Two days before the 2024 GRAMMY nominations were announced, Lainey Wilson's rise as one of country music's biggest stars was solidified in a major way: the Country Music Association Award for Entertainer of the Year.

"That was probably one of the very first moments where I was like, Wow, my life really is changing," Wilson tells GRAMMY.com. "But I think all the years of nothing happening has prepared me for moments like that. It's a slow and steady wins the race kind of feeling."

Wilson's win was as shocking to her as it may have been to those watching — considering her competition was titans Luke Combs, Chris Stapleton, Carrie Underwood, and Morgan Wallen — but it certainly wasn't undeserved. In 2023, Wilson played nearly 190 shows (including direct support on Combs' stadium tour), headlined her own sold-out tour, and became the first woman to reach No. 1 on country charts four times in a calendar year. 

Her rapidly growing success also resulted in two GRAMMY nominations at the 66th GRAMMY Awards: Best Country Album for her fourth studio album, Bell Bottom Country, and Best Country Duo/Group Performance for "Save Me," her moving duet with Best New Artist nominee Jelly Roll.

But as Wilson suggested, these accolades didn't come without years of hard work. After moving to Nashville, Tennessee from her tiny hometown of Baskin, Louisiana in 2011, she didn't sign a record deal until 2018, and her first hit didn't come until 2021. Even so, that first hit — a poignant ballad titled "Things A Man Oughta Know" — was also her first No. 1.

Since then, Wilson's true-to-her-roots persona and bell-bottomed image has nearly taken over country music. Her vintage-inspired voice and raw storytelling strikes a chord with traditionalists and modern country fans alike, and she's already dabbling in the acting world ("Yellowstone" fans may know her as Abby) and serving as the face of major brands like Coors Light and Wrangler.

To say her grinding has paid off is an understatement. But according to Wilson's Instagram post reflecting on her massive 2023 — and her already stacked touring schedule for 2024 — "we are just getting started."

As Wilson closed out her busy 2023 with another milestone, a mini Las Vegas residency, the country star sat down with GRAMMY.com to reflect on the wild ride she's enduring — and why she had no doubt her childhood dream would come true.

In your Entertainer of the Year speech at the CMAs, you said "It finally feels like country music is starting to love me back." That was pretty powerful.

Thank you. When you're from a town of 200 people in Northeast Louisiana, you're surrounded by country music. It's the soundtrack of your life. And so I had no choice but to eat, sleep and breathe country music, and I've dedicated my life to it. 

I wrote my first song at 9 years old, I started playing guitar at 11, and that's when I started working on this. I didn't just start working on this when I moved to Nashville in 2011. I've dedicated my life to it. And it really is cool to just feel like that little 9-year-old girl who was writing her first song, that she wasn't completely crazy. 

You told GRAMMY.com in 2022, "I don't know if I'll ever feel like I've fully arrived." Did this past year change that?

I've arrived. It's amazing how different you can view things a year later. I know I've arrived, and I'm stepping into it. 

I feel like this past year, it's just been a lot of big steps and having to level up. Every single person on my team has had to just rise to the occasion. Whether it's my band, my merch guy, whether it's my management, the songwriters, everybody's just had to be like, Okay, we're entering a new phase of this journey. I've arrived.

I know you're so humble, but how could you not feel like you've arrived after this kind of a year, right? But it's awesome to not just see the accolades say that, but for you to actually feel it.

I really do. No imposter syndrome — of course, you know, I'm human, and that'll happen every now and then. But I do feel like I'm right where I'm supposed to be. And I'm soaking it up. 

These moments are going by so quick — it's important for me to realize what's happening, and accept all these gifts that the Lord has given me with a gracious heart. I'm a firm believer in believin' and receivin', and that's exactly what's happening.

Do you feel like you've been able to really take in all of the amazing things that have been happening to you?

I mean, I'd be lying to you if I told you that I have soaked up every single bit of it, because it's been a million incredible things happening. But whenever I have a moment, I try to just step away and really pay attention to what's happening. And I just take myself even back a year ago and I'm like, My gosh! 

When you just take a step back and you really think about everything that's happened, it's hard to wrap your head around. Sometimes you don't have much time to celebrate, because you gotta get to the next thing, but I think you gotta take that time. You got to. And I've got a lot of people in the industry reminding me that I gotta do that. 

Keith Urban, he's a good example — I ran into him the other day, and he's like, "You need to be celebrating these moments, but remember, no whining on the yacht." And I said, "I like that, no whining on the yacht!" We're not whining about being tired. I mean, these are the moments that we've dreamed about and prayed for. So we're stepping into it.

In all of these crazy moments that have been happening, do you ever flash back to the little girl who was eating, sleeping and breathing country music — and even the Lainey who was struggling to make a name for herself just seven years ago?

I flashback to that girl all the time, because truth is, I still feel like I am that girl. Of course. I'm not having to struggle as much, but it's still hard, and it's still grueling out here. I'm not living in a camper trailer and having to change out my propane tanks and things like that, but I'm still living on wheels. 

When I moved to Nashville, I've made a decision to not see my family on their birthdays and Christmases, and this and that and the other. And it's still the same way — which, here, real soon, that's gonna be able to shift, and I'm gonna be able to get back to the things that I've had to sacrifice for so long. 

It's weird because I'm still that same old girl. Of course I've grown, and I've changed, and developed. But yeah, I think back to her all the time. And I've always got to go back to some of those qualities that she has in order to keep moving forward.

What are some of those qualities that you think have mostly contributed to where you're at?

Work ethic. My mom and daddy are two of the most hardworking people that I've ever met, and they don't give up easy. And they raised me and my sister like two little boys. They had us out on the farm, doin' whatever, puttin' us to work — they were like, "No time for naps, get up, do your thing." That's why I have a hard time napping now. [Laughs.]

You don't really have the lifestyle to nap, so that's good.

Come January, your girl's takin' a big nap.

Yeah, you were saying that it sounds like things are going to slow down a little bit. But that's, like, a slowdown before it picks back up again, right?

Yeah, but we are going to be playing almost 100 less shows, so that right there makes me feel like I can breathe. Because, I mean, the truth is, we've been touring this heavy for years, but even last year, it was more of an opening slot — you know, I was playing 30 minutes or 45 minutes. This year, it's mainly 75-minute, 90-minute shows, and that can add up. 

I gotta take care of myself, I gotta take care of my health, so I can be 190 percent, because it kills me when I can't be. I want to walk off that stage, and I want to feel like, We came and we did what we were supposed to do. I'm excited for a little bit more rest so I can feel that way every time I walk off stage.

A 2023 Billboard piece noted that you only slept in your own bed 15 nights in 2022. How many nights would you guess you spent in your own bed in 2023?

At least double that, probably a little bit more than that. Because last year that we were touring, we were filming "Yellowstone."  

I love sitting on my front porch, drinking my coffee, sleeping in my own bed. But I'll tell you what, even just a few days at home, I'm ready to get back out on the road. 

I mean, you weren't raised to sit at home too long anyway, right?

Nope, not at all!

Well, and now, all of it has paid off in the form of two GRAMMY nominations. Have you referred to yourself as a GRAMMY-nominated artist yet? Like, has that really set in?

It's wild. Because, you know, I mean, the CMA Awards happened the same week as the GRAMMY nominations, so it was like so many things at once. A few people have, like, referred to me as that, kind of like, behind me I'm hearing it. It's crazy. I just feel so honored. 

I'm very happy with the state of country music right now. I feel like it is getting more popular by the day. It's pretty much pop culture at this point, the Western way of life.

I think that timing is everything, and what I do was not cool 13 years ago whenever I moved to Nashville. But time is a part of my story, and here we are, years later. I feel like the world wants to feel at home, they want to feel grounded. And I think that's what country music does. And I'm so proud to be in the forefront of that.

Even out here in Vegas, people are dressed like cowboys that aren't, and I'm like, the more the merrier! If that makes you feel good, if that makes you feel like a badass or makes you feel at home, then come on with it! I know how this lifestyle and this genre of music makes me feel, so come on!

Have you seen more bell bottoms now too? 

They're everywhere. Bell bottoms are back! 

Somebody told me the other day, "You single-handedly brought back the ugliest pants in the world." And I said, "Hey, we're just over here solving a world problem."

Do you ever have a day where you wake up, and you're just like, "I don't want to wear bell bottoms today"?

I mean, if I'm going out, I'm gonna be wearing my bell bottoms. But at my house, you gon' find me with my hair on top of my head in my sweatpants. The truth is, though, when I put on these bell bottoms, I really do feel like I can take whatever it is on.

I remember getting my first pair of bell bottoms at 9 years old. That was the year that I wrote my first song, got my horse, went to Nashville for the first time, and I remember how those bell bottoms made me feel. They made me feel sassy, that I had a little extra pep in my step. So I can go from sweatpants to putting on my bell bottoms and then I'm ready! They're magic.

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Have you had a chance to properly celebrate the nomination with Jelly Roll?

No, but, he's actually here in Vegas. And he's gonna be doing one of these shows with me. For me and him just being on stage together and singing this song together is going to be a way to celebrate. 

I love him. I'm just such a fan of him on and off the stage. So proud for him. This could not be happening for a better human.

I'm thankful for people like him, especially in this industry, for a lot of different reasons. But also, just to show people that, look, we all come from so many different walks of life. We all have our different stories. We all look different, sound different. We're just different. And that's what keeps life moving. And I'm just proud to be his friend more than anything.

Another person you've become close with is Ashley McBryde, who gave you some advice to "reach over the wall" for rising artists the way she did with you years ago. Especially where you're at in your career now, do you feel like you've been able to do that yet?

Yeah, I feel like I'm getting to that place. I think that means taking them out on the road with you. For the Country's Cool Again Tour, I'm bringing a guy named Zach Top. He's awesome. I mean, he is country music — he has a traditional sound. I think that there's so many open lines for that, and I'm excited for him.

And then I'm bringing out Ian Munsick and Jackson Dean, and they've been friends of mine for a long time. And [another] friend of mine, Meg Mcree. She's an incredible songwriter and storyteller. Bringing folks out on the road with you, that's a way to kind of help them over that wall, but also, even mentioning their names in interviews when people say like, "Who are you excited about?" Because I think word of mouth goes a long way.

The traditional sound is definitely part of the fabric of what country music is today, going back to what you were saying about the genre being so huge right now.

There's so many different sounds going on, which is awesome. When you turn on the radio at this point, you know who everybody is, and everybody looks different and sounds different. 

I think this is how it was in the '90s. And I don't think country music has been talked about in that kind of light since the '90s. I think that they'll talk about our generation of country music like that.

Is there a song you've released, whether it's a single or an album cut, that feels the most representative of how you want to be remembered as an artist?

"Wildflowers and Wild Horses," which is our current single right now. It's really cool to be able to stand on stage every night and sing about being from five generations of farmers. 

I've always talked about how similar farming is to the music industry — I mean, you get up every day and bust your tail, and have good years and bad years, and holding on to that piece of me and holding onto that piece of where I'm from is really important to me. Because we are moving at such a fast pace that I can definitely see where you can get off track, but I'm too hard-headed for that. So I think that song is a good representation of where I am right now.

Is there another song that is representative of the kind of artist you set out to be, before big things started happening?

I think it was probably my first hit, "Things A Man Oughta Know," because it's about the way that you treat people. It's not about whether you can change a flat tire or start a fire, it's just about being a good person. That song really did kind of set the foundation for me. It was just a little piece of who I am and my story, and that's what I want people to know. I want people to just love each other and lift each other up.

If you could go back to 2017, when everything was kind of on the verge of happening, before you had your record deal and such, and tell yourself where your life was going to go in the next six years, how would you explain that?

"Girl, you gon' be tired!" [Laughs.] "But you're gonna be exactly where you're supposed to be." And truth is, even in 2017 — I mean, I sound like a little bit of a psychopath, but I knew it would be this at some point. I had that faith, and I had that weird sense of peace about it. 

This is the only thing I know how to do. This is the only thing that I'm gonna do, whether I was doing it on this level or another level. It's just a blessing that I get to get up every single day and do what I love to do and get to make a living doin' it. And get to make people feel something from my job. That's pretty cool.

Why 2024 Is The Year Women In Country Music Will Finally Have Their Moment

After breaking out in the world of contemporary Christian music, Anne Wilson wants to take the country world by storm. 

Out April 19, Wilson's sophomore album embraces the many aspects of her self. Rebel sees the Kentuckian lean into her country and horse farm roots just as she leans into her faith — a subject already deeply intertwined in country music — more than ever before. 

"I’ve never viewed it as switching over to country or leaving Christian music," Wilson tells GRAMMY.com. "With this new record I wanted to write something that was faith-based but also broad enough to positively impact people who don’t have a strong faith as well."

Rebel is just the latest chapter in a journey of triumph and glory first set into motion by tragedy. Wilson started playing piano when she was six but didn’t begin taking it more seriously until the sudden death of her older brother, Jacob Wilson, in 2017. Despite the weight of the moment, Wilson, then 15, returned to the piano to channel her grief — a move that culminated in her first live singing performance when she belted out Hillsong Worship’s "What A Beautiful Name" at his funeral.

"My life forever changed in that moment," admits Wilson. "I already knew that life was very short on this side and that we only have a small window of time here so I wanted to make mine count. It was a special, but really hard moment that has gone on to spawn my entire career. Hearing just how much my songs have impacted fans makes me feel like his tragedy wasn’t wasted and that it was used for good."

Soon after she posted a cover of "What A Beautiful Name" to YouTube that netted over 800,000 views and caught the attention of the brass at Capitol Christian Music Group, who promptly signed her to a deal. Her first release with them, My Jesus, earned a GRAMMY nomination in 2023 for Best Contemporary Christian Music Album in addition to its title track hitting the top spot on Billboard’s Christian Airplay chart. 

Similar to My Jesus, Rebel sees Wilson doubling down on her religious roots while continuing to preserve the memory of her beloved brother. Although she grew up in a devout Christian household in Lexington, Kentucky, Wilson says that she didn’t fully connect with her faith until Jacob’s passing. 

Nowadays she couldn’t see herself living without it.

"When it came to dealing with the loss and tragedy of my brother I knew I couldn’t have survived that without [faith]," she says. "As I started writing songs and moved to Nashville my faith quickly became everything to me."

The 16-song project hits the bullseye between contemporary Christian and country twang, with an assist from special guests including Chris Tomlin ("The Cross"), Jordan Davis ("Country Gold") and Lainey Wilson ("Praying Woman"). Of the Lainey feature, Wilson says the two wrote "Praying Woman" upon their first day of meeting, with the elder Wilson growing into big sister and mentor of sorts for Anne. The song was inspired by the power of prayer Wilson and Lainey each experienced from their mothers growing up.

"We’d been talking about memories from growing up and remembering our mother’s coming into our rooms, getting on their knees and praying for us," recalls Wilson. "There was a conviction in how they prayed and expected them to be answered that was so powerful and special that we wanted to capture the feeling of it in song."

Rebel's strong motherly influence continues on "Red Flag," a rockin' number that Anne Wilson wrote as guidance to her younger fan base about what to look for in lasting love. While she largely had to ad lib the concept, having no bad breakup or relationship experiences to pull from, many of the "green flags" she notes were the result of years of advice. Things like going to church, being down to Earth, hunting, fishing, and respecting the American flag were traits and hobbies Wilson's mother had been passing down to her for years.

"Growing up she was always teaching me about relationship red and green flags, what to expect and to never settle," explains Wilson. "I have a song on my last record called ‘Hey Girl’ that ['Red Flag' is] almost a continuation of. It started out as a fun joke and turned out to be an actual serious song about red flags that’s one of my favorites on the whole record."

Another tune that began lighthearted before adopting a more serious tone is "Songs About Whiskey." Playing into country music and her home state's obsession with songs about brown liquor, the upbeat banger is intended to instead illustrate how Wilson gets her high from G-O-D rather than A-B-V or C-B-D through lines like, "I guess I’m just kind of fixed on/ The only thing that’s ever fixed me/ That’s why I sing songs about Jesus/ Instead of singing songs about whiskey."

"It’s supposed to be fun, make you laugh and fill you with joy," describes Wilson. "But it’s also meant to show how my faith is my true north, not those other things that are going to try to fill you up, but never do."

Through all of Rebel Wilson not only proves how her faith is her true north, but also shows others yearning to get there a path toward. This feeling culminates on the record’s title track, which frames her open love of Jesus as an act of rebellion in today’s world. A lesson in "what it means to have faith, not backing down from it and clinging to what we know is true," Wilson says the song was also inspired by previously having a song turned away at Christian radio for sounding "too country."

"I’m not going to try to please Christian music and I’m not going to try to please country music, I’m just going to be who I’ve always been and let the songs fall where they want to," asserts Wilson. "That was fuel not just for the song, but going against the grain on this entire album to be my most authentic self yet."

At the end of the day, genre labels, accolades and being included in the Grand Ole Opry’s NextStage Class of 2024 are secondary to Wilson’s adoration for the man above and her brother who, albeit tragically, set her on the journey she’s on now.

"I want to make sure I’m honoring him in everything that I do," reflects Wilson, "because he’s the reason I started doing music in the first place." 

Inside Tyler Hubbard's New Album 'Strong': How He Perfectly Captured His "Really Sweet Season" Of Life

From commanding stages to blasting through stereos, countless women have globally graced the music industry with their creativity. And though they've long been underrepresented, tides are changing: in just the last few years, female musicians have been smashing records left and right, conquering top song and album charts and selling sold-out massive tours.

This year, Women's History Month follows a particularly historic 66th GRAMMY Awards, which reflected the upward swing of female musicians dominating music across the board. Along with spearheading the majority of the ceremony's performances, women scored bigtime in the General Field awards — with wins including Best New Artist, Record Of The Year, Song Of The Year, and Album Of The Year.

Female empowerment anthems, in particular, took home major GRAMMY gold. Miley Cyrus' "Flowers" took home two awards, while Victoria Monét was crowned Best New Artist thanks to the success of her album Jaguar II and its hit single "On My Mama." As those two songs alone indicate, female empowerment takes many different shapes in music — whether it's moving on from a relationship by celebrating self-love or rediscovering identity through motherhood.

The recent successes of women in music is a testament to the trailblazing artists who have made space for themselves in a male-dominated industry — from the liberating female jazz revolution of the '20s to the riot grrl movement of the '90s. Across genres and decades, the classic female empowerment anthem has strikingly metamorphosed into diverse forms of defiance, confidence and resilience.

No matter how Women's History Month is celebrated, it's about women expressing themselves, wholeheartedly and artistically, and having the arena to do so. And in the month of March and beyond, women in the music industry deserve to be recognized not only for their talent, but ambition and perseverance — whether they're working behind the stage or front-and-center behind the mic.

From Aretha Franklin's "RESPECT" to Beyoncé's "Run the World (Girls)," there's no shortage of female empowerment anthems to celebrate women's accomplishments in the music industry. Listen to GRAMMY.com's 2024 Women's History Month playlist on streaming services below.

9 Ways Women Dominated The 2024 GRAMMYs

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