Maureen Stapleton

18th Annual GRAMMY Awards

Stapleton, Maureen

2020 GRAMMY Awards Premiere Ceremony | Photo Gallery

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2020 GRAMMY Awards Premiere Ceremony Photo Gallery

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60th Annual GRAMMY Awards

For any music lover, GRAMMY Sunday is very much like the Super Bowl or World Series to a sports fanatic.

The only difference being, while sports teams typically find out who will be the final competition within a week or two of the showdown, GRAMMY nominations arrive months prior to the big show. The ceremony is arguably a culmination of all of that energy and anticipation. The 60th GRAMMY Awards was no different, as James Corden returned to host the Music's Biggest Night.

Returning to Madison Square Garden for the first time in 15 years, the milestone telecast proved to be a celebration that broke down barriers &mdash; with the wins, performances, and acceptance speeches showing that the power of music can literally change the world.

Of course, the GRAMMYs' return to the Big Apple was cause enough for excitement. (Cut to [Tony Bennett](/artists/tony-bennett/1073) and [John Legend](/artists/john-legend/16994) singing "New York, New York" before presenting Best Rap/Sung Performance). And there was [Bruno Mars](/artists/bruno-mars/5082) netting six wins and nearly doubling his career output to 11 in one fell swoop. But there was plenty of excitement to go around.

Whether you were there, watching on TV or live streaming, here are 12 moments from the 60th GRAMMY Awards that made it a night to remember.

### 1. Kendrick Lamar, U2, Dave Chappelle Open With An Army

[Kendrick Lamar](/artists/kendrick-lamar/17949) has a steady track record of impactful performances on the GRAMMYs, and this time he opened the ceremony with a groundbreaking performance before winning the first award of the evening for Best Rap/Sung Performance ("LOYALTY." with Rihanna). Opening with "XXX" before an American flag backdrop and U.S. soldiers marching, the rapper was joined by [U2](/artists/u2/7858)'s Bono and The Edge. A war simulation followed before [Dave Chappelle](/artists/dave-chappelle/187041) hit the stage to punctuate segues in between heated musical vignettes performed by Lamar. It was history in the making, much like everything he touches.

### 2. Lady Gaga's Tearjerker Performance with Mark Ronson

"This is for love and compassion &hellip;even when you can't understand," [Lady Gaga](/artists/lady-gaga/3611) uttered before a white piano wrapped in lace as she opened her performance with "Joanne." Mark Ronson assisted on guitar as the acoustic set segued into another moving ballad, "Million Reasons." The emotional performance was poignant, but most importantly showed Gaga's unreal vocal range. It's OK if you shed a tear while watching. We were all cutting onions when it happened.

### 3. James Corden Rapping For Jay-Z

If you watch "The Late Late Show With James Corden" or are tuned into any episode of his "Carpool Karaoke" series, you'll know that Corden was the perfect return host for this year's telecast. On the eve of the show, [Jay-Z](/artists/jay-z/9815) was honored at the Pre-GRAMMY Gala and Corden informed the crowd, but began riddling off his knowledge of Jay-Z facts &mdash; including Jay&rsquo;s former apartment address of 560 State Street in Brooklyn. Corden then launched into spitting a few bars for an amused Mr. Carter. "You call it the Big Apple, I call it the Concrete Jungle where dreams are made of &hellip;just something I made up," Corden joked.

### 4. Bruno Mars And Cardi B's #TBT Performance Of "Finesse (Remix)"

A few weeks back &mdash; when the video for Bruno Mars' remix to "Finesse" featuring [Cardi B](/artists/cardi-b/186981) hit the internet &mdash; we were all bit by the nostalgia bug. The video (directed by Mars himself) was not only a clear nod to the sketch comedy series "In Living Color," but it was also a Polaroid of a bygone era of &lsquo;90s R&amp;B and hip-hop&mdash;complete with bright colors. Cardi B donned a legendary Cross Colours bucket hat with Mars dancing onstage like a New Jack Swing-era frontman before a dance-off to House Of Pain&rsquo;s "Jump Around." It was #ThrowbackThursday on a Sunday night.

### 5. Alessia Cara Claims Best New Artist

"I've been pretend winning GRAMMYs since I was a kid in the shower," [Alessia Cara](/artists/alessia-cara/186976) said with a shaky voice before a towering microphone as she accepted her first GRAMMY. While the Canadian was already considered a strong candidate for the award, the competition was fierce &mdash; including [SZA](/artists/Solana-Rowe/32514) and newcomer [Julia Michaels](/artists/julia-michaels/188121). But as Cara continued into her speech, she acknowledged and showed support for her peers, which included her fellow nominees and indie acts. "Support real music and real artists," she said. Then she thanked her fans, because there will be no more pretend GRAMMYs in the shower from now on.

### 6. Luis Fonsi, Daddy Yankee Bring On More "Despacito"

Over the course of 2017, the infectious "Despacito" hasn't left our brains. [Luis Fonsi](/artists/luis-fonsi/3346) and [Daddy Yankee](/artists/daddy-yankee/9370) hit the stage to perform the diamond-certified single and brought former Miss Universe Zuleyka Rivera in two. Rivera also appeared in the music video, but took center stage to dance amid a mock club scene. "That is a catchy song. I've never heard that song before," Corden deadpanned after the performance.

### 7. "Subway Carpool Karaoke"

Corden's viral "Carpool Karaoke" series made a cameo during the evening. How could it not? This time, however, it was a special "Subway Carpool Karaoke," featuring Corden, [Sting](/artists/sting/10244) and [Shaggy](/artists/shaggy/10082). The former Police frontman couldn't even get through "Every Breath You Take" before being shushed by a construction worker on the train. And Shaggy barely sang "It Wasn't Me" before another passenger hushed even Corden. Then a fight broke out on the train and Corden got a bloody nose. It was a dangerous karaoke scene. You had to be there.

### 8. Janelle Mon&aacute;e Says #TimesUp, Kesha Sings #MeToo

All one has to do is read the news in recent months to know that injustice to women is no longer an option across industries. As [Janelle Mon&aacute;e](/artists/janelle-monae/4464) introduced [Kesha](/artists/kesha/187816)'s performance of "Praying," she delivered a powerful speech hooked to the sexual harassment initiative Time's Up. "We are also daughters, wives, mothers, sisters, humans," Mon&aacute;e told the crowd. "We come in peace, but we mean business." When Kesha hit the stage, her performance was that much more intense, especially understanding all she's been through in the music industry. With [Cyndi Lauper](/artists/cyndi-lauper/4198), Camila Cabello, Bebe Rexha, Julia Michaels, and [Andra Day](/artists/andra-day/18980) joining on background vocals, the performance ended with the women hugging and in tears. They weren't alone.

### 9. Elton John, Miley Cyrus Transcend Generations Onstage

[Elton John](/artists/elton-john/12074)'s "Tiny Dancer" is one of those classic songs that can bring you immediately back to a moment or an era (or a movie scene, like that bus ride in Almost Famous). However, tonight a new moment was made with [Miley Cyrus](/artists/miley-cyrus/18384). With John seated at his piano, he opened the song and Cyrus joined to help carry the song home. While the "Wrecking Ball" singer is no stranger to classic music &mdash; especially given her godmother is [Dolly Parton](/artists/dolly-parton/17205) &mdash; this performance was particularly special. Call it onstage chemistry, or call it bridging the gap, but this "Tiny Dancer" performance was one for the ages.

### 10. Ben Platt, Patti LuPone Wow With Broadway Style

This special [Leonard Bernstein](/artists/leonard-bernstein/896)-[Andrew Lloyd Webber](/artists/andrew-lloyd-webber/4044) tribute kicked off properly, as [Ben Platt](/artists/ben-platt/188321) from "Dear Evan Hansen" gave the audience a rousing dose of "Somewhere" from the former's "West Side Story." But as James Corden could barely stand as he introduced [Patti LuPone](/artists/patti-lupone/5059), we soon found out why. LuPone delivered a riveting rendition of &ldquo;Don't Cry For Me Argentina" from Evita. Posted at a podium, just as the musical/movie depicts, she belted like it was her first time singing the song and it was our first time hearing it.

### 11. Logic, Khalid, Alessia Cara Bring Hope 

There's a reason why "1-800-273-8255" was nominated for Song Of The Year. The powerful track comes with a real message of suicide prevention. When the trifecta of [Logic](/artists/Sir-Robert-Bryson-Hall-II/32370), [Khalid](/artists/khalid/187821), and Alessia Cara hit the stage to perform the monumental hit single, there was no denying the magic. Performing on opposite stages before an army of survivors in "You Are Not Alone" shirts, Logic addressed the crowd and closed the performance with a speech pointing out many societal injustices &mdash; from the treatment of women to neighbors from other countries. There are no weak individuals, per Logic, just people waiting to realize the power of their voice.

### 12. Bruno Mars' Magical Evening: 6 For 6

Bruno Mars emerged above the stiff competition in Album Of The Year, taking home the final GRAMMY of the evening for 24K Magic. The nod topped off a GRAMMY sweep for the Hawaii native, with Mars winning all six categories for which he was nominated. He also earned R&amp;B Album, Record Of The Year for "24K Magic," Best R&amp;B Performance, Best R&amp;B Song and Song Of The Year for "That's What I Like." As he explained in his Album Of The Year speech, Mars' mission was to spread love and he did just that &mdash; even shouting out previous greats like [Babyface](/artists/babyface/985) who paved the way for him.

grammy60th

Find all the Winners of 2017 Grammys. For any music lover, GRAMMY Sunday is very much like the Super Bowl or World Series to a sports fanatic. The only difference being, while sports teams typically find out who will be the final competition within a week or two of the showdown, GRAMMY nominations arrive months prior to the big show. The ceremony is arguably a culmination of all of that energy and anticipation. The 60th GRAMMY Awards was no different, as James Corden returned to host the Music's Biggest Night.

59th Annual GRAMMY Awards

During a period in our nation's history in which people are constantly reminded about the political and social issues that can divide us, the 59th GRAMMY Awards served as a convincing testament to the undeniable unifying power of music.

[Adele](/artists/adele/528), whose voice is a powerful force unto itself, emerged the top winner of the night, taking home five GRAMMYs: Best Pop Vocal Album and Album Of The Year for 25 and Record Of The Year, Song Of The Year and Best Pop Solo Performance for "Hello." The now-15-time winner also made GRAMMY history by becoming the first artist to sweep Record, Album and Song Of The Year twice in her career.

Fittingly, it was Adele who ushered in Music's Biggest Night with a mesmerizing performance of her smash "Hello." A stark black backdrop provided a blank canvas over which the British singer/songwriter painted an aural masterpiece, her potent vocals reverberating throughout Los Angeles' Staples Center.

The mercurial [David Bowie](/artists/david-bowie/4819), who died just days before releasing his album Blackstar on Jan. 8, 2016, won four posthumous GRAMMYs, including Best Alternative Music Album. [Greg Kurstin](/artists/greg-kurstin/9943), Adele's producer and songwriting partner, also won four awards, including Producer Of The Year, Non-Classical.

[Chance The Rapper](/artists/chancelor-bennett/19614) earned three awards, including Best New Artist, making him the first streaming-exclusive artist to win a GRAMMY. "This is for every indie artist who's been doing this mixtape stuff for a long-a\*\* time," the Chicagoan said during his acceptance for Best Rap Album for Coloring Book. He punctuated his GRAMMY debut with a feel-good performance medley of "How Great" and "All We Got," with his cousin Nicole and 59th GRAMMY winners [Kirk Franklin](/artists/kirk-franklin/9067) and Tamela Mann adding soulful flourishes.

Engineer/mixer [Tom Elmhirst](/artists/tom-elmhirst/2228) also won three GRAMMYs; [Beyonc&eacute;](/artists/beyonce-knowles/12474), [Drake](/artists/drake/12370), [Sarah Jarosz](/artists/sarah-jarosz/13600), [John Scofield](/artists/john-scofield/13908), Franklin, and [Hillary Scott &amp; The Scott Family](/artists/hillary-scott-scott-family/20151) were among those winning two awards.

As presenter Celine Dion so eloquently quoted the legendary [Stevie Wonder](/artists/stevie-wonder/8257), "Music, at its essence, is what gives us memories." In addition to crowning recipients in 84 GRAMMY categories, the 59th GRAMMYs created many new memories in the form of signature GRAMMY Moments that spanned several genres.

Equal parts music, theater and spoken word poetry, a golden-clad Beyonc&eacute; radiated during her medley of "Love Drought" and "Sandcastles," two songs from her Best Urban Contemporary Album-winning opus, Lemonade. The trance-inducing performance, which was themed around the celebration of motherhood, featured her own mother, Tina Knowles, and daughter, [Blue Ivy Carter](/artists/blue-ivy/292460), and closed on a poignant note with the pregnant Beyonc&eacute; reciting a line from a Warsan Shire poem: "If we're going to heal, let it be glorious/1,000 girls raise their arms."

[Bruno Mars](/artists/bruno-mars/5082) dazzled with his seductive "That's What I Like." Commanding the stage with aplomb, showcasing graceful dance moves and flaunting his rich tenor, Mars once again proved the breadth of his 24-karat talent.

[Ed Sheeran](/artists/ed-sheeran/6178) turned in arguably the most energy-efficient performance of the evening. Armed with an acoustic guitar, synthesizer and a pedalboard that doubled as a looping device, Sheeran proved a veritable one-man band in multitasking his romantic ode "Shape Of You."

[The Weeknd](/artists/The-Weeknd/24884) teamed with fellow GRAMMY winners [Daft Punk](/artists/daft-punk/8207) for a medley of "Starboy" and "I Feel It Coming." The duo's trademark synthesizer soundscapes set the tone for a sci-fi inspired set, with The Weeknd's velvety voice drifting into space.

[Katy Perry](/artists/katy-perry/5726) returned to the GRAMMY stage to debut her brand-new single, "Chained To The Rhythm," with reggae artist Skip Marley. Perry &mdash; who wore an armband emblazoned with the word "Resist" &mdash; earnestly delivered her new socially conscious anthem, which she closed by declaring "No hate!"

Best New Artist nominee [Anderson .Paak](/artists/anderson-paak/19926) and rappers Busta Rhymes, Consequence and [A Tribe Called Quest](/artists/tribe-called-quest/10719) joined for a politically charged medley of "Award Tour," "Movin Backwards" and "We The People." The latter song, A Tribe Called Quest's anthem addressing topics such as racism, xenophobia, homophobia, and misogyny, proved timely given the recent political climate. A Tribe Called Quest's Q-Tip put an exclamation point on the performance by shouting, "Resist! Resist! Resist!"

[Metallica](/artists/metallica/10686) and [Lady Gaga](/artists/lady-gaga/3611) turned the volume up to 10 with a driving performance of the band's "Moth Into Flame." Despite a brief technical glitch with Metallica frontman James Hetfield's mic, the heat generated &mdash; stoked by pyrotechnics, headbanging and a stage dive from Gaga &mdash; set off a genre-bending explosion.

[Keith Urban](/artists/keith-urban/7015) and [Carrie Underwood](/artists/carrie-underwood/10381) went toe-to-toe for their love-affirming duet "The Fighter." GRAMMY-nominated newcomers [Kelsea Ballerini](/artists/kelsea-ballerini/19558) and [Lukas Graham](/artists/lukas-graham/20132) joined together for a seamless mashup of her "Peter Pan" and their "7 Years," which was up for Song Of The Year. R&amp;B/soul legend William Bell, who earlier won his first career GRAMMY, teamed with guitar slinger [Gary Clark Jr.](/artists/gary-clark-jr/17798) for a gritty "Born Under A Bad Sign."

First-time GRAMMY host James Corden got into the musical act as well. During his opening skit, Corden delivered a free-style rap that name-dropped everyone from President Donald Trump to Drake, Rihanna and Sturgill Simpson. "The Late Late Show" host also sped through a hilarious impromptu GRAMMY edition of Carpool Karaoke. Driving a cardboard cutout vehicle, Corden was flanked by [Jennifer Lopez](/artists/jennifer-lopez/14846), [Tim McGraw](/artists/tim-mcgraw/12018), [Faith Hill](/artists/faith-hill/10850), [Keith Urban](/artists/keith-urban/7015), [Ryan Tedder](/artists/ryan-tedder/16130), [John Legend](/artists/john-legend/16994), Blue Ivy, Jason Derulo, and [Neil Diamond](/artists/neil-diamond/2720) for a singalong of the latter's classic "Sweet Caroline."

In addition to Corden's bits, [Twenty One Pilots](/artists/twenty-one-pilots/20162) provided some unexpected comic relief when they accepted their first career GRAMMY for Best Pop Duo/Group Performance for "Stressed Out" in their underwear. Underneath the humor, the duo from Columbus, Ohio, conveyed an important message to musicians of all stripes. "Anyone from anywhere can do anything," said Pilots singer/songwriter Tyler Joseph.

It was also a night of firsts for breakout country star [Maren Morris](/artists/maren-morris/19894). Not only did she make her GRAMMY performance debut with "Once" alongside [Alicia Keys](/artists/alicia-keys/12104), she won her first GRAMMY for Best Country Solo Performance for "My Church," making her the first GRAMMY Camp alumnus to win a GRAMMY.

Music's Biggest Night also provided moments of reflection in the form of tributes.

An all-star troupe paid homage to five-time GRAMMY winners the Bee Gees, who will be celebrated this spring via the CBS TV special "Stayin' Alive: A GRAMMY Salute To The Music Of The Bee Gees." [Demi Lovato](/artists/demi-lovato/19851) glided through "Stayin' Alive" while [Tori Kelly](/artists/tori-kelly/19120) showcased her impressive singing and guitar chops on "Tragedy." [Little Big Town](/artists/little-big-town/10623) were in perfect harmony for "How Deep Is Your Love" and Andra Day bottled the essence of Studio 54 during "Night Fever." The group closed with a vibrant "Stayin' Alive" coda, with Barry Gibb looking on in delight.

[Sturgill Simpson](/artists/sturgill-simpson/18703) and the Dap-Kings convened for "All Around You," a song from Simpson's Best Country Album-winning A Sailor's Guide To Earth. During his introduction, Dwight Yoakam lauded the late singer [Sharon Jones](/artists/sharon-jones/18518), who worked with the Dap-Kings throughout her career.

In recognition of [George Michael](/artists/george-michael/12041), who died Dec. 25, 2016, Adele returned to the stage for a dramatic, orchestrated version of "Fastlove," the final Top 10 hit of Michael's career. The tribute paused abruptly as Adele stopped mid-song, feeling that her performance was not up to par. "I can't mess this up for him," she confided to the audience. Adele reset herself and delivered a moving memorial. The audience obliged with a standing ovation.

Morris Day and the Time did the honors in introducing a special GRAMMY tribute to the late [Prince](/artists/prince/5675). A true showman, Day bobbed and weaved the band through the Time's funky "Jungle Love" and "The Bird." Mars then returned to the stage for a regal reimagining of "Let's Go Crazy." Armed with a Purple Rain-inspired suit, makeup and white guitar, Mars channeled vintage '80s-era Prince, right down to his authentic take on the song's spectacular unaccompanied guitar cadenza.

The In Memoriam segment featured [John Legend](/artists/john-legend/16994) and GRAMMY-winning "The Color Purple" cast member [Cynthia Erivo](/artists/cynthia-erivo/19682) delivering a rendition of the Beach Boys' "God Only Knows," which served as a solemn musical prayer to many other individuals the music community lost during the past year.

The GRAMMY show was also marked by heartfelt, if unexpected, tributes to fellow nominees. In her final acceptance speech of the evening for Album Of The Year, a visibly moved Adele used her platform to acknowledge and thank fellow nominee Beyonc&eacute;.

"My artist of my life is Beyonc&eacute;," Adele said as a tearful Beyonc&eacute; looked on. "The Lemonade album was just so monumental and so well-thought out and so beautiful and soul-bearing. &hellip; All us artists here, we f\*\*\*ing adore you. You are our light.

Music's Biggest Night beamed into the homes of more than 26 million viewers, representing a 4 percent year-over-year increase and the highest viewership since 2014. The luster extended well after the Sunday telecast, with several winners, nominees and performers benefiting from the GRAMMY Effect.

Digital sales of songs performed on the show saw a 140 percent increase in download sales, with Urban and Underwood's "The Fighter" experiencing a 574 percent gain. On-demand streams (audio and video combined) of songs performed rose 30 percent, including Mars' "That's What I Like" spiking 99 percent. Adele's 25 returned to the Top 10, rising to No. 6 with a 137 percent sales increase. Combined with the other Album Of The Year nominees (Beyonc&eacute;'s Lemonade, [Justin Bieber](/artists/justin-bieber/10220)'s Purpose, Drake's Views, and Sturgill Simpson's A Sailor's Guide To Earth), all five albums saw a collective 91 percent increase in equivalent album sales. Following his GRAMMY performance with Perry, Skip Marley became the first member of the Marley family to score a Top 10 hit on the Billboard Hot 100.

More than just impressive statistics, these sizable GRAMMY Effect gains give additional credence to the 59th GRAMMY Awards telecast remarks of Recording Academy President/CEO Neil Portnow, who during his impassioned speech delivered to the new administration an important unified message on behalf of the music community.

"The Recording Academy, together with America's music makers, call on the president and Congress to help keep the music playing by updating music laws, protecting music education and renewing America's commitment to the arts," said Portnow. "It's our collective responsibility to preserve what binds us and to ensure that the whole world continues to benefit from one of our most unique \[and\] economically and spiritually important assets &mdash; and exports: American music."

Eligibility Period: Oct. 1, 2015, through Sept. 30, 2016

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58th Annual GRAMMY Awards

In an era when much of the prevailing cultural dialogue revolves around race relations and personal empowerment, the big winners at the 58th GRAMMY Awards reflected the currency of the times.

With 11 nominations, Compton, Calif., rapper [Kendrick Lamar](/artists/kendrick-lamar/17949) went into Music's Biggest Night as the most nominated artist since [Michael Jackson](/artists/michael-jackson/13202) and [Babyface](/artists/babyface/985) each scored 12 for 1983 and 1996, respectively. He took five GRAMMYs, including Best Rap Album for&nbsp;To Pimp A Butterfly, and Best Rap Performance and Best Rap Song for "Alright."

Lamar's performance of "The Blacker The Berry" and "Alright," songs that became unofficial soundtracks for the Black Lives Matter movement, infused the GRAMMYs with the kind of social immediacy at which it excels, whether it's championing marriage equality or honoring late musical icons such as Whitney Houston.

[Alabama Shakes](/artists/alabama-shakes/14656), perhaps fittingly a multiracial band with a multiracial frontwoman, [Brittany Howard](/artists/brittany-howard/3375), won three awards &mdash; Best Rock Performance, Best Rock Song and Best Alternative Music Album &mdash; all based around their acclaimed sophomore album,&nbsp;Sound &amp; Color. Their performance of "Don't Wanna Fight," introduced with an otherworldly scream by Howard, who looked like a high priestess of rock in a flowing white cape, was a captivating moment from a band that has helped bring back a sense of urgency to rock.

[Taylor Swift](/artists/taylor-swift/15450) took Album Of The Year for&nbsp;1989&nbsp;among her three awards. Pointing out she was the first woman to win that award twice, Swift was passionate about giving due credit to the contributions of women during her acceptance speech. Her show-opening performance of "Out Of The Woods" proved she's a powerful, self-assured woman.

Other multiple winners included [D'Angelo](/artists/dangelo/1902), [Diplo](/artists/diplo/8548), [Jason Isbell](/artists/jason-isbell/19091), [Maria Schneider](/artists/maria-schneider/6153), [Ed Sheeran](/artists/ed-sheeran/6178), [Skrillex](/artists/skrillex/6363), [Chris Stapleton](/artists/chris-stapleton/15418), and [The Weeknd](/artists/The-Weeknd/24884).

Rising up, to paraphrase GRAMMY nominee and performer [Andra Day](/artists/andra-day/18980), was the theme of the night. In addition to Lamar's wins and triumphant performance, there were other noteworthy moments.

"Glory," Common and [John Legend](/artists/john-legend/16994)'s defiant song from Selma, the film about the 1965 Montgomery, Ala., voting rights marches,&nbsp;won for Best Song Written For Visual Media. [Lalah Hathaway](/artists/lalah-hathaway/3123) won in the Best Traditional R&amp;B Performance category for "Little Ghetto Boy," a song about overcoming the consequences of growing up in inner-city poverty that was originally recorded by her father, [Donny Hathaway](/artists/donny-hathaway/2656). &nbsp;&nbsp;

Mexican drummer/composer [Antonio Sanchez](/artists/antonio-sanchez/6087), who won Best Score Soundtrack For Visual Media for&nbsp;Birdman, thanked GRAMMY voters specifically because he had been "eliminated by another awards show that starts with an 'O' and ends with 'scars.'" And songwriter [Kendra Foster](/artists/kendra-foster/19024) literally raised a fist and proclaimed "we're trying to rise up" when accepting the Best R&amp;B Song award for her, D'Angelo and [Gina Figueroa](/artists/gina-figueroa/19500)'s "Really Love."

It was also a night of official goodbyes to musical giants, some of whom died within weeks of the GRAMMY telecast.

[Lady Gaga](/artists/lady-gaga/3611)'s tribute to [David Bowie](/artists/david-bowie/4819) was an electrifying appreciation of one of the most influential artists of our time. Bowie &mdash; who died Jan. 10 &mdash; received a Lifetime Achievement Award from The Recording Academy in 2006, and an appropriate celebration on the GRAMMY telecast with a 10-song medley wrapped by a triumphant version of "Heroes."

The band synonymous with '70s California rock came together to salute their fallen founding member, [Glenn Frey](/artists/glenn-frey/2410), who died Jan. 18. The Eagles strummed through their first hit, the classic "Take It Easy," teaming with the song's co-writer Jackson Browne (who penned the tune with Frey in the early '70s when they lived in the same Los Angeles apartment building). The ode to letting troubles run off your shoulders and grabbing life while you can was a fitting tribute to a singer, guitarist and man who did just that.

Things revved up a few decibels when the Hollywood Vampires (Alice Cooper, Johnny Depp and Joe Perry joined by Guns N' Roses bassist Duff McKagan and drummer Matt Sorum) lit the funeral pyre for Lemmy Kilmister &mdash; hard rock's No. 1 anarchist who died Dec. 28, 2015 &mdash; with a short blast of Mot&ouml;rhead's "Ace Of Spades."

At the other end of the genre and attitude spectrum, [Earth, Wind &amp; Fire](/artists/earth-wind-fire/14550)'s deeply optimistic pan-spiritual leader [Maurice White](/artists/maurice-white/6905), who died Feb. 4, was feted by [Stevie Wonder](/artists/stevie-wonder/8257) and vocal group [Pentatonix](/artists/pentatonix/20140), who performed an a cappella version of the classic "That's The Way Of The World."

Finally, Stapleton, [Gary Clark Jr.](/artists/gary-clark-jr/17798) and Bonnie Raitt paid tribute to one of the most noteworthy bluesmen of all time, B.B. King, who died May 14, 2015. The three artists &mdash; performing King's biggest hit, "The Thrill Is Gone" &mdash; reflected disparate generations and genres, but demonstrated that roots music is a single language often spoken with six strings.

Wrapped around these special GRAMMY Moments were additional performances that delivered musical breadth as only the GRAMMYs can.

New country star and former college footballer [Sam Hunt](/artists/sam-hunt/19085)'s "Take Your Time" got an audible via a duet with [Carrie Underwood](/artists/carrie-underwood/10381) and her "Heartbeat."

R&amp;B sensation [The Weeknd](/artists/The-Weeknd/24884) sensitively performed his ballad "In The Night," backed by piano and cello, after teasing his hit "Can't Feel My Face." The vocal triumph scored a standing ovation.

Day was joined by [Ellie Goulding](/artists/ellie-goulding/19043) for one of the night's sweetest melding of voices as they seamlessly brought their respective ballads "Rise Up" and "Love Me Like You Do" together.

[Lionel Richie](/artists/lionel-richie/17291), the 2016 MusiCares Person of the Year honoree and a true hits king of the '80s, rightly received the royal treatment as Luke Bryan, John Legend, Demi Lovato, [Meghan Trainor](/artists/meghan-trainor/18740), and [Tyrese](/artists/tyrese/17506) came together for a mega-salute capped by the man himself singing his signature "All Night Long (All Night)."

Richie collaborator, the late Michael Jackson, was remembered by nominee [Miguel](/artists/miguel/4571), who delivered a smooth version of "She's Out Of My Life" backed by the song's original keyboardist Greg Phillinganes.

[Little Big Town](/artists/little-big-town/10623) turned in a contemplative version of "Girl Crush" rich in the harmonizing of their four collective voices.

Two Best New Artist nominees, James Bay and Tori Kelly, joined forces to show off some fresh multiweapon talent as the pair of singer/songwriter/instrumentalists ran emotively through his "Let It Go" and her "Hollow."

The GRAMMYs aired its first-ever live performance from a Broadway stage by bringing the acclaimed musical "Hamilton" to a nationwide TV audience. Star/writer Lin-Manuel Miranda and his cast ran through the opening number "Alexander Hamilton" before an ecstatic audience at the Richard Rodgers Theatre in New York, providing a taste of its groundbreaking melding of hip-hop and traditional musical theater.

Despite some well-documented technical glitches, Adele's performance became a triumph over adversity, a testament to the fact that great talent will always shine despite the sometimes unexpected travails of live TV. To paraphrase her song "All I Ask," Adele left her heart on the stage to a standing ovation.

[Justin Bieber](/artists/justin-bieber/10220) teamed with EDM stars Skrillex and Diplo &mdash; under their Jack &Uuml; moniker &mdash; for a rousing take on "Where Are &Uuml; Now," which followed an acoustic solo turn by Bieber, who played his "Love Yourself." As Billboard noted, "While some previous dance performances have fallen flat in televised awards shows, there was nothing stilted about the energetic ensemble's stage show."

And on a similarly energetic note, the GRAMMYs concluded with a party thrown by one of the night's winners, Pitbull, who was joined by Travis Barker, Joe Perry, Robin Thicke, and actress Sofia Vergara, who showed off some of her best dance moves.

Between honoring our musical legacy and recognizing music's power to reflect and impact our cultural legacy, fans truly had a chance to Witness Greatness on the 58th GRAMMYs.

Eligibility Period: Oct. 1, 2014, through Sept. 30, 2015

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57th Annual GRAMMY Awards

Even for the GRAMMY Awards, which takes pride in each unique performance on its world-renowned stage &mdash; performances that have collectively come to be known as GRAMMY Moments &mdash; the 57th telecast topped expectations. The show featured an impressive 23 performances, many offering teamings that were not only inspired, but resulted in illuminating versions of deeply powerful songs.

If you thought <a href="/artists/sam-smith/18713">Sam Smith</a>'s multiple GRAMMY-winning "Stay With Me (Darkchild Version)" was an aching heartbreak of a song, you may have been emotionally drained after <a href="/artists/mary-j-blige/779">Mary J. Blige</a> joined Smith to add tent-revival urgency. 
 
<a href="/artists/katy-perry/5726">Katy Perry</a>'s "By The Grace Of God" already defies many of the California gurl's best-known pop hits, but following a personal plea from President Barack Obama to stop domestic violence and the real-life tale of abuse from survivor and activist Brooke Axtell, its unexpected impact brought the house to its feet. 
 
And so went this year's telecast, performance after performance proving that GRAMMY Moments live well beyond the moment of their creation. 
 
First-time GRAMMY performers AC/DC opened the show with fireworks and firepower, with singer Brian Johnson and guitarist Angus Young igniting the stage &mdash; and the playfully devil-horned audience &shy;&mdash; with "Rock Or Bust" and the classic "Highway To Hell." 
 
But it was the next performance of "Just A Little Bit Of Your Heart" by <a href="/artists/ariana-grande/18441">Ariana Grande</a> that arguably served as the true tone setter of the night, a poignant moment of soul-stirring singing that was as moving as it was entertaining. 
 
Brits <a href="/artists/jessie-j/18501">Jessie J</a> and the ever-vibrant Tom Jones followed with a similarly breathtaking "You've Lost That Loving Feelin'" in tribute to the iconic song's co-writers, 2015 Recording Academy Trustees Award recipients Barry Mann and Cynthia Weil. 
 
<a href="/artists/miranda-lambert/4851">Miranda Lambert</a> then interjected a touch of rock-inflected hoedown energy, wheeling out her upbeat "Little Red Wagon" with attitude and energy to spare, tapping into her firecracker charisma. 
 
<a href="/artists/kanye-west/6900">Kanye West</a> returned to the show's tacit theme of emotional message music with "Only One." Shadowy under a single spotlight, West bared it all with his ode to daughter North West, sung from the perspective of his late mother, and aimed at healing and happiness. 
 
An ageless <a href="/artists/madonna/5068">Madonna</a>, still enviably contorting through Pilates-required dance numbers, debuted her new "Living For Love" with a bullfighting theme and a matador's determination and finesse. 
 
Pulling out all the stops, <a href="/artists/ed-sheeran/6178">Ed Sheeran</a>, <a href="/artists/john-mayer/14891">John Mayer</a>, <a href="/artists/herbie-hancock/9477">Herbie Hancock</a>, and Questlove teamed for Sheeran's "Thinking Out Loud." Despite such a group of heavyweights, they retained the song&rsquo;s graceful rumination on enduring love. 
 
The quartet then gave way to Jeff Lynne's ELO. GRAMMY winner Lynne led the band through an ELO signature, "Evil Woman," before joining with Sheeran for a rousing "Mr. Blue Sky." 
 
Adam Levine reunited with former "The Voice" judge Gwen Stefani for <a href="/artists/maroon-5/13090">Maroon 5</a>'s ballad "My Heart Is Open," with each bringing their formidable chops to the plea for love. 
 
Last year, the GRAMMYs brought 33 couples to the stage for a mass musical marriage ceremony. This year, Irish singer/songwriter <a href="/grammys/artists/hozier">Hozier</a> took the crowd to church with his GRAMMY-nominated hit. As "Take Me To Church" built to its climax, singer <a href="/grammys/artists/annie-lennox">Annie Lennox</a> joined to add an exclamation point, then segued into her cover of Screamin' Jay Hawkins' "I Put A Spell On You," as she did just that to the GRAMMY audience. 
 
By now, <a href="/artists/pharrell-williams/7310">Pharrell Williams</a> has built a cottage industry around his inescapable hit "Happy." For his GRAMMY performance, joined by composer Hans Zimmer on guitar and pianist <a href="/artists/lang-lang/14460">Lang Lang</a>'s otherworldly finger play, Williams' turned in a dark and satisfying take on the song. 
 
After Perry's stirring "By The Grace Of God," <a href="/artists/tony-bennett/1073">Tony Bennett</a> and <a href="/artists/lady-gaga/3611">Lady Gaga</a> hit the stage like the second coming of ultimate lounge-act couple Louis Prima and Keely Smith. The pair was clearly having authentic fun onstage, at times truly "Cheek To Cheek." 
 
Backed only by teen harpist Melody Tai, <a href="/artists/usher/16167">Usher</a> performed a sweet version of <a href="/artists/stevie-wonder/8257">Stevie Wonder</a>'s "Magic" in anticipation of "Stevie Wonder: Songs In The Key Of Life &mdash; An All-Star GRAMMY Salute," a two-hour special that aired on CBS Feb. 16. Truly whetting appetites for that show, Wonder emerged from the shadows at the end of the song for an excitedly received harmonica solo. 
 
The GRAMMYs took a trip to Nashville, Tenn., next for <a href="/artists/eric-church/10938">Eric Church</a>'s "Give Me Back My Hometown." Then it was just left of Nashville for Best New Artist nominee <a href="/artists/brandy-clark/17797">Brandy Clark</a>'s teaming with Dwight Yoakam for her "Hold My Hand," to which Yoakam contributed haunting background vocals. 
 
The camera then shifted quietly to three silhouetted figures, in what is quickly becoming an iconic pose, for a debut performance of "FourFiveSeconds," <a href="/artists/rihanna/5943">Rihanna</a>'s new single with <a href="/artists/paul-mccartney/4678">Paul McCartney</a> and West. The trio represented almost unprecedented star power and the song was captivatingly striking in its stark presentation. 
 
After Smith (who emerged as the night's top winner with four GRAMMYs) and Blige's roof-raising performance of "Stay With Me," Colombian singer/songwriter <a href="/artists/juanes/9195">Juanes</a> hit the stage for a performance of his reggae-tinged "Juntos," en espa&ntilde;ol. 
 
Actress Kristen Wiig served as the face of<a href="/artists/sia/15372"> Sia</a> for the latter's performance of "Chandelier," miming a comic version of the song's GRAMMY-nominated music video with young dancer Maddie Ziegler, while Sia earnestly sang from a corner of the set, in her customary back-to-the-audience stance. 
 
Album Of The Year winner <a href="/artists/beck/292">Beck</a> teamed with <a href="/artists/coldplay/10952">Coldplay</a>'s Chris Martin for a Crosby, Stills, Nash &amp; Young-inspired version of his acoustic gem "Heart Is A Drum." Though backed only by acoustic instruments, the song's tale of heartbreak and acceptance had an electric impact. 
 
"We live in complicated times," said Gwyneth Paltrow in introducing <a href="/artists/beyonce-knowles/12474">Beyonc&eacute;</a>'s take on the gospel standard "Take My Hand, Precious Lord," "and now more than ever we need understanding and to acknowledge the feelings of others.&rdquo; 
 
Looking angelic in a white dress that gave the appearance of wings, Bey took the crowd to church literally, as Hozier had done metaphorically earlier. 
 
The 57th GRAMMY Awards closed poignantly with <a href="/artists/john-legend/16994">John Legend</a> and <a href="/artists/common/1332">Common</a>'s stunning Selma theme, "Glory." The performance not only came two weeks prior to their Oscar turn, but taken together with Beyonc&eacute;&rsquo;s preceding tour de force vocal performance, the finale drew a connection in the battle for equal rights from the '60s to the present &mdash; capping the night's powerful message about music's ability to stir people to greater awareness and action. 
 
&nbsp;

Eligibility Period: Oct. 1, 2013, through Sept. 30, 2014

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See all GRAMMY award winners and nominees for the 57th GRAMMY Awards, presented in 2014.

56th Annual GRAMMY Awards

Reuniting legends, creating unparalleled GRAMMY Moments and giving new artists a global platform are all part of what makes the GRAMMYs a truly unique celebration of music. But this year the GRAMMY stage served as an opportunity to display music's power to unleash "whoever we are and whoever we dream about being," as host [LL Cool J](/artists/ll-cool-j/4008) said in his opening remarks.

Following a steamy performance of "Drunk In Love" by power couple Beyonc&eacute; and Jay Z, Macklemore &amp; Ryan Lewis made their first appearance on the GRAMMY stage to accept the first award of the night for Best New Artist. After catching their collective breath, Macklemore thanked their fans, "the people that got us on this stage," while acknowledging their independent roots.\

\

"We made this album without a record label," said Macklemore. "And we appreciate all the support."

The Seattle rap duo ended their GRAMMY debut on top, garnering a total of four trophies. The duo were later joined by singer/songwriter Mary Lambert and Trombone Shorty for a performance of their GRAMMY-nominated anthem of equality, "Same Love." The performance marked a historic moment for the GRAMMY Awards as Queen Latifah took the stage mid-set to officiate a live marriage ceremony for 33 diverse couples, which was capped with an appearance by Madonna. Madge gave new meaning to the chorus to her "Open Your Heart," proving that while music unleashes independence, it also promotes harmony.

"When we say music has the power to bring people together at the GRAMMYs, we mean it," said Latifah.

Fellow GRAMMY newcomer Lorde performed her hit "Royals," which took Song Of The Year and Best Pop Solo Performance. The 17-year-old singer/songwriter was clearly shocked: "This is the one thing that I did not expect the most about tonight," she said while accepting the latter award.

Further demonstrating music's power to unleash individuality, Hunter Hayes debuted his new single "Invisible." The inspirational piano-driven ballad was colored with several onscreen quotes, including one by John Lennon: "You don't need anybody to tell you who you are or what you are. You are what you are."

Country singer/songwriter Kacey Musgraves nabbed the first two GRAMMYs of her career for Best Country Song for "Merry Go 'Round" with Shane McAnally and Josh Osborne, and Best Country Album for Same Trailer Different Park. Musgraves made her individual mark on the GRAMMYs when she brightened the stage for a performance of "Follow Your Arrow," a song about doing "whatever you want."

One of the most talked about &mdash; and tweeted &mdash; performances of the night was the teaming of Imagine Dragons, who won their first GRAMMY for Best Rock Performance for "Radioactive," with rising rapper Kendrick Lamar. On a smoke-filled stage, the collective delivered a colorful mashup of "Radioactive" and Lamar's "m.A.A.d city" &mdash; an appropriate welcome to a new generation of GRAMMY performers.

But being in with the new does not mean out with the old &mdash; or in this case, legendary. Newly minted Lifetime Achievement Award recipient Kris Kristofferson, Willie Nelson and Merle Haggard were accompanied by Blake Shelton for a medley of classics such as "Okie From Muskogee" and "Mamas Don't Let Your Babies Grow Up To Be Cowboys" that had everyone from Musgraves to Jay Z and Beyonc&eacute; swaying in the audience. Daft Punk&nbsp; and Pharrell Williams &mdash; both of whom also topped the winners list with four each, including Album Of The Year for Random Access Memories and a Producer Of The Year, Non-Classical win for Williams &mdash; teamed with Nile Rodgers and Stevie Wonder for a mashup of the Chic classic "Le Freak" and "Get Lucky." The latter earned Rodgers two of his first three career GRAMMYs for Best Pop Duo/Group Performance and Record Of The Year.

Additionally, Jay Z and Justin Timberlake won Best Rap/Sung Collaboration for "Holy Grail," which Jay Z accepted on their behalf and dedicated to his daughter Blue Ivy. Bruno Mars took home Best Pop Vocal Album honors for Unorthodox Jukebox, which he dedicated to his late mother Bernadette, who died in June 2013.

On a satellite stage, 2014 MusiCares Person of the Year honoree Carole King&nbsp;and Sara Bareilles went head-to-head on piano for a performance of Bareilles' "Brave" and King's "Beautiful." More all-star collaborations ensued. Robin Thicke joined Chicago to perform the latter's "Beginnings," "Does Anybody Really Know What Time It Is?" and "Saturday In The Park" and his "Blurred Lines," which earned Thicke his first nominations as an artist. GRAMMY winner Keith Urban and first-time winner Gary Clark Jr. joined for a performance of Urban's "Cop Car" that showed off each individual's guitar prowess. Pink made sure no one forgot her high-flying acrobatic skills as she took to the air to perform "Try" before Fun.'s Nate Ruess joined to deliver their GRAMMY-nominated hit "Just Give Me A Reason."

The spotlight was on John Legend as he took a seat behind the piano for a soulful performance of his romantic ballad "All Of Me," which appeared to be dedicated to his new bride, Chrissy Teigen. Taylor Swift went for a no-frills performance, looking glamorous at the piano for her "All Too Well." Meanwhile, fellow singer/songwriter Katy Perry proved she has a dark side, opening encased in a crystal ball for an enchanting performance of her hit single about playing with magic, "Dark Horse," featuring Juicy J.

Though the evening was highlighted by new artists taking home their first GRAMMY gold, as David Grohl remarked while accepting the award for Best Rock Song for "Cut Me Some Slack" with Paul McCartney and former Nirvana bandmates Krist Novoselic and Pat Smear, "If it wasn't for the Beatles, we wouldn't be here." Celebrating the 50th anniversary of their U.S. debut on "The Ed Sullivan Show" this year, remaining Beatles McCartney and Ringo Starr took the stage, likely reminding some of the younger artists in the audience why they chose their individual paths. After a solo performance by Starr of his chestnut "Photograph," the drummer joined McCartney for the latter's new "Queenie Eye." (Two weeks later, the pair would team again for the successful tribute "The Beatles: The Night That Changed America &mdash; A GRAMMY Salute," which celebrated their historic performance on "The Ed Sullivan Show" 50 years ago.)

From one surprise teaming to another, Metallica&nbsp;took the stage with the GRAMMY Cultural Ambassador to China, pianist Lang Lang. Following an introduction from Oscar winner Jared Leto, who cited Metallica as a "great rock band who have stayed true to themselves," the group delivered a unique performance of their past GRAMMY winner "One" that had frontman James Hetfield going guitar-to-piano with Lang Lang. The pianist returned shortly after to pay tribute to the late Van Cliburn during the In Memoriam segment, which also featured Miranda Lambert and Billie Joe Armstrong&nbsp;teaming for a tribute to the late Phil Everly with the Everly Brothers' "When Will I Be Loved."

The 56th telecast took its final bow with one last memorable GRAMMY Moment that literally rocked. Fleetwood Mac guitar master Lindsey Buckingham and Grohl joined Nine Inch Nails and Queens Of The Stone Age for NIN's "Copy Of A" and QOTSA's "My God Is The Sun."

Eligibility Period: Oct. 1, 2012, through Sept. 30, 2013

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55th Annual GRAMMY Awards

While many past GRAMMY telecasts have turned into colorful coronations of artists who enjoyed larger-than-life years (<a href="/artists/michael-jackson/13202" target="_blank">Michael Jackson</a>'s eight GRAMMYs in 1983, Santana's eight in 1999, <a href="/artists/beyonce-knowles/12474" target="_blank">Beyonc&eacute;</a>'s six in 2009, and <a href="/artists/adele/528" target="_blank">Adele</a>'s six in 2011), the 55th Annual GRAMMY Awards spread the wealth among a crop of younger artists who set the stage for the century's second decade in music.

Roots-influenced rockers the <a href="/artists/black-keys/8120" target="_blank">Black Keys</a> won three awards in the Rock Field (and guitarist/singer Dan Auerbach added one more for Producer Of The Year, Non-Classical.

Rap stalwarts <a href="/artists/jay-z/9815" target="_blank">Jay-Z</a> and <a href="/artists/kanye-west/6900" target="_blank">Kanye West</a> won three GRAMMYs each, all for their collaborations on Best Rap Performance and Best Rap Songwinner "N****s In Paris" and Best Rap/Sung Collaboration winner "No Church In The Wild" (featuring Frank Ocean and The-Dream).

Then came more relative newcomers: Skrillex added three GRAMMYs to his three from last year; <a href="/artists/gotye/2402" target="_blank">Gotye</a> rode "Somebody That I Used To Know" (featuring <a href="/artists/kimbra/3581" target="_blank">Kimbra</a>), which became the most idiosyncratic radio hit of 2012, to three awards, including Record Of The Year; <a href="/artists/fun/15812" target="_blank">Fun.</a> won their first two GRAMMYs for Song Of The Year for "We Are Young" (featuring <a href="/artists/janelle-monae/4464" target="_blank">Janelle Mon&aacute;e</a>) and Best New Artist; and Mumford &amp; Sons, one of the trailblazers for the new wave of acoustic roots artists, won Album Of The Year for Babel.

Some of the winning artists were so new, they took other winners by surprise.

"Miguel, I don't know who the hell you are, but we need to sing together," shouted <a href="/artists/kelly-clarkson/11249" target="_blank">Kelly Clarkson</a> while collecting her Best Pop Vocal Album GRAMMY for Stronger, referring to <a href="/artists/miguel/4571" target="_blank">Miguel</a>'s brief slow jam of his Best R&amp;B Song winner "Adorn" (on which he teamed with Wiz Khalifa). "That was the sexiest damn thing I've ever seen."

It was more than a fresh breeze that blew over the 55th GRAMMYs, it was arguably a wind of change.

Still, the telecast remained music's biggest melting pot, with performances that brought innumerous ingredients to the stew, starting with one that was a virtual stew all on its own. With nose-thumbing clowns, a wheelchair-bound Mephisto and scary puppeteers, <a href="/artists/taylor-swift/15450" target="_blank">Taylor Swift</a> turned in the most threatening "We Are Never Ever Getting Back Together" ever.

British singer/songwriter <a href="/artists/ed-sheeran/6178" target="_blank">Ed Sheeran</a> teamed with the head of his management company, <a href="/artists/elton-john/12074" target="_blank">Elton John</a>, for a strong reading of the former's Song Of The Year-nominated "The A Team," the tale of a homeless addict.

Fun. brought drama to "Carry On," their song of perseverance, in the form of both their anthemic ambition and a rainstorm of real water that drenched their set.

<a href="/artists/miranda-lambert/4851" target="_blank">Miranda Lambert</a> and Dierks Bentley, met under a large blue tree for intimate duets of her "Over You" and his "Home."

Mumford &amp; Sons gave a jolt to the crowd with their endlessly energetic "I Will Wait." The way they attacked their acoustic guitars would have made Pete Townshend proud.

Breaking a seven-year hiatus from live music performance, Justin Timberlake hit a sepia-toned stage for a suave medley of his new "Suit &amp; Tie" (on which he was joined by Jay-Z) and "Pusher Love Girl" from his 2013 album, The 20/20 Experience.

In another unique pairing, <a href="/artists/maroon-5/13090" target="_blank">Maroon 5</a> and <a href="/artists/alicia-keys/12104" target="_self">Alicia Keys</a> teamed for the former's "Daylight" and the latter's "Girl On Fire," both songs that kindle with power and emotion.

<a href="/artists/rihanna/5943" target="_blank">Rihanna</a> was joined by Mikky Ekko for "Stay," a song he co-wrote and on which he is a featured vocalist. With Rihanna in a simple black dress on a no-frills stage, the song's message of passion over logic bore through.

The Black Keys wasted no time revving up "Lonely Boy." The rocker, which owes a debt to rockabilly, swamp rock and electric blues, was punctuated by the New Orleans piano of Best Blues Album GRAMMY winner Dr. John and a pinch of Dixieland from the Preservation Hall Jazz Band.

Clarkson returned for a vocal salute to two giant female artists, both of whom received Recording Academy Lifetime Achievement Awards in 2013. First up was "Tennessee Waltz" in honor of Patti Page, followed by "A Natural Woman (You Make Me Feel Like)," co-written by Carole King.

The tributes continued with a nod to Bob Marley, who was the subject of the Best Compilation Soundtrack For Visual Media-nominated Marley. Two of the performers, like Marley, hail from tropical islands: <a href="/artists/bruno-mars/5082" target="_blank">Bruno Mars</a> from Hawaii and Rihanna from Barbados. Also joining was Sting, whose music with the Police owed a debt to reggae and ska. Mars began with his own "Locked Out Of Heaven" followed by the similar-sounding Police chestnut "Walking On The Moon." Rihanna emerged with Ziggy and Damian Marley for their father's "Could You Be Loved."

<a href="/artists/lumineers/14762" target="_blank">The Lumineers </a>played a shortened version of their inescapable hit "Ho Hey" before introducing <a href="/artists/jack-white/15627" target="_blank">Jack White</a>. The latter played "Love Interruption" with his all-female band the Peacocks. He then segued into the harder "Freedom At 21" with male backers the Buzzards. By the time he finished the tumult, he had thrown and stepped on his guitar, leaving a sonic residue of decaying feedback.

<a href="/artists/hunter-hayes/9010" target="_blank">Hunter Hayes</a> played a portion of his hit "Wanted" solo on piano before bringing out fellow country star <a href="/artists/carrie-underwood/10381" target="_blank">Carrie Underwood</a> for a stripped-down version of her Best Country Solo Performance winner "Blown Away." Underwood's awe-inspiring vocals were matched by her billowy dress, which doubled as a projection screen to depict the heartbreak of the song.

The 2013 In Memoriam segment was bookended by two memorable tributes. The first featured pianist Chick Corea, bassist Stanley Clarke and sax player Kenny Garrett honoring the late Dave Brubeck with the timeless, and time-challenging, "Take Five" along with "Blue Rondo &Agrave; La Turk."

Following the segment, an all-star cast including Zac Brown, T Bone Burnett, <a href="/artists/alabama-shakes/14656" target="_blank">Alabama Shakes</a>' Brittany Howard, Elton John, Mumford &amp; Sons, and Mavis Staples sang a gritty "The Weight" in honor of Levon Helm, who sang the original with the Band.

Juanes added a verse of espa&ntilde;ol to the proceedings with a loving acoustic Spanglish rendition of Elton John's "Your Song," before introducing <a href="/artists/frank-ocean/15669" target="_blank">Frank Ocean</a>. The first Best Urban Contemporary Album winner sang his elegiac "Forrest Gump" backed by running-sequence footage similar to the film of the same name.

After the show's most somber performance, the 55th GRAMMYs rode out on a burst of old-school rap energy, with GRAMMY host LL Cool J teaming with Chuck D, Travis Barker, Tom Morello, and DJ Z-Trip for his own "Whaddup" and a brief tribute to fallen Beastie Boy Adam Yauch with "No Sleep Till Brooklyn."

Eligibility Year: Oct. 1, 2011, through Sept. 30, 2012

55th_poster

GRAMMY Awards Time Capsule

Awards Row

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2026 GRAMMYs To Take Place Sunday, Feb. 1; Two New GRAMMY Categories Added: Best Traditional Country Album & Best Album Cover

The Recording Academy has announced that the 2026 GRAMMYs will return to Los Angeles on Sunday, Feb. 1, with two new GRAMMY Categories: Best Traditional Country Album and Best Album Cover. Nominations for the 2026 GRAMMYs will be announced Friday, Nov. 7, 2025. Learn more about all the new changes debuting at the 2026 GRAMMYs, officially known as the 68th Annual GRAMMY Awards, which broadcast live on the CBS Television Network and stream live and on demand on Paramount+.

Body - 2026 GRAMMYs To Take Place Sunday, Feb. 1

***The 2026 GRAMMYs, officially known as the 68th GRAMMY Awards, will air live on Sunday, Feb. 1. Learn more about the 2026 GRAMMYs on [live.GRAMMY.com](http://live.grammy.com).***

Music's Biggest Night returns! The [Recording Academy](https://www.recordingacademy.com/) has announced that the 2026 GRAMMYs will take place **Sunday, Feb. 1**, live at Crypto.com Arena in Los Angeles. Nominations for the 2026 GRAMMYs will be announced **Friday, Nov. 7, 2025**. 

The [annual GRAMMY Awards process](https://www.recordingacademy.com/awards) has also undergone several updates, including the addition of two new GRAMMY Categories: Best Traditional Country Album and Best Album Cover. These [expansive and exciting changes](https://www.grammy.com/news/2026-grammys-things-know-about-new-categories-changes) reflect both Academy member-submitted proposals and the Recording Academy&rsquo;s ongoing commitment to evolving with the ever-changing musical landscape. 

"The Academy's top priority is to represent the music people that we serve each year," Recording Academy CEO [Harvey Mason jr.](https://grammy.com/artists/harvey-mason-jr/4668) said in a statement. "That entails listening carefully to our members to make sure our rules and guidelines reflect today&rsquo;s music and allow us to accurately recognize as many deserving creators as possible. As we kick off another exciting GRAMMY Season, we look forward to celebrating the amazing power of music and its ability to bring so many people together."

**Read More:** [34 Iconic Album Covers, From The Beatles' ](https://www.grammy.com/news/iconic-album-covers)*[Abbey Road](https://www.grammy.com/news/iconic-album-covers)*[ To Charli xcx's ](https://www.grammy.com/news/iconic-album-covers)*[brat](https://www.grammy.com/news/iconic-album-covers)*

In an [exclusive interview with GRAMMY.com](https://www.grammy.com/news/harvey-mason-jr-2026-grammys-interview-new-categories), Harvey Mason jr. expressed his excitement about the new changes going into effect at the 2026 GRAMMYs. &ldquo;Each year during our Awards &amp; Nominations review, our focus is on refining our rules, uncovering anything that is no longer working, and ensuring we are celebrating our creative community in the most meaningful way,&rdquo; he told GRAMMY.com. &ldquo;I'm thrilled that many of this year's changes &hellip; allow us to honor even more creators. That's always a positive outcome for me. But even more importantly, these are much-needed updates that ensure those who are making significant contributions to the musical process are properly recognized and have the opportunity to be celebrated on Music's Biggest Night.&ldquo;

See the full list of expansive updates &mdash; including new GRAMMY Categories, key dates and deadlines, and other impactful changes &mdash; set to debut at the 2026 GRAMMYs below.

*Learn more about the&nbsp;[annual GRAMMY Awards process](https://www.recordingacademy.com/awards). Read our [frequently asked GRAMMY questions (FAQ) section](https://www.recordingacademy.com/awards/faq). View the&nbsp;[official GRAMMY Awards Rules and Guidelines](https://www.grammy.com/awards/rules-guidelines) for the 2026 GRAMMYs. And [visit the GRAMMY Award Update Center](https://www.grammy.com/awards/awards-updates)&nbsp;for a list of real-time changes to the GRAMMY Awards process.*

## GRAMMY Award Field &amp; Category Updates

**General Field**

Eligibility for Best New Artist has been expanded to include artists who have been previously nominated in Album Of The Year, but whose contributions fell below the current 20 percent playing time threshold. This update allows acts who were credited as featured artists on projects that were GRAMMY nominated for Album Of The Year in a previous awards cycle to be eligible for Best New Artist consideration.

**Country Field**

The existing Best Country Album Category has been renamed Best Contemporary Country Album, and a new Category, Best Traditional Country Album, has been added.

**Classical Field**

In Classical Categories, composers and lyricists/librettists are now eligible for GRAMMY recognition alongside all other key creative personnel including artists, producers, and engineers on winning albums.

**Packaging Field**

The existing Best Recording Package and Best Boxed or Special Limited Edition Package Categories have been combined into one single Category: Best Recording Package. A new Category, Best Album Cover, has also been added.

The physical product eligibility requirement for Best Recording Package, Best Album Notes, and Best Historical Album has also been expanded to be more representative of today&rsquo;s marketplace. This change ensures that physical album packages sold directly to fans through an artist&rsquo;s or label&rsquo;s website are eligible for GRAMMY consideration.

Additionally, the Craft Committee serving in this field is transitioning from a regional to a national model.

**Category Definition, Eligibility, &amp; Criteria Updates**

Minor updates to definitions, eligibility and criteria across multiple fields and awards have been reviewed and revised to be more expansive and inclusive. A full list of those changes can be found on page six of the [rulebook](https://www.recordingacademy.com/awards/rules-guidelines).

## 2026 GRAMMYs Key Dates

Aug. 31, 2024 &ndash; Aug. 30, 2025

**Product Eligibility Period**

July 7, 2025 &ndash; Aug. 22, 2025

**Media Company Registration Period**

*Media companies must [apply for registration ](https://www.recordingacademy.com/awards/media-company-registration-and-online-entry-process-oep)with the Recording Academy to submit recordings.*

July 16, 2025 &ndash; Aug. 29, 2025

**Online Entry Period**

*All eligible recordings must be entered prior to the close of the Online Entry Period, regardless of the public release date.*

Oct. 3, 2025 &ndash; Oct. 15, 2025

**First Round Voting**

*First Round Voting determines all the GRAMMY nominees for each GRAMMY Awards year.*

Nov. 7, 2025

**Nominees Announced for the 2026 GRAMMYs**

*Announcing the official nominees list for the 2026 GRAMMYs.*

Dec. 12, 2025 &ndash; Jan. 5, 2026

**Final Round Voting**

*Determines the GRAMMY winners across all Categories revealed on GRAMMY night*

Feb. 1, 2026

**2026 GRAMMY Awards**

*Music's Biggest Night, recognizing excellence in the recording arts and sciences.*

This February, the [2025 GRAMMYs](https://grammy.com/news/2025-grammys-nominations-full-winners-nominees-list) once again delivered a powerful, [history-making night](https://www.grammy.com/news/2025-grammys-first-time-winners-sabrina-carpenter-chappell-roan). LGBTQ+ artists [took center stage](https://www.grammy.com/news/how-2025-grammys-celebrated-lgbtq-community-queer-music), with [Chappell Roan](https://grammy.com/artists/chappell-roan/56864) winning [Best New Artist](https://grammy.com/news/chappell-roan-wins-best-new-artist-2025-grammys) and [delivering a moving call](https://www.grammy.com/news/2025-grammys-powerful-acceptance-speeches-chappell-roan-alicia-keys) for greater support for working musicians. [Doechii](https://grammy.com/artists/doechii/57882) made history as the first queer woman &mdash; and only the third woman ever &mdash; to win [Best Rap Album](https://grammy.com/videos/doechii-wins-best-rap-album-2025-grammys), while [St. Vincent](https://grammy.com/artists/st-vincent/18723) and [Charli xcx](https://www.grammy.com/artists/charli-xcx/18360) each took home three GRAMMYs. [Lady Gaga](https://grammy.com/artists/lady-gaga/3611) and [Bruno Mars](https://grammy.com/artists/bruno-mars/5082) won [Best Pop Duo/Group Performance](https://www.grammy.com/series-or-collection/2025-grammys-67th-annual-grammy-awards-videos/lady-gaga-bruno-mars-wins-best-pop-duo-group-performance-2025-grammys), and Gaga used the moment to advocate for trans visibility with a powerful acceptance speech.

The night also celebrated standout performances from rising and legendary artists alike, including Chappell Roan&rsquo;s [electrifying &ldquo;Pink Pony Club&rdquo;](https://grammy.com/news/chappell-roan-2025-grammys-performance) and Lady Gaga&rsquo;s debut of her new single &ldquo;Abracadabra.&rdquo; The 2025 GRAMMYs spotlighted both history-making achievements and the next generation of music icons, proving once again that diverse artistry continues to break boundaries and redefine Music&rsquo;s Biggest Night. Relive all the unforgettable moments and performances from the 2025 GRAMMYs all year long on [live.GRAMMY.com](http://live.grammy.com).

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2026 GRAMMYs Key Dates

2026 GRAMMYs To Take Place Sunday, Feb. 1

Key Events - Body text mode

## 68th ANNUAL GRAMMY AWARDS: KEY DATES

| Aug. 31, 2024 &ndash; Aug. 30, 2025 | Product Eligibility Period For Entries |
|----------|----------|
| July 7, 2025 &ndash; Aug. 22, 2025 | Media Company Registration Period |
| July 16, 2025 &ndash; Aug. 29, 2025 | Online Entry Process (OEP) Access Period |
| Oct. 3, 2025 &ndash; Oct. 15, 2025 | First Round Voting |
| Nov. 7, 2025 | Nominees Announced for the 68th Annual GRAMMY Awards |
| Dec. 12, 2025 &ndash; Jan. 5, 2026 | Final Round Voting |
| Feb. 1, 2026 | 68th Annual GRAMMY Awards Show Date/Telecast |

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Taylor Swift Is Self-Assured & In Love On 'The Life Of A Showgirl': 5 Takeaways From The New Album

With her twelfth album, the pop superstar begins a new era in more ways than one. Take a look at how tracks like "The Fate of Ophelia" and "The Life of a Showgirl" hint that Swift is happier and more inspired than ever.

Taylor Swift 'Life of a Showgirl' Takeaways - Body 1

"And, baby, that's show business for you," [Taylor Swift](https://grammy.com/artists/taylor-swift/15450) declared after announcing her 12th full-length album, *[The Life of a Showgirl](https://grammy.com/news/taylor-swift-the-life-of-a-showgirl-release-date-new-album-cover-collaborators)*. From becoming the first woman and [only artist to win](https://grammy.com/news/taylor-swift-album-of-the-year-2024-grammys-speech) a GRAMMY for [Album Of The Year four times](https://grammy.com/news/taylor-swift-grammys-timeline-history-evermore-album-of-the-year-folklore-fearless-1989), to dealing with heightened media scrutiny, to [breaking records with her Eras Tour](https://grammy.com/news/taylor-swift-eras-tour-records-movie-disney-plus-stream), no one understands the [highs and lows of being a showgirl](https://www.grammy.com/news/taylor-swift-showgirl-songs-the-life-of-new-album) like Swift. And after two decades in the business, the 14-time GRAMMY winner is giving everyone a glimpse of what she [describes](:blank:https://www.youtube.com/watch?v=M2lX9XESvDE&list=PLOY_2V03-NJpOGp6ZqTy_WU8Uq0D5krnG&ab_channel=NewHeights) as "the most infectiously joyful, wild, dramatic" chapter of her life thus far.

Swift doesn't want you to get it twisted, though &mdash; this is an album about the *life* of a showgirl, not an album about being a performer. The 12-track record is an amalgamation of what was going on [behind the scenes](https://grammy.com/news/taylor-swift-eras-tour-opening-acts-gracie-abrams-gayle-beabadoobee-girl-in-red-owenn-interviews-backstage-memories) throughout the latter half of [The Eras Tour](https://grammy.com/news/taylor-swift-tour-eras-concert-review-ticketmaster-nashville-rain-show-records-speak-now-taylors-version-announcement). After *[The Tortured Poets Department](https://grammy.com/news/taylor-swift-the-tortured-poets-department-tracklist-easter-eggs-guests)* provided insight into how she coped during the beginning of the tour while dealing with two relationships breaking down, producing tracks like "The Smallest Man Who Ever Lived" and "loml," *The Life of a Showgirl* is a sharp turn in the other direction.&nbsp;

"I wanted melodies that were so infectious that you were almost angry at it and lyrics that are just as vivid, but crisp and focused and completely intentional," Swift explained on the "New Heights" podcast with her now-fianc&eacute;, Travis Kelce, and his brother, Jason Kelce. It's apt that she would turn to [Max Martin](https://grammy.com/artists/max-martin/15284) and [Shellback](https://grammy.com/artists/shellback/6459), her *1989* and *reputation* collaborators, to bring that same captivating pop soundscape to *The Life of a Showgirl* and to capture some of the energy Swift was experiencing.&nbsp;

It's a stark contrast to the muted, subdued and somber tones of *[The Tortured Poets Department](https://grammy.com/news/taylor-swift-the-tortured-poets-department-takeaways-recap-videos)*, both in sound and visually. Instead, *The Life of a Showgirl* mirrors the elation Swift felt on the second leg of The Eras Tour. On stage, fans were seeing the same steadfast, resilient showgirl they were seeing throughout the tour perform three-hour sets. Off stage, though, she was falling in love again &mdash; this time with someone who championed her just as much as the fans did in the areas.&nbsp;

Now that the curtain is up and *The Life of a Showgirl* is out, read on for five key essential insights from Taylor Swift's new album.

## It Explores Every Aspect Of Being A Showgirl

Taylor Swift - Father Figure

Taylor Swift 'Life of a Showgirl' Takeaways - Body 2

Instead of writing songs akin to "I Can Do It With A Broken Heart," a song about performing in the midst of heartbreak and grief, Swift opted to focus on what people don't necessarily see when they buy a ticket to a show. "It's much more than the glitter and the glamour, there's a lot more that comes with it," Swift [explained](:blank:https://genius.com/Taylor-swift-the-life-of-a-showgirl-lyrics) to Amazon Music when discussing the story of the album's title track.

Across the record, she details everything from falling in love ("The Fate of Ophelia," "Honey") to feeling one-sided animosity with another performer and reframing that attention as something romantic ("It's honestly lovely/ All the effort you've put in/ It's actually romantic," she sings in "Actually Romantic"). On "Father Figure," she flips the power dynamic between a "showman," someone who thought they were pulling the strings, and a showgirl. The showgirl is actually the one in charge ("I was your father figure/ You pulled the wrong trigger/ This empire belongs to me"), alluding to her battle to retain her masters.

Swift sings about the same fears around legacy and permanence on the song's title track, worrying she will be replaced just as quickly as she probably did with someone else, [detailed on past songs](https://www.grammy.com/news/taylor-swift-showgirl-songs-the-life-of-new-album) "Nothing New" and "Clara Bow." "It's kind of an ode to show business and the women who move through those pitfalls and obstacle courses," she added in her Amazon Music track-by-track. "I thought who better to ask to be a part of this song than the ultimate showgirl [Sabrina Carpenter](https://grammy.com/artists/sabrina-carpenter/57838)."&nbsp;

On "The Life of a Showgirl," she declares with her fellow showgirl that she isn't handing over the baton just yet. Instead, she insists it's being shared &mdash; and she's not going anywhere. ("And all the headshots on the walls/ Of the dance hall are of the b&mdash;es/ Who wish I'd hurry up and die/ But I'm immortal now.")

## She Picked Up Her Glitter Gel Pen Again

Taylor Swift - The Fate of Ophelia

Taylor Swift 'Life of a Showgirl' Takeaways - Body 3

A few years ago, Swift [detailed](:blank:https://www.grammy.com/news/taylor-swift-the-tortured-poets-department-takeaways-recap-videos) how she places songs in three categories: quill pen songs, fountain pen songs, and glitter gel pen songs. For her, glitter gel pen songs feature "lyrics that make you want to dance, sing and toss glitter around the room &hellip; frivolous, carefree, bouncy, syncopated perfectly to the beat." And on *The Life of a Showgirl*, she put away the fountain and [quill pens of](https://grammy.com/news/taylor-swift-poetry-songs-interviews-tortured-poets-department-album) *[The Tortured Poets Department](https://grammy.com/news/taylor-swift-poetry-songs-interviews-tortured-poets-department-album)* and exclusively wrote with glitter gel pens.

Reuniting with her pop powerhouse collaborators Max Martin and Shellback, who worked on her biggest pop radio hits like "We Are Never Ever Getting Back Together," "Delicate," "Blank Space," and "Shake It Off," was a return to form after the fog of *TTPD*. Throughout *The Life of a Showgirl,* Swift, Martin and Shellback craft tracks that go beyond what they created with *1989* and *reputation*.

"It felt like all three of us in the room were carrying the same weight as creators," she said on "New Heights." "We've been waiting years to come back together and make this project."

Throughout the record, dynamic and layered pop soundscapes mimic the same energy Swift was feeling both on and off stage. "The Fate of Ophelia" might be Swift's best lead single since "Mine" in 2010, thanks to its infectious beat and memorable chorus. "Wood" is Swift taking cues from fellow showgirl Carpenter, winking at listeners as she weaves as many innuendos about the word as possible. Layered, shimmering harmonies and a retro swing infuse "Opalite" with a glittering quality, like shifting light.

## She's Still Reflecting On The Past, But With A Sense Of Growth

Taylor Swift - Eldest Daughter

Taylor Swift 'Life of a Showgirl' Takeaways - Body 4

One of the biggest takes by critics &mdash; that borderlines on sexist at times &mdash; is that Swift won't be able to write good, reflective music that cuts deep like the songs that orbit around heartache and pain. As she admitted herself, she's let those assumptions get to her in the past.

"I used to kind of have this dark fear that if I ever were truly happy and free being myself and nurtured by a relationship, what happens if the writing just dries up? What if writing is directly tied to my torment and pain?" she [said](:blank:https://x.com/tsupdating/status/1974000636086685730?s=46) ahead of the album's release. "And it turns out that's not the case at all &hellip; and we just were catching lightning in a bottle with this record."&nbsp;

Swift proves naysayers &mdash; and, seemingly, herself &mdash; wrong with two tracks on *The Life of a Showgirl*.&nbsp;

On what is an equal parts wistful and wounding track, "Ruin The Friendship" sees Swift reflect on high school life a la *Fearless*' "Fifteen" and "You Belong With Me." She details driving around Hendersonville, Tenn., with a male classmate, talking about prom, and how even if the timing was never right, she should've kissed him anyway. "\[It's\] a song that kind of wistfully goes back in time to moments that you hesitated, moments that you were too scared or anxious to do something that you were really curious about," Swift [explained](:blank:https://genius.com/Taylor-swift-ruin-the-friendship-lyrics) to Amazon Music.

On the bridge, though, Swift regretfully sings about how this person eventually passes away too young, alluding to it being the same person she wrote "[Forever Winter](:blank:https://www.elle.com/culture/music/a68317464/taylor-swift-ruin-the-friendship-lyrics-meaning-jeff-lang/)" (from *Red (Taylor's Version)*) about, who passed away two weeks after the release of *Speak Now*. It's a highlight on *The Life of a Showgirl* as it's a testament that, regardless of how much time has passed or the fame that Swift has achieved, she still looks back on those who changed her life early on.

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Songbook: An Era-By-Era Breakdown Of Taylor Swift's Journey From Country Starlet To Pop Phenomenon

Upon the arrival of Taylor Swift's 'The Tortured Poets Department,' take a deep dive into her discography and see how each album helped her become the genre-shifting superstar she is today.

An Era-By-Era Breakdown Of Taylor Swift's Career

Taylor Swift Songbook: An Era-By-Era Breakdown

Taylor Swift 'Life of a Showgirl' Takeaways - Body 5

Comparatively, "Eldest Daughter" &mdash; track five, a spot Swift notoriously reserves for the most emotional song &mdash; is a love song about the masks we wear and the selves we choose to reveal. Similar to the same themes on *folklore*'s "mirrorball," Swift reckons with the pressure to appear untouchable yet attainable. "Eldest Daughter" leans into that contrast, exploring the vulnerability that emerges when someone earns the right to see past the facade.

Swift has long preached self-sufficiency and independence on tracks like *Midnights*' "Lavender Haze," ("All they keep askin' me/ Is if I'm gonna be your bride ... No deal, the 1950s s&mdash; they want from me"), but on "Eldest Daughter" she admits that she hasn't been truthful to herself ("When I said I don't believe in marriage/ That was a lie"). The track captures the intimacy of revealing your true values, and the tenderness of admitting you care about what you once pretended not to.

With "Eldest Daughter" and "Ruin The Friendship," she turns inward, confronting her past with a sense of finality and acceptance of where her choices have carried her &mdash; even with every misstep and mistake along the way.

## It May Just Be Swift's Most Romantic Album To Date

Taylor Swift - Elizabeth Taylor

Analyzing Taylor Swift's 'The Life Of A Showgirl' 

Taylor Swift Is Self-Assured & In Love On 'The Life Of A Showgirl': 5 Takeaways From The New Album 

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18th Annual GRAMMY Awards

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Best Spoken Word Recording

To Kill A Mockingbird (Album)

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