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    Best and Worst Moments From the 2024 Grammys:

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    Young women brought the drama, Jay-Z surprised with a barbed speech and heroes long absent from the show’s stage made welcome returns at the 66th annual awards.The most awards at the 66th annual Grammys went to Phoebe Bridgers, who picked up three with her band boygenius and one for a feature on a SZA song. SZA, who came into the night with the most nominations, was shut out of the biggest honors — for album (which went to Taylor Swift’s “Midnights”), record (Miley Cyrus’s “Flowers”) and song (Billie Eilish’s “What Was I Made For?”) — but took home three trophies. Victoria Monét was named best new artist, and Swift’s album win broke a Grammy record for the category. The show was particularly joyous, slick and thoughtful, featuring several striking performances and a few raw acceptance speeches. All in all, it captured pop music as it actually is — centerless, and subject to change at any moment.Best Theatrical Pop Stars: Billie Eilish and Olivia RodrigoFrom left: Billie Eilish and Olivia Rodrigo brought powerful vocals and a bit of theater to the Grammy stage. Photographs by Valerie Macon/Agence France-Presse — Getty ImagesTwo of the night’s strongest performances came from young women using pianos to accompany the wispy, stratospheric upper reaches of their registers — and to comment on the tyranny of fragility and prettiness. The first was Billie Eilish, stunning the crowd to silence with a sparse, deeply felt reading of “What Was I Made For?,” her “Barbie” ballad that later picked up song of the year. The second was Olivia Rodrigo, who nailed the vertiginous high notes that punctuate her rock-operatic smash “Vampire,” and then riffed on the song’s theme as she smeared herself with spurting fake blood. Each performance, in its own way, felt like a rebuttal to the constricting standards to which so many young women are held. Eilish’s was about the pain of being perceived as an object; Rodrigo’s reimagined the same kind of pressure as a horror movie. Both understood the power of a little theatricality. LINDSAY ZOLADZBest Debut Grammy Performance: Joni MitchellJoni Mitchell won a Grammy for best folk album, then performed with a group of musicians.Valerie Macon/Agence France-Presse — Getty ImagesJoni Mitchell, 80, has been singing her prismatic folk ballad “Both Sides Now” since she was 23, and yet every time she performs it, she seems to be interpreting its infinitely wise lyrics anew. The rendition she performed at the Grammys — her first-ever performance on the award show, which makes sense given how underestimated and slighted by the industry Mitchell has felt throughout most of her career — was at once elegiac and nimble, backed by a loose jazz arrangement that allowed her to riff on its familiar melody. Showing off a resonant tone and impressive range that she has worked diligently to strengthen since suffering an aneurysm in 2015, Mitchell’s performance was like a brief, magical visitation from a musical deity. ZOLADZBest Surprise Roast: Jay-ZJay-Z brought his daughter Blue Ivy Carter onstage during his acceptance speech at the Grammys.Valerie Macon/Agence France-Presse — Getty ImagesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Taylor Swift, Beyoncé and the Sphere: The Year in Live Music

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicThree years after the pandemic brought live music to a halt, the touring business is thriving: 2023 brought in record revenue — over $9 billion — thanks in part to major outings by Taylor Swift and Beyoncé, and in part to increased prices across the board. Live shows are also becoming more ambitious in scale and filigree, underscoring how big concerts are becoming experiential luxury goods.But even though the live music space is thriving, there is still persistent growling about Ticketmaster and its fee structure, and also about rising prices in general. Social media amplified both the thrills of some live events, and also confusion over cratering ticket process for others, like some recent dates on Travis Scott’s tour.On this week’s Popcast, a conversation about why this year was such an impressive one for the touring business, what lessons established acts are learning from younger arena and stadium stars, and whether the continued pressure on ticket price is sustainable in the long run.Guest:Ben Sisario, The New York Times’s music business reporterConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      Popcast (Deluxe): Can Rap Bridge Its Generation Gap?

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      Subscribe to Popcast!Apple Podcasts | Spotify | Amazon MusicThis week’s episode of Popcast (Deluxe), the weekly culture roundup show on YouTube hosted by Jon Caramanica and Joe Coscarelli, includes segments on:Rap music’s generational divide, touching on André 3000’s comments about what older rappers might rap about, and how the stars of the 2000s and 2010s like Lil Wayne, Gucci Mane and Rick Ross are still releasing albums into their 40sThe stagnation on the Billboard Hot R&B/Hip-Hop Songs chart and streaming platform hip-hop playlists, as seen in the ongoing prevalence of songs by Drake, Rod Wave, Travis Scott and othersPotential breakthrough songs by Sexyy Red, 310babii, and others, plus TikTok-driven hits by Lil Mabu and JIDTravis Scott, Playboi Carti and Yeat setting the table for the noisy, new rap undergroundNew songs from Nettspend and KarrahboooSnack of the weekConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      Ghostwriter Returns With an A.I. Travis Scott Song

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      The anonymous artist, who stirred conversation with the A.I. track “Heart on My Sleeve,” has been quietly consulting with executives, while also gunning for a Grammy.Earlier this year, when the anonymous musical creator known as Ghostwriter released an unauthorized track that used artificial intelligence voice effects to mimic the pop superstars Drake and the Weeknd, the fallout was immediate and far-reaching.The mostly original song, “Heart on My Sleeve,” was promptly removed from official streaming services, even as experts acknowledged that its use of A.I. fell into a rapidly expanding legal gray area. But while the major record labels sought to protect their intellectual property and scrambled to prepare for disruptions to come, the track also proliferated on social media, earning millions of listens and helping to inspire a wave of similarly novel compositions.Throughout the aftermath, Ghostwriter stayed silent — at least in public.Behind the scenes, however, the shadowy act and its team were making overtures to the very industry figures “Heart on My Sleeve” had unnerved. In the months since, those behind the project have met with record labels, tech leaders, music platforms and artists about how to best harness the powers of A.I., including at a virtual round-table discussion this summer organized by the Recording Academy, the organization behind the Grammy Awards.“I knew right away as soon as I heard that record that it was going to be something that we had to grapple with from an Academy standpoint, but also from a music community and industry standpoint,” Harvey Mason Jr., a producer who is the chief executive of the Recording Academy, said in an interview. “When you start seeing A.I. involved in something so creative and so cool, relevant and of-the-moment, it immediately starts you thinking, ‘OK, where is this going? How is this going to affect creativity? What’s the business implication for monetization?’”Mason said he had contacted Ghostwriter directly on social media after being impressed with “Heart on My Sleeve.” He added that Ghostwriter attended the meeting in character, including using a distorted voice.On Tuesday, Ghostwriter returned with a new track, titled “Whiplash,” this time using A.I. vocal filters to sound like the rappers Travis Scott and 21 Savage and deliver a message to the industry: “Me and Writer raise a toast,” the A.I. version of 21 Savage raps. “Trying to shadowban my boy/but you can’t kill a ghost.”The song — which was posted to social media platforms like TikTok and X, formerly known as Twitter, instead of Spotify and other proper streaming services — came accompanied by a statement that called on both Scott and 21 Savage to collaborate on an official release. “The future of music is here. Artists now have the ability to let their voice work for them without lifting a finger,” Ghostwriter wrote. “If you’re down to put it out, I will clearly label it as A.I., and I’ll direct royalties to you. Respect either way.”Representatives for Scott and 21 Savage did not immediately respond to a request for comment.A representative for Ghostwriter, who requested anonymity to not expose those behind the project — acknowledging that much of its marketing power comes from its mystery — confirmed that “Whiplash,” like “Heart on My Sleeve,” was an original composition written and recorded by humans. Ghostwriter attempted to match the content, delivery, tone and phrasing of the established stars before using A.I. components.They added that the Ghostwriter team had recently submitted “Heart on My Sleeve” for Grammy Awards in two categories at next year’s ceremony: best rap song and song of the year, both of which are awarded to a track’s writers.“As far as the creative side, it’s absolutely eligible because it was written by a human,” said Mason of the Recording Academy.He added that the Academy would also look at whether the song was commercially available, with Grammy rules stating that a track must have “general distribution,” meaning “the broad release of a recording, available nationwide via brick-and-mortar stores, third-party online retailers and/or streaming services.”Ghostwriter’s representative said they were aware of the commercial availability requirement.The Ghostwriter team noted in a statement that it hoped to raise awareness about the creative and business possibilities of A.I. voice filters, comparing the technology to the early days of hip-hop sampling or user-generated content on YouTube. It offered examples like the ability to do karaoke in the voice of one’s favorite artist; at-home creators making original music à la fan fiction; or artists’ estates using the filters for posthumous original releases.With guidance from Mason, the Recording Academy and its partners in the industry, the team said it hoped to work with stakeholders to build a platform that ensures artists who choose to license their voice can control how it is used and make sure they get paid when it is.“Ghostwriter really has played an important role here to bring awareness and attention,” Mason said. “We know A.I. is going to play a role in our business. We can’t pretend to turn our back on it and try to ban it.”He added, “I’m not scared of A.I., but I do believe work needs to be done to make sure that things are in place so that the creative community is protected.” More

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      Oliver Anthony Music’s ‘Rich Men North of Richmond’ Stays No. 1

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      The song by Oliver Anthony Music played a role at the Republican primary debate, though the musician clarified he doesn’t identify with “people on conservative news.”“Rich Men North of Richmond,” the out-of-nowhere viral protest song by Oliver Anthony Music, is the country’s No. 1 single for a second time, after playing a key role in last week’s Republican primary debate.“Rich Men,” a spare acoustic track uploaded to YouTube just weeks ago by the largely unknown Anthony, quickly caught fire as an angry cry against corporate and political elites, though it also took shots at welfare recipients. Embraced by conservative commentators, the song shot to the top of Billboard’s Hot 100 chart, with big download and streaming numbers.Last week, the first question at the Republican debate was about the significance of “Rich Men,” and Gov. Ron DeSantis of Florida spun it as a sign of policy failures by the Biden administration.In a video response posted to YouTube, Anthony — real name Christopher Anthony Lunsford — said he was bothered by how his song has become a political talking point. “It’s aggravating seeing people on conservative news try to identify with me like I’m one of them,” he said. “I see the right trying to characterize me as one of their own. And I see the left trying to discredit me.” The song, he added on Facebook, “is about corporate owned D.C. politicians on both sides.”“Rich Men” repeats at No. 1 on the all-genre Hot 100 with 23 million streams and 117,000 downloads, according to the tracking service Luminate. It is also No. 1 on Billboard’s country chart.On the Billboard 200 album chart, Travis Scott’s “Utopia” marks a month at No. 1 with the equivalent of 161,000 sales, including 92 million streams and 92,000 copies sold as a complete package, according to Luminate, driven by discounted vinyl sales on the rapper’s website. According to Billboard, “Utopia” is the first rap album to spend its first four weeks at the top since 2018, when Drake’s “Scorpion” had five. (In 2021, Drake’s “Certified Lover Boy” spent its first three weeks at No. 1, then returned to the top for another two weeks later on.)Morgan Wallen’s “One Thing at a Time” holds at No. 2, while the singer-songwriter Hozier opens at No. 3 with his new “Unreal Unearth.” The “Barbie” soundtrack remains in fourth place, and Taylor Swift’s “Midnights” is No. 5. More

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      Viral Hit ‘Rich Men North of Richmond’ Debuts at No. 1

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      Oliver Anthony Music’s song expressing frustration over working-class struggles shot to the top of the Billboard chart after a wave of support from conservative commentators.“Rich Men North of Richmond,” an independently released track by the little-known performer billed as Oliver Anthony Music, became the surprise No. 1 song in the United States this week, topping hits by superstars like Taylor Swift, Morgan Wallen and Olivia Rodrigo.The song, which was uploaded to YouTube just two weeks ago, caught fire with conservative commentators including Matt Walsh and Laura Ingraham, who described it as an authentic expression of working-class struggle, though some critics winced at anti-welfare sentiments that seemed to hark back to the Reagan era: “If you’re 5-foot-3 and you’re 300 pounds/Taxes ought not to pay for your bags of fudge rounds,” sings Anthony, whose real name is Christopher Anthony Lunsford.“Rich Men” shoots to the top of Billboard’s Hot 100 singles chart with 17.5 million streams and 147,000 downloads, according to the tracking service Luminate. After Jason Aldean’s “Try That in a Small Town,” it is the second country song in less than a month to reach No. 1 after stirring political controversy and sparking download sales — a very small part of the contemporary music business, but one that can have an outsize impact on the charts, thanks to the weighting formulas that Billboard and Luminate use to reconcile streams and sales.According to Billboard, it is the first time that an artist has made a debut at No. 1 on the Hot 100 without any prior chart history “in any form.”Whether “Rich Man” can hold the top spot for long is yet to be seen. When Aldean, a Nashville hitmaker for years, rode a wave of culture-war controversy for “Try That in a Small Town” after its music video was criticized as a coded call to vigilantism, the song spent a single week at No. 1; it dropped 20 spots after streams and downloads plunged.On the album chart, Travis Scott’s “Utopia” holds No. 1 for a third week, thanks in part to a flash sale on the rapper’s website that priced the double vinyl version at $5. Scott sold 99,000 copies of his album, 93,000 of which were on vinyl; he also had 124 million streams. Altogether, “Utopia” was credited with the equivalent of 185,000 sales in the United States, according to Luminate.The neon-haired Colombian pop star Karol G debuts at No. 3 with her latest release, “Mañana Será Bonito (Bichota Season),” which had the equivalent of 67,000 sales, including 68 million streams. The mixtape is a companion collection to Karol G’s last studio album, the similarly titled “Mañana Será Bonito,” which opened at No. 1 in March.Also this week, Wallen’s “One Thing at a Time” holds at No. 2, the “Barbie” soundtrack is No. 4 and Swift’s “Speak Now (Taylor’s Version)” is in fifth place. More

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      Travis Scott’s ‘Utopia’ Repeats at No. 1

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      The rapper’s latest solo album is the first hip-hop release to spend more than a single week atop the Billboard 200 in over a year.Travis Scott is No. 1 on the Billboard album chart for a second time this week, while Morgan Wallen’s “Last Night” logs its 16th time as the top single.“Utopia,” Scott’s first new solo album in five years — and the first since his Astroworld Festival in 2021, where 10 people were crushed to death — holds the top spot on the Billboard 200 with the equivalent of 147,000 sales in the United States, according to the tracking service Luminate. That total includes 146 million streams and 37,000 copies of the LP sold as a complete package.With fewer rap albums topping the charts these days — country, pop, R&B and Latin have been more in favor — “Utopia” is the first in over a year to notch more than a single week at No. 1. In April 2022, Tyler, the Creator’s “Call Me if You Get Lost” logged its second time at the top, thanks to the delayed release of that album’s vinyl version. (“Call Me” had opened at No. 1 nine months before.) The last rap album to spend at least its first two weeks at No. 1 was Drake’s “Certified Lover Boy” in September 2021; it held at the top for three weeks, then later returned for another two.Wallen’s album “One Thing at a Time” is No. 2, while his song “Last Night,” a monster hit on streaming services and pop radio, holds at No. 1 on the Hot 100. With 16 weeks atop the singles chart, “Last Night” is on a rare streak, tying Luis Fonsi and Daddy Yankee’s “Despacito,” from 2017, and “One Sweet Day,” by Mariah Carey and Boyz II Men, from 1995. Only Lil Nas X’s “Old Town Road,” with 19 weeks in 2019, had a longer run at the top.Also this week, the “Barbie” soundtrack, featuring Dua Lipa, Billie Eilish and Lizzo, is the No. 3 album, and Taylor Swift logs four albums in the Top 10: “Speak Now (Taylor’s Version)” (No. 4), “Midnights” (No. 5), “Lover” (No. 6) and “Folklore” (No. 9). More

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      Popcast (Deluxe): Lizzo, Travis Scott and the Limits of Persona

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      Subscribe to Popcast!Apple Podcasts | Spotify | Stitcher | Amazon MusicThis week’s episode of Popcast (Deluxe), the weekly culture roundup show on YouTube hosted by Jon Caramanica and Joe Coscarelli, includes segments on:How a star’s public persona, varnished or unvarnished, can dictate what they can get away with in the eye of their followers. Lizzo, who for years has emphasized personal kindness as her brand, has seen her career derailed by allegations that she mistreated her backup dancers. Cardi B threw a microphone at an audience member in reaction to getting splashed with water, but has emerged unscathedTravis Scott’s No. 1 album “Utopia,” its many guest appearances and its oxygen-swallowing hugenessThe resilience of Playboi Carti, who has built a growing cultlike career while releasing no new musicRemembering the life and work of Sinead O’Connor and Angus CloudNew songs from Cowgirl Clue and B-Lovee featuring Luh TylerSnack of the weekConnect With Popcast. Become a part of the Popcast community: Join the show’s Facebook group and Discord channel. We want to hear from you! Tune in, and tell us what you think at popcast@nytimes.com. Follow our host, Jon Caramanica, on Twitter: @joncaramanica. More

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      Travis Scott’s ‘Utopia’ Debuts at No. 1

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      The rapper’s “Utopia,” his first album since his Astroworld Festival in Houston turned tragic in 2021, opens with the equivalent of 496,000 sales in the United States.Almost two years ago, the career of the rap star Travis Scott had seemed in doubt after the catastrophe of his Astroworld Festival in Houston, where 10 people were crushed to death and hundreds more were injured.The authorities investigated Scott’s role, but in June prosecutors announced that a grand jury had declined to indict Scott and two festival officials. A number of civil lawsuits against Scott and festival organizers, however, remain pending.That cloud was no deterrent to Scott’s fans, who have sent the rapper’s latest album, “Utopia,” straight to No. 1 on the Billboard 200 chart. It had the equivalent of 496,000 sales in the United States, including 331 million streams and 252,000 copies sold as complete package, according to the tracking service Luminate. That was by far the biggest opening for any hip-hop album this year.Scott gave an album-release concert on Monday at the Circus Maximus in Rome, which featured a surprise guest: Ye, formerly known as Kanye West, who was making his first live appearance after he made a series of antisemitic remarks last fall. Those incidents resulted in his being largely exiled from the music business, and his lucrative fashion partnerships with Adidas and Balenciaga were canceled.When Scott released his last album, “Astroworld,” in 2018, he was one of the music world’s kings of “bundling” — selling fans an album that came with concert tickets or, particularly in Scott’s case, merchandise like T-shirts, key chains and hats. Industry complaints that the practice was distorting the charts grew loud enough that in 2020 Billboard largely ceased counting bundles on its charts. But fans kept buying music-plus-collectibles packages, and three months ago Billboard tweaked its rules once again, allowing what it calls “fan packs”: physical copies of an album with a single merchandise item.Scott’s “Utopia” was released in a variety of collectible CD and vinyl variants, including 15 deluxe boxed sets and what Billboard deemed two compliant fan packs (a CD or vinyl LP that came with a single item of branded merchandise). Of the 252,000 copies “Utopia” sold in album form, 111,000 were digital downloads, 63,000 were CDs and 79,000 were vinyl LPs, which Billboard said is the biggest week of vinyl sales for any R&B or hip-hop album since at least 1991.Also this week, Post Malone opens at No. 2 with “Austin,” which had the equivalent of 113,000 sales, including 101 million streams. Morgan Wallen’s “One Thing at a Time” holds at No. 3, the “Barbie” soundtrack is No. 4 and Taylor Swift’s “Speak Now (Taylor’s Version)” is No. 5.On the Hot 100 singles chart, Wallen’s “Last Night” returns to No. 1 for a 15th time, while Jason Aldean’s “Try That in a Small Town,” which rode a wave of controversy and media coverage to the top spot for a single week, falls to No. 21 with big drops in streaming and download sales. More