Music

Reports Say Taylor Swift Won’t Perform at 2024 Grammys: Billboard’s Greatest Pop Star of the Year Usually Does

Media reports today that Taylor Swift won’t perform on the 2024 Grammy telecast, which is set for Sunday (Feb. 4), are a big blow to the Recording Academy, CBS and Swift’s many fans. Swift’s apparent decision also runs counter to the usual pattern when an artist dominates a year the way Swift owned 2023.

Swift dominance over last year’s pop scene was confirmed when she was declared Billboard’s Greatest Pop Star of 2023 in December. Since the turn of the century, the vast majority of artists who received that accolade have performed on the Grammy telecast just a month or two later.

That stands to reason. The music business loves winners – and the artists who dominate the year are usually nominated for top-tier Grammys. And those nominees are usually invited to perform on the show. And those artists usually, but not always, accept those invitations. A Grammy performance when you’re at the pinnacle of your success is something to go in the time capsule (known as YouTube) to be played pretty much forever.

But Swift will be content to sit in the audience at the Crypto.com Arena in Los Angeles on Sunday to be on hand to accept a trophy should one or more come her way. Jennifer Lopez, Miley Cyrus, Justin Bieber, Ed Sheeran and Drake also did not perform on the Grammy telecasts that followed their chart-crowning years. Some may not have been asked. Others may have declined. Sheeran had performed his nominated hit “Shape of You” on the telecast the previous year, when it was a brand-new single.

Billboard explained the concept behind the Greatest Pop Star of the Year project when it was launched in 2020. “Mostly, we’re looking for the pop star that best defines each year; the one whose impact was most deeply felt across the most spaces. … It’s not just hit singles and bestselling albums. It’s music videos, it’s live performances, it’s image, it’s headlines and controversy and cultural impact and overall ubiquity. It’s the answer to the question, ‘Could you have lived through this year without having an opinion on this artist?’”

The project retroactively went back to 1981, the year of MTV’s launch, but we’ll just take it back to the turn of the century. Here are the artists who were declared Billboard’s Greatest Pop Star of the Year from 1999 to the present and whether or not they performed on the next Grammy telecast.

Mariah Carey Hilariously Throws Shade at the Grammys at Black Music Collective Event

Mariah Carey received the Recording Academy’s Global Impact Award at the 2024 Black Music Collective on Thursday night (Feb. 1), and the elusive chanteuse poked some fun at the Grammys during her speech.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

“Is this a real Grammy? I haven’t seen one in soooooo long,” she joked, according to The Hollywood Reporter, as she hasn’t received a Grammy in almost 20 years. “It’s weird. I don’t know. We’ll figure out what this is later.”

Over the course of her career, Carey has been nominated for 34 Grammys. She has won a total of five including best new artist and best female pop vocal performance for “Vision of Love” in 1991, as well as three Grammys in 2006 for “We Belong Together” and The Emancipation of Mimi.

Carey’s Global Impact Award from the Black Music Collective was celebrating a “Black music creator whose dedication to the art form has greatly influenced the industry and whose legacy of service inspires countless individuals worldwide.”

“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,” Carey said in her speech. “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.”

Inside the Billboard + NMPA Grammy Week Showcase: Noah Kahan, Kelsea Ballerini & More

As always, NMPA president David Israelite kicked off its annual Grammy week showcase (in partnership with Billboard) with a gentle reminder: The bar will close during performances, and guests are expected to remain silent.

It’s all part of the NMPA’s ethos to better support songwriters, and throughout the night, attendees also had the pleasure of watching songwriters support one another. At one table sat Jack Antonoff, Lana Del Rey and Kelsea Ballerini. Jelly Roll, Lainey Wilson and hit songwriter Jessie Jo Dillon were seated to their right, with Dan Nigro and Chappell Roan seated just behind and Leon Thomas and his mother nearby.

Throughout the intimate and star-studded evening on Wednesday (Jan. 31), the audience was treated to performances by best new artist nominees Jelly Roll and Noah Kahan, rising pop star Conan Gray and country star Kelsea Ballerini — plus an impassioned speech from Del Rey about Vanguard Award recipient Antonoff, during which she couldn’t help but announce her upcoming country album Lasso, out this September.

Kahan, who was being honored with the Rising Star award, joked before his set that “I’ve been around longer than this [award title] would suggest … Don’t tell the Grammys.” Later, Nigro contested his own award title, saying, “I don’t consider myself a hitmaker” — though his track record on the charts proves otherwise.

Dillon — who is Grammy nominated for songwriter of the year alongside Edgar Barrera, Shane McAnally, Justin Tranter and Theron Thomas — summarized the evening best while accepting her Breakthrough Songwriter award. “There is no music without songs and no songs without songwriters — and we deserve to be compensated fairly.”

As for each performer, they all shared a similar sentiment about the life-changing power of a hit — and how they would never have gotten there where they are today without their incredible and trusted co-writers.

“Our community is really interesting and there’s a lot of anxiety sometimes,” shared Antonoff during the night’s final speech. “I feel very very proud to be here.”

Friday Dance Music Guide: The Week’s Best New Tracks From BICEP, Pet Shop Boys, Wavedash & Madeon & More

This week in dance music: Sacred Society Music Group launched a new label focused on ambient music made in spatial audio, Zerb and Sofiya Nzau released a music video for their viral hit “Mwaki” shot in Kenya’s Hells Gate National Park, we shared exclusive footage of Rico Nasty and Boys Noize throwing a mobile party on Friendship 2024, Mija, Dombresky and Netsky shared their sets from Holy Ship! Wrecked 2023 and REZZ, ISOxo and more were announced as headliners for a Lunar New year party series starting this weekend in Brooklyn.

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

New music? We’ve got that, too. These are the best new dance tracks of the week.

BICEP, “HELIUM”



Bicep isn’t short on ambition with their new CHROMA project, which encompasses a record label, event series, a new and evolving live show and visuals made in collaboration with renowned designer David Rudnick and his Terrain studio. None of this works without the music to fuel it, but the Belfast-born/London-based duo deliver in fine form with ” HELIUM” a lush, nearly genre defying amalgamation of synth plucks, a grime vocal sample, breakbeat drums and growling bass written specifically for the pair’s shows at London’s Ally Pally at the end of 2022.

“The show felt a little too sweet in certain sections and we wanted to add some more grit,” they say in a statement. They made “‘HELIUM” to serve as something “a bit darker and more club-focused than most of our music we have released over the past few years. Although it’s actually a pretty fair representation of what we’re listening to and playing in our DJ sets”.

Launching on the tail of a sold out 15,000 person show at London’s Drumsheds last December, CHROMA is mean to encompass all varieties of Bicep music, with the pair adding that “We do a lot of more heavy techno focused music, ambient and various other styles that don’t really fit into the ‘Bicep’ sound, and which often never sees the light of day.” CHROMA, it seems, will shine that light. Bicep will play Coachella in April and tour Europe throughout the summer.

Pet Shop Boys, “Loneliness”



Pet Shops Boys, who celebrate the 40-year anniversary of their classic “West End Girls” this year, demonstrate their ongoing creative verve with their latest, “Loneliness.” A song that plays like the antidote to its titular sad state, the production has a peppy brightness throughout, scaling down to an elastic bassline for the choruses and building back up to a more parade-type atmosphere for the chorus. The song marks Pet Shop Boys’ return to Parlophone Records and comes from their forthcoming album Nonetheless, out April 26. The pair’s concert film, Pet Shop Boys Dreamworld: The Greatest Hits Live At The Royal Arena Copenhagen, also plays in theaters around the world today and February 4.

“We wanted this album to be a celebration of the unique and diverse emotions that make us human,” the pair (Neil Tennant and Chris Lowe) says of the new LP. “From the more dance-orientated tracks to the raw poignancy of the introspective ballads, with their beautiful string arrangements, each track tells a story and contributes to the overall narrative of the album.”   

Wavedash & Madeon Feat. Toro y Moi, “All Ur Love”



Texas trio Wavedash link with French maestro Madeon and indie electronic fav Toro y Moi for the extremely feel-good “All Ur Luv.” Built around buoyant piano stabs, the indie pop track puts Toro y Moi’s plaintive, playful vocals at the fore, altogether creating a fun but still totally sophisticated jam with a joyful and genuinely resonant melody.

“‘All Ur Luv’ is, in our eyes, what making music is all about” Wavedash say. “Five unlikely collaborators and friends coming together to make a beautiful piece of music that, in some ways, is bigger than the sum of its parts. I don’t believe anyone else on earth could have made this song; without our flip of the original sample, or Madeon’s master-level pop writing, or Chaz’s ability to churn out ear worms with ease, this song couldn’t have been possible. It’s been the most fun we’ve ever had making a piece of music, so we hope you’ll enjoy listening to it half as much as we enjoyed making it, because we had a ball.”

The Blessed Madonna & Clementine Douglas, “Happier”



Reminding us once more that she has one of the most special, essential voices in dance music, Clementine Douglas absolutely blazes through “Happier,” a collab with The Blessed Madonna that created a breakout moment during The Blessed Madonna’s Boiler Room set last year in Bali. Out via Major Recordings, the track evokes the ’90s club production trend of the moment while still sounding fresh, with gently rising synths and a cool vocal chop climax indeed likely to leave you feeling happier than you were when the song started. The Blessed Madonna plays Coachella in April.

Orbital, “Tonight In Belfast”



Orbital’s 1991 classic “Belfast” gets reimagined here, with DJ Helen blending David Holmes’ “Belfast” remix with Manchester street poet Mike Garry’s “Tonight.” These many parts build a track that’s spatial, joyful and often delightfully strange. The song launches the campaign for the re-release of Orbital’s eponymous 1991 debut LP (known as The Green Album), which comes amid their Coachella dates and after a set at Ultra Music Festival in Miami. The following April and May U.K. headline tour will find the British genre pioneers playing The Green Album in its entirety for the first time.

Ice Spice Says She ‘Started Crying’ After Hearing Taylor Swift Wanted to Collaborate

Life is moving fast for Ice Spice amid her meteoric rise to stardom, but one life-changing moment brought her to tears of joy.

The 24-year-old star sat down with the Today show on Friday (Feb. 2), where she reflected on having the chance to work with Taylor Swift on the “Karma (Remix).” Ice Spice revealed hearing that T-Swift wanted to collaborate left her in tears.

“I started crying when I heard about it,” Spice said. “I was like, ‘No, you’re lying. That’s not real!’ I was so emotional, it was like tears of joy, of course. But, just grateful — iconic.”

Explore

See latest videos, charts and news

See latest videos, charts and news

The “Karma (Remix)” arrived last May as part of Swift’s Midnights extended edition. The duo performed the collab for the first time days later at MetLife Stadium in New Jersey on the Eras Tour, and the rework would debut at No. 2 on the Billboard Hot 100.

Swift called working with Ice Spice made sense and reached out to the budding artist directly after hearing she’d be interested in collaborating, the “Anti-Hero” singer told Spotify last year. The pop superstar added she was actually already a fan of Spice and had listened to her music on tour.

“Collaborating with Ice Spice on ‘Karma’ was one of the most natural things,” Swift said at the time. “I had been listening to her nonstop, like getting ready for my (Eras) tour, I was just listening to Ice Spice constantly.”

Elsewhere in Ice Spice’s Today interview, she opened up about her upcoming Y2K debut album, which is slated to arrive later this year — and she’s teasing a “crazy collaboration.”

“Yes, there’s gonna be an album this year. It’s called Y2K; it’s almost finished so I’m really excited. I have a crazy collaboration that just got locked in two days ago,” she said while remaining tight-lipped about the mega collab.

Watch Ice Spice reflect on working with Taylor Swift and more from her TODAY interview, which includes a sneak peek at her Starry Super Bowl commercial, below.

Boygenius Is Going on Hiatus: ‘This Is Our Last Show’

Boygenius is going on hiatus. As alluded to by Julien Baker, Phoebe Bridgers and Lucy Dacus during their Thursday (Feb. 1) acoustic shows in Los Angeles, they are indeed planning to put an indefinite stopper on band activities following a breakthrough year for the supergroup.

Fans who were invited to the band’s duo of back-to-back private concerts at The Smell tweeted that the three indie musicians had said onstage they’d be “going away for the foreseeable future.” A video from the evening also shows Dacus telling the crowd, “This is our last show, and we’re feeling it.”

A representative for Boygenius confirmed to Billboard that the trio will be stepping back, as the group indicated on stage, but offered no further details. The band has not yet posted about the hiatus on social media.

The announcement caps off a sensational year for Baker, Bridgers and Dacus, who originally debuted Boygenius in 2018 with the release of their self-titled EP. The three musicians then returned to their respective solo careers before reuniting in 2023, releasing their first full-length album, The Record, in March followed by a four-track EP, The Rest, in October. The group toured in support of the album throughout much of the year, playing shows and festival appearances across North America and Europe.

Upon its release, The Record scored the band its first entry on the Billboard 200, where it peaked at No. 4 and remained on the chart for a total of 14 weeks. The project also earned Baker, Bridgers and Dacus six nominations at the 2024 Grammys — which they’re expected to attend Sunday (Feb. 4) — including album of the year, best alternative music album and record of the year for single “Not Strong Enough.”

From the beginning, Boygenius has been open about the fact that its latest run would be temporary, given the demands of each member’s solo endeavors. “I think people know this is a rarity and that there’s no guarantee that it’ll continue,” Dacus told Billboard during an interview with the band in April. “Like, we will continue to be Boygenius and be friends, but we also will get back to our own things.”

She added: “I think people have this awareness that to be present with it now is really to be existing in a moment.”

TWICE Have Each Other’s Backs in Sunny Video For High Energy ‘I Got You’ Single

K-pop stars TWICE dropped their first song of 2024 on Friday (Feb. 2), the high-energy tribute to friendship “I Got You.” The group’s third English-language single is the first taste of their upcoming 13th mini album, With YOU-th (Feb. 23).

Explore

Explore

See latest videos, charts and news

See latest videos, charts and news

The video for the song finds Nayeon, Jeongyeon, Momo, Sana, Jihyo, Mina, Dahyun, Chaeyoung and Tzuyu snuggling up together inside a ship’s cabin as it is tossed by stormy seas. “A little reckless around the edges/ Call it young, dumb love and it’s just enough,” they sing over a bubbly new wave-style beat reminiscent of a double-time homage to A-Ha’s 1985 classic “Take On Me.”

Comfortable in their cuddle puddle as the waves turn placid, the women get led to shore by a bandmate in a lighthouse, where they bust out some elegant choreo by the beach. “No we’ll never fall apart/ Even million miles apart/ We were lightning from the start,” they sing before diving into the joyous chorus: “Ooh/ No matter what you got me, I got you/ And I wouldn’t want it any other way.”

The soaring tribute to friendship is packed with shots of the band members dancing and holding hands in fields of gold and making pinkie swear promises to each other. It even includes a dreamy animated sequence in which they dive under the waves to frolic with marine life before winding down with the singers striking Titanic-like poses on the bow of the ship as they soak up the sun.

“I Got You” is the follow-up to the nine-member group’s previous English-language singles, “The Feels,” which landed their debut entry on the Billboard Hot 100 (No. 83) and “Moonlight Sunrise” (No. 84).

The JYP Entertainment group is in the midst of their Ready To Be world tour, which will play Mexico City’s Foro Sol Stadium on Friday and Saturday (Feb. 3), before moving on to a pair of dates at Allianz Parque in Sao Paulo (Feb. 6-7) and a gig at Allegiant Stadium in Las Vegas on March 16.

Watch the “I Got You” video below.



Country Music at the 2024 Grammys: The Nominees Are a Time Capsule for the Genre

The country contingent of this year’s Grammy Awards may be the closest that Nashville ever gets to time travel.

This year’s crop of nominees for the Feb. 4 ceremony includes best new artist candidates Jelly Roll and The War and Treaty, a Dierks Bentley collaboration with Billy Strings, best country album finalists Lainey Wilson and Zach Bryan, and Luke Combs’ remake of “Fast Car.”

Each of those nominations – and most of the other country contenders, too – manage to move in two different directions on the time continuum, pushing the genre into the future while still hanging onto something out of the past.

Explore

See latest videos, charts and news

See latest videos, charts and news

The Grammys, according to John Carter Cash, are drawn to performances that are both “forward-thinking and connecting with the roots.” He should know: He’s nominated as an arranger on a new version of “Folsom Prison Blues” – most closely associated with his father, Johnny Cash – recorded by String Revolution featuring Tommy Emmanuel. The performance is an adventurous instrumental piece that wraps “Folsom” in folk and jazz ideals, absolutely widening the footprint of the song. Yet it remains significantly old-school: the original melody is intact during much of the recording, and it employs guitars that belonged to the Man in Black and his original guitarist, Luther Perkins.

The Grammys come under criticism every year among some country executives and broadcasters because the nominations don’t particularly line up with the biggest current projects in the genre. But that was never the intent of the awards, which are voted on by the creative class, rather than marketers and managers. Those creatives – including musicians, songwriters and producers – tend to reward the craft as much as the commerce, and the slate typically recognizes performances that build on bedrock influences while making a new statement. Sometimes, as in Bryan’s Kacey Musgraves Billboard Hot 100-topping collaboration “I Remember Everything,” that includes some of the most popular current music. But in others, such as Brandy Clark’s twice-nominated “Buried,” that means elevating music from outside the mainstream.

The nominations tend to honor artists and performances that respect the past without being bound by it. That is, to be sure, how the most original artists operate. “If you love country music, and you’re trying to do it, you love the old stuff,” Bentley notes. But “you can’t just go back and redo the old stuff. It’s already been done.”

There are exceptions. Combs’ revision of “Fast Car,” up for best country solo performance, is a faithful update of a classic, though the current circumstances are different: male singer Combs renders it from a different perspective than female originator Tracy Chapman, and it re-emerged in country instead of the folk/pop arena where she introduced it. Solo competitor Dolly Parton’s “The Last Thing on My Mind” is a reworking of a song she first cut with duet partner Porter Wagoner in 1967. And Vince Gill is a best country duo/group finalist with steel guitarist Paul Franklin for bringing attention to “Kissing Your Picture (Is So Cold),” an obscure Ray Price song re-recorded for a tribute album.

 “When I first heard Vince Gill, I thought, ‘Whoa, this is so cool, so new,’ and it was, of course,” Bentley remembers. “Listening to Vince now, that’s nothing but traditional country music, but the way he did it, it felt new. It’s the same thing with Morgan Wallen now. A lot of his songs are super country. My daughter listens to him, she goes, ‘Oh my god, this is so cool and new and different.’ I’m like, ‘That’s pretty country: dobro, and Bryan Sutton on the acoustic.’ So you kind of kind of trick everyone a little bit.”

Carly Pearce’s ability to walk the line between old and new is one of the reasons her Chris Stapleton collaboration “We Don’t Fight Anymore” secured a best country duo/group performance nomination. The spare, acoustic arrangement builds on the genre’s origins, as does its mature lyrical portrait of a debilitated relationship. But the melody and the phrasing are notably modern.

“They’re looking for artistic expression,” Pearce suggests. “That song is one of the most authentic to me, so I think it resonates, obviously, in a commercial way, but more in an artistic way, which is what I love about the Grammys. They see the whole vision of an artist and not just what’s played on the radio. For it to have that marriage together is really [key].”

Even Kelsea Ballerini’s best country album entry Rolling Up the Welcome Mat has that forward-thinking, roots-respecting aura. Compiled as a series of songs that documents her emotional journey following a divorce from Morgan Evans, it mostly features a boundary-testing, pop-leaning sound, though mining her inner world for her art is very much an old-school Hank Williams kind of approach.

“In my brain, it’s like I made a movie,” she says. “It’s solely focusing and zooming in on the songwriting and the storytelling, and to me, that is honoring the genre that I dig my heels into every day. The sonic elements that accompany it, to me, don’t hold as much weight as the story that you’re telling.”

Even personal history can influence the artistic time-machine effect. Songwriter of the year nominee Jessie Jo Dillon (“Memory Lane,” “Halfway To Hell”) compares Jelly Roll’s rise from a prison background and drug abuse to Johnny Cash’s messages about forgiveness. And Wilson sees Jelly Roll’s willingness to mine his experiences as a major influence on the format moving forward.

“Everybody’s past and everything – none of that matters,” she says. “We’ve all done things, we’ve all messed up. It’s about what’s on the inside, and Jelly Roll is nothing but good.”

Ultimately, the creatives who vote for the Grammys all draw from the same musical past as the nominees, and the country finalists list is a qualitative statement about how the genre can continue to evolve.

“It’s very, very difficult to know where you’re going if you don’t know where you come from,” says The War and Treaty’s Michael Trotter Jr. “We like to pay respect, homage, pay a nod to the past — because it’s still our present.”

At the Grammys, that past dictates how country moves into its future.

5 Best Songs Luke Combs Wrote for Other Artists

Since his debut single “Hurricane” ripped its way through to the pinnacle of the Country Airplay chart in 2017, entrenching itself there for two weeks, Luke Combs has proved his gale force strength as an artist.

He’s earned 17 No. 1 Country Airplay hits in seven years, including “One Number Away,” “Forever After All,” and “Love You Anyway.” In 2018, Combs was named the CMA’s new artist of the year — just three years later, he took home the first of two CMA entertainer of the year wins. He’s also been named the CMA’s male vocalist of the year twice and earned the coveted album of the year honor twice — for What You See Is What You Get, and most recently for his album Growin’ Up.

In 2023, his version of Tracy Chapman’s 1988 hit “Fast Car” became a crossover smash, propelled by fan demand, and reaching No. 2 on the all-genre Billboard Hot 100. His rendition of the song is nominated for a Grammy at Sunday’s (Feb. 4) ceremony, competing in the best country solo performance category.

His 44-show 2023 tour not only included U.S. shows, but Combs and his team also played 23 sold-out concerts, largely in arenas, in Australia, New Zealand and in a dozen European countries. In the process, Combs has helped strengthen country music’s overall global presence.

Even with the awards, radio hits and sold-out concerts, Combs has always been a songwriter at heart—something he’s proven with his work as a co-writer on nearly all of his No. 1 hits. His prolific songwriting has benefited other artists as well.

Here, we take a look at five songs that Combs co-wrote which were recorded by other artists—including a No. 1 Country Airplay hit for Carly Pearce and Lee Brice.

Ariana Grande Shows Off Her 14 Spotify Plaques Ahead of Billions Club Episode: Photos

Ariana Grande is one of the most streamed artists in Spotify history, and she’s got the hardware to prove it. Ahead of her upcoming Billions Club episode, the 30-year-old pop star posed with her record 14 plaques from the music streaming platform, each of them representing one of her many hits.

In photos shared to Spotify’s Instagram Thursday (Feb. 1), Grande sits among her collection of billion-streams plaques spanning a decade of music, wearing a black bunny-ear face mask in tribute to her 2016 Dangerous Woman album cover. She also reads from a Mean Girls-inspired “Burn Book,” a throwback to the movie’s inclusion in her 2018 “Thank U, Next” music video.

The pictures also feature props nodding to the “Yes, And?” singer’s other smashes. For instance, atop the plaque for her 2020 hit “Positions” sits a glob of dough and a mini rolling pin, referencing a scene from the song’s music video. There’s also a tiny umbrella strewn across the plaque for her 2020 “Rain on Me” duet with Lady Gaga, as well as a little house figurine representing her 2020 “Stuck With You” collaboration with Justin Bieber.

“10+ years, 14 plaques and 39 billion streams later,” reads Spotify’s caption. “New #BillionsClub episode coming soon ?.”

The Billions Club episode will celebrate Grande’s record as the female artist with the most songs to surpass a billion streams on the platform. She previously spoke about the feat in a teaser video for Spotify, which also showed the vocalist at work producing music in the studio.

“It’s a really absurd number – I can’t really wrap my head around the number,” she said in the Billions Club episode snippet, getting emotional. “This really shook me a little.”

See the Spotify photos below.