Dua Lipa got the party started at the 2024 GRAMMYs with an electric medley of "Training Season" and "Houdini."

Emerging from a steel cage surrounded by a bevy of muscled male dancers, Lipa declared, "Training season's over" with the live debut of her new single before pivoting into "Houdini" complete with full choreography.

"I come and I go/ Tell me all the ways you need me/ I'm not here for long/ Catch me or I go Houdini," the pop star sang as she writhed with her dancers and nailed the end of the performance by sliding onto her knees. 

"Houdini" and "Training Season" are the first two singles off the British-Albanian superstar's forthcoming follow-up to her GRAMMY-winning 2020 LP Future Nostalgia. The GRAMMYs served as a sneak peek of "Training Season," as the track officially arrives Feb. 15.

Meanwhile, "Dance the Night" — Lipa's sparkling dance floor banger from Barbie, which brought all the Barbies and Kens together in the film for a giant party at Barbie's Dream House — and is nominated for two awards at this year's ceremony: Song Of The Year and Best Song Written for Visual Media.

In fact, numerous songs from Barbie the Album packed the latter Category, with Ice Spice and Nicki Minaj's "Barbie World" featuring Aqua, Ryan Gosling's "I'm Just Ken" and Billie Eilish's "What Was I Made For?" also in the running alongside Rihanna's soulful Black Panther: Wakanda Forever ballad "Lift Me Up." Ultimately, Eilish's dreamy, introspective ballad took home the trophy ahead of the telecast.

2024 GRAMMY Nominations: See The Full Winners & Nominees List

Now that we've absorbed "Houdini" and "Training Season," it's time for a third scoop of pop goodness from Dua Lipa.

On April 11, the three-time GRAMMY winner released "Illusion," the third single from her hotly anticipated new album, Radical Optimism, due out May 3. The percolating, endlessly catchy track arrived with a video where Lipa dances on a pool deck in Barcelona, with swimmers and surfers joining the party — a playful homage to the shark-infested waters of the album's cover.

Lipa first kicked off her Radical Optimism era in November with "Houdini," which she performed alongside the debut of "Training Season" in a head-spinning show opener at the 2024 GRAMMYs. The album follows her GRAMMY-winning second LP, 2020's Future Nostalgia.

"[Releasing the album] feels good. It feels, for lack of a better word, radically optimistic," Lipa told Billboard in March, when she also explained the inspiration for the shark fin cover art. "Throughout the whole record, there's this idea of chaos happening around and me trying to push through it in a way that feels authentic and honest to me."

Now, adding "Illusion" to the mix, Lipa has made it very clear the only way she knows how to cope with chaos is to dance — and Radical Optimism will continue the party that Future Nostalgia ignited. 

Check out the video for "Illusion" above, and check back to GRAMMY.com for more news about Dua Lipa and Radical Optimism!

Everything We Know About Dua Lipa's New Album Radical Optimism

“Who wants moreeeeeee?” With that teasing caption, Dua Lipa sent her more than 88 million Instagram followers into a flurry of anticipation on March 12 as she seemingly primed for a major announcement with a slideshow of behind-the-scenes snaps.

Just one day later, the three-time GRAMMY winner  announced her hotly anticipated third album, Radical Optimism, was officially on its way — complete with a May 3 release date, first look at the cover art, a complete tracklist and more. Lipa couldn’t contain her excitement about the project, punctuating her all-caps caption with a string of more than a dozen exclamation points.

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The album announcement arrives on the heels of a celebratory awards season for Lipa, who was nominated for two golden gramophones (including Song Of The Year) at the 2024 GRAMMYs for “Dance The Night” and opened the telecast with an electrifying medley of her singles “Houdini” and “Training Season.” Additionally, her disco-infused Barbie banger scored a nod for Best Original Song at the 2024 Golden Globes and three separate nominations at last year’s MTV Video Music Awards. 

Below, GRAMMY.com rounded up everything there is to know about Dua Lipa’s upcoming era of Radical Optimism.

The Pop Star Is Nearly Upstaged In Her Wet And Wild Cover Art

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In her announcement, Lipa shared the cover art for her forthcoming studio set and the result is nothing short of jaw-dropping. Shot by Tyrone Lebon, the image depicts the English Albanian pop star out at sea, her dark hair slicked back as she bobs in the ocean wearing a shiny gold ensemble with matching jewelry against a sun-streaked sky. 

However, it’s entirely possible that, upon first glance, the “Dance The Night” singer isn’t the first thing fans will notice when they see the artwork. That’s because she shares the frame with a fearsome co-star: a shark glides past her in the foreground, its fin slicing ominously through the water’s surface. 

The Tracklist Announces The “End Of An Era”

Lipa’s fans, whom she notably refers to as “my loves,” may still be obsessed with her GRAMMY-winning sophomore album Future Nostalgia, but the pop star makes it clear on Radical Optimism’s tracklist that she’s ready to turn the page. 

According to the album’s watery back cover, the 11-track studio set will kick off with opener “End of an Era” before segueing into previously released singles “Houdini” and “Training Season.” Other as-yet-unheard songs on the LP include titles like “French Exit,” “Illusion,” “Falling Forever” and closing number “Happy For You.” And unless Lipa still has a few surprises up her sleeve ahead of the album’s unveiling, it appears that, for the first time in her career, there won’t be a single collaboration or guest artist featured on the tracklist.

She Thinks Radical Optimism Is “Exactly What We Need in the World”

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Just one hour after dropping the cover art and tracklist, Lipa followed the reveal up with a video explaining the important meaning behind the album’s boldly cheery title. “I [can’t] wait for this to be yours,” she promised in the caption, adding a tidal wave emoji to punctuate her point. 

“You know what the world needs is, like, the idea of being endlessly happy,” the singer says in the clip. It’s like an overpowering feeling, I want it.” Later, she hints at the emotional throughline that threads through her upcoming body of work, revealing, “Every song does have that kind of, like, ‘through the struggle you kind of make it something optimistic’...Radical optimism, that’s exactly what we need in the world.”

The Singer’s 2021 GRAMMYs Acceptance Speech Inadvertently Sparked the Album’s Ethos

As it turns out, the emotional concept behind Radical Optimism was actually born during Lipa’s acceptance speech at the 2021 GRAMMYs, where she took home the trophy for Best Pop Vocal Album for Future Nostalgia. 

“My last GRAMMY speech, I said something just in the midst of panic,” the pop sensation says in the aforementioned video, which flashes to her grinning on the stage outside Staples Center in L.A, clutching her third golden gramophone. “One thing I’ve come to realize is how much happiness is so important,” she said at the time. 

“I felt really jaded at the end of my last album [2017’s Dua Lipa] where I felt like I only had to make sad music to feel like it mattered," she continued. "And I’m just so grateful and so honored because happiness is something that we all deserve, and that’s something that we all need in our lives.” 

Three years later, Lipa is channeling that mindset into her new music in such a bold way that she felt Radical Optimism had to be the album’s title. 

She’s Assembled A Solid Group Of Collaborators

The singer’s latest Instagram post also gave fans a peek at some of Lipa’s most trusted collaborators on Radical Optimism. “Tobias Jesso Jr. Kevin Parker. Caroline Ailin. We have Daniel L Harle,” the GRAMMY winner notes, whirling the camera around to introduce each of her producers and fellow lyricists by name before gleefully exclaiming, “We’re makin’ an album!” 

Gesso Jr, Parker, Ailin and Harle are all listed alongside Lipa in the credits of lead single “Houdini” as well as follow-up “Training Season,” so it’s a safe bet that fans will likely see their names throughout the credits when they hear Radical Optimism in full.

2024 GRAMMYs: Dua Lipa Debuts "Training Season" & Slays "Houdini" In Mesmerizing Opening Performance

They say to not meet your heroes. But when Freddy Wexler — a lifelong Billy Joel fan — did just that, it was as if Joel walked straight out of his record collection.

"I think the truth is none of it is that surprising," the 37-year-old songwriter and producer tells GRAMMY.com. "That's the best part. From his music, I would've thought this is a humble, brilliant everyman who probably walks around with a very grounded perspective, and that's exactly who he is."

That groundedness made possible "Turn the Lights Back On" — the hit comeback single they co-wrote, and Wexler co-produced; Joel performed a resplendent version at the 2024 GRAMMYs with Laufey. Joel hadn't released a pop album since 1993's River of Dreams; for him to return to the throne would take an awfully demonstrative song, true to his life.

"I think it's a very raw, honest, real perspective that is true to Billy," Wexler explains. "I think it's the first time we've heard him acknowledge mistakes and regret in quite this way."

Specifically, Joel's return highlights his regret over spending three decades mostly on the bench, largely absent from the pop scene. As Joel wonders aloud in the stirring, arpeggiated chorus, "Is there still time for forgiveness?"

"Forgiveness" is a curious word. Why would the five-time GRAMMY winner and 23-time nominee possibly need to seek forgiveness? Regardless — as the song goes — he's "tryin' to find the magic/ That we lost somehow." The song's message — an attempt to recapture a lost essence — transcends Joel's personal headspace, connecting with a universal longing and nostalgia.

Read on for an interview with Wexler about the impact of "Turn the Lights Back On," why he thinks Joel took such an extended sabbatical, the prospect of more new music, and much more.

This interview has been edited for clarity.

**You did a great interview with Rolling Stone ahead of the 2024 GRAMMYs. Now, we're on the other side of it; you got to see how it went down on the telecast, and resonated with the audience and world. What was that like?**

It's why I make music — to hopefully make people feel something. This song has really resonated in such a big way. More than looking at its commercial success on the charts or on radio, which has been awesome to see, the comments on Instagram and YouTube have been the most rewarding part of it.

Why do you think it resonated? Beyond the king picking up his crown again?

I don't think the song is trying to be anything it's not. I think it's a very raw, honest, real perspective that is true to Billy. I think it's the first time we've heard him acknowledge mistakes and regret in quite this way. And to hear him do it in a hopeful way where he's asking, "Is it too late for forgiveness?" is just very moving, I think.

Forgiveness? That's interesting. What would any of us need to forgive him?

He has said in other interviews, "Sometimes people say they have no regrets at the end of their life." And he said, "I don't think that's possible. If you've lived a full life, of course you have regrets." He has said that he has many things he wishes he would've done differently. This is an opportunity to express that.

I think what's interesting about the song is it has found meaning in various ways with various people and listeners. Some people imagine Billy is singing to former lovers or friends. Other people imagine Billy is singing to his fans asking, "Did I wait too long to record again?" Other people wonder if Billy is singing to the songwriting Gods and muses. Did I wait too long to write again?

In Israel, where the song was number one — or is number one, I haven't checked today — I think the song's taken on the meaning of just wanting things to be normal, wanting hostages to come home and turn the lights back on. So, you never know where a song is going to resonate, but I think that Billy just found his own meaning with it.

You know the discography front to back. What lines can you draw from "Turn the Lights Back On" to past works?

I think it draws on various pieces of his catalog, right? "She's Always a Woman" has a sort of piano arpeggio in the chorus. To me, it feels like a natural progression. It feels like, on the one hand, it's a new song. On the other, it could have come out right after River of Dreams. To me, it just kind of feels natural.

**Back when you spoke with Rolling Stone, you said you couldn't wait to hear "Turn the Lights Back On" at Madison Square Garden. How'd it sound?**

Amazing. Billy is a consummate live performer. I think he's one of the few artists where everything is better live, and everything is always a little bit different each time it's played live.

It's been really cool to watch Billy and the band continue to change and improve the song and the song's dynamics for the show. He told me tonight that tomorrow night in Tampa, I think they're going to try to play with the key of the song, potentially — try it a half a step higher.

Those are the sort of things I think great artists do, right? It's different from being on a certain type of tour where every single song is the same, the set list is the same, the key is the same, the arrangements are the same.

With Billy, there's a lot of feeling and, "Hey, why don't we try it this way? Let's play it a little faster. Let's play it a little slower. Let's try it in a different key." I just think that's super cool. You have to be a really good musician to just do that on the fly.

What have you learned from him that applies to your music making, writ large?

I've learned so much from him. As Olivia Rodrigo said to us at GRAMMY rehearsals, "He's the blueprint when it comes to songwriting."

He has helped raise the bar for me when it comes to melodies and lyrics, but the thing I keep coming back to is he's reminded me that even the greatest artists and songwriters ever sometimes forget how great they are. I think we need to be careful not to give that inner voice and inner critic too much power.

Can you talk about how the music video came to be?

Well, I had a dream that Billy was singing the opening two lines of the song, but it was a 25-year-old version of Billy. It was arresting.

When I woke up, I sort of had the vision for the video, which was one set, an empty venue of some kind, and four Billy Joels. The Billy Joel that really exists today, but then three Billys from three iconic eras where each Billy would seamlessly pick up the song where the other left off.

The idea behind that was to sort of accentuate the question of the song — did I wait too long to turn the lights back on?

And so, to kind of take us through time and through all these years, I teamed up with an amazing co-director, Warren Fu, who's done everything from Dua Lipa to Daft Punk, and an artificial intelligence company called Deep Voodoo to make that vision possible.

What I'm driven by is the opportunity to create conversations, cultural moments, things that make people feel something. What was cool here is as scary as AI is — and I think it is scary in many ways — we were able to give an example of how you can use it in a positive way to execute a creative artistic vision that previously would've been impossible to execute.

Yeah, so I'm pleased with it and I'm thankful that Billy did a video. He didn't have to do one, but he liked the idea of it. He felt it was different, and I think he was moved by it as well.

What do you think is the next step here?

It's been a really rewarding process. And Billy is open-minded, which is really cool for an artist of that level, who's not a new artist by any stretch. To actually be described as being in a place in his life where he's open-minded, means anything is possible. I could tell you that I would love there to be more music.

I'd love to get your honest appraisal. And I know you're not him. But his last pop album was released 31 years ago. In that long interim, what do you think was going on with him, creatively?

Look, I'm not Billy Joel, but I think there were a number of factors going on with him. Somewhere along the way, I think he stopped having fun with music, which is the reason he got into it, or which is a big part of the reason he got into it. When it stopped being fun, I don't think he really wanted to do it anymore.

Another piece to it is that Billy is a perfectionist, and that perfectionism is evident in the caliber of his songwriting. Having always written 100 percent of his songs, Billy at some point probably found that process to be painstaking, to try to hit that bar where he's probably wondering in his head, What would Beethoven think of this? What would Leonard Bernstein think of this?

I think part of what was different here was that, perhaps, there was something liberating about "Turn the Lights Back On" being a seed that was brought to Billy. In this way, he could be a little disconnected from it, where maybe he didn't have to have the self-imposed pressure that he would if it was an idea that he'd been trying to finish for a while.

Ironically, he still made it. Well, there's no "ironically," but I think that's it. There's something to that.

Billy Joel's Biggest Songs: 15 Tracks That Best Showcase The Piano Man's Storytelling And Pop Hooks

Thanks to United Airlines' partnership with the Recording Academy, the students traveled from all over the country to Los Angeles and met in person for the first time. In past years, GRAMMY U Reps have only been able to attend a few select events in addition to the GRAMMY Awards on Sunday. But because of United Airlines, these National and Chapter Reps were able to experience the music industry’s most exhilarating week.

Come with the GRAMMY U Reps as they experience Music’s Biggest Night, behind-the-scenes tours, and events highlighting various initiatives within the music industry during GRAMMY Week 2024. Learn how to apply to GRAMMY U here.

Tuesday: Travel Day

The GRAMMY U group chat was exploding with excited messages as we arrived at the airport early Tuesday morning. Each Rep was about to meet their co-workers — many of whom had only connected virtually — and gain the experience of a lifetime. 

United flew all 14 Reps to Los Angeles with exceptional timing, service, and care — even though we were traveling to work at GRAMMY Week, it felt like we were getting celebrity treatment. Once we touched down in L.A., we ran to the United baggage claim to hug our friends and capture the experience to share with fellow GRAMMY U members.

Philly Rep Tamara Tondreau and Nashville Rep Della Anderson┃GRAMMY U

After grabbing lunch near our hotel in downtown L.A., we made it to the Recording Academy Los Angeles Chapter Office in Santa Monica for our first in-person team meeting. Sporting new custom GRAMMY U jackets, T-shirts, and hats, we prepared for our signature GRAMMY Week event, a Masterclass with actress/GRAMMY-nominated R&B artist Halle Bailey. 

Reps were briefed on plans for the week, then took an office tour where we spotted multiple golden gramophones. Since we work remotely year-round, this was our first time getting to see where all the magic happens.

Wednesday: Behind-The-Scenes & Behind The Music

On Wednesday, we were up bright and early to explore the Crypto.com Arena and learn about the behind-the-scenes preparation it takes to host the GRAMMY Awards each year. 

Jody Kolozsvari, Associate Producer of the GRAMMYs and a GRAMMY U alum, guided us around the arena. He also introduced us to the incredible audio, mixing, communications, and production teams as well as Recording Academy CEO Harvey Mason Jr. 

"Walking intoCrypto.com Arena and seeing the GRAMMY stage being built was a very surreal moment," said Sara Hudson, GRAMMY U's New York Chapter Rep. "Meeting so many of the people behind the show and witnessing the hard work that is put into producing the GRAMMY Awards made my passion for working in live music grow even more."

Later that night, Philadelphia Chapter Rep Tamara Tondreau and Los Angeles Chapter Rep Jade Bacon worked as GRAMMY U press at the A Celebration of Craft event, a collaboration between the Recording Academy Producers and Engineers Wing and Songwriters and Composers Wing. This was the very first time GRAMMY U Reps were invited to this exclusive event; Tamara, a songwriter herself, called this event "unforgettable."

"Since songwriting sparked my interest in the music industry, it was inspiring to be in the room with so many talented creatives," Tamara says. "Networking with professionals who hold multiple roles in the industry encouraged me and reaffirmed my goal of maintaining both business and creative aspects in my career."

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Thursday: Fostering Community & Culture

Hosted at GRAMMY House, Thursday morning started with a beautiful luncheon at the inaugural A Celebration of Women in the Mix. This event made space for women in the music industry to gather and support one another, recognizing all of the strides made in a male-dominated field. 

Twelve of the 14 Reps identify as women, and this was a special moment to meet some of the industry leaders that we look up to as role models. Networking with female artists, managers, and producers who are laying the groundwork for our generation was a powerful moment we will never forget.

After delivering the keynote speech, Ty Stiklorius, the founder of management company Friends at Work, spoke with some of the GRAMMY U Reps.

"Having a conversation with such an established female in the music industry was incredibly inspiring," says Memphis Rep. Shannon Conte. "After this moment of mentorship and encouragement, I left the event feeling much more confident in my ability to one day succeed in becoming an artist manager."

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Dressing up in our finest suits and gowns, we hit the town to attend the exclusive Black Music Collective’s 2024 Recording Academy Honors event, where legends Mariah Carey and Lenny Kravitz accepted Global Impact Awards. Sitting in the same room as these superstars was awe-inspiring, and it was an honor to see how the Black community was celebrated during GRAMMY Week.

GRAMMY U Reps Shaneel Young, Jade Bacon, and Chloe Sarmiento hosted interviews for our social media, highlighting the fashion of dozens of high-profile attendees including Adam Blackstone, Jordin Sparks, Flavor Flav, and Erica Campbell as they walked the signature black carpet. The excitement of the press line on the black carpet provided Reps with first-hand experience of what a career in press and publicity could look like. 

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GRAMMY U DC Rep Shaneel Young aspires to work in music marketing. "Interviewing some of the most influential people in the industry about my passions: music, fashion, and culture, will be a moment I remember for the rest of my career," she reflects.

Reps at Black Music Collective’s Recording Academy Honors┃GRAMMY U

These two spectacular events immersed us in the initiatives the Recording Academy has implemented to celebrate diversity and representation in music, and we are so honored to be a part of the company’s continued mission.

Friday: Work Hard, Play Hard

After months spent planning our signature GRAMMY Week event, the GRAMMY U Masterclass with Halle Bailey, presented by Mastercard, we finally saw the fruits of our labor come to life. This year, we welcomed over 500 attendees in person, with members from every Chapter flying in to experience the event together at GRAMMY House.

GRAMMY U PNW Rep Chloe Sarmiento worked as talent lead and interacted directly with Halle Bailey and her team. "It was incredibly fulfilling to see the event come together on-site in Los Angeles after weeks of working on it from home," Chloe says. "Halle and her team were so great to work with, and I couldn’t have asked for a better speaker for the Masterclass!"

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Working with experienced Recording Academy staff onsite further enlightened us about all things event production. From talent handling and partnerships to working radios and managing the stage, we were excited to execute a large-scale event with all of the Reps at GRAMMY House.

After a successful Masterclass, the Reps split up for the evening to conquer even more GRAMMY Week events. Half the group went to the #GRAMMYsNextGen party to spread the word about membership, host a photobooth, and interact with influencers and emerging performers. We met hip-hop duo Flyana Boss, and some of our other celebrity sightings included Laura Marano and Milo Manheim. It was inspiring to see other young professionals who have established themselves in the entertainment industry so early in their careers.

Mastercard surprised us with an entire seated table at the exclusive MusiCares Person Of The Year Gala honoring Jon Bon Jovi. It was an outstanding evening honoring the rock icon and the many ways he has given back to the music community. Following a live auction, Brandy Clark, Lainey Wilson, Jelly Roll, Shania Twain, and others performed some of Bon Jovi’s biggest hits — Bon Jovi even graced the stage with Bruce Springsteen for a special rendition of "Who Says You Can’t Go Home." 

The Reps were incredibly grateful to United and Mastercard for granting us the opportunity to witness these exclusive live performances. To see the music community come together to honor a legend while giving back and furthering the mission of MusiCares is a heartwarming aspect of the music industry we don’t get to witness every day.

Reps with Sabrina Carpenter at the Person of the Year Gala┃GRAMMY U

GRAMMY U Chicago Rep Rachel Owen was one of the lucky attendees able to watch the thrilling performances while mingling in the crowd with other musicians like Sabrina Carpenter and David Archuleta.

"To even be in the same room as Shania Twain is an honor, she’s timeless and more exquisite than I could've even imagined," Owen says. "To see her perform live to Jon Bon Jovi is the type of moment you just never take for granted."

Saturday: Divide & Conquer

Saturday was jam-packed with events. Back again at GRAMMY House, a group of Reps attended the Best New Artist Spotlight, where nominees discussed their breakthrough years and what it means to be considered a "new artist." From upstarts Ice Spice and Gracie Abrams to the long musical journey of Victoria Monét, The War and Treaty, and Jelly Roll, these diverse perspectives all stressed that each person has a unique career timeline and reminded us as students to practice perseverance and patience as we navigate this industry. 

Various Reps continued at GRAMMY House, some working as press at the #GRAMMYsNextGen Ambassador Power Brunch and the first-ever Academy Proud event, celebrating LGBTQIA+ voices.

A handful of us worked as GRAMMY U press at the Special Merit Awards ceremony and subsequent celebration. Being a part of these exclusive events and witnessing historic moments like the presentation of Lifetime Achievement Awards was truly impactful. We interviewed nominees at the celebration, including boygenius engineer Owen Lantz (the supergroup would win their first three GRAMMYs the very next day.)

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Hundreds of nominees attended the Special Merit Awards and Celebration, proudly displaying their blue medallions and glowing as they took their official GRAMMY nominee photos; the hopeful and energetic spirit of the event fueled our drive to succeed in this industry even more.

Sunday: And The GRAMMY Goes To…

Sunday morning was the day everyone had all been waiting for: the 66th GRAMMY Awards! After getting our glam on, the GRAMMY U Reps got to walk the red carpet for the first time ever. We took tons of photos and videos to commemorate this special moment and share our experience with friends and family.

While most of the Reps were posing on the carpet, Pierson, Jasmine, Rachel, and Chloe had the honor of being trophy presenters during the GRAMMY Premiere Ceremony. This was the first time GRAMMY U Reps from across the country were given the honor of being up close and personal during artists' career-defining moments.

Reps on the GRAMMYs Red Carpet┃Andrew Sankovich 

Moving into Crypto.com Arena to be seated for the telecast portion of the evening, the GRAMMY U Reps were ecstatic to watch the ceremony in person. As legends like Joni Mitchell, Billy Joel, Tracy Chapman, and Stevie Wonder blazed on stage, all the Reps were singing and dancing along, thrilled to be a part of Music’s Biggest Night. Phenomenal performances from nominees SZA, Billie Eilish, Olivia Rodrigo, Dua Lipa, Miley Cyrus, and Luke Combs were equally captivating. 

Witnessing the live telecast after experiencing so much behind-the-scenes production exemplified how rewarding the music industry can be, and how prestigious winning a GRAMMY truly is. The quiet suspense before a winner was announced and the roars that followed created a rollercoaster of emotions that took our breath away.

Immediately afterward, we were off to enjoy the official GRAMMYs After-Party  — and not even the constant showers could not rain on our parade. The Reps hit the dancefloor as soon as NE-YO took the stage, and hearing "Time of Our Lives" felt especially relatable. 

As we headed back home on our United flights, we reflected on an exhilarating GRAMMY Week. Not only were we able to be part of exclusive events, but we also interacted with artists, learned from experts, and grew exponentially. Experiencing these moments with the other Reps brought our team closer, while meeting members and peers showed the expansive community GRAMMY U is cultivating. 

Because of United, we witnessed all the Recording Academy does for the music industry. After GRAMMY Week, we feel more inspired and empowered than ever to lead the next generation of the music industry.

With additional reporting from Pierson Livingston.

2024 GRAMMYs: See The Full Winners & Nominees List