When Beyoncé released the club-ready single "BREAK MY SOUL" as the first taste of her seventh album, RENAISSANCE, fans prepared for a summer of booty shaking. Now that the album has officially dropped — despite leaking a few days early — the dancing has commenced. 

With collaborators like Nile Rodgers, Grace Jones, Green Velvet and Nigerian singer Tems, it's clear that Beyoncé has spent the last few years immersed in the escapism of dance music's Black pioneers. As she said herself upon announcing RENAISSANCE, her inspiration for the album was similar to that of club culture: "My intention was to create a safe place, a place without judgment."

Dubbed "act i," RENAISSANCE is the first installment of a "three-act project," as Beyoncé revealed on her website the day before the album's release. If these 16 songs are any indication, Queen Bey has only just begun her dance-floor quest.

Here are five key details to know about Beyoncé's bold new album, RENAISSANCE.

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The Album Is A Tribute To Her "Godmother" And The Pioneers Of Club Culture

Beyoncé called her late cousin Jonny, who was her mother's nephew, her uncle. He died of HIV-related complications, Beyoncé revealed when she paid tribute to him while accepting GLAAD's Vanguard Award in 2019. She dedicated the album to him and her family, showing pictures of her with her kids and her mother with Jonny.

"A big thank you to my Uncle Jonny," she wrote in the acknowledgements that appear on her website and on physical versions of RENAISSANCE. "He was my godmother and the first person to expose me to a lot of the music and culture that serve as inspiration for this album." 

She continued, "Thank you to all of the pioneers who originate culture, to all of the fallen angels whose contributions have gone unrecognized for far too long. This is a celebration for you."

The album features contributions from several LGBTQIA+ artists that are acclaimed in the world of dance music, including Big Freedia, Kevin Aviance and Moi Renee. Honey Dijon, a transgender producer who worked on "COZY" and "ALIEN SUPERSTAR," called the RENAISSANCE experience "life changing."

"Your elegance, beauty, talent, work ethic, and vision is truly inspirational," Dijon wrote in a Facebook post. "To share my Chicago house music roots and black queer and trans culture with you and the world is profound and emotional. I am honored, humbled, delirious with joy, and proud."

RENAISSANCE Emulates A DJ Set

The songs on RENAISSANCE track at speeds from 92 to 136 beats per minute, a tempo range that's aimed straight at the dance floor. And many of the songs sample several other tracks within a few minutes in the way that a DJ set might be structured. 

"PURE/HONEY," for example, samples the bassline from Chicago house classic "Mystery of Love" as well as vocals and stabs from three ballroom anthems: Kevin Aviance's "Cunty" (1999), "Miss Honey" (1992) by drag icon Moi Renee and MikeQ featuring Kevin JZ Prodigy's "Feels Like" (2011). 

Further, Beyoncé has released a cappella and instrumental versions of "BREAK MY SOUL" on her YouTube channel — a move that signals that she's open to DJs everywhere using them as tools to create unofficial remixes in their sets.

Beyoncé Is The Drug On RENAISSANCE

The album drips with metaphors on how Beyoncé is the only intoxicant you need to get high. "You know love is my weakness," she sings in the opening song, "I'M THAT GIRL." "Don't need drugs for some freak s—/ I'm just high all the time, I'm out of my mind/ I'm tweakin'..."

On "AMERICA HAS A PROBLEM" — which samples beats from Atlanta rapper Kilo Ali's 1990 song "America Has a Problem (Cocaine)" — she compares herself to the drug, rapping, "Your ex-dealer dope, but it ain't crack enough/ I'm supplying my man, I'm in demand soon as I land."

You Can't Hear Him, But JAY-Z Is There

Beyoncé has collaborated with JAY-Z on several of her albums, but it would be easy to miss his contribution to RENAISSANCE. Though you won't hear the rapper's voice this time around, you'll still hear some JAY-Z lyrics: he's a co-writer on "AMERICA HAS A PROBLEM." 

In the album's dedication, she calls him her "beautiful husband and muse, noting that he "held me down during those late nights in the studio." Sounds like the couple's collective creativity is still in full effect.

She's Leaning More Into Her Own Vocal Production

Beyoncé's deep involvement in her album production processes is routinely overlooked, but she serves as her own vocal producer for RENAISSANCE — in addition to her writing and producer credits.

"Sometimes it takes a year for me to personally search through thousands of sounds to find just the right kick or snare," she told Harper's Bazaar in 2021. "One chorus can have up to 200 stacked harmonies. Still, there's nothing like the amount of love, passion, and healing that I feel in the recording studio. After 31 years, it feels just as exciting as it did when I was 9 years old."

Will the next two acts in Beyoncé's musical story remain on the dance floor, or will the star explore new directions? With no announced timeline for the rest of the project, fans will just have to wait and see — but in the meantime, keep dancing.

Lizzo's Road To 'Special': How Beyoncé, Prince & Self-Love Helped Find Her Destiny As Pop's Confidence Queen

Earlier this year, the Recording Academy made history by awarding their first-ever GRAMMY Award for Best African Music Performance. Never before had the continent’s vibrant musical culture been given a category all their own, and the best and brightest from the African music industry stepped up to receive nominations. 

The eventual victor was 22-year-old South African singer Tyla, whose bewitching song "Water" earned the hearts of GRAMMYs voters, as well as millions of listeners that boosted the song to the Billboard Hot 100. She became the first South African in 55 years to make the chart.

Read more: 10 African GRAMMY Winners Through The Years: From Miriam Makeba To Angélique Kidjo & Burna Boy

This year, Tyla will not defend her prize. But five fantastic songs from a multitude of artists, including one high-profile American that has joined up with two Afrobeats stars, will compete for the Golden Gramophone. Check out the nominees below and read the full 2025 GRAMMYs nominations list ahead of Music's Biggest Night on Sunday, Feb. 2, 2025.

One of African pop music’ biggest stars, Yemi Alade would be a legend even without a GRAMMY nod. She first rose to fame a decade ago thanks to continental hits like "Johnny" and "Oh My Gosh" with Rick Ross. In July, she took her sound to new heights on Rebel Queen, an album incorporating genres such as highlife and dancehall for a global celebration of Black music that solidifies her reputation as "Mama Africa." 

"Tomorrow," the GRAMMY-nominated song from the album, is a triumphant, bright amapiano tune, the latest result of Alade’s flirtation with the genre. Produced by Yasso and incorporating choral vocals, the lyrics in English and Nigerian Pidgin assert the singer’s unflappable confidence and self-belief. "I dance away my sorrow," she sings, "Rain or shine, I’ll be shining like a diamond." 

"Tomorrow" marks the legendary artist’s first-ever GRAMMY nomination, but whether or not she grabs the golden gramophone, it’s clear from her song that nothing will phase this Rebel Queen. 

Burna Boy is such an undisputed force in African music, it’s not surprising for him to be nominated in this Category two years in a row. Already a GRAMMY winner for Best Global Music Album (Twice As Tall took the prize in 2021), his bold, American R&B-inspired "City Boys" earned a Best African Music Performance nod last year and was among a medley of tracks Burna performed on the GRAMMY stage. The braggadocious hip-hop song ultimately fell to Tyla’s "Water," however. 

The success of his 2023 album I Told Them may have put Burna Boy in a more contemplative state of mind, because "Higher," his current nominated track, is a much more conscious effort. Over a mellow, amapiano-inspired beat from producer Yo Dibs, Burna reflects on his limited time on Earth and the harshness of daily life: "You know say streets don't love you rara / It's full of snakes and spiders / Make a wrong move, lose your life / Make it hard for your mother to sleep at night." 

The song’s video, conceptually similar to Drake’s visual for "God’s Plan," shows the singer making an emotional visit to his hometown of Port Harcourt and distributing aid with his charity group Project PROTECT. It seems that magnanimity has already been rewarded: The song gained 1.3 million streams on Spotify in its first day of release, a new record for an African artist, and its video has been viewed over 7.3 million times as of this writing. 

It can’t be denied that Chris Brown is something of a survivor in the music industry. The GRAMMY winner for Best R&B Album (F.A.M.E.) is as famous for his hits — from "Run It!" and "Kiss Kiss," to "Look at Me Now" and "No Guidance" — as he is infamous for his checkered past. 

Now he’s back in the GRAMMY spotlight with a single from his 2023 album 11:11. "Sensational" marks a bold stylistic pivot for the R&B singer as he adopts Afrobeats for a slick song that could be called, well, "breezy." Adding some African bona-fides, he’s recruited Davido — one of the genre’s most important acts and a GRAMMY nominee last year in this Category — as well as rising artist Lojay, for feature verses. The result is a transatlantic collab that makes the case that Americans can take on African genres too, with a little help from their continental friends. 

In just a few short years, Asake has established himself as one of the most creative and charismatic new talents in Afrobeats. His 2023 record Work of Art blended the globally-aspirational Nigerian pop sound with South African house offshoot amapiano and the indigenous Yoruba genre fújì; Asake earned a GRAMMY nod in this category for album single "Amapiano" last year. 

Asake isn’t one to rest on his laurels, however. He dropped another record, Lungu Boy, earlier in 2024, for which he switched up his sound further and recruited global stars like Stormzy, Central Cee, and Travis Scott. Single "MMS" keeps things refreshingly local in terms of guest spots, recruiting GRAMMY-winner Wizkid for the feature. Incorporating the same Yoruba-language choral vocals Asake used throughout his last album, he trades verses with Wiz over a glamorous, jazz-inflected, ‘90s R&B-inspired beat by P.Priime. The lyrics, in English, Yoruba, and Nigerian Pidgin, narrate Asake’s journey to finding his signature sound and letting fate determine his path. It’s a classy, reflective song from a pair of Africa’s biggest stars.

Tems — "Love Me JeJe"

Tems is already a GRAMMY winner and the first African artist to top the Billboard Hot 100, all thanks Future sampling her song "Higher" on his hit "Wait For U." Yet 2024 was the year in which the Nigerian artist stepped into her own spotlight, finally releasing her debut album Born in the Wild. Its single "Love Me JeJe" hit No. 1 on the UK Afrobeats charts and No. 3 on Billboard’s U.S. Afrobeats Songs. 

Interpolating an identically-titled 1997 hit from Seyi Sodimu that’s regarded as an African pop classic, "Love Me JeJe" is an Afrobeats tune as tender as the Pidgin phrase that makes up its title. Tems’ smooth, heartfelt vocals float over the track as she sings of her desire for unconditional, supportive love: "I need your lovin’, so fresh, so clean / Love me in and out, unfailingly / And I’ll be down now, anytime you call me." 

Debuting the song during her set at Coachella 2024, it could be argued that "Love Me JeJe" was meant to provide American audiences with a bridge to African music, from its past icons to its present talents. With her GRAMMY nod for the song, it seems that Tems has done just that.

At 37 years old, the heavily tattooed, free-speaking Jay Park doesn’t exactly fit the cookie-cutter K-pop idol mold. 

Sixteen years into his career — which included a stint as the fan-voted leader of hip-hop group 2PM in the 2000s, an infamous departure, and equally incredible comeback in the 2010s — Jay Park is one of the few K-pop artists who have managed to stay relevant in an increasingly saturated industry.

Now, Park is back to dispel any doubts about his longevity with The One You Wanted. Out Oct. 8, the 20-track, collab-rich R&B album is his first in five years and the result of an even longer period of creativity. 

"In Korea when people hear a song, they say, 'Oh, this sounds like Jay Park.' It’s like my music has become a genre by itself," he tells GRAMMY.com.

Much like his persona, Jay Park's road to K-pop stardom has been unorthodox. Born Park Jaebom to Korean immigrant parents, Park was raised in Seattle and never felt like he fully fit into the multiple cultures he was brought up around. 

He never aimed to become an artist; it was initially just a way for him to express himself. "Hip hop and R&B just became where I found my identity," he adds, citing a deep admiration for artists like Michael Jackson, Usher, and Drake. 

Once he began breakdancing, rapping, and battling his friends, his mother pushed him to try out at a locally advertised talent audition. "At that time, it was just me, and mom and my brother, having money problems. We couldn’t pay the electric and water bill," he told CNN, explaining why he went for it at all. He got through, after auditioning with a rap he wrote himself (and recalled word-for-word over video call). Unbeknownst to him, the audition was for K-pop juggernaut JYP entertainment.

For a while, it seemed like Park had made it — he debuted in 2008 as the leader and main rapper of heartthrob hip-hop group 2PM. The seven-member 2PM are credited with originating a particularly masculine image in K-pop, a break from the softer "flower boy" image that other boy groups held at the time. They released two mini-albums in 2009 and were preparing for a full-length release. Things were looking good.

Exactly a year after his debut, however, Park’s star trajectory came to a screeching standstill. Moving to Korea from the US as a 17-year-old had been difficult on Park, who wasn’t fluent in the language or expectations of him as an idol. Eagle-eyed netizens spotted comments from his old Myspace posts disparaging Korea and its idol system, and in 2009, before the group released their first LP, Jay Park left 2PM.

His departure split K-pop fandoms down the middle, with large swathes defending his perspective while others decided he no longer deserved to represent Korea in a cultural space. Online searches for Jay Park exploded in the next few months, his name even topping the 2010 Oscars to take the No.1 on Twitter’s trending list in March. 

Park shies away from talking about that time in his life, simply repeating over the years that he had made mistakes. "I was very ignorant and not very open-minded," he says. "I was also young, you know? It was hard, but I'm glad I went through all those periods now because it taught me a lot."

Moving back to the US, Park decided to take some time for himself. A family friend gave him a job at his tire shop, which, though a far cry from his idol days, helped him recoup after igniting endless conversations about the expectations placed on idols. 

While Park was laying low, the tide had turned in Korea; the majority of K-pop fans now felt that he was too harshly judged. Fans organized silent protests and boycotted products endorsed by 2PM members. Some reportedly paid for a plane to drag a banner with the words, "J, what time is it now?" across the Seattle skies, in a reference to his band name 2PM.

Others found his church address, and started sending him gifts — including a laptop, which he used to start a YouTube channel. Park chuckles at the full circle fan moment in our interview. 

His first cover in 2010 — a take on B.o.B and Bruno Mars’ "Nothing on You" recorded in his bathroom — went viral, garnering more than 2 million hits on YouTube in 24 hours. The song got so popular that B.o.B re-released the song in Korea with Park’s vocals instead of Mars’. Korean news agency Yonhap reported the song sold 5 million copies in Korea.

The cover gave Park’s music career a new lease on life, and his return to Korea in 2010 was greeted by thousands of cheering fans at Incheon airport.

It is rare in K-pop that an artist makes a comeback after leaving a company as major as JYP Entertainment. "I faced a lot of backlash," Park said in a 2023 AFP interview, adding he was once "kind of blacklisted from the industry."

Park pressed on, releasing his first EP as a soloist in 2010, which included a rearranged Korean version of "Nothin’ On You." As a solo artist, Park could now move on from his pop image towards an edgier hip-hop sound. The transition came with "a lot of trial and error," Park recalls. 

"I look back on my lyrics from 2010 to about 2013, I cringe so hard sometimes," he says with a laugh. "I wasn’t great at translating my English thoughts to Korean, so some lyrics have become memes now." He also felt taken advantage of as a newcomer. "I didn't know anything about how the industry worked, and I was young and naive and didn’t have any proper representation," he says. "So many times, people came to me claiming to work at wherever or represent whoever, and I would just believe them."

Still, Park's music was taking off again. Take A Deeper Look, Park’s rap-heavy first solo Korean mini-album, debuted at No. 3 in the Billboard World Album Charts in 2011. Park established his own record label, AOMG, in 2013 and a second, H1ghr Music, in 2017.

"The reason why I made my own labels is because I wish I had someone to share these experiences or lend a helping hand or guide me to ... what I need to do with this type of fame or when stuff goes wrong," he told USA Today. 

The labels house mainly hip-hop artists like pH1, Sik-K, Loco, Ugly Duck, Hoody, and former GOT7 member Yugyeom. Together, the two companies have been widely credited for leading the hip-hop presence in an otherwise pop-dominated K-pop industry.

In the meanwhile, Park’s increasingly adult-themed releases like the trap inspired, sensual "Mommaev and the more mellow, groove-centered "All I Wanna Do" racked up hundreds of millions of views, further propelling him to the forefront of K-pop’s hip-hop and R&B scene.

His rapport was only getting better internationally as well. In 2017, Park became the first Asian American to sign with Jay-Z’s label Roc Nation.

In 2018, Park's first English-language EP under Roc Nation, Ask About Me, showcased his ability to move fluidly between genres, from the trap-inspired party anthem "Soju" featuring 2Chainz to the tropical house, R&B, and trap blend "Yacht." 

In 2021, Park officially stepped down from both AOMG and H1ghr Music, and established a third label called MORE VISION, representing Korean artists like Chungha and Honey J. The process took longer than expected, he says, which is why The One You Wanted is his first full-length album in five years. (Park released an introspective and uncharacteristically vulnerable The Road Less Traveled in 2019 and a mini-album titled Jay Park: Season 2 earlier this year.)

It seems as if Park has taken the whole of his experience and channeled it into The One You Wanted. Park describes the 20-track album as "easy listening" and return to his R&B roots with features from Ty Dolla Sign, Chungha, IU and Hwasa. For Park, it’s a solidification of his self-styled genre. 

Although far less reflective than his last full album, The One You Wanted still showcases his progression. "Some songs are from six years ago and others I wrote just this year," he says. "You can definitely sense how the sound is different, and my voice is different."

Park hinted at retiring in 2022, but seems in no hurry to do so now. "I’ve been wanting to retire since 2012," he laughs. "When I went solo, I had to hustle a lot to survive in this cutthroat industry. To try to find out what people are into without selling myself short, it was very strenuous."

"But right now, I feel like I’m still needed in the industry."

He is not talking just about his own music or his first world tour in six years — his label MORE VISION is also planning to debut two new K-pop groups by 2026.

For Park, it’s an opportunity to hand down wisdom from everything he’s learned since that fateful JYP audition. "Getting all that attention, getting criticized all the time or getting compliments all the time, it's not normal," he says. "I just gotta make sure while [the trainees] still think I'm cool, I can get them in the right mindset and the right balance of life."

The jury’s still out on the trainees’ opinions, but based on The One You Wanted, Jay Park is set to remain cool for a long time.

As October rolls in, the GRAMMY Museum in Los Angeles and New York City is set to host an exciting lineup of live discussions and performances. This month’s programming features a diverse array of artists, including Kacey Musgraves, Khalid, Tems, Samara Joy, and Shelby Lynne, along with icons like Slash and Laurie Anderson.

Whether you're a fan of soulful jazz, indie pop, or rock legends, these events offer an intimate look into the creative processes of some of the industry's most compelling artists. From Travis Barker to Will Smith, the GRAMMY Museum continues to be a hub for music lovers to experience one-of-a-kind performances and discussions with their favorite artists.

Check out the comprehensive list of must-attend GRAMMY Museum public programs for October 2024:

The Drop: Shelby Lynne

Oct. 1, 2024 from 7:30 to 9 p.m.

L.A.

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Shelby Lynne joins guests at the Museum’s intimate 200-seat Clive Davis Theater for an evening discussing her latest music, her career, and creative process, with a performance to follow.

Inside Deeper Well: An Evening with Kacey Musgraves

Oct. 2, 2024 from 7:30 to 9 p.m.

L.A.

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The GRAMMY Museum is thrilled to welcome seven-time GRAMMY-winning artist Kacey Musgraves to the Museum’s Ray Charles Rooftop Terrace for an evening discussing her latest album, Deeper Well, and her creative process and career, with a performance to follow. The discussion will be moderated by Melena Ryzik. Attendees will also have an opportunity to enjoy rooftop views and a cash bar prior to the program.  

Read more: Why 2024 Is The Year Women In Country Music Will Finally Have Their Moment

An Evening With Will Smith

Oct. 3, 2024 from 7:30 to 9 p.m.

L.A.

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The GRAMMY Museum is thrilled to welcome 4-time GRAMMY-winning artist Will Smith to the Museum’s Ray Charles Rooftop Terrace for an evening discussing his upcoming music, creative process, and legendary career, with a performance to follow. Attendees will also have an opportunity to enjoy the rooftop and a cash bar prior to the program.  

An Evening With Slash & Mike Clink

Oct. 4, 2024 from 7 to 8:30 p.m.

L.A.

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Slash, the iconic, GRAMMY-winning, Rock and Roll Hall of Fame inductee, guitarist, and songwriter will join guests at the Museum’s Ray Charles Rooftop Terrace for an evening discussing his latest album Orgy of the Damned, a star-studded, vibrant homage to the blues. GRAMMY Hall of Fame Producer and longtime Slash collaborator Mike Clink will join the conversation to discuss the creative process for the album, and an intimate acoustic performance will follow. Attendees can enjoy rooftop views and a cash bar prior to the program.   

A New York Evening With Arooj Aftab

Oct. 4, 2024 from 7:30 to 9 p.m.

N.Y.C.

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Arooj Aftab joins GRAMMY Museum guests at The Greene Space in NYC to celebrate her latest album, Night Reign. Aftab will detail her creative process and more in discussion with Jem Aswad, with a special performance to follow. 

Watch: Run The World: How Pakistani Singer Arooj Aftab Reimagined Genre & Made GRAMMY History

Spotlight: Jessica Pratt

Oct. 8, 2024 from 7:30 to 9 p.m.

L.A.

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Jessica Pratt joins guests at the Museum’s intimate 200-seat Clive Davis Theater for an evening celebrating her career and discussing her latest album, Here in the Pitch, creative process, and more, with a performance to follow.

A New York Evening With Samara Joy

Oct. 8, 2024 from 7:30 to 9 p.m.

N.Y.C.

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The GRAMMY Museum is thrilled to welcome three-time GRAMMY-winning artist Samara Joy to The Greene Space in NYC to celebrate her latest album, Portrait, her creative process and more. Joy will be in discussion with the author and music journalist Marcus J. Moore, with a special performance to follow.

Read more: Samara Joy Won Best New Artist At The 2023 GRAMMYs. What Could It Mean For The Wider Jazz Community?

Spotlight: Tems

Oct. 9, 2024 from 7:30 to 9 p.m.

L.A.

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Nigeria-based singer/songwriter, and producer Tems will join guests at the Museum’s intimate 200-seat Clive Davis Theater for an evening moderated by Billboard’s Gail Mitchell. Tems will discuss her debut album, Born in the Wild, her career, and creative process. A performance will follow her talk.

Learn more:Tems On How 'Born In The Wild' Represents Her Story Of "Survival" & Embracing Every Part Of Herself

A New York Evening With Ben Platt

Oct. 10, 2024 from 7:30 to 9 p.m.

N.Y.C.

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Ben Platt joins GRAMMY Museum guests at National Sawdust in Brooklyn to talk about his album Honeymind, his creative process behind the project, his career, and more, with a special performance to follow.  Platt is one of the many artists to be featured in the GRAMMY Museum’s New York City program series, which includes bringing a slate of the GRAMMY Museum’s renowned GRAMMY In The Schools Education Programs and Public Programs to the East Coast. "A New York Evening With" is generously supported by the Dawn and Brian Hoesterey Family Foundation.  

Read more: Inside Ben Platt's 'Honeymind': How Queer Love, Live Performance & More Led To His Most Authentic Album Yet

A Conversation With Deryck Whibley of Sum 41

Oct. 10, 2024 from 7:30 to 9 p.m.

L.A.

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The GRAMMY Museum is thrilled to welcome Deryck Whibley of Sum 41 to the Clive Davis Theater for an evening of conversation discussing the stories behind his memoir, Walking Disaster" the creative process behind writing the book, and more with Matt Pinfield. Tickets to this event include admission and a signed copy of the memoir.

Read more: Sum 41 Says Farewell: Deryck Whibley Shares His Favorite Memories With The Pop-Punk Icons

Sensory Friendly Saturdays

Oct. 12, 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.

Reel to Reel: Billy Preston: That’s the Way God Planned It

Oct.13, 2024 from 3 to 5 p.m.

L.A.

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The GRAMMY Museum is thrilled to host the Los Angeles premiere of Billy Preston: That’s the Way God Planned It in the Museum’s Clive Davis Theater. There will be a post-screening panel discussion featuring Director Paris Barclay, artist Cory Henry and Producers Stephanie Allain and Jeanne Elfant Festa. 

Spotlight: Khalid

Oct. 14, 2024 from 7:30 to 9 p.m.

L.A.

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Khalid joins guests at the Museum’s Clive Davis Theater for an evening celebrating his latest release, Sincere, in discussion about his career and creative process, with a performance to follow.

Spotlight: FLETCHER

Oct. 14, 2024 from 7:30 to 9 p.m.

L.A.

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FLETCHER joins guests at the Museum’s intimate 200-seat Clive Davis Theater for an evening celebrating her latest sophomore album, In Search Of The Antidote, her creative process, and more, with a performance to follow.

Read more: FLETCHER Is "F—ing Unhinged" & Proud Of It On 'In Search Of The Antidote'

A New York Evening With Laurie Anderson

Oct. 16, 2024 from 7:30 to 9 p.m.

N.Y.C.

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Laurie Anderson joins GRAMMY Museum guests for an intimate conversation moderated by Anderson Cooper about her latest album, Amelia, with a performance to follow, at City Winery in New York City. Anderson is one of the many artists to be featured in the GRAMMY Museum’s New York City program series, which includes bringing a slate of the GRAMMY Museum’s renowned GRAMMY In The Schools Education Programs and Public Programs to the East Coast. "A New York Evening With…" is generously supported by the Dawn and Brian Hoesterey Family Foundation. 

A Conversation With Travis Barker

Oct. 16, 2024 from 7:30 to 9 p.m.

L.A.

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Iconic drummer and producer Travis Barker joins guests at the Museum’s intimate 200-seat Clive Davis Theater for an evening celebrating and discussing his career, latest music with blink-182 and others and a conversation about creative process, and more.

Read more: Blink-182 Essentials: 15 Songs That Prove They're Rock's Most Serious Unserious Band

The Drop: Pete Yorn

(Moderated By Matt Pinfield)

Oct. 17, 2024 from 7:30 to 9 p.m.

L.A.

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Pete Yorn joins guests at the Museum’s Clive Davis Theater for an evening celebrating his career and discussing his latest album, The Hard Way, his creative process, and more, with a performance to follow.

An Evening With Vampire Weekend

Oct. 21, 2024 from 7:30 to 9 p.m.

L.A.

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Vampire Weekend will be in discussion at the Museum’s Clive Davis Theater to celebrate their latest album, Only God Was Above Us. Band members will also discuss their creative process, tour, and more, with a performance to follow.

A New York Evening With Dave Alvin & Jimmie Dale Gilmore

Oct. 22, 2024 from 7:30 to 9 p.m.

N.Y.C.

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In partnership with Americana Music Association, the GRAMMY Museum will host an intimate conversation with GRAMMY Award-winning artist Dave Alvin and GRAMMY Award-nominated artist Jimmie Dale Gilmore followed by a performance at The Greene Space at WNYC and WQXR in New York City. The conversation will include a discussion moderated by Warren Zane about the making of their new album, TexiCali, their collaboration, creative process, and more. 

A New York Evening With Kelsea Ballerini

Oct. 25, 2024 from 8 to 9 p.m.

N.Y.C.

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The GRAMMY Museum and Collective by 92NY will host four-time GRAMMY nominee Kelsea Ballerini for an intimate conversation about her album, Patterns, her creative process, and more, followed by a special performance at The 92nd Street Y: David Geffen Stage at Kaufman Concert Hall.

Kelsea Ballerini is one of the many artists to be featured in the GRAMMY Museum’s New York City program series, which includes bringing a slate of the GRAMMY Museum’s renowned GRAMMY In The Schools Education Programs and Public Programs to the East Coast.

Film Screening – A Wu-Tang Experience: Live at Red Rocks Amphitheater

Oct. 26, 2024 from 4 p.m. to 7 p.m.

L.A.

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The GRAMMY Museum is thrilled to present a special screening of A Wu-Tang Experience: Live at Red Rocks Amphitheatre in the Museum’s Clive Davis Theater, followed by a discussion with the film’s directors, legendary Wu-Tang Clan Founder RZA and Gerald K. Barclay (Gee-Bee), and moderated by Raqiyah Mays. The post-screening discussion will also spotlight RZA’s new classical music album, A Ballet Through Mud.

This free program will be hosted by Schyler O’Neal, Senior Manager of Education & Community Engagement at the GRAMMY Museum, and is presented in partnership with the Hip-Hop Education Center.

Reel To Reel: Ryuichi Sakamoto | Opus

Oct. 28, 2024 at 7 p.m. to 9 p.m.

L.A.

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The GRAMMY Museum is thrilled to host a special screening of Ryuichi Sakamoto | Opus and a panel discussion about the legacy of Sakamoto with award-winning musician Flying Lotus and award-winning director Barry Jenkins.

The Drop: Andy Grammer

Oct. 30, 2024 at 7:30 p.m. to 9 p.m.

L.A.

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The GRAMMY Museum is thrilled to welcome award-winning artist Andy Grammer to the Museum’s intimate 200-seat Clive Davis Theater for an evening celebrating his latest album, Monster, with a discussion about his creative process behind the project and a performance.

To say that the past year has been an eventful one in the dynamic world of Afrobeats would be, at best, a gross understatement. The genre's list of global accolades has continued to swell in size, including multiple nominations at the 2024 GRAMMY Awards, expansive cross-border collaborations, and inaugural appearances on some of the world’s most coveted stages.

Simultaneously, Afrobeats has been undergoing something of an identity crisis, in which listeners have criticized sonic monotony and Western pandering of some artists. In the immediate wake of this criticism, as though on cue, came a slew of forward-thinking projects from the genre’s biggest stars, igniting the mainstream scene’s creative progression. Among these stars is 23-year-old Afrobeats sensation Anthony Ebuka Victor, known widely as Victony.

His debut album, Stubborn, is barely two months old yet has already received high acclaim from top Afrobeats pundits and laymen alike. Therein, Victony tells his life story for the first time, complete with vivid songwriting that delves into themes of childhood, romance, and dogged resilience. With features from Nigeria’s Asake and Shallipopi, as well as American acts Teezo Touchdown and Saint JHN, Stubborn's sonic meter explores Afrobeats with unending - and unmatched - innovation.

Victony, however, is no novice when it comes to putting out pristine bodies of work. His 2020 EP Saturn sounded nothing like a 19-year-old’s debut; singles “Jo Riddim” and “Space and Time” revealed serious sonic maturity. His subsequent EP Outlaw, which followed his breakout as the feature on Mayorkun’s “Holy Father,” included addictive hits “Apollo,” “Jolene,” and “Soweto.” The latter, of course, took the world by storm and led to a remix featuring Don Toliver and Rema, which peaked at No. 5 on the Billboard Afrobeats chart.

Between this, his debut on the ColorsxStudios platform, his assist on Burna Boy’s “Different Size,” and his record deal with the L.A.-based Encore Records, it is difficult to tell just when this young boy from Ojo, Lagos became a continental and global star. What’s more, he’s soon to push his story outside of Nigerian borders, kicking off his Stubborn North American tour on Aug. 6. 

Ahead of this tour, Victony sat down with GRAMMY.com to discuss his creative process, the importance of telling his story, and all things Stubborn.

'Stubborn' features excellent songwriting about your life experiences, though it's not the first time you've done so. What makes 'Stubborn' different from the other work in your discography?

Stubborn has my story; it’s where I get to properly introduce myself. The [Outlaw] EP is like Yeah, this guy can sing, he knows all this Afrobeats stuff. Let’s put a good body of work together for people to enjoy. The Stubborn album is saying, This is Victony. This is where he’s from. This is what he’s about.

You’ve mentioned before that veteran Nigerian rapper Olamide encouraged you to make 'Stubborn' a full-length album as opposed to an EP. Had you been ready for an era shift at the time that you spoke to him?

I was prepared for an era shift, but my mind was just stuck on an EP because that was the plan since last year. Sometimes, you can’t even see what everything looks like when you’re really in it. You have to extract yourself from the situation and really look at it. But speaking to Olamide, once he mentioned the album, it felt possible. I was like, Why am I not even thinking about an album? 

'Stubborn' is an incredible testament to resilience, but you also explore other themes like love and betrayal. What is the overarching message that you wanted the project to convey?

Resilience is the boldest statement that the project has. But within all that, there are other things that I’ve been through, like the stuff that you mentioned, that didn’t change me as a person.

I still have the ability to love, and I still have the ability to receive love. So obviously, that reflected in a few songs on the project because I still go through those emotions. I’m still human regardless of everything I've been through.

Your feature list is quite expansive — we have Shorae Moore, Shallipoppi, Saint JHN, Teezo Touchdown, and Asake. Did you have an idea of who you wanted on the project beforehand, or was your feature selection process more organic?

I’m always curious to see what this and this will sound like, or what doing this and this will look like. So I just make songs and think about who will be perfect on those songs. I didn’t think of it as, I want an album, who are the guest features? 

One thing that the features all have is authenticity. These people have a voice, they have a style, they have something that they stand for. And that is something that Stubborn is also preaching — authenticity. So collaborating with these people helped to bring very interesting ideas to life. Because one wouldn’t ordinarily imagine a Victony and Asake feature, or a Victony and Teezo feature. But when somebody who is authentic collaborates with somebody who is authentic, something has to happen. We were just trying to create something, and I love creating. 

Learn more: Meet The Latest Wave Of Rising Afrobeats Stars: AMAARAE, BNXN, Oladapo & More

You have a U.S. tour coming up which is extremely exciting. You’ve toured with Rema before, but this will be your first-ever solo tour. How are you feeling? 

I’m actually very excited. We’ve been planning what we want the tour to feel like, because it’s important to think about the feeling that you want to leave people with. I think that this tour is the biggest opportunity to showcase what the album is really about. Having to go on stage, perform for an hour plus. I don’t think I've ever done that nine times in a row in nine cities. So we’re planning everything to make that all come to life.

What do you want your U.S. audience to take away from your tour?

I want my U.S. audience to feel the essence of my journey and connect with my music. This tour is a journey through my experiences and my evolution as an artist. You'll get the party anthems as well as the soul-stirring ballads. I want them to leave each show thinking, This is what that Victony guy is about: raw talent, authenticity, and a sound that resonates deeply.

Give us your Afrobeats predictions for the year — what should we expect from the scene?

I just feel like it’s about to be a madhouse. Tems just dropped, Ayra Starr just dropped, Ruger & BNXN just dropped. And Wizkid is yet to drop, Davido is yet to drop, Fireboy DML is yet to drop. I don’t think we’ve had a year like this. Ever. It’s like everybody is dropping a project this year.

Read more: Tems On How 'Born In The Wild' Represents Her Story Of "Survival" & Embracing Every Part Of Herself

My prediction is that this is the start of something for Afrobeats. Before now, what people would tell you is that Afrobeats artists all share one fanbase. But everything is about to change because of the volume of music coming out. It’s going to really push structure with the fans.

Looking back from your debut EP to the present day, what comes to mind? Did you foresee yourself becoming what you are now?

I always knew that everything that’s currently happening would happen. I just didn’t know what was going to make it happen. I didn’t know that this was the direction. It’s been interesting because at one point, you just have life experiences that influence your art, and then the direction changes. That’s what it’s been for me because I like my art to reflect who I am at any given time.

So, who knows what’s going to happen next? After Saturn, I didn't foresee my story changing. And now new experiences have come, and those have also changed me. I don’t know what’s going to happen next, but one thing’s for sure, the journey is just beginning. I’m excited to see where this path leads and to continue sharing my story with the world.