When young jazz luminary Samara Joy accepted a golden gramophone for Best New Artist at the 2023 GRAMMYs, the sequence of expressions that flitted across her visage seemed to cover the entire spectrum of feeling.

The 23-year-old vocalist born Samara Joy McLendon had already won a GRAMMY for Best Jazz Vocal Album at the Premiere Ceremony, for her acclaimed second album and Verve debut, Linger Awhile. This win during the CBS telecast was an entirely different beast. 

The artist who just a few years ago had been a promising undergrad and audibly nervous on the phone now stood onstage at the Crypto.com arena before global megastars from Taylor Swift to Lizzo to Adele — not to mention 12.55 million people at home.

Speaking to GRAMMY.com in its wake, Joy likened the experience to living "in a parallel universe or a movie."

"I'm still in shock and disbelief because I truly didn't think that I would be in the position to receive such an honor," Joy said of the Best New Artist win, where she forged ahead of fellow nominees like Brazilian star Anitta, genre-blending singer/songwriter Omar Apollo, British indie oddballs Wet Leg, and her fellow rising jazzers DOMi & JD Beck.

"I am, however, grateful for the honor, because it reassures me of the fact that I want to continue pursuing music and growth as a musician," Joy continued. "This signifies the beginning of a musical journey that I'm nervous but excited to embark on."

While Joy's  post-show comments focused on her continued development as an artist, the effect of her win quickly became conspicuous. Less than two weeks after the Feb. 5 ceremony, she appeared on "The Tonight Show Starring Jimmy Fallon" to perform the recitative standard and Linger Awhile cut "Guess Who I Saw Today."

But it's worth considering what this General Field win means not only for Joy, but the jazz community writ large. Like other genres that appear deeper down the GRAMMY nominees list — from classical to reggae to spoken word — jazz can be treated as a little niche, partitioned off into a corner of the music landscape. Even the most heralded rising talents seldom rocket to celebrity status.

It's only once in a while that jazz completely and utterly perforates the mainstream — like in 2020, when Pixar's Soul was released, featuring consulting work from real-deal musicians from deep in the NYC scene, like Jon Batiste and Terri Lyne Carrington.

Some of these breakthroughs have happened at the GRAMMYs. In 2003, the charismatic and versatile Norah Jones swept the General Field, winning GRAMMYs for Best New Artist, Album Of The Year (for Come Away With Me) and Record Of The Year (for "Don't Know Why"), on top of wins for Best Pop Vocal Album and Best Pop Vocal Performance.

Five years later, Herbie Hancock — one of the most brilliant harmonic thinkers of the 20th century, and 21st — won Album Of The Year for River: The Joni Letters, his tribute to his old collaborator and fellow game-changing genius Joni Mitchell. In that category, the album beat out Kanye West's Graduation and Amy Winehouse's Back to Black.

In 2011, bassist, composer and vocalist Esperanza Spalding won Best New Artist and has been a steady presence at the GRAMMYs ever since, winning right up to the 2022 GRAMMYs (Best Jazz Vocal Album, for SONGWRIGHTS APOTHECARY LAB) and landing a nomination for Best Jazz Instrumental Album for her work with Wayne Shorter, Terri Lyne Carrington, and Leo Genovese on that year's Live at the Detroit Jazz Festival.

Additionally, at the 2022 GRAMMYs, Lady Gaga paid tribute to her collaborator, Tony Bennett, with a performance of "Love for Sale" and "Do I Love You" — both from their final duets album, which won Best Traditional Pop Vocal Album at that year's ceremony. (Previously, their album Cheek to Cheek won in the same category, at the 2015 GRAMMYs.)

On top of all that, other crossover artists with jazz connections, from Jacob Collier to Robert Glasper to Thundercat, have made big splashes at Music’s Biggest Night.

Despite operating under the "jazz" umbrella, all these artists are wildly divergent in almost every possible way. Joy is connected to a jazz-vocal tradition that snakes way back in history, back to when her heroes like Sarah Vaughan, Ella Fitzgerald and Carmen McRae were dropping jaws.

"I'm overjoyed at Samara's success. But not surprised," Lisa Goich-Andreadis, the Director of Awards and Jazz Genre Manager at the Recording Academy, tells GRAMMY.com. "The first time I heard her voice, I couldn't believe that it was coming out of a 22-year-old. It has the richness and depth of the legends that came before her. She channels something out of another era. Her rise is well-deserved."

What makes Joy fresh is that it's her doing this music, channeling it through her vibrant abilities and irresistibly vivacious spirit. There are a lot of singers doing standards, but there's only one Joy. 

"She f—ing deserves it, man," pianist Geoffrey Keezer, who took home a GRAMMY for Best Instrumental Composition at the same ceremony, tells GRAMMY.com. "She can sing her butt off, and I don't know her personally, but from everything I see, she seems like a really nice person, and really humble and down-to-earth. I think it's fantastic."

Keezer sees Joy's triumph at the 2023 GRAMMYs as a reminder, loud and clear, that jazz is no antiquated or peripheral artform. Rather, it is a vibrant and alive genre very much in the now. 

"The whole umbrella genre is Black American Music, and jazz is the branch of it that has a swing beat," he explains. "So, it's just as current and relevant as anything else. There's all these different branches of the same tree. When the one that swings wins, it's just nice to have that recognized as: Yes, we're still here. This is still part of it, and it's important, and it's where it all came from."

To Goich-Andreadis, Joy's win is significant because it shows that she's being noticed by a wide audience far afield from the jazz community — including that of such esteem as the pre-GRAMMYs MusiCares Persons Of The Year event, which honored Motown titans Berry Gordy and Smokey Robinson.

"She received a rousing standing ovation by the crowd, with honorees Berry Gordy and Smokey Robinson leading the way," Goich-Andreadis remembers of her performance. "It's great to see a representative from this genre touching so many with her talent."

Keezer views Joy's ascent as part of a greater mass of acknowledgement, including that of Spalding, Hancock, and five-time GRAMMY winner Billy Childs — a rising tide that lifts all boats. "I think cumulatively, it opens doors," he says. "It gives the general public, I almost want to say, permission to like this music and think it's cool.

"Audiences are smart, man. People want to hear good musicianship," he continues. "You watch the Olympics to see Simone Biles, or tennis to see Serena Williams, or whatever. You want to see human excellence in real time, in front of your eyes. So, that's what we're seeing with Samara Joy. She's the real deal, and she's doing it right in front of you with no gimmickry and no Auto-Tune."

As to the wider impact of her big wins, Joy can't prognosticate. She only hopes to move the needle.

"I hope that this win means that jazz musicians will be paid a bit more attention and respect for their contributions to music as a whole," Joy says. "It really is a wonderful community that deserves some more shine than it's been given. It's a small step but a step nonetheless."

No matter what happens, perhaps the essence of this victory is simply that the flame is proudly preserved and bore by a worthy ambassador. "Samara is carrying on this very treasured and important musical tradition," Goich-Andreadis says. "Jazz is America's gift to the world."

No Accreditation? No Problem! 10 Potential Routes To Get Into Jazz As A Beginner

"Honestly, I feel like a zaddy," Omar Apollo says with a roguish grin, "because I'm 6'5" so, like, you can run up in my arms and stay there, you know what I mean?"

As a bonafide R&B sensation and one of the internet’s favorite boyfriends, Apollo is likely used to the labels, attention and online swooning that come with modern fame. But in this instance, there’s a valid reason for asking about his particular brand of "zaddyhood": he’s been turned into a Bratz doll.

In the middle of June, the popular toy company blasted  a video to its nearly 5 million social media followers showing off the singer as a real-life Bratz Boy — the plastic version draped in a long fur coat (shirtless, naturally), with a blinged-out cross necklace and matching silver earrings as he belts out his 2023 single "3 Boys" from a smoke-covered stage.

The video, which was captioned "Zaddy coded," promptly went viral, helped along by an amused Apollo reposting the clip to his own Instagram Story. "It was so funny," he adds. "And it's so accurate; that's literally how my shows go. It made me look so glamorous, I loved it."

The unexpected viral moment came with rather auspicious timing, considering Apollo is prepping for the release of his hotly anticipated sophomore album. God Said No arrives June 28 via Warner Records.

In fact, the star is so busy with the roll-out that, on the afternoon of our interview, he’s FaceTiming from the back of a car. The day prior, he’d filmed the music video for "Done With You," the album’s next single. Now he’s headed to the airport to jet off to Paris, where he’ll be photographed front row at the LOEWE SS25 men’s runway show in between Sabrina Carpenter and Mustafa — the latter of whom is one of the few collaborators featured on God Said No. 

Apollo’s trusted co-writer and producer, Teo Halm, is also joining the conversation from his home studio in L.A. In between amassing credits for Beyoncé (The Lion King: The Gift), Rosalía and J Balvin (the Latin GRAMMY-winning "Con Altura"), SZA ("Notice Me" and "Open Arms" featuring Travis Scott) and others, the 25-year-old virtuoso behind the boards had teamed up with Apollo on multiple occasions. Notably, the two collabed on "Evergreen (You Didn’t Deserve Me At All)," which helped Apollo score his nomination for Best New Artist at the 2023 GRAMMYs. 

In the wake of that triumph, Apollo doubled down on their creative chemistry by asking Halm to executive produce God Said No. (The producer is also quick to second his pal’s magnetic mystique: "Don't get it twisted, he's zaddy, for sure.") 

Apollo bares his soul like never before across the album’s 14 tracks,  as he processes the bitter end of a two-year relationship with an unnamed paramour. The resulting portrait of heartbreak is a new level of emotional exposure for a singer already known for his unguarded vulnerability and naked candor. (He commissioned artist Doron Langberg to paint a revealing portrait of him for the cover of his 2023 EP Live For Me, and unapologetically included a painting of his erect penis as the back cover of the vinyl release.) 

On lead single "Spite," he’s pulled between longing and resentment in the wake of the break-up over a bouncing guitar riff. Second single "Dispose of Me" finds Apollo heartsick and feeling abandoned as he laments, "It don’t matter if it’s 25 years, 25 months/ It don’t matter if it’s 25 days, it was real love/ We got too much history/ So don’t just dispose of me." 

Elsewhere, the singer offers the stunning admission that "I would’ve married you" on album cut "Life’s Unfair." Then, on the very next song — the bumping, braggadocious "Against Me" — Apollo grapples with the reality that he’s been permanently altered by the love affair while on the prowl for a rebound. "I cannot act like I’m average/ You know that I am the baddest bitch," he proclaims on the opening verse, only to later admit, "I’ve changed so much, but have you heard?/ I can’t move how I used to."

Given the personal subject matter filling God Said No — not to mention the amount of acclaim he earned with Ivory — it would be understandable if Apollo felt a degree of pressure or anxiety when it came to crafting his sophomore studio set. But according to the singer, that was entirely not the case.

"I feel like I wouldn’t be able to make art if I felt pressure," he says. "Why would I be nervous about going back and making more music? If anything, I'm more excited and my mind is opened up in a whole other way and I've learned so much."

In order to throw his entire focus into the album’s creation, Apollo invited Halm to join him in London. The duo set up shop in the famous Abbey Road Studios, where the singer often spent 12- to 13-hour days attempting to exorcize his heartbreak fueled by a steady stream of Aperol spritzes and cigarettes.

The change of scenery infused the music with new sonic possibilities, like the kinetic synths and pulsating bass line that set flight to "Less of You." Apollo and Halm agree that the single was directly inspired by London’s unique energy.

"It's so funny because we were out there in London, but we weren't poppin' out at all," the Halm says. "Our London scene was really just, like, studio, food. Omar was a frickin' beast. He was hitting the gym every day…. But it was more like feeding off the culture on a day-to-day basis. Like, literally just on the walk to the studio or something as simple as getting a little coffee. I don't think that song would've happened in L.A."

Poetry played a surprisingly vital role in the album’s creation as well, with Apollo littering the studio with collections by "all of the greats," including the likes of Ocean Vuong, Victoria Chang, Philip Larkin, Alan Ginsberg, Mary Oliver and more.

"Could you imagine making films, but never watching a film?" the singer posits, turning his appreciation for the written art form into a metaphor about cinema. "Imagine if I never saw [films by] the greats, the beauty of words and language, and how it's manipulated and how it flows. So I was so inspired." 

Perhaps a natural result of consuming so much poetic prose, Apollo was also led to experiment with his own writing style. While on a day trip with his parents to the Palace of Versailles, he wrote a poem that ultimately became the soaring album highlight "Plane Trees," which sends the singer’s voice to new, shiver-inducing heights. 

"I'd been telling Teo that I wanted to challenge myself vocally and do a power ballad," he says. "But it wasn't coming and we had attempted those songs before. And I was exhausted with writing about love; I was so sick of it. I was like, Argh, I don't want to write anymore songs with this person in my mind." 

Instead, the GRAMMY nominee sat on the palace grounds with his parents, listening to his mom tell stories about her childhood spent in Mexico. He challenged himself to write about the majestic plane tree they were sitting under in order to capture the special moment. 

Back at the studio, Apollo’s dad asked Halm to simply "make a beat" and, soon enough, the singer was setting his poem to music. (Later, Mustafa’s hushed coda perfected the song’s denouement as the final piece of the puzzle.) And if Apollo’s dad is at least partially responsible for how "Plane Trees" turned out, his mom can take some credit for a different song on the album — that’s her voice, recorded beneath the same plane tree, on the outro of delicate closer "Glow." 

Both the artist and the producer ward off any lingering expectations that a happy ending will arrive by the time "Glow" fades to black, however. "The music that we make walks a tightrope of balancing beauty and tragedy," Halm says. "It's always got this optimism in it, but it's never just, like, one-stop shop happy. It's always got this inevitable pain that just life has. 

"You know, even if maybe there wasn't peace in the end for Omar, or if that wasn't his full journey with getting through that pain, I think a lot of people are dealing with broken hearts who it really is going to help," the producer continues. "I can only just hope that the music imparts leaving people with hope."

 Apollo agrees that God Said No contains a "hopeful thread," even if his perspective on the project remains achingly visceral. Did making the album help heal his broken heart? "No," he says with a sad smile on his face. "But it is proof of pain. And it’s a beautiful thing that is immortalized now, forever. 

"One day, I can look back at it and be like, Wow, what a beautiful thing I experienced. But yeah, no, it didn't help me," he says with a laugh. 

Who better than Tom Hanks to say it best?

"Clive Davis has provided us with the soundtrack of our lives, our emotions and our inspirations," the legendary actor said of the night's premiement host; the legendary music executive, passionate advocate for the power of song and noted discoverer of artists. 

"Music is the food [of the soul], give us excess of it," said Hanks in his passionate opening soliloquy packed with approbation. "And tonight is a night of excess."

It's the stuff of legend, a topic of lore and an evening that regularly rockets itself in the pages of music history. For nearly 50 years, the annual Pre-GRAMMY Gala, presented by the Recording Academy and Clive Davis, has been a star-making opportunity for the music industry to celebrate their past monumental year, highlighting both veteran acts and tomorrow's superstars. For the 2024 Pre-GRAMMY Gala — sponsored by Hilton, IBM and Mastercard and held on a rainy night at its regular home at the equally iconic Beverly Hilton Hotel the night before the 2024 GRAMMYs, its usual slot on the calendar — the grand master of music's party continued to provide a beacon of light for jaw-dropping performances and starry shoulder-rubbing. 

But before the party is the cocktail hour; a curious affair where music past and present collides. In one corner finds Producer Of The Year nominee Dan Nigro, the pop whisperer behind acclaimed acts ranging from Chappell Roan, Conan Gray and the multiple-Grammy nominated Olivia Rodrigo. A couple people away was Frankie Valli, last year's Pre-GRAMMY Gala opener who is currently in the midst of what he bills as a farewell tour. Looking around the room, the star power is abundant: Dianne Warren, the aforementioned Hanks with wife Rita Wilson, MusiCares' 2024 Person Of The Year Jon Bon Jovi, longtime Gala guest Nancy Pelosi alongside husband Paul. 

Just beyond the cocktail hour lies the red carpet, which boasts a head-snapping array of personalities. Megan Thee Stallion strutted in flaunting a gold-colored dress, while last year's Best New Artist winner Samara Joy sauntered in an equally dazzling gown. The list of guests includes an eclectic array of who's who in music: pop star Ellie Goulding, the dance-pop-country artist and producer Diplo, country-pop icon Shania Twain, recent Black Music Collective honorees Mariah Carey and Lenny Kravitz, the producer David Foster with wife Katherine McPhee, eventual three-time GRAMMY winners Julien Baker, Lucy Dacus, and Phoebe Bridgers (the trio otherwise known as Boygenius), and the following night's GRAMMY opener Dua Lipa, among countless others.

As the esteemed guests (which also included Kenneth "Babyface" Edmunds,  Janelle Monáe, Troye Sivan, Motown founder Berry Gordy, Smokey Robinson, the members of Earth, Wind and Fire and Charli XCX) settled into their seats in a ballroom with a stage outfitted with the bash's signature twinkle lights sparkling on the stage, a countdown on the monitors appeared. 3, 2, 1…

"We're going to play a game of word association," said Hanks, who was bestowed the honor of introducing Davis and to mark the occasion, he managed to recite a massive list of artists Davis had a hand or hands in making superstars, from Janis Joplin to Bob Dylan and Bruce Springsteen, right up to Whitney Houston and Alicia Keys. "The only reason why Mozart, Beethoven and Tchaikovsky weren't mentioned is because they all died before Clive Davis had a chance to introduce them," he joked.

"I've gotta tell you, the emotions run high," said Davis. "I look out among you and I see so many familiar faces. The whole thing began as long ago as 1976 and I really have to pinch myself that it's going so, so strong. I'm happy to say that music is alive and well."

Tennis great Serena Williams introduced the night's opening act, Green Day. "In 2022, Clive Davis and I were honored together when we were inducted into the National Portrait Gallery," she recalled. "I said to him, 'You've got to remember to invite me to your gala. I'm so thrilled to be back here to introduce my favorite band. To know me is to know my love for them."

The punk gods are currently making a comeback with their 14th studio album, Saviors, and celebrating the 30th anniversary of their breakout album Dookie and 20th anniversary of their massively successful LP American Idiot. The group honored both anniversaries with a song from each, "American Idiot" and "Basket Case."

In years past, the night's performers ranged a wide gamut; but to prove Davis's point and regenerative effects of the industry, this year a large portion of the roster of surprise performers were plucked from the 2024's crop of Best New Artist nominees. There was the singer-songwriter Noah Kahan, who busted out a rousing rendition of his own breakout "Stick Season," while Ice Spice hit the stage to deliver her 2023 solo hit, "Deli." 

Rising country star Jelly Roll was also bequeathed a coveted slot, proclaiming his excitement by saying he had "only read about the party in books and magazines." With that, he delivered rousing versions of his candid single "Need a Favor" backed by a choir, as well as his equally affecting "Save Me," on which he brought out duet partner and eventual GRAMMY winner Lainey Wilson.

In fact, it was Wilson who provided one of the most surprising moments of the night when she appeared to perform a special version of Barbie's "I'm Just Ken" accompanied by songwriter Andrew Watt on piano and Mark Ronson on guitar. Of course, Davis was the architect of the moment, an idea he said came to him last week; Ronson suggested Wilson after the song's original performer, the actor Ryan Gosling, was unavailable. 

"To look astound and to see some of the greatest musicians and record-makers, it's really an honor to be here," Ronson said. "This is a song we wrote for the movie Barbie about the beauty of being the runner-up sometimes, which is a lesson I know very well," he said to laughter. "It's pretty cool to be second sometimes."

Fresh off his starring role on Broadway's Sweeney Todd, Josh Groban delivered a subtle tribute to the legend behind the Broadway musical by performing "Children Will Listen," before paying tribute to Davis himself with a gospel-tinged performance of Simon and Garfunkel's "Bridge Over Troubled Water," which Davis had a hand in releasing. Joining him was another Best New Artist nominee, The War and Treaty frontman Michael Trotter Jr., and the pair's joint vocal power brought the audience to its feet. 

Musical whiplash ensued with additional performances courtesy Maluma and Isley Brothers, the latter of which performed their instantly-recognizable "Shout" as a tribute to Chairman and CEO of SONY Music Publishing Jon Platt, the evening's Icon honoree. An award which in years past has gone to heavyweights including David Geffen, Mo Ostin, Ahmet Ertgun and Jerry Moss to name a few, Platt was touched by the honor and delivered a 40-minute speech chock full of stories and reflections. Not even a beeping fire alarm, which at one point blared and flashed through his speech, tripped up Platt.

"It's funny because Harvey called me and I thought he needed help with something," said Platt, recalling the moment the Recording Academy's CEO Harvey Mason jr. informed him of the honor. "But he said I was selected as this year's industry icon and I was like, 'Wow, man.'" 

Noting he needed convincing to accept the honor ("I'm [just] seeing so many other people doing great things," he relented), Platt's contributions to music, from his work with everyone from Isley Brothers to Beyonce to Jay-Z, and even Oliva Rodrigo, makes him both a genre and decade-spanning force. 

"You'll see a consistent thing with me is that I'm a music nerd-fanboy," Platt said, noting how a kind word from the composer Gerald Busby made this evening a full circle moment for him. "[One day in 1998] I saw him and we were making small talk and he said, 'Someone was asking me who I see in the industry today that can achieve the things that I can achieve. I told them that Big Jon's gonna run the whole thing one day.' For someone to share the belief they have in you is incredibly powerful. From that day, I changed the course of my focus. Everything had a purpose after that."

View this post on Instagram

A post shared by Recording Academy / GRAMMYs (@recordingacademy)

Another one of the artists Platt fostered performed in his honor as well: Public Enemy. "We're here for you and here for all of our heroes and hero-ettes," Chuck D declared before the group dove into an energetic medley of "Can't Truss It," "Bring the Noise" and "Fight the Power." 

It wouldn't be a Clive Davis bash without one final surprise. As 1 a.m. neared, Gladys Knight and Dionne Warwick hit the stage, with the former belting out a passionate version of "(The Way We Were) Memories" and the duo joining together for Warwick's endearing staple, "That's What Friends are For" alongside Andra Day. 

But from the electrified crowd, guest Stevie Wonder just couldn't help himself, getting up on stage to assist on harmonica. "This has been such a wonderful blessing to meet all of these people in my life; to meet Dionne, to meet Gladys," Wonder said, cueing up an unrehearsed and on-the-fly version of "What the World Needs Now Is Love" with the entire group. 

"I know this is what we need in the world," he continued. "There are many people that for so many years have been dividing people, not understanding the purpose that God has given us to come together."

It was a moving way to wrap up the night — and a fitting one at that, bringing together stars young and old to offer an inspiring message, and remind just how powerful music can be.

10 Must-See Moments From The 2024 GRAMMYs: Taylor Swift Makes History, Billy Joel & Tracy Chapman Return, Boygenius Manifest Childhood Dreams

Six years after her last solo studio album, Beyoncé returned to the music industry with a bang thanks to RENAISSANCE. In homage to her late Uncle Johnny, she created a work of art inspired by the sounds of disco and house that wasn't just culturally impactful — it was history-making.

At the 2023 GRAMMYs, RENAISSANCE won Best Dance/Electronic Album. Marking Beyoncé's 32nd golden gramophone, the win gave the superstar the record for most gramophones won by an individual act.

In this episode of GRAMMY Rewind, revisit the historic moment Queen Bey took the stage to accept her record-breaking GRAMMY at the 65th Annual GRAMMY Awards.

"Thank you so much. I'm trying not to be too emotional," Beyoncé said at the start of her acceptance speech. "I'm just trying to receive this night."

With a deep breath, she began to list her praises that included God, her family, and the Recording Academy for their continued support throughout her career. 

"I'd like to thank my Uncle Johnny, who is not here, but he's here in spirit," Beyoncé proclaimed. "I'd like to thank the queer community for your love and inventing this genre."

Watch the video above for Beyoncé's full speech for Best Dance/Electronic Album at the 2023 GRAMMYs. Check back to GRAMMY.com for more new episodes of GRAMMY Rewind. 

Tune into the 2024 GRAMMYs on Sunday, Feb. 4, airing live on the CBS Television Network (8-11:30 p.m. LIVE ET/5-8:30 p.m. LIVE PT) and streaming on Paramount+ (live and on-demand for Paramount+ with SHOWTIME subscribers, or on-demand for Paramount+ Essential subscribers the day after the special airs).

A Timeline Of Beyoncé's GRAMMY Moments, From Her First Win With Destiny's Child to Making History With 'Renaissance'

Updated Friday, Feb. 2, to add Kacey Musgraves as a presenter.

Presenters for the 2024 GRAMMYs have been announced: Christina Aguilera, Lenny Kravitz, Lionel Richie, Mark Ronson, Maluma, Kacey Musgraves, Meryl Streep, Samara Joy, Taylor Tomlinson, and Oprah Winfrey are all confirmed to take the GRAMMY stage on Music's Biggest Night this weekend, Sunday, Feb. 4. Of course, it wouldn't be a proper GRAMMY night without a few surprise guests, so make sure to tune in to find out who you'll see on GRAMMY Sunday.

In addition to the star-studded presenter lineup, the 2024 GRAMMYs will feature breathtaking performances from the leading artists in music today. Performers at the 2024 GRAMMYs include Billie Eilish, Billy Joel, Burna Boy, Dua Lipa, Joni Mitchell, Luke Combs, Olivia Rodrigo, SZA, Travis Scott, and U2. Several confirmed GRAMMY performers will make GRAMMY history at the 2024 GRAMMYs this weekend: Mitchell will make her GRAMMY performance debut, while U2 will deliver the first-ever broadcast performance from Sphere in Las Vegas. Additional performers will be announced in the coming days. See the full list of performers, presenters and host at the 2024 GRAMMYs to date.

Learn More: 2024 GRAMMY Nominations: See The Full Nominees List

The 2024 GRAMMYs, officially known as the 66th GRAMMY Awards, will broadcast live from Crypto.com Arena in Los Angeles on Sunday, Feb. 4, at 8 p.m. ET/5 p.m. PT on the CBS Television Network and will be available to stream live and on demand on Paramount+.^ Prior to the Telecast, the 2024 GRAMMYs Premiere Ceremony will broadcast live from the Peacock Theater at 12:30 p.m. PT/3:30 p.m. ET and will be streamed live on live.GRAMMY.com. On GRAMMY Sunday, fans can access exclusive behind-the-scenes GRAMMY Awards content, including performances, acceptance speeches, interviews from the GRAMMY Live red-carpet special, and more via the Recording Academy's digital experience on live.GRAMMY.com.

Trevor Noah, the two-time GRAMMY-nominated comedian, actor, author, podcast host, and former "The Daily Show" host, returns to host the 2024 GRAMMYs for the fourth consecutive year; he is currently nominated at the 2024 GRAMMYs in the Best Comedy Album Category for his 2022 Netflix comedy special, I Wish You Would.

The 66th GRAMMY Awards are produced by Fulwell 73 Productions for the Recording Academy for the fourth consecutive year. Ben Winston, Raj Kapoor and Jesse Collins are executive producers.

^Paramount+ with SHOWTIME subscribers will have access to stream live via the live feed of their local CBS affiliate on the service, as well as on demand in the United States. Paramount+ Essential subscribers will not have the option to stream live but will have access to on-demand the day after the special airs in the U.S. only.

Stay tuned for more updates as we approach Music's Biggest Night!

How To Watch The 2024 GRAMMYs Live: GRAMMY Nominations Announcement, Air Date, Red Carpet, Streaming Channel & More