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Meet This Year's Record Of The Year Nominees | 2022 GRAMMYs Awards Show

Take a look at the tracks that are up for Record Of The Year by ABBA, Jon Batiste, Tony Bennett & Lady Gaga, Justin Bieber, Brandi Carlile, Doja Cat & SZA, Billie Eilish, Lil Nas X, Olivia Rodrigo, and Silk Sonic

Taylor Weatherby

GRAMMYs/Nov 23, 2021 - 10:53 pm

Editor's Note: The 2022 GRAMMYs Awards show, officially known as the 64th GRAMMY Awards, has been rescheduled to Sunday, April 3, at the MGM Grand Garden Arena in Las Vegas. The below article was updated on Tuesday, Jan. 18, to reflect the new show date and location.

Right off the bat, 2021 showed promise for another year of massive hits with unforgettable hooks thanks to Olivia Rodrigo's record-breaking smash "driver's license."

Less than two months later, Anderson .Paak and Record Of The Year veteran Bruno Mars kicked off the Silk Sonicera with the instantly memorable jam "Leave the Door Open." In the months that followed, Billie Eilish struck again with her sophomore album, Doja Cat and SZA teamed up for one hell of an earworm, and both Lil Nas X and ABBA shook the world (for very different reasons).

Suffice to say, the race for Record Of The Year — which is awarded to the artist and the producer(s), recording engineer(s) and/or mixer(s) and mastering engineer(s) — is going to be a tight one at the 2022 GRAMMY Awards show.

With ABBA, Jon Batiste, Tony Bennett and Lady Gaga, Brandi Carlile, Lil Nas X, Billie Eilish, Doja Cat and SZA, Olivia Rodrigo, Silk Sonic, and Justin Bieber, Daniel Caesar and Giveon delivering equally impactful tunes, it's really anyone's to win.

Before tuning into the show on April 3, 2022, get fully acquainted with this year's ROTY nominees below.

Nominations for the 2022 GRAMMYs Awards show are officially here! See the full list of nominations.

ABBA — "I Still Have Faith in You"

ABBA sent the world into a frenzy upon their much-anticipated return in September, when they released the first two songs from Voyage, their first album in 40 years.

"I Still Have Faith In You," a heartfelt ode to their friendships that have endured throughout their time apart, is a song that the group wrote in 2018 along with its partner single, "Don't Shut Me Down."

"New spirit has arrived/ The joy and the sorrow/ We have a story and it survived," the Swedish superstars sing on the chorus over a majestic rhythm, building to a series of dazzling harmonies for the song's epic finish. It's a musical odyssey that is oh-so-classic ABBA.

Believe it or not, this nomination marks ABBA's first GRAMMY nomination in their career. ("Dancing Queen," however, was inducted into the Recording Academy's Grammy Hall of Fame in 2015.)

Considering that the group's Agnetha Fältskog has suggested that this album (and forthcoming tour) might be their last, there will likely be many fans glued to their TV to find out if ABBA get to call themselves GRAMMY winners.

Jon Batiste — "FREEDOM"

In an era where more and more artists are advocating acceptance, New Orleans musician Jon Batiste brought a big-band flair to an important message.

Backed by jazzy instrumentation and a snappy beat, "FREEDOM" is an anthem for simply feeling good and feeling free. "Free to live (How I wanna live)/ I'm gon' get (What I'm gonna get)/ 'Cause it's my freedom," Batiste proclaims in the chorus.

The three-time GRAMMY nominee encapsulated the culture and energy of his hometown in three uplifting minutes, his soulful and impassioned voice bringing listeners on a joyful journey of celebrating themselves.

Ultimately, "FREEDOM" is lyrically and melodically what today's sociopolitical climate needs.

Read More: Jon Batiste Talks New Album We Are, His Brain-Breaking Itinerary & Achieving "Freedom" From Genre

Tony Bennett & Lady Gaga — "I Get a Kick Out Of You"

Who would've ever thought that a song first sung in 1934 would be nominated for a GRAMMY — let alone the coveted Record of the Year — in 2021?

Lady Gaga and Tony Bennett made that possible with their take on the classic "I Get a Kick Out of You," the lead single from Love for Sale, the duo's second collaborative album of jazz standards by composer Cole Porter.

Their adoring, decade-long friendship is apparent on the lively track, which builds from a mellow piano beginning into full jazz and swing orchestration by the song's end.

Between the two of them, Gaga and Bennett have 30 GRAMMYs (12 and 18, respectively). Yet, taking home Record of the Year would mark a special moment for the pair, as Gaga has never won the award and Bennett's last ROTY win was in 1963.

What's more, Love for Sale is said to be Bennett's last album, as the 95-year-old was diagnosed with Alzheimer's disease in 2016, just before he and Gaga began recording the LP.

Take A Look Back: For The Record: The Liberating Joy Of Lady Gaga's Born This Way At 10

Justin Bieber Featuring Daniel Caesar & Giveon — "Peaches"

Just one year after Justin Bieber released his R&B-tinged LP, Changes, he unveiled what would become his biggest R&B hit to date, "Peaches."

The suave track, which features R&B stars Daniel Caesar and Giveon, incorporates swirling production and a wavy melody, creating a perfect soundtrack for a windows-down cruise.

The fifth single from Bieber's sixth studio album, Justice, "Peaches" has been highly praised as an album standout. The stats prove it: With nearly 1 billion streams on Spotify alone, the song gave Bieber his eighth Hot 100 No. 1 (and his only No. 1 from Justice).

But the achievement that may be Bieber's proudest is notching a No. 1 on Hot R&B/Hip-Hop Songs, a feat he couldn't quite manage with last year's GRAMMY-nominated "Yummy."

It also marks his first Record of the Year nomination as the lead artist (he received a nod for his role on Luis Fonsiand Daddy Yankee's "Despacito" in 2017), making "Peaches" a true career highlight for the Biebs.

Read More: The 64th GRAMMY Awards: Everything You Need To Know About The 2022 GRAMMYs Awards Show & Nominations

Brandi Carlile — "Right On Time"

Another timely tune, Brandi Carlile's "Right On Time" is a commentary on the impact of the COVID-19 pandemic, reflecting on conflict and regret.

The piano-laced ballad put Carlile's powerful vocals at the forefront, particularly on the dynamic chorus that's reminiscent of the singer's previous ROTY nominee, 2017's "The Joke." Perhaps that's because Carlile herself has said she believes in "Right On Time" as much as she did "The Joke," something she has been waiting to feel for years.

In an interview with Entertainment Weekly, the singer/songwriter expounded on the song's meaning: "There's something really human about the obstacles that we've put in front of ourselves, and then deciding to just somehow explode through it and say, maybe I didn't come out of this right, maybe I didn't handle this the right way, maybe it wasn't right, but something had to happen — so it was right on time."

GRAMMY Flashback: Backstage At The 63rd GRAMMYs: Brandi Carlile Praises The "Artistic Threads That Chain Us All Together" Ahead Of Music’s Biggest Night

Doja Cat feat. SZA — "Kiss Me More"

If the hook of "Kiss Me More" sounds familiar, try listening to Olivia Newton-John's 1981 hit "Physical."

Doja Cat and SZA's bouncy collab brilliantly interpolates the single, but swelling production and a punchy beat make "Kiss Me More" anything but a cheap ripoff. The lead single from Doja Cat's highly acclaimed third album Planet Her, the track spotlights the star's prowess as both a singer and a rapper, bringing in SZA for a flawless match-up of female power.

The song's rolling melody made it an instant radio hit (and, in turn, inescapable), earning Doja Cat her second No. 1 at pop radio and SZA her first.

It reached No. 3 on the Billboard Hot 100, where it became the longest-running all-female top 10 hit in the chart's history, surpassing Brandy and Monica's GRAMMY-winning 1998 duet "The Boy Is Mine."

Read More: From Meme Queen To Popstar: Revisiting Doja Cat's Inevitable Breakout

Billie Eilish — "Happier Than Ever"

After two back-to-back Record of the Year wins, Billie Eilish strikes again with "Happier Than Ever."

The five-minute track is essentially two songs in one: The first half focuses on Eilish's softer register as she begins to tear into everything that was wrong in a past relationship ("When I'm away from you/ I'm happier than ever," she declares in the chorus); the second part elevates into a gritty guitar-driven, cathartic tell-off as Eilish demands at the song's finish, "Just f–kin leave me alone."

Eilish calls "Happier Than Ever," the titular track from her sophomore album, "probably the most therapeutic song I've ever written or recorded, like ever, ever, ever, 'cause I just screamed my lungs out," according to Genius.

But like much of Eilish's catalog, she presents that therapy session with a captivating melodic ride that keeps listeners hanging on with every word.

It's an amalgamation of everything Eilish has brought to the table in her whirlwind career thus far: haunting vocals, raw lyrics and a mosh-pit-worthy finale.

Read More: Billie Eilish's Road To Happier Than Ever: How The Superstar Continues To Break Pop's Status Quo

Lil Nas X — "MONTERO (Call Me By Your Name)"

It's hard to imagine that Lil Nas X could make a song more ubiquitous than 2019's "Old Town Road," but he put a solid player in the ring with "MONTERO (Call Me By Your Name)."

The track became the talk of the industry upon the release of its controversial video, which featured raunchy scenes with the devil himself (yes, you read that right).

But beyond the shock factor, "MONTERO" played an important role in Lil Nas X's career, as it was his first official single to address his sexuality since he publicly came out as gay in 2019 ("C7osure [You Like]" from his debut EP, 7,touched on it, but was not released as a single).

It also ushered in a new sound for the rapper, leaning more into hip-hop and trap and eliminating any country influence he brought with his first project.

The pivot worked: "MONTERO" debuted atop the Hot 100, earning Lil Nas X his second No. 1. The song has more than 1 billion streams on Spotify — and though that's only half of the stream count for "Old Town Road," "MONTERO" ultimately proved that Lil Nas was no one-hit wonder.

Take A Look Back: Lil Nas X, BTS & Billy Ray Cyrus Enter The "Old Town Road" Multiverse At The 2020 GRAMMYs

"driver's license" — Olivia Rodrigo

Whether you're 16 or 65, Olivia Rodrigo tugged at your heartstrings this year with her anthemic power ballad of teenage heartbreak, "driver's license."

The piano-driven smash first gained traction when Rodrigo teased a snippet on social media last year, resulting in an almost unbelievable debut for the then 17-year-old upon its January release.

The song broke the Spotify record for the most single-day streams for a non-holiday song, subsequently debuting at No. 1 on the Billboard Hot 100, where it stayed for eight consecutive weeks — earning Rodrigo the title of the youngest artist to debut atop the chart as well as the longest-running number-one debut.

Starting off with an apropos car engine start (a sound that seamlessly flows into the song's plinking piano), "driver's license" allows Rodrigo's tender voice to shine before she lets out howls of heartbreak on the chorus.

The narrative becomes a full-on sing-along at the song's climax, a bridge you can't help but belt out.

With so many layers and infectious hooks, the single became such a phenomenon that it even got its own sketch on "Saturday Night Live." Therein, one character summed it up perfectly: "If Olivia taught us anything, it's that pain can be creatively generative."

"Leave the Door Open" — Silk Sonic

A week after Bruno Mars and Anderson .Paak announced that they were joining forces for a superduo back in February, the pair — together, named Silk Sonic — released their first single, "Leave the Door Open."

And it did not disappoint: The sensual track calls back to the '70s funk and soul music that inspires both singers (after all, Bootsy Collins did bestow them their name), with twinkling instrumentation and a finger-snapping beat that immediately gets you tapping your toes.

The tune showcases each of their vocal specialties in masterful form, also incorporating their knack for lyrics as smooth as they are cheeky (for one, "And if you're hungry, girl, I got filets").

While Mars is no stranger to No. 1s, "Leave the Door Open" gave Anderson his first No. 1 on the Hot 100, Hot R&B/Hip-Hop Songs, and Rhythmic Airplay.

If the song takes home Record of the Year, it'll be the four-time GRAMMY winner's first ROTY win, and the 11-time winning Mars' third.

2022 GRAMMYs Awards Show: Complete Nominations List

Jon Batiste

Photo: Matt Winkelmeyer/Getty Images

video

GRAMMY Rewind: Watch Jon Batiste’s Encouraging Speech For His 2022 Album Of The Year Win For 'We Are'

Jon Batiste accepts the Album Of The Year award for We Are, a win that he dedicated to "real artists, real musicians."

D. Mariah

GRAMMYs/Apr 26, 2024 - 04:50 pm

Jon Batiste walked into the 2022 GRAMMYs with a whopping 11 nominations, making him the most recognized artist of the evening. By the end of the night, he received five GRAMMYs for Best American Roots Performance, Best American Roots Song, Best Score Soundtrack For Visual Media, Best Music Video, and the highly coveted Album Of The Year.

In this episode of GRAMMY Rewind, watch Batiste take the stage to accept the award for Album Of The Year for his sixth studio album, We Are

Batiste began his praises by acknowledging God: "I just put my head down and work on the craft every day. I love music, he said. "I've been playing since I was a little boy. It's more than entertainment for me — it's a spiritual practice." He also thanked the "many people that went into making this album," including his grandfather, nephew, father, and executive producer, Ryan Lynn.

"This [award] is for real artists, real musicians. Let's just keep going. Be you! That's it. I love you even if I don't know you," Batiste cheered.

Press play on the video above to hear Jon Batiste's complete acceptance speech and check back to GRAMMY.com for more new episodes of GRAMMY Rewind.

Watch: Jon Batiste Delivers A Heartfelt Performance Of “Ain’t No Sunshine” & “Lean On Me” | 2024 GRAMMYs Performance

Chappell Roan at Coachella 2024 Weekend 1

Chappell Roan performs during Weekend 1 of Coachella 2024.

Photo: Dania Maxwell / Los Angeles Times via Getty Images

interview

Chappell Roan's Big Year: The 'Midwest Princess' Examines How She Became A Pop "Feminomenon"

Just after Chappell Roan made her festival debut at Coachella, hear from the pop starlet about some of the defining moments of her career thus far — and how it all helped earn her a spot at one of music's biggest fests.

Kelly Nguyen

GRAMMYs/Apr 19, 2024 - 07:49 pm

Before this year, Chappell Roan had never even been to Coachella. Now, not only can she say she's attended — she's performed in the desert, too.

Roan played an evening set on the Gobi Stage on April 12, and is set to return for Weekend 2. Fans clad in everything from cowboy boots, Sandy Liang-inspired bows and, perhaps most importantly, jorts, gathered to celebrate their shared love of Roan's radiance, karmic kink and gay cowgirl doctrine.

Throughout her performance, bubbles breezed through the air as Roan belted out her infectious (and aptly titled) track "Femininomenon," which speaks to lover girls forced to live in an online-dating hellscape. "Ladies, you know what I mean?/ And you know what you need and so does he/ But does it happen? No!" Following collective screams of pure joy, the already enlivened crowd roused to match Roan beat-for-beat, shouting back in perfect unison, "Well, what we really need is a femininomenon!"

In an era of bedroom pop and sad-girl music, Roan has been hailed by both critics and fans for bringing fun back to pop music. Along with her staunch sense of self, Roan's penchant for explicit lyrics that are equally parts introspective and horny makes her dance-pop anthems all the more infectious.

Roan's ambitiously experimental debut album, 2023's The Rise and Fall of a Midwest Princess, cemented her status as one of the most exciting pop stars on the rise. While she only recently landed her first single on the Billboard Hot 100 with "Good Luck, Babe!," her rapidly growing fan base — and an opening slot on Olivia Rodrigo's sold-out GUTS World Tour — indicate that she's on her way to superstardom.

Perhaps part of Roan's magic is that it was all on her own terms. After parting ways with her first label, Atlantic Records, she built a loyal following as an independent artist before signing with Island Records last year. Even as a major label artist, she's determined to only do things her way; her indefatigable commitment to her craft — as well as writing her own rules when it comes to fashion and makeup — is precisely why her fans are so enraptured by both her music and persona.

Her fearlessness was on full display during her first Coachella set, where the words emblazoned on her bodysuit read "Eat Me." She talks the talk, and walks the walk (in fabulous, knee-high boots, of course), matching her unabashed aesthetic with equally bold career moves; for one, the openers for her headlining tour are local drag queens.

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With eyeliner winged to the heavens, near-perfect vocal stability and fiery curls ablaze, Roan's shimmering Coachella Weekend 1 performance proved that her stage presence is equally dynamic. And if she had any doubters, she had one thing to say to them: "B—, I know you're watching!"

In between rehearsals for her Coachella debut, Roan took a look back on her journey to one of music's most coveted stages. Below, hear from Roan about five of the most impactful milestones in her career — so far.

Releasing Her Debut Album, The Rise And Fall Of A Midwest Princess

I ended up signing [with Island Records in 2023] because this project honestly got too big to be independent anymore. I just wasn't willing to give up anything, any creative control or for any amount of money.

Being an independent artist was really special because I proved to myself that I could do all these hard things that I had never done. I built it with an entire friend group and many, many years of work. So it wasn't just me, but it proved a lot to me.

It proved I can make it through hard circumstances — with no money. You truly can. You do not need a label to do a lot of what an artist's career requires. You don't need a label to put on your own show, or make a music video, or even write a song, or find creative people. You don't need that s—t. I mean, a label is just money, you know? You don't need a lot of money to do this. To make it grow is, I think, where it takes a lot of money. That's what was difficult.

Music allows me to express anything, even things that I've never experienced before. It allows me to express queerness, even if it was only daydreams at that point. It allows me to express parts of me that I'm not even ready to accept yet.

I don't give a f— if you don't f— with the music. You don't have to come to the concert. That's the whole point of it. You don't have to like it. I think throughout the year, I'm like, "What can I get away with?" Because right now it's pretty tame for what it is like to be a gay artist. But I just want to push it to see how far can I go — with the most controversial outfits or things to rile people up. I'm not really afraid to do that.

Having a song [like "Casual] with the lyric, "Knee deep in the passenger seat/ And you're eating me out," and it's being considered to go to radio. That's kind of a big thing to get away with.

It's not even that big of a thing. What's that song? Is it Flo Rida? That's like, "Can you blow my whistle, baby/ whistle baby." Okay, that's obviously about like a f—ing blowjob. [Laughs.] No one cares about that. To me, I'm like, Let's talk about eating out on the radio. I actually think it has to be bleeped, but still, if I can get away with it, that's cool.

Feeling Financial Freedom & Stability

Not making money at all just sucked. But I learned how to do my own makeup and bedazzle and sew a little bit. I think that the scrappiness came from [the idea that] it's scrappy if it's fun.

I think that's what kept me going — because if this wasn't fun, I would not even be here. But it was scrappy and fun, and it was with my friends. It didn't feel dire. I was also just working at a coffee shop, and I was a nanny, and I was working at a donut shop. I was doing part time jobs all on the side too. So it was all just rough [in the beginning].

I have freedom because now [singing] is my full-time job. It provides for me now. As the project grows, I can do bigger shows and be like, I want outfit changes now, and I want more lights, and I want confetti. I can afford confetti now!

It's about expanding the universe in a thoughtful way. And not just like throwing a s— ton of money at things to make things look expensive or wear all this designer s— for no reason.

I just try to look at how we are starting to gain momentum financially and see how can I intentionally use that to, one, pay the team in a way where they're not bare bones anymore, and two, [ask ourselves] how can we honor this project and this album and the queer community? Can we pay drag queens more? Can we bring drag on the road? Now, financially, doors have opened where we can walk through them with love and intention. Just recklessly, throwing money at s— to see if it works.

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A post shared by ･ﾟ: *✧ Chappell Roan ✧*:･ﾟ (@chappellroan)

Opening Olivia Rodrigo's Arena Tour

Olivia [Rodrigo] just asked. It was official, we went through our management. But I was like, Oh my God.

Preparing a 40-minute set is a different vibe than headlining, obviously. You are going out to an audience that is not there for you and doesn't necessarily care if you're there or not.

This is, like, my fourth or fifth artist I've opened for. But for an arena tour, I just needed to gather my nerves. I think that's the difference between any other show. Like, F—, there's 20,000 people out there right now. I've never performed in front of that many people. I don't know what this emotion is, and I just have to tame it right now.

Standing Up For Herself Creatively, Even When There's Pushback

I stand up for myself, I would say, every day. Sometimes, you get this opportunity, a huge opportunity with a lot of money on the table. [Yet,] I'm just like, That just doesn't make sense creatively. That doesn't align with my values. I'm not doing that.

One huge creative decision was I stood up and pushed the entire headlining Midwest Princess tour back to the fall. The album was supposed to come out while we were on tour. I was like, "This is a horrible idea!"

That caused a big ruckus, but it ended up being fine, and I was right. I'm usually right. [Laughs.] It's like a mother with her kid — a mother knows best. I feel like [that] when it comes to the integrity of my project.

I know how it is to not be able to afford a ticket or even f—ing food. A concert ticket, a lot of times, means multiple meals for someone. I get it, I couldn't afford some artists' tickets. That's why it's really important to me to try to keep them as low as I can and my merch as low as I can.

There's pushback of ticket prices being low and we're playing rooms that are so expensive. The fee to even play them is so expensive. So, you have to raise the ticket prices to just even be able to afford to play the room. There's always an argument [with my team] there, every tour. I'm in control of stuff and if I'm saying this is how it's going to be —- it's just going to be that way.

Performing At Coachella For The First Time

[After the first weekend of Coachella] I am feeling very relieved. I was so stressed about many things. How is the outfit going to work? Will the crowd really be engaged? It went so well, I have no qualms with anything. I loved every second of it.

It feels like I am partying with [my fans]. I am not performing to them; I’m performing with them. [I want people to remember] a really fun, freeing show. Very campy but very meaningful too.

4 Ways Olivia Rodrigo's GUTS World Tour Shows A New Side Of The Pop Princess

Noah Kahan (L) and Olivia Rodrigo (R) perform during the GUTS World Tour in New York City

Photo: Kevin Mazur/Getty Images for Live Nation

list

10 Record Store Day 2024 Releases We're Excited About: The Beatles, Notorious B.I.G. & More

In honor of Record Store Day 2024, which falls on April 20, learn about 10 limited, exclusive drops to watch out for when browsing your local participating record store.

Lucas Villa

GRAMMYs/Apr 18, 2024 - 02:20 pm

From vinyl records by the 1975 and U2, to album reissues and previously unreleased music, record stores around the world are stocking limited and exclusive releases for Record Store Day 2024.

The first Record Store Day kicked off in 2008 and every year since, the event supporting independently owned record stores has grown exponentially. On Record Store Day 2024, which falls on April 20, there will be more than 300 special releases available from artists as diverse as the Beatles and Buena Vista Social Club.

In honor of Record Store Day 2024 on April 20, here are 10 limited and exclusive drops to watch out for when browsing your local participating record store.

David Bowie — Waiting in the Sky (Before The Starman Came To Earth

British glam rocker David Bowie was a starman and an icon. Throughout his career, he won five GRAMMY Awards and was honored with the Lifetime Achievement Award in 2006.

On RSD 2024, Bowie's estate is dialing it back to his Ziggy Stardust days to make Waiting in the Sky (Before The Starman Came To Earth) available for the first time. The record features recordings of Bowie's sessions at Trident Studios in 1971, and many songs from those sessions would be polished for his 1972 album The Rise and Fall of Ziggy Stardust and the Spiders from Mars.

The tracklisting for Waiting in the Sky differs from Ziggy Stardust and features four songs that didn’t make the final album.

Talking Heads — Live at WCOZ 77

New York City-based outfit Talking Heads defined the sound of new wave in the late '70s and into the next decade. For their massive influence, the group received two GRAMMY nominations and was later honored with the Lifetime Achievement Award in 2021.

While promoting their debut album Talking Heads: 77, the quartet recorded a live performance for the New Albany, Pennsylvania radio station WCOZ in 1977. The Live at WCOZ 77 LP will include 14 songs from that performance at Northern Studios, including seven that will be released for the first time. Among the previously unheard cuts are "Love Goes To A Building On Fire" and "Uh-Oh, Love Comes To Town." During that session, Talking Heads also performed songs like "Psycho Killer" and "Pulled Up."

The Doors — Live at Konserthuset, Stockholm, September 20, 1968

The Doors were at the forefront of the psychedelic rock movement of the 1960s and early '70s. One of Jim Morrison's most epic performances with the band will be available on vinyl for the first time.

Live at Konserthuset, Stockholm, September 20, 1968 includes recordings from a radio broadcast that was never commercially released. The 3-LP release includes performances of songs from the Doors’ first three albums, including 1967’s self-titled and Strange Days. In addition to performing their classics like "Light My Fire" and "You're Lost Little Girl," the Doors and Morrison also covered "Mack the Knife" and Barret Strong's "Money (That's What I Want)" live during this session.

Dwight Yoakam — The Beginning And Then Some: The Albums of the '80s

Over the course of his 40-year career, country music icon Dwight Yoakam has received 18 GRAMMY nominations and won two golden gramophones for Best Male Country Vocal Performance in 1994 and Best Country Collaboration with Vocals in 2000.

On Record Store Day 2024, Yoakam will celebrate the first chapter of his legacy with a new box set: The Beginning And Then Some: The Albums of the '80s. His debut album Guitars, Cadillacs, Etc., Etc. and 1987’s Hillbilly Deluxe will be included in the collection alongside exclusive disc full of rarities and demos. The 4-LP set includes his classics like "Honky Tonk Man," "Little Ways," and "Streets of Bakersfield." The box set will also be available to purchase on CD.

The Beatles — The Beatles Limited Edition RSD3 Turntable

Beatlemania swept across the U.S. following the Beatles’ first appearance on "The Ed Sullivan Show" in February 1964, setting the stage for the British Invasion. With The Beatles Limited Edition RSD3 Turntable, the band will celebrate their iconic run of appearances on Sullivan’s TV program throughout that year.

The box set will include a Beatles-styled turntable and four 3-inch records. Among those records are the hits "I Want To Hold Your Hand," "Till There Was You," "She Loves You," and "I Saw Her Standing There," which the Beatles performed on Sullivan's TV across several appearances.

Among 23 GRAMMY nominations, the Beatles won seven golden gramophones. In 2014, the Recording Academy honored them with the Lifetime Achievement Award.

Olivia Rodrigo and Noah Kahan — From The BBC Radio 1 Live Lounge LP

Olivia Rodrigo and Noah Kahan are two of the biggest pop stars in the world right now — Rodrigo hitting the stage with No Doubt at Coachella and near the end of her global GUTS Tour; Kahan fresh off a Best New Artist nomination at the 2024 GRAMMYs. Now, they're teaming up for the split single From The BBC Radio 1 Live Lounge LP, a release culled from each artist's "BBC Radio 1 Live Lounge" sessions.

The special vinyl release will include Rodrigo's live cover of Kahan's breakout hit "Stick Season." The single also includes Kahan’s cover of Rodrigo’s song "Lacy" from her second album, GUTS. This month, they performed the song live together on Rodrigo’s Guts World Tour stop in Madison Square Garden.

Influential Cuban group Buena Vista Social Club popularized genres and sounds from their country, including son cubano, bolero, guajira, and danzón. Buena Vista Social Club's landmark self-titled LP won the GRAMMY for Best Tropical Latin Album in 1998.

The following year, a documentary was released that captured two of the band's live performances in New York City and Amsterdam. To celebrate the 25th anniversary of the documentary, the Buena Vista Social Club album will be released on a limited edition gold vinyl with remastered audio and bonus tracks.

Buena Vista Social Club is one of the 10 recordings to be newly inducted into the GRAMMY Hall Of Fame as part of the 2024 inductee class.

Danny Ocean — 54+1

Venezuelan reggaeton star Danny Ocean broke through on a global level in 2016 with his self-produced debut single "Me Rehúso," a heartbreaking track inspired by Ocean fleeing Venezuela due to the country's economic instability and the lover he had left behind.

With "Me Rehúso," Ocean became the first solo Latin artist to surpass one billion streams on Spotify, on the platform with a single song. "Me Rehúso" was included on his 2019 debut album 54+1, which will be released on vinyl for the first time for Record Store Day.

Lee "Scratch" Perry & The Upsetters — Skanking With The Upsetter

Jamaican producer Lee "Scratch" Perry pioneered dub music in the 1960s and '70s. Perry received five GRAMMY nominations in his lifetime, including winning Best Reggae Album in 2003 for Jamaican E.T.

To celebrate the legacy of Perry's earliest dub recordings, a limited edition run of his 2004 album Skanking With The Upsetter will be released on Record Store Day. His joint LP with his house band the Upsetters will be pressed on transparent yellow vinyl. Among the rare dub tracks on the album are "Bucky Skank," "Seven & Three Quarters (Skank)," and "IPA Skank."

Notorious B.I.G. — Ready To Die: The Instrumentals

The Notorious B.I.G. helped define the sound of East Coast rap in the '90s. Though he was tragically murdered in 1997, his legacy continues to live on through his two albums.

During his lifetime, the Notorious B.I.G. dropped his 1994 debut album Ready to Die, which is widely considered to be one of the greatest hip-hop releases of all-time. In honor of the 30th anniversary of the album (originally released in September '94), his estate will release Ready To Die: The Instrumentals. The limited edition vinyl will include select cuts from the LP like his hits "Big Poppa," "One More Chance/Stay With Me," and "Juicy." The album helped him garner his first GRAMMY nomination in 1996 for Best Rap Solo Performance. The Notorious B.I.G. received an additional three nominations after his death in 1998.

10 Smaller Music Festivals Happening In 2024: La Onda, Pitchfork Music Fest, Cruel World & More

Doja Cat headlines at the Coachella Valley Music and Arts Festival

Photo: Dania Maxwell / Los Angeles Times via Getty Images

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7 Incredible Sets From Coachella 2024 Weekend 1: Doja Cat, No Doubt, Raye & More

With a weekend full of surprise guests, exciting reunions and breakout performances from first-time performers, this weekend in Indio was one for the books. Read on for seven of the top performances at the first weekend of Coachella 2024.

David Brendan Hall

GRAMMYs/Apr 16, 2024 - 02:37 am

While every headliner at last year’s Coachella held some sort of historical cultural significance, Coachella 2024’s roster instead represented a series of graduations from opening slots and side stages to top-tier main stage titan status.

Friday featured Lana Del Rey, whose sole previous Coachella performance was at the Outdoor Theatre in 2014. Saturday was capped by Tyler, The Creator appearing for the third time in Indio (his last appearance as runner up to Haim and Beyoncé on the main stage in 2018). And on Sunday, Doja Cat occupied the uppermost spot after her penultimate main stage appearance in 2022.

Yet Coachella Weekend 1 this year’s attendees got astronomically more bang for their buck than they counted on, due to a surprise-guest-heavy lineup. The bulk of those special moments came from A-list talent, from Billie Eilish with Lana Del Rey to Olivia Rodrigo with No Doubt, Justin Bieber joining Tems, Kesha with Reneé Rapp, most of the Fugees performing alongside YG Marley, Will Smith performing "Men in Black" with J Balvin … the list goes on.

When all was said and done, the diversity, quality and impact of the weekend’s performances were tremendous. Even without elite bonus appearances, there were plenty of performances — quite a few of them newcomers, recent buzzbands and imminent breakthroughs — that made this year’s Coachella more than worthy of an early accolade for one of the first-rate fests of 2024. Read on for seven of the best sets from Coachella 2024.

Faye Webster Thrills Loyal Fans With Supreme Confidence

Underneath the shaded canopy of the Mojave Tent, Faye Webster held her sprawling audience in the palm of her hand during her Coachella debut on Friday. Deafening cheers rang out at the start of every song, which seemed to infuse the 26-year-old singer/songwriter with a level of energy unparalleled up to this point in her career.

Webster deftly worked her way through 11 tracks, each one received with wild cheers from fans, who sang with such gusto that they often nearly overpowered her own vocals. The crossroads of her confidence and creativity fully manifested during closing tune "Kingston," which saw her pausing to let the audience belt out the remainder of the line, a beckoning gesture that exuded self-assuredness.

Notably, three of six new songs ("Wanna Quit All the Time," "He Loves Me Yeah!" and "Lego Ring") from her recently released fifth album Underdressed at the Symphony were live debuts. The fact that Webster saved them for Coachella showed a clear intention to ensure the set was extra special. Beyond any shadow of doubt, she succeeded.

Lana Del Rey Taps Billie Eilish, Jon Batiste & Others For Standout Friday Set

With her notoriously downtempo demeanor, Lana Del Rey wasn’t the obvious choice for a Friday headlining spot on the main stage, but when all was said and done, her 20-song set delivered plenty to position her as a standout performer.

Dressed in an elegant baby blue gown, her entrance — a slow ride on the back of a motorbike through the lanes of the crowd all the way to the stage — worked wonders to build excitement. And her first three song choices, a shortened version of "Without You" (not performed since 2014) and two more gems from the vault — "West Coast" (debuted 10 years ago to the day at her first Coachella appearance) and her superb cover of Sublime’s "Doin’ Time" — signaled her intention to make this show a truly special occasion (neither of the latter two tunes have appeared on a setlist since 2019).

From there it was a parade of hits culled from her robust catalog, as the GRAMMY-nominated singer waltzed her way across the expanse of a fairytale palace stage production, at several points venturing up flights of stairs to a towering terrace. Four of her 10 albums feature production from Jack Antonoff (who played with Bleachers on Saturday), so it was unsurprising when he took the helm of the white grand piano toward the end for a strikingly serene duet with a hologram Lana on "Hope is a Dangerous Thing for a Woman Like Me to Have — But I Have It."

Jon Batiste (who performed his own set on Saturday) also assisted on piano for an alluring take on "Candy Necklace," but the pinnacle moment arrived during performances of "ocean eyes" and "Video Games" alongside surprise guest Billie Eilish. Sitting side by side atop a balcony, the two harmonized through much of those tracks, and the occasions when Lana sat back to let Billie sing several sections solo were absolutely arresting. The two superstars stared adoringly at each other throughout, clearly just as awe-inspired by the unprecedented collaboration as the audience, which erupted with rapturous applause that rivaled the decibels of the set’s glittering fireworks finale.

Raye Races Toward Superstardom During Emotional Debut

After just one song of Raye’s Saturday afternoon performance, there was no question that her Coachella debut would be remembered as one of the most striking in recent years. The British songwriter and chanteuse, who shattered the record for most wins and nominations in a single year at this year’s BRIT Awards, poured every ounce of her soul into her 45-minute set. The crowd inside the Mojave tent hung on every note and went absolutely berserk all the way from the sultry intro of "The Thrill is Gone" to gloriously anthemic closer "Escapism."

Backed by a powerhouse band of eight backup singers, three string players, four brass aces and the standard guitar, drums and bass, each song was a showstopper. Without question, the most impactful moment came on "Ice Cream Man," which deals with her own experience with sexual assault and rape.

"I want you to know it’s not an easy song to sing," she started. And before she could continue, the audience released a loud roar of support, to the point that the singer shed tears. When she composed herself, she continued, "But it’s important to be loud .. and to be brave. This allows me to be loud about something I’ve been quiet about my entire life. I am very f—ing strong."

That moment — which culminated into a big band-style belter that evoked the power of Amy Winehouse and Billie Holiday — likewise drew tears from many in the audience. Further, it defined Raye as an artist destined for superstardom on the merits of genuine talent, an infinitely infectious spirit, and incomparably hard work ethic. To that end, it should be no surprise she’s the songwriter behind tunes from GRAMMY-winning artists including Beyoncé, no big deal.

Sublime Revives Their Definitive Sound Alongside Jakob Nowell

Though many were referring to Sublime’s Saturday afternoon appearance on the Coachella main stage as a "reunion" in the days leading up to the festival, new frontman Jakob Nowell — son of the band’s deceased original singer Bradley Nowell — made it abundantly clear that wasn’t precisely the case.

"My name is Jakob Nowell and this is Sublime," he said following the conclusion of opening song "April 29, 1992," gesturing toward the beloved Southern California ska-punk band’s surviving members bassist Eric Wilson and drummer Bud Gaugh.

His resistance to co-opt his dad’s legacy was admirable, which was an issue for some when Rome Ramirez joined Wilson and Gaugh in 2009 to form Sublime with Rome, a chapter that ended for those original members when Gaugh left the band in 2011 and Wilson subsequently exited in February. With all the pieces in place, the next hour played out as a fantastically fun alliance of old and new.

Jakob sounded strikingly like his dad during most moments, though he asserted his own spin on the classic sound by adding a hardcore-esque growl at various points in the set. Among the 14 songs, they revived early-era material that hadn’t been played live since the mid '90s, including "Date Rape," "Badfish" and "Doin’ Time." One cut, "Romeo," had not been performed live since 1988. The band likewise included tunes that Bradley never got to perform from the band’s final self-titled album, including some of their biggest commercial successes. Tracks such as "What I Got" and "Santeria" were sung by thousands, a chorus oozing with celebratory mass catharsis.

By the end, there could be only one conclusion: the most definitive version of a revived Sublime has arrived and, should they choose to continue on, they’ll be received by fans with open arms.

No Doubt Snatches Headliner Status During Jubilant Reunion

Though the reunion of No Doubt was billed as the runner-up to Tyler, the Creator’s Saturday night finisher, it’s absolutely valid to argue that the beloved Southern California outfit — playing their first show since 2015 — was the evening’s true headliner. The eye-popping expanse and unerring enthusiasm of the audience (the largest of the weekend), combined with the group’s sheer joy and explosive energy, drove the feeling home.

Every member of the core group — bassist Tony Kanal, guitarist Tom Dumont, drummer Adrian Young and frontwoman Gwen Stefani — emanated pure exultation, wide grins plastered permanently on their faces. Stefani was especially fired up; after the band powered through five treasured tracks — including opener "Hella Good" (performed at the end of long catwalk), "Ex-Girlfriend," and "Different People" (featured for the first time since 2009) — the singer stopped to address the sea of screaming fans.

"Wow … you showed up to Coachella Saturday night 2024 to see No Doubt play together on this stage for the first time in nine years. Are you crazy?!" Stefani said. "If I could just somehow explain the amount of love [we feel] and how much I wanna slap the s— out of you guys tonight!"

The sentiment was meant endearingly, but every song did hit intensely. In particular, a rendition of "Bathwater" featuring special guest Olivia Rodrigo — as hyped as Stefani with her never-ending spinning and bouncing antics — left a lasting mark. For old school fans, the Return to Saturn single was a special treat, and with Rodrigo in the mix, it elicited equal exuberance from younger audience members.

For the finale of the 16-song setlist, the band fulfilled the promise of euphoric nostalgia with a hard-hitting trio of tracks off 1995 breakthrough third album Tragic Kingdom: "Just a Girl," "Don’t Speak" and "Spiderwebs." The timeless tunes incited a sudden surge of fans toward the stage, and one would’ve been hard pressed to spot anyone not participating in the jubilant singalongs. It was a moment of multi-generational unity and unbridled joy — unquestionably unforgettable, and hopefully just the precursor to a triumphant new era of No Doubt.

Olivia Dean Enters the Stateside Festival Scene With Humbling Authenticity

Watching the first few moments of British neo-soul singer Olivia Dean’s Sunday afternoon performance in the Gobi tent, you’d never know this was her first American festival appearance. And what an incredible debut, at one of the States’ most prestigious festivals with only one album under belt (2023’s Messy) to boot. The 25-year-old stunned with utmost finesse and confidence, working the stage like a long-established diva and immediately eliciting rapturous applause after each of the first two songs, "OK Love You Bye" and "Echo."

While it can sometimes be off-putting when an artist introduces every song with a tidbit explaining what it’s about, this method had the opposite effect for Dean. Her context made each moment feel intensely personal, and the audience reaction was overwhelming. One of many tunes with a distinctly Motown bop, "The Hardest Part," was prefaced with the remark that it "recently changed [her] life," and spoke to the process of overcoming grief. After the final note was sung, she received a deafening standing ovation, prompting her to endearingly cover her face in response. And there was so much power in her anecdote before "Carmen," a tribute to how her grandmother made everything possible for her.

"My granny came to London when she was 18 … had never been on a plane … left her life behind and had my mom, and my mom had me," she said, already being drowned out by cheers before the final remark: "This song is for my granny and anyone brave enough to move and any immigrant in the crowd right now."

As she wrapped up her short set with the bewitching single "Dive," the sun broke through the clouds, illuminating her with the loveliest natural spotlight to complement a performer who already naturally, effortlessly shines on her own.

Doja Cat Exudes Total Command & Flawless Flow For Sunday Finale

It cannot be overstated: Doja Cat’s fest-closing performance on the main stage was a visionary masterpiece, and the strongest headlining set of the first weekend. That wasn’t certain from the stripped-down beginning moments when the GRAMMY-winning singer/rapper appeared on a circular b-stage mid-audience, dressed in a hazmat suit and encircled by a black and yellow biohazard pattern.

But excitement built steadily as she bombastically delivered opening song "ACKNOWLEDGE ME," which, even in an abbreviated format, lived up to its title and created a palpable air of anticipation. From there, she strutted back toward the main stage via a connected catwalk, meeting briefly in the middle with South African quintet the Joy (set to release their self-titled debut album on June 21) offering up fiery raps amidst the group’s arresting a cappella.

Shortly after, Doja appeared on the main stage dressed in a knee-length platinum blonde weave, flanked by an army of dancers who all wore matching getups covered in the same synthetic hair. The effect when they all converged, their movements completely in sync, created an optical illusion of one enormous hairy creature moving across the stage to punctuate the ferocity of "Demons."

That was just the first taste of a breathtaking series of visual sequences over the course of the 70-minute show, each profoundly enhanced by cinematography that created the effect of watching a top-quality music video on the main stage’s massive screens. If you witnessed the camera work during Beyoncé’s Homecoming show back in 2018 or Rosalía’s production in 2023, you’ll understand the aesthetic.

Other key moments when the video work was utterly astonishing arrived during the live debut of "OKLOSER" (one of five first-time song features) where the previously smooth camera went rogue, shakily weaving through the gang of dancers to create the effect of maneuvering through a chaotic house party; again during "Attention" as the lens wove through dancers in fur coats wielding Cruella de Vil-inspired cabrioles until it settled on Doja at the end of the line; and finally during closing track, "Wet Vagina," where Doja and her dancers rolled and writhed (in perfect choreographed unison) on the b-stage filled with brown mud, the sequel ending in a stunning birds-eye shot.

Backtracking a few moments earlier, maybe the most jaw-dropping production element came on "WYM Freestyle" in the form of a giant T-Rex skeleton following Doja down the catwalk while flames erupted from the stage behind her. The precise reason for that wasn’t evident, but it certainly boosted the ferocity of her raw rap delivery.

The unending visual feast only served to amplify Doja’s already flawless flow. She never missed a vocal mark, whether singing or rapping. She didn’t even once pause to banter with the audience, creating the effect of total focus and command. Big bonuses: 21 Savage materializing mid-set to serve up "n.h.i.e.," Teezo Touchdown’s cameo on "MASC" and A$AP Rocky (who likewise performed with Tyler, the Creator on Saturday) swooping in for "URRRGE!!!!!!!!!!" before Doja dazzled with super-hit "Paint the Town Red."

When all was said and done, Doja Cat more-than-earned her graduation to festival headliner, and while she’s already set for an arena tour this year, she’s clearly destined to stun at stadiums not far in the future.

Coachella 2024 Weekend 1 Recap: 20 Surprises And Special Moments, From Billie Eilish & Lana Del Rey To Olivia Rodrigo With No Doubt

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