AWARDS SEASON | GRAMMYS NOMINATIONS

Today, the GRAMMYs announced the nominations for the 67th award show that will take place on Feb 2nd on CBS at 8pm ET. Music’s biggest night will not disappoint! As we do throughout Awards Season, we share our predictions in bold, the ones we correctly identified as winners are in bold italics and winners that we didn’t predict are in italics. On the night of the event, we will share who we predicted correctly as well as those we didn’t that won.

RECORD OF THE YEAR

“Now and Then” The Beatles

“Texas Hold ‘Em” Beyoncé

“Espresso” Sabrina Carpenter

“360” Charli XCX

“Birds of a Feather” Billie Eilish

“Not Like Us” Kendrick Lamar

“Good Luck, Babe!” Chappell Roan

“Fortnight” Taylor Swift Featuring Post Malone

ALBUM OF THE YEAR

“New Blue Sun” André 3000

“Cowboy Carter” Beyoncé

“Short n’ Sweet” Sabrina Carpenter

“Brat” Charli XCX

“Djesse Vol. 4” Jacob Collier

“Hit Me Hard and Soft” Billie Eilish

“The Rise and Fall of a Midwest Princess” Chappell Roan

“The Tortured Poets Department” Taylor Swift

SONG OF THE YEAR

“A Bar Song (Tipsy)” Sean Cook, Jerrel Jones, Joe Kent, Chibueze Collins Obinna, Nevin Sastry & Mark Williams, songwriters (Shaboozey)

“Birds of a Feather” Billie Eilish O’Connell & Finneas, songwriters (Billie Eilish)

“Die With a Smile” Dernst Emile II, James Fauntleroy, Lady Gaga, Bruno Mars & Andrew Watt, songwriters (Lady Gaga & Bruno Mars)

“Fortnight” Jack Antonoff, Austin Post & Taylor Swift, songwriters (Taylor Swift Featuring Post Malone)

“Good Luck, Babe!” Kayleigh Rose Amstutz, Daniel Nigro & Justin Tranter, songwriters (Chappell Roan)

“Not Like Us” Kendrick Lamar, songwriter (Kendrick Lamar)

“Please Please Please” Amy Allen, Jack Antonoff & Sabrina Carpenter, songwriters (Sabrina Carpenter)

“Texas Hold ‘Em” Brian Bates, Beyoncé, Elizabeth Lowell Boland, Megan Bülow, Nate Ferraro & Raphael Saadiq, songwriters (Beyoncé)

BEST NEW ARTIST

Benson Boone

Sabrina Carpenter

Doechii

Khruangbin

Raye

Chappell Roan

Shaboozey

Teddy Swims

PRODUCER OF THE YEAR (NON-CLASSICAL)

Alissia

Dernst “D’Mile” Emile II

Ian Fitchuk

Mustard

Daniel Nigro

SONGWRITER OF THE YEAR

Jessi Alexander

Amy Allen

Edgar Barrera

Jessie Jo Dillon

Raye

BEST POP SOLO PERFORMANCE

“Bodyguard” Beyoncé

“Espresso” Sabrina Carpenter

“Apple” Charli xcx

“Birds of a Feather” Billie Eilish

“Good Luck, Babe!” Chappell Roan

BEST POP DUO/GROUP PERFORMANCE

“Us” Gracie Abrams Featuring Taylor Swift

“Levii’s Jeans” Beyoncé Featuring Post Malone

“Guess” Charli XCX & Billie Eilish

“The Boy Is Mine” Ariana Grande, Brandy & Monica

“Die With a Smile” Lady Gaga & Bruno Mars’

BEST POP VOCAL ALBUM

“Short n’ Sweet” Sabrina Carpenter

“Hit Me Hard and Soft” Billie Eilish

“Eternal Sunshine” Ariana Grande

“The Rise and Fall of a Midwest Princess” Chappell Roan

“The Tortured Poets Department” Taylor Swift

BEST DANCE/ELECTRONIC RECORDING

“She’s Gone, Dance On” Disclosure

“Loved” Four Tet

“Leavemealone” Fred Again & Baby Keem

“Neverender” Justice & Tame Impala

“Witchy” Kaytranada Featuring Childish Gambino

BEST DANCE POP RECORDING

“Make You Mine” Madison Beer

“Von Dutch” Charli XCX

“L’Amour de Ma Vie [Over Now Extended Edit]” Billie Eilish

“Yes, And?” Ariana Grande

“Got Me Started” Troye Sivan

BEST DANCE/ELECTRONIC ALBUM

“Brat” Charli XCX

“Three” Four Tet

“Hyperdrama” Justice

“Timeless” Kaytranada

“Telos” Zedd

BEST REMIXED RECORDING

“Alter Ego – Kaytranada Remix” Kaytranada, remixer (Doechii Featuring JT)

“A Bar Song (Tipsy) [Remix]” David Guetta, remixer (Shaboozey & David Guetta)

“Espresso (Mark Ronson x FNZ Working Late Remix)” FNZ & Mark Ronson, remixers (Sabrina Carpenter)

“Jah Sees Them – Amapiano Remix” Alexx Antaeus, Footsteps & MrMyish, remixers (Julian Marley & Antaeus)

“Von Dutch” A.G. Cook, remixer (Charli xcx & A.G. Cook Featuring Addison Rae)

BEST TRADITIONAL POP VOCAL ALBUM

À Fleur De Peau Cyrille Aimée

Visions Norah Jones

Good Together Lake Street Dive

Impossible Dream Aaron Lazar

Christmas Wish Gregory Porter

BEST ROCK PERFORMANCE

“Now and Then” The Beatles

“Beautiful People (Stay High)” The Black Keys

“The American Dream Is Killing Me” Green Day

“Gift Horse” Idles

“Dark Matter” Pearl Jam

“Broken Man” St. Vincent

BEST METAL PERFORMANCE

“Mea Culpa (Ah! Ça ira!)” Gojira, Marina Viotti & Victor Le Masne

“Crown of Horns” Judas Priest

“Suffocate” Knocked Loose Featuring Poppy

“Screaming Suicide” Metallica

“Cellar Door” Spiritbox

BEST ROCK ALBUM

“Happiness Bastards” The Black Crowes

“Romance” Fontaines D.C.

“Saviors” Green Day

“TANGK” Idles

“Dark Matter” Pearl Jam

“Hackney Diamonds” The Rolling Stones

“No Name” Jack White

BEST ROCK SONG

“Beautiful People (Stay High)” Dan Auerbach, Patrick Carney, Beck Hansen & Daniel Nakamura, songwriters (The Black Keys)

“Broken Man” Annie Clark, songwriter (St. Vincent)

“Dark Matter” Jeff Ament, Matt Cameron, Stone Gossard, Mike McCready, Eddie Vedder & Andrew Watt, songwriters (Pearl Jam)

“Dilemma” Billie Joe Armstrong, Mike Dirnt & Tré Cool, songwriters (Green Day)

“Gift Horse” Jon Beavis, Mark Bowen, Adam Devonshire, Lee Kiernan & Joe Talbot, songwriters (Idles)

BEST ALTERNATIVE MUSIC PERFORMANCE

“Neon Pill” Cage the Elephant

“Song of the Lake” Nick Cave & the Bad Seeds

“Starburster” Fontaines D.C.

“Bye Bye” Kim Gordon

“Flea” St. Vincent

BEST ALTERNATIVE MUSIC ALBUM

“Wild God” Nick Cave & the Bad Seeds

“Charm” Clairo

“The Collective” Kim Gordon

“What Now” Brittany Howard

“All Born Screaming” St. Vincent

BEST R&B PERFORMANCE

“Guidance” Jhené Aiko

“Residuals” Chris Brown

“Here We Go (Uh Oh)” Coco Jones

“Made For Me (Live On BET)” Muni Long

“Saturn” SZA

BEST TRADITIONAL R&B PERFORMANCE

“Wet” Marsha Ambrosius

“Can I Have This Groove” Kenyon Dixon

“No Lie” Lalah Hathaway Featuring Michael McDonald

“Make Me Forget” Muni Long

“That’s You” Lucky Daye

BEST PROGRESSIVE R&B ALBUM

“So Glad to Know You” Avery*Sunshine

“En Route” Durand Bernarr

“Bando Stone and the New World” Childish Gambino

“Crash” Kehlani

“Why Lawd?” NxWorries (Anderson .Paak & Knxwledge)

BEST R&B SONG

“After Hours” Diovanna Frazier, Alex Goldblatt, Kehlani Parrish, Khris Riddick-Tynes & Daniel Upchurch, songwriters (Kehlani)

“Burning” Ronald Banful & Temilade Openiyi, songwriters (Tems)

“Here We Go (Uh Oh)” Sara Diamond, Sydney Floyd, Marisela Jackson, Courtney Jones, Carl McCormick & Kelvin Wooten, songwriters (Coco Jones)

“Ruined Me” Jeff Gitelman, Priscilla Renea & Kevin Theodore, songwriters (Muni Long)

“Saturn” Rob Bisel, Carter Lang, Solána Rowe, Jared Solomon & Scott Zhang, songwriters (SZA)

BEST R&B ALBUM

“11:11 (Deluxe)” Chris Brown

“Vantablack” Lalah Hathaway

“Revenge” Muni Long

“Algorithm” Lucky Daye

“Coming Home” Usher

BEST RAP PERFORMANCE

“Enough (Miami)” Cardi B

“When the Sun Shines Again” Common & Pete Rock Featuring Posdnuos

“Nissan Altima” Doechii

“Houdini” Eminem

“Like That” Future & Metro Boomin Featuring Kendrick Lamar

“Yeah Glo!” GloRilla

“Not Like Us” Kendrick Lamar

BEST MELODIC RAP PERFORMANCE

“Kehlani” Jordan Adetunji Featuring Kehlani

“Spaghettii” Beyoncé Featuring Linda Martell & Shaboozey

“We Still Don’t Trust You” Future & Metro Boomin Featuring The Weeknd

“Big Mama” Latto

“3:AM” Rapsody Featuring Erykah Badu

BEST RAP ALBUM

“Might Delete Later” J. Cole

“The Auditorium, Vol. 1” Common & Pete Rock

“Alligator Bites Never Heal” Doechii

“The Death Of Slim Shady (Coup De Grâce)” Eminem

“We Don’t Trust You” Future & Metro Boomin

BEST RAP SONG

“Asteroids” Marlanna Evans, songwriter (Rapsody Featuring Hit-Boy)

“Carnival” Jordan Carter, Raul Cubina, Grant Dickinson, Samuel Lindley, Nasir Pemberton, Dimitri Roger, Ty Dolla $ign, Kanye West & Mark Carl Stolinski Williams, songwriters (¥$ (Kanye West & Ty Dolla $Ign)
Featuring Rich The Kid & Playboi Carti)

“Like That” Kendrick Lamar Duckworth, Kobe “BbyKobe” Hood, Leland Wayne & Nayvadius Wilburn, songwriters (Future & Metro Boomin Featuring Kendrick Lamar)

“Not Like Us” Kendrick Lamar, songwriter (Kendrick Lamar)

“Yeah Glo!” Ronnie Jackson, Jaucquez Lowe, Timothy McKibbins, Kevin Andre Price, Julius Rivera III & Gloria Woods, songwriters (GloRilla)

BEST SPOKEN WORD POETRY ALBUM

“Civil Writes: The South Got Something To Say” Queen Sheba

“Concrete & Whiskey Act II Part 1: A Bourbon 30 Series” Omari Hardwick

“Good M.U.S.I.C. Universe Sonic Sinema: Episode 1 In the Beginning Was the Word” Malik Yusef

“The Heart, the Mind, the Soul” Tank and the Bangas

“The Seven Number Ones” Mad Skillz

BEST COUNTRY SOLO PERFORMANCE

16 Carriages Beyoncé

I Am Not Okay Jelly Roll

The Architect Kacey Musgraves

A Bar Song (Tipsy) Shaboozey

It Takes A Woman Chris Stapleton

BEST COUNTRY DUO/GROUP PERFORMANCE

Cowboys Cry Too Kelsea Ballerini With Noah Kahan

II Most Wanted Beyoncé Featuring Miley Cyrus

Break Mine Brothers Osborne

Bigger Houses Dan + Shay

I Had Some Help Post Malone Featuring Morgan Wallen

BEST COUNTRY SONG

The Architect Shane McAnally, Kacey Musgraves & Josh Osborne, songwriters (Kacey Musgraves)

A Bar Song (Tipsy) Sean Cook, Jerrel Jones, Joe Kent, Chibueze Collins Obinna, Nevin Sastry & Mark Williams, songwriters (Shaboozey)

I Am Not Okay Casey Brown, Jason DeFord, Ashley Gorley & Taylor Phillips, songwriters (Jelly Roll)

I Had Some Help Louis Bell, Ashley Gorley, Hoskins, Austin Post, Ernest Smith, Ryan Vojtesak, Morgan Wallen & Chandler Paul Walters, songwriters (Post Malone Featuring Morgan Wallen)

Texas Hold ‘Em Brian Bates, Beyoncé, Elizabeth Lowell Boland, Megan Bülow, Nate Ferraro & Raphael Saadiq, songwriters (Beyoncé)

BEST COUNTRY ALBUM

Cowboy Carter Beyoncé

F-1 Trillion Post Malone

Deeper Well Kacey Musgraves

Higher Chris Stapleton

Whirlwind Lainey Wilson

BEST AMERICAN ROOTS PERFORMANCE

Blame It On Eve Shemekia Copeland

Nothing In Rambling The Fabulous Thunderbirds Featuring Bonnie Raitt, Keb’ Mo’, Taj Mahal & Mick Fleetwood

Lighthouse Sierra Ferrell

The Ballad Of Sally Anne Rhiannon Giddens

BEST AMERICANA PERFORMANCE

Ya Ya Beyoncé

Subtitles Madison Cunningham

Don’t Do Me Good Madi Diaz Featuring Kacey Musgraves

American Dreaming Sierra Ferrell

Runaway Train Sarah Jarosz

Empty Trainload of Sky Gillian Welch & David Rawlings

BEST AMERICAN ROOTS SONG

Ahead of the Game Mark Knopfler, songwriter (Mark Knopfler)

All In Good Time Sam Beam, songwriter (Iron & Wine Featuring Fiona Apple)

All My Friends Aoife O’Donovan, songwriter (Aoife O’Donovan)

American Dreaming Sierra Ferrell & Melody Walker, songwriters (Sierra Ferrell)

Blame It on Eve John Hahn & Will Kimbrough, songwriters (Shemekia Copeland)

BEST AMERICANA ALBUM

The Other Side T Bone Burnett

$10 Cowboy Charley Crockett

Trail Of Flowers Sierra Ferrell

Polaroid Lovers Sarah Jarosz

No One Gets Out Alive Maggie Rose

Tigers Blood Waxahatchee

BEST BLUEGRASS ALBUM

I Built A World Bronwyn Keith-Hynes

Songs of Love and Life The Del McCoury Band

No Fear Sister Sadie

Live Vol. 1 Billy Strings

Earl Jam Tony Trischka

Dan Tyminski: Live From the Ryman Dan Tyminski

BEST TRADITIONAL BLUES ALBUM

Hill Country Love Cedric Burnside

Struck Down The Fabulous Thunderbirds

One Guitar Woman Sue Foley

Sam’s Place Little Feat

Swingin’ Live at the Church In Tulsa The Taj Mahal Sextet

BEST CONTEMPORARY BLUES ALBUM

Blues Deluxe Vol. 2 Joe Bonamassa

Blame It On Eve Shemekia Copeland

Friendlytown Steve Cropper & The Midnight Hour

Mileage Ruthie Foster

The Fury Antonio Vergara

BEST FOLK ALBUM

American Patchwork Quartet American Patchwork Quartet

Weird Faith Madi Diaz

Bright Future Adrianne Lenker

All My Friends Aoife O’Donovan

Woodland Gillian Welch & David Rawlings

BEST REGIONAL ROOTS MUSIC ALBUM

25 Back To My Roots Sean Ardoin And Kreole Rock And Soul

Live At The 2024 New Orleans Jazz & Heritage Festival Big Chief Monk Boudreaux & The Golden Eagles Featuring J’Wan Boudreaux

Live At The 2024 New Orleans Jazz & Heritage Festival New Breed Brass Band Featuring Trombone Shorty

Kuini Kalani Pe’a

Stories From The Battlefield The Rumble Featuring Chief Joseph Boudreaux Jr.

BEST GOSPEL PERFORMANCE/SONG

Church Doors Yolanda Adams; Donald Lawrence & Sir William James Baptist, songwriters

Yesterday Melvin Crispell III

Hold On (Live) Ricky Dillard

Holy Hands DOE; Jesse Paul Barrera, Jeffrey Castro Bernat, Dominique Jones, Timothy Ferguson, Kelby Shavon Johnson, Jr., Jonathan McReynolds, Rickey Slikk Muzik Offord & Juan Winans, songwriters

One Hallelujah Tasha Cobbs Leonard, Erica Campbell & Israel Houghton Featuring Jonathan McReynolds & Jekalyn Carr; G. Morris Coleman, Israel Houghton, Kenneth Leonard, Jr., Tasha Cobbs Leonard & Naomi Raine, songwriters

BEST CONTEMPORARY CHRISTIAN MUSIC PERFORMANCE/SONG

Holy Forever (Live) Bethel Music, Jenn Johnson Featuring CeCe Winans

Praise Elevation Worship Featuring Brandon Lake, Chris Brown & Chandler Moore; Pat Barrett, Chris Brown, Cody Carnes, Steven Furtick, Brandon Lake & Chandler Moore, songwriters

Firm Foundation (He Won’t) Honor & Glory Featuring Disciple

In The Name Of Jesus JWLKRS Worship & Maverick City Music Featuring Chandler Moore; Austin Armstrong, Ran Jackson, Chandler Moore, Sajan Nauriyal, Ella Schnacky, Noah Schnacky & Ilya Toshinskiy, songwriters

In The Room Maverick City Music, Naomi Raine & Chandler Moore Featuring Tasha Cobbs Leonard; G. Morris Coleman, Tasha Cobbs Leonard & Naomi Raine, songwriters

That’s My King CeCe Winans; Taylor Agan, Kellie Gamble, Lloyd Nicks & Jess Russ, songwriters

BEST GOSPEL ALBUM

Covered Vol. 1 Melvin Crispell III

Choirmaster II (Live) Ricky Dillard

Father’s Day Kirk Franklin

Still Karen Karen Clark Sheard

More Than This CeCe Winans

BEST CONTEMPORARY CHRISTIAN MUSIC ALBUM

Heart Of A Human DOE

When Wind Meets Fire Elevation Worship

Child Of God Forrest Frank

Coat Of Many Colors Brandon Lake

The Maverick Way Complete Maverick City Music, Naomi Raine & Chandler Moore

BEST ROOTS GOSPEL ALBUM

The Gospel Sessions, Vol 2 Authentic Unlimited

The Gospel According To Mark Mark D. Conklin

Rhapsody The Harlem Gospel Travelers

Church Cory Henry

Loving You The Nelons

BEST LATIN POP ALBUM

Funk Generation Anitta

El Viaje Luis Fonsi

GARCÍA Kany García

Las Mujeres Ya No Lloran Shakira

ORQUÍDEAS Kali Uchis

BEST MUSICA URBANA ALBUM

nadie sabe lo que va a pasar mañana Bad Bunny

Rayo J Balvin

FERXXOCALIPSIS Feid

LAS LETRAS YA NO IMPORTAN Residente

att. Young Miko

BEST LATIN ROCK OR ALTERNATIVE ALBUM

Compita del Destino El David Aguilar

Pa’ Tu Cuerpa Cimafunk

Autopoiética Mon Laferte

GRASA NATHY PELUSO

¿Quién trae las cornetas? Rawayana

BEST MUSICA MEXICANA ALBUM (INCLUDING TEJANO)

Diamantes Chiquis

Boca Chueca, Vol. 1 Carín León

ÉXODO Peso Pluma

De Lejitos Jessi Uribe

BEST TROPICAL LATIN ALBUM

MUEVENSE Marc Anthony

Bailar Sheila E.

Radio Güira Juan Luis Guerra 4.40

Alma, Corazón y Salsa (Live at Gran Teatro Nacional) Tony Succar, Mimy Succar

Vacilón Santiaguero Kiki Valera

BEST CHILDREN’S MUSIC ALBUM

Brillo, Brillo! Lucky Diaz And The Family Jam Band

Creciendo Lucy Kalantari & The Jazz Cats

My Favorite Dream John Legend

Solid Rock Revival Rock For Children

World Wide Playdate Divinity Roxx and Divi Roxx Kids

BEST COMEDY ALBUM

Armageddon Ricky Gervais

The Dreamer Dave Chappelle

The Prisoner Jim Gaffigan

Someday You’ll Die Nikki Glaser

Where Was I Trevor Noah

BEST AUDIOBOOK, NARRATION, AND STORYTELLING RECORDING

All You Need Is Love: The Beatles In Their Own Words (Various Artists) Guy Oldfield, producer

…And Your Ass Will Follow George Clinton

Behind The Seams: My Life In Rhinestones Dolly Parton

Last Sundays In Plains: A Centennial Celebration Jimmy Carter

My Name Is Barbra Barbra Streisand

BEST MUSICAL THEATER ALBUM

Hell’s Kitchen Shoshana Bean, Brandon Victor Dixon, Kecia Lewis & Meleah Joi Moon, principal vocalists; Adam Blackstone, Alicia Keys & Tom Kitt, producers (Alicia Keys, composer & lyricist) (Original Broadway Cast)

Merrily We Roll Along Jonathan Groff, Lindsay Mendez & Daniel Radcliffe, principal vocalists; David Caddick, Joel Fram, Maria Friedman & David Lai, producers (Stephen Sondheim, composer & lyricist) (New Broadway Cast)

The Notebook John Clancy, Carmel Dean, Kurt Deutsch, Derik Lee, Kevin McCollum & Ingrid Michaelson, producers; Ingrid Michaelson, composer & lyricist (Original Broadway Cast)

The Outsiders Joshua Boone, Brent Comer, Brody Grant & Sky Lakota-Lynch, principal vocalists; Zach Chance, Jonathan Clay, Matt Hinkley, Justin Levine & Lawrence Manchester, producers; Zach Chance, Jonathan Clay & Justin Levine, composers/lyricists (Original Broadway Cast)

Suffs Andrea Grody, Dean Sharenow & Shaina Taub, producers; Shaina Taub, composer & lyricist (Original Broadway Cast)

The Wiz Wayne Brady, Deborah Cox, Nichelle Lewis & Avery Wilson, principal vocalists; Joseph Joubert, Allen René Louis & Lawrence Manchester, producers (Charlie Smalls, composer & lyricist) (2024 Broadway Cast Recording)

BEST COMPILATION SOUNDTRACK FOR VISUAL MEDIA

The Color Purple (Various Artists)

Deadpool & Wolverine (Various Artists)

Maestro: Music By Leonard Bernstein London Symphony Orchestra, Yannick Nézet-Séguin, Bradley Cooper

Saltburn (Various Artists)

Twisters: The Album (Various Artists)

BEST SCORE SOUNDTRACK FOR VISUAL MEDIA

American Fiction Laura Karpman, composer

Challengers Trent Reznor & Atticus Ross, composers

The Color Purple Kris Bowers, composer

Dune: Part Two Hans Zimmer, composer

Shōgun Nick Chuba, Atticus Ross & Leopold Ross, composers

BEST SCORE SOUNDTRACK FOR VIDEO GAMES AND OTHER INTERACTIVE MEDIA

Avatar: Frontiers of Pandora Pinar Toprak, composer

God of War Ragnarök: Valhalla Bear McCreary, composer

Marvel’s Spider-Man 2 John Paesano, composer

Star Wars Outlaws Wilbert Roget, II, composer

Wizardry: Proving Grounds of the Mad Overlord Winifred Phillips, composer

BEST SONG WRITTEN FOR VISUAL MEDIA

Ain’t No Love In Oklahoma [From “Twisters: The Album”] Jessi Alexander, Luke Combs & Jonathan Singleton, songwriters (Luke Combs)

Better Place [From “TROLLS Band Together”] Amy Allen, Shellback & Justin Timberlake, songwriters (*NSYNC & Justin Timberlake)

Can’t Catch Me Now [From “The Hunger Games: The Ballad of Songbirds & Snakes”] Daniel Nigro & Olivia Rodrigo, songwriters (Olivia Rodrigo)

It Never Went Away [From “American Symphony”] Jon Batiste & Dan Wilson, songwriters (Jon Batiste)

Love Will Survive [From “The Tattooist of Auschwitz”] Walter Afanasieff, Charlie Midnight, Kara Talve & Hans Zimmer, songwriters (Barbra Streisand)

BEST MUSIC VIDEO

Tailor Swif A$AP Rocky Vania Heymann & Gal Muggia, video directors

360 Charli XCX Aidan Zamiri, video director; Jami Arceo & Evan Thicke, video producers

Houdini Eminem Rich Lee, video director; Kathy Angstadt, Lisa Arianna & Justin Diener, video producers

Not Like Us Kendrick Lamar Dave Free & Kendrick Lamar, video directors; Jack Begert, Sam Canter & Jamie Rabineau, video producers

Fortnight Taylor Swift Featuring Post Malone Taylor Swift, video director; Jil Hardin, video producer

BEST MUSIC FILM

American Symphony Jon Batiste Matthew Heineman, video director; Lauren Domino, Matthew Heineman & Joedan Okun, video producers

June (June Carter Cash) Kristen Vaurio, video director; Josh Matas, Sarah Olson, Jason Owen, Mary Robertson & Kristen Vaurio, video producers

Kings From Queens Run DMC Kirk Fraser, video director; William H. Masterson III, video producer

Stevie Van Zandt: Disciple Steven Van Zandt Bill Teck, video director; Robert Cotto, David Fisher & Bill Teck, video producers

The Greatest Night In Pop (Various Artists) Bao Nguyen, video director; Bruce Eskowitz, George Hencken, Larry Klein, Julia Nottingham, Lionel Richie & Harriet Sternberg, video producers

BEST CONTEMPORARY INSTRUMENTAL ALBUM

Plot Armor Taylor Eigsti

Rhapsody In Blue Béla Fleck

Orchestras (Live) Bill Frisell Featuring Alexander Hanson, Brussels Philharmonic, Rudy Royston & Thomas Morgan

Mark Mark Guiliana

Speak To Me Julian Lage

BEST JAZZ PERFORMANCE

“Walk With Me, Lord (SOUND | SPIRIT)” The Baylor Project

“Phoenix Reimagined (Live)” Lakecia Benjamin Featuring Randy Brecker, Jeff “Tain” Watts & John Scofield

“Juno” Chick Corea & Béla Fleck

“Twinkle Twinkle Little Me” Samara Joy Featuring Sullivan Fortner

“Little Fears” Dan Pugach Big Band Featuring Nicole Zuraitis & Troy Roberts

BEST JAZZ VOCAL ALBUM

Journey In Black Christie Dashiell

Wildflowers Vol. 1 Kurt Elling & Sullivan Fortner

A Joyful Holiday Samara Joy

Milton + Esperanza Milton Nascimento & Esperanza Spalding

My Ideal Catherine Russell & Sean Mason

BEST JAZZ INSTRUMENTAL ALBUM

Owl Song Ambrose Akinmusire Featuring Bill Frisell & Herlin Riley

Beyond This Place Kenny Barron Featuring Kiyoshi Kitagawa, Johnathan Blake, Immanuel Wilkins & Steve Nelson

Phoenix Reimagined (Live) Lakecia Benjamin

Remembrance Chick Corea & Béla Fleck

Solo Game Sullivan Fortner

BEST LARGE JAZZ ENSEMBLE ALBUM

Returning To Forever John Beasley & Frankfurt Radio Big Band

And So It Goes The Clayton-Hamilton Jazz Orchestra

Walk A Mile In My Shoe Orrin Evans & The Captain Black Big Band

Bianca Reimagined: Music For Paws And Persistence Dan Pugach Big Band

Golden City Miguel Zenón

BEST LATIN JAZZ ALBUM

Spain Forever Again Michel Camilo & Tomatito

Cubop Lives! Zaccai Curtis

COLLAB Hamilton de Holanda & Gonzalo Rubalcaba

Time And Again Eliane Elias

El Trio: Live in Italy Horacio ‘El Negro’ Hernández, John Beasley & José Gola

Cuba And Beyond Chucho Valdés & Royal Quartet

As I Travel Donald Vega Featuring Lewis Nash, John Patitucci & Luisito Quintero

BEST ALTERNATIVE JAZZ ALBUM

Night Reign Arooj Aftab

New Blue Sun André 3000

Code Derivation Robert Glasper

Foreverland Keyon Harrold

No More Water: The Gospel Of James Baldwin Meshell Ndegeocello

BEST GLOBAL MUSIC PERFORMANCE

Raat Ki Rani Arooj Aftab

A Rock Somewhere Jacob Collier Featuring Anoushka Shankar & Varijashree Venugopal

Rise Rocky Dawuni

Bemba Colorá Sheila E. Featuring Gloria Estefan & Mimy Succar

Sunlight To My Soul Angélique Kidjo Featuring Soweto Gospel Choir

Kashira Masa Takumi Featuring Ron Korb, Noshir Mody & Dale Edward Chung

BEST AFRICAN MUSIC PERFORMANCE

Tomorrow Yemi Alade

MMS Asake & Wizkid

Sensational Chris Brown Featuring Davido & Lojay

Higher Burna Boy

Love Me JeJe Tems

BEST GLOBAL MUSIC ALBUM

Alkebulan II Matt B Featuring Royal Philharmonic Orchestra

Paisajes Ciro Hurtado

Heis Rema

Historias De Un Flamenco Antonio Rey

Born In The Wild Tems

BEST REGGAE ALBUM

Take It Easy Collie Buddz

Party With Me Vybz Kartel

Never Gets Late Here Shenseea

Bob Marley: One Love – Music Inspired By The Film (Deluxe) (Various Artists)

Evolution The Wailers

BEST NEW AGE, AMBIENT OR CHANT ALBUM

Break Of Daw Ricky Kej

Triveni Wouter Kellerman, Éru Matsumoto & Chandrika Tandon

Visions Of Sounds De Luxe Chris Redding

Opus Ryuichi Sakamoto

Chapter II: How Dark It Is Before Dawn Anoushka Shankar

Warriors Of Light Radhika Vekaria

BEST RECORDING PACKAGE

The Avett Brothers Jonny Black & Giorgia Sage, art directors (The Avett Brothers)

Baker Hotel Sarah Dodds & Shauna Dodds, art directors (William Clark Green)

BRAT Brent David Freaney & Imogene Strauss, art directors (Charli XCX)

F-1 Trillion Archie Lee Coates IV, Jeffrey Franklin, Blossom Liu, Kylie McMahon & Ana Cecilia Thompson Motta, art directors (Post Malone)

Hounds Of Love The Baskerville Edition Kate Bush & Albert McIntosh, art directors (Kate Bush)

Jug Band Millionaire Andrew Wong & Julie Yeh, art directors (The Muddy Basin Ramblers)

Pregnancy, Breakdown, And Disease Lee Pei-Tzu, art director (iWhoiWhoo)

BEST BOXED OR SPECIAL LIMITED EDITION PACKAGE

Half Living Things Patrick Galvin, art director (Alpha Wolf)

Hounds Of Love The Boxes Of Lost At Sea Kate Bush & Albert McIntosh, art directors (Kate Bush)

In Utero Doug Cunningham & Jason Noto, art directors (Nirvana)

Mind Games Simon Hilton & Sean Ono Lennon, art directors (John Lennon)

Unsuk Chin Takahiro Kurashima & Marek Polewski, art directors (Unsuk Chin & Berliner Philharmoniker)

We Blame Chicago Rebeka Arce & Farbod Kokabi, art directors (90 Day Men)

BEST ALBUM NOTES

After Midnight Tim Brooks, album notes writer (Ford Dabney’s Syncopated Orchestras)

The Carnegie Hall Concert Lauren Du Graf, album notes writer (Alice Coltrane)

Centennial Ricky Riccardi, album notes writer (King Oliver’s Creole Jazz Band & Various Artists)

John Culshaw – The Art Of The Producer – The Early Years 1948-55 Dominic Fyfe, album notes writer (John Culshaw)

SONtrack Original De La Película “Al Son De Beno” Josh Kun, album notes writer (Various Artists)

BEST HISTORICAL ALBUM

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BOB MARLEY AND THE WAILERS

One of the best things in life is to re-discover, deep dive, and better connect with things long-admired, and cherished. Bob Marley’s music lies at the top of my must-haves – many tracks and live albums suiting best for joyous and sad moments, and all in between, as well as adventuring outdoors, smoking sessions, studying, romance and more.

Upon reading Bob Marley and The Wailers: The Ultimate Illustrated History by Richie Unterberger, it was quickly apparent that it was time to dust off those old soundboard recording treasures and look to the music, life and culture that has served as such stong guidance over the years.

We put together an expanded 9PLAYLIST STORI3S to explore and ponder more about the man, his music, and the times for then and now, along a series of our favorite song selections: Sun Is Shining, Positive Vibration, Roots Rock Reggae, Downpressor Man, One Love, Zimbabwe, And I Love Her, High Tide or Low Tide, and Redemption Song.

Ultimately, with questions or thoughts of art and nature; good and tough times; peace and strife; love, respect and kindness, we ask along this and our musical journey - What Would Marley Do (WWMD)?

And I Love Her (Alternate Take)

ATHLEISURE MAG: I stumbled upon this ballad mid-college and was floored. It felt immediately intimate and special, loved sharing it at parties as friends generally loved it.

RICHIE UNTERBERGER: Most of the attention on Marley's career goes to the last seven or so years of his life when he was becoming an International star, first with the original Wailers and then with other Wailers. But there was a lot of good music that he made, often with the original Wailers, in the first 10 years of his recording career, which isn't very well known because it was primarily heard in Jamaica and not elsewhere.

And the earliest years of those are like from 1962-63 to 1966. That's when he had his debut single with Studio One. And the records are a lot more ska influenced than what he did after 1966 - [ska as] the precursor to reggae music. It's a lot faster and it's sort of a combination of Jamaican folk music with early American soul music.

Like they did a Curtis Mayfield song and he was maybe their biggest early influence. That's not a surprise. But them doing a Beatles song is not something that you would necessarily expect. And the version that they do, it is more imaginative than you would think, even if you know a fair amount about reggae and the Wailers. I'm a big Beatles fan. I love the original version, but they give it more of a wilting, early reggae cast and they also add, 'and I love her, yes, indeed,' after like every chorus. So it sounds more like a soul, early reggae hybrid sort of yearning quality that's not in the Beatles original, which makes it an interesting variation. And that's how they kind of varied soul music in general, when they were doing their first records in the mid '60s.

AM: At this time, were they doing covers towards getting acceptance or was that honoring their influences, or both?

RU: It's kind of all the above, but I think even though the majority of the material from the get go was original, I think there were a lot of songs they just liked that they wanted to do. It's just it's like when the Beatles started, they were already great songwriters on their first album, but the first few albums all have a good number of cover versions, which they did really well. They didn't just imitate Chuck Berry or Little Richard. They put their own personality on it very strongly. But also, I think they, and a lot of early reggae acts or ska acts, were just putting out tons of records, even though Jamaica was a pretty small market. And to fill out all these singles coming out and the one album that they did in the mid 60s, they needed to have more songs probably than they had already written. So they opted for songs that they really liked and maybe songs that when they performed live would get a good reaction to sort of vary their repertoire if they were playing long concerts.

AM: Yeah. I always liked the Bob Dylan one, Like A Rolling Stone.

RU: And another example, they did a Temptations song, Don't Look Back, an earlier version than the one that Peter Tosh did where Mick Jagger duetted with him in the late 60s. But he was aware of that song by the Temptations, which isn't one of their big hits, even when he was pretty early in his recording career.

AM: You know, I love that part of your book when you showed the Rolling Stones imprints, didn't know much about that, and definitely that whole part about Mick Jagger and the Stones backing Peter Tosh and all that.. That was terrific!

RU: Thanks. Yeah. It's really interesting because I think when the Rolling Stones set up their own label, their ambition was to have it be a sort of Apple Records, the way that Beatles ran Apple Records for the first couple of years, where it would be their label, but they would sign a lot of other artists and not just sign them, but often produce them or help them hands on, like they did with Badfinger and Mary Hopkin. And for various reasons, that aren't clear to me, they signed very few people, like less than five. And the only significant one they signed to put out a reasonable number of records was Peter Tosh. And I think that although the Stones didn't do many reggae songs, whether it was covers or they wrote their reggae style songs, they really liked the music.

They did some recording in Jamaica, like Goats Head Soup, the 1973 album, and they saw the connection between reggae and the American rhythm and blues and soul music that they loved and wanted to promote it with one of the leading artists who was available because he had left the Wailers for various complicated reasons, right after the Wailers started to get a big International audience on Island Records. So I'm not saying they were the most altruistic group of people in the world, the Rolling Stones, but they really wanted to promote a form of Black music, not Black American as it happens, but still from near North America.

It didn't work out indefinitely because Peter Tosh had a fallout with Keith Richards. This is like a few albums into his career with Rolling Stones records. But it was an alliance that made a lot of sense. It's the only such alliance the Stones made for their own record label, but it was the one solid indication of what they could do to help another artist. Not that Tosh needed so much help for his art, but his promotion to an International audience, which also Mick Jagger, of course, helped by actually singing on Don't Look Back, and also appearing in the official promotional video that Peter Tosh did, and also they sang it together on Saturday Night Live.

Sun is Shining

AM: This song increasingly became one of my favorites throughout my life. It’s always something that gets to me right away and the right ways, just find it so magnificent – it's sexy and inspirational!

RU: A lot of the attention given to Marley as a songwriter or for his protest songs are the ones championing social justice. And that's very important, arguably the most important part of his songwriting. But it should never be overlooked, that like almost all great songwriters, he could write about social issues, but also just write songs that were feel good songs, like ‘Positive Vibration,’ it was a great example, I think.

Also really good love songs - and although a lot of his songs, like Get Up, Stand Up is a great example, are about self-empowerment, a lot are sort of anthems just to make people feel more positive about what they are experiencing, what they hope to experience. And Sun Is Shining is an early example of that.

And I think it's interesting that throughout his career, Marley and Tosh would sometimes remake songs from pretty early in their career, like One Love is another great example, when they realized we're getting a much bigger audience and a lot of those people around the world never heard these records, which were primarily or only distributed in Jamaica. It was time to make those songs, which still have a universal message, something that everybody can hear on records, not just in their concerts. So Sun Is Shining is an example of that, where it was revisited and remade as well.

AM: Near the end of the song, he's talking about how he's 'a rainbow, too.' And it made me really reflect, wondering if this was him rescuing us as the unifier, and if also he was encouraging us that we all could all be rainbows, too?

RU: I would say like not just a lot of songwriters, but a lot of artists, his messages can be validly interpreted in different ways. So you might say he's talking about himself or that he's talking about everybody, all of his listeners and himself, or he's talking about both himself and his listeners. One of his great strengths was that as a songwriter, he could deliver very clear, yet easily understood messages that were inspiring. When you hear his spoken interviews, he's often a little vague. And it's interesting that it's not like his songwriting, which is very clear and direct. Get Up, Stand Up - I mean, how can you misinterpret that? I Shot the Sheriff - but I swear it was self-defense..; it's very lucid.

And it's unknown how precise his lyrics were explicitly stating. Yeah, meaning that it's hard to say whether his lyrics were meant for this is how I'm feeling, or this is how humans as a whole feel, or it could be both. His clear, direct messages were that in the lyrics, whether it's interpreted, however it's interpreted to apply to, they are very easily understood and they hit very directly [and across the world]. And it's unlike his spoken interviews, the last quote before my epilogue, somebody who was talking to the New York Times right after he died, just a fan, not someone who knew him, she said, ‘as an orator, he wasn't much, but his music said it all.’ It's almost like his music was his great expression of communication.

He also traveled and did concerts in Japan and other countries where knowledge of English was appreciably lower then, like a couple generations ago. A lot of people probably, if they read the lyrics on the page, they might have had a hard time understanding them, but when they heard them, they were geared around choruses which were easy to remember and sort of sink in. I think a lot of those messages did get through, both in the words, but also the way that they were sung.

High Tide or Low Tide

AM: So let's talk about High Tide or Low Tide and the Catch a Fire sessions in general? This track is so delicate and haunting, really enjoy it chilling with my girlfriend for sure.

RU: Yeah, Catch a Fire [sessions] - made really good music. I think in Britain a few people had heard them because there was such a big Jamaican population there, Jamaica, and they, Marley and Tosh, liked to have an International audience. They had gone to London in part to not just get a bigger audience or whatever concerts they could do, but try to find a record label. I think the feeling was it's going to be easier in Britain than in the U.S. because of that Jamaican population, Jamaica being a former British population in Britain, there was a much wider knowledge of reggae, even among non-Jamaicans, and his record labels were distribution, business distribution, primarily to serve the British Jamaican audience.

To bring reggae music itself to a wider audience, the goal was to give them more of a luster of a rock group, not so much in changing their music, but in marketing the album design, how it's distributed, it's on Island records, which a lot of people associated with those big British rock groups, and only subtly adding some rock instrumentation to their sound without diluting it.

Their appeal then, it was slightly earlier, but still very good records, music was slowing down into reggae and the lyrics were becoming a lot more socially conscious. Even though Catch a Fire is a very well-known album now, when it first came out it, it was primarily an underground hit, but that was very important, because that's where Marley's huge following could grow. When people saw the Wailers when they made their first American tours, they really stood out, in part because most white rock listeners had not heard reggae before, but also because the stage presence and the concerts were so good, and they got a lot of FM radio. I've talked to the leading FM radio disc jockey in the city in which I grew up, Philadelphia, and he said, 'oh yeah, when that record came out we leapt on it, we played it a lot, both because we loved it, but also we knew that our listeners who were maybe more used to Pink Floyd or Sticky Fingers, or something like that would love it too!'

But it should not be lost sight of that the biggest reason was that the material was very strong. You can't sell a record with that sort of marketing if the songs aren't really strong. In retrospect I kind of wish that it could have been a double album, not just Marley but also Tosh and Two, a lesser but significant degree by Quayler. Part of the reason I think that they did not stay together long on Island Records, after being together for a long time, was that Marley was getting so much of the songwriting, and that's one of the reasons he got more attention than anywhere else, although I emphasize they were a group at that time, it wasn't as what it became. They were a group in the sense that all of them have the impact that the act has.

AM: I was honored to see the Wailers after Bob Marley had passed, they were terrific.

Positive Vibration and Roots Rock Reggae

AM: This pair were often musts for outdoor adventures.

RU: With Positive Vibrations, it's like some of Bob Marley's song titles, you get the idea very quickly before even hearing the song. That's a really good example of, yeah we're going to dig into the lyrics.

We're all going to have a much better life here if we can all learn to groove together, which to some degree his concerts enable many people to do that together. But also, even if you don't think about the lyrics, it captures in a way that few reggae songs have done and reggae's been around now for 60 years or so.

Downpressor Man

AM: I first encountered Downpressor Man at an outside cafe in Miami. I had heard the cover rendition of Sinner Man before and loved it, but this magical slowed down version just hit so hard. Of course, a big fan of and feel it gives justice to Nina Simone’s tough bar to meet.

RU: I think that Peter Tosh shared with Marley as a songwriter, where he's documenting the injustices done to the underprivileged - which in Jamaica, most of the people considered underprivileged would have been. And in this instance, he adopted almost like spiritual, but made it particular, or more particular to the circumstances, not just of the oppressed in Jamaica, but the oppressed anywhere. I think that's a big part of not just Marley and Tosh's appeal, but reggae's appeal, especially in Africa, places which don't enjoy, in some cases, not as many human rights. Him changing the focus of the song and championing the downtrodden was something that made people feel that he had a lot of empathy for his audience and was able to express that well.

One Love

AM: With One Love, it's definitely something that became a huge country anthem, it always gives me a smile, and like a hug and form of encouragement – it's inviting..

RU: When preaching unity, [it's] hard to do.. without sounding sappy or sounding, just to get together, to find some common ground. This song had those kinds of sentiments, but did it in a humbler way than a lot of such songs do, but also should not be overestimated. The Beatles had a lot of great lyrics, but maybe the biggest reason they became the biggest group ever was that the songs were so melodic. Marley and the Wailers had a lot of such songs, which were very catchy, easy to hum. One Love is maybe his greatest expression of his hopes for a universal common ground between people of all geography and make inroads toward making the world a more peaceful place. Like I said earlier, he'd done that song, it caught on a lot more when it was remade in his solo career in the 70s. It was more updated, it sounds very contemporary.

Zimbabwe

AM: With Survival, it was very interesting to read your commentary because there came across with fierce lyrics and anthems.

RU: It might seem more tilted toward that on his album, but it seems like he always had a wide range of songs that he emphasized the most, but on others, that was because he was one of the first reggae artists, maybe the first, to recognize that an album should have, even if it's not like a story album or not all the songs, a theme. So maybe with Survival, he focused more on a full statement than like a romantic album that he did, but it's something that will vary on what was put out there that'll keep people interested.

I'm kind of speculating because, in part, Marley's life was short.. he didn't go through all of the phases of his career and explain them in ways like John Lennon did in his numerous interviews before he died. So it's a little bit of projection on my part.

AM: With Zimbabwe, having such significance, and the way it was performed so beautifully at legendary concerts, but how was that received globally?

RU: I do think that it meant a lot that Marley was sort of voicing his support for people's independence and self-determination in a country. It's often asked, and it's a very logical question, what would Marley have done had he not died so young in his later years? He was only - I think, although it's not certain, he definitely would have performed a lot more in Africa. He'd only perform there a bit toward the end of his career, both because he got a really great reception there, but also he saw that, as universal as his music was, it had some particular parts of meaning for people in Africa, where a number of countries - maybe South Africa got more attention in more attention in the United States for that than anywhere else, but a number of countries there - I think he would have performed there as much as he could have, maybe written more songs that were directly applicable to Africa. And possibly, it would seem like a logical step to me, maybe incorporating some elements of African music as he became more exposed to them, whether through touring or just listening more, because in the early 80s, that was the point where artists like Fela were starting to get a much bigger audience in the United States, and I could see Marley being very interested in someone like Fela, not just musically, but also lyrically, and also as a cultural figure in Nigeria.

Redemption Song

AM: Redemption Song, a lot of people's top favorite, and it is very reflective and boldy highlights the past and gives deep lessons. I’ve always held it in a different way, like a supercharged guide to fall back to when happy and chill or lost and sad. It says so much about the past, present and future of humanity, extremely prophetic!

RU: It's interesting to me for a few reasons. One is that unlike maybe all of his other really well-known - it could in some ways be heard not even as a reggae song, more as like folk. And that, it actually relates to something I was riffing on a couple minutes ago, [the] direction that he might have changed his style to that style that he would have done. Maybe he would have been thinking, yeah, I'm a reggae artist, I'm never going to abandon reggae, but I want to explore different styles that might not be dominantly reggae. Other artists have done that. Joni Mitchell started as a folk singer, then she admitted some rock influences, then she went into jazz. Paul Simon started, but then he incorporated reggae and gospel. He eventually got to African music, of course. I think he knew this when he was writing it, that he could do several different styles of music well - and when I hear it, because he didn't die that much long afterward, it's like he also had some sort of awareness that his time is not going to be long, whether he dies or not. it's almost like a Martin Luther King song. It's almost like Martin Luther King's final speeches, where he feels like, I might not have much time, but his urgency to get a message across.

AM: A hypothetical, because I've enjoyed some bubblegum gelato vape during our interview, what did he say about technology? Would he e-vape today or be comfortable his audience did?

RU: About his drug use, which is mostly cannabis, in the book or elsewhere, because there is music, but specifically as far as people using that sort of stimulation for recreational purposes, I don't think he ever would have minded whether it was with a religious dimension, as it was with a lot of prostitutes, or you just wanted to use it, at least in your ability of function and people around you. [Be sure to] be kind to your neighbors, right?

Yeah, and musically, maybe what he would have done. It's hard to project, like, if he was still making music in 2020, what he would have done. What he would have done, at least if he had lived another 10 or 20 years, if he wasn't ill. Technology, I think that would have been one of the things that he would have been wary about in some of his songs. The adverse effects of technology, not just AI, but climate change, which, when he died, that was his concern.

PHOTOGRAPHY CREDITS | PG 27, 38 - 57 Quarto Publishing/Bob Marley and The Wailers: The Ultimate Illustrated History | PG 58 GM/Current Affairs/Alamy Stock Photo | PG 60 Deposit Photos |

Read the JUL ISSUE #103 of Athleisure Mag and see BOB MARLEY AND THE WAILERS in mag.

GOV BALL 2024

In last month's issue we looped you in on a fun music festival that kicks off the Summer season in NY. From Jun 7th - Jun 9th Governors Ball kicked off with 3 days of music across genres at Flushing Meadows in Queens. We enjoyed being able to hear from our favorite acts across 3 stages throughout the days on an endless sunny weekend. Nestled in the park, attendees had the ability to feel like they left the city to be transformed into a musical oasis with sets filled with their favorite songs.

With acts that included The Killers, Post Malone, SZA, Peso Pluma, Sabrina Carpenter, and Reneé Rapp to name a few. While we hung out at the festival we took in the sets from our VIP that also included food and beverage vendors that kept our taste buds engaged and our energy up.

The last day defintiely included our favorites and with good vibes flowing throughout the weekend, we were transfixed all the way to the last song played by SZA who closed out a successful weekend. We're already looking forward to next year's lineup although we're months away from knowing who will perform, but if this year was any indication, we can't wait to see who it will be!

IG @govballnyc

PHOTOGRAPHY CREDITS | PG 137 Phelphs | PG 138 Paigge Wharton | PG 139 N Bradley | PG 140 Charles Reagan | PG 141 Sambalaban |

Read the JUN ISSUE #102 of Athleisure Mag and see GOV BALL 2024 in mag.

9PLAYLIST | KYGO

Read the JUN ISSUE #102 of Athleisure Mag and see 9PLAYLIST | Kygo in mag.

PRE-COVERAGE | GOVERNORS BALL

Next month, we're looking forward to making our way back to Queens to take in great performances, activations, food/beverages and the experiences that we enjoy when we're at one of our favorite music festivals that kick off the season here in NY for this year's Gov Ball taking place Jun 7-9th! Last year we had the pleasure to chat with Co-Founder, Tom Russell (MAY ISSUE #89 in 2023) about this music festival which includes an array of genres. They kicked off their newest home at Flushing Meadows in Queen which is an immersive park setting.

This year, with headlines that include: Post Malone and Rauw Alejandro on Fri, The Killers and 21 Savage on Sat, and ending with Sza and Peso Pluma on Sun, there is something for everyone with 60+ artists across the weekend and 3 stages and a number of acts from Sabrina Carpenter, Sexyy Red, Doechii, Reneé Rapp, and more!

With all of the music that you'll get to enjoy, you want to ensure that you have a number of options for you and your friends who will be attending. From an array of wine and spirit brands, Luke's Lobster, Sweet Chick, Magnolia Bakery, Stella X Hot Ones - there is something that reflects diverse culinary interests that will keep you going!

Make sure to visit the website to see what tickets are still available and to see how you can elevate your experience if you're interested in VIP options. For those that want to keep the party going, there are After Dark shows taking place throughout the city with artists you'll want to hear. Each of these performances have separate tickets and will allow you to truly get an immersive experience.

In the JUN ISSUE #102, we'll share more interviews and experiences from Gov Ball.

IG @govballnyc

PHOTOGRAPHY CREDITS | PG 140 Henry HWU | PG 142 Roger Ho | PG 144 Charles Reagan |

Read the MAY ISSUE #101 of Athleisure Mag and see PRE-COVERAGE | Governors Ball in mag.

9PLAYLIST MULTI | CURTISS COOK

Read the MAY ISSUE #101 of Athleisure Mag and see 9PLAYLIST MULTI | Curtiss Cook in mag.

9PLAYLIST | SWEDISH HOUSE MAFIA

Read the MAY ISSUE #101 of Athleisure Mag and see 9PLAYLIST | Swedish House Mafia in mag.

TELL 'EM | JEREMIH

We're always looking to our playlists to set the mood and even more so when we continue to transition from the Spring to the Summer! We're excited that our 100th issue is covered by Singer/songwriter, rapper, and record producer, Jeremih. This musician also is well versed in playing the saxaphone, several percussion instruments such as congas and timbales, and piano/keyboards.

In 2009, his debut single Birthday Sex dropped and in addition to being a song that we enjoyed hearing, it came to #4 on Billboard's Hot 100 chart. After its release he continued to create hits with his 2010 single, Down on Me (featuring 50 Cent), and this single enjoyed successes that included sextuple platinum certification by the Recording Industry Association of America (RIAA). Don't Tell 'Em (featuring YG) was a 2014 single that was his 3rd top-ten hit on the Billboard Hot 100. He also continued releasing more singles with Oui and Planez (featuring J. Cole) with both receiving quintuple platinum certification by RIAA.

He also formed the duo MihTy with Ty Dolla Sign in 2018 where they had a collaborative album that was released in 2018. He has worked with a number of artists including 50 Cent, DJ Khaled, Ty Dolla Sign, YG, J. Cole, Flo Rida, Big Sean, Future, Lil Wayne, Fabolous, Chris Brown, French Montana, Wiz Khalifa, and more. He has also written songs for Kanye West, and Nicki Minaj.

His work has received additional recognition from winning an iHeartRadio Music Awards in 2015 for Hip Hop/R&B Song of the Year, 2X Nominee for Billboard Music Awards for Top R&B Song, Grammy Nominated for Best R&B Performance, and being Nominated for the American Music Awards R&B Breakout Artist to name a few.

We have enjoyed listening to Late Nights: The Album (Slowed Down) as well as seeing him on 50 Cent's The Final Lap Tour and as he is always working on projects, collaborations, features, we enjoyed seeing him play Elijah Linden in S1 of Power Book IV: Force.

We wanted to know more about how he was introduced to music, talking about the success of his single Birthday Sex, how he became involved in Birthday Sex Wine, and more.

ATHELEISURE MAG: From a young age you cultivated being a musician by learning how to play the drums, saxophone, percussion instruments, and piano/keyboards! What is it that you love about playing those instruments and incorporating them into your music?

JEREMIH: My primary choice of instruments currently is playing the keys and drums. Playing instruments is like speaking a different language of emotion. Each instrument carries its own unique tone and character, allowing me to express myself in diverse ways. Incorporating them into my music adds layers of richness and authenticity, creating a deeper connection with the audience.

AM: Your debut single, Birthday Sex, peaked at #4 on Billboard's Hot 100. What did it feel like to have all the successes that were associated with that song?

J: It was an incredible moment of validation and gratitude. Birthday Sex continues to resonate with so many people, and seeing it climb the charts was surreal. It was a testament to the hard work and dedication I had put into my craft.

AM: How did Birthday Sex Wine come about and why did you want to get into the wine industry?

J: For the past few years, white wine has been my drink of choice. Birthday Sex Wine was born out of a desire to create something special that would enhance celebrations and memorable moments. I've always been intrigued by the wine industry and saw an opportunity to blend my passion for music with the art of winemaking. It's a way to share joy and elevate experiences through a unique product that reflects my personality and style.

AM: In creating this wine, how much was your involvement?

J: I was all in on the process, from choosing the perfect blend of grapes to the look and feel of the label. My respect for winemaking came from hanging with winemaker Russell Bevan, who is known for an impressive collection of over fifteen 100-point wines. We spent time together in Napa developing the taste profile and educating me on the process of winemaking.

We wanted to know more about Birthday Sex Wine as Russell Bevan who is known as one of Nappa Valley's most acclaimed winemakers. We wanted to find out where his passion for wine came from, his successful wine company, how he came to Birthday Sex Wine and more.

ATHLEISURE MAG: When did you realize that you had a passion for wine?

RUSSELL BEVAN: I have had an intimate relationship with wine most of my life. Even as a child, I asked if I could go back for seconds during mass. For my whole life, wine has captivated my pallet and mind.

AM: Prior to launching your own wine companies, can you tell us about your background in this industry?

RB: I wrote a wine column through the Minneapolis Star Tribune and worked for the Gallo Winery doing sales while in college.

AM: How did Birthday Sex Wine come about?

RB: Jeremih and I met at a friend's house (Rob Ellin) and started talking about our mutual love affair with wine and that seed has grown into Birthday Sex.

AM: Can you walk us through the process of what it is like to create a wine? Where do you start?

RB: Everything starts with mother nature -- the soil microclimate we grow the grapes in and the growing season. We are the caretakers of what she gives us with this project. Our goal is to craft something that has delicious, pure flavors and a seductive mouthfeel.

AM: This wine is a Naked Chardonnay, do you foresee that there will be other varieties under this brand?

RB: The door is always open, Jeremih and I just have to find enough time together to taste wines that inspire us.

AM: Outside of Birthday Sex Wine, are there other wines that you're creating that will be launching that we should keep an eye out for?

RB: Adversity Cellars! Massively concentrated Cabernets with lush textures and pure fruit flavors.

IG @jeremih

@birthdaysexwine

@adversitycellars

PHOTOGRAPHY COURTESY | PG 16 - 21, 9PLAYLIST PG 22 + 23, 9DRIP PG 24 - 27 | Jeremih

Read the APR ISSUE #100 of Athleisure Mag and see TELL ‘EM | Jeremih in mag.

9DRIP | JEREMIH

Read the APR ISSUE #100 of Athleisure Mag and see 9DRIP | Jeremih in mag.

9PLAYLIST | JEREMIH

Read the APR ISSUE #100 of Athleisure Mag and see 9PLAYLIST | Jeremih in mag.

9PLAYLIST | CHASE STOKES

Read the APR ISSUE #100 of Athleisure Mag and see 9PLAYLIST | Chase Stokes in mag.

9PLAYLIST | BRANDON SOO HOO

Read the MAR ISSUE #99 of Athleisure Mag and see 9PLAYLIST | Brandon Soo Hoo in mag.

9PLAYLIST 9COLLAB | CHEF TOM COLICCHIO, CHEF KRISTEN KISH, AND GAIL SIMMONS

Read the MAR ISSUE #99 of Athleisure Mag and see 9PLAYLIST 9COLLAB | Chef Tom Colicchio, Chef Kristen Kish, and Gail Simmons in mag.

MAKING THE WORLD HAPPY WITH MUSIC MARTIN GARRIX

We're always thinking about the upcoming festival season and we have a number of people that we hope to see on stages we're heading to! Martin Garrix is a legendary international EDM DJ/Producer with residencies around the world, that we love rocking to. His passion for bringing people together with his music and those that he has collaborated with is undeniable! Just in the last few days alone, he has dropped tracks, revealed his full sets for performances at Amsterdam Dance Events - ADE last fall, and has announced his summer residency in Ibiza which he is currently in the midst of his South American tour. This artist is constantly on the move and we took a moment to find out about how when he fell in love with music, how he approaches creating his music, collaborations, recent releases, his residencies, and how he truly loves when people are able to enjoy his music and the vibe he presents!

ATHLEISURE MAG: When did you first fall in love with music?

MARTIN GARRIX: I have always loved music. I grew up in a musical household and started playing guitar by the age of 8. However, the moment I fell in love with electronic music was while seeing Tïesto perform at the 2004 Summer Olympics, for the Opening Ceremonies. They were airing this on tv, and I remember my mom calling me over to come and watch it. The energy that I felt from the music was amazing. After that, I started experimenting with electronic music myself.

AM: How would you define the Martin Garrix sound?

MG: I would say it’s energetic, uplifting and melodic. The most important thing for me is to make people feel something with my music.

AM: What's your creative process when it comes to making your music - where do you start and how do you get inspired?

MG: I can get inspired by basically anything, and inspiration can come at the most random moments. That’s why the voice notes app on my phone is filled with me most random moments. That's why the voice notes app on my phone is filled with me humming new song ideas while I’m on the road. Then when I get into the studio I usually start with melody lines either on guitar or piano. Especially the songs with lyrics they always start with a guitar and vocal or piano and vocal and then afterwards I produce it out. I much rather start with stripped-down versions so the song is strong on its own and not relying on the production. I really enjoy the songwriting process and have a soft spot for beautiful chord progressions and melodies. If the song sounds good with just a vocal and guitar, you can produce an electronic version, rock version, anything. Every song starts and ends differently. I do need to be in my own home studio to finish a song, that’s the place where I work the most comfortable and know the sound system the best.

AM: You have collaborated with a number of artists from Bebe Rexha, David Guetta, Dua Lipa, Khalid, Usher, Tïesto, to name a few. What do you look for when it comes to creating with other artists?

MG: I really need a certain connection with an artist, otherwise I can’t be in the studio with them making music together.

AM: We’ve been fans of your music since Animals and have enjoyed In the Name of Love with Bebe Rexha, Scared to be Lonely with Dua Lipa, Summer Days featuring Macklemore and Patrick Stump of Fall Out Boy, and Carry You with Third Party, Oaks, and Declan J Donovan. What are 3 of your favorite songs?

MG: It's impossible for me to choose. All my songs have different memories attached to them which make them special to me. Of course Animals will always be special because that song really kickstarted everything for me. At the moment I’m really loving playing the new songs live and seeing the crowd’s response to it.

AM: I’ve had Carry You on a loop since it came out! What's the backstory of the song and how did it come together?

MG: The song was in the making for quite some time before we released it. Third Party and myself created the lead melody a year ago and I premiered it during Ultra Music Festival. After that it become a staple in my sets and I even used it as intro to my sets every now and then. The response from the crowd has been amazing every time I played it, so we just had to finish it. The vocals from Oaks and Declan really pushed the song to another level and I’m super proud of the end result and the responses we have been getting so far.

AM: Last fall you dropped Real Love with South African singer/songwriter Lloyiso. You guys teamed up here in New York and created this song. How did this song come about and why were you so excited to work with him?

MG: I found an Adele cover from Lloyiso online and was immediately blown away by his amazing voice. I reached out to him, but due to travel schedules and visas we weren’t able to meet in person for two years. We finally hit the studio together when we were both in New York and recorded Real Love there. He has one of the most amazing voices I’ve ever heard.

AM: You just dropped Breakaway with Mesto and WILHELM. How did this song come about?

MG: Mesto has been a really good friend of mine for years and we have worked together before. We had an early version of the song which I also premiered at Ultra and we both played it in our sets throughout the summer. A few weeks ago we decided to finish the song and added in vocals from Wilhelm.

AM: A few days ago you dropped your 3 hour set, IDEM for ADE from last fall and we thoroughly enjoyed it! What's it like to perform at that event, especially being in your hometown?

MG: ADE is always a special one for me as it is in my hometown. It had been 4 years since we last did my ADE solo shows at the RAI and it was so special to bring them back. We always have a show for all ages as well which is so amazing. The young kids have the craziest energy! It’s also very special to be able to invite all my family and friends to the show and celebrate together after, that doesn’t happen often.

AM: How do you approach putting your setlists together and what's that process like?

MG: I don’t have a fixed setlist for my shows as I like to feel the energy and responses from the crowd and play whatever song feels like the best fit for that moment. As a starting point I have my intro and last song. Of course there are certain songs that can’t be left out of my set, and I usually have some new music lined up that I would like to test.

AM: Ushuaïa Ibiza just announced that you are back for a residency that will run Jun - Sep! What are you looking forward to for 15 Thursdays this season?

MG: Performing at Ushuaïa feels like coming home. It’s been the same team we have been working with for years and no matter how many shows I’ve done there, it will never not be special. It’s the perfect opportunity for me to test out new music and I’m really looking forward to the shows.

AM: You travel a lot! Just looking at 2024, you rang in the New Year in Bali. You hold residencies in Ushuaïa Ibiza and Omnia and Wet Republic in Vegas. You also have festival dates for Creamfields in Hong Kong and Ultra Miami along with your personal show schedule and special events like Saudi Arabian Grand Prix to name a few!

Where are some of your favorite places to perform?

MG: I am currently in the middle of my South American tour and the love I am getting there is overwhelming. People really know how to party and bring energy which is amazing. I also did an India tour last year which was absolutely crazy. A big part of my most loyal fanbase is over there so that always makes it special. But to be honest, I'm super grateful to be able to play in all these amazing countries. I'm still nervous for the shows because I want every show to be the best and for everyone to have a good time.

AM: What are 3 things that you must have when you're traveling to feel like you have a bit of home with you?

MG: I don’t really have those items to be honest. For me my headphones, laptop and phone are the most important items to have with me on the road.

AM: Do you have any pre-show routines that you do prior to hitting the stage?

MG: I usually like to wind down a little before the show, go through some of the songs I have lined up and then I’m all good to go. I don’t have any superstitious things I do before I get on stage or something.

AM: Do you have any post-show routines that you do after coming off the stage?

MG: I’m usually on a high and like to debrief some things with the team in the dressing room.

AM: When you're on stage, if we could bottle the feelings that you have, what would it be?

MG: I honestly wish I could share it with you because it is the most amazing feeling ever. It’s a burst of adrenaline and happiness mixed together.

AM: You founded STMPD RCRDS back in 2016. Why did you want to launch your label and what should we keep an eye out for as we head into the Spring and the Summer?

MG: I wanted full creative freedom over my music which was the main reason we started STMPD RCRDS. We quickly also started signing other artists and the label grew into this creative hub for all kinds of artists. I’m so proud of the label and all the amazing artists that are releasing on there weekly. We have signed really talented artists like Eleganto, Mesto, DubVision, Julian Jordan but are also releasing S.Salter which is neo-classical music for example.

AM: How do you stay in shape as we're always looking to add to our fitness routines?

MG: This can be a challenge for me, but the last couple of months I have found a routine that really works for me. I try to eat healthy and be in the gym almost every day for a workout. I also really enjoy sports such as padel and wind surfing whenever I have the time.

AM: How do you take time for yourself?

MG: It’s difficult but I do try to take time for myself to do sports or spend time with family and friends. As weird as it may sound, making music is also something I really like to do in my time off. It’s my biggest hobby so making music really doesn’t feel like work to me.

AM: Are there any projects that you can share that we should keep an eye out for that you're working on?

MG: We released Carry You and Breakaway as surprises the past two weeks, but there are two more releases coming up the next two weeks because we are releasing an EP called IDEM. The EP has the same name as the live show because it represents the period leading up to the show where I premiered and played all the songs that will be on the EP. The next release will be Biochemical together with Seth Hills.

AM: What do you want the Martin Garrix legacy to be?

MG: All I want is to make people happy with my music.

IG @martingarrix

PHOTOGRAPHY COURTESY | Louis Van Baar

Read the FEB ISSUE #98 of Athleisure Mag and see MAKING THE WORLD HAPPY WITH MUSIC Martin Garrix in mag.

9PLAYLIST | LIONEL MESSI

Read the FEB ISSUE #98 of Athleisure Mag and see 9PLAYLIST | Lionel Messi in mag.