Just because you never traded bootleg tapes with strangers or dropped acid to experience that Timothy Leary whacked-out feeling, you can still appreciate the Grateful Dead. 

When the Dead began their psychedelic trip back in the late 1960s, the media categorized their followers as lazy, counter-culture drop-outs. The reality: these devotees, known today as Deadheads, were just music-lovers that shared values and believed in the power of community, peace and love. Today, Deadhead culture and the band’s popularity is as relevant as ever. Even as the original fans age, new Gen Z disciples arrive each year to carry on the jams.  

Flash back to San Francisco, 1965. The original lineup, calling themselves the Warlocks, formed from the remnants of Palo Alto band Mother McCree’s Uptown Jug Champions and Bay Area folk group the Wildwood Boys. After learning of another group called the Warlocks, the band became the Grateful Dead overnight. The story goes that guitarist/vocalist Jerry Garcia picked the band’s name randomly from the dictionary. 

The earliest gigs under this new moniker occurred at Ken Kesey’s infamous Acid Test parties. Founding members were: Garcia; Bob Weir (rhythm guitar/vocals); Ron "Pigpen" McKernan (harmonica, keyboards/vocals); Phil Lesh (bass) and Bill Kreutzmann on drums. Robert Hunter and Mickey Hart joined the group in 1967. 

The Grateful Dead were a free-flowing fusion of folk, rock, soul, blues and jazz, and their improvisational approach to the music created a new classification in the lexicon: a "jam band." A Dead concert was all about the songs, the feelings, and the interplay between musicians. The jams mattered, not perfection. 

Playing live was where the Grateful Dead made their money (they were one of the top grossing touring acts for decades), playing some 2,200 plus concerts globally in its 30-year career. Deadheads recorded these shows, traded tapes, and followed the white line in VW vans from town to town to take communion with the group night after night. No two shows were the same. Songs meandered longer or shorter depending on where the music — and the Deadheads — led them on any given evening. 

When Jerry Garcia died on Aug. 9, 1995, the remaining members said without their charismatic leader, the Grateful Dead (at least in name) was dead. However, the spirit of the band has carried on with the various solo projects, the Dead & Company (featuring some of the original band members) and countless jam bands. 

The Dead defined an era. The band represented a subculture that influenced the mainstream for decades from lifestyle to fashion; from music to marketing. More than 50 years since the Grateful Dead started jamming, Deadheads are still grateful for the music. 

How do you get into — but also get —  the Grateful Dead? There is no one way. Like all music, to quote the prophet Robert "Nesta" Marley: "when it hits you feel no pain." The important thing with the Dead’s music is that you feel something.  

With the release next month of a deluxe expanded and remastered version of Wake of the Flood (the band’s 1973 debut on Grateful Dead Records), here’s a primer on how to get into these merrymakers, who received a GRAMMY Lifetime Achievement Award in 2007. Start that long strange trip with these five ways to appreciate — and get to know — the Grateful Dead. 

Start With The Classics

Released just five months apart in 1970 Workingman’s Dead and American Beauty are the touchstones. This pair of albums represented a shift for the band from its psychedelic roots to an Americana road of devotion; the influence of the Bakersfield sound is all over these songs. Do a deep listen of these records and hear some of the Dead’s best-loved classics and Dead show setlist staples for decades. Discover the beauty of the music, the complexity of the arrangements and the heartfelt harmony. 

Workingman’s Dead, released in June 1970, opens with "Uncle John’s Band" — one of the band’s most well-known songs and most oft-covered — it was also the band’s first chart hit. Among the rest of the eight songs here, "Casey Jones," about a train engineer speeding down the tracks "high on cocaine," is another classic.   

American Beauty, the band’s fifth studio record, showcased the Dead at their creative heights and has gone on to double-platinum certification Arriving Nov. 1, 1970, the album is an Americana masterpiece that features acoustically-inclined country-rock numbers mixed with toe-tapping, groovy psychedelic jams. 

Put on your headphones to truly savor the 10 songs that include live regulars: "Friend of the Devil," "Truckin,’" "Box of Rain," "Sugar Magnolia" and "Ripple."

Jam On: Appreciate & Listen To The Followers

The Allman Brothers Band are a close cousin of the Grateful Dead; they also loved to jam and fuse genres. In the 1980s and 1990s many other bands became Dead disciples, among them Phish, Widespread Panic, Blues Traveler, the Dave Matthews Band, Government Mule and the String Cheese Incident. 

These groups continue the jam band tradition for new generations. This in-the-moment, letting the music go where it was meant to go, is their guidepost. The jam band spirit is evident in this 11-minute live version of the Allman Brothers' "Whipping Post" recorded at the Fillmore East in 1973. 

And, let’s not forget those Vermont boys Phish, who showcased their ability to jam with the best of the best during a string of 13 concerts, from July 21 to August 6, 2017 at Madison Square Garden (MSG), dubbed The Baker’s Dozen. Each night of the residency — which has continued, with slightly fewer dates, for years — featured a different set list with no songs repeated throughout this residency at MSG. Night four included a 29-minute jam of their song "Lawn Boy."

Keep On Truckin’: Follow The Long & Winding Road To Uncover More Dead Songs 

The Grateful Dead released 13 studio albums and 77 live records. Their archives are vast and deep, and new live recordings are being released every year. The joy of getting into the Grateful Dead is that there is no rulebook. Just as their shows had no set structure, becoming a Dead fan has no defined musts. That said, here are another trio of songs you must listen to to better understand and appreciate this band.

"Friend of the Devil"

The second song from American Beauty, this acoustic number is a quintessential Dead track. 

"Franklin’s Tower"

First released in 1975 on Blues for Allah, this rollicking number with its repetitive chorus telling you to "roll away the dew," is one of the Dead’s most catchy numbers. Just listen to the live version on Dead Set and try to disagree. 

"Touch of Grey"

The Grateful Dead got another mainstream bump in the late '80s thanks to MTV. The video (the first ever official one made by the Dead) for this single from the 1987 album In the Dark, featured the band turned into life-size marionette skeletons playing this song live. The memorable refrain: "I will get by/ I will survive," and heavy rotation on TV, helped this song become a Top 10 Billboard hit (the group’s only Top 40 charting song of its 30-year-career), bringing the Dead’s music to a new generation. 

Get Turned On & Tune Out 

After listening to some of the Dead’s best live records like Europe ‘72 and Dead Set (1981), subscribe to the Grateful Dead’s YouTube channel. Make sure you’ve got time on your side; for if you go down this rabbit hole, there is no telling when you might resurface. 

That's not a bad thing. Get a taste of what it was like to attend a Dead show. Watch a Dead concert from different decades like this show at the famed San Francisco Winterland on New Year’s Eve in 1978, this one from California’s Shoreline Amphitheatre in 1987, or this one from 1990 at Three RIvers Stadium in Pittsburgh, Pennsylvania. 

Read On! The Dead Are Far From Dead 

Thousands of scholarly theses have been written — and continue to be published — on the band; college courses have been created and even a journal is devoted to discussing the cultural significance of the Grateful Dead. Marketing gurus have shared business lessons learned from the band such as the innovative ways they sold and promoted their music. Head to your local library or independent bookstore and ask what books they have on the Grateful Dead. 

A quick Google search reveals dozens upon dozens devoted to this American band: from memoirs written by Dead members Mickey Hart and Phil Lesh, to academic explorations and longform odes by Deadheads. Ready to dive deeper? This film offers an in-depth look at Deadheads’ devotion and gives a behind-the-scenes glimpse of the connection between a fanbase and a band. And learn more here than you ever thought you wanted — or needed — to know about the Grateful Dead. What a long, strange trip it’s been. 

No Accreditation? No Problem! 10 Potential Routes To Get Into Jazz As A Beginner

Jay Blakesberg’s solo exhibit RetroBlakesberg: The Music Never Stopped at the GRAMMY Museum  takes visitors on a captivating journey through his extraordinary 30-year career in music photography, spanning 1978 to 2008.

On view from Nov. 8 to June 15, 2025, this exhibit showcases Blakesberg's extensive collection of over 150 film photographs that highlight pivotal moments in music history. From the raw energy of live performances to intimate artist portraits, the exhibit features iconic musicians such as the Grateful Dead, Neil Young, Snoop Dogg, Radiohead, and more.

Growing up in New Jersey, Blakesberg developed a profound passion for the Grateful Dead and music photography, igniting a lifelong journey of capturing the essence of the artists who create the music we all love — from rock and grunge to hip-hop, psychedelic, folk, blues, and beyond. RetroBlakesberg invites visitors to step into a visual narrative that chronicles the sounds, scenes and stories that have shaped popular music. 

Exhibit highlights include:

• More than 120 photos of musicians, shot on film, including Dr. Dre, Björk, Nirvana, Tom Waits, and Tracy Chapman.

• A special series of 20 "blue" portraits, featuring artists like Joni Mitchell, Green Day, Ice-T, and The Flaming Lips, created using tungsten-balanced film in daylight for a unique blue hue.

• Captivating images documenting the Grateful Dead and the vibrant, psychedelic culture surrounding them, a nod to Blakesberg’s lifelong inspiration since he was a teen.

Read on to hear from Blakesberg himself on how he captured these iconic moments, the inspiration behind his creative choices, and what it means to showcase his life’s work at the GRAMMY Museum.

Don’t miss your chance to experience this unique collection that has captivated audiences at the Morris Museum and the Contemporary Jewish Museum. Explore grammymuseum.org and buy tickets to witness music history come alive through Blakesberg’s lens.

This interview has been edited for clarity and length. 

Your exhibit, RetroBlakesberg: The Music Never Stopped, spans three decades of music photography. What do you feel has changed the most about the live music scene from 1978 to 2008, and how did that influence your work behind the camera?

The live concert industry has changed radically since I first started shooting. In the beginning, I was just a kid with a camera walking into a concert without a press pass. This was before corporate rock ‘n’ roll began restricting photographers, so back then, anyone could bring a camera to a show. By the mid to late '80s, however, when I started shooting professionally, credentials were required to bring a camera to larger venues. Thankfully, there were still small venues where up-and-coming bands like Jane’s Addiction, Soundgarden, and the Butthole Surfers were accessible without special credentials.

As the industry evolved, so did photography. Cameras improved, film quality advanced, lenses became sharper, and the lighting at concerts became more sophisticated. These changes allowed me to capture more dynamic images between 1978 and 2008.

When I first started, I focused solely on live concert photography. However, I quickly realized that to get my work featured on magazine covers, in editorial stories, or even on album covers, I’d need to take portrait photos as well. By the late '80s, I started doing portrait work, which was a significant shift — from relying on stage lighting and venue access to working one-on-one with iconic artists.

Tracy Chapman | Jay Blakesberg

The exhibit features 150 film photographs. What made you continue shooting on film for so long, and how do you think it shaped the look and feel of your work?

In 2008, I fully transitioned to digital photography. During the pandemic, my daughter, Ricki, came up with the idea to start a new Instagram page called "RetroBlakesberg," dedicated exclusively to my film photographs. There’s only a brief overlap in my work when I was shooting both early digital and film, so this page highlights a specific part of my career. Even though I had established a digital studio early on, we continued shooting on film for a while, delivering images digitally by first scanning prints and eventually moving on to scanning negatives. It was a time of transition between film and digital.

Today, in a predominantly digital photography world, there’s a noticeable resurgence of film photography, especially among younger photographers like Ricki, who almost exclusively shoots on film. Ricki not only curated the RetroBlakesberg Instagram but also developed the concept of showcasing only my film work. This idea evolved into a coffee table book, RetroBlakesberg, and then into a museum exhibit by the same name.

The first RetroBlakesberg exhibit was held at the Morris Museum, a Smithsonian affiliate in New Jersey, and then moved to the Contemporary Jewish Museum in San Francisco, where it remained for 11 months. Now, we’re thrilled to bring the exhibit to the GRAMMY Museum in Los Angeles.

One highlight of the exhibit is the "blue" portraits series, where you used the "wrong film" for the "wrong light." Can you tell us more about that creative decision and the process behind those images?

After I began doing portrait work in the late '80s and early '90s, I realized that to capture the attention of art directors and photo editors, I had to be as original as possible. I started experimenting in the darkroom by toning black-and-white prints with blue hues. But soon, I discovered an even more intriguing technique: shooting with tungsten-balanced film in daylight settings.

Tungsten film is designed to be used under incandescent stage lights, which are heavy on warm tones. When shot in daylight, however, this film takes on a blue cast, with the intensity depending on the amount of shade or under artificial strobe lighting with the use of CTB Gels. In darker, more shaded areas, the blue would be deep and intense, while in open shade, the color would be lighter and more subtle. Each shot was a bit of a mystery — I could never predict exactly how the film would turn out until I got the film back from the lab.

Joni Mitchell | Jay Blakesberg

You've photographed such a wide range of artists, from Snoop Dogg and E-40 to Björk and Neil Young. How do you adapt your approach when shooting such diverse musical personalities?

When doing portrait work with artists, many of my creative ideas revolve around location and lighting. Back in the days of film, creativity also meant choosing from different types of film and emulsions, lenses, and cameras. For any given portrait, I might shoot with a medium-format camera, a 35mm camera, or even a toy camera. I could select from color film, black-and-white film, fast film, slow film, or grainy, textured film — each an option in the toolbox. 

Combined with my understanding of these artists and my knowledge of photographic tools, I was able to create unique concepts for each session. Every shoot required careful prep including location scouting, and lighting choices to decide how best to capture the moment.

Growing up in New Jersey, you had a deep connection to the Grateful Dead. How did your love for the band shape your photography career, and what role did they play in launching your career behind the lens?

The Grateful Dead experience has provided an enormous amount of inspiration and passion for me. As a teenager, I went deep into the unique spirit of the music and community that emerged out of the Haight Ashbury in the 1960s  — I took that ethos, and with my camera in hand began photographing what was in front of me, which was often the psychedelic swirl of hippies and bands. Taking psychedelics certainly played a part, but more than anything, it was the thrill of capturing a moment and eventually the dream of turning that passion into a career that drew me in.

Photography isn’t without its challenges; there were plenty of tough, uninspiring jobs along the way to pay the bills. But over time, I found my groove and my own style, and it resonated with magazine editors, art directors, record companies, and artists alike. My career began to take off.

That early DIY inspiration I saw with the Dead and the Deadhead community had a profound impact on me. Passion and inspiration go hand-in-hand, and when you’re moved by something — maybe even a dancing Deadhead in front of you — it fuels you to capture that moment and see where it takes you as an artist.

Learn more: A Beginner’s Guide To The Grateful Dead: 5 Ways To Get Into The Legendary Jam Band

What was it about that particular scene that resonated with you? How do you capture the essence of that community in your photography and what continues to fascinate you about capturing it?

Once I truly immersed myself in photographing not only what was happening on stage but also the energy and spirit of the fans and the journey of it all, everything clicked for me. 

When I look back at these photographs of Deadheads from 40 years ago, they hold special meaning — not only as personal memories but as vital documentation of pop culture. These images capture fans entirely in the moment, fully absorbed in the music, having a magical experience free from distraction. There’s no technology, no phones, no one dancing with the intent to share it on social media the next day. They’re simply there, fully present. As Baba Ram Dass said, "be here now."

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Having your work featured at the GRAMMY Museum must be a proud moment in your career. What does this exhibit mean to you personally?

The GRAMMYs have been a part of my life for as long as I can remember. I’ve been watching the awards on TV since my teens, well over 45 years — maybe even longer. My connection to the GRAMMYs is ingrained in my DNA as a lifelong music fan. To have my work displayed at the GRAMMY Museum feels like a dream come true, even one I hadn’t realized I’d been dreaming of all these years. I’m incredibly honored to be working with the museum and the dedicated staff who are putting so much effort into bringing this exhibit to life. This is a major milestone in my career, and having the chance to work on it with my daughter, Ricki, makes it even more meaningful.

How did your transition from film to digital photography in 2008 change the way you capture and tell stories through your images?

Switching fully to digital was definitely a learning curve. With film, we had various camera and film formats, as well as different film types, to create unique looks and styles. But with digital, we were all working with essentially the same cameras, lenses, and sensors. Over time, it was the software that made the difference, allowing us to develop a distinctive look, feel, and style.

As an older photographer making the switch in my mid-forties, adapting to this new workflow was challenging. Younger photographers who grew up with cell phones seemed to adapt more easily to digital processes compared to those of us who had long careers working in an analog world. One of my early hires was a talented 19-year-old with great Photoshop skills, and he helped me refine a digital look that still captured some of the feel of film photography. At first, Photoshop was essential for creating a unique style, but with the advent of Adobe Lightroom, many of these tools became more accessible, making it easier for anyone to experiment and develop a distinct digital aesthetic without needing advanced Photoshop skills.

What advice would you give to young photographers who want to capture the spirit of live music in today’s digital world?

When I advise young photographers, I tell them to strive for originality. If you’re in the photo pit shooting a band and see 30 photographers on the left side of the stage for the "best" angle, go to the right and capture something different. There’s a lot of sameness out there, so finding ways to be creative, unique, and original is essential.

Your images have chronicled some of the most iconic moments in music history. Looking back, are there any specific artists or performances that hold a special place in your heart?

It’s hard to pinpoint specific shows or moments that I’ve documented because, for me, it’s about the entire body of work — capturing this unique pop culture phenomenon of rock ‘n’ roll over a 45-year period. Beyond the Grateful Dead, I’ve had the privilege of working with artists like Neil Young and Carlos Santana repeatedly for over 30 years. Michael Franti, whom I first photographed in the late '80s, who wrote the introduction to my RetroBlakesberg book and Wayne Coyne from the Flaming Lips who wrote the foreword are both examples of artists I have been shooting for over 35 years! Being able to follow and document these artists throughout their careers has been a uniquely meaningful aspect of my work.

It’s not just about individual events or shows — though there have been countless magical moments. What defines my journey is the cumulative story these photographs tell, capturing the evolution of pop culture and rock ‘n’ roll history, creating engaging portraits of legendary artists who have written the soundtrack to our lives. This whole body of work is what truly defines me as a photographer.

Finally, what do you hope visitors take away from RetroBlakesberg: The Music Never Stopped?

What I hope viewers take away from RetroBlakesberg is multifaceted. First and foremost, I want people to look at these photographs and be transported back to significant moments in their lives — just like hearing a song on the radio that reminds you of your childhood, your teenage years, or even when you first met your spouse, or significant other.  We have all had special moments that wrap around the music experience. These images should evoke feelings of nostalgia, joy and a connection to the songs, the Muse, that is part of our hopefully expansive lives.

I also want viewers to recognize that I’m a photographer who has spent countless hours in the trenches, dedicated to documenting history. For me, this work has never just been about getting paid; it’s about creating an archive and preserving stories that are incredibly important. Many of the photographs in this exhibition were taken on my own initiative, driven by a desire to document moments that I felt were significant, rather than for an assignment or financial gain.

Additionally, I want people to see this collection through my daughter Ricki’s eyes. She helped curate the exhibition and was present for much of the shooting as a child. Now, as a 29-year-old woman, the images resonate with her and her generation in ways that differ from my own experiences and or people that are around my age. I love that span of connection she brings to this project; it adds depth and richness to the narrative we’re presenting.

As November arrives, the GRAMMY Museum in Los Angeles opens its doors to an exciting array of live events and exhibits celebrating music’s most influential artists.

This month’s programming spans a mix of genres and features an impressive lineup, including intimate performances and conversations with artists like Soul Asylum, Grace VanderWaal, and rising talent Grace Bowers. Visitors can also explore a tribute to the legendary Luther Vandross, alongside new exhibits from renowned rock photographer Jay Blakesberg.

Whether you’re drawn to rock, pop, or the timeless elegance of soul, Nov.’s events offer fans a window into the creative journeys of music’s celebrated voices. Join the GRAMMY Museum in Downtown L.A. to experience unforgettable moments that connect fans directly with the artistry that shapes today’s music scene.

On The Red Carpet

Ongoing from Nov. 4, 2024

L.A.

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"Who are you wearing tonight?" It's the question GRAMMY nominees can count on as they step onto Music’s Biggest Night — and On The Red Carpet delivers an exclusive look at those jaw-dropping fashion moments. 

This display showcases unforgettable ensembles worn by icons like Shania Twain and Lizzo at the GRAMMYs and Latin GRAMMYs, where the red carpet has become a high-stakes runway for bold, original style statements. Each outfit on display captures the essence of this electrifying event, where designers pull out all the stops to create head-turning looks as unforgettable as the night’s epic performances and awards.

Sensory Friendly Saturdays

Nov. 9, 2024 from 9 to 11 a.m.

L.A.

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Experience Sensory Friendly Saturday on the second Saturday of every month. Families can enjoy our space with less crowding, quieter sound levels and lower lighting on the second Saturday of every month from 9 a.m. to 11 a.m. Guests can purchase tickets when they arrive at the Museum or they can purchase online for the applicable Saturday.

RetroBlakesberg: The Music Never Stopped

Nov. 8, 2024 until June 15, 2025

L.A.

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The GRAMMY Museum is proud to launch an exciting new exhibit, RetroBlakesberg: The Music Never Stopped, showcasing iconic rock photographer Jay Blakesberg’s captivating film work. The exhibit spans three decades of music history, featuring 150 vivid photographs, from rare portraits of artists like Björk and Snoop Dogg to immersive captures of the Grateful Dead’s psychedelic scene. 

Blakesberg’s "blue" portraits, an innovative collection of images using unconventional film techniques, spotlight musicians like Green Day and Joni Mitchell. Curated by Blakesberg and his daughter Ricki, this exhibit offers an unparalleled visual journey through the artists and movements that have defined music culture.

Family Free Day Celebrating Latin GRAMMYs’ 25th Sponsored by Intocable

Nov. 9, 2024 from 10a.m. to 6 p.m.

L.A.

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Admission to the GRAMMY Museum will be free thanks to the generous support of INTOCABLE, the Latin music pioneers and Latin GRAMMY and GRAMMY-winning band. 

The day will celebrate Latin music and culture through educational and community-based events. In addition to free admission to the museum all day, the first 300 attendees on-site will receive a free taco lunch on the Ray Charles Terrace and parking vouchers (for the L.A. Live East Garage only). The celebration will open with the Mariachi Tierra Mia band, followed by a panel on diversity in Latin music at the Clive Davis Theater. After lunch, Leslie Ferreira from 3rd Street Dance Studio will teach a salsa lesson on the Ray Charles Terrace, and the day will conclude with Lucky Diaz and the Family Jam Band.  

While visiting the museum, check out the Intocable artifacts on display for our current exhibit, LATIN GRAMMYs 25 – A Legacy Of Musical Excellence. This event will kick off the 2024 Latin GRAMMYs airing later that week on Thursday, Nov. 14. 

Read more: 2024 Latin GRAMMYs: See The Full Nominations List

The Drop: Soul Asylum

Nov. 12, 2024 from 7:30 to 9 p.m.

L.A.

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The GRAMMY Museum is thrilled to welcome Dave Pirner and Ryan Smith of Soul Asylum to the Museum’s intimate 200-seat Clive Davis Theater for an evening celebrating the release of their album, Slowly But Shirley. Matt Pinfield will moderate the discussion about their creative process, with a performance to follow.

Soul Asylum’s early indie success paved the way for their major-label debut in 1988 with Hang Time and its follow-up, And the Horse They Rode In On (1990). Their breakthrough came in 1992 via the triple-platinum Grave Dancers Union, featuring the GRAMMY-winning hit "Runaway Train" and "Black Gold." The group released Let Your Dim Light Shine in 1995, which included the hit "Misery." 

After 1998's Candy from a Stranger, the band returned with The Silver Lining (2006), Delayed Reaction (2012), and Change of Fortune (2016). Their 2020 album Hurry Up and Wait marked their highest Billboard Chart position since 1995, coinciding with Pirner’s release of Loud Fast Words, a book of his lyrics and reflections on Soul Asylum's journey.

Spotlight: Grace Bowers

Nov. 13, 2024 from 7:30 to 9 p.m.

L.A.

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The GRAMMY Museum is thrilled to welcome Grace Bowers to the Museum’s Clive Davis Theater for an evening celebrating her debut album, Wine on Venus. The event includes a discussion about her creative process and rising career, with a performance to follow.

Grace Bowers is an 18-year-old, award-winning guitarist and songwriter rapidly gaining fame with her debut album produced by John Osborne (Brothers Osborne). The album received praise from Forbes as "an infectious, joyous party," and Rolling Stone named Bowers "Nashville’s new guitar hero." 

Inspired by blues legends and soulful funk, Bowers began in dive bars and rose to viral fame during the pandemic. She has since debuted on "Jimmy Kimmel Live!" and toured with acts like Gary Clark Jr. and the Allman Betts Family Revival. This fall, she will perform with The Roots for Why Hunger and join Bob Weir in Mexico for Dead Ahead Fest, with additional festival appearances at Bourbon & Beyond and Bottlerock.

2024 Chart Toppers: Today’s Hitmaking Songwriters/Producers

Nov. 18, 2024 from 6:30 p.m. to 8 p.m.

L.A.

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In association with the Songwriters Hall of Fame, the GRAMMY Museum is thrilled to present 2024 Chart Toppers: Today’s Hitmaking Songwriters/Producers, the latest in a continuing series of special Songwriters Hall of Fame events celebrating acclaimed hitmakers behind some of the most impacting songs on the charts. 

Held in the museum’s Clive Davis Theater, the program will feature an illustrious panel discussion with GRAMMY-nominated and award-winning songwriters, who will share insight into their craft and career, as well as behind-the-scenes stories. Among the panelists are Dan Nigro (Beyoncé, Miley Cyrus, Rihanna, Olivia Rodrigo, Sky Ferreira) and Theron Thomas (Beyonce, Miley Cyrus, Lil Durk feat. J. Cole, Lizzo, Nicki Minaj, Saweetie and Doja Cat). 

Proceeds from this event go to the educational initiatives of the Songwriters Hall of Fame and GRAMMY Museum.

Spotlight: Grace VanderWaal

Nov. 19, 2024 from 7:30 to 9 p.m.

L.A.

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The GRAMMY Museum is thrilled to welcome Grace VanderWaal to the Museum’s Clive Davis Theater for an evening discussing her latest music, rising career, and more, with a performance to follow.

Grace VanderWaal entered a new era with a distinct voice in today’s pop landscape. Her first two song releases arrived just ahead of her role in Francis Ford Coppola’s star-studded film Megalopolis, which premiered on Sept. 27. In the months leading up to the premiere, she dedicated time to her upcoming album, influenced by indie favorites like Lorde’s Melodrama, Girl in Red, and Suki Waterhouse. Originally rising to fame at age 12 after winning "America’s Got Talent" as a quirky singer/songwriter, VanderWaal, now 20, has redefined her image, emerging as a mature artist with a unique perspective.

Luther Vandross: Artistry and Elegance

Nov. 20, 2024 until June 15, 2025

L.A.

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The GRAMMY Museum will celebrate the legendary career of Luther Vandross with a new exhibit, Luther Vandross: Artistry and Elegance, opening on Nov. 20, 2024, in partnership with Primary Wave Music and the Luther Vandross Estate. Vandross, an eight-time GRAMMY winner, captivated audiences as a revered songwriter, arranger, producer, performer, and one of the most gifted vocalists in music history.

Luther Vandross: Artistry and Elegance offers an intimate glimpse into Vandross' creative process, showcasing his ornate stage wardrobe, exclusive performance footage from his popular tours, and a never-before-heard recording of him in the studio. The exhibit opens with an exclusive screening of the feature documentary Luther: Never Too Much directed by award-winning director Dawn Porter. 

Read more: GRAMMY Museum To Celebrate Luther Vandross' Legacy With 'Artistry And Elegance' Exhibit

And then there were two. Phil Lesh, co-founder and innovative bassist for the Grateful Dead, passed away peacefully on Oct. 25 at his California home surrounded by family. He was 84.

With Lesh’s death, Bob Weir and Bill Kreutzmann are the only remaining original members of the psychedelic rock band that formed in Palo Alto in 1965. Earlier this week, it was announced that the Grateful Dead had been named the 2025 MusiCares Persons Of The Year. 

Lesh’s death was announced late in the day on Friday on his official Instagram. Margo Price, one of the first to comment on the news, simply said, "Thanks for the music." Just this past March, Lesh was joined on stage at The Capitol Theatre by friends and fellow artists to celebrate his 84th birthday. On Friday night on X, the New York venue said they already missed the musician "more than words can tell."

"The Recording Academy mourns the loss of Phil Lesh," Recording Academy CEO Harvey Mason, jr said in a statement."For their outstanding contributions to the recording industry, he and his fellow Grateful Dead members were honored in 2007 with our Recording Academy Lifetime Achievement Award. Phil’s legacy is timeless and will live on for generations to come and we look forward to honoring him and the Grateful Dead at our MusiCares Person of the Year ceremony in January."

Phil Lesh left a lifetime's worth of music to be grateful for. The musician was born in Berkeley, California on March 15, 1940. He played trumpet and violin in high school and, during these formative years, fell in love with free jazz and experimental music. This penchant for improvisation that became his trademark for three decades as a member of the Grateful Dead — a  band of musical brothers that left a lasting legacy on the world. 

Lesh became a bassist by default. He was working a variety of jobs, including driving a mail truck and working at a radio station, when Jerry Garcia convinced him to join the new rock band he was forming (the Warlocks), who quickly morphed into the Grateful Dead.   

The Dead defined an era. The band represented a subculture that influenced the mainstream for decades from lifestyle to fashion; from music to marketing. And Lesh, as a co-founder of these musical misfits, was a key cog in this long and strange trip.  

"Phil Lesh changed my life," Dead drummer Mickey Hart wrote on X. "Phil was bigger than life, at the very center of the band and my ears, filling my brain with waves of bass…. Phil was a master of a style he invented, he was singular, an original, nobody sounded like him, nobody."

Read more: A Beginner’s Guide To The Grateful Dead: 5 Ways To Get Into The Legendary Jam Band

The bass does not often get the glory, but it is the backbone of many groups; it provides that steady beat and rhythm that guides the rest of the band. Sometimes, the bass lines are simple; other times complex. Lesh's dexterity with the instrument allowed him to wield it as an inspirational source and force — especially live — as a conduit to take the Grateful Dead and their fans to new realms. 

Lesh played bass like it was the lead instrument of the band. Listen to the Grateful Dead’s vast catalog and the groove of his funky bass notes and improvisations often trump Garcia’s lead guitar playing. Rolling Stone cited Lesh as one of the "50 Greatest Bassists of All Time," noting that that "In the same way that the Grateful Dead reconfigured how a rock band should sound — looser and jammier, incorporating equal parts jazz and country — Phil Lesh made us hear the bass in a new way."  

The Grateful Dead were innovators. No two shows were ever the same. The spirit of each night was unique and that spirit was fuelled by the band members (and just as often by the various drugs that they were under the influence of) and where they went on these spacey jams and explorations, Lesh was often the guide.  

In 1994, Lesh and his jamband mates were enshrined into the Rock And Roll Hall of Fame when Bruce Hornsby officially inducted the Grateful Dead. In his acceptance speech, Lesh thanked Deadheads worldwide, acknowledging that "without them, we wouldn’t be anywhere, much less right here, right now."   

After Garcia passed away in 1995, Lesh and Weir both continued to play and perform, together and separately, but never again under the Grateful Dead moniker. Lesh founded Phil Lesh & Friends and, in later years, played often with his sons: Grahame and Brian; Weir fronted Dead and Company, who this past summer completed a 30-day residency dubbed Dead Forever in Las Vegas at the Sphere.

On X, as news of the musician’s passing spread, tributes poured in from celebrities, fellow musicians, legendary venues, and regular Deadheads. The Empire State Building even announced it would light up the New York City skyline for one hour on Friday night in homage to Lesh’ legacy.

Beyond its longtime care for its community of loyal fans (Deadheads), the band supported many causes over the years — from mental health to music education and social justice. In 1997, Lesh and his wife Jill founded the Unbroken Chain Foundation to raise money and give back to various charitable organizations. 

MusiCares also mourned the loss of Lesh. "As a legendary bassist and founding member of the Grateful Dead, Phil’s distinctive contributions to music, advocacy, and philanthropy leave an enduring impact," the organization said in a statement. "Phil will be reverently honored with his Grateful Dead bandmates as our 2025 Persons of the Year, commemorating their journey that transcends music and fosters a profound sense of unity and generosity. This tribute stands as a testament to Phil’s remarkable legacy, commitment to creating community, and unwavering dedication to causes close to his heart, including his Unbroken Chain Foundation and MusiCares."

Phil Lesh leaves behind his wife Jill and children, Grahame and Brian. 

In memory of Phil Lesh, press play on five songs that feature bass lines that groove, melodies that linger long after the record is done, and showcase his musical legacy and influence.

This country-folk song is a Deadhead favorite and concert staple. The melody and instrumentation for "Box of Rain" (from American Beauty,1970), came to Lesh as something to sing to his dad, who, at the time of its writing, was dying of cancer; Lesh practiced it in his head during his drives to visit his ailing father at his nursing home.

One of the Dead’s most mainstream cuts and highest-charting songs, it’s hard to listen to this catchy number without getting hypnotized by the funky bass groove supplied by Lesh that keeps the song rollicking down the highway on this long strange trip.  

From 1970's Workingman’s Dead, this song is about the trials and tribulations of toiling in the Cumberland coal mines in Kentucky. In live shows, this is one where Lesh was let off his leash; listening to this track you can feel how much fun the bassist is having.   

This song was co-written by Jerry Garcia, Phil Lesh and Robert Hunter. Appearing on the 1969 album Aoxomoxoa, this tune opens with Lesh playing single notes that resonate and then kicks into a romp that continues to build until the bridge that slows things down briefly before another explosion of sound that spirals the song to a climactic ending with the melodic bass lines of Lesh leading this psychedelic trip. 

Lesh co-wrote this complex melodic song, which is also the name of his charitable foundation, with longtime Grateful Dead lyricist Robert Hunter. Appearing on 1974’s From the Mars Hotel, the band never performed the song in concert until 1995, likely due to its difficulty. 

The phrase symbolizes (just like the classic 1907 gospel hymn "Will the Circle be Unbroken" the journey of the band and the fans that have followed them on their trips for nearly 60 years. Though yet one more member of the Grateful Dead is now gone, the songs remain to help family, friends and Deadheads grieve to make sure the links to their music never breaks or fades away.  

Mainstream rock or pop, Phish are not. While the foursome from Vermont are definitely a jam band, that label does not capture their unique sound and varied influences. Both on record and live, Phish's extended improvisations noodle from reggae and all forms of rock, to bluegrass and funk, with healthy doses of country, blues and jazz.

Like the jam band godfathers the Grateful Dead, Phish built its devoted fanbase  not through singles and airplay, but via tireless touring and word of mouth. On some nights — okay most nights — even the band has no clue where their rambling live shows will go. This spontaneity has been Phish's guiding ideology from its earliest days playing college campuses to their annual residency at Madison Square Garden; there is nothing contrived or calculated about a Phish show; instead, the band's filled with surprises and set lists that change more frequently than you change your bedsheets.

For more than 35 years now these four souls have been taking Phish-heads along on this joyous musical ride to unknown soundscapes. Concerts are fueled by passion, not perfection. Ask 10 Phish phans what their favorite live show is from the band’s history and likely each will offer a different answer and argue the reasons for their choice as if it were a thesis defense.

Read more: A Beginner’s Guide To The Grateful Dead: 5 Ways To Get Into The Legendary Jam Band 

For Phish, it’s not about awards and accolades. The group has just one GRAMMY nomination and its highest charting single came and record came 30 years ago. In 1994, Billy Breathes peaked at No. 7 on the Billboard 200; its lead single "Free" hit No. 24 on the Billboard Hot Modern Rock charts and No. 11 on the Mainstream Rock Tracks chart.

What attracts people to Phish's music and subculture is the mood, the groove and the community; that’s why  the band perennially have been one of the highest grossing live acts throughout their career. The band is also part of American pop culture: They have a Ben & Jerry’s flavor (Phish food), have appeared on "The Simpsons" and been parodied on "South Park."

This spring, Phish became only the second band (after U2) to perform at the Sphere in Las Vegas. Over the weekend of April 20, the foursome played four shows with a completely different set each night. The final show on Sunday evening featured an epic second set, even by Phish standards: the band performed for nearly two hours and jammed on for 34-minutes on "Down with Disease."

Surprises like this musical meandering abound at Phish shows and it’s another reason fans shell out a hefty chunk of their pay cheques to see them live again and again and again; it’s also what makes attending one of their concerts a unique experience. The relationship between the band and these devotees is symbiotic. Both inspire and guide the other.

Phish does not take itself too seriously. This is reflected in their songs, their artistic approach and their love of a good prank. Ready to go Phishing? Not the dictionary adjective that conjures negative connotations of scams and identity theft, but rather, a new word we suggest adding to the Urban Dictionary meaning to take a deep dive into the weird and wonderful world of Phish.

In advance of the band’s 26-date tour that starts with a three-night run in Mansfield, Massachusetts to promote Evolve — its 16th studio record that arrives July 12 — GRAMMY.com offers a lowdown on these musical merrymakers. Read on for a guide to appreciating and approaching Phish's lingo, lore, and lengthy discography.

Phish 101

Before the band had a name, a following, or conferences and university courses dedicated to the study of their music, they were just a bunch of college kids jamming in their dorm. The original members of the band met while attending the University of Vermont in Burlington. Initially formed as a trio in 1983 that featured guitarists Trey Anastasio and Jeff Holdsworth, along with drummer Jon Fishman. Bassist Mike Gordon joined that fall. In 1985, keyboardist Page McConnell was added and Holdsworth left. Today, it's these four (Anastasio, Gordon, Fishman and McConnell) that comprise Phish.

Junta, the band’s self-released debut arrived on cassette in 1989, followed by Lawn Boy the next year on Absolute A Go Go Records. The industry buzz created by their live shows then led to a multi-album deal with Elektra Records, who, in 1992, released their major label debut A Picture of Nectar, along with reissues of Junta and Lawn Boy.

What’s with the name? Everyone loves a good band name origin story, and there are often several versions of Phish's. The simplest and most popular one cited is that Fishman was asked at an early gig for the band’s name and thought they were asking for his name, so replied with his college nickname, "Fish." It stuck and they just changed the spelling.

A Lesson In Lingo: 4 Phish Phrases

Next up on the Phish syllabus is a lingo lesson in lingo. Overhear a pair of Phish fanatics chatting in a coffee shop, and you’ll wonder if they are speaking a different language. These devotees have developed their own lingo to express their love for all things Phish. Here’s a quick primer to help you converse with phans as if you know what you are talking about.

First, phans label each era of the band a number and these labels describe when their love of Phish began: 1.0 refers to the band’s beginnings until its first break in 2000; 2.0 is a short period and a small cohort of fans that starts when Phish returned from its first hiatus in 2002 and ends before they officially broke up in 2004. Finally, 3.0 refers to new converts: fans who discovered the band only after they reunited for good in 2009.

As this schooling on Phish continues, here are four words to drop into a conversation with a Phish fan to make you sound educated. "Noob" is a condescending word referring to a newbie, like post-2009 phans. A "chomper" is someone who talks during songs at a Phish concert (definitely a no-no). "Spunion" is someone whose appearance, actions and speech indicate they’ve taken way too many drugs. Finally, "hose" is a free-flowing improvisational jam where the music feels like it just flows directly into the listener’s ears.

From the 2000 record of the same name, "Farmhouse" is one of the few Phish songs that made a splash beyond just their fans thanks to this radio-friendly chorus: "I never ever saw the Northern lights/I never really heard of cluster flies/ I never ever saw the stars so bright/ In the farmhouse, things will be alright." Besides this earworm, the ninth record from the band also featured another one of its biggest charting radio hits: "Heavy Things," which reached No. 29 on Billboard’s Adult Top 40 chart and No. 2 on the Adult Alternative Songs charts.

Some other key studio tracks to explore and listen to that show the depth and breadth of the band’s talents include: "Golgi Apparatus," "Chalkdust," "Torture," "Sample in a Jar," "Character Zero" and "Sand."

Phish have released 20 studio albums and 53 live records. That’s a lot of music to sift through for any newbie. Three key albums to help understand and get into the band include: A Picture of Nectar (their major-label debut from 1992 that was certified gold), Hoist (1994) and The Story of the Ghost (1998), recorded at famed Bearsville Studios in in Woodstock, NY - a record Trey Anastasio described as "cow-funk." Listen carefully to this trio of records and you’ll come away from these deep dives either loving the band and ready to take the next step on this phishing trip or not. 

Make sure to also check out the conceptual album Rift. This follow-up to their major-label debut is a fan favorite and also a critical darling. It’s possibly the band’s greatest studio creation, but it’s also an acquired taste. Rift follows the story of a man who dreams about the rift in his relationship with his girlfriend. The listener follows this protagonist on a dark and heavy ride as his emotional journey turns from a pleasant dream to a nightmare. The narrative is told backed by a sonic palette that showcases all of Phish’ colors and musical influences: from jazz and blues to psychedelic rock and funk.

As Neil Young sang in "Union Man," that is often-quoted by concert lovers, "live music is better bumper stickers should be issued." Phish subscribe to this mantra and are known to plaster their cars in bumper stickers. The centerpiece of a Phish show is extended jams and the communion between Phish fans, but their concerts also feature amazing light shows, props, and pranks.

To get a sense of what attending a Phish concert is like, start with the six-disc set Hampton Comes Alive. Released Nov. 23, 1999, the collection consists of two concerts in their entirety captured at the Hampton Coliseum in Hampton, Virginia in 1998. The title plays on Frampton Comes Alive! — one of the best-selling live albums of all time.

In the band’s early days before the Internet came of age, bootleg tapes abounded. Trading these — just like Grateful Dead fans do — was always a part of Phish culture. LivePhish captured all of the band’s live shows. This is now an Android app where you can stream shows, past and present. Mere minutes after each Phish concert ends, the newest show is uploaded.

Before the streaming age, the band frequently released CDs up to six discs in length (most Phish concerts run more than three hours). One of these essential listening live releases is Darien Lake from Sept. 14, 2000 that includes a cover of Neil Young’s "Albuquerque."

For Phish fans, the 13 concerts dubbed The Baker’s Dozen are pure bliss. The residency occurred at the Manhattan mecca from July 21 to Aug. 6, 2017. Every night featured a different set list (26 total sets as they played two each night). No song was repeated and each night had a theme.

Over the course of 13 shows, Phish played 237 songs. A highlight of The Baker’s Dozen was a 30-minute jam of "Lawn Boy" — a song that usually clocks in under four minutes.

Many consider the group the greatest cover band on earth, so go down the Phish YouTube rabbit hole and what matters at this moment in your life is sure to get neglected for a while.

An understanding of Phish's many collaborations and covers tis also essential to better appreciate the band. Phish has paid homage to everyone from classic rockers like Lynyrd Skynyrd, ZZ Top, Led Zeppelin and the Rolling Stones, to Frank Zappa and the Talking Heads. Collabs include: Bruce Springsteen, Neil Young, and weird as it sounds, even Jay-Z, who the band invited on stage during a Brooklyn gig in 2004, to sing-along on the 24-time GRAMMY-winner’s hits: "99 Problems" and "Big Pimpin.’"

Halloween shows always feature musical costumes where Phish plays another artist’s album from front to back. The Beatles' White Album in 1994 is especially good and the first time the band premiered this concept. Many fans claim the 1998 Halloween show where the band covered the Velvet Underground’s Loaded is one of the most underrated and was mind blowing. But the best might be from 2018 when they invented a fake Scandinavian synth-rock outfit called Kasvot Växt.

For years, Phish have celebrated another year come and gone along with their fans, often playing a string of shows leading up to New Year’s Eve. Pranks are always a part of these special occasion gigs and there's often a theme with stages being transformed to transport their phlock to other realms.

Many of Phish’ most legendary end-of-year celebratory concerts occurred in New York City at Madison Square Garden where they’ve performed to close out the year 15 times. One of the most memorable saw the band "send in the clones" on Dec. 31, 2019, to ring in another new year.