meta-scriptCardi B & Megan Thee Stallion Give Electric “WAP” Performance | 2021 GRAMMY Awards Show | GRAMMY.com
Megan Thee Stallion_2021 GRAMMY Awards

Megan Thee Stallion

news

Cardi B & Megan Thee Stallion Give Electric “WAP” Performance | 2021 GRAMMY Awards Show

Cardi B and Megan Thee Stallion’s GRAMMYs performance brought the heat to the 63rd GRAMMY Awards

GRAMMYs/Mar 15, 2021 - 07:05 am

Megan Thee Stallion and Cardi B’s performances at the 63rd Annual GRAMMY Awards showed why women are running the rap world.

First up was Megan Thee Stallion who made her live debut at this year’s stage. Her set captured the glitz and allure of Old Hollywood as she channeled her inner Las Vegas showgirl. She began her set with Good News single “Body” that was accented by the rapper’s signature booty shaking.

Next up was her GRAMMY-winning “Savage” single. While Beyoncé didn’t appear to sing her part on the remix, Megan more than held her own as she nailed choreography and flirted with the camera. Suited male dancers, a brief sample of D4L’s 2006 single “Betcha Can’t Do It Like Me” and tap-dancing women elevated the musical-inspired performance. “‘Savage’ is my confident anthem,” she said of the hit in an interview prior to the showing. “I’m describing myself and how other people should feel.”

Then, the stage transitioned from the roaring ‘20s to the future as Cardi B proceeded to take over. Resembling a badass fembot in a metallic pink suit, the Bronx star dominated in front of avant-garde visuals as she rapped her latest “Up” single. She was soon joined by Megan as they wowed viewers with a vibrant rendition of “WAP”.

With a larger-than-life stripper heel taking center stage, Cardi B and Megan Thee Stallion showcased their most provocative dance moves for their first televised performance of the hit. It was undeniably one of the night’s most unforgettable moments.

Earlier tonight, Megan Thee Stallion took home the award for Best New Artist, making her the first female rapper to win since Lauryn Hill in 1999. She also won Best Rap Song and Best Rap Performance for her “Savage” remix collaboration with Beyoncé, who joined her onstage as she delivered a heartwarming speech that honored her idol and fellow Houston star.

With the “Savage” remix trophy and Best R&B Performance win for “Black Parade”, Beyoncé is now the most decorated female artist with an all-time record of 87 GRAMMY Award wins.

2021 GRAMMYs Awards Show: Complete Winners & Nominees List

 
Megan Thee Stallion performs during 2024 Bonnaroo Music & Arts Festival on June 16, 2024 in Manchester, Tennessee
Megan Thee Stallion performs at 2024 Bonnaroo Music & Arts Festival

Photo: Erika Goldring/Getty Images

list

6 Takeaways From Megan Thee Stallion's 'Megan': Snakes, Shots & Self-Assurance

From the serpentine theme to Japanese rhyme schemes, Megan Thee Stallion's third album snatches back her own narrative and isn't afraid to take a bite.

GRAMMYs/Jun 28, 2024 - 06:07 pm

Beware of venom: Megan Thee Stallion is not biting her tongue on her new album, simply titled Megan.

The GRAMMY winner's first full-length release in two years is also the first to drop under her own control. Fans have been ready for this release even before the first single, "Cobra," came out in November. The second single, "Hiss," followed in January and brought the star her first No. 1 hit on the Billboard’s Hot 100 and Global 200 charts. These songs, as well as the third single, "BOA," foreshadowed a certain slithery theme that helped shape the album.

Megan was released on June 28 and features guest stars such as GloRilla, Victoria Monét, Big K.R.I.T. and Kyle Richh as well as her longtime ace producers like Juicy J (who made "Hot Girl Summer" among other calling cards) and LilJuMadeDaBeat, who produced Stallion anthems like "Big Ole Freak," "Body" and "Thot S—."

Here’s what we learned from listening and vibing to the latest work by three-time GRAMMY winner Megan Thee Stallion.

A Theme Snakes Through Megan

As could have easily been predicted from the first three singles "Cobra," "Hiss" and "BOA," and now the album track "Rattle," there is a hint of a snake theme that wends its way through the album from beginning ("Hiss") to end ("Cobra").

In several songs, she denounces all the snake behavior that she has encountered from former lovers, friends, and haters who support those who have caused actual harm to her. In the music video for "Cobra," Megan literally sheds her old skin to reveal a shining new layer.

Megan Is Calling The Shots This Time 

"I feel like Biggie, 'Who Shot Ya?’/But everybody know who shot me, bitch/ So now, let’s stop speaking on the topic," she rapped in "Who Me (feat. Pooh Shiesty)" off her 2022 album Traumazine. MTS was referencing the July 2020 incident in which rapper Tory Lanez shot her in the foot, and was subsequently charged with assault with a semiautomatic firearm and carrying a loaded, unregistered firearm in a vehicle. 

Turns out, she wasn’t done referencing the topic. Now, she’s one taking the shots. MTS takes aim at less-talented women rappers on "Figueroa" (named for a Los Angeles street known for prostitution), and at Lanez on "Rattle," when she suggests that his male supporters should schedule a conjugal visit with him in prison. (Lanez is currently serving a 10-year sentence while simultaneously going through a divorce with wife Raina Chassagne.)

More Megan Thee Stallion News & Videos

Inspiration Comes From Everywhere

The star and her collaborators incorporate unexpected musical influences on Megan via creative sampling. Megan Thee Stallion speeds up and flips Teena Marie's 1984 ballad "Out on a Limb" for "B.A.S." a song she co-produced with her longtime ally LilJuMadeDaBeat. "BOA" is cleverly crafted from sounds in the first solo hit by Gwen Stefani, 2004’s "What You Waiting For?" 

UGK are reunited from across the heavenly divide on the Juicy J-produced "Paper Together," with Bun B contributing new work and the late Pimp C joining in lyrical spirit. This is especially significant when considering that Juicy J produced "Intl’ Players Anthem (I Choose You)," UGK’s 2007 hit with Outkast. Juicy J also made the beats for Megan’s famous song "Hot Girl Summer." 

That’s just the tip of the iceberg when it comes to samples waiting to be discovered on Megan. There are many more riffs and other musical notions that the sample bank in our brains have yet to detect.

Self-Love Is Queen 

Whether she’s affirming, "I’m worthy, not worthless" on "Worthy," or literally touching herself in the auto-erotic "Down Stairs DJ" (which joins masturbation masterpieces like Divinyls’ "I Touch Myself" and Tweet’s "Oops"), Megan is grounded in songs that promote self-love as the best kind of love. 

She does admit that this is sometimes a challenge to embody, as when she talks about lingering depression on "Moody Girl." But the album generally moves towards the light.

She Loves Japan 

One of the big surprises on Megan is that she raps in two languages. She rhymes beautifully in Japanese on "Mamushi" with Yuki Chiba, a seasoned rapper from Japan who is influenced by the Southern swag. (Just take a look at the Memphis moves and Houston rhyme schemes of his viral song "Team Tomodachi."

On "Otaku Hot Girl," she raps about the manga series "Naruto" and drops other anime references to show her love of Japanese pop culture. 

Learn more: 10 Neo J-Pop Artists Breaking The Mold In 2024: Fujii Kaze, Kenshi Yonezu & Others 

Megan's Game Is Tight 

Megan is the first album to be released on Megan Thee Stallion’s own label. It follows her split from 1501 Certified Entertainment, a record label with which she was engaged in a protracted and ugly legal battle for earnings. 

She now has the muscle of the major label Warner Brothers as a partner for her independent venture, Hot Girl Productions. She also recorded an Amazon Original song called "It’s Prime Day" for a commercial, as well as an exclusive Amazon edition of Megan

It’s safe to say that this album represents a new level of business freedom and acumen for Megan Thee Stallion.

PRIDE & Black Music Month: Celebrating LGBTQIA+ & Black Voices

Peso Plum press photo
Peso Pluma

Photo: Arenovski

feature

Peso Pluma's Road To 'ÉXODO': The GRAMMY Winner Navigates The Consequences Of Global Stardom On New Album

"Fans really get to see the other side of the coin; there are two sides to me. It's darker, rawer," Peso Pluma says of his latest album 'ÉXODO'

GRAMMYs/Jun 21, 2024 - 01:13 pm

Peso Pluma marked his musical destiny with a Tupac tribute tattoo in the center of his clavicle: "All Eyez On Me." 

The Mexican artist, born Hassan Emilio Kabande Laija, doesn't remember exactly what year he inked his chest. He knows it was well before his debut in music. Those four words reflected Peso's irrefutable confidence that the world's eyes would eventually be on him. 

The world's eyes are indeed on Peso Pluma. In less than two years, the singer achieved global fame by singing corridos tumbados, traversing a path never before trodden by a música Mexicana artist. 

At 25, Peso Pluma is at the forefront of a new generation of música Mexicana artists that have successfully modernized traditional Mexican rhythms, such as corridos, by infusing them with elements from urban music and a hip-hop aesthetic. The weight of representing an entire genre and a country could be great for some. But pressure doesn't affect Peso Pluma; on the contrary, it motivates him to keep working to exalt his roots. 

"We've come a long way, but we still have a long way to go. And that doesn't mean we have to slow down; it doesn't mean everything is over. This is the beginning of everything," Peso Pluma said in a TikTok video before a performance at the Toyota Arena in Ontario, Canada, a little over a year ago. 

Out June 20, Peso's extensive new album ÉXODO seeks to cement his global star status further. Over 24 tracks, the singer continues to explore corridos tumbados and digs into his urban side via much-awaited collaborations with reggaeton and hip-hop icons. Among those big names is Peso's teenage idol, the American rapper and producer Quavo, as well as further afield collaborations with Cardi B.  

"ÉXODO is a project I've been working on for over a year before we even won the GRAMMY. GÉNESIS was an incredibly special project, and I knew we couldn't make the same diamond twice," the singer tells GRAMMY.com in a written interview. 

Peso Pluma's path to the global stage has been lightning-fast. While he started releasing songs in 2020, Peso will remember March 2023 as the month that propelled him into global mega-stardom. His collaboration with Eslabón Armado on "Ella Baila Sola" led him to become a household name outside his native Mexico.  

The hit resonated with an audience eager for new sounds, accompanying social media videos and surpassing a billion streams on Spotify. "Ella Baila Sola" became the first Mexican music track to top the platform's global chart. On Billboard, it conquered No. 1 on the magazine's Global 200 chart for six weeks and reached the coveted No. 4 spot on the Hot 100 chart. The mega-hit took Peso Pluma and Eslabon Armado to make their Latin GRAMMY stage debut in November with an electrifying performance.  

Another collaboration, "La Bebe (Remix)" with Mexican reggaeton artist Yng Lvcas, released a day after "Ella Baila Sola," also contributed to Peso Pluma's virality in a completely different genre, but one in which he feels comfortable: urban music. 

Learn more: Peso Pluma's 10 Biggest Collabs: From "Bzrp Sessions" To "Ella Baila Sola" &"Igual Que Un Ángel" 

As Peso Pluma gained traction with a global audience, his February 2022 single with Raúl Vega, put him, for better or worse, on the map in Mexico. The warlike content of "El Belicón" lyrics and video clip attracted attention for the way it allegedly promoted narcoculture. 

Despite growing criticism, Peso Pluma remained tight-lipped regarding references to high-profile members of the Mexican drug trade, as well as drug use and trafficking. In a rare admission to GQ magazine, the singer explained this is a "delicate subject to talk about, but you have to touch on it with transparency — because it's the reality of things." 

"In hip-hop, in rap, just like in corridos, and other urban music like reggaeton, it talks about reality. We're not promoting delinquency at all. We're only talking about things that happen in real life," the singer explained.

With the success of "El Belicón" and "Ella Baila Sola" under his belt, Peso Pluma released GÉNESIS in June 2023. Despite being his third album, Peso considers it his true debut in music. 

"I didn't want to delete my previous albums [Efectos Secundario and Ah Y Que?] because they represent my beginnings," Peso told Billboard in a cover story published a few weeks after the release of GÉNESIS. In the same conversation, the singer said he saw himself winning his first GRAMMY and breaking more records. 

Read more: 5 Takeaways From Peso Pluma's New Album 'GÉNESIS' 

In February 2024, Peso Pluma did just that. He took home the golden gramophone for Best Música Mexicana Album (Including Tejano) his first GRAMMY Award. This victory didn't weigh on him as he approached his next production. "It pushed me to want to create something different that the fans haven't heard from me before," Peso Pluma tells GRAMMY.com. 

While GÉNESIS and ÉXODO may differ in substance, they share similarities beyond music. That both records pull from the Bible for their names is not a random occurrence; the opening book of the Hebrew and Christian Bible delves into the genesis of creation, while the Book of Exodus explores the themes of liberation, redemption, and Moses' role in leading the Israelites through the uncharted waters of the Red Sea. 

"ÉXODO is the continuation of GÉNESIS, which was the beginning," Peso Pluma explains to GRAMMY.com. "ÉXODO means new beginnings, a new era for me. We are preparing for the next chapter, and that's what we are doing for Mexican music, paving the way, laying the groundwork for what's next because it doesn't stop here."  

His "sophomore" album is divided into two discs: the first is corridos, and the second is urban. It also continues the line of collaborations, with twenty tracks where Peso Pluma shares the limelight. 

"Some of my fans were craving música Mexicana, and some were craving urbano, and I wanted to give them everything while still staying true to myself and choosing songs and lyrics that spoke to me," he continues.  

ÉXODO's disc one starts with "LA DURANGO," the album's fourth single, featuring Eslabon Armando and Junior H. In the record, he also invites collaborators such as Natanael Cano and Gabito Ballesteros for "VINO TINTO" and Mexican rising star Ivan Cornejo on the melancholic "RELOJ," among others. 

For Side B, Peso enlisted heavyweights from the urban genre in the Anglo and Latin markets: Anitta in the steamy "BELLAKEO," Rich The Kid in the bilingual "GIMME A SECOND," and Quavo in the existential trap "PA NO PENSAR." Cardi B, Arcángel, Ryan Castro, Kenia OS, and DJ Snake complete ÉXODO's genre crossover. 

In ÉXODO, luxury, drugs, alcohol, and women continue to take center stage in the lyrics, accompanied by fast-paced guitar-driven melodies and reverb-dense vocals. However, the production sheds light on the vulnerable side of Peso and explores the unexpected consequences of becoming globally famous. 

"Fans really get to see the other side of the coin; there are two sides to me. It's darker, rawer," Peso says about the record. 

In the songs "HOLLYWOOD" and "LA PATRULLA," for example, Peso details how this musical path keeps him up at night, as well as his aspirations, and how he remains the same despite his success. 

Perhaps one of the deepest and rawest songs on the album is "14:14," a track inspired by the Bible verse 14:14 from the Book of Exodus, which, the singer explains, was fundamental amidst the turbulence he faced on the way to global stardom. 

"[The] verse 14:14 says 'The LORD will fight for you; you need only to be still.' This verse couldn't be truer," Peso Pluma says. "Over time, I learned to really trust in this and believe that some things are not up to me and I should trust the process."  

In the song — one of the few on the album without a collaboration — Peso references the challenges of his profession and how his faith has kept him afloat amid the vicissitudes. "Things from the job that no one understands/I hide the rosary under my shirt so I don't poison myself, so I don't feel guilty/because whatever happens, the Boss will forgive me," he sings.

In "BRUCE WAYNE," Peso Pluma croons about the passionate feelings his career arouses: "First they love you, and then they hate you/wishing the worst, envy and death," the song says. 

The singer resorts to comparing himself to a superhero figure again. In an unusual twist, Peso crosses comic universes, moving from his now traditional reference to Spider-Man to one from the DC Comics world: Bruce Wayne, Batman's secret identity. A wealthy man, part of Gotham's high society, Bruce Wayne is known for transforming his darkness into power while remaining reserved and isolated.  

"Everyone has two sides of them, even me," Peso tells GRAMMY.com. "Peso Pluma on stage is a high-energy person, someone who is powerful and dominates a show and isn't afraid of anything. And then there is Hassan, who's chill and more relaxed and who deals with all the realities of life." 

During the year and a half it took him to complete ÉXODO, Peso Pluma had to deal with the diverse nuances of a global star's life, including a widely publicized breakup from Argentine rapper/singer Nicki Nicole, the cancellation of one of his shows in October 2023 after a Mexico drug cartel issued a death threat against him, and a media frenzy over his alleged admission to a rehabilitation clinic, the latest a rumor he laid to rest during a March interview with Rolling Stone for his Future of Music cover story. 

"The reality is, all these days, I've been in the studio working on ÉXODO," the artist explained to Rolling Stone. 

Most of 2023 was a successful balancing act for Peso Pluma, who combined touring, an album release, rare media engagements, two Coachella appearances, all the while developing another record. According to the singer, ÉXODO was created in Los Angeles, Miami, New York, and Mexico. "We go to the studio everywhere!" Peso says. "It doesn't really matter where we are; I love to get into the studio and work when we have free time." 

Like GÉNESIS, ÉXODO will be released via Peso Pluma's Double P Records, of which he is the CEO and A&R. Much of the talent the Mexican singer has signed to his label took part in the album's production, and songwriting process. 

"For the Mexican music side, I had the whole [touring] band with me; I like to have them involved in the process so that we can all give our input on how it sounds, discuss what we think needs to be changed, create new ideas," he explains. 

Peso Pluma knows that echoing the success of 2023 is no easy task. He was the most streamed artist in the U.S. on YouTube, surpassing Taylor Swift and Bad Bunny, and was the second most-listened to Latin artist in the country, amassing an impressive 1.9 billion streams, according to Luminate. 

Música Mexicana emerged as one of the most successful genres in 2023, witnessing a remarkable 60 percent surge in streaming numbers, adds Luminate's annual report, crediting Peso Pluma along Eslabon Armado, Junior H, and Fuerza Regida as part of this success. 

Collaborations on and off the mic have undoubtedly played a significant role in the rise of Música Mexicana on the global stage. Peso knows that the key to continuing onward is teaming up with renowned artists inside and outside his genre. 

"All of us coming together is what pushed música Mexicana to go global," the singer affirms. "We showed the world what Mexico has to offer, and now no one can deny the power and talent we have in our country."  

Shakira's Road To 'Las Mujeres Ya No Lloran': How Overcoming A Breakup Opened A New Chapter In Her Artistry 

Bonnaroo 2024 Recap Hero
Ethel Cain performs at Bonnaroo 2024.

Photo: Ashley Osborn for Bonnaroo 2024

list

9 Epic Sets From Bonnaroo 2024: Ethel Cain, Melanie Martinez, Megan Thee Stallion & More

With an exciting mix of rising stars and big-name performers, Bonnaroo 2024 brought another year of showstopping performances to Manchester, Tennessee. Revisit some of the most intriguing sets from The Japanese House, Interpol and more.

GRAMMYs/Jun 18, 2024 - 06:40 pm

The 2024 iteration of Tennessee's Bonnaroo Music & Arts Festival was an absolute scorcher — even without the 95-degree highs.

The weekend brought some of the hottest names in music for a stacked lineup of buzzy newcomers and hitmaking veterans. From the Red Hot Chili Peppers' spectacular return to touring with John Frusciante, to Dashboard Confessional's star-studded Emo Superjam, to Billy Strings joining Post Malone for "rockstar," to Chappel Roan singing to a wig, there was no shortage of unforgettable moments at The Farm. 

While this year was the literally hottest that Bonnaroovians had seen in a few years, sweating through shirts (or lack thereof) proved completely worth it as some of the biggest iconoclasts came together and brought their all. It was electrifying, whimsical and at times emotional — and the bright, sunny skies served as the perfect backdrop for it all. 

If anything, the blistering — and briefly thundery — weather was a testament to the enduring nature of music fans; folks from all over the globe will never miss a chance to watch their favorite artists. Relive the magic with nine of the most exciting sets from Bonnaroo 2024.

The Foxies Took Technical Mishaps In Stride

The Foxies performing at Bonnaroo

The Foxies | Yvonne Gougelet for Bonnaroo 2024

Nashville's premier glitterpunk exports the Foxies delivered a fun, crowd-pleasing set Thursday night on the Who stage, even despite a flurry of audio issues and technical hiccups. The Roo crowd was forgiving, though, and the band rewarded us with some of the best songs from their catalog — plus a cover of Sheryl Crow's "If It Makes You Happy."

"Summer Never Dies," "Timothee Chalamet," and "Little Monsters" all landed perfectly, but the group's personality shone brightest during their newest release, "Natural Disaster." It couldn't have been a more apt song for Bonnaroo's carefree setting — an ode to feeling free and accepting the wildest parts of yourself. 

"A huge theme while we were writing ['Natural Disaster'], for me, was when I was 20 living in Brooklyn, how I was, all the cringey stuff that I did as a young adult," The Foxies frontwoman Julia Bullock told GRAMMY.com backstage. "I wish I wouldn't have shied away from it, or been embarrassed by it — I wish I'd leaned into the cringiness. This is an anthem for that: if I could do it all over again I would just embrace the fact that we are all just weird." Indeed we are, Julia.

The Japanese House Brought Love And Light

The Japanese House performing at Bonnaroo

The Japanese House | Yvonne Gougelet for Bonnaroo 2024

Since its 2015 inception, The Japanese House has always been in the zeitgeist. Where Amber Bain's heavily layered, mournful music was inescapable during the pale-grunge Tumblr era, it now occupies a much lighter space. Coming off of a banner year and a critically acclaimed album, In the End it Always Does, Bain has been embracing her pop side like never before.

Her set was a cornucopia of new and old sounds, the most exciting part of which was her new song, "Smiley Face." Written a year ago when Bain met her current fiancée on a dating app, "Smiley Face" is bright, soft, and sploshy, fraught with the energy of someone falling deliriously in love. "[When we first met] she lived in Detroit and I lived in London, and I would stay awake until she fell asleep," Bain tells GRAMMY.com of the song. "We were in different time zones. I was running on nothing — I felt a bit high." 

Like the rest of her discography, the song held the audience in the palm of its hand, this time enveloping us in a warm, flickering glow. "I could be losing my mind but something's happening," Bain sang, naturally, with a smile on her face. 

TV Girl Delivered A Masterclass In Melodrama

"I have a bit of stage fright," revealed TV Girl singer Brad Petering before the group's second to last song. Even if he felt it, stage fright wasn't apparent during the indie pop band's hour-long performance. Their set felt like a dream; onlookers got lost in the moment, spinning, swaying and dancing in the refreshingly cool breeze. 

It fell serendipitously near the 10th anniversary of their debut, French Exit, an album that launched them into the limelight as stalwarts of indie pop. Songs like "Louise" and "Lovers Rock" felt almost nostalgic 10 years on, and newer cuts like "99.5" and "The Nighttime" blended right in. Backed by a full band — including backup singers Kiera and Mnya, whose powerhouse vocals could've made for their own show — TV Girl turned already dynamic songs like "Birds Don't Sing" and "Not Allowed" into even fuller, radiant versions of themselves. 

Ethel Cain Took Us To Church

Ethel Cain performing at Bonnaroo

Ethel Cain | Ashley Osborn for Bonnaroo 2024

Despite its small size, there was no more perfect space for an Ethel Cain set than the reserved, remote That Tent in the quiet corner of Bonnaroo. Her performance saw the quaint venue packed to the brim, 1000-odd people staring back at Cain in dumbstruck awe, as her band played through songs inspired by Christian music and Gregorian chant.

Beginning with unreleased song "Dust Bowl" and the haunting "A House in Nebraska," Cain's performance was an intense, resounding 40 minutes that traversed between peace and emotional turmoil, much like all of the songs from her breakthrough album, Preacher's Daughter. The euphoric response from her overflowing audience left little doubt that her songwriting can break down walls; she's a timeless act, and her Bonnaroo set proved it.

​​Neil Frances Set Themselves Apart

There are a number of artists with variations of the name Neil Frances — or at least that's what it looked like from this year's Bonnaroo bill. One difference in letters, and you may have found yourself at the Other Stage at 6:15pm on Saturday, seeing Neil Frances instead of Neal Francis. But, whether you've been a fan of Neil Frances for years, or you wound up there by mistake, the indie-dance duo would not have let you leave disappointed. 

Backed by a live full band, their set felt like a psychedelic ode to the club, to dancing, and to feeling free. And their live production is every bit an artistic endeavor as is being in the studio. 

"We've always preferred to play with a live band; there are so many things that we do live that are completely different from the record," the duo's Marc Gilfry told GRAMMY.com. "It's fun, it's dramatic, and we have really great musicians."

Read More: NEIL FRANCES Just Want To Have Fun & Get 'Fuzzy'

Melanie Martinez Gave Us A Peek Inside Her Mind

Melanie Martinez performing at Bonnaroo

Melanie Martinez | Dusana Risovic for Bonnaroo 2024

Adorned with bows, horns, over-the-top dresses, and a multi-eyed, alien-like prosthetic mask, Melanie Martinez was dressed exactly how you'd think she would. With a stage setup of greenery, giant mushrooms, nymphs, and various mythical elements that seemed to revel in its own kitchiness, the details of Martinez's intricately-woven performance art unfolded around the audience, song by song, immersing everyone in a world of weird, elaborate fun.

Her dancers wove through a delicately choreographed, three-act narrative, taking the crowd through her three albums in chronological order, telling the story of the Cry Baby character, who first appears in her debut album, Cry Baby. The character transforms from baby to child to young adult, and finally, to a fully grown, pink-skinned being in the third act. Martinez's set was artistry in every sense of the word, taking fans through the ups and downs of youth and coming-of-age through rich metaphor and lyrical imagery — and prompting delighted sing-alongs as a result.

Interpol Were A Quiet Gem

Interpol performing at Bonnaroo

Interpol | Ismael Quintanilla III for Bonnaroo 2024

More than 25 years into their career, there's still something very disarming about Interpol. Maybe it's their effortless, NYC cool, or that they still know how to build the type of tension that gives you chills. Or maybe it's that they're men of very few onstage words — and when they do speak, you feel as though you've been given a gift.

Three things can be true, and they were for Interpol's Bonnaroo set Friday Night. Not ones to waste time talking, the three-piece rock band played an unbelievably tight 75-minute set, mostly sticking to a reliable selection of early hits, largely from their 2004 album, Antics. The crowd didn't seem put-off by the lack of chatter, as everybody had some singing along to do — because it was impossible not to.

Milky Chance Never Stopped Dancing

Milky Chance performing at Bonnaroo

Milky Chance | Douglas Mason for Bonnaroo 2024

Milky Chance wants you to dance. The German duo-turned-quad may have steadily transformed since their early folk days, but they've never abandoned their ability to make every beat danceable and each chorus undeniable. And on stage, they were having a ball.

With a set that included both 2012 hit "Stolen Dance" and their latest, "Naked and Alive,'' their evolution from folk renegades to breezier, disco-pop pundits is on full display — and we're glad they brought us all along for the ride. 

Speaking to GRAMMY.com backstage, bassist Philipp Dausch discussed their journey: "It was quite a process to become the band we wanted to be. Our music has always been in-between electronic and folky, so we put a lot of work into becoming that band on stage as well. We love rhythms and beats. We like when music moves you."

Megan Thee Stallion Declared This A "Self-Love Summer"

Megan Thee Stallion performing at Bonnaroo

Megan Thee Stallion | Pooneh Ghana for Bonnaroo 2024

No one is doing it like Meg. A highlight of day four — and perhaps the entire weekend — was Megan Thee Stallion's riotous, yet charming Sunday night set. Clad in a yellow-ombre bodysuit and welcomed by a crowd chanting her name, the Houston hottie commanded the What stage in a manner that suggested it won't be too long until she's in the headlining slot.

"Real hot girl s—," she screamed at the crowd, who didn't hesitate to scream back. It was clear she was on a high; not only was it her first Bonnaroo set, but it also followed back-to-back sold-out shows in her hometown of Houston, making it an absolutely monumental weekend for the rapper. 

Her and her dancers shook, twerked, and rolled through each hit without ever losing breath control — even during what she deemed the "personal section" of her set. And that portion was aptly-named; beneath the ass-shaking and thumping beats, "Cobra" brought about an air of sadness during an otherwise infectiously playful and positive performance. 

The lyrics chronicle her mental health struggles over the years amidst personal traumas and virulent online abuse. "Man, I miss my parents," she sang of her late parents, on what happened to be Father's Day. But shortly after the poignant moment, Megan quickly returned to her signature body-moving, sex-positve calling cards, "WAP," "Savage," and "Body," during which she declared this summer a "Self-Love Summer." That's some Real Hot Girl S— we can get behind.

15 LGBTQIA+ Artists Performing At 2024 Summer Festivals

Megan Thee Stallion performing in Houston June 2024
Megan Thee Stallion performs in Houston on June 15, 2024.

Photo: Kevin Mazur/Getty Images for Live Nation

list

5 Iconic Moments From Megan Thee Stallion's Houston Hometown Shows

Megan Thee Stallion returned to Houston on June 14 and 15 for an epic homecoming filled with surprise guests, gifts and plenty of twerking. Revisit five of the most exciting moments from the Houston stops on the rapper's Hot Girl Summer Tour.

GRAMMYs/Jun 17, 2024 - 08:31 pm

Seven years into her career, Megan Thee Stallion is no stranger to a sold-out crowd. The rapper has been dubbed "Sold-out Stalli" since selling out nearly 20 shows on her Hot Girl Summer Tour — and though her stops at Houston's Toyota Center weren't the first sellouts on the trek, they were considerably the most meaningful ones.

"I'm so happy to be home," Megan, a lifelong Houstonian, told the crowd on June 14, night one of the back-to-back shows. After honing her rap skills and launching her career in H-Town, the star expressed her gratitude for the support her Houston fans have shown her from the start. 

"Hotties, y'all know what we've been through, y'all been rocking with me since day motherf—in' one," she gushed on night one. "I love y'all, I appreciate y'all, I respect y'all and I'm very grateful for y'all because, without the Hotties, there would be no motherf—in' Hot Girl Coach."

The two-night stint highlighted Megan's vulnerability, drive and exceptional showmanship. But above all else, her hometown shows reminded fans that she's just a strong-kneed, animé-loving girl from Houston. 

Below, check out five of the most memorable moments from Megan Thee Stallion's Houston homecoming.

She Organized A Hottie Egg Hunt

Before stepping on stage on June 14, Megan sent Houston fans on a Hottie Egg Hunt for a chance to win merchandise and tickets to the show that night. The three-part interactive adventure featured clues, documented on Instagram and X, that helped fans locate the golden eggs. 

The first clue reads, "A wild stallion can't be tamed…meet me at the place where I'm gonna rock the stage!" The second, "Where I run through the mall with your daddy." The last, "People are smart, my Hotties are smarter, find this egg where I got one degree hotter."

Eager fans scoured the whole city and eventually found the eggs at Megan’s favorite spots in Houston: Toyota Center, The Galleria and Texas Southern University. So far, Houston has been the only city Megan has done this for, making for another special moment between her and Houston hotties.

She Continued To Prove She's A Girls Girl

An unfortunate rap show trend has seen several female opening acts receive hate ahead of male headliners. Luckily this hasn't been the case for Memphis rapper GloRilla, who has noticeably been enjoying her experience as an opener on the Hot Girl Summer Tour. 

On night two in Houston, GloRilla presented Megan with a blown-up art piece commemorating her upcoming album, Megan, on stage. In return, Megan complimented the 24-year-old rapper, saying, "Glo is one of the realest women I've ever met." 

That evening, Megan showed her love for another rising star — and fellow Houston female rapper — Monaleo. The Mo City rapper sent the crowd into a frenzy as she sang her 2023 hit song "Beating Down Yo Block," which samples the classic "Knocking Pictures Off Da Wall" by Houston's Yungstar.

She Paid Homage To Houston Legends

Monaleo was far from the only Houston native to take the stage with Megan during her hometown visit. On night one, Megan surprised fans with a legendary performance from a few Houston all-stars. The room filled with excited screams as H-Town''s Bun B popped out to perform UGK's "Int'l. Players Anthem (I Choose You)." As if it couldn't get more iconic, Megan joined the legend on stage to rap Pimp C's verse of the song. 

The night also featured a legendary performance of "Southside" by Lil Keke, which Megan teased prior in the show with her "Southside Royalty Freestyle." Fans also got to enjoy Slim Thug's verse from "Still Tippin," a song he shares with Mike Jones and Paul Wall. (Wall also performed the song on Megan's tour the previous night at Austin's Moody Center.)

On night two, Megan brought out another Houston great, Z-Ro to rap a classic, "Mo City Don." Though a Hot Girl at heart, Megan couldn't help but celebrate the legendary men who paved the way and left a historic mark in Houston's dynamic hip-hop scene. 

She Showed — And Received — Hometown Love

As Megan arrived at the Toyota Center on June 14, she received a surprise welcome by students from her alma mater, the Pearland High School Band and Prancers — a heartwarming kickoff to a night of mutual love between Megan and Houston that put her in high-spirits before the show. 

Both nights were filled with an immense amount of energy and support, from Megan signing autographs throughout the show to making sure she got the perfect selfie with her beloved supporters. Even during more tender moments — like “Cobra," a song about suicide and her depression — felt particularly moving because of the interaction between Megan and her hometown fans.

She Put The "Hot" In Hottie

Taking notes from another H-Town hero and fellow Houstonian, Megan put on an impressive show reminiscent of Beyoncé, from jaw-dropping choreography to stunning wind-blown poses. Megan also tapped into her past life as a Prairie View A&M Panther Doll with majorette-inspired dancing during her song "Cognac Queen." 

Of course, she wouldn't be Thee Stallion if she didn't show off her twerking skills and famously powerful knees during her two-hour show run. Fans even got to participate in the twerk-fest during intermission, as a "Hottie Cam" panned through the audience, showing love to the girls and boys.

If her hometown shows were any indication, Megan Thee Stallion's future is not just bright — it's smoking hot as well. 

GRAMMY Rewind: Megan Thee Stallion Went From "Savage" To Speechless After Winning Best New Artist In 2021