For Women’s History Month 2021, GRAMMY.com is celebrating some of the women artists nominated for the GRAMMY Awards 2021. Today we honor Dua Lipa, who is currently nominated for six GRAMMYs.
There was so much to mourn in 2020: The last time we hugged our families, traveled to new places, and swayed among sweaty strangers on a dance floor . But that didn’t stop Dua Lipa.
Since last March, the English pop star has released not just one, but three albums. The first of the trilogy, their defiant dance pop sophomore record Future Nostalgia, which was released last March as the COVID-19 pandemic hit the world, quickly became a nu-disco masterpiece. It was a brave move for Lipa to release a record in a pandemic, turning the rollout of the major label pop album upside down and interrupting the international tour.
The risk paid off: Future Nostalgia was their first album to be included in the Top 5 on the Billboard Hot 200 chart. And if Future Nostalgia was an indication of this, the thrill of taking risks was far from over.
Last August, the singer Club Future Nostalgia released an adrenaline-packed remix album for the digital dance floor that featured the DJ / Producer The Blessed Madonna was made. For the album, she engaged the employees Blackpink, Mark Ronson, Madonna, Missy Elliott and Gwen Stefani.
See also: Dua Lipa talks about ‘Club Future Nostalgia’, working with Madonna and how she was involved in the COVID-19- Era navigated through the music industry
But it still wasn’t done expanding the Future Nostalgia universe. Just last month she shared another version of the album, The Moonlight Edition, which included three new singles as well as Lipa’s « Prisoner » collaboration with Miley Cyrus. « Un Día » with J Balvin, Bad Bunny and Tainy, for which she is currently nominated for best pop duo / best group performance; and « Not My Problem » with J.I.D.
It’s clear Lipa put the work in to get here. With the release of her self-titled debut album in 2017, the singer emerged as a feminist force in the pop world. Singles like the beguiling synth-pop anthem « Be the One » and the club-compatible « Blow Your Mind (Mwah) » thrilled the audience. But it was the powerful smash « New Rules » that sparked viral buzz for his infectious lyrics and GIF-enabled music video, which is full of women holding and lifting each other as they dance choreographed with overnight motifs.
Dua Lipa and the subsequent success of « New Rules » helped Lipa win a Best New Artist GRAMMY in 2019 – plus an internet nickname (« Dula Peep ») – and prepared her for pop superstar. While her self-titled album established her as a headlining pop contender, Lipa pushed her way further.
Read: Taylor Swift’s Path to Folklore: How the Superstar Moved from “Diaristic” Country Melodies to Her Most Progressive Music to Date
Part of the challenge was the aftermath of the pandemic. The pop album’s release cycle is generally heavily orchestrated and bristling with careful planning of individual releases, music videos, and tour dates. But one cannot prepare for unprecedented times: when Lipa’s 85-day arena tour was pushed back, there was talk in their camp about postponing the drop of future nostalgia – then days before their livestream, according to The New York Times of the album had been leaked – and an imminent release was necessary. This all happened in parallel with the collective trauma and grief that the world faced with COVID.
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The anthemic single « Don’t Start Now », which is currently nominated for « Record Of The Year », « Song Of The Year » and « Best Pop Solo Performance » at the 2021 GRAMMY Awards show, was the one Kind of carefree, disco influenced number that you would hear while walking backwards on a ’70s tarmac. What followed was the candy-covered dance-pop track « Physical, » which delivered aerobic touchstones from the 80s, and « Break My Heart, » a glittering disco-funk foray with boastful guitar riffs. (The retro-futuristic direction of the album touched everything: from the songs themselves to the neon jerseys in the music videos.) Lipa saw how cathartic the music had become for her fans. The album welcomed quarantine anthems and received meme treatment: « Don’t Start Now » for its chorus (« Don’t show up / Don’t come out ») and « Break My Heart » for its very contemporary chorus (« I. . should have stayed at home « ).
When fans found new ways to connect with Future Nostalgia, so did Lipa – and Innovation took the lead. A new sense of creativity was required for late-night TV appearances.
Then came the idea of recreating concerts. While the garden was spread out over a multitude of livestreams throughout 2020, the lack of flashy arena appearances was an obvious loophole. But despite live shows being canceled indefinitely, Lipa led the indictments behind one of the most anticipated – and polished – virtual concerts of the year with Studio 2054, which celebrated the Future Nostalgia universe. The livestream concert was filmed in a sprawling London warehouse and performed Lipa with elegant choreography, glitter, glamor, raves and roller discos as well as special performances by Elton John, FKA Twigs, Kylie Minogue, Bad Bunny and more.
Future Nostalgia was indeed a milestone for Lipa’s musical arc and aesthetics. It was also a change for her career. She didn’t just create an album – she created an era. « Her voice changes a song just like her presence lights up a room, » Future Nostalgia producer Ian Kirkpatrick told GRAMMY.com.
Future Nostalgia brought Lipa into powerhouse territory, and the singer made the mighty one Jump from the best new artist to the newest reigning queen of pop. Most importantly, it showed that Lipa could seamlessly redefine itself. Sarah Hudson, who co-wrote songs on her debut album as well as « Levitating » and « Physical » from Future Nostalgia, had « no doubt » that Lipa would « take over the world ». « [Dua] had a very specific vision for Future Nostalgia and she implemented it flawlessly, » she tells GRAMMY.com. « It really comes from the heart, and you can feel it in every single song. »
It also helped that Lipa had a top team behind them. Chris Gehringer, who mastered Future Nostalgia, says the album’s success relies on the fact that Lipa hired producers and engineers who all « previously worked on a # 1 song and album ». « I mastered three songs from their debut album » Lost In Your Light « , » Blow Your Mind « and » New Rules « so I knew this new album was going to be big, » he tells GRAMMY.com. Ali Tamposi, co-author of « Break My Heart », describes Lipa as « a force to be reckoned with ». « We’re fortunate to have someone like her at the forefront of music who [continuously] raises the bar. »
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And the 2021 GRAMMYs reflect that. With six GRAMMY nominations, including album of the year and best pop vocal album, Lipa is one of the most nominated artists this year.
After this year’s GRAMMYs, it will be interesting to see how Dua does Lipa evolved as an artist. Future Nostalgia was a sonic departure from her first album – how will she next push the boundaries of pop?
Club Future Nostalgia is open to business. With clubs and bars all over the world closed during the COVID-19 era, British pop superstar Dua Lipa joined forces with Chicago DJ / producer The Blessed Madonna with Club Future Nostalgia, her newly released remix album has developed and curated a virtual club experience while in quarantine.
Club Future Nostalgia was released on Friday (August 28th) and remixes all the tracks from their latest album Future Nostalgia, which Lipa dropped in late March when the coronavirus Pandemic spread around the world. The remix album, which includes contributions from Brits like Mark Ronson, Joe Goddard, Paul Woolford and Jacques Lu Cont, as well as American and international electronic DJs / producers like Jayda G, Masters At Work, Yaeji and others, reinterprets Future Nostalgia for an almost hour-long set which spans 80s soul and 90s house music to today’s Lipa-led disco-pop revival.
Other artists featured on the album include the Queen Of Pop, Madonna, and the hip Hop icon Missy Elliott, both of whom are guests at The Blessed Madonna’s funky « Levitating » remix, as well as Gwen Stefani and the K-pop princesses BLACKPINK.
The album’s unique creative environment was instrumental in creating the club Future Nostalgia is central, says Lipa.
« It was the perfect opportunity to create something like this, » Lipa tells GRAMMY.com over the phone. « I felt like I was in the world all the time and everyone was at home. It doesn’t really happen that often that you get the opportunity to work with all of these incredible producers and artists. I think it was timely . » that I was able to catch everyone, especially The Blessed Madonna, who would have been on tour at the time. This album really came about because of the current climate. «
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Five years ago this month, Lipa launched her career with the release of her debut single « New Love ». It would take more singles to get some buzz and almost two years before their self-titled debut album saw the light of day in 2017. After a slow success, she wowed the world with her breakthrough hit « New Rules » from 2017. Without limiting her musical horizons, she next deepened in collaboration with Calvin Harris (« One Kiss ») and Silk City (« Electricity ») , Mark Ronson and Diplos supergroup duo into dance music. The latter earned her a GRAMMY victory for best dance recording in 2019. She also took home coveted Best New Artist GRAMMY that same night.
With the success of Future Nostalgia, which further solidifies Lipa’s name in the music industry, she has reached a point in her career where she can do , what she wants. With « Un Día (One Day) », a collaboration with J Balvin, Bad Bunny and Tainy, she now has a Billboard Hot Latin Songs chart winner in her luggage. The sky is the limit for Lipa, but what she wants most is that her fans enjoy Club Future Nostalgia.
Dua Lipa spoke to GRAMMY.com about the creative process behind Club Future Nostalgia, the high profile Remixes and collaborations of the album and the challenges of releasing music in the age of COVID-19.
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It was very much a matter of manifestation. I’ve been thinking out loud. I was just talking to my manager and I was like, « You know who would that sound really good? Madonna. » And he said, « You know, we could try. We could send it to her and see if she likes it. » She replied and she was so downcast. I was over the moon. I couldn’t believe she wanted to do this record with me. I’m such a fan. It was really exciting.
Oh my god! She is my queen. She is just amazing. When I interviewed her for « Jimmy Kimmel [Live!] », She was such a ball of light and energy. It was one of those things that happened by accident. We had the « Hollaback Girl » sample on the remix album and we contacted her and her team to sort it out. I said, « While we’re at it, we should just ask her if she’d like to be on the file. » She was so depressed. She loved the « Physical » remix of Mark Ronson. She was totally ready to jump on it. As I waited for her voice to come in, I jumped around like a 5 year old. I was so excited.
In the original version, it was really cool and fun. I had written « Kiss And Make Up » probably a year and a little before it came out. It didn’t quite fit my album back then and I wanted to bring it out, but I wanted it to be really special.
I did a show in Seoul. [BLACKPINK’s] Jennie and Lisa came to the show to hang out. We had a great time. Immediately after hanging out with them, I said, « I have a crazy idea. I have this song and I would love it if you guys were around. » They were so ready for it and they went into the studio and translated the lyrics. It worked so perfectly. It’s one of my favorite collaborations that I’ve done.
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The album contains an extensive animated visualizer. Where did the idea come from?
Since I was in quarantine and in lockdown, I had to think outside the box. While preparing the « Hallucinate » video, which I ended up doing an animation for with animator Lisha Tan, which is amazing; It was so exciting to do that to her. I thought, « What a perfect time to get so many amazing and fun animators to bring their own world with each song. » We did that with the remix album where every producer and DJ threw their taste and adopted it. I thought it would be the perfect combination to create an animated visual video.
During this time, when could I ever have the opportunity to work with so many incredible animators and artists? It was an amazing thing to see so many people come together to create this record. A lot of time, effort and love has been invested. It was a fun way to reinterpret the album.
Right now there is a disco-pop revival going on in the music. Future Nostalgia is one of the groundbreaking albums. Why did you choose this direction?
Thank you. This is such a compliment to me, especially from my first album which is moving into my next one. I wanted to do something that felt fresh and new, something that touched a memory, something that always sounds so true to me, especially when I was growing up. To be able to recreate that in a modern way was an absolute dream for me. I’m so happy that I stood by and refined this sound that I love. I feel so good. I’m really proud of this record because I feel like I’m gaining my foothold as an artist and as a songwriter. I really wrote things that I absolutely love. It’s definitely a milestone in my career.
Future Nostalgia was also one of the first major albums to be released at the start of the coronavirus pandemic. How was that experience?
Sometimes, especially a few days before, it was scary. It was a time of uncertainty when I thought, « I don’t even know if people need my music right now. » I was afraid that it might not be well received or that it might seem numb because there was so much suffering.
In preparation to bring it out, I remembered that I had made this record to avoid any pressure or to escape any fears of the outside world. The album made me happy and I want to dance. That convinced me, as if this might at least keep people away from what was going on and make them want to dance and feel happy.
I’m grateful for the way people responded and for the messages and videos that have been sent to me. All the love that poured in – I was so happy. It still makes me so excited when people say, « Thank you, because it was like the soundtrack to all of our workouts and it kept us fit during this quarantine. » [Laughs]
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How was the experience working on « Un Día (One Day) » with J Balvin, Bad Bunny and Tainy?
That was really fun. You have such great energies, such beautiful boys. What I like to do with my collaborations is always something that people don’t expect from me, something that is a bit outside of my comfort zone. I love to experiment. I love surprising people and learning so much from my colleagues. It was a great experience. I love the song.
I feel like it’s another one that immediately takes me to a really sunny and warm place when I listen to it. I feel like I’m on the beach when I hear it. It was exciting for me to write a track that I obviously wouldn’t do for my own project. I think that’s the magic of music and collaboration at the time. Everything is so genre-flexible.
It’s been five years since you released your debut single « New Love ». What did you learn about yourself during this time?
I think five years ago I really stuck to everything I believed in at the beginning. And that stuck to my vision, talked about my stories and was open and stood by things that I believe in and that never shrink back and believe in my art. That’s what I said to myself five years ago that I held onto. I always want to grow and learn so much. I’ve really been sticking to these words so much that I feel like it has helped me and guided me so much throughout the process.
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You won the GRAMMY in 2019 as best new artist. How did you feel when that happened?
Oh my god! I literally believe that at that moment I passed out because I had to go back and listen to my speech afterwards. I was so nervous that I just did « umm » and « ahh » because I just couldn’t believe it. As if my whole world exploded right before my eyes. It was the craziest thing that ever happened. To be recognized by my colleagues and to have the opportunity to be up there was absolutely amazing and surreal. It definitely made me get better and get better and work harder and really hold on to what I believe in. I am really grateful. I wanted to prove I deserved it.
You have always used your platform to support the LGBTQ community. Do you have a message for your LGBTQ fans?
Absolutely. I’ve always believed that everyone deserves to live their truth. Tomorrow is not promised so we have to be as loud as possible and be proud. There is so much love and support and I am right here for you. I’m here every step of the way and I love you. Thank you so much for everything the LGBTQ community has done for me. I couldn’t have done it without her.
Today, November 24th, is a big day in music – the nominations for GRAMMY 2021 show it! Let’s take a look at the nominees for Best Pop Duo / Best Group Performance namely J Balvin, Dua Lipa, Bad Bunny and Tainy. Justin Bieber with Quavo; BTS; Lady Gaga with Ariana Grande; and Taylor Swift with Bon Iver.
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A bilingual superstar bop, « UN DIA (ONE DAY) », brings together regular collaborators Balvin, Bunny and producer Tainy who, together with GRAMMY winner Lipa, have released countless massive hits in their Spanish mother tongue. The result is a perfect 2020 summer jam, a melancholy love song that features the three singers singing with an infectious, slowed reggaetón beat. The single was released on Balvin’s Summer Vacation EP, a three-part series in which he collected his best warm-weather tracks over the years.
Bunny received a second nomination for Best Latin Pop or Urban Album, his first of two 2020- Albums, the 2020 Latin GRAMMY-nominated YHLQMDLG. Lipa received a total of six nods, including album of the year and best pop vocal album for her 2020 LP Future Nostalgia, as well as song of the year, album of the year and best pop solo performance for « Don’t Start Now « .
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« Intentions », the third lead single from Bieber’s 2020 album « Changes », is like much of the album a gentle pop / R&B track celebrating his wife Hailey Baldwin Bieber. Migos’ Quavo helps and reflects the feeling of a fair, healthy relationship. The touching music video also came with a positive message showing families living at Alexandria House in Los Angeles. The Canadian singer set up the Intentions Fund to support their services.
The « Sorry » singer received four nods this year, including « Best Pop Solo Performance » for « Yummy » and « Best Pop Vocal Album. » for Changes « .
This is the first GRAMMY nomination from K-Pop Septet BTS! « Dynamite », their first fully English-language track, is an optimistic, disco-esque pop jam that aims to inspire positivity and joy in these difficult times. It was released as a single on August 21st, completing their new eight-track album, Be, which was released on November 20th.
« [The inspiration for] it all started with this: Even in the midst of trouble, we have to open up focus on what we can do. We found freedom and happiness in singing and dancing. This song goes to those who need it. We hope that listening to the song will make people feel energized, « the band told GRAMMY in August .com.
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The lively club anthem « Rain On Me », the second lead single from Gaga’s 2020 album Chromatica, brought her together for the first time with GRAMMY winner Grande. Produced by Tchami, Burns and BloodPop, executive producer on the project, it celebrates the cleansing nature of crying.
The Born This Way singer explained the lyrics to Vulture: « This is an analog of tears as rain . And you know what it’s also a metaphor for is the amount of alcohol I’ve done to numb myself. I ‘I’d rather be dry. I’d rather not drink, but I haven’t died yet. I’m still alive. Rain on me. «
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On July 24th, Swift surprisingly dropped their eighth studio album Folklore, giving fans just a day in advance and a lead single (« Cardigan »). The 16-track project with comfortable weather paints cinematic stories about lost love with the support of Aaron Dessner from The National, who produced and / or co-wrote most of the songs. In « Exile », Justin Vernon’s (from Bon Iver) deep, echoing vocals provide drama and texture, resulting in a heartbreaking duet
Miss Americana received six GRAMMY nominations for 2021, including Album of the Year and Best Pop -Vocal album for folklore and song of the year as well as the best pop solo performance for « Cardigan ».
Visit GRAMMY.com and our social channels (Twitter, Facebook and Instagram) for more content from 2021 GRAMMY and attend the 63rd GRAMMY Awards on Sunday March 14, 2021 on CBS to find out who the winners will be!
For Women’s History Month 2021, GRAMMY.com is celebrating some of the artists who nominated at the GRAMMY Awards 2021. Today we honor Taylor Swift, who is currently nominated for six GRAMMYs.
When we met Taylor Swift in 2006, it was immediately clear that her approach to songwriting was like tearing a page out of her diary.
« Just one boy in a Chevy truck / That had a tendency to get stuck / On back roads at night / And I was right next to him all summer / And then the time woke up when we woke up to find this one Summer was over, « she complained in the first verse of her debut single » Tim McGraw « . The way the then 16-year-old Swift was able to turn personal anecdotes into instantly memorable hooks reflected the skills of an industry veteran and appealed to more than just the teenage girls who might relate to a short-lived high school romance Now, nearly 15 years later, Swift introduced another layer of intrigue with a foray into indie folk, revealing a pair of albums, folklore, and more over the past year. Recorded in complete isolation after the COVID-19 pandemic hit in March 2020, the folklore is widely recognized as Swift’s best album, touted for its intimate songwriting and cinematic dynamism. Evermore has received similarly glowing reviews.Folklore was the best-selling album of 2020, earning Swift five GRAMMY nominations on the 2021 GRAMMY Awards show, including her fourth album Of The Year Nod. (More and more will be eligible for the 64th GRAMMY Awards in 2022.) However, as her 10 previous GRAMMY victories suggest, this new chapter isn’t a sudden dawn for the star – it’s a masterful continuation of her development as a singer / Songwriter.
If there’s one thing Swift has proven throughout her career, it’s that she refuses to be put in a box. Her ever-evolving sound led her from country darling to pop phenomenon to the people’s newest raconteur – a transition that seems arduous on paper. But for Swift it was seamless, and it led to what may be her most defining work yet. And the air of folklore relies on three of Swift’s songwriting tools: heartfelt ballade ringing, autobiographical writing, and character-based storytelling.
While Swift’s pop-oriented country songs always had a crossover element, their transition from country starlet to Pop queen with Red. The album’s lead single, the lively breakup anthem, « We Are Never Get Back Together, » was Swift’s first release to hit # 1 on the Billboard Hot 100 (and ironically, « indie records way cooler than mine. » « mocked). She declared a full pop makeover with 1989 from 1989, but the answer proved her brave move was the right one: Along with three other No. 1 hits, Project Swift won their second GRAMMY for Album of the Year / p>
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From there followed the 2017 Viewing, a response to media scrutiny, and the 2019 Lover, an often bubbly exploration of all facets of affection. Although they shared a similarly grandiose production, Lover showed off a handful of poetic ballads, including « The Archer, » a self-reflective love song that stimulated Swift’s folk sensibility through picture-book text and ambient textures.
Swift’s ballads are key to understanding the full essence the folklore. They have regularly marked standout moments on each of their albums thanks to both their poignant vulnerability and rich tone. The fearless outstanding « White Horse » earned Swift two GRAMMYs in 2009; Red’s meticulous « All Too Well » was an instant fan favorite; 1989 « This Love » and Reputation « New Years Day » provided tenderness in the midst of otherwise synth-heavy sounds.
The raw emotions that she puts into her downtempo songs come to life in folklore and introduce a new wave of neoclassical sounds who raise their imaginative writing skills to an ethereal level. Whether or not Swifties saw a full indie pop record – at least not yet – the shift isn’t all that surprising. Folklore romanticized lyrics and the relatively lo-fi production are probably what many fans have been patiently waiting for.
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Lyrically, the transpersonal nature of Swift’s music has always fascinated fans and naysayers alike. Diehards and critics dissected each of their albums according to its real themes and hidden meanings. While playing with these conspiracies at the time – whether revealing names in titles like « Hey Stephen » and « Dear John, » or annihilating the other girl in « Better Than Revenge » – Swift herself admits that her teenage method was too The date was up.
« There was a point I’ve reached as a writer who just wrote very diaristic songs that didn’t feel sustainable for my future future, » she told Apple’s Zane Lowe in December 2020 Music microscope … On my bad days, I felt like loading a clickbait cannon when I don’t want that for my life. «
That realization helped make folklore so memorable: Swift removed the drama to make her elaborate storytelling shine. Sure, there are the occasional recalls of personal events ( » invisible strings « that her ex -Sending baby gifts, and « crazy woman » alluding to her legal battle with Scott Borchetta and Scooter Braun). Still, she shies away from her autobiographical narratives to give way to her imagination.
« I didn’t just write my own stories but also about or from the perspective of people I never met, people I knew or who I wish I didn’t have, « wrote Swift in a letter to fans on social media Day of Folklore. « The boundaries between fantasy and reality are blurring and the boundaries between truth and fiction are almost indiscernible. »
Folklore is perhaps him 1st full project devoted to character creation and storyline projection, but Swift has shown a knack for imagination from the start. Tracks like « Mary’s Song (Oh My My) » on her self-titled debut and « Starlight » on Red saw Swift craft stories for real muses (« Mary’s Song » was inspired by an old couple who lived alongside Swift in their childhood; « Starlight « Was triggered when she saw a picture of Ethel and Bobby Kennedy as teenagers. Even when songs related to their real life, Swift often had the opportunity to turn memories into quirky metaphors, like clapping back wisely on a Speak Nows critic » Mean « or the rebound relationship in Reputations » Getaway Car « .
To think we wouldn’t have folklore without a pandemic is almost surreal; it has already become such a fundamental part of Swift’s artistic puzzle. It was no telling what might have come after the glittery « love letter to love yourself » who was lover, but it seems that through isolation, the singer reconsidered any plans she might have had. p> « I just thought there were no more rules because I put all these parameters on myself, like ‘How is this song going to sound in a stadium? How will this song sound on the radio? ‘ What do you do when you remove all parameters? « She told Paul McCartney in a November Rolling Stone interview, » And I think the answer is folklore. «
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While she hasn’t made indie music herself, Swift has shown an affinity for the genre over the years through curated digital playlists. This included four songs by The National, including « Dark Side of the Gym, » referenced in the folklore single « betty, » and « 8 (Circle) » by Bon Iver, Swift’s collaborator in Folklore’s « Exile » Evermore’s Title track. (« Exile » is one of the GRAMMY nominated folklore cuts that were recognized for best pop duo / best group performance.)
The National’s guitarist, Aaron Dessner, co-wrote nine and produced eleven of the 16 tracks of folklore. He set Swift’s imaginative stories to music with impressive orchestration and delicate piano. Their partnership began with « Cardigan, » a melancholy version of teenage love up for the best pop solo performance and coveted song of the year. The team was a dream come true for Swift, a self-proclaimed national superfan and a career highlight for Dessner, who shared in an Instagram post about folklore that he was « rarely so inspired by anyone ». He sees the album as a crucial moment for Swift’s career and pop music.
« Taylor opened the door to artists so they wouldn’t feel pressure to ‘have the bop’, » Dessner told Billboard in September. « In order to make the recording that she made while running against what is programmed on the radio at the highest level of pop music, she made a kind of anti-pop recording. And around it one of the most, if not even making the most successful commercial releases of the year that knock the playbook out.
« I hope it gives other artists, especially lesser-known or more independent artists, a chance at the mainstream, » he continued. » Perhaps the radio will recognize that music doesn’t have to sound as pushed as it does. Nobody tried to make something a hit. Of course Taylor is privileged to have a very large and engaged audience already, but I feel like it has a response beyond that. «
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Swift’s other main collaborator on folklore was Jack Antonoff. He’s been her right-wing man since they teamed up on the promo single « Sweeter Than Fiction » in 2013 (Swift referred to him as a « musical family » in her folklore announcement). Even after years of creating stadium-worthy pop smashes, Antonoff said in his own Instagram post on folklore: « I’ve never heard Taylor sing / write better in my life. »
How Swift recognizes himself , folklore ushered in a new mindset for the superstar that not only does its best but also sets a promising precedent for what is to come. « What I felt after we released folklore was, ‘Oh wow, people are in love with this thing too, this thing that feels really good for my life and my creativity,' » added Swift in her interview with Lowe added. « I saw a trail for my future that was a real breakthrough for excitement and happiness. »
Her enthusiasm can be felt both in folklore and always. The sister record of folklore continues to expand Swift’s newfound mystical atmosphere. Much to the delight of many Swifties, the follow-up also recalls their country beginnings on tracks such as the HAIM-supported “No Body, No Crime” as well as their pop expertise in faster cuts such as “Long Story Short”. ”
Together, the albums are an important reminder that Swift is a singer / songwriter first. Her word art is one of the most alluring of her generation, and that has never been lost in her music, regardless of the genre she explores. But now that Swift is also feeling like he’s at his best, folklore was obviously just the beginning of Taylor Swift at its best.
The nominations for the 57th annual GRAMMY Awards came from The Recording on December 5th Academy announced. The nominations were announced continuously throughout the day, starting with four categories on « CBS This Morning, » followed by a series of video announcements from a variety of artists and celebrities on Twitter. The day culminated in the unveiling of the album of the year nominations for the hour-long entertainment special « A Very GRAMMY Christmas ».
The following infographic summarizes the social impact of the 57th GRAMMY nominations, including the most talked about nominees and categories, GRAMMY-related trending topics, overall GRAMMY impressions, and more.
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