54th Annual GRAMMY Awards
Feb. 12, 2012
Staples Center, Los Angeles

8:30 PT/11:30 ET:
After that show-closer, some of you will be the modern version of speechless — unable to type. But we hope not for long. What category held the most surprises for you? Which performance will you be talking about tomorrow? How about Adele making GRAMMY history in tying Beyoncé for most awards won in one night by a female artist?

Please keep your comments coming! And thanks again for helping celebrate the 54th Annual GRAMMY Awards. Good night!

8:28 PT/11:28 ET:
What a treat. "The End," literally. The Boss, Joe Walsh, Dave Grohl join the stage to trade licks with Sir Paul and Co. The talent caliber onstage is off the charts. The 54th Annual GRAMMY Awards have been a night to remember. And not just for the winners.     

8:24 PT/11:24 ET:
Sir Paul is back to take Music's Biggest Night out in style. As "Golden Slumbers" leads into "Carry That Weight," he's carrying his worldwide audience away on waves of nostalgia. And awe, most likely. Is there a classic rock fan out there who's not transfixed? Any kind of music fan? 

8:22 PT/11:22 ET:
Adele credits her "rubbish relationship" with paving the road to her night full of GRAMMYs it's what 21 is about. A little rubbish can go a long, long way.

8:21 PT/11:21 ET:
And another huge moment in a night full of them: Album of the Year goes to an astonished-looking Adele for 21. Surprised? 

8:19 PT/11:19 ET:
More Sir Paul is on the way, too. Lots left!

8:16 PT/11:16 ET:
And after that big win the night may not be over for big winner Adele. Still to come is the GRAMMY for Album Of The Year. Her breathtaking 21 is among the nominees.

8:14 PT/11:14 ET:
Time for the unveiling of a big one: Record of the Year. The prize goes to Adele, for "Rolling in the Deep."  

8:09 PT/11:09 ET:
Nicki is her own kind of worship-worthy deity — what a spectacle. Monks are dancing. So are altar boys. Nicki is levitating.    

8:06 PT/11:06 ET:
She may be brash, but brashness is no barricade to putting on a great show. Here comes Nicki Minaj, blond hair and in pearls. And in a confession booth? Sitting opposite a priest? This performance of "Roman's Revenge" is the perfect primer on the Best New Artist nominee: she's lightning-fast and a little puzzling, but so bursting with attitude you're apt to forget how confused you are and just go with her flow. 

8:03 PT/11:03 ET:
And that's not the only remaining award we want you to weigh in on. Album Of The Year is still up for grabs too. Keep up with all of the winners here.

8:01 PT/11:01 ET:
Will "Rolling In The Deep" take Record Of They Year? What about "Grenade," "Holocene," "The Cave," and "Firework"? We'll find out in a matter of minutes. Tell us who you're rooting for.

7:57 PT/10:57 ET:
Deadmau5 and whole portions of the audience, it seems, are in lit-up Mickey Mouse helmets for "Raise Your Weapon." The effect is at once creepy and cute. Dave Grohl could do nothing but smile and move with the music from sidestage.

7:56 PT/10:56 ET:
But it wouldn't be a dance segment without the Deadmau5 remix of "Rope," so here we go …

7:55 PT/10:55 ET:
The place is not only rolling, it's rocking, which is why it makes a lot of sense to bring back Foo Fighters, who, behind all those laser lights, are burning up their hit "Rope." 

7:53 PT/10:53 ET:
It's a light-saber salute to the infectiousness of dance music. 

7:52 PT/10:52 ET:
The fleet-footed, GRAMMY-winning Chris Brown is back, and check out who's keeping him company: David Guetta and Lil Wayne. They're into Guetta's "I Can Only Imagine," and the place is rolling! 

7:51 PT/10:51 ET:
"Soul Train" pioneer Don Cornelius is gone too. But definitely not forgotten, as LL Cool J and ?uestlove remind us.   

7:49 PT/10:49 ET:
And don't forget Nicki Minaj! Her performance is on the way as well.

7:48 PT/10:48 ET:
That last dose of raw emotion is soon to be tempered by a dance-music extravaganza. David Guetta, Foo Fighters and company are up in a minute.

7:45 PT/10:45 ET:
Jennifer Hudson: brilliant singer, and purveyor of chills.

7:44 PT/10:44 ET:
If anybody can convey in song the enormity of Whitney Houston's talent, and the void that's been left by her untimely death, it's Jennifer Hudson. Hudson, as many will remember, has already shown how courageous she can be in the face of personal tragedy. With this almost unbearably sad rendition of "I Will Always Love You," she solidifies her hard-earned reputation for strength and poise. And she's absolutely correct: we will always love Whitney.

7:42 PT/10:42 ET:
Have your Kleenex ready? Next up is Jennifer Hudson's tribute to Whitney Houston. 

7:39 PT/10:39 ET:
And now a tribute to the people in the music community we lost in 2011. Steve Jobs, Etta James, Amy Winehouse, Doyle Bramhall Sr., Jerry Leiber, Clarence Clemons, among others. Rest in peace.

7:37 PT/10:37 ET:
Neil Portnow echoed Bruce Springsteen in his speech, speaking about MusiCares: We — as a music community — take care of our own.

7:36 PT/10:36 ET:
While this is Music's Biggest Night, The Academy supports music all year long. Highlighting the important work of the GRAMMY Foundation and MusiCares is Academy President/CEO Neil Portnow.

7:35 PT/10:35 ET:
Bon Iver is a sincere guy. And thoughtful too. He thanked all the "non-nominees."

7:34 PT/10:34 ET:
And the GRAMMY for Best New Artist goes to Bon Iver, known by some as Justin Vernon.

7:32 PT/10:32 ET:
"It Had to Be You" was featured in the movies Casablanca and Annie Hall. It was great in both, but I'll take this version. Well-paced and smooth.

7:29 PT/10:29 ET:
What a show so far. Your thoughts? Don't forget that what's sure to be a moving tribute to Whitney Houston is still to come.

7:27 PT/10:27 ET:
But first, the incomparable Tony Bennett — dapper, magnetic, multitalented! — will be the next icon to take the stage. Bennett has won two GRAMMYs this evening, making 16 for his illustrious career. He'll be joining past Best New Artist winner Carrie Underwood for our next performance.

7:26 PT/10:26 ET:
Up next: the coveted Best New Artist award. Esperanza Spalding took the prize last year. The Band Perry, Bon Iver, J. Cole, Nicki Minaj, and Skrillex are in the running this year. Who's your pick?

7:24 PT/10:24 ET:
It's 2012 and Glen Campbell knows it: He gave a shout-out to the rhinestone cowgirls, too. 

7:22 PT/10:22 ET:
Obviously, so is the Rhinestone Cowboy himself: still ready to ride in a star-spangled rodeo after all these years. And still sturdy of voice. Just like in the song, hustle is the name of his game. What's your favorite Glen Campbell song?  

7:21 PT/10:21 ET:
And he's got Paul McCartney dancing along ...

7:20 PT/10:20 ET:
Just as gentle and as fittingly (and winningly) sentimental is Blake Shelton's rendition of "Southern Nights," Campbell's country-crossover classic. Some country crooners aren't born showmen. But Shelton, with his classic good looks and in his elegant suit, is. 

7:16 PT/10:16 ET:
And how about those harmonies?

7:15 PT/10:15 ET:
We're off into the Glen Campbell tribute. The Band Perry's "Gentle On My Mind" is a sweet reminder of why Campbell deserves the Academy Lifetime Achievement Award. This sentimental rendition leads pleasantly to a blanket-warm late-'60s place. 

7:12 PT/10:12 ET:
Stay with me — a tribute to the Rhinestone Cowboy is coming up!

7:10 PT/10:10 ET:
Vocal cord polyps are no match for Adele. What a remarkable performance. And a standing ovation that drew props from Bruno Mars, Miranda Lambert and Rihanna. What did you think?

7:08 PT/10:08 ET:
As the song's momentum picks up, reaching its own fever pitch, so does Adele. This is a controlled but richly felt performance.

7:05 PT/10:05 ET:
Here's Adele, launching confidently into "Rolling In The Deep." The superstar could be forgiven for taking it slow. But she's not withholding — in fact, she's characteristically belting, digging deep, and her whiskeyed, old-soul voice is in fine form. The best-selling artist of 2011 is back and singing the only way she knows how: fearlessly. 

7:00 PT/10:00 ET:
Next up is one of tonight's biggest moments. Adele will sing "Song Of The Year "Rolling In The Deep," her first performance since undergoing vocal-cord surgery last November.

6:56 PT/9:56 ET:
Best Country Album goes to Lady Antebellum for Own The Night. The trio won this same award in 2010 for the smash Need You Now.

6:54 PT/9:54 ET:
Katy is turning in an emotive rendition of her brand-new song "Part Of Me," while rocking a short-blue bob and shades. It sounds like the words are carrying extra special meaning? Who do you think she's singing about?

6:53 PT/9:53 ET:
Katy Perry is out of this world. Literally. Dodging shooting stars and comets in her crazy headgear and space outfit, she's handily demonstrating why the pop thumper "E.T." was a 2011 radio staple. 

6:51 PT/9:51 ET:
Song Of The Year goes to Adele's "Rolling In The Deep." And that marks four awards for Adele, and two for producer and co-writer Paul Epworth. Could Adele sweep all six of her nominations?

6:48 PT/9:48 ET:
Next we find out who wins Song of the Year, a songwriter's award. After that it's Katy Perry. Adele is coming up, too. It will be her first performance since vocal-cord surgery. Anybody nervous for her?

6:45 PT/9:45 ET:
The statuesque Swift, plucking a banjo and wearing a braid, is at the top of a heap of discarded stuff from somebody's barn. She's still managing to give a kicky performance, though. "Mean"  has netted the songstress two awards tonight: Best Country Song and Best Country Solo Performance.

6:43 PT/9:43 ET:
Taylor Swift is turning in a spirited rendition of "Mean" off "Speak Now." She's pure country-pop superstar here, spilling the contents of her heart in the sure, sweet voice that's won her bazillions of fans worldwide. 

6:40 PT/9:40 ET:
The rootsy duo Civil Wars, who have picked up two awards tonight, are peeling into "Barton Hollow," their Southern Gothic-style stunner from the same-named album. This may be tonight's show-stealing performance.

6:38 PT/9:38 ET:
And the winner of the Best R&B Album is Chris Brown for F.A.M.E.

6:37 PT/9:37 ET:
As we remember Whitney Houston and Etta James, we can't forget the poet/singer Gil Scott-Heron. Scott-Heron was honored with a Recording Academy Lifetime Achievement Award this year.

6:36 PT/9:36 ET:
A fine performance from the 2012 MusiCares Person of the Year. And one deserving of that standing ovation. Gorgeous song. 

6:32 PT/9:32 ET:
Here he is, an orchestra behind him, singing the dreamy (and well-timed — it's almost Feb. 14, after all) ballad "My Valentine" off his new album, Kisses On The Bototom. His bandmates are also legends: Eagles guitar hero Joe Walsh and jazzy chanteuse Diana Krall. They're elegant together.

6:30 PT/9:30 ET:
It's Stevie Wonder, here to remember Whitney Houston and lead us into Sir Paul's performance with a little harmonica; Stevie Wonder does "Love Me Do."  

6:25 PT/9:25 ET:
In the hard-act-to-follow category, a Beach Boys reunion pretty much takes the cake. If anybody is up to the challenge, though, it is Sir Paul McCartney. He's next. 

6:22 PT/9:22 ET:
Adam Levine is back and so is Mark Foster. It's a milestone and a feel-good moment; may the Beach Boys reunite every year at teh GRAMMYs.

6:21 PT/9:21 ET:
Here it is, the moment anyone who appreciates a fine melody has been been waiting for: Al Jardin, Bruce Johnson, Mike Love, David Marks and, yes, Brian Wilson, together again. It's their 50th anniversary. "Good Vibrations" are circulating among the Staples Center and out into the world. Incredible. 

6:19 PT/9:19 ET:
Foster the People — who are in competition with Maroon 5 tonight for Best Pop Duo/Group Performance for their infectious "Pumped Up Kicks" — are doing a fine job of with the timeless "Wouldn't It Be Nice." Who knew these lads could go retro?

6:18 PT/9:18 ET:
Helping mark the momentous occasion are Maroon 5, reminding us what a great song "Surfer Girl" is alongside the nine-member Beach Boys band. Adam Levine leaves little to be desired as a singer. In fact, he's great here.

6:16 PT/9:16 ET:
History is about to be made: live on the GRAMMY stage, the Beach Boys are going to reunite. 

6:14 PT/9:14 ET:
Dave Grohl: "We made this at home in my garage." Long live their indie cred!

6:12 PT/9:12 ET:
Best Rock Performance goes to the Foo Fighters. The competition was fierce in this category, but the choice is pretty hard to argue with after tonight's electric performance. Or is it? 

6:10 PT/9:10 ET:
The Beach Boys reunion performance with Foster The People and Maroon 5 is also coming up soon — one of many poignant moments to come.

6:08 PT/9:08 ET:
Big award coming up … Best Rock Performance. Coldplay, the Decemberists, Foo Fighters, Mumford & Sons, and Radiohead are nominated. Who do you think will take the trophy?

6:06 PT/9:06 ET:
The "Paradise" title works two ways. What a great performance. That was well-earned sweat on Chris Martin's brow.

6:05 PT/9:05 ET:
It's as if they're in a glow-in-the-dark graffiti-covered cave. But they still sound incredible.

6:04 PT/9:04 ET:
Cool color-drenched screen effect behind the band.

6:03 PT/9:03 ET:
Make that all of Coldplay: the band, nominated tonight for Best Rock Performance, is all together now for "Paradise." It's too easy to call this a pop-rock paradise, but it sort of is, isn't it? 

6:00 PT/9:00 ET:
Coldplay's Chris Martin is feeling the love, too, chiming in solo on the moody and magnificent "Princess Of China." Not for long, though. Rihanna's back, and the two are trading verses.

5:58 PT/8:58 ET:
Hip shaking in hotpants: does it get more Rihanna? Killer choreography here, almost reminiscent of a Janet Jackson number. 

5:56 PT/8:56 ET:
Rihanna, who's up for four GRAMMYs tonight, finds love everywhere, no doubt. But tonight the newly blond starlet is finding it onstage among a squad of dancers and a makeshift volcano. Does a more hopeless place exist? 

5:53 PT/8:53 ET:
Which performance do you like best so far?

5:51 PT/8:51 ET:
The tent adjacent to Staples Center was pogo-ing. The next performance is Rihanna with Coldplay. Is there a more versatile band? Remember their collaboration with Jay-Z? Rihanna is known to throw the occasional curveball in her performances, but count on Chris Martin and company to keep up.   

5:49 PT/8:49 ET:
Jack Black was right: Foo Fighters aren't lacking for indie cred. Or metal cred. Check Grohl's Slayer t-shirt.

5:48 PT/8:48 ET:
Actually, how could you not be a Foo fan? "Walk," the song Dave Grohl and company are currently clobbering onstage, is a fitting demo for why they're up for six awards tonight, including Album of the Year for Wasting Light. Foo obsessives know that the record marked the return of Butch Vig, who produced Nirvana's 1991 classic Nevermind.

5:43 PT/8:43 ET:
Dave Grohl and company have already taken four awards tonight, including Best Hard Rock/Metal Performance and Best Rock Song. Dave and the boys perform next. Stay here!

5:41 PT/8:41 ET:
There's something fitting about Jack Black introducing Foo Fighters. I'm sure somehow that Jack Black is a Foo fan. What about you?

5:40 PT/8:40 ET:
Aldean and Clarkson. With chemistry this pronounced, yes, we want them to stay here a little while.

5:38 PT/8:38 ET:
Best Country Solo Performance nominee Jason Aldean and Kelly Clarkson, who's nominated with him for Best Country Duo/Group Performance, are squaring off to bring us the song that earned them the joint nod: "Don't You Wanna Stay." It's a feelings-drenched number — wistful, pretty and poured-on in the best way possible. 

5:35 PT/8:35 ET:
Taking home the GRAMMY for Best Rap Performance are — wait for it — Jay-Z and Kanye West for "Otis." That's West's fourth GRAMMY this evening.

5:33 PT/8:33 ET:
While we're waiting: did you see Gaga in the audience? What's lurking behind the veil?

5:31 PT/8:31 ET:
Commercial time. Up next is the award for Best Rap Performance. Will Chris Brown take the stage again and claim the prize with Busta Rhymes and Lil Wayne? Or will it go to Kanye West and Jay-Z for the much-acclaimed "Otis"? Lupe Fiasco, Wiz Khalifa, and Nicki Minaj and Drake are also in the mix. Jason Aldean and Kelly Clarkson perform right after that — if you haven't heard them harmonize, don't miss it!  

5:30 PT/8:30 ET:
Regardless of whether he takes home a GRAMMY tonight, Chris Brown is a contender for most acrobatic performance. His legs are like rubber bands (in the best possible way).

5:29 PT/8:29 ET:
And he's keeping it coming: "Beautiful People" is a message song, and the message is clearly one of uplift, but that hasn't hampered the tempo or Brown's onstage energy. "Don't let them bring you down, noooo!" I'm feeling it. And feeling up. You too? 

5:27 PT/8:27 ET:
Chris Brown has climbed up a Rubik's Cube-like stage in his varsity jacket. Who's got the moves like Jagger?

5:26 PT/8:26 ET:
Chris Brown, a three-time nominee tonight, has stormed the GRAMMY stage with "Turn Up The Music" and, through the fog, some pretty complicated but hot dance moves are emerging. Check those fast-moving feet. Leggoooo, Chris! 

5:25 PT/8:25 ET:
Adele may have some more statue-collecting to do tonight, but already she's crying. She's beautiful in a black sparkly dress and a classic siren hairstyle.

5:24 PT/8:24 ET:
Here it is, the night's first award: Best Pop Solo Performance goes to Adele. Surprised? This is Adele's third win of the evening, following Best Short Form Video and Best Pop Vocal Album.

5:22 PT/8:22 ET:
Bonnie Raitt and Alicia Keys don't come to mind automatically when you think of natural duet partners, maybe, but they owned this. Beautiful! Raitt and Keys glided into the song and savored every note. They'll never forget Etta James and neither will we.

5:18 PT/8:18 ET:
Also stay tuned for the first award announcement: Best Pop Solo Performance. Bruno Mars just made a pretty good case. He's up for "Grenade," against the likes of Lady Gaga, Katy Perry, Pink, and Adele.

5:15 PT/8:15 ET:
Whitney Houston's untimely death is fresh in our minds, but we also lost the great blues lady Etta James not long ago. Bonnie Raitt and Alicia Keys will help remember the great, as they will perform the classic "A Sunday Kind Of Love." Do you know it? Any memories? 

5:14 PT/8:14 ET:
Bruno Mars used to be an Elvis impersonator, not a James Brown impersonator. But he could have done JB -- check out that split!

5:12 PT/8:12 ET:
Nobody rocks a pompadour like Bruno.

5:10 PT/8:10 ET:
Speaking of suave, here comes Bruno Mars, who's up for six GRAMMYs tonight, including the coveted Album of the Year for Doo-Wops & Hooligans. He's tearing it up with "Runaway Baby," a retro James Brown-ish slice of riffed-up pop brilliance. And funky. And pyrotechnics!

5:08 PT/8:08 ET:
And a touching classic clip of Houston singing "I WIll Always Love You" from the 36th Annual GRAMMY Awards. A gorgeous, goosebump-raising GRAMMY moment.

5:06 PT/8:06 ET:
"We've had a death in the family," said LL Cool J, as he starts the show with a prayer for Whitney Houston. In addition to suave, he's thoughtful.

5:05 PT/8:05 ET:
Host LL Cool J, who is hosting the GRAMMYs for the first time, is dashing as ever.

5:04 PT/8:04 ET:
And Little Stevie with the lean-in. How's that for a start to Music's Biggest Night?

5:03 PT/8:03 ET:
Springsteen may be in his 60s, but it's impossible to sell him short: He's in full anthem mode, and the crowd worships him.

5:00 PT/8:00 ET:
It's go time, folks: Right out of the gate and straight outta Jersey, Springsteen, Scialfa, Van Zandt, and company are sending shivers through the Staples Center with "We Take Care Of Our Own," the bust-it-up first single from the Boss' upcoming new album, Wrecking Ball. Noticeably absent from the lineup is the late Clarence Clemons. But the Big Man's spirit lives on in this en fuego performance. What do you think, Springsteen loyalists?   

4:45 PM PT/7:45 PM ET:
Hey there, music fans. Welcome to GRAMMY.com's official liveblog of the 54th Annual GRAMMY Awards! I'm Tammy La Gorce, your host for what's shaping up to be an unforgettable night. I hope you'll join me during the show for minute-to-minute coverage of all the eye-popping action. Adele, Foo Fighters, Skrillex, and Taylor Swift have all won awards so far. Who'll emerge as the big winner tonight? Whose performance will everyone be talking about tomorrow? We'll know soon enough.

But tell us what you think before all the action gets underway. Weigh in with your early predictions about who'll get the nod in the most hotly anticipated GRAMMY categories, and which artists you expect to blow you away onstage. There's lots to look forward to, including a special performance by Jennifer Hudson in what's sure to be a poignant Whitney Houston tribute. Our comments section is below. 

We'll kick things off at 5 p.m. PT/8 p.m. ET, when the legendary Bruce Springsteen and his E Street Band open the show. Be with us throughout! 

8:13 AM PT/11:13 AM ET:
The 54th Annual GRAMMY Awards are here — are you ready? 

I'm Tammy La Gorce, and I'd like to welcome you to GRAMMY.com's official liveblog for the show. 

Hosted by two-time GRAMMY winner LL Cool J, the 54th Annual GRAMMY Awards will air live on CBS from 8–11:30 p.m. ET/PT. 

As you watch the show, be sure to follow our liveblog for plenty of color commentary and up-to-the-minute coverage of all the goings-on. And add your voice to Music's Biggest Night by leaving a comment below. There will be plenty to talk about given the star-studded cavalcade of performers, including Adele, Chris Brown, Coldplay and Rihanna, Sir Paul McCartney, the Beach Boys with Maroon 5 and Foster The People, Bruce Springsteen, Foo Fighters, Lil Wayne, Carrie Underwood and Tony Bennett, and Katy Perry. You can view a complete GRAMMY performer list here.

Will Kanye West, Foo Fighters, Bruno Mars, and Adele go home with armfuls of statuettes? Which performances will delight? Who'll surprise the world with a big win? We'll find out together soon enough on Music's Biggest Night! 

We kick things off here at 5 p.m. PT/8 p.m. ET.

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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It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown. The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.

Brown's 1965 classic, "Papa's Got a Brand New Bag," became one of the first funk hits, and has been endlessly sampled and covered over the years, along with his other groovy tracks. Of course, many other funk acts followed in the '60s, and the genre thrived in the '70s and '80s as the disco craze came and went, and the originators of hip-hop and house music created new music from funk and disco's strong, flexible bones built for dancing.

Legendary funk bassist Bootsy Collins learned the power of the one from playing in Brown's band, and brought it to George Clinton, who created P-funk, an expansive, Afrofuturistic, psychedelic exploration of funk with his various bands and projects, including Parliament-Funkadelic. Both Collins and Clinton remain active and funkin', and have offered their timeless grooves to collabs with younger artists, including Kali Uchis, Silk Sonic, and Omar Apollo; and Kendrick Lamar, Flying Lotus, and Thundercat, respectively.

In the 1980s, electro-funk was born when artists like Afrika Bambaataa, Man Parrish, and Egyptian Lover began making futuristic beats with the Roland TR-808 drum machine — often with robotic vocals distorted through a talk box. A key distinguishing factor of electro-funk is a de-emphasis on vocals, with more phrases than choruses and verses. The sound influenced contemporaneous hip-hop, funk and electronica, along with acts around the globe, while current acts like Chromeo, DJ Stingray, and even Egyptian Lover himself keep electro-funk alive and well.

Today, funk lives in many places, with its heavy bass and syncopated grooves finding way into many nooks and crannies of music. There's nu-disco and boogie funk, nodding back to disco bands with soaring vocals and dance floor-designed instrumentation. G-funk continues to influence Los Angeles hip-hop, with innovative artists like Dam-Funk and Channel Tres bringing the funk and G-funk, into electro territory. Funk and disco-centered '70s revival is definitely having a moment, with acts like Ghost Funk Orchestra and Parcels, while its sparkly sprinklings can be heard in pop from Dua Lipa, Doja Cat, and, in full "Soul Train" character, Silk Sonic. There are also acts making dreamy, atmospheric music with a solid dose of funk, such as Khruangbin’s global sonic collage.

There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music, Amazon Music and Pandora.

Say She She

Aptly self-described as "discodelic soul," Brooklyn-based seven-piece Say She She make dreamy, operatic funk, led by singer-songwriters Nya Gazelle Brown, Piya Malik and Sabrina Mileo Cunningham. Their '70s girl group-inspired vocal harmonies echo, sooth and enchant as they cover poignant topics with feminist flair.

While they’ve been active in the New York scene for a few years, they’ve gained wider acclaim for the irresistible music they began releasing this year, including their debut album, Prism. Their 2022 debut single "Forget Me Not" is an ode to ground-breaking New York art collective Guerilla Girls, and "Norma" is their protest anthem in response to the news that Roe vs. Wade could be (and was) overturned. The band name is a nod to funk legend Nile Rodgers, from the "Le freak, c'est chi" exclamation in Chic's legendary tune "Le Freak."

Moniquea

Moniquea's unique voice oozes confidence, yet invites you in to dance with her to the super funky boogie rhythms. The Pasadena, California artist was raised on funk music; her mom was in a cover band that would play classics like Aretha Franklin’s "Get It Right" and Gladys Knight’s "Love Overboard." Moniquea released her first boogie funk track at 20 and, in 2011, met local producer XL Middelton — a bonafide purveyor of funk. She's been a star artist on his MoFunk Records ever since, and they've collabed on countless tracks, channeling West Coast energy with a heavy dose of G-funk, sunny lyrics and upbeat, roller disco-ready rhythms.

Her latest release is an upbeat nod to classic West Coast funk, produced by Middleton, and follows her February 2022 groovy, collab-filled album, On Repeat.

Shiro Schwarz

Shiro Schwarz is a Mexico City-based duo, consisting of Pammela Rojas and Rafael Marfil, who helped establish a modern funk scene in the richly creative Mexican metropolis. On "Electrify" — originally released in 2016 on Fat Beats Records and reissued in 2021 by MoFunk — Shiro Schwarz's vocals playfully contrast each other, floating over an insistent, upbeat bassline and an '80s throwback electro-funk rhythm with synth flourishes.

Their music manages to be both nostalgic and futuristic — and impossible to sit still to. 2021 single "Be Kind" is sweet, mellow and groovy, perfect chic lounge funk. Shiro Schwarz’s latest track, the joyfully nostalgic "Hey DJ," is a collab with funkstress Saucy Lady and U-Key.

L'Impératrice

L'Impératrice (the empress in French) are a six-piece Parisian group serving an infectiously joyful blend of French pop, nu-disco, funk and psychedelia. Flore Benguigui's vocals are light and dreamy, yet commanding of your attention, while lyrics have a feminist touch.

During their energetic live sets, L'Impératrice members Charles de Boisseguin and Hagni Gwon (keys), David Gaugué (bass), Achille Trocellier (guitar), and Tom Daveau (drums) deliver extended instrumental jam sessions to expand and connect their music. Gaugué emphasizes the thick funky bass, and Benguigui jumps around the stage while sounding like an angel. L’Impératrice’s latest album, 2021’s Tako Tsubo, is a sunny, playful French disco journey.

Franc Moody

Franc Moody's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.

Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether.

The Rise Of Underground House: How Artists Like Fisher & Acraze Have Taken Tech House, Other Electronic Genres From Indie To EDC

Living Legends is a series that spotlights icons in music still going strong today. This week, GRAMMY.com spoke with Billy Idol about his latest EP,  Cage, and continuing to rock through decades of changing tastes.

Billy Idol is a true rock 'n' roll survivor who has persevered through cultural shifts and personal struggles. While some may think of Idol solely for "Rebel Yell" and "White Wedding," the singer's musical influences span genres and many of his tunes are less turbo-charged than his '80s hits would belie.  

Idol first made a splash in the latter half of the '70s with the British punk band Generation X. In the '80s, he went on to a solo career combining rock, pop, and punk into a distinct sound that transformed him and his musical partner, guitarist Steve Stevens, into icons. They have racked up multiple GRAMMY nominations, in addition to one gold, one double platinum, and four platinum albums thanks to hits like "Cradle Of Love," "Flesh For Fantasy," and "Eyes Without A Face." 

But, unlike many legacy artists, Idol is anything but a relic. Billy continues to produce vital Idol music by collaborating with producers and songwriters — including Miley Cyrus — who share his forward-thinking vision. He will play a five-show Vegas residency in November, and filmmaker Jonas Akerlund is working on a documentary about Idol’s life. 

His latest release is Cage, the second in a trilogy of annual four-song EPs. The title track is a classic Billy Idol banger expressing the desire to free himself from personal constraints and live a better life. Other tracks on Cage incorporate metallic riffing and funky R&B grooves. 

Idol continues to reckon with his demons — they both grappled with addiction during the '80s — and the singer is open about those struggles on the record and the page. (Idol's 2014 memoir Dancing With Myself, details a 1990 motorcycle accident that nearly claimed a leg, and how becoming a father steered him to reject hard drugs. "Bitter Taste," from his last EP, The Roadside, reflects on surviving the accident.)

Although Idol and Stevens split in the late '80s — the skilled guitarist fronted Steve Stevens & The Atomic Playboys, and collaborated with Michael Jackson, Rick Ocasek, Vince Neil, and Harold Faltermeyer (on the GRAMMY-winning "Top Gun Anthem") —  their common history and shared musical bond has been undeniable. The duo reunited in 2001 for an episode of "VH1 Storytellers" and have been back in the saddle for two decades. Their union remains one of the strongest collaborations in rock 'n roll history.

While there is recognizable personnel and a distinguishable sound throughout a lot of his work, Billy Idol has always pushed himself to try different things. Idol discusses his musical journey, his desire to constantly move forward, and the strong connection that he shares with Stevens. 

Steve has said that you like to mix up a variety of styles, yet everyone assumes you're the "Rebel Yell"/"White Wedding" guy. But if they really listen to your catalog, it's vastly different.

Yeah, that's right. With someone like Steve Stevens, and then back in the day Keith Forsey producing... [Before that] Generation X actually did move around inside punk rock. We didn't stay doing just the Ramones two-minute music. We actually did a seven-minute song. [Laughs]. We did always mix things up. 

Then when I got into my solo career, that was the fun of it. With someone like Steve, I knew what he could do. I could see whatever we needed to do, we could nail it. The world was my oyster musically. 

"Cage" is a classic-sounding Billy Idol rocker, then "Running From The Ghost" is almost metal, like what the Devil's Playground album was like back in the mid-2000s. "Miss Nobody" comes out of nowhere with this pop/R&B flavor. What inspired that?

We really hadn't done anything like that since something like "Flesh For Fantasy" [which] had a bit of an R&B thing about it. Back in the early days of Billy Idol, "Hot In The City" and "Mony Mony" had girls [singing] on the backgrounds. 

We always had a bit of R&B really, so it was actually fun to revisit that. We just hadn't done anything really quite like that for a long time. That was one of the reasons to work with someone like Sam Hollander [for the song "Rita Hayworth"] on The Roadside. We knew we could go [with him] into an R&B world, and he's a great songwriter and producer. That's the fun of music really, trying out these things and seeing if you can make them stick. 

I listen to new music by veteran artists and debate that with some people. I'm sure you have those fans that want their nostalgia, and then there are some people who will embrace the newer stuff. Do you find it’s a challenge to reach people with new songs?

Obviously, what we're looking for is, how do we somehow have one foot in the past and one foot into the future? We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol. 

You want to do things that are true to you, and you don't just want to try and do things that you're seeing there in the charts today. I think that we're achieving it with things like "Running From The Ghost" and "Cage" on this new EP. I think we’re managing to do both in a way. 

**Obviously, "Running From The Ghost" is about addiction, all the stuff that you went through, and in "Cage" you’re talking about  freeing yourself from a lot of personal shackles. Was there any one moment in your life that made you really thought I have to not let this weigh me down anymore?**

I mean, things like the motorcycle accident I had, that was a bit of a wake up call way back. It was 32 years ago. But there were things like that, years ago, that gradually made me think about what I was doing with my life. I didn't want to ruin it, really. I didn't want to throw it away, and it made [me] be less cavalier. 

I had to say to myself, about the drugs and stuff, that I've been there and I've done it. There’s no point in carrying on doing it. You couldn't get any higher. You didn't want to throw your life away casually, and I was close to doing that. It took me a bit of time, but then gradually I was able to get control of myself to a certain extent [with] drugs and everything. And I think Steve's done the same thing. We're on a similar path really, which has been great because we're in the same boat in terms of lyrics and stuff. 

So a lot of things like that were wake up calls. Even having grandchildren and just watching my daughter enlarging her family and everything; it just makes you really positive about things and want to show a positive side to how you're feeling, about where you're going. We've lived with the demons so long, we've found a way to live with them. We found a way to be at peace with our demons, in a way. Maybe not completely, but certainly to where we’re enjoying what we do and excited about it.

[When writing] "Running From The Ghost" it was easy to go, what was the ghost for us? At one point, we were very drug addicted in the '80s. And Steve in particular is super sober [now]. I mean, I still vape pot and stuff. I don’t know how he’s doing it, but it’s incredible. All I want to be able to do is have a couple of glasses of wine at a restaurant or something. I can do that now.

I think working with people that are super talented, you just feel confident. That is a big reason why you open up and express yourself more because you feel comfortable with what's around you.

Did you watch Danny Boyle's recent Sex Pistols mini-series?

I did, yes.

You had a couple of cameos; well, an actor who portrayed you did. How did you react to it? How accurate do you think it was in portraying that particular time period?

I love Jonesy’s book, I thought his book was incredible. It's probably one of the best bio books really. It was incredible and so open. I was looking forward to that a lot.

It was as if [the show] kind of stayed with Steve [Jones’ memoir] about halfway through, and then departed from it. [John] Lydon, for instance, was never someone I ever saw acting out; he's more like that today. I never saw him do something like jump up in the room and run around going crazy. The only time I saw him ever do that was when they signed the recording deal with Virgin in front of Buckingham Palace. Whereas Sid Vicious was always acting out; he was always doing something in a horrible way or shouting at someone. I don't remember John being like that. I remember him being much more introverted.

But then I watched interviews with some of the actors about coming to grips with the parts they were playing. And they were saying, we knew punk rock happened but just didn't know any of the details. So I thought well, there you go. If ["Pistol" is]  informing a lot of people who wouldn't know anything about punk rock, maybe that's what's good about it.

Maybe down the road John Lydon will get the chance to do John's version of the Pistols story. Maybe someone will go a lot deeper into it and it won't be so surface. But maybe you needed this just to get people back in the flow.

We had punk and metal over here in the States, but it feels like England it was legitimately more dangerous. British society was much more rigid.

It never went [as] mega in America. It went big in England. It exploded when the Pistols did that interview with [TV host Bill] Grundy, that lorry truck driver put his boot through his own TV, and all the national papers had "the filth and the fury" [headlines].

We went from being unknown to being known overnight. We waited a year, Generation X. We even told them [record labels] no for nine months to a year. Every record company wanted their own punk rock group. So it went really mega in England, and it affected the whole country – the style, the fashions, everything. I mean, the Ramones were massive in England. Devo had a No. 1 song [in England] with "Satisfaction" in '77. Actually, Devo was as big as or bigger than the Pistols.

You were ahead of the pop-punk thing that happened in the late '90s, and a lot of it became tongue-in-cheek by then. It didn't have the same sense of rebelliousness as the original movement. It was more pop.

It had become a style. There was a famous book in England called Revolt Into Style — and that's what had happened, a revolt that turned into style which then they were able to duplicate in their own way. Even recently, Billie Joe [Armstrong] did his own version of "Gimme Some Truth," the Lennon song we covered way back in 1977.

When we initially were making [punk] music, it hadn't become accepted yet. It was still dangerous and turned into a style that people were used to. We were still breaking barriers.

You have a band called Generation Sex with Steve Jones and Paul Cook. I assume you all have an easier time playing Pistols and Gen X songs together now and not worrying about getting spit on like back in the '70s?

Yeah, definitely. When I got to America I told the group I was putting it together, "No one spits at the audience."

We had five years of being spat on [in the UK], and it was revolting. And they spat at you if they liked you. If they didn't like it they smashed your gear up. One night, I remember I saw blood on my T-shirt, and I think Joe Strummer got meningitis when spit went in his mouth.

You had to go through a lot to become successful, it wasn't like you just kind of got up there and did a couple of gigs. I don't think some young rock bands really get that today.

With punk going so mega in England, we definitely got a leg up. We still had a lot of work to get where we got to, and rightly so because you find out that you need to do that. A lot of groups in the old days would be together three to five years before they ever made a record, and that time is really important. In a way, what was great about punk rock for me was it was very much a learning period. I really learned a lot [about] recording music and being in a group and even writing songs.

Then when I came to America, it was a flow, really. I also really started to know what I wanted Billy Idol to be. It took me a little bit, but I kind of knew what I wanted Billy Idol to be. And even that took a while to let it marinate.

You and Miley Cyrus have developed a good working relationship in the last several years. How do you think her fans have responded to you, and your fans have responded to her?

I think they're into it. It's more the record company that she had didn't really get "Night Crawling"— it was one of the best songs on Plastic Hearts, and I don't think they understood that. They wanted to go with Dua Lipa, they wanted to go with the modern, young acts, and I don't think they realized that that song was resonating with her fans. Which is a shame really because, with Andrew Watt producing, it's a hit song.

But at the same time, I enjoyed doing it. It came out really good and it's very Billy Idol. In fact, I think it’s more Billy Idol than Miley Cyrus. I think it shows you where Andrew Watt was. He was excited about doing a Billy Idol track. She's fun to work with. She’s a really great person and she works at her singing — I watched her rehearsing for the Super Bowl performance she gave. She rehearsed all Saturday morning, all Saturday afternoon, and Sunday morning and it was that afternoon. I have to admire her fortitude. She really cares.

I remember when you went on "Viva La Bam" back in 2005 and decided to give Bam Margera’s Lamborghini a new sunroof by taking a power saw to it. Did he own that car? Was that a rental?

I think it was his car.

Did he get over it later on?

He loved it. [Laughs] He’s got a wacky sense of humor. He’s fantastic, actually. I’m really sorry to see what he's been going through just lately. He's going through a lot, and I wish him the best. He's a fantastic person, and it's a shame that he's struggling so much with his addictions. I know what it's like. It's not easy.

Musically, what is the synergy like with you guys during the past 10 years, doing Kings and Queens of the Underground and this new stuff? What is your working relationship like now in this more sober, older, mature version of you two as opposed to what it was like back in the '80s?

In lots of ways it’s not so different because we always wrote the songs together, we always talked about what we're going to do together. It was just that we were getting high at the same time.We're just not getting [that way now] but we're doing all the same things.

We're still talking about things, still [planning] things:What are we going to do next? How are we going to find new people to work with? We want to find new producers. Let's be a little bit more timely about putting stuff out.That part of our relationship is the same, you know what I mean? That never got affected. We just happened to be overloading in the '80s.

The relationship’s… matured and it's carrying on being fruitful, and I think that's pretty amazing. Really, most people don't get to this place. Usually, they hate each other by now. [Laughs] We also give each other space. We're not stopping each other doing things outside of what we’re working on together. All of that enables us to carry on working together. I love and admire him. I respect him. He's been fantastic. I mean, just standing there on stage with him is always a treat. And he’s got an immensely great sense of humor. I think that's another reason why we can hang together after all this time because we've got the sense of humor to enable us to go forward.

There's a lot of fan reaction videos online, and I noticed a lot of younger women like "Rebel Yell" because, unlike a lot of other '80s alpha male rock tunes, you're talking about satisfying your lover.

It was about my girlfriend at the time, Perri Lister. It was about how great I thought she was, how much I was in love with her, and how great women are, how powerful they are.

It was a bit of a feminist anthem in a weird way. It was all about how relationships can free you and add a lot to your life. It was a cry of love, nothing to do with the Civil War or anything like that. Perri was a big part of my life, a big part of being Billy Idol. I wanted to write about it. I'm glad that's the effect.

Is there something you hope people get out of the songs you've been doing over the last 10 years? Do you find yourself putting out a message that keeps repeating?

Well, I suppose, if anything, is that you can come to terms with your life, you can keep a hold of it. You can work your dreams into reality in a way and, look, a million years later, still be enjoying it.

The only reason I'm singing about getting out of the cage is because I kicked out of the cage years ago. I joined Generation X when I said to my parents, "I'm leaving university, and I'm joining a punk rock group." And they didn't even know what a punk rock group was. Years ago, I’d write things for myself that put me on this path, so that maybe in 2022 I could sing something like "Cage" and be owning this territory and really having a good time. This is the life I wanted.

The original UK punk movement challenged societal norms. Despite all the craziness going on throughout the world, it seems like a lot of modern rock bands are afraid to do what you guys were doing. Do you think we'll see a shift in that?

Yeah.  Art usually reacts to things, so I would think eventually there will be a massive reaction to the pop music that’s taken over — the middle of the road music, and then this kind of right wing politics. There will be a massive reaction if there's not already one. I don’t know where it will come from exactly. You never know who's gonna do [it].

Living Legends: Nancy Sinatra Reflects On Creating "Power And Magic" In Studio, Developing A Legacy Beyond "Boots" & The Pop Stars She Wants To Work With

Country music's evolution is well represented in the 2023 GRAMMY nominees for Best Country Solo Performance. From crossover pop hooks to red-dirt outlaw roots, the genre's most celebrated elements are on full display — thanks to rising stars, leading ladies and country icons.

Longtime hitmaker Miranda Lambert delivered a soulful performance on the rootsy ballad "In His Arms," an arrangement as sparing as the windswept west Texas highlands where she co-wrote the song. Viral newcomer Zach Bryan dug into similar organic territory on the Oklahoma side of the Red River for "Something in the Orange," his voice accompanied with little more than an acoustic guitar.

Two of country's 2010s breakout stars are clearly still shining, too, as Maren Morris and Kelsea Ballerini both received Best Country Solo Performance GRAMMY nods. Morris channeled the determination that drove her leap-of-faith move from Texas to Nashville for the playful clap-along "Circles Around This Town," while Ballerini brought poppy hooks with a country edge on the infectiously upbeat "HEARTFIRST."

Rounding out the category is the one and only Willie Nelson, who paid tribute to his late friend Billy Joe Shaver with a cover of "Live Forever" — a fitting sentiment for the 89-year-old legend, who is approaching his eighth decade in the business. 

As the excitement builds for the 2023 GRAMMYs on Feb. 5, 2023, let's take a closer look at this year's nominees for Best Country Solo Performance.

Kelsea Ballerini — "HEARTFIRST"

In the tradition of Shania Twain, Faith Hill and Carrie Underwood, Kelsea Ballerini represents Nashville's sunnier side — and her single "HEARTFIRST" is a slice of bright, uptempo, confectionary country-pop for the ages.

Ballerini sings about leaning into a carefree crush with her heart on her sleeve, pushing aside her reservations and taking a risk on love at first sight. The scene plays out in a bar room and a back seat, as she sweeps nimbly through the verses and into a shimmering chorus, when the narrator decides she's ready to "wake up in your T-shirt." 

There are enough steel guitar licks to let you know you're listening to a country song, but the story and melody are universal. "HEARTFIRST" is Ballerini's third GRAMMY nod, but first in the Best Country Solo Performance category.

Zach Bryan — "Something In The Orange"

Zach Bryan blew into Music City seemingly from nowhere in 2017, when his original song "Heading South" — recorded on an iPhone — went viral. Then an active officer in the U.S. Navy, the Oklahoma native chased his muse through music during his downtime, striking a chord with country music fans on stark songs led by his acoustic guitar and affecting vocals.

After his honorable discharge in 2021, Bryan began his music career in earnest, and in 2022 released "Something in the Orange," a haunting ballad that stakes a convincing claim to the territory between Tyler Childers and Jason Isbell in both sonics and songwriting. Slashing slide guitar drives home the song's heartbreak, as Bryan pines for a lover whose tail lights have long since vanished over the horizon. 

"Something In The Orange" marks Bryan's first-ever GRAMMY nomination.

Miranda Lambert — "In His Arms"

Miranda Lambert is the rare, chart-topping contemporary country artist who does more than pay lip service to the genre's rural American roots. "In His Arms" originally surfaced on 2021's The Marfa Tapes, a casual recording Lambert made with Jack Ingram and Jon Randall in Marfa, Texas — a tiny arts enclave in the middle of the west Texas high desert.

In this proper studio version — recorded for her 2022 album, Palomino — Lambert retains the structure and organic feel of the mostly acoustic song; light percussion and soothing atmospherics keep her emotive vocals front and center. A native Texan herself, Lambert sounds fully at home on "In His Arms."

Lambert is the only Best Country Solo Performance nominee who is nominated in all four Country Field categories in 2023. To date, Miranda Lambert has won 3 GRAMMYs and received 27 nominations overall. 

Maren Morris — "Circles Around This Town"

When Maren Morris found herself uninspired and dealing with writer's block, she went back to what inspired her to move to Nashville nearly a decade ago — and out came "Circles Around This Town," the lead single from her 2022 album Humble Quest.

Written in one of her first in-person songwriting sessions since the pandemic, Morris has called "Circles Around This Town" her "most autobiographical song" to date; she even recreated her own teenage bedroom for the song's video. As she looks back to her Texas beginnings and the life she left for Nashville, Morris' voice soars over anthemic, yet easygoing production. 

Morris last won a GRAMMY for Best Country Solo Performance in 2017, when her song "My Church" earned the singer her first GRAMMY. To date, Maren Morris has won one GRAMMY and received 17 nominations overall.

Willie Nelson — "Live Forever"

Country music icon Willie Nelson is no stranger to the GRAMMYs, and this year he aims to add to his collection of 10 gramophones. He earned another three nominations for 2023 — bringing his career total to 56 — including a Best Country Solo Performance nod for "Live Forever."

Nelson's performance of "Live Forever," the lead track of the 2022 tribute album Live Forever: A Tribute to Billy Joe Shaver, is a faithful rendition of Shaver's signature song. Still, Nelson puts his own twist on the tune, recruiting Lucinda Williams for backing vocals and echoing the melody with the inimitable tone of his nylon-string Martin guitar. 

Shaver, an outlaw country pioneer who passed in 2020 at 81 years old, never had any hits of his own during his lifetime. But plenty of his songs were still heard, thanks to stars like Elvis Presley, Kris Kristofferson and Waylon Jennings. Nelson was a longtime friend and frequent collaborator of Shaver's — and now has a GRAMMY nom to show for it.

2023 GRAMMY Nominations: See The Complete Nominees List