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.

The members of the L.A. punk band the Linda Lindas are all under 20 years old but, in many ways, they’re already old hands at the music industry. 

The quartet formed back in 2018 for a performance at a music festival called Girlschool USA when guitarists Bela Salazar and Lucia de la Garza were 14 and 13, respectively; bassist Eloise Wong was 12 years old and drummer Mila de la Garza was only 10. It was supposed to be a one-off appearance, but they enjoyed performing too much to stop. 

A 2021 performance of their two minute punk song "Racist, Sexist Boy" at the Los Angeles Public Library went viral, and the next year they released their first self-titled album on Epitaph. They hit Outside Lands and other big festivals. A few years later, their song "Growing Up" was featured on the Inside Out 2 soundtrack, and this summer they toured with Green Day, Smashing Pumpkins and Rancid on a highly anticipated national stadium tour.  

Read More: 5 Women Essential To Punk: Exene Cervenka, Poly Styrene, Alice Bag, Kathleen Hanna & The Linda Lindas

That’s a lot of career before for young musicians who have yet to graduate from high school (or from college, in Bela’s case). But the Linda Lindas are done yet: In October the band released their second album, No Obligation, on Epitaph, and are hopeful that they'll head out on their first headline tour. In the venerable tradition of DIY punk bands past, the album is less an evolution from their bare bones debut than it is a continuation, with more crunchy, three-chords-and-a-prayer riffs backing songs about being stressed out, saying what you mean, finding your own path, and telling harassers to cut it out.

The Linda Lindas spoke with GRAMMY.com about recording with Weird Al Yankovic, their songwriting process, and what their cats are up to now. 

The interview has been edited for length and clarity.

You’re kind of music veterans now, right? How has that affected the recording of this album?

Eloise: I think we were more confident in our instruments and more confident in the recording process, and also more confident in our songwriting. Because the first record [has] the first songs that we'd ever written.

Mila: We were basically more confident in general!

Eloise: But I'm super excited for it to be out, and I'm super excited to play new music for more people.

Mila: I mean, we've only been around for like, six years, and when we started the band, that's also when we started learning our instruments. So our first record, we knew how to play our instruments, but I would definitely say that we're better at them now.

Lucia: We didn't really fully understand the concept of going through an album, putting the production on it, putting it out. We were kind of just "Oh, we're just gonna record the songs and put them out."

So we’re excited to show off how we have grown. Not necessarily putting down the first album, but just like, you know, showing that we are older, more grown. And that's partly due to all the opportunities that we've gotten since the first one was put out.

On the album, "Yo Me Estreso" is about stress and "Cartographers" is kind of about, indecision, or not being sure what direction to go in. Has making the new album been a stressful or confusing time? 

Bela: I wouldn't say it's been stressful. I think it's just day to day things that happen in life, and like, making music is an outlet to just talk about what's going on in our lives.

Eloise: Yeah, what's great about being in a band is that we have this outlet to express our stress and we have somewhere to put those feelings. And I think that's really special.

"Yo Me Estreso" is in Spanish, obviously; I just wondered how you decide which language to write in? 

Bela: We write mostly in English. I'm the only one that speaks Spanish. So if I write a Spanish song, then maybe there'll be one in there. But if I don't, there's no Spanish song.

Did "Yo Me Estreso" just come to you in Spanish? 

Bela: Yes and no. I mean, I hate talking about my feelings. I have a really hard time doing that. And writing this song in Spanish felt like a way that I could talk about my feelings without  exposing myself to the world and letting everybody know what the heck is going on in my life. It felt a little bit more intimate, rather than putting myself out there.

You collaborated with Weird Al Yankovic on that song. How did that happen? Are you fans? 

Eloise: Oh, my god. 

Mila: How can you not be? 

Eloise: Well, basically, Bela had already written this song, and we were like, "Oh, it would be cool if there was accordion on it." And I guess he was just the first accordion player that came to mind. We were like, "This is not gonna happen." But he said yes! 

And for the music video, he even brought his own suit and his own hat. He was prepared and super pro. 

Bela: He brought a specific accordion that was correct for the genre. I guess he had a bunch of different ones, and he brought the one that was correct. So it was cool. 

Mila: He was very nice and very professional. 

Lucia: He’s going on tour now. We feel like we should try to see him, because I feel like that'd be so fun. Everyone that says they've seen him live, they say it’s a really amazing show.

Since we’re talking about tours, you toured with Green Day. What was that like? 

Eloise: That tour was so fun. Everyone was super nice on the tour. All the bands were super nice, all the crews were super nice. We had catering, and I loved that. Just pile up as much food as we could eat. 

And then the most fun part about the tour was that we only played like, 20 minutes. So then right after our set I could just go wipe the cat whiskers off — because I wear cat whiskers on stage — and then go into the crowd for Rancid and watch that. And we got to watch Smashing Pumpkins, and we got to watch Green Day. IWho else gets to watch those bands every other day, you know? I feel so lucky to have been on that tour, and I had such a great time.

Lucia: It was just a super great environment and such great music every night. It was really an honor to be on that stage, for sure. Cool crowd, too! 

Were you touring over the summer? I’m just wondering how you balanced it with school. 

Eloise: It started in the summer and then it went into some of the school year.

Lucia: We tried to do both. 

Eloise: Yeah, we tried to keep up with the work, because after shelter in place [for Covid lockdowns], a lot of the work is posted online, so it's easier to access than it might have been otherwise. But, yeah, just kind of trying to do both to our best ability. 

So I thought we might talk about some of the other songs on the album. "Stop" is a song about bullying or harassment. Could you talk about how you wrote that? 

Mila: We were just writing, and I think at the time at school, one of my really good friends was being bothered by these other two classmates. And it wasn't cool. So [raises her palm up]…Stop. 

How do you write? Do you write individually? As a group? 

Lucia: That was a group one. 

Mila: I remember this very specifically. We were sitting on the floor in our back house, and we were just songwriting. And then we moved on from one idea to, oh, what should we do next? And I was like, oh, there's this thing that's happening. 

So are most of your songs sort of written collaboratively? 

Lucia: No, we've written in every way. Any combination. We write individually sometimes, and we write together. Sometimes, we start individually and it ends up together. And sometimes it starts together and ends up individually. There's no formula. There's no step-by-step process that we have. It's just kind of whatever happens, happens.

Could you talk about writing "Excuse Me", which is a song that talks about being stereotyped or profiled? 

Eloise: I wrote that. I think it’s about things that people expect you to be. And sometimes, when you don't conform to that, people are uncomfortable, and it just kind of winds up making everyone uncomfortable. 

But it's cool that I have the band to write a song about it and I have an excuse to yell about it to a bunch of people. 

So what's next for you all now that you've released this album? Are you going on tour? 

Lucia: We’ve never really done our own tour for more than five shows or something. We’ve toured a lot with other bands; but for a band that doesn’t tour very much, we do a lot of touring as an opening band. 

Mila: We haven't done a proper headline tour yet, and we really want to. [Crosses fingers.] Hopefully. 

Lucia: It’s going to happen. And we’re excited to have the album out there and see where the songs go from here. Because they're going to evolve now that we're doing them live. They're going to sound different from the studio. And so it'll be cool to see what journeys they all take on their own. 

So where are you planning to tour? In California? Or elsewhere? 

Bela: Anywhere! Wherever they’ll take us! 

Eloise: Invite us somewhere, please! 

Mila: Europe, South America, Asia… 

Okay, it’s kind of silly, but I did want to ask…we have a Siamese cat, so "Monica," your song about your Siamese cat from your first album, is one of my favorite songs. I'm just wondering what's up with Monica these days? 

Bela: She's doing good! She’s kind of old. Both Monica and Nino are pretty old now, but she went on a walk about five minutes ago. That's why I was kind of late. I had to take her to go get some grass. My cats are indoor/outdoor cats but she needed some grass and she likes the sun, so she went outside to sunbathe.

How old is she now? 

Bela: Both Monica and Nino are 13. Well, Nino's 13 and she's 12, turning 13 in March.  So they’re up there. 

Were they the cats in your video for "Growing Up"? 

Bela: No those were fake cats. I mean, not fake cats. Actor cats. 

Mila: They were professionals.

Bela: Though my cats are probably way better behaved than those cats. 

Eloise: Working with those cats was such a weird experience! 

Mila: The trainers would tell the cats, "Stay still!"  But then we wanted them to act like cats, and not just stand there like [sits rigidly]. 

Bela: For that video, a family friend of ours did these wigs for the cats. So my cat, Nino, was the model for all the wigs, and he just was sitting there, just letting her do whatever. And then when she tried to put the wigs on the real cats, they were just knocking them off. It was crazy. 

Mila: One time we played a headline show in Michigan and someone gave us bracelets, and one of them said, "Golden" on them. 

Eloise: Because it's an inside joke that we have from our childhood. We had this game where we were cats. And one of us was named "Golden."

Mila: And yeah, we were freaked out, because it was like, where did you get that from? And then we realized that it was from that video, because we named the cats. 

Is there anything else you’d like people to know about the album?

Bela: Stream it? Please. Buy the record. Buy a CD, anything. 

Eloise: Yeah, we're super excited to have new music out, and we're super excited to play new music, and I don't know. It’ll just be fun.

The Recording Academy's Diversity, Equity and Inclusion team, in collaboration with the GRAMMY Museum, has announced the recipients of the third annual Quinn Coleman Memorial Scholarship.

This year, the scholarship honors five college students: Nadia Adams (University of Wisconsin-Milwaukee), Harrison Candelario (University of Rochester), Christo Hernandez (University of Southern California), Elyse Smith (Harvard University), and Hope Williams (Oakwood University).

Established in 2021, the Quinn Coleman Memorial Scholarship honors the legacy of Quinn Coleman, a cherished music executive and DJ who passed away in 2020 at the age of 31. Created by his family in partnership with the GRAMMY Museum, this scholarship aims to break down barriers in the music industry by offering professional development opportunities that prepare students for full-time careers, through financial aid, mentorship, and practical professional experiences.

Each selected recipient will be awarded two $1,000 scholarships for tuition, a $500 stipend for interview preparation, two $250 stipends for books and equipment, and financial and emotional wellness seminars. Furthermore, students will be awarded a spring internship at the Recording Academy or Latin Recording Academy.

For updates on the Recording Academy's DEI initiatives, click here. For more information about the GRAMMY Museum, visit grammymuseum.org.

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

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. 

Produced by Raindog Films and Foxxhole Productions for Sony Music Entertainment and Sony Music Publishing, in association with Trilogy Films, the documentary will later premiere on CNN, OWN: Oprah Winfrey Network, and Max in 2025. Attendees of the opening night will also enjoy a panel discussion with the filmmakers and a sneak peek at the exhibit.

Tickets for the opening will be available starting Thursday, Oct. 31, and the exhibit will run until June 15, 2025.

In conjunction with the exhibit, Vandross' previously unreleased soulful rendition of the Beatles' "Michelle" is available now, and it will be featured on Never Too Much: Greatest Hits, a new compilation set to release on Dec. 13.

Luther Vandross first captured the spotlight in the 1970s as a sought-after backup singer, collaborating with luminaries such as David Bowie, Roberta Flack, Quincy Jones, Chaka Khan, Bette Midler, and Carly Simon. As a solo artist, he became renowned for his relatable lyrics about love and mesmerizing live performances, characterized by dynamic bands, elaborate stage designs, and striking custom costumes worn by his background singers. Vandross achieved remarkable success, charting a Top 10 R&B hit every year from 1981 to 1994 and releasing 11 consecutive platinum records, with over 40 million albums sold worldwide.

"The Luther Vandross Estate is excited to be sharing Luther's musical legacy with the GRAMMY Museum and its visitors through this upcoming exhibit. It is a special window into all of Luther Vandross' talents — singer, of course; but also music producer, live performer, stage craft master, wardrobe designer, and songwriter. Showcasing all of these amazing elements of Luther the artist via the long-cherished possessions of his personal archives is a treat for die-hard fans and new ones," the Luther Vandross Estate said in a statement.

Marcus Miller, a longtime collaborator, added that Vandross carved out "his own totally unique space" among other talented vocalists. "No one could replicate Luther's sound, his songwriting genius, or even his covers of other people's songs," Miller continued. "Luther was a complete and utter perfectionist with a very specific vision of how he wanted things to be. His shows were theatrical masterpieces, and Luther was involved in every detail of their production: his vocals, his background singers' harmonies, their choreography, and even his background singers' gowns. The gown beading had to be exquisite and authentic. The furs had to be real. I would say, 'Luther, no one's gonna know if the furs are real!!' To which he would reply: 'I will know!'

"That was part of the magic of Luther, his unyielding commitment to excellence. It was truly an honor to have worked with my friend and big brother, Luther Vandross," Miller said in a statement,

"Luther Vandross is a cherished icon who defined the smooth, jazz-inspired era of R&B and whose timeless love songs have graced countless weddings, graduations, and family reunions for the past several decades," added Kelsey Goelz, Curator at the GRAMMY Museum. "The GRAMMY Museum is thrilled to provide fans a close look into his incredible achievements in the studio and onstage."

Exhibit highlights include:

• Hand-beaded suits and jumpsuits worn by Vandross and his background singers during the Power of Love Tour in 1991.

• An emerald green hand-beaded suit and two matching gowns worn by Vandross' background singers, alongside Vandross' black tuxedo from his 1993-94 performances.

• Original fashion sketches of Vandross' tour wardrobe.

• Handwritten lyrics and studio notes for "I Can Make It Better," featuring an exclusive recording of Vandross crafting the song.

• Handwritten lyrics and original sheet music for several of Vandross' hits, including "Think About You" and "Never Too Much."

• Six of Vandross' eight GRAMMY Awards.

For tickets and more information on Luther Vandross: Artistry and Elegance, visit grammymuseum.org.