Grammys
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Sorry, Swifties. Taylor Swift will not be performing at the 2024 Grammys Awards, Billboard has learned. The 34-year-old pop superstar, who is nominated for six awards at this year’s Grammys, is expected to attend the ceremony on Sunday (Feb. 4) but won’t be stepping onto the stage for a live musical performance. Immediately after the […]
Just as Bon Jovi has done for 40 years, musicians came to rock at the Los Angeles Convention Center Friday night (Feb. 2) as the band’s namesake, Jon Bon Jovi, was honored at MusiCares 33rd Person of the Year annual gala.
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The honoree himself set the tone for the night, opening the evening with “Legendary,” the propulsive first single from the band’s forthcoming album that sounds like a classic Bon Jovi track. “As I look out here at all you tuxedoed executives, I remind you this is a Bon Jovi concert,” Jon Bon Jovi said. “We don’t sit down.”
And there was certainly no sitting as Bon Jovi then introduced Bruce Springsteen, calling him “my mentor, my hero, my brother, my friend,” as the audience of more than 2,000 began chanting the requisite “BRUUUUUUCE.” Springsteen’s participation had been in doubt after his 98-year old mother, Adele, died on Wednesday (Jan. 31).
As Bon Jovi later explained, when Springsteen — MusiCares Person of the Year in 2013 — first got the news about his mother, he was already on a plane to Los Angeles. “I certainly would have understood if he’d said that he couldn’t make it,” Bon Jovi said, “but he wanted to be here tonight for MusiCares. And he wanted to be here tonight for me. And I’m forever grateful to you.
The two most famous musicians from New Jersey (perhaps other than Frank Sinatra) ripped into spirited renditions of Bon Jovi’s 2006 hit “Who Says You Can’t Go Home,” which boasts Springsteenean “Alrights” in the chorus, and Springsteen’s “Promised Land,” with Bon Jovi playing Springsteen’s trademark harmonica parts before the Boss joined in for a little harmonica duet at the end.
Among those singing along in the audience were Ted Danson and Mary Steenburgen, MSNBC host Ari Melber, frequent Bon Jovi collaborator Desmond Child, Rita Wilson, Carly Pearce, Gayle King, Nile Rodgers and former Speaker of the House Nancy Pelosi and her husband, Paul. The latter pair made the rounds earlier in the evening, schmoozing with Bon Jovi, 2012 MusiCares honoree Paul McCartney and Springsteen.
Bon Jovi then sat down, flanked for much of the evening by Springsteen and McCartney, as a constellation of artists took the stage to deliver some of the most beloved anthems in the arena rock canon from the past 40 years. With more than 150 million albums sold, including 12 times platinum rock juggernaut Slippery When Wet, and nearly 20 top 40 hits, there was no shortage of familiar material to draw from.
Melissa Etheridge, joined by Larkin Poe had the tough task of following Bon Jovi and Springsteen, but proved more than up to the challenge with a sizzling version of Jon Bon Jovi’s No. 1 solo hit, “Blaze of Glory,” from the 1990 film Young Guns ll. Train’s Pat Monahan delivered a stylish take on 2000’s driving hit, “It’s My Life”; Shania Twain turned in a dramatic reading of ballad “Bed of Roses”; Sammy Hagar was joined by guitar slinger Orianthi for Bon Jovi’s first No. 1, 1986’s “You Give Love A Bad Name”; and Jason Isbell pulled out a double neck guitar, similar to the one sported by former band member Richie Sambora, on the iconic “Wanted Dead or Alive.” While many acts pulled from the multi-platinum group’s ’80s and ’90s era, the Goo Goo Dolls dipped into more recent fare, taking on the title track from 2016’s This House is Not for Sale.
Comedian Jim Gaffigan served as a nimble and often hilarious host, good naturedly roasting Jon Bon Jovi for his ’80s fashion and even more so for his ’80s big hair, and even taking to the stage in a replica of a trademark beefcake poster of Jon Bon Jovi from the ’80s in a cut-off Jack Daniels T-shirt, obscenely short denim shorts and a wig with a shocking amount of teased, flowing blond locks. As he sarcastically noted of the ridiculously photogenic Bon Jovi, “You have to wonder where he would have gotten if he was good looking.”
Later, he suggested that Bon Jovi, McCartney and Springsteen, as well as table mate, New England Patriots owner Robert Kraft, could form a new iteration of The Traveling Wilburys, with Kraft on lead vocals.
Additionally, a new generation of artists equipped themselves well taking on songs that they had likely grown up with or heard their parents play. Best new artist nominee Jelly Roll delivered a growly, rollicking “Bad Medicine,” while taking advantage of the playing before a room full of powerful music industry executives to spread a message about an issue close to his heart, drug addiction. The country artist, who spoke at a congressional hearing in support of an anti-fentanyl bill in January, sported a jacket with facts about drug addiction, including one across his back that read “190 people a day overdose and die in the United States of America.”
A pigtailed Lainey Wilson followed with a spirited “We Weren’t Born to Follow,” while Måneskin’s charismatic frontman Damiano David performed a propulsive “Keep the Faith.” Wolfgang Van Halen’s Mammoth WVH delivered a pounding “Have A Nice Day,” and guitar wiz Marcus King showed off his blazing fret work on “Born to Be My Baby.”
Playing on the round, revolving B-stage in the middle of the audience, best new artist nominees The War and Treaty gave one of the evening’s most inspired performances at times singing directly to each other with an elevated, emotional take of “I’ll Be There For You,” Bon Jovi’s 1989 tale of devotion that husband and wife team Michael and Tonya Trotter should definitely consider cutting for their next album. Also utilizing the smaller space to great effect was 17-time Grammy nominee Brandy Clark with a beautiful rendition of 2007’s “(You Want to) Make a Memory.”
The evening also included video tributes from Matthew McConaughey, John Mayer, P!nk, Ed Sheeran and New Jersey Senator Cory Booker, who praised Bon Jovi for “his everyday commitment to [help] other people.” Bon Jovi’s myriad philanthropic efforts include the JBJ Soul Foundation, which has built close to 1,000 units of affordable housing, and JBJ Soul Kitchens, which operate on a pay-it-forward model where those in need volunteer for their meals at the kitchen while paying customers are asked to make a donation that will cover their meal as well as the meal of someone in need.
Kraft, who first met Bon Jovi on the sidelines at the 1997 Super Bowl (“In a game we lost,” he noted), presented Bon Jovi with his award, praising the honoree for his business acumen and social consciousness.
“Unlike the majority of artists and performers, who understandably, are insular, Jon’s always had an empathy for the world at large,” Kraft said. “And he’s shown that impact as a philanthropist. He has used his platform as a global rock star and paired it with his own money and operating skill and created the Soul Foundation… building a model program for solving the vicious cycle of hunger, poverty and homelessness that has now been copied by many others.” He also praised the son of two Marines for his long-lasting marriage to his high school sweetheart, Dorothea.
After thanking Springsteen and McCartney (saying to the Beatle, “I think it’s fair to say that the reason most, if not all, of us are in the room tonight, is because of you.”), Bon Jovi quickly noted that this award wouldn’t have been possible without those around him. “Everything that I’ve accomplished with or without the band or in my philanthropic life has had the support of my family, my friends, bandmates, collaborators and an army of the willing, who’ve been ready to take my dreams and make them a reality,” he said.
He also praised the ability of music as the “common thread” that “moves us when we’re happy and it comforts us when we’re sad and brings us together.” He then spoke of recently buying back his first electric guitar that he sold in 1979 for $100. With his newly reclaimed guitar back in his hands, “the first thing I did was held it, cradled it, really, and then wrote a song… another thing I’ve come to know is that every time that I strum my guitar, I’m reminded that I have a best friend for life. That instrument will never let you down.”
Bon Jovi then thanked MusiCares for providing assistance to those musicians not as fortunate as himself, who have needed a helping hand. Since 1991, MusiCares has handed out more than $110 million to provide essential support for programs and services assisting the music community, including physical and mental health, addiction recovery, preventive clinics, unforeseen personal emergencies, and disaster relief.
(L-R) Michael Trotter Jr., Hugh McDonald, Jon Bon Jovi, Sammy Hagar and Jelly Roll attend the 2024 MusiCares Person of the Year Honoring Jon Bon Jovi during the 66th Grammy Awards on Feb. 02, 2024 in Los Angeles
Kevin Mazur/Getty Images for The Recording Academy
Ending by saying, “the 18-year-old in me wants to sing with everybody else,” Bon Jovi called his band back to the stage, including keyboardist David Bryan and drummer Tico Torres, as well all the evening’s participating artists (minus Springsteen) to perform the group’s beloved anthem and 1986 Billboard Hot 100 chart-topper “Living on a Prayer.” Jon Bon Jovi roamed the stage, hugging and trading lyrics with many of the performers to close the evening.
See the MusiCares Salute to Jon Bon Jovi set list below:
“Legendary,” Bon Jovi“Who Says You Can’t Go Home,” Bon Jovi and Bruce Springsteen“The Promised Land,” Bon Jovi and Bruce Springsteen“Blaze of Glory,” Melissa Etheridge and Larkin Poe“Bad Medicine,” Jelly Roll“We Weren’t Born to Follow,” Lainey Wilson“It’s My Life,” Pat Monahan“Bed of Roses,” Shania Twain“Wanted Dead or Alive,” Jason Isbell“Keep the Faith,” Damiano David“This House is Not for Sale,” Goo Goo Dolls“I’ll Be There for You,” The War and Treaty“Have a Nice Day,” Mammoth WVH“(You Want To) Make a Memory,” Brandy Clark“Living on a Prayer,” Bon Jovi and guests
After a breakthrough year, Dom Dolla received his first-ever Grammy nomination for best remix recording of his remix of “New Gold” by the Gorillaz and Tame Impala, and to celebrate, he sat down with Billboard‘s Katie Bain to discuss how he found out about the nod. Explore Explore See latest videos, charts and news See […]
Record of the year is one of the most superstar-packed categories at Sunday’s (Feb. 4) 2024 Grammy Awards — but who do you think should win? We have five previous Grammy winners in the mix: 12-time winner Taylor Swift with “Anti-Hero”; seven-time winner Billie Eilish with her Barbie soundtrack contribution “What Was I Made For?”; […]
Miley Cyrus is set to perform her smash “Flowers” at the 2024 Grammy Awards on Sunday (Feb. 4) at Crypto.com Arena in Los Angeles, Billboard has confirmed. Variety was first to report the news. The ceremony will air live on CBS and Paramount+. Surprisingly, this will be the first time Cyrus has performed the song on TV since its release in January 2023.
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Sixteen years into her post-Hannah Montana pop career, Cyrus received her first Grammy nominations in “Big Three” categories – album, record and song of the year. Cyrus’ father, Billy Cyrus, has landed two record of the year nominations – for “Achy Breaky Heart” (1992) and as a featured artist on Lil Nas X’s “Old Town Road” (2019). The Cyruses are just the third parent-child pair to each receive record of the year nominations, following Frank Sinatra & Nancy Sinatra and Nat “King” & Natalie Cole.
“Flowers,” which entered the Billboard Hot 100 at No. 1 and remained there for eight consecutive weeks, is also nominated for best pop solo performance.
Cyrus co-wrote “Flowers” with Gregory Aldae Hein and Michael Pollack. It appears on Cyrus’ album Endless Summer Vacation, which is also nominated for best pop vocal album.
Also set to perform on the show are Burna Boy, Luke Combs (with Tracy Chapman), Billie Eilish, Billy Joel, Dua Lipa, Joni Mitchell (in her first Grammy performance), Olivia Rodrigo, Travis Scott, SZA and U2. Burna Boy is expected to be joined by 21 Savage and Brandy. Mitchell is expected to be joined by Brandi Carlile.
In addition, Stevie Wonder, Fantasia Barrino, Annie Lennox and Jon Batiste will perform in the In Memoriam segment, in which they will honor Tony Bennett, Tina Turner, Sinéad O’Connor and Clarence Avant, respectively.
Stevie Wonder, Fantasia Barrino, Annie Lennox and Jon Batiste are set to honor recently departed music icons at the 2024 Grammy Awards, set for Sunday (Feb. 4) at Crypto.com Arena in Los Angeles. Most have deep personal connections to the honorees. Wonder will pay tribute to Tony Bennett, with whom he teamed to perform “For […]
Who will win in the Latin categories at the 2024 Grammy Awards? Every year, Billboard’s Latin and Español teams gather to predict who we think will win in the Latin categories at the ceremony. Our predictions are based not only on our appreciation of the music, but also on our knowledge of the market and the understanding of the voting history of Academy members. Our predictions are not endorsements, but rather educated guesses.
Leading up to Sunday’s 66th annual Grammy Awards, we’ve gathered our Latin and Billboard Español editorial team and embarked on a lively discussion, with educated guesses based on the marketplace and past voting behavior (not endorsements). Our participants are Leila Cobo, Billboard’s Chief Content Officer, Latin/Español; Jessica Roiz, Billboard‘s assistant editor, Latin; Griselda Flores, Billboard‘s senior editor, Latin; Sigal Ratner-Arias, Billboard Español’s deputy editor; and Isabela Raygoza, Billboard Español’s associate editor.
The Grammy Awards will be held on Sunday, Feb. 4 at the Crypto.com Arena in Los Angeles beginning at 8 p.m. ET on CBS, and will stream live and on-demand on Paramount+. The ceremony will be hosted by Trevor Noah for the fourth consecutive year.
Below, our predictions of who should or who will win the Latin categories at the Grammys. Most of these categories are awarded during the Pre-telecast ceremony where more than 80 of the 94 Grammy categories are announced. The Premiere Ceremony, which will begin at 3:30pm ET can be streamed on the Recording Academy’s YouTube channel and on live.GRAMMY.com.
Best Latin Pop Album
La Cuarta Hoja, Pablo AlboránBeautiful Humans, Vol. 1, AleMorA Ciegas, Paula ArenasLa Neta, Pedro CapóDon Juan, MalumaX Mí (Vol. 1), Gaby Moreno
SIGAL RATNER-ARIAS: I really like all the albums on this list, and I am having trouble predicting who will win. But I’m bidding on Maluma for Don Juan, an ambitious and eclectic 25-track set spanning different genres, with hot collaborations like “Según Quién” with Carin León, “Luna Llena” with Ryan Castro and “Ojitos Chiquiticos” with Don Omar. It is Maluma’s third Grammy nomination, and the third time may be the charm. By the way, neither of the Latin Grammy winners of the two pop album categories were nominated here (Julieta Venegas for Tu Historia, and Andrés Cepeda for Décimo Cuarto.)
GRISELDA FLORES: The album I think should win is Paula Arenas’ A Ciegas. It’s truly a touching and beautifully-produced set. So is Pablo Alborán’s La Cuarta Hoja. I think those two are the strongest contenders in this category. On the other hand, Maluma is a household name so voters may choose him. Although it may not seem fair given that Maluma’s set should perhaps have been nominated in the urban category, not pop because while it’s an eclectic set, it still leans more urban.
LEILA COBO: It’s hard to imagine that Maluma won’t win here for his Don Juan, especially in the wake of the recent success of his single “Según Quién” alongside Carin León. It’s not just the name recognition, which carries major weight for a Latin act in the Grammys, but also the fact that Don Juan features run of the mill perreo and reggaetón, but also, some solid, thoughtful hits. While the other nominees here are worthy, and four of them — Paula Arenas, Gaby Moreno, Pablo Alborán and Maluma himself — have been previously nominated for this award, the nod will likely go, finally, to the superstar of the group.
JESSICA ROIZ: Every singer-songwriter in this category is so deserving of the Grammy; however, I would like to see Pedro Capó win it this year. La Neta symbolizes a life-changing moment for Capó, one that he captures in this ultra-personal set, where he navigates emotions of honesty and vulnerability, and belts lyrics about love, happiness, loneliness, life and death. Recorded and produced entirely by him at his house during the pandemic, the Puerto Rican artist notes that the “silence was necessary for me to come back to my roots […] Very personal. It’s a pandemic album, a picture of everything that happened to me in my life,” he previously told Billboard.
ISABELA RAYGOZA: I appreciate the mix of straight Latin pop with more folky sounds in this category, and I would love to see Gaby Moreno take this one. There’s a whimsical quality that harkens back to the Great Latin American songbook on Moreno’s X Mí (Vol. 1), that channels the spirit of Victor Jara, or even Woody Guthrie if we’re thinking bilingual in general. There’s so much poetic depth in songs like “Fronteras” and “Luna de Xelajú” with Oscar Isaac, that also has a haunting quality to it. And that vibrato!
Best Música Urbana Album
Saturno, Rauw AlejandroMañana Será Bonito, Karol GData, Tainy
S.R.A.: Karol should take this Grammy home with Mañana Será Bonito. It already won the Latin Grammy for best música urbana album and was crowned, more importantly, as album of the year. With a contemporary, eclectic sound and empowering, honest songs like “Provenza,” “Mientras Me Curo del Cora” and “TQG” with Shakira, it should win, and I really hope it does.
G.F.: Karol G’s Mañana Será Bonito should and will win. This is probably the only Latin category with an obvious winner. It’s a history-making set that was not only commercially and critically successful, having already won album of the year at the Latin Grammys, it was a groundbreaking album for Karol and Latin music in general becoming the first-ever Spanish-language album by a woman to top the Billboard 200. I have no doubt Karol will take this award home.
L.C.: Karol G already won this very category at the Latin Grammys, in addition to album of the year. That pedigree, alongside Mañana being hands down one of the best albums of the year, should clinch Karol G’s win, even in the face of daunting competition from Rauw Alejandro and hitmaker producer Tainy. Among the three contenders, only Karol G delivered not one, but a handful of global hits, including “TQG,” her top 10 Hot 100 smash alongside Shakira. The fact that Karol G is a woman and would be the first woman to snag this win, is a bonus, but should not for one second take away from the fact that this set is a tour de force.
I.R.: Uff, I have to say that these three albums are all fire, and it’s definitely a hard one to choose, because the three albums transcend the “música urbana” category. I think the easy choice is to give it to Karol G, because this album saw her rise to superstardom, while becoming a stadium performer. However, my personal favorite, admittingly, must be Tainy’s Data. Tainy not only lived up to the anticipation of his debut but surpassed it, transforming his abstract musical configurations into a dazzling journey with plenty of ethereal moments in technicolor well beyond the música urbana soundscape. Shout out to Saturno too for the freestyle reemergence, which was brilliant too. This was a bold move after coming off the success of the more mainstream sound of Vice Versa and the trap thump of his Eps.
J.R.: I must admit that Tainy’s debut studio album is a masterpiece that laces his unmatched skills, good music taste, and A-list artist friends such as Bad Bunny, Daddy Yankee, Wisin & Yandel, Julieta Venegas, and more. And though his creativity shines in various reggaetón bangers fused with synth-based dance and pop beats, I believe that Karol G’s Mañana Será Bonito should and will win the award. After all, not only did La Bichota make Billboard history reaching No. 1 on the Billboard 200 but the set nabbed the coveted album of the year at the 2023 Latin Grammys. It only makes sense.
Best Latin Rock or Alternative Album
MARTÍNEZ, CabraLeche De Tigre, Diamante EléctricoVida Cotidiana, JuanesDe Todas Las Flores, Natalia LafourcadeEADDA9223, Fito Paez
S.R.A.: Vida Cotidiana. Grammy darling Juanes may add one more gramophone to his long list with this raw, emotional album, in which he reflects on his relationship with his wife and children and the problems that affect his native Colombia. With 11 songs including “Gris,” “Amores Prohibidos,” “Ojalá” and “Veneno,” and a return to his rock roots, it already won the Latin Grammy last November for best pop/rock album.
G.F.: This is a tough one because all albums are worthy of taking this award home. But to me there is one that stands out: De Todas Las Flores. Natalia Lafourcade is an artist who’s won multiple Latin Grammys through the years and, in November, won best singer/songwriter album for De Todas Las Flores. Deservingly so. The album — produced by Adan Jodorowsky — is a gorgeous project that cements Lafourcade as one of the best musicians and songwriters of this generation. She deserves all the flowers.
L.C.: Perhaps the most competitive category in the Latin field — one where every album was meticulously thought out as a cohesive body of work — but my bets are on Juanes and his much-acclaimed Vida Cotidiana, despite formidable opposition from Latin Grammy darling Natalia Lafourcade and icon Fito Páez. But Juanes has the historic pedigree of Grammy approved fare, not to mention he’s the one artist here who has actually performed at one of the ceremonies. Last but not least, Vida includes gems.
I.R.: Another category with more than one great albums, from Fito Paez reimagining this timeless songs from El Amor Después del Amor in EADDA9223, to Juanes’ rollicking but vulnerable Vida Cotidiana, and Natalia Laforcade’s De Todas Las Flores which she recorded live on analog tape — I also saw her perform this album live on its debut in Carnegie Hall and I was blown away. Although there are several Grammy darlings here, I’ll predict this one will go to Lafourcade for the reasons aforementioned. The classical strings, the jazzy playfulness, and her introspective songwriting make this one a winner.
J.R.: I think Juanes’ Vida Cotidiana should win — another ultra-personal album created during the pandemic. The set not only marks the Colombian artist’s return to his rock roots meshed with funk, son, and cumbia, but it’s also an homage to his everyday life, including the challenges and differences his family faced after spending 24 hours a day together in quarantine. I do believe, however, that Recording Academy sweetheart Natalia Lafourcade will win the Grammy with De Todas las Flores, a beautifully-crafted set with lyrics that delve deep into personal growth and self-love.
Best Regional Mexican Music Album (Including Tejano)
Bordado A Mano, Ana BárbaraLa Sánchez, Lila DownsMotherflower, Flor De ToloacheAmor Como En Las Películas De Antes, Lupita InfanteGÉNESIS, Peso Pluma
S.R.A.: Génesis. Peso Pluma didn’t get to see his breakthrough album nominated to the 2023 Latin Grammys, but it sure deserves the love of the Academy and his peers. A chart-topper on Billboard’s Top Latin Albums and Regional Mexican Albums, the 17-track set took the music world by storm, with hits like “Rosa Pastel” with Jasiel Nuñez, and “Lady Gaga” with Gabito Ballesteros and Junior H. It also made history on the Billboard 200 chart, where it became the highest ranked debut for a regional Mexican album at No. 3.
G.F.: As a woman, I would love to see a woman take home this category. Honoring genre veteran Ana Bárbara with this award for such a solid album would be beautiful to see. But in all fairness, this award should go to Peso Pluma. The Mexican corridos singer revolutionized the genre with Génesis, giving the decades-old genre a massive boost around the world. His global movement should be recognized.
L.C.: How very unlikely to find four women competing in any single category, much less this one. Although the gut reaction is to go for Peso Pluma — not just for his album but also for his global renown and chart prowess — this one may go to Ana Bárbara, in a nod to her 30 years of music and her exquisitely crafted Bordado a Mano (no pun intended), which includes Vicente Fernández’s last duet, a high bar. Ana Bárbara is also boosted by her recent BMI Icon award and the fact that she’s being honored at the upcoming Premio Lo Nuestro.
I.R.: I admit, Lila Down’s potent voice usually finds its way to the depth of my soul. I’ve been a fan of hers since my undergrad days. But Flor de Toloache’s Motherflower is truly riveting. It brims with passion and it fuses sounds from the frontier, a mariachi, bolero outing with cutting-edge production, and Mireya’s gut-wrenching rasp is chilling. I think they will win. But the album, admitingly, that received the most plays for me was Peso Pluma’s Genesis, while mega boosting corridos bélicos scene to the mainstream, and for that we applaud.
J.R.: My best bet is that one of the ladies will win the grammy for best música Mexicana (including Tejano) album — perhaps Ana Bárbara’s Bordado a Mano, which is the only set in this group that was nominated at the 2023 Latin Grammys for best ranchero/mariachi album. On the other hand, I also think Peso Pluma could potentially win his first career Grammy with Génesis. The historic set became only the fourth regional Mexican effort to hit No. 1 on the Billboard Top Latin Albums this decade, following Alejandro Fernández’s Hecho en México (Feb. 29, 2020) and two Eslabon Armado albums: Vibras de Noche (Aug. 2020) and Desvelado (May 2023), and reached No. 3 on the all-genre Billboard 200 chart.
Best Tropical Latin Album
Voy A Ti, Luis FigueroaNiche Sinfónico, Grupo Niche y Orquesta Sinfónica Nacional de ColombiaVIDA, Omara PortuondoMIMY & TONY, Tony Succar, Mimy SuccarEscalona Nunca Se Había Grabado Así, Carlos Vives
S.R.A.: It is a tough category since it combines multiple tropical music styles all in one. Three of these nominees already received Latin Grammys in November: Grupo Niche for best salsa album, Carlos Vives for best cumbia/vallenato album, and Omara Portuondo for best traditional tropical album. Ruben Blades wasn’t nominated to the Latin Grammys neither this or last year, but he took the best pop latin album Grammy in 2023 for Pasieros with Boca Livre. So, anything could happen here.
G.F.: I loved Carlos Vives’ album, and I think it will win. His passion for vallenato beautifully translates in Escalona. After winning best cumbia/vallenato album at the Latin Grammys in November, I think it has a pretty good chance at winning this category.
L.C.: This competition among icons pits Ruben Blades, Carlos Vives, Grupo Niche and Omara Portuondo against each other, plus newcomer Luis Figueroa and Tony Succar in his poignant collab with his own mother. But Vives’ highly personal look at tradition and history is in a league of its own, a masterful fusion of cultural understanding and commercial execution that is hard to match.
I.R.: My prediction here goes to Carlos Vives’ Escalona Nunca Se Había Grabado Así, a heartfelt homage to the legendary Colombian composer, Rafael Escalona. The vallenato revivalist simply breathes new life into Escalona’s classics, and they sound as fresh as ever, preserving the beauty of Vives’ musical heritage and reinventing it for a new era.
J.R.: I believe Carlos Vives’ Escalona Nunca Se Había Grabado Así will win best Tropical album, but personally, I would like to see Niche Sinfónico by Grupo Niche and the Orquesta Sinfónica Nacional de Colombia take the Grammy. The latter tributes some of the biggest compositions by the late Jairo Varela (Niche’s founder and director) and delivers elegant versions of timeless salsa tunes like “Mi Pueblo Natal” and “Cali Pachanguero.” Both Colombian acts already nabbed a Latin Grammy for their respective albums, which makes me believe this Grammy will stay in Colombia.
Few people had a bigger 2023 than Coco Jones — and she could very well turn 2024 into an even bigger year following Sunday night’s 2024 Grammys, where she’s nominated for a whopping five Golden Gramophones.
Ahead of Music‘s Biggest Night, Billboard staff writer Kyle Denis sat down with Jones to break down her whirlwind year and her feelings going into her first Grammy Awards as a nominee. At Sunday night’s telecast, Jones is nominated for best new artist, best R&B song (“ICU”), best R&B performance (“ICU”), best traditional R&B performance (“Simple,” with Babyface) and best R&B album (What I Didn’t Tell You – Deluxe).
“The Grammys are just a very respected group of people who earned their voice and their credits and credentials,” she says. “To me, I respect everyone who is nominated and decides because I just feel like the Grammys also help up-and-coming [artists and creatives]. For them to recognize the work that I’m doing, it just feels very affirming.”
The “Caliber” singer continues, “When I first learned I was nominated, I was on the plane. I definitely was asleep. My phone was vibrating so much, I was like, ‘This turbulence is crazy!’ But what I realized was, everyone was texting me congratulations.”
Last year, Jones earned her first Billboard Hot 100 entry with “ICU” (No. 62), which earned a remix featuring Justin Timberlake and also reached the top of Mainstream R&B/Hip-Hop Airplay and R&B Digital Song Sales. The success of “ICU” also gave way to a deluxe version of 2022 EP, What I Didn’t Tell You, which climbed to No. 6 on Heatseekers Albums — her first appearance on the chart in exactly a decade. In addition to her own music, Jones has lent her talents to collaborations with the likes of Brent Faiyaz (“Moment of Your Life”), Lil Tjay (“Grateful”), Adekunle Gold (“Make It Easy”) and Mean Girls movie musical star Reneé Rapp (“Tummy Hurts”).
“I have to say I really loved [working with] Reneé Rapp,” Jones gushes. “I think that was just so cool because it was mixing pop and R&B, and that’s something I want to do moving forward, so I like that. To me, it was kind of like foreshadowing.”
Like Rapp, Jones is also an acclaimed multi-hyphenate. She’s currently gearing up to film the forthcoming new season of Peacock’s Bel-Air, in which she portrays the ever-fashionable Hilary Banks. “I’m excited! A lot is still up in the air, we just ended the strike and I know everybody is getting back to work,” she says. “I’m not sure what’s in store for Hilary, I definitely want it to be surprising though, I’m like ‘Let’s up the stakes!’”
After spending 2023 on a major headlining tour, racking up R&B smashes and promoting season two of Bel-Air, Jones is ready to conquer the new year with the lessons she’s learned from those experiences. “Everything’s in seasons,” she muses. “Sometimes, people come into your life for a season, sometimes you have seasons where you don’t understand what’s going on, but seasons are the weather so they must change and they must evolve and they must go to something different. Don’t try to hold on to whatever has outlasted its season.”
Coco Jones talks about receiving five Grammy nominations, what’s next for her role as Hilary Banks in the show Bel-Air, her song for The Color Purple soundtrack, how she is planning to top the success she saw with her hit song “ICU,” performing in front of her hometown Nashville, why she loves her collab with Reneé Rapp and more!
Coco Jones:I guess, look at music creation from the standpoint of “What do you want the final world to be? Where do you want the songs to live, and how do you want to feel on stage?” because you’re going to do that every day. Hey, y’all, it’s Coco Jones, and you’re watching Billboard News.
Kyle Denis:First off, happy new year! How are you feeling now that we’re officially in 2024?
Coco Jones:I’m excited. I think I learned a lot in 2023. I just had a birthday, and I’m ready for whatever challenges are up.
Kyle Denis:What do the Grammys mean to you? And how does it feel to now have “Grammy nominated” in front of your name?
Coco Jones:Grammys are just a very respected group of people who earned their voice and earned their credits and their credentials. To me, I respect everyone who is nominated and who decides, because I just feel like the Grammys also help up-and-coming artists, help up-and-coming creatives. And so for them to recognize the work that I’m doing, it just feels very affirming.
Kyle Denis:You’re up for five awards, and I want to list them out because you deserve that. You’re up for best new artist, “ICU” is up for best R&B performance and best R&B song. What I Didn’t Tell You deluxe is up for best R&B album, and “Simple” with Babyface is up for best traditional R&B performance. Congratulations.
Coco Jones:Thank you.
Kyle Denis:Wow. Where were you when you first learned about those nominations?
Coco Jones:Oh, when I first learned I was nominated, I was on the plane. And I definitely was asleep. My phone was vibrating so much. I was like, “This turbulence is crazy.” But what I realized is everyone was texting me congratulations. So as soon as I landed, I was calling everybody back.
Watch the full video above!
Mariah Carey and Lenny Kravitz took center stage before a packed and cheering ballroom for The Recording Academy Honors presented by The Black Music Collective (BMC) Thursday evening (Feb. 1) in Los Angeles. The two music icons were saluted as this year’s Global Impact Award recipients — a CEO Merit Award “honoring the essence and evolution of Black excellence,” as Recording Academy CEO Harvey Mason Jr. noted in his opening remarks.
And with Mason’s declaration, “Let’s get this party started,” a stellar array of music performances and emotion-packed acceptance speeches rocked the rafters of the Fairmont Century Plaza. Leading the charge was Davido with a spirited performance of “Mona Lisa” that that got the audience on its feet, dancing and waving napkins around the room.
That moment was just the first in a series of standing ovations setting the tone prior to the award presentations. Among the evening’s noteworthy performances, under the direction of the event’s music supervisor Adam Blackstone, was Andra Day’s powerful rendering of the Billie Holiday classic “Strange Fruit,” Gabby Simone’s insightful interpretation of Nina Simone’s “Four Women” and Erica Campbell’s soul-clenching take on the gospel standard “I Love the Lord.”
Just as stirring were the performances and speeches given on behalf of the honorees, beginning with H.E.R. paying tribute to singer-songwriter-multi-instrumentalist Lenny Kravitz. Referencing one of his hits, she said, “’American Woman’ made me say to my dad, ‘I want to play guitar. I want to be a rock star like Lenny Kravitz’ … Thank you for breaking so many barriers and paving the way for artists like me. Thank you, Lenny Kravitz, for teaching us all to let love rule” — (a nod to the title of Kravitz’s 1989 debut studio album).
Kravitz began by sharing early musical memories that helped shape his legendary career, such as being a 5-year-old sitting on the lap of Duke Ellington in the Rainbow Room while the latter played “Take the A Train.” And Kravitz’s dad taking him to see the Jackson 5 at Madison Square Garden and afterwards “wanting to be the sixth brother.” The four-time Grammy winner further invoked a host of additional influences such as Stevie Wonder, Earth, Wind & Fire, James Brown, Nina Simone, Grandmaster Flash, Parliament-Funkadelic and Bob Marley.
Lenny Kravitz accepts the Global Impact Award onstage during the Recording Academy Honors presented by The Black Music Collective during the 66th GRAMMY Awards on February 01, 2024 in Los Angeles, California.
Leon Bennett/Getty Images for The Recording Academy
“I could go on all night,” he continued. “I love this music because it feeds our hearts and strengthens our resolve to keep conveying hope and healing to a whole new world. To be a part of this lineage is a privilege I cherish. It is with deep gratitude that I thank you, knowing that music in every corner of the planet uplifts and expresses the goodness of God’s everlasting love.” Then fellow musicians Andrew Watt, Chad Smith, Verdine White, George Clinton and Quavo joined forces to perform “Fly Away” to roaring applause — and hearty hugs from Kravitz on stage.
More cheering ensued when Stevie Wonder took the stage to pay tribute to Mariah Carey in word and song. “Every time we meet and talk, it’s like having a brand new day,” he began. “I thank you for your friendship, your heart and the consistent spirit of love that you show … and I’m just going to say this …” That’s when Wonder segued into the choruses of two of his songs: “Knocks Me Off My Feet” (“I don’t want to bore you with it, but I love you, I love you”) and “All I Do” (“all I do is think about you”) and ad libbing at the end, “you are my hero.”
After thanking Wonder (“I will never not get excited to be in the company of your greatness!”), Carey drew plenty of audience laughter as she held the award and remarked that she hadn’t won a Grammy in a long time. She went on to thank Harvey Mason jr. and the Academy, congratulate fellow honoree Kravitz and wish everyone a happy Black History Month, the five-time Grammy winner said in part:
“When I first started in the music business, I was often told to conform to certain expectations. I wasn’t encouraged to focus on my love for Black music. It took countless arguments, endless tantrums and mostly unwavering determination. But eventually, I was able to reveal my authentic self, as they say, and create music that came from my heart … I discovered a newfound sense of freedom and fulfillment. As I accept this award, I do so with gratitude for all of you here and every person who has supported me along this journey; the fans that have stood by me through thick and thin.
“But most importantly,” she continued, “I accept this award on behalf of every person who has ever felt silenced or marginalized, who has ever been told their voice doesn’t matter. Your truth matters. We will continue to pave the way together for a future where authenticity is celebrated, diversity is embraced and music has the power to change the world.”
Additional performers feting Carey in song included Babyface (“Everytime I Close My Eyes”) Busta Rhymes (“I Know What You Want”), Tori Kelly (“Vision of Love”) and Yolanda Adams (“Make It Happen”). And among the Recording Academy executives who shared remarks were BMC chair Rico Love and Ryan Butler, the Academy’s vp of diversity, equity and inclusion.
Prior to the event — produced by MVD Inc. — guests were treated to striking black-and-white portraits of Jay-Z, Nipsey Hussle and other artists in the Icons Gallery curated by music executive and photographer Lenny S.