their efforts to end systematic racism and racial inequality in the music business," she wrote in a 2020 social media post. "It is impossible to overestimate the contribution of Black people in our industry; Black culture has inexorably shaped the trajectory of nearly every musical genre. Most artists, myself included, simply would not be here without it. The time to acknowledge this fact is long overdue."

Crow went on to call for the music business to become a "shining example of reform to other industries." She added, "Acknowledging and making amends for both historic and ongoing inequalities, and creating a path forward to ensure they never occur again, is our highest calling."

She's A Charitable Powerhouse

Crow has long made philanthropy a central priority in her life. Along with supporting the Recording Academy's own MusiCares initiative, the "Steve McQueen" singer has backed and partnered with a veritable laundry list of non-profit organizations including, but not limited to, The Elton John AIDS Foundation, the Breast Cancer Research Foundation, the World Food Program, ADOPT A CLASSROOM, Pelotonia, the Delta Children's Home, Stevie Van Zandt's TeachRock Artist Council and more. 

Additionally, she's spoken out countless times about gun violence, Medicaid expansion, women's health, mental health, the death penalty, LGBTQ+ rights, and a host of other issues, particularly affecting Tennessee, where she now calls home. 

The "Soak Up The Sun" songstress has also used her musical talents to give back over the course of her career. In fact, just weeks before releasing Evolution, she contributed to the star-studded 2024 re-release of Mark Knopfler's 1983 debut solo single "Going Home: Theme of the Local Hero" to raise money for the Teenage Cancer Trust.

She Supports Music's Next Generation

A proud alumnus of the University of Missouri, Crow holds a degree in music education and has continually given back to her alma mater's music program in an effort to support the future generations of music makers. 

In 2015, Crow headlined her own benefit concert for the Mizzou School of Music's fundraising campaign, which led to the choral performance and rehearsal hall inside the campus' Jeanne and Rex Sinquefield Music Center being rechristened Sheryl Crow Hall in early 2022. 

As she's achieved veteran status in the music industry, Crow has also made a particular point to uplift and champion young female artists. In 2019, she partnered with TODAY for its "Women Who Rock: Music and Mentorship" series, and in 2020, took part in Citi's #SeeHerHearHer campaign to boost representation of women in music. More recently, she has touted Taylor Swift as a "powerhouse" and offered career advice to her now-frequent "If It Makes You Happy" duet partner, Olivia Rodrigo.

Whether she's inspiring young women or advocating for music creators of all kinds, Sheryl Crow has already left an indelible mark on the music industry. And if her previous efforts are any indication, she's not stopping anytime soon.

GRAMMYs On The Hill Awards 2024: Everything You Need To Know Including Mission, Goals, Honorees & Achievements

Over two decades ago, Kurt Cobain famously declared his unapologetic stance — from supporting gay rights to his skepticism about reality — in Nirvana's 1993 GRAMMY-nominated single "All Apologies."

Cobain probed in the opening verse, "What else should I be?/ All apologies," Cobain questioned in the opening verse. "What else could I say?/ Everyone is gay/ What else could I write/ I don't have the right."

In this episode of ReImagined, alternative newcomer Siiickbrain delivers her rendition of the In Utero track, channeling the '90s aesthetic with a vintage camera. Like Cobain, Siiickbrain uses her songwriting to confront and address her mental health.

"[My struggles with mental health] made me want to speak on it within my music, and it kind of gave me a foundation for what I'm doing," Siiickbrain said in an interview with Kerrang! "It gave me a purpose to write about certain things and bring awareness to how common these feelings are."

On March 29, Siiickbrain released "when i fall," featuring Shiloh Dynasty and No Love For The Middle Child, which she describes to Alternative Press as based on "true events that were written and performed as [No Love For The Middle Child and I] were recovering from the challenges of a relationship while simultaneously creating music together." 

Press play on the video above to hear Siiickbrain's cover of Nirvana's "All Apologies," and remember to check back to GRAMMY.com for more new episodes of ReImagined.

Behind The Scenes With Nirvana Photog Charles Peterson

On April 21, GRAMMY U members and industry professionals gathered at the Times Center in New York City for the 2024 GRAMMY U Conference presented by Amazon Music. 

The GRAMMY U team unfolded an action-packed and motivating day of panels covering everything from Broadway to studio albums with Ben Platt, a performance workshop with Billy Porter, and live music production on late night television with Remi Wolf.

Once members arrived, they jumped straight into professional development workshops and mixers. Attendees visited a career center with activations including a professional headshot station, resume review, and speed networking with local music professionals and members of the Recording Academy. These collaborations allowed for the next generation of music creatives and professionals to gain first-hand experience with mentors across various business sectors and musical genres. 

Mastercard was also a participating sponsor of the 2024 GRAMMY U Conference.

Below are five impactful things we learned from the 2024 GRAMMY U Conference:

Shed Your Armor To Embrace Vulnerability

Rob Kim/Getty Images for the Recording Academy 

After a two-year performance run on Broadway starring in "Dear Evan Hansen," Ben Platt shifted his priority toward making original music and sharing personal storylines.

In "Live! With Ben Platt," moderated by actor and long-time best friend of Platt’s, Beanie Feldstein, the pair discussed Platt’s bold choice to step back from portraying fictional characters on stage, to now releasing original music with his upcoming album Honeymind. 

"The gratification of connecting with your own experiences and seeing people really use the songs in their lives is so infinitely beyond the worries," Platt shared. 

Crossing over from a Broadway stage to pop music, Platt suggested that a key to success is trusting one’s vocal technique and individual sound to translate your perspective.  

Consistently Perfect The Fundamentals

Rob Kim/Getty Images for the Recording Academy 

During the performance workshop "Standing in the Spotlight with Billy Porter," GRAMMY, Emmy, and two-time Tony Award-Winner Billy Porter sat down with SiriusXM Program Director Julie James. They discussed the importance of performance critique in helping artists perfect their craft and captivate audiences, as well as strategies for maintaining overall health while on tour.

Porter mentioned that while critiques are important for artists to continue improving their vocal abilities, knowing how to meet personal needs and goals is just as important.

"As you sift through [critiques], you have the right to choose what’s right for you and what isn’t," Porter said before posing the question, "What notes are good for your vision, and which aren’t?"

Channel Your Inner Celebrity Both On And Off The Stage 

For the first time, the GRAMMY U Conference included a performance workshop in programming and it provided a fresh perspective from the best in the business. GRAMMY U National Membership Representative Roy Gantz sang "Someone to Watch Over Me," accompanied on piano by Tedd Firth, and received real-time feedback from Billy Porter in front of a live audience. 

"From the minute you hit the stage, to when you get to that mic[rophone], it’s about your presence. Keep connecting with us [the audience]," Porter told Gantz.

Porter emphasized the importance of mastering the original melody and musical notations of a song before incorporating riffs and embellishments of popular pieces, and praised Gantz for his advanced technique and interpretation.

"Believe in what you have to offer. In honoring your authenticity, you teach people on the outside how to receive you," Porter advised the audience. 

A Great Musical Takes Time

Photo: Rob Kim/Getty Images for the Recording Academy 

The "Sounds of the Stage" panel conducted a candid conversation about the behind-the-scenes process of composing and writing music for musicals.

"You can’t bring it to the stage until the bones are set, until things are solidified," said David Lai, Co-Founder of Park Avenue Artists. "It’s worth spending the time to use the resources we have to work your material."

Kurt Deutsch, Senior Vice President at Warner Music Entertainment and Theatrical Ventures,  described the nuances of recording a pop album versus a cast performance record which have quick turnaround times. Often, they are recorded in a single day-long session due to budgeting costs for the orchestra and cast members involved. 

The main goal of a cast album is to allow audiences to relive the emotional experience they had in the theater setting, and for newcomers to still be able to relate to the show’s characters and themes through a sonic medium. 

Tony Award-nominated Broadway Producer Christen Price spoke about what she’s most drawn to when beginning a new theatrical project.

"Meaningful storytelling is key [and] music absolutely makes the difference. Content is queen, the story as well as the music," Price said. "Art is supposed to change what you’re doing to the point where you’re thinking about it, it’s influencing you." 

Stay Vocal, Relationships Are Everything

"On the Screen: Performing On Live TV" featured panelists Yeji Cha-Beach, the Music Associate Producer on NBC’s "Late Night with Seth Meyers," Marnie Stern, former member of the 8G Band on "Seth Meyers," and pop recording artist Remi Wolf. Moderated by Siobhan Schanda, the panelists discussed the intricacies of playing on a live TV set including lighting, sound, and design choices. Wolf mentioned her preference for performing with her touring musicians and a live band. 

"Put the music first and try to develop your own style,” Wolf said. "The most I’ve ever felt proud of my work was when I followed my gut.” 

Stern remarked that although socializing and navigating the music industry network did not always come naturally, connecting and playing with other musicians was vital to her success as a live TV musician. She described one of the biggest differences between playing on live television and working on her own recording artistry. 

"You’re selling a commercial product and your job is to entertain," Stern said. "With your own work, your job is to present your feelings and emotions. Everyone is working to further not only the artist but the network." 

Cha-Beach offered guidance for aspiring TV music producers, stating, "Be curious, try as many things as you possibly can. Knowing when to say yes is just as important as knowing when to say no."

It’s safe to say GRAMMY U’s Conference in the Big Apple was a memorable one. If you missed it, catch up on the livestream here.

5 Takeaways From GRAMMY U's Masterclass With Andrew McMahon: Be Bold, Build Bonds & Embrace Your Fears

With each passing year, American audiences are expanding their musical horizons. The star turns of many Latinx artists made splashy headlines in the last 12 months, with 2023 seeing a new record set for most Spanish-language songs reaching the Billboard Hot 100. Afrobeats and amapiano also dominated 2023, culminating in the first-ever award for Best African Music Performance at the 2024 GRAMMYs.

But the increasing popularity of those international sounds are just a few pieces of a larger trend, where artists' a global influences are making a mark on the American listener. When Palestinian-Chilean pop star Elyanna performed "Asabk eshq" on Coachella’s main stage last year, she became the first Arab artist to sing in Arabic at the festival. The set was yet another signal of the ascension of a new wave of music in American pop consciousness.

But if you think Elyanna’s take on pop is the end-all be-all of art from Arab artists, you’re mistaken — but also in luck. Artists from throughout the Arab world are making their mark in pop music and, according to Rolling Stone, the center of the Arab music industry have shifted from Egypt and Lebanon to include artists from North Africa and the Persian Gulf. Arab artists in the American diaspora are similarly broad in their roots and sound, providing listeners with a wealth of aural treasures.

To celebrate Arab American Heritage Month, GRAMMY.com has put together a spotlight on five incredible Arab American acts from a range of styles that deserve your attention year-round. Get to know Lana Lubany, Felukah, Saint Levant, Bayou, and Sahera.

Lana Lubany

Though she’s now based in London after moving there to study music, Lana Lubany’s visceral pop experiments honor and upend her Palestinian American roots. Many songs on her latest project, 2023’s THE HOLY LAND, alternate between English and Arabic at the drop of a hat, and similarly incorporate musical traditions from both cultures (though Lubany is also as likely to pull inspiration from Rosalía and Billie Eilish). The EP’s coming-of-age exploration is a fascinating look at multiculturalism, refusing to be defined by any one facet of her identity.

To top that achievement, Lubany’s most recent single is the sublime "STANNA", a track which carries shades of Timbaland, but also revels in Moroccan-esque vocal dives and choppy synth trills. Crowds in Europe got a chance to revel in that mercurial blend when Lubany opened for eminently buzzy indie act The Last Dinner Party. And while the UK may be catching on first, there’s no doubt that her addictive pop will continue growing a fanbase stateside as well. 

Felukah

Egyptian-born, New York-based Felukah’s latest cements her in the rich tradition of her scene: "Wavy in Brooklyn" is a groovy slice of the city’s storied rap tradition. Sara Elmessiry moved to the Big Apple to study creative writing, and her clever wordplay and lithe flow demonstrate that approach — not to mention the fluidity of the movement of the traditional Egyptian ship she takes her rap moniker from.

"Real Egyptian royalty/ Brown girl divine/ New York in the spring, Egypt in the summertime," she glows on last year’s "Egyptian Lover." Felukah’s work is full of nods to her heritage, but that song’s interpolation of Beyoncé’s "Baby Boy" shows how she stands with feet in both worlds — as many first and second generation people do. And by proudly uplifting women of color, Felukah speaks even more powerfully. 

Saint Levant

When Saint Levant debuted last year with From Gaza With Love, the hip-hop world gained a fascinating, trilingual budding star. Born Marwan Abdelhamid, Levant’s family relocated to Jordan from Palestine, before he recently made his way to California for college. 

Songs like the new "5am in Paris" demonstrate his chameleonic ability, pulling in elements from his journeys while also remaining focused on his home. "My body in Paris/ My heart in Gaza/ My soul in Algiers/ My ex in Casa/ My girl in L.A./ holds me in her arms/ I don't feel at home anywhere," he delivers in a steely melancholy. The track seamlessly blends French (from his mother’s Algerian side), English, and Arabic — both lyrically and musically. There’s an aspect of Drake to Levant’s endless cool, but the intensity of his conflicted identity and political history rings deeply.

Bayou

Like a blend of The Weeknd and Egyptian legend Amr Diab, Bayou taps into that late-night lothario vibe — his lush runs in Arabic the perfect counterpart to his more staccato English lyrics. R&B fans in need of a jolt should look no further than his latest single, "Bansa 7aly," which pulls from South African amapiano and finds Bayou maligning his tendency to "overthink when I’m high and alone." 

The Egypt-born, L.A.-based vocalist explained his clever blend of perspectives in an interview with The New Arab: "Arabic is a language filled with so much emotion and so much depth. So, whenever I look to add that kind of depth I feel like Arabic always trumps English," he explained. And with Bayou just announcing a single with fellow highlighted artist Saint Levant coming around the corner, there couldn’t be a better time to catch the hype.

Sahera

Singer/songwriter Sahera styles herself as the "first Qatari pop singer." The Los Angeles-based artist has spent the last year trickling out singles that showcase her ability to swiftly infuse touches of traditional music into her glittering pop energy. The video for "Khaleeji" is a must-see, with Sahera decked out in full-length black and gold on a skateboard through the palm-lined streets of L.A. 

As if that weren’t enough to sell you on Sahera, the track itself shines just as bright, a Shakira-esque headrush. Following singles "Habibti" and "Mirage" leaned a bit into R&B and aching balladry respectively, Sahera showcasing the depth needed to take this indie artist on a major pop star turn.

Inside Elyanna's World: How Creating 'Woledto' Allowed The Singer/Songwriter To Find A New Layer Of Herself