U2 Wins Five GRAMMY Awards | RECORDINGACADEMY.com (2025)

Green Day wins Record Of The Year, John Legend is Best New Artist at 48th Annual Telecast

GRAMMY.com

In a GRAMMY show packed wall-to-wall with music and the usual anticipation of award winners, this year's Album Of The Year award went to U2 for How To Dismantle An Atomic Bomb, Green Day earned Record Of The Year for "Boulevard Of Broken Dreams," and John Legend won Best New Artist. But GRAMMY Awards were spread among a number of deserving artists during the 48th Annual GRAMMY Awards Wednesday night in Los Angeles.

Mariah Carey, John Legend and Kanye West all went into the night with eight nominations apiece, and all three took hardware home. But U2 emerged the big winner with five GRAMMYs while Carey, Alison Krauss, Legend and West won three each.

This GRAMMY show also boasted more music performances than any in the telecast's storied history. It started with a unique pairing, and ended with a musical nod to a troubled city.

Opening the show like a cartoon in overdrive, Gorillaz appeared in animated 3D glory performing their song, "Feel Good Inc." The "band" was soon joined by De La Soul, then the ultimate treat, a holographic Material Girl rising from the stage. Pulsing and gyrating in fine form, the real Madonna then sang her hit "Hung Up" surrounded by a team of elastic dancers.

Coldplay blasted into "Talk" with all the epic energy and rock grandeur that has marked their career. Under a blare of white lights, Chris Martin and co., decked out in dark jackets and blue jeans, created a classic big rock moment as Martin displayed his trademark stage dancing and eventually left to prance through the crowd.

Soul crooner extraordinaire John Legend brought pure magnificence to "Ordinary People," the lovely Brazilian-tinged ballad from his album, Get Lifted . Shot in a noir -themed black-and-white haze, and surrounded by a sweeping 10-piece string section, Legend's elegant delivery and smoldering singing was powerful and emotive.

Now a country duo , Sugarland kicked it hard and hot with "Something More," proving that two can do what three used to do, and then some. The Atlanta natives showed their natural power.

Blasting their hit "Vertigo" like a jet engine on takeoff, U2 turned the expansive Staples Center into a small club with Bono's soaring vocals and The Edge's shimmering guitar fusillades. The band closed the song with a brief reference to The Beatles' "She Loves You" before edging into the familiar guitar refrains of "One." Joined by the Queen of the 411, Mary J. Blige (who was dressed in a flowing gauzy top and skin tight satin pants), U2 turned from Irish rock power merchants to a super soul backing band. With Blige and Bono trading verses, the song rose in power, culminating in the singers holding hands aloft as the word "One" appeared in multiple languages on screens above the stage.

Still emotional from winning the GRAMMY for Best Female Pop Vocal Performance, Kelly Clarkson delivered "Because Of You" with all the precision and intensity that made her the first-ever "American Idol" winner. The phenomenon increased her glorious night with her first-ever GRAMMY performance with the aid of a live string section.

Making his first GRAMMY stage performance, former Beatle Sir Paul McCartney treated the audience to a taste of one of his popular live performances, beginning with Macca seated at the piano for "Fine Line," followedby the Beatles' classic "Helter Skelter." Taking up his familiar Hofner bass, Sir Paul stated,"I finally passed the [GRAMMY] audition, so I want to rock now."

Lifted up by a brass section, the 30-member strong Hezekiah Walker & Love Fellowship Choir and Pastor Clarence Keaton, Mariah Carey provided one of the evening'smost powerful performances. Her flowing blond tresses draping her white-cloaked frame, Carey sang "We Belong Together" and "Fly Like A Bird" like they were the most important moments of her life. Bringing that old-time religion to a 21st century venue, Carey raised the roof with her amazing vocal skills.

Aussie super guitar slinger Keith Urban sang his "You'll Think Of Me" from high atop a glass perch, banging his guitar and singing with an impassioned soulfulness. Wearing a simple T-shirt and jeans, this Everyman raised his fist high in the air before Faith Hill entered stage left. Accompanied byUrban's fire-breathing electric axe and her own acoustic strumming, Hill's "The Lucky One" joined homespun appeal to his rough 'n ready power, the duo creatingan unlikely alliance of pan global country royalty.

In a world where contemporary R&B and rap pay tacit homage to old-school soul and funk through sampling and covers, the GRAMMYs honored one of the godfathers of funk with an ensemble tribute to Sly Stone. Joss Stone, Legend and Van Hunt vamped on a straight-up version of "Family Affair." Devin Lima and Fantasia followed with a zesty rendition of "If You Want Me To Stay," with Maroon 5 and a sultry Ciara crooning a joyously anthemic "Everyday People." The Black Eyed Peas' Will.I.Am nearly stole the tribute with his loose-limbed, stage-covering performance of "Dance To The Music," complete with feverish rapping and some amazing footwork. Not to be outdone, Aerosmith's Steven Tyler and Joe Perry blasted through "I Want To Take You Higher" with the help of steel guitar wonder Robert Randolph. With the band and crowd primed, Sly Stone entered the proceedings dressed in an alien-like silver jacket and sporting a tremendous two-foot-high blonde Mohawk, leading the entire ensemble. When he exited the stage, the funk master had truly left the building

Shawn "Jay-Z" Carter and Linkin Park's "Numb/Encore" saluted the melding of rock and rap celebrated by producer Danger Mouse's infamous Grey Album — which mashed up the Beatles' "White Album" and Jay-Z's Black Album — when McCartney entered stage right singing "Yesterday" over the track's bouncing hip-hop beat to the crowd's delight.

Displaying the power of simplicity, Bruce Springsteen sang "Devils & Dust" like a man haunted. Strumming his acoustic guitar with an almost punk-like power and bathed in a haze of white light, Springsteen seemed togrit his teeth as he sang this songof one man's unyielding faith, ending the impassioned song with yet another simple plea: "Bring 'em home."

Kanye West and Jamie Foxx reprised the Record Of The Year-nominated "Gold Digger" like two court jesters run amok. Beginning in the audience accompanied by a full marching band withWest dressed in white and Foxx in red, the pair soonhad the joint jumping with song's irresistible marching cadences and hilarious pleas.

Jazz piano master Herbie Hancock utilized the amazing vocals of Christina Aquilera on Leon Russell's "A Song For You"in an incredible display of improvisational prowess. Looking like Jean Harlow in her form-fitting, floor-length silver dress and flowing blond hair, Aquilera proved she can practically sing anything, matching the jazz piano giant note for note.

Finally, the stars came out in full force for the emotional close to the night's show,a tribute to troubled New Orleans . Elvis Costello, The Edge, Bonnie Raitt, Dr. John, Allen Toussaint, Irma Thomas, and Yolanda Adams made Toussaint's "Yes We Can Can" roll off the stage like a Mardi Gras march as everyone in the audience joined in clapping.As soon as that song finished,Bruce Springsteen and Sam Moore (the latter of soul legends Sam and Dave) came on stage for a spirited rendition of Wilson Pickett's famous "In The Midnight Hour" (Pickett died in January.) The tribute was a fitting musical salute given the work that The Recording Academy's MusiCares Foundation has done for musician victims of Hurricane Katrina, and a memorable coda for the show.

Read Recording Academy President Neil Portnow's telecast remarks here.

The Recording Academy and MusiCares have pledged $1 million to support music professionals impacted by the devastating wildfires in Los Angeles, launching the Los Angeles Fire Relief Effort To Support Music Professionals. The effort will provide both immediate relief and long-term support to individuals and families in the music industry facing displacement and loss due to the disaster.

"The entire GRAMMY family is shocked and deeply saddened by the situation unfolding in Los Angeles," said Harvey Mason jr., CEO of the Recording Academy and MusiCares. "The music community is being so severely impacted, but we will come together as an industry to support one another. Our organizations exist to serve music people because music is a powerful force for good in the world, and we hope the broader industry will now rally to this cause."

For over three decades, MusiCares has responded to crises affecting the music industry, providing essential support in times of disaster. From the COVID-19 pandemic, to the Maui and California wildfires, MusiCares has been a vital resource for the music community.

"We expect the disaster relief efforts in Los Angeles to be extraordinary, if even just on the basis of how many music people have lost their homes in the last day. MusiCares is always committed to ensuring that music professionals are supported in times of crisis, and we ask for the larger community to donate for those in need at this dire time," said Laura Segura, Executive Director of MusiCares. "MusiCares can help with short term emergent needs for those currently displaced, and then longer-term services as we get a handle on the full extent of how music people are impacted."

Support For Those in Need

MusiCares Assistance:For many in the music community, disasters like this can disrupt even the most basic needs. MusiCares is here to provide support. If you or someone you know in the music industry is affected by these wildfires, please reach out:

• Email: musicaresrelief@musicares.org

• Phone: 1-800-687-4227

Disaster Resources and Information Through L.A. County:

For updated information about evacuations, road closures, emergency resources, and free shelter through Airbnb, visit the 211LA website: Greater Los Angeles Wildfires | 211LA.

Find a Shelter:

The Red Cross is operating emergency shelters throughout the greater Los Angeles area. To access a shelter, visit the Red Cross website.

Uber:

Residents in Los Angeles County who’ve been ordered to vacate their homes can get a credit from Uber to get to an evacuation site. The $40 will only be valid for trips to an active shelter and by using the code WILDFIRE25.

Lyft:

Lyft announced it will be offering $25 vouchers, valid for two trips, to 500 customers from now until midnight on Jan. 15. Use the code CAFIRERELIEF25 to get the promotion.

To Donate:

You can contribute to the Los Angeles Fire Relief Effort To Support Music Professionals by donating here.

For Assistance:

If you or someone you know has been affected by the L.A. County fires, visit https://musicares.org/get-help to apply for relief today.

It's been decades since Maren Morris first attended GRAMMY Camp all the way back in 2005 — nearly 20 years ago. Still, she remembers precisely how she felt then and how much of a "rare opportunity" it was.

She met luminaries like Jimmy Jam and Paul Williams, and the setting made the then-15-year-old feel legitimized and creatively elevated. "I learned how to peer into myself and learn what unique thing I had to bring to the table musically," she tells the Recording Academy.

Since then, Maren Morris has had an entire career: She won a GRAMMY, received 17 GRAMMY nominations, joined the country music supergroup the Highwomen, topped the Billboard country charts, and much more.

Morris just had a full circle moment — Recording Academy style. On Monday, Morris returned to GRAMMY Camp, the GRAMMY Museum's signature music industry camp for U.S. high school students, as a guest artist to celebrate the program's 20th anniversary, which takes place in Los Angeles this week. She joins viral NYC bass phenom Blu DeTiger and captivating New Jersey singer/songwriter Jeremy Zucker. Together, they are guiding students on their paths to a career in the music industry.

"I think that the main thing I'm imparting is that they don't need to rush their art or building their fan base," Morris says. "With social media and trending sounds and dances every day, it's easy to feel like you're getting lost or not keeping up fast enough with what your peers are doing.

"Just stick to being authentic," she continues, "and people see that, no matter what time they arrive to the party for you."

Another one of Morris' pieces of advice: Don't confuse loyalty with complacency. She explains that she likes to "shake up my production or co-writing comfort by working with new people who bring things out of me I wouldn't normally in a more comfortable creative situation."

In the end, "Find people that listen to you," Morris concludes, "but also push you and your creativity to new areas of yourself." There's no place better to do exactly that than at GRAMMY Camp, where the mentee can one day become the mentor and guide the next generation of artists and music industry professionals.

The 20th annual GRAMMY Camp celebration is running now and concludes with the GRAMMY Camp Finale Student Showcase on Saturday, July 20, at the Ray Charles Terrace at the GRAMMY Museum.

Applications for GRAMMY Camp 2025 will be available online in September.

Learn more about GRAMMY Camp.

The Recording Academy, the organization behind the annual GRAMMY Awards, has proudly extended membership invitations to more than 3,900 music creators and industry professionals this week to join its 2024 New Member Class.

The 2024 New Member Class, which exemplifies the Academy's commitment to reflecting today's diverse and dynamic music industry landscape, represents a significant step towards inclusivity and representation within the music industry. This year's 2024 class of invitees is 45% women, 57% people of color and 47% under the age of 40. With these new member invitees, the Recording Academy is on track to achieve its goal of adding 2,500 women Voting Members by 2025, reaching this milestone a year ahead of schedule.

The deadline for accepting these invitations, and thus engaging in the full process for the 2025 GRAMMYs, is Wednesday, July 31. 2024 New Member Class invitees are encouraged to join our newly launched New Member Class broadcast channel to learn more about the Recording Academy and membership-related updates.

These invitations offer each potential new member an opportunity to power the Recording Academy's mission of cultivating the well-being of the music community, celebrating artistic excellence in the recording arts, advocating for creators' rights, investing in music's future through the GRAMMY Museum, and supporting music people in times of need through MusiCares.

The Recording Academy's membership invitation process is community-driven and peer-reviewed annually, focusing on two types of membership: Voting Membership for music creators and Professional Membership for music business professionals. Interested musicians and professionals must apply for membership by March 1 each year, and if approved by a peer review panel, they are invited to join the Recording Academy. (GRAMMY U is the third type of Academy membership and follows a distinct application process.)

To celebrate this milestone, many of the newly invited members have taken to social media to express their excitement and gratitude. Here are some highlights:

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For more information about the 2025 GRAMMY Awards season, learn more about the annual GRAMMY Awards process, read our FAQ (Frequently Asked Questions) section, view the official GRAMMY Awards Rules and Guidelines, and visit the GRAMMY Award Update Center for a list of real-time changes to the GRAMMY Awards process.

"Everything you like was created by a queer person," musician and DJ Aluna proclaimed near the end of "The Power In Pride: A Conversation Honoring The Resilience Of Black Queer Creatives." (A seemingly bold statement — until you do some digging.)

Ditto a Black person. As the Recording Academy's VP of DEI, Ryan Butler, pointed out, just about every American music genre flows back to that source. "There is no pop music in America that is not a derivative of the Negro spiritual," he said across from Aluna.

"The queerness has been the innovation in it, but the Black community has been the foundation of it," Butler concluded. "So, I think when you have the foundation and the innovation together, it's worth celebrating 365 days a year."

When considering those two truths, two more truths emerge. First, without the contributions of Black and queer people, our world — including our musical landscape — would be unrecognizable. Second, to celebrate only in February, for Black History Month — or June, for Pride Month and Black Music Month — would be a grave disservice to both wellsprings of genius. Honoring Black and queer creators, as Butler pointed out, requires the entire calendar year.

These themes were paramount at "The Power of Pride," a candid conversation at the Live Nation building in Manhattan, just as summer kicked off. Tiffany Briggs Low, the Director of Corporate and Communications at Live Nation, moderated the discussion between Butler, Aluna, and third panelist Bryant K. Von Woodson II, VIP Relations at Chapter 2 Agency and Head of Communications at Queer Capita. Von Woodson II introduced himself as a "curator of people" who connects BIPOC folks with crucial opportunities; Butler, as an "angelic disruptor"; Briggs-Low called Aluna "our sister in green" and "the curator of the vibes."

Briggs-Low kicked off the conversation with a heavy, dual prompt: "I would love to hear about why you feel it's important for the world to continue celebrating both Pride and Black Music Month, and what does the intersectionality of Black and queer identities mean to each of you?"

"I think that theme months each year do serve as a reset," Aluna stated, "and have you looking internally, and looking at what you've done and haven't done, and how you feel. To me, the queer community and the Black community have given so much," she continued, "and my mission is for us to just turn that around — to be giving it back to ourselves. Because there is an abundance of things that we create — and we never stop creating — but we need to be fed, and the well is running dry. And that upsets me."

To Aluna — who is Black, straight, and an ally of the Black queer community — this nourishment comes from "creat[ing] space" within these communities, and fostering "spirituality and deep, deep connection."

To that question, Von Woodson II —who is Black and queer — paraphrased Maya Angelou: "Between both communities, I stand as one, but I also really acknowledge the 10,000," he said referring to the philosophy from Angelou's work that credits the collective experiences of communities and ancestors who came before.

"I think that's what this month is about," he continued. "Celebrating the 10,000 that got me to be able to sit on this stage, to have this conversation with you, to sit up here with some beautiful Black people, and really speak about our lives and ourselves."

Butler, who is also Black and queer, calls that intersection "a superpower." Yet the world doesn't always treat it as such — to put it lightly. As Butler related, just last weekend, he entered a function in Malibu, where the host said, "I'm going to sit you at the table where all the rappers like to sit."

"I don't really give rapper," Butler mused dryly. "You shouldn't be profiled in that type of way, and I definitely experience it in the corporate environment, still. I don't think that it always feels like a safe space.

"But that's also a litmus test for me," he added. "I know that there are other [people] who may feel this way, and so it also helps me make sure that I'm constantly applying pressure."

Von Woodson II expounded on the importance of being his authentic self, in spaces that might stifle that. "There is no hiding that I am clearly Black, but also queer," he said, before showing off his proudly flamboyant style of walking into a room.

"As I work with my clients, and I work with new people, I think I show up as authentic as I can," he continued. "And I just lay it on them and say, 'You either take it or you don't.'"

Aluna, for her part, highlighted the unfairness of Black artists being pigeonholed as featured artists.

"If I need to be an example of what's possible for the next generation, they can't just see me as Disclosure featuring Aluna, DJ Snake featuring Aluna, Avicii featuring Aluna, because that gives the message that that's all we're worth," she said. "You can't get booked as an artist in your own right, because they just don't see you as an artist.

"Managers across the board, bookers, labels — they're just hankering after your essence, your soul," Aluna continued. "But without your Blackness."

In supporting Black and queer communities — which takes a plethora of forms, for all different kinds of people — Butler warned against performative gestures. Aluna decried "the colonial separation between Blackness and queerness."

And Butler left the audience with a truth bomb: "There are going to be times where you are going to have to shield me with your privilege that I don't have."

But for all these heavier-than-heavy topics of identity, justice and belonging, "The Power In Pride" felt celebratory and familial. As the conversation wound down, the beats were turned up, and the audience was geared to get out and uphold Black and queer genius and solidarity — 365 days a year.

The Recording Academy thanks its partners — Live Nation and Queer Capita — for their efforts to make this event possible.