Grammys
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Songs that were performed at and/or snagged wins at the 2024 Grammy Awards saw bumps in U.S. streams and sales toward the Billboard charts, resulting in multiple gains, re-entries and even debuts on the Feb. 17-dated tallies.
Perhaps no one benefited more from the Feb. 4 ceremony than Tracy Chapman, whose 1988 single “Fast Car,” as previously reported, returns to the Billboard Hot 100 for the first time since October of that year, re-entering at No. 42. (Older songs are eligible to appear on Billboard’s multimetric charts if in the top half and with a meaningful reason for their re-entry.)
“Fast Car,” which was performed as a duet with Luke Combs during the broadcast, earned 6 million official U.S. streams Feb. 2-8, a boost of 153%, according to Luminate. It also accumulated 35,000 digital downloads, enough to send it to No. 1 on Digital Song Sales for the first time.
Gains for Chapman’s catalog weren’t limited to “Fast Car,” though. In all, on-demand streams of Chapman’s music totaled 13.5 million, a 217% jump from 4.3 million listens Jan. 26-Feb. 1.
She also racked up 50,000 total song sales, a 5,909% boost from 1,000 Jan. 26-Feb. 1.
Chapman’s next-best-performing song, “Give Me One Reason,” hops onto Digital Song Sales at No. 15 thanks to 7,000 downloads, up 3,544%. It also earned 2.6 million streams, a leap of 40%.
Chapman’s music dots the Rock Digital Song Sales ranking as well, in addition to the appearances of “Fast Car” (No. 1) and “Give Me One Reason” (No. 3). Other entries include “Talkin’ Bout a Revolution” (No. 7; 2,000 downloads, up 5,600%), “Baby Can I Hold You” (No. 9; 2,000 downloads, up 2,557%), “Stand By Me (Live From The Late Show With David Letterman)” (No. 10; 2,000, up 4,149%) and “The Promise” (No. 15; 1,000, up 2,740%).
As previously reported, Chapman’s self-titled 1988 debut returns to the Billboard 200 with 15,000 equivalent album units earned. The set also appears on Americana/Folk Albums and Top Rock & Alternative Albums at Nos. 4 and 13, respectively, and her Greatest Hits reaches the former at No. 16 (7,000 units).
Chapman’s original wasn’t the only version of “Fast Car” to see chart movement. Combs’ cover rebounds to the top 10 of the Hot 100, leaping 20-8 thanks to 13.6 million streams, a gain of 26%, plus 17,000 downloads, up 1,168%.
Toward the top of the Hot 100, SZA’s “Snooze” ranks as the top-performing song affiliated with the Grammys in terms of overall streams, jumping 10-5 on the strength of 16.6 million listens, up 29%. “Snooze,” which also garnered 3,000 downloads (up 285%), was performed during the ceremony and also won for best R&B song.
Miley Cyrus’ “Flowers,” a winner for a pair of awards (including record of the year) and another tune performed during the broadcast, returns to the Hot 100’s top 10, blasting 32-10 with 11.3 million streams (a jump of 51%) and 26,000 sold (rising 2,157%). It’s Cyrus’ first time in the top 10 with the song, an eight-week No. 1 in 2023, since August.
Billie Eilish’s “What Was I Made For?,” represented on the broadcast during a performance as well as its win for song of the year, vaults 31-20 on the Hot 100 with 9.4 million streams, up 16%, and a 300% jump in downloads to 8,000.
Overall, 14 songs performed during the Grammy broadcast or pre-telecast (which was streamed via the Grammys’ YouTube page prior to the main broadcast) were part of the top 2,000 most streamed titles in the U.S. Feb. 2-8 and had at least a 5% bump in streams for the week.
Performed:
SZA, “Snooze” (16.6 million streams, up 29%)
Luke Combs, “Fast Car” (13.6 million streams, up 26%)
Miley Cyrus, “Flowers” (11.3 million streams, up 51%)
Billie Eilish, “What Was I Made For?” (9.4 million streams, up 16%)
Olivia Rodrigo, “Vampire” (9.4 million streams, up 14%)
SZA, “Kill Bill” (8.6 million streams, up 15%)
Travis Scott feat. Playboi Carti, “FE!N” (7.5 million streams, up 17%)
Dua Lipa, “Houdini” (7 million streams, up 8%)
Tracy Chapman, “Fast Car” (6 million streams, up 153%)
Travis Scott, “My Eyes” (5.9 million streams, up 11%)
Billy Joel, “Turn the Lights Back On” (4.5 million streams, up 340%)
Bill Withers, “Ain’t No Sunshine” (3.7 million streams, up 12%)*
Laufey, “From the Start” (3.7 million streams, up 5%)**
Creedence Clearwater Revival, “Proud Mary” (1.7 million streams, up 5%)***
*performed during the in memoriam segment by Jon Batiste**performed during the pre-telecast ***performed during the in memoriam segment by Fantasia
Of note, Billy Joel’s “Turn the Lights Back On” was also amid its first full week of availability after having been released Feb. 1.
Six songs that won awards during the main ceremony or premiere ceremony were within the top 2,000 songs in U.S. streams Feb. 2-8 and were also up at least 5%.
Won:
SZA, “Snooze” (16.6 million streams, up 29%) (best R&B song)
Miley Cyrus, “Flowers” (11.3 million streams, up 51%) (record of the year, best pop solo performance)
Billie Eilish, “What Was I Made For?” (9.4 million streams, up 16%) (song of the year, best song written for visual media)
Boygenius, “Not Strong Enough” (2.6 million streams, up 45%) (best rock performance, best rock song)
SZA feat. Phoebe Bridgers, “Ghost in the Machine” (2.4 million streams, up 36%) (best pop duo/group performance)
Killer Mike & Andre 3000 feat. Future & Erykah Badu, “Scientists & Engineers” (2.2 million streams, up 773%) (best rap performance, best rap song)
Though she didn’t make the Hot 100, Joni Mitchell sports a sizable boost in streams and sales of her catalog after she appeared during the broadcast to perform “Both Sides Now,” flanked by Brandi Carlile, Allison Russell, Lucius and more. The ‘60s classic returns to Digital Song Sales at No. 10 via 9,000 downloads, a 3,507% leap. The song also accumulated 473,000 on-demand U.S. streams, up 213%.
Mitchell’s catalog soared 126% in overall on-demand U.S. streams, from 1.4 million Jan. 26-Feb. 1 to 3.1 million Feb. 2-8. In all, she garnered 14,000 downloads, a gain of 1,361%.
The Billboard 200 features multiple Grammy-related gains in addition to the aforementioned Chapman re-entry. SZA’s SOS, a winner for best progressive R&B album, leads the pack at No. 3 with 53,000 units, up 28%. Taylor Swift’s album of the year-winning Midnights, meanwhile, jumps 9-5 with 51,000 units, up 35%. The full rundown can be found here.
Killer Mike’s Grammy night on Feb. 4 was bittersweet after being placed in handcuffs by LAPD following an alleged altercation with a security guard earlier in the day. Mike spoke to the cast of The View on Monday (Feb. 12), following his Grammy trifecta, where he won best rap album and song, and best rap performance.
“All of my heroes have been in handcuffs – Malcolm, Martin, Mandela, Medgar,” he said reflectively. “I walked out with the same dignity and respect that I walked in with, and I would implore people to just take that from it.”
He also noted that the backstage area was jam-packed, and caused security to behave more rashly than usual. “Backstage was overcrowded, the winners were exuberant, and I think security got a little overzealous,” he relayed to the panel.
Detained for several hours following his arrest, Mike received a misdemeanor charge and was released. Then, he met his wife, Shana, and quipped about their encounter, saying: “I walked out to my wife in the rain,” he said. “It was like a romance movie. It was dope.”
After his arrest, the rapper released a statement about the incident. “As you can imagine, there was a lot going and there was some confusion around which door my team and I should enter,” he said in part. “We experienced an overzealous security guard, but my team and I have the utmost confidence that I will ultimately be cleared of all wrongdoing.”
Mike’s whirlwind of a night didn’t end there. He later discovered that his 21-year-old son had finally found a kidney donor after waiting for three years. In an interview with GQ, he spoke about his initial reaction to hearing the news.
“The very next morning, I got a call that my child, after being on the list for three years, finally got his kidney. And I can just truly tell you that God is real. And the same way Christ gave us an example of being by himself, of being tempted by Satan, I understand that a lot better now because I could have succumbed to anger or evil and talked s–t. But I’m just grateful.”
Watch Killer Mike’s interview with The View below.
Rapper @KillerMike discusses his historic Grammy wins and addresses the night ending in controversy after an incident with “overzealous” security led to his arrest: “All my heroes have been in handcuffs.””I walked out with the same dignity and respect that I walked in with.” pic.twitter.com/JX2Yjfx9L4— The View (@TheView) February 12, 2024
When Victoria Monét accepts the Rising Star Award at the 2024 Billboard Women in Music Awards on Wednesday, March 6, it will mark the second major honor she has received in just over a month. Monét won three Grammys, including best new artist, on Feb. 4. Monét is the first artist to win both the Grammy for best new artist and the Billboard WIM Rising Star Award.
Five previous Billboard WIM Rising Star honorees were Grammy-nominated for best new artist: Jazmine Sullivan, Nicki Minaj, Kelsea Ballerini, Rosalía and Chloe x Halle.
Monét’s Billboard WIM award was announced on Jan. 24, nearly two weeks before her wins at the 66th annual Grammy Awards. In addition to best new artist, she won best R&B album and best engineered album, non-classical, both for Jaguar II.
Tracee Ellis Ross will host the 2024 Billboard Women in Music Awards, which will be held at YouTube Theater at Hollywood Park in Inglewood, Calif. – just outside of Los Angeles — on March 6 and will stream the following day.
This year’s other WIM honorees are Karol G (Woman of the Year), NewJeans (Group of the Year Award), Ice Spice (Hitmaker Award), Kylie Minogue (Icon Award), Maren Morris (Visionary Award), Charli XCX (Powerhouse Award), Tems (Breakthrough Award), Young Miko (Impact Award) and Luísa Sonza (Global Force Award).
In 2008, Colbie Caillat received Billboard‘s first Rising Star Award. The Grammy for best new artist was first presented in 1959 to Bobby Darin. In 1968, Bobbie Gentry became the first woman to win the award.
Tickets to attend the Women in Music Awards are available to the public at billboardwomeninmusic.com. Prices range from $89 to $279. Fans can watch the show on Thursday, March 7, at 5 p.m. PT/8 p.m. ET on billboardwomeninmusic.com; more details about the stream will be announced soon.
From Taylor Swift‘s surprise album announcement to the three golden gramophones Boygenius took home Sunday (Feb. 4), Julien Baker, Phoebe Bridgers and Lucy Dacus had a lot to debrief about after the 2024 Grammys.
In a post-awards interview with Vanity Fair, the bandmates — who confirmed plans to go on hiatus during a Feb. 1 show — revealed they were just as surprised as everyone else at Crypto.com Arena to hear Swift announce her new LP, The Tortured Poets Department, while accepting best pop vocal during the ceremony. “I was like, ‘No way. Is this happening?’” Dacus recalled.
“She keeps that s–t Fort Knox,” added Baker.
The “Anti-Hero” singer also won album of the year for Midnights, while Boygenius took home best rock performance and best rock song for “Not Strong Enough,” and best alternative music album for The Record. Individually, Bridgers was the night’s most awarded artist, having also snagged best pop duo/group for her “Ghost in the Machine” duet with SZA.
In a sweet clip from right after the show wrapped, Swift burst into the press room to excitedly congratulate Baker, Bridgers and Dacus before snapping photos with the group.
In the new interview, the trio also addressed its recent hiatus announcement, confirming all is well between the members, even after fans noticed that Bridgers and Dacus both wiped their Instagram accounts. “We are meeting up for dinner after this call,” said the “Night Shift” singer. “Everyone can be rest assured that we still love each other.”
“I think we all want a little break,” added the “Motion Sickness” musician. “I can’t function if I do anything in 2024 that is public.”
Bridgers had also touched on the hiatus while doing press backstage at the Grammys, saying, “This is funny because I guess we just didn’t tell anybody, but we told each other at the beginning of this project that it would have a finite date, like a finite amount of time devoted to it.”
“We completed that time, and now we walk into the sunset,” she added.
During that same backstage interview, the “Kyoto” singer also blasted former Recording Academy president Neil Portnow, telling him to “rot in piss” for his past comments about female musicians. To Vanity Fair, Bridgers elaborated on her decision to call out the executive.
“Lana [Del Rey] should have won a long time ago,” she said. “Mitski should be acknowledged in any f–king way. There’s countless people. For [Portnow] to say that women aren’t working hard enough to get these awards is the stupidest s–t ever. I was like, ‘Why not say it here where everybody knows who this guy is?’”
Trevor Noah had a special guest on his Spotify podcast What Now? With Trevor Noah on Thursday (Feb. 8) – Ben Winston, who was one of the executive producers of the Grammy telecast on Sunday, Feb. 4 (along with Raj Kapoor and Jesse Collins).
Noah, who has hosted the show the last four years and this year was also credited as a producer, opened by saying “Can I tell you there are few gigs I’ve done in my life that are more stressful than the Grammys? It’s exciting, it’s fun, but … it’s too much stress.”
Winston agreed. “I worked on that show for like four months and then the last three or four weeks it becomes intense and then the last few days it’s even more intense and then the last hour before the show is like the worst of all of it because that’s when everything you’ve been planning for a year falls apart because artists aren’t showing up … I’ve run the Grammys for four years now. For the last two years that half-hour before we’ve gone live I would say without question are the two most stressful half-hours of my entire life. Just the stuff that comes in and how just feel like you’re sinking on a ship that you’ve been building for months.”
One of the major stressors was a number of top stars arriving late for the 5:00 p.m. PT starting time, the result of a combination of factors – always heavy L.A. traffic aggravated by a rainstorm on show day, tight security and demonstrations near Crypto.com Arena where the show was taped, which impeded traffic.
Trevor asked Winston if a story he had heard was true – that Mariah Carey, who was set to present the first award, was picked up in a golf cart to get to the show on time.
“That’s 100% real,” Winston said. He recalled that at 4:48, none of the first three presenters (Carey, Christina Aguilera and Kacey Musgraves) was in the building. “It was an absolute nightmare. So, Patrick Menton, head of talent and co-executive producer of the show, got a guy in a golf cart – this is the God’s honest truth – to drive the wrong way down the [freeway] on the hard-shoulder, drove over a mile, got Mariah out of her SUV, stuck umbrellas to each side of it so she wouldn’t get soaked [and got her there].”
Winston communicated with Noah through an earpiece the host was wearing during the telecast. “I’m trying not to stress you out because I’m in your ears the whole time. I have to give him his props here. Trevor is unbelievable at taking information live in your ear. I was slowing you down because Mariah wasn’t ready yet. [As soon as] they went ‘Mariah is ready,’ you went ‘Time for our first award.’”
Noah and Winston also discussed Jay-Z’s calling out Grammy voters for repeatedly denying his wife Beyoncé the album of the year prize. Jay’s remarks were unexpected, but both men defended his right to say what he said.
The podcast played an excerpt of Jay’s remarks: “Think about that: the most Grammys, never won album of the year. That doesn’t work. Some of you are going to go home tonight and feel like you’ve been robbed. Some of you may get robbed. Some of you don’t belong in the category. When I get nervous, I tell the truth.”
“I’ll tell you this much. I didn’t expect it,” Noah said, likening it to the moment in 2005 when Kanye West went off-script at the Hurricane Katrina telethon and said “George Bush doesn’t care about Black people.” Noah said when Jay made his surprise remarks, “I felt a little bit like Mike Myers” [who was West’s shocked co-presenter on that telethon].
Noah set the scene: “I have just presented Jay with the Dr. Dre [Global Impact] Award. I’m on stage. I’m standing to the side. I’m expecting Jay-Z to come up and make a speech and I expect it to be a speech the way everybody makes a speech, “Reach for the stars, dream big, this is inspiration, hope for the best, thank you so much, I love you all, good night.”
And then Jay gets up and starts his speech. There are moments where I’m like, ‘Am I hearing this correctly?’ because I’m behind and you can’t really hear exactly what he did. … People are laughing. It was almost like a roast meets an acceptance speech. I liked it, though, I will say that. I like it when people are honest, I won’t lie.”
Winston agreed. “I don’t think it was as disrespectful to the Grammys as has been taken. He and his wife between them have won 60 [56, actually] Grammys as a couple. So he stood there as a real honored guy. Listen, I have nothing to do with the awards. I’m not even in the Academy. I can’t vote. I make the TV show with you Trevor. I’ve done it for the last four years.
“Of the last four years, they’ve turned up three out of the four. The only one that they didn’t come to was the one in Vegas [in 2022]. So, I think it matters to them. I think the Grammys and the Recording Academy matters to them as an institution. And any institution that matters to you, you want it to be done right, and you care about that. I respect that. And I also say ‘fair play’ to the Grammys for saying ‘speak whatever you feel.’ He also gave it credit saying the Black Music Collective has done a lot of good work. So yeah, he feels like Beyoncé should have won an album of the year…”
Noah interjected, “which I second, by the way.” Noah parodied West’s infamous interruption of Taylor Swift at the 2009 MTV Video Music Awards and said, “Ben, I’mma let you finish, but I do think Beyoncé should have won for one of the greatest albums of all time” [an apparent reference to Lemonade, which lost to Adele’s 25].
Later in the conversation, Noah returned to the subject of Jay-Z’s blast. “I appreciate the moments where Jay-Z comes on stage and just throws a little spice into the pot. Man, thank you Jay-Z. If Jay-Z can’t do it, who can? Maybe he’ll inspire more people to do it. This is life. It gets people interested. It gets us talking. It’s entertainment.”
Both defended Swift, who has been criticized for not acknowledging Celine Dion, who presented her with album of the year.
“To be fair, she was excited she had just won album of the year,” Winston said. “I don’t think she meant disrespect by it in any way. I think she was just excited.”
Noah concurred. “In those moments, speaking from experience, humbly, you do black out a little bit when it’s like a major moment.”
Noah may have been referring to the moment on Jan. 15 when he won a Primetime Emmy as executive producer and host of The Daily Show With Trevor Noah, which was voted outstanding talk series. For his part, Winston has won at least one Primetime Emmy in each of the last eight years. He won last month as an executive producer of Elton John Farewell From Dodger Stadium, which was voted outstanding variety special (live).
Winston asked Noah if he was worried when he started his monologue that so few of the people who were mentioned in the monologue were in the room yet.
“Live TV is live,” Noah said. “… In this moment in particular, you’re about to do something in a room where people aren’t even sort of in yet, yet you’re talking about them and to them and they’re not there. I’m literally scanning the room praying that I will see anybody, anybody, anybody in their seats. So, you look around and say, ‘Oh thank God, there’s Ed Sheeran, there’s 21 Savage.’
“Like when Meryl Streep came in … First of all, she’s Meryl Streep. She didn’t need to run in because she was late. She ran in. She apologized for being late in a really nice, respectful, human way .. In that moment I was like, ‘OK, everything is going to be OK and thank you Jesus. I think we’re doing to get through this thing.’”
Winston gave Noah credit for his willingness to do his opening monologue in the audience, among the celebrity guests. “Most of the time with comedians at the beginning of the show, they’re on a stage, they’re safe, they’ve got their prompter. We literally stick you in amongst them, for two reasons. Firstly, I think it’s much more of an interesting watch. You walking around the room shows off who’s in the room. The second reason is … [we’ve] got to clear that stage for the next artist. We don’t have space for you on that stage.”
“I both love and hate it,” Noah said of performing his opening jokes while standing in the audience. “I love it from a producer’s perspective. I see why you wanted to do it and I enjoy that element of it. As a performer, it’s chaos….I won’t lie to you guys. It’s terrifying, but I do enjoy it.”
Winston concluded the podcast by explaining his role as one of the executive producers of the Grammys.
“My job I think is to program that show to do the best I can to make sure I have something for everybody, whether you’re Auntie Margaret in Alabama or you’re Cool Kid in New York, there’s something for you. You only get a viewing figure [good rating] for a Burna Boy if you follow it up with a Billy Joel. So, you’ve got to find that balance so you can actually get audience for those new artists, get people excited by Victoria Monét, Burna Boy, because they’re watching these other ones that they came for.”
If we’re going to talk snubs and surprises at the Grammys, let’s address the big Latin elephant in the room.
There was very little Latin presence at this year’s Grammy awards. Only three Latin names – Edgar Barrera, Gustavo Dudamel and 123 Andrés – were nominated in non-Latin categories (for songwriter of the year (non-classical), best orchestral performance and best children’s musical album, respectively). The first nomination is a major look, perhaps explained by the fact that this is a relatively new category with a fresh perspective.
And the latter two won – not entirely unsurprising, given Dudamel’s stature and new appointment as the director of the New York Philharmonic. The best children’s album win for 123 Andrés was the most poignant, a sign that the more innocent children’s music perhaps has less barriers.
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As for the show itself, only 10 to 12 awards of the 91 total are typically given out during the telecast. In his post Grammy column, Bob Lefsetz wrote, “Now if I want to be honest, a lot of other genres were recognized in the pre-show, but unless you won an award, or are related to or work with the winner, no one knows and no one cares. They won’t put this music on the telecast, it’s not broad enough.”
I beg to differ. First, many categories are given out in the pre-telecast simply because only a handful of awards are given out on air. There are many others that many people care about.
When it comes to the Latin music categories historically, however, they have hardly ever made the telecast – despite the fact that Latins now represent nearly 20% of the U.S. population, and that Spanish is the second most-consumed language in music in the country. But, the Grammys aren’t about representation, right? If that were the case, we would be advocating for Latin nominees in every category of the awards, because, well, we’re 20%. But that’s not it.
The Grammys are about quality, and cultural and artistic impact. That’s why the absence of Peso Pluma – a catalyst for the revival of an entire musical genre that has impacted the charts and American consciousness, and whose music is downright dazzling — in the general categories was so jarring.
The Mexican music superstar’s absence was especially conspicuous in the best new artist category. He was eligible among 405 new artists who competed for those eight slots, but he was not nominated. In fact, only two other artists who perform in Spanish have ever been nominated for best new artist – Rosalía in 2019 and Anitta in 2022, and neither artist won.
Why was Karol G considered good ratings fodder – the stadium headliner was seated at the front of the room and received her award for best música urbana album on air, after all — but was still shut out of any non-Latin category? This, despite the fact that she ended the year at No. 23 on Billboard’s year-end top artists chart, her Mañana Será Bonito was a top 20 album on Billboard’s year-end chart, and she played to sprawling sold-out crowds all year.
Clearly, despite all the positive moves towards diversifying the Recording Academy’s voting body, members are still resisting the concept of including music in Spanish as part of the mainstream. In the entire history of the Grammys, only one album in Spanish has ever received an album of the year nomination: Bad Bunny’s Un Verano Sin Tí in 2023. The last Spanish-language song nominated for song of the year or record of the year was “Despacito” in 2018. It didn’t win in either category, but it got the chance to compete. The importance of those opportunities to participate in the competition cannot be overlooked.
Ironically, the first-ever record and song of the year winner, back when the awards launched in 1959, was an Italian-language song, Domenico Modugno’s “Nel Blu Dipinto Di Blu (Volare).” Then in 1964, the Stan Getz/Astrud Gilberto version of “The Girl From Ipanema” won record of the year. Los Lobos’ hit cover version of Ritchie Valens’ “La Bamba” was nominated for both record of the year and song of the year in 1988, and Ricky Martin’s “Livin’ La Vida Loca” was nominated in those same two categories in 1999 (although Martin’s smash was mostly in English). That’s an awfully short list across 60-plus years, and yet we remain unable to even consider Spanish-language music as a real option in the Big Four.
Yesterday, a major Latin recording artist told me, “How come we never get nominated in the main categories? It makes me really angry.”
It doesn’t make me angry. Just sad.
Leila Cobo is Billboard’s Chief Content Officer for Latin and Español.
Jack Antonoff had much cause to celebrate after his big wins at the 2024 Grammys, and celebrate he did indeed. In newly shared photos from the producer, he parties with his close collaborators and fellow nominees Taylor Swift and Lana Del Rey as well as poses with Ice Spice, Sabrina Carpenter, Jon Batiste and more […]
Multiple songs performed at the 2024 Grammy Awards reach Billboard’s LyricFind U.S. and Global charts dated Feb. 10, paced by Tracy Chapman’s “Fast Car,” which reaches No. 1 on both rankings.
The LyricFind Global and LyricFind U.S. charts rank the fastest momentum-gaining tracks in lyric-search queries and usages globally and in the U.S., respectively, provided by LyricFind. The Global chart includes queries from all countries, including the U.S. The company is the world’s leader in licensed lyrics, with data provided by more than 5,000 publishers and utilized by more than 100 services, including Amazon, Pandora, Deezer, Microsoft, SoundHound and iHeartRadio.
“Fast Car” was performed on the Grammys telecast Feb. 4 as a duet between Chapman and Luke Combs; the latter covered the song in 2023. It was the first time the pair had performed the song together.
According to LyricFind, “Fast Car” earned a 6,171% increase in lyric searches and usages in the U.S. following the ceremony, plus a similarly sizable 6,084% bump globally.
More gains on the Billboard charts are in “Fast Car”’s future – both Chapman’s original and Combs’ rendition. The Billboard charts dated Feb. 17 will cover streaming, sales and airplay activity for Feb. 2-8.
Behind “Fast Car” comes Joni Mitchell’s “Both Sides Now,” which appears on the LyricFind U.S. survey at No. 2. Like Chapman, who rarely performs publicly, Mitchell was a unique addition to the Grammys broadcast; she had never performed during the ceremony before 2024, and has performed sparingly in recent years due to health issues.
The performance of “Both Sides Now” found Mitchell joined by a bevy of musicians on backing vocals and instrumentation, including Brandi Carlile, Lucius, Allison Russell and more.
“Both Sides Now” scored a boost of 3,465% in lyric searches and usages in the U.S., according to LyricFind. The song also appears on the Global ranking at No. 3.
A third song performed during the ceremony, Billie Eilish’s “What Was I Made For?,” rises 25-20 on the Global chart via a 153% increase. The tune from the Barbie soundtrack was also a big winner at the Grammys, scoring the nod for song of the year (plus best song written for visual media during the pre-telecast).
Other Grammy-related appearances on the latest LyricFind rankings include Paramore’s “This Is Why” at No. 8 on U.S. (and No. 18 on Global) and Dua Lipa’s “Houdini” at No. 9 on Global. “This Is Why” won the award for best alternative music performance, while Lipa performed “Houdini” during the broadcast.
Front row, from left: Public Enemy’s Chuck D, Victoria Monét, The Isley Brothers’ Ernie and Ronald Isley, Keyshia Cole, Clive Davis, Dionne Warwick and Rickey Minor. Back row, from left: Lainey Wilson, Andrew Wyatt, Harvey Mason Jr., Mark Ronson, Maluma, Tom Hanks, Rita Wilson, Public Enemy’s Flavor Flav, Noah Kahan, Jelly Roll, Josh Groban, The War and Treaty’s Michael Trotter Jr., Green Day’s Tré Cool, The War and Treaty’s Tanya Trotter, Green Day’s Billie Joe Armstrong, Andra Day and Green Day’s Mike Dirnt photographed on February 3, 2024 at The Beverly Hilton in Beverly Hills, Calif.
Sami Drasin
Crypto.com Arena and its concessions partner, Levy Restaurants, broke their previous record for food sales at this year’s 66th Grammy Awards, averaging $97.17 in sales per person, says Lee Zeidman, president of Crypto.com Arena, Peacock Theater and LA Live. The sales figure was enough to top the record per cap of $95.94 at last year’s […]