meta-scriptPress Play At Home: Canadian Singer/Songwriter Victoria Anthony Does The Impossible On "Breathe Underwater" | GRAMMY.com

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Press Play At Home: Canadian Singer/Songwriter Victoria Anthony Does The Impossible On "Breathe Underwater"

The powerful lyrics to "Breathe Underwater" are about reclaiming your power and feeling validated in your own strength and worth, Anthony says

GRAMMYs/Dec 11, 2020 - 01:50 am

Canadian singer/songwriter Victoria Anthony invites you to believe in yourself on her track, "Breathe Underwater." She performs the song, featured on her 2020 debut album, Real Life, on the latest episode of Press Play At Home.

The powerful lyrics to "Breathe Underwater" are about reclaiming your power and feeling validated in your own strength and worth, Anthony says; she likens the feeling to breathing underwater. Justin Gray, who also produced the track, Jessica Karpov and Anthony herself penned the song in just three hours. 

The track's uplifting theme is in line with the rest of Real Life—a collection of songs showing Anthony's optimistic view on life and desire to live an emotionally rich life.

Watch Victoria Anthony's performance of "Breathe Underwater" on Press Play At Home below.

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Dua Lipa performing at 2024 Time 100 gala
Dua Lipa performs at the 2024 TIME100 Gala in New York City.

Photo: Sean Zanni/Patrick McMullan via Getty Images

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Dua Lipa's Road To 'Radical Optimism': How Finding The Joy In Every Moment Helped Her Become Pop's Dance Floor Queen

Four years after 'Future Nostalgia,' Dua Lipa's third album is finally upon us. Look back on her journey to 'Radical Optimism,' and how it's the result of the pop megastar's evolving quest for new ways to celebrate each moment.

GRAMMYs/May 2, 2024 - 01:52 pm

Long before Dua Lipa reached pop megastardom, she declared the mantra that would soon become the core of her art: "It has to be fun."

Whether in club-hopping evenings or tear-streaked mornings, Lipa has continuously found a way to bring catharsis and movement into every moment — and, subsequently, every song she's released. So when she announced that her new album would be called Radical Optimism, the second word seemed obvious. But what would radical mean for Dua Lipa, and how did she get there?

Considering her time as a model prior to her music career taking off, many found it easy to write off the London-born singer as by-the-books pop, all-image artist. But even before taking a listen to her self-titled debut, Lipa's upbringing reveals far more complex feelings and inspirations.

The daughter of Kosovo Albanian parents living in London, Lipa took notes from her musician father, digging deep on the likes of the Police, David Bowie and Radiohead, while dancing to Ciara and Missy Elliott with her classmates. After a four-year stint in Kosovo when her family relocated, the then 15-year-old Dua moved back to London to stay with a family friend and build towards an inevitable music-oriented life, which began with clubbing incessantly and posting covers of Alicia Keys and Christina Aguilera on YouTube.

Lipa was still working in restaurants when she first made contact with the music industry, burning the candle at both ends — as well as a third end unseen to mortals. "I'd finish work, then go out to whatever nightclub was happening until, like, 3 in the morning," she recently recalled to Elle. "Then I would wake up and go to the studio until I had my shift again at, like, 8 pm."

Warner Bros. Records caught wind of those sessions and signed her in 2014, leading to even more time in the studio (and, likely, less waitressing). Her debut single, 2015's "New Love," showcases everything that would lead to her eventual pop takeover: the resonant, sultry vocals, a propulsive beat, and a video full of effortless cool.

There would be seven more singles to follow from 2017's Dua Lipa, with the budding pop star co-writing a majority of the albums' tracks, alt R&B icon Miguel collaborating on a song, and Coldplay's Chris Martin providing additional vocals on the closer. While there are plenty of hits to take away ("Blow Your Mind (Mwah)" is a particular favorite in its grand and stompy disco sass), the true star here is "New Rules." Detailing the "rules" to avoid a problematic ex, the song could be cloying and twee, but Lipa's chill swagger sells the dance floor intensity and female empowerment in equal doses.

Listeners around the world agreed, as the song marked Lipa's first No. 1 in the UK and several other countries, as well as her first top 10 hit in the U.S. It also earned Lipa spots at festivals, a performance on Later… With Jools Holland, and five nominations at the 2018 Brit Awards — the most of any artist that year. She laid out a pretty clear manifesto after winning British Female Solo Artist: "Here's to more women on these stages, more women winning awards, and more women taking over the world."

As that year went on, Lipa solidified her own role in that mission. She became a hot collaboration commodity, first linking with Calvin Harris for the UK chart-topping "One Kiss"; then teaming with Mark Ronson and Diplo's Silk City for another club hit, "Electricity"; and even being recruited for Andrea Bocelli for "If Only," a track on his 2018 album, . Her breakthrough was cemented in GRAMMY gold at the 2019 ceremony, too, as she won two golden gramophones: Best Dance Recording for "Electricity," and the coveted Best New Artist.

Early word of the Dua Lipa followup, Future Nostalgia, was that Lipa was amping the disco energy. "[The album] feels like a dancercise class," she hinted in July 2019 to the BBC, who also reported that the now full-fledged pop star was working with Pharrell, Nile Rodgers, Tove Lo, and Diplo.

Lead single "Don't Start Now" was co-written with the team behind "New Rules," and the hyper-elastic bass, MIDI strings, and honest-to-goodness cowbell more than lived up to her promise of disco domination. The track went platinum in five countries, a feat that would go on to be topped by multiple tracks on the album, including the smoldering "Physical" and the INXS-interpolating "Break My Heart."

The album's March 2020 release was a thing of anxious beauty. It could've been pure tragedy to release an album designed for sweaty, crowded clubs in the throes of the COVID-19 pandemic. And when the album leaked a full two weeks prior to its release, even Lipa wasn't sure if her timing was right. "I'm not sure if I'm even doing the right thing, but I think the thing we need the most at the moment is music, and we need joy and we need to be trying to see the light," she said in an Instagram Live days before the album's release.

True to that spirit, Lipa's openhearted enthusiasm and unadulterated fun made the album a staple of lockdown dance parties and wistful dancefloor daydreams. In a bit of chicken-and-egg magic, the album's runaway hit is the inescapable "Levitating." The song's buoyant synth pulse, clap-along disco groove, drippy strings and punchy hook add to something far greater than the sum of its parts. And DaBaby's in-the-cut remix verse helps fulfill Lipa's rap-meets-pop dreams. But it definitely didn't hurt to have the track basically overrun TikTok — and a video produced in partnership with the platform — at a time when we were all stuck at home, looking at our phones as a way to connect with the world.

That was only the beginning of the pop star's effort to make the most of the pandemic era; Lipa continued to find innovative ways to bring fans into her disco-fueled sonic universe for some joy and connection. For one, she evolved Future Nostalgia into a remix album: Club Future Nostalgia, featuring electronic minds like Moodymann and Yaeji, as well as high-profile guests like BLACKPINK, Madonna, and Missy Elliott. And while fans who had grown connected to the album were hungry for an event to attend, she developed Studio 2054. The technicolor, gleeful live-streamed event saw millions of viewers virtually join Lipa in an immaculately choreographed, star-studded dance party — one that further displayed her magnetic personality and in-the-moment attitude.

Through the entire Future Nostalgia era, Lipa's purpose further proved to be more than the music. Yet again, it was about the amount of fun and energy it was able to provide to fans, something that proved to resonate in an even bigger way than her first project.

"[Future Nostalgia] took on its own life. And that in itself showed me that everything is in its own way for its own specific purpose, for its own reason," she told Variety earlier this year. "As long as I'm being of service and the music is there and it's a soundtrack for a moment in time, or in someone's life, then I've done what I was supposed to do."

Before getting to work on her third LP, Lipa kept the dance party going with new and old collaborators. First, she scored another UK No. 1 and U.S. top 10 hit alongside Elton John with "Cold Heart (Pnau remix)"; later, she was enlisted for feel-good singles from Megan Thee Stallion and Calvin Harris' 2022 albums. Then, a reunion with Mark Ronson led to a summer 2023 detour in Barbie land, resulting in another disco-tinged smash, "Dance the Night," for the blockbuster film's soundtrack (as well as her acting debut!).

With the good vibes clearly not fading, Lipa was primed for her next musical venture. In November, she unveiled the lead single to her next project, "Houdini," a swirling track that features a trio of new collaborators — and a brilliant, if seemingly dissimilar, set of co-writers at that: former PC Music electronic experimentalist Danny Harle, Tame Impala frontman (and retro psychedelia mastermind) Kevin Parker, and breezy Canadian singer/songwriter Tobias Jesso Jr. But with her trusty songwriter pal Caroline Ailin also in tow, Lipa retained the same trademark dance pop pulse amid crunchy bass and stomping percussion — putting the Radical into the Optimism.

She kept the same team (and energy) for the album's subsequent singles, "Training Season" and "Illusion." The former thumps and jitters underneath Lipa opting for a willowy falsetto in the chorus, a song that can unite Tame Impala psych addicts and more traditional poptimists at the club. And where earlier Lipa tracks might have been more eager to get to a bright punch, "Illusion" smolders patiently, trusting that the vocalist's charisma can buoy even the subtler moments.

While the album's first three singles carry echoes of the propulsive, dance floor energy of Future Nostalgia, Lipa took more notes from a more modern pop era than the disco days on Radical Optimism. "I think the Britpop element that really came to me was the influences of Oasis and Massive Attack and Portishead and Primal Scream, and the freedom and the energy those records had," she told Variety. "I love the experimentation behind it."

But, she insists, that's not to say that she's produced the next "Wonderwall." This isn't Dua Lipa's Britpop turn, but rather her latest experiment in finding freedom and embracing the moment.

"When I hear 'Teardrop' by Massive Attack and I'm like, 'how did this song even come to be? It feels like it just happened in a moment of real freedom and writing and emotion," she continued in the Variety interview. "And I think that was just the feeling I was trying to convey more than anything."

And in her mind, that freedom needs to remain at the core of everything — whether working through a global pandemic or working on a new project. "I think it's important that we just learn to walk through the fire and not hide away from it, or shy away from it," she added. "That's just optimism. It's probably the most daring thing we can do."

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VASSY
VASSY

Photo: Eric Ross

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Global Spin: Watch VASSY Search For The “Off Switch” In This Acoustic Performance Of Her New Single

Australian dance pop singer VASSY offers an acoustic take on her EDM-influenced single, “Off Switch.”

GRAMMYs/Apr 25, 2024 - 03:21 pm

In her latest track "Off Switch," Australian dance-pop artist VASSY captures the exhilarating intensity of a budding romance. She loves the rush but, at the same time, wishes she could fight the feeling, even if only for a few seconds.

"There's something electric between you and I/ The way we connected I can't describe/ We're right on the edge of blurring the lines/ Don't know why I'm scared of this rush inside," she sings in the intro. "I wish my heart, it had an off switch/ 'Cause, boy, I don't know how to stop this."

In this episode of Global Spin, watch VASSY deliver an acoustic performance of her track, playing guitar and using a pair of castanets for added rhythm.

VASSY released "Off Switch" on Jan. 5 with an electrifying music video swirling with vibrant neon lights. 

Recently she wrapped a string of appearances supporting Aqua's United States leg of their world tour and earlier this month, performed a headlining show in San Diego. On May 18, she will take the stage at the BASSINTHEGRASS music festival in Darwin, Australia.

Press play on the video above to watch VASSY's lively performance of "Off Switch," and remember to check back to GRAMMY.com for more new episodes of Global Spin.

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Demi Lovato, Miley Cyrus, and Selena Gomez
(L-R) Demi Lovato, Miley Cyrus, and Selena Gomez during the 2008 Teen Choice Awards.

Photo: Kevin Mazur/TCA 2008/WireImage/Getty Images

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Disney's Golden Age Of Pop: Revisit 2000s Jams From Miley Cyrus, Selena Gomez & More

As Disney Music Group celebrates its defining era of superstars and franchises, relive the magic of the 2000s with a playlist of hits from Hilary Duff, Jesse McCartney and more.

GRAMMYs/Apr 23, 2024 - 06:41 pm

"...and you're watching Disney Channel!" For anyone who grew up in the 2000s, those five words likely trigger some pretty vivid imagery: a glowing neon wand, an outline of Mickey Mouse's ears, and every Disney star from Hilary Duff to the Jonas Brothers

Nearly 20 years later, many of those child stars remain instantly recognizable — and often mononymous — to the millions of fans who grew up with them: Miley Cyrus, Selena Gomez and Demi Lovato. Nick, Kevin and Joe

Each of those names has equally memorable music attached to it — tunes that often wrap any given millennial in a blanket of nostalgia for a time that was, for better or for worse, "So Yesterday." And all of those hits, and the careers that go with them, have the same starting point in Hollywood Records, Disney Music Group's pop-oriented record label.

This time in Disney's history — the core of which can be traced from roughly 2003 to 2010 — was impactful on multiple fronts. With its music-oriented programming and multi-platform marketing strategies, the network launched a procession of teen idols whose music would come to define the soundtrack to millennials' lives, simultaneously breaking records with its Disney Channel Original Movies, TV shows and soundtracks.

Now, two decades later, Disney Music Group launched the Disney 2000s campaign, honoring the pivotal, star-making era that gave fans a generation of unforgettable pop music. The campaign will last through August and lead directly into D23 2024: The Ultimate Fan Event with special vinyl releases of landmark LPs and nostalgic social media activations occurring all summer long. April's campaign activation was Disney 2000s Weekend at the El Capitan Theatre in Hollywood, which featured special screenings of 2008's Hannah Montana & Miley Cyrus: Best of Both Worlds Concert and 2009's Hannah Montana: The Movie and Jonas Brothers: The 3D Concert Experience.

But before Miley and the JoBros, Hollywood Records' formula for creating relatable (and bankable) teen pop stars began with just one name: Hilary Duff. At the time, the bubbly blonde girl next door was essentially the face of the network thanks to her starring role in "Lizzie McGuire," and she'd just made the leap to the big screen in the summer of 2003 with The Lizzie McGuire Movie. In her years with Disney, Duff had dabbled in recording songs for Radio Disney, and even released a Christmas album under Buena Vista Records. However, her first album with Hollywood Records had the potential to catapult her from charming tween ingénue to bonafide teen pop star — and that's exactly what it did.

Released on August 26, 2003, Duff's Metamorphosis sold more than 200,000 copies in its first week and debuted at No. 2 on the Billboard 200. The following week, the bubblegum studio set performed the rare feat of rising from No. 2 to No. 1, making the then-16-year-old Duff the first solo artist under 18 to earn a No. 1 album since Britney Spears.

The album's immediate success was no fluke: Within a matter of months, Metamorphosis had sold 2.6 million copies. Music videos for its radio-friendly singles "So Yesterday" and "Come Clean" received constant airplay between programming on the Disney Channel. (The latter was eventually licensed as the theme song for MTV's pioneering teen reality series "Laguna Beach: The Real Orange County," giving it an additional boost as a cultural touchstone of the early '00s.) A 33-date North American tour soon followed, and Hollywood Records officially had a sensation on their hands. 

Naturally, the label went to work replicating Duff's recipe for success, and even looked outside the pool of Disney Channel stars to develop new talent. Another early signee was Jesse McCartney. With a soulful croon and blonde mop, the former Dream Street member notched the label another big win with his 2004 breakout hit "Beautiful Soul."

"When 'Beautiful Soul' became the label's first No. 1 hit at radio, I think that's when they really knew they had something," McCartney tells GRAMMY.com. "Miley [Cyrus] and the Jonas Brothers were signed shortly after that success and the rest is history.

"The thing that Disney really excelled at was using the synergy of the channel with promoting songs at pop," he continues. "I did appearances on 'Hannah Montana' and 'The Suite Life of Zack & Cody' and my music videos were pushed to Disney Channel. The marketing was incredibly brilliant and I don't think there has been anything as connected with an entire generation like that since then."

By 2006, Disney had nearly perfected its synergistic formula, continually launching wildly popular tentpole franchises like High School Musical and The Cheetah Girls, and then giving stars like Vanessa Hudgens and Corbin Bleu recording contracts of their own. (Curiously, the pair's HSM co-star Ashley Tisdale was never signed to Hollywood Records, instead releasing her first two solo albums with Warner.) 

Aly Michalka showed off her vocal chops as sunny girl next door Keely Teslow on "Phil of the Future," and fans could find her off-screen as one half of sibling duo Aly & AJ. In between their 2005 debut album Into the Rush and its electro-pop-charged follow-up, 2007's Insomniatic, Aly and her equally talented younger sister, AJ, also headlined their own Disney Channel Original Movie, Cow Belles. (Duff also helped trailblaze this strategy with her own early DCOM, the ever-charming Cadet Kelly, in 2002, while she was simultaneously starring in "Lizzie McGuire.")

Even after years of proven success, the next class of stars became Disney's biggest and brightest, with Miley Cyrus, Selena Gomez, Demi Lovato and the Jonas Brothers all joining the network — and record label — around the same time. "Hannah Montana" found Cyrus playing a spunky middle schooler by day and world-famous pop star by night, and the network leveraged the sitcom's conceit to give the Tennessee native (and daughter of '90s country heartthrob Billy Ray Cyrus) the best of both worlds. 

After establishing Hannah as a persona, the series' sophomore soundtrack introduced Miley as a pop star in her own right thanks to a clever double album that was one-half Hannah's music and one-half Miley's. It's literally there in the title: Hannah Montana 2: Meet Miley Cyrus.

From there, Cyrus' stardom took off like a rocket as she scored back-to-back No.1 albums and a parade of Top 10 hits like "See You Again," "7 Things," "The Climb," "Can't Be Tamed," and the ever-so-timeless anthem "Party in the U.S.A."

At the same time, Gomez had top billing on her own Disney Channel series, the magical (but less musical) "Wizards of Waverly Place." That hardly stopped her from launching her own music career, though, first by fronting Selena Gomez & the Scene from 2008 to 2012, then eventually going solo with the release of 2013's Stars Dance after the "Wizards" finale aired.

For her part, Lovato — Gomez's childhood bestie and "Barney & Friends" costar — got her big break playing Mitchie Torres in Camp Rock alongside the Jonas Brothers as fictional boy band Connect 3, led by Joe Jonas as the swaggering and floppy-haired Shane Gray. Much like Duff had five years prior in the wake of The Lizzie McGuire Movie, Lovato released her debut solo album, 2008's Don't Forget, just three months after her DCOM broke records for the Disney Channel. 

Building off their chemistry from the movie musical, nearly the entirety of Don't Forget was co-written with the Jonas Brothers, who released two of their own albums on Hollywood Records — 2007's Jonas Brothers and 2008's A Little Bit Longer — before getting their own short-lived, goofily meta Disney series, "Jonas," which wrapped weeks after the inevitable Camp Rock sequel arrived in September 2010.

As the 2000s gave way to the 2010s, the Disney machine began slowing down as its cavalcade of stars graduated to more grown-up acting roles, music and careers. But from Duff's Metamorphosis through Lovato's 2017 LP, Tell Me You Love Me, Hollywood Records caught lightning in a bottle again and again and again, giving millennials an entire generation of talent that has carried them through adulthood and into the 2020s.

To commemorate the Disney 2000s campaign, GRAMMY.com crafted a playlist to look back on Disney's golden age of pop with favorite tracks from Hilary Duff, Vanessa Hudgens, the Jonas Brothers, Miley Cyrus and more. Listen and reminisce below.

Abby Sage performs at home
Abby Sage

Photo: Courtesy of Abby Sage

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Press Play: Watch Abby Sage Feed Her “Hunger” In This Acoustic Performance Of Her Single

Rising indie star Abby Sage performs “Hunger,” an unapologetic track about sexual liberation from her debut album, ‘The Rot.’

GRAMMYs/Apr 23, 2024 - 03:56 pm

With "Hunger," rising indie star Abby Sage takes autonomy of her body. It’s a story of shameless self-discovery as she submits to her natural desires while simultaneously breaking down the toxic ideas she learned about sex in her adolescence.

"Feed my hunger/ No shame, I'm just a beginner," she croons in the chorus. "It's my own wonder/ Don't press, I'm just a beginner."

In this episode of Press Play, watch Sage deliver an acoustic performance of the single from her debut album, The Rot, which she released on March 1. According to a statement, the project is largely about "the decomposition and reconstruction of everything I was taught," including sex, anxiety, and more.

Sage said "Hunger" is "the most important song to me on the album" adding, "I wish I heard a song like this when I was first exploring my sexuality and my sexual journey, and for that reason, I hope it reaches people."

This May, Sage will embark on an international tour that begins in Los Angeles and concludes in London, with support from gglum, spiderblush, and Jayla Kai.

Watch the video above to hear Abby Sage's empowering performance of "Hunger," and remember to check back to GRAMMY.com for more new episodes of Press Play.

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