Dua Lipa Dazzles With A ‘Future Nostalgia’ Disco Dance Party

Dua Lipa briefly transformed the 63rd annual Grammy Awards into Studio 2054, lighting up the stage with a live medley of tracks from her nu-disco album, Future Nostalgia.

“There’s a little medley, quite pink,” Lipa teased E! News‘s Guliana Rancic on the Grammys red carpet. She stayed true to her promise, delivering a live performance of two of the album’s biggest hits, including “Levitating” and “Don’t Stop Now.”

The fan-favorite song, “Levitating,” was brought to life with the help of DaBaby, who was featured on a remix of the track back in the fall. This was the rapper’s second appearance of the night. He also performed his hit, “Rockstar,” earlier in the telecast.

Lipa previously won the Grammy for Best New Artist back in 2019, and she was one of the most nominated singers at this year’s awards show. Her sophomore release, Future Nostalgia received six nods, including Album of the Year.

“I want to make sure that [for] every performance I do I have enough rehearsal time to be able to put on a unique performance every time, even if it is the same song,” Lipa told MTV News last year.

Stay tuned for more coverage of the ceremony, and find the winners right here.

Bad Bunny And Jhay Cortez Iced Out The Grammys Stage For ‘Dákiti’

The vivid video for Bad Bunny and Jhay Cortez‘s luxe “Dákiti” shows the Puerto Rican pair stunning in a futuristic fever dream that’s as sensory-shaking as it is sumptuous. There’s a beach fire and bikinis but also a music box and an oceanic scene swimming with rich color — at one point, there’s even an underwater hallucination, suggesting a hint of something sinister.

It’s all in keeping with Bad Bunny’s track record. At the 2019 VMAs, alongside J Balvin, he turned the stage into his own private video-game playground; throughout the pandemic, his performances have spanned the stylistic and the gauzy.

Sunday night (March 14) at the 2021 Grammys, he teamed up with Cortez to bring that rococo vision of “Dákiti” to life.

Standing atop an icy riser, Cortez kicked things off as Bunny joined on a long runway straight out of laser tag. Everything here was icy — the looks, the jewels, the mics — but the fraternity between these two, especially as they linked arms and smiled at the camera, was warm as hell. The Bunny/Cortez collab was one in a series of pairings, as the Grammys love to do, that also found DaBaby take on “Rockstar” with Roddy Richh in front of row of folks in judges robes and that also promises to link up Cardi B and Megan Thee Stallion so they can finally deliver “WAP” to the masses.

Bad Bunny is up for two awards tonight: Best Pop Duo/Group Performance (for “Un Dia (One Day)” with J Balvin, Dua Lipa, and Tainy) and Best Latin Pop Album or Urban Album (for his expansive second solo album, YHLQMDLG). “Dákiti” appears on El Último Tour del Mundo, the album he dropped near the end of 2020.

Getty Images

Check out the action above, and find the 2021 Grammys winners list right here.

Billie Eilish’s Enchanting Grammys Set Was Everything We Wanted

Billie Eilish never fails to give us everything we wanted.

The 19-year-old alt-pop ingenue graced the stage for the second year in a row at the 63rd annual Grammys Awards on Sunday (March 14), and she didn’t disappoint. Twirling airily atop the hood of a car in a sequined tuxedo, Eilish performed an air-tight rendition of her Grammy-nominated hit single “Everything I Wanted” alongside her brother and co-writer Finneas, who played the keyboard. She was second in the lineup after Harry Styles.

Her standout performance this year comes on the heels of her historic domination at the 2o2o Grammy Awards. At just 18, she became the youngest artist in Grammys history to sweep the big four categories, scoring Record of the Year and Song of the Year for “Bad Guy” as well as Best Pop Vocal Album and the coveted Album of the Year for When We All Fall Asleep, Where Do We Go?, her debut studio album. She also took home Best New Artist for a total of five wins and six nominations in 2020.

She hasn’t slowed her roll, either. Eilish was nominated for three Grammys this year, including Record of the Year and Song of the Year for “Everything I Wanted,” her first new single post-sweep. Before the ceremony even started, Eilish and Finneas won Best Song Written for Visual Media for “No Time to Die,” the theme for the forthcoming James Bond film of the same name.

Musical endeavors aside, Eilish was also the subject of The World’s a Little Blurry, filmmaker R.J. Cutler’s recently released doc chronicling her astronomical rise to stardom. Sure, fame can make things hazy, but one thing is crystal clear: Eilish and her era-defining sound are here to stay.

Stay tuned for more coverage of the show, and find the full list of winners right here.

Harry Styles Skips The Shirt For His Grammys Debut

Who needs a shirt when you’re the opening act at the music industry’s biggest night? Not Harry Styles.

The sultry rock star set the tone for the night with a show-stopping performance at the 63rd annual Grammy Awards on Sunday (March 14). Serenading stans in a stunning leather tux — jacket open, sans the shirt — and a sage-green feather boa, Styles sang a spirited rendition of “Watermelon Sugar,” a feel-good single off Fine Line, his critically acclaimed sophomore album from 2020. It was his first time performing at the Grammys, but you certainly couldn’t tell by the way he commanded the stage.

Styles was nominated for three Grammy Awards this year: Best Music Video and Best Pop Solo Performance for “Watermelon Sugar” and Best Pop Vocal Album for Fine Line. It was his first time being recognized by the Recording Academy. As diehard One Direction fans will remember, the British pop group was never nominated for a Grammy despite having released chart-topping hits for five years before calling it quits.

This might have been Styles’s first Grammys appearance, but we’re hoping that the Recording Academy treats him with kindness and invites him back for more. Stay tuned for more coverage of the ceremony, and find the winners right here.

2021 Grammy Winners: See The Full List

How long has it been since the 2020 Grammys? The factual answer is about 14 months, but it feels much longer, thanks to the lingering pandemic and the various challenges it’s presented in the past year. Still, the Recording Academy adapted, opening itself up even as it weathered more than a few storms. The 63rd annual ceremony tonight (March 14) will still showcase the best of the best, as far as the institution is concerned.

The lead-up showcased an impressive nine nominations for Beyoncé, with her leading the pack ahead of Dua Lipa, Taylor Swift, and Roddy Ricch, who racked up six nods each. But who took home the show’s biggest honors?

Here are the winners some of the night’s key categories.

Record of the Year

Beyoncé: “Black Parade”

Black Pumas: “Colors”

DaBaby ft. Roddy Ricch: “Rockstar”

Doja Cat: “Say So”

Billie Eilish: “Everything I Wanted”

Dua Lipa: “Don’t Start Now”

Post Malone: “Circles”

Megan Thee Stallion ft. Beyoncé: “Savage”

Album of the Year

Jhené Aiko: Chilombo

Black Pumas: Black Pumas (Deluxe Edition)

Coldplay: Everyday Life

Jacob Collier: Djesse Vol.3

HAIM: Women in Music Pt. III

Dua Lipa: Future Nostalgia

Post Malone: Hollywood’s Bleeding

Taylor Swift: Folklore

Song of the Year

Beyoncé: “Black Parade”

Roddy Ricch: “The Box”

Taylor Swift: “Cardigan”

Post Malone: “Circles”

Dua Lipa: “Don’t Start Now”

Billie Eilish: “Everything I Wanted”

H.E.R.: “I Can’t Breathe”

JP Saxe ft. Julia Michaels: “If the World Was Ending”

Best New Artist

Ingrid Andress

Phoebe Bridgers


Noah Cyrus

D Smoke

Doja Cat


Megan Thee Stallion

Best Pop Solo Performance

Justin Bieber: “Yummy”

Doja Cat: “Say So”

Billie Eilish: “Everything I Wanted”

Dua Lipa: “Don’t Start Now”

Harry Styles: “Watermelon Sugar”

Taylor Swift: “Cardigan”

Best Pop Duo/Group Performance

WINNER: Lady Gaga, Ariana Grande: “Rain on Me”

J Balvin, Dua Lipa, Bad Bunny, Tainy: “Un Día (One Day)”

Justin Bieber ft. Quavo: “Intentions”

BTS: “Dynamite”

Taylor Swift ft. Bon Iver: “Exile”

Best Pop Vocal Album

Justin Bieber: Changes

Lady Gaga: Chromatic

Dua Lipa: Future Nostalgia

Harry Styles: Fine Line

Taylor Swift: Folklore

Best R&B Performance

Jhené Aiko ft. John Legend: “Lightning and Thunder”

Beyoncé: “Black Parade”

Jacob Collier: “All I Need”

Brittany Howard: “Goat Head”

Emily King: “See Me”

Best R&B Song

WINNER: Robert Glasper Featuring H.E.R. & Meshell Ndegeocello: “Better Than I Imagined”

Beyoncé: “Black Parade”

Tiana Major9 & EARTHGANG: “Collide”

Chloe x Halle: “Do It”

Skip Marley & H.E.R.: “Slow Down”

Best Progressive R&B Album

WINNER: Thundercat: It Is What It Is

Jhené Aiko: Chilombo

Chloe x Halle: Ungodly Hour

The Free Nationals: Free Nationals

Robert Glasper: Fuck Yo Feelings

Best Rap Performance

WINNER: Megan Thee Stallion ft. Beyoncé: “Savage”

Big Sean: “Deep Reverence”

DaBaby: “Bop”

Jack Harlow: “What’s Poppin”

Lil Baby: “The Bigger Picture”

Pop Smoke: “Dior”

Best Melodic Rap Performance

DaBaby ft. Roddy Ricch: “Rockstar”

Drake ft. Lil Durk: “Laugh Now Cry Later”

Anderson .Paak: “Lockdown”

Roddy Ricch: “The Box”

Travis Scott: “Highest in the Room”

Best Rap Song

Lil Baby: “The Bigger Picture”

Roddy Ricch: “The Box”

Drake ft. Lil Durk: “Laugh Now Cry Later”

DaBaby ft. Roddy Ricch: “Rockstar”

Megan Thee Stallion ft. Beyoncé: “Savage”

Best Rap Album

WINNER: Nas: King’s Disease

D Smoke: Black Habits

Freddie Gibbs and The Alchemist: Alfredo

Jay Electronica: A Written Testimony

Royce da 5’9″: The Allegory

Best Alternative Music Album

WINNER: Fiona Apple: Fetch the Bolt Cutters

Beck: Hyperspace

Phoebe Bridgers: Punisher

Brittany Howard: Jaime

Tame Impala: The Slow Rush

Best Latin Pop or Urban Album


Camilo: Por Primera Vez

Kany García: Mesa Para Dos

Ricky Martin: Pausa

Debi Nova: 3:33

Best Dance Recording

WINNER: Kaytranada ft. Kali Uchis: “10%”

Diplo & Sidepiece: “On My Mind”

Disclosure, Aminé, and Slowthai: “My High”

Flume ft. Toro y Moi: “The Difference”

Jayda G: “Both of Us”

Best Dance Album

WINNER: Kaytranada: Bubba

Arca: KiCk i

Disclosure: Energy

Baauer: Planet’s Mad

Madeon: Good Faith

Best Music Video

WINNER: Beyoncé, Saint Jhn, and Wizkid ft. Blue Ivy Carter: “Brown Skin Girl” (directors: Beyoncé Knowles-Carter and Jenn Nkiru)

Future ft. Drake: “Life Is Good” (director: Julien Christian Lutz)

Anderson .Paak: “Lockdown” (director: Dave Meyers)

Harry Styles: “Adore You” (director: Dave Meyers)

Woodkid: “Goliath” (director: Yoann Lemoine)

Producer of the Year, Non-Classical

WINNER: Andrew Watt

Jack Antonoff

Dan Auerbach

Dave Cobb

Flying Lotus

Bop Shop: Songs From St. Vincent, Chika, Rosé, And More

It’s here! Finally! With her debut single, “On the Ground,” Blackpink‘s Rosé taps into her acoustic roots, but with a modern, edgy twist, perfectly balancing her two worlds. Sonically gorgeous, Rosé challenges herself on this seemingly personal anthem about the ramifications of fame, love lost, and the realization that being humble and present is the most important thing, and that “everything [she] needs is on the ground.” Accompanied by an ultra-glam music video filled with luscious florals, beautiful looks (are we surprised?), and fireworks lighting up the sky, Rosé makes her presence known, proving that she can stand out among any industry competitor. For a solo project as highly anticipated as this one, Rosé does not disappoint. Blackpink is — and I cannot stress this enough — truly in your area. —Sarina Bhutani

Aaliyah Still Sounds Like The Future

By Yasmine Shemesh

An eponymous album marks a major moment in an artist’s career. For women, owning one’s work, body, and artistry can be especially powerful, even political. Throughout Women’s History Month, MTV News is highlighting some of these iconic statements from some of the biggest artists on the globe. This is Self-Titled.

In 2000, while filming scenes in the title role for Queen of the Damned in Australia, Aaliyah finished recording her third album. It had been in the works for a couple years — she reportedly completed most of it in New York before making her on-screen debut in that year’s Romeo Must Die and releasing “Try Again” as the soundtrack’s lead single. But despite the time gap, Aaliyah’s vision for her eponymous album remained clear: to expand the boundaries of her sound.

“She told me specifically what kind of records she wanted,” singer-songwriter Tank, who wrote “I Can Be” and “What If” for Aaliyah, told the music blog YouKnowIGotSoul in 2011. “She kind of wanted a little dangerous, a little sexy, that type of thing.”

Tank, with other co-writers and producers for the album including Static Major, Bud’da, J.Dub, Key Beats, and Playa, hunkered down in Melbourne’s Sing Sing Studios for about a month. Aaliyah, who filmed her scenes as the evil vampire Queen Akasha during the day, joined them in the evenings. When the album was released on July 7, 2001, it debuted at No. 2 on the Billboard 200. It received rave reviews: Vibe called it “the best soul album of the young millennium,” while Spin described Aaliyah as a “musicologist” who creates “meaning outside the lyrics.”

Aaliyah was a continuation of the remarkable way the artist  surpassed herself with each release. While 1994’s Age Ain’t Nothing but a Number bridged her precocious mystique with new jack swing, 1996’s One in a Million highlighted Aaliyah’s hushed tones with thumping, stuttering rhythms in collaboration with creative soul mates Missy Elliott and Timbaland. Aaliyah took all that and fused it into a sophisticated soundscape at the bleeding edge of sonic innovation.

Aaliyah’s forward-thinking musical outlook was representative of the enterprising artist she was — and the icon she so quickly became. As she developed her wide-ranging talent, her magnetic appeal flooded into other arenas: film, where she was cultivating a promising career, and fashion, where her laid-back, sensual style made her a muse for designers like Tommy Hilfiger. He even launched a whole campaign around her wearing baggy jeans with an exposed waistband and bandeau top, the success of which inspired the brand’s women’s line. Importantly, Aaliyah was an inspiration for kids coming of age everywhere who saw glimpses of themselves in her.

Considering the ingenuity of Aaliyah, it’s no wonder. The production was mind-bending, characterized by a cybernated sonic freakiness, and the way Aaliyah pulled humanity out of digitized ones and zeroes is a master class in nuance. “We were trying to do as much as we could and try to put an album together for her to be able to hear and see what she felt,” Bud’da recalled.

Aaliyah’s honeyed falsetto was more robust and urgent than ever as she explored relationship dynamics and intimacy in Timbaland’s twitchy syncopation (“We Need a Resolution,” “More Than a Woman”), desire in shimmering synthesizers (“Rock the Boat”), liberation in swelling staccato (“I Refuse”), and jealousy in glitchy, industrial chaos (“What If”).

“There are a lot of great flavors on the album,” Aaliyah said in an interview with the Orlando Sentinel. “It’s older, it’s edgy, it’s raw, yet it’s a little bit of fun. I want to tell people where I am as a person in my life today.”

When Aaliyah was released, nothing sounded quite like it. TLC and Destiny’s Child had played with staticky accents on Fanmail and The Writing’s on the Wall, respectively — a trend that Aaliyah herself spurred with One in a Million — but Aaliyah was avant-garde. Weirder, in an electrifying kind of way; as Vibe described: “damn near post-R&B.”

It’s still impossible to fathom what happened next. Just a month after Aaliyah was released, returning home from the Bahamas where she shot the music video for “Rock the Boat,” Aaliyah and eight other passengers lost their lives in a plane crash. She was only 22. The indelible mark she made on contemporary R&B and pop culture, at large, in such a short period of time had been so immediate: Aaliyah stretched the bounds of what R&B could sound like in a way that redefined the genre, while helping inform sonic trends of the early 2000s. Twenty years after the release of the album as well as her tragic death, the force of that impact still reverberates.

It’s not difficult to hear the direct influence Aaliyah made on the generation that followed her. Artists like Kehlani, Tinashe, Ciara, and Rihanna have taken audible cues from Aaliyah’s soft vocal phrasing and left-of-center song qualities. “We owe our chill vibe to her,” Tinashe told Billboard. “People were used to artists belting things out. She brought a new vocal styling that wasn’t represented in R&B. Not everything has to be so uptempo.” Drake is one of Aaliyah’s loudest devotees, sampling her music (“Unforgettable”), referencing her in lyrics (“BedRock”), and rapping to her previously unreleased tracks (“Enough Said”). FKA Twigs channeled Aaliyah outright in “Two Weeks,” pairing her sweet tone against anxious percussion and then paying music video homage to Queen of the Damned in full Queen Akasha regalia.

“The new generation pulls inspiration from Aaliyah, despite not growing up with her, because she was authentic,” Missy Elliott said in 2014. “Her music couldn’t be placed in a category.”


Indeed, perhaps the best indicator of Aaliyah’s influence is how it has extended into more unexpected musical territories like dubstep — which, bearing in mind the experimental nature of her work, isn’t all that surprising. On “In McDonalds,” electronic maestro Burial pitch-shifted Aaliyah’s “I Refuse” into a whispering siren that cut through enigmatic sparsity. James Blake sampled “Are You That Somebody?” to form the foundation of his airy post-dubstep anthem “CMYK.”

Such a sweeping compass is one reason why Aaliyah’s lack of visibility on streaming platforms feels so glaring. The majority of her catalog isn’t available on any service. Aaliyah and One in a Million can be found on YouTube; there are bootlegs floating around the internet and random songs on Spotify featured on obscure compilations like R&B Divas and Girls of Hip Hop, Vol. 1. The only Aaliyah album currently available to stream is her first, Age Ain’t Nothing but a Number, which was written and produced by R. Kelly; in 2019, Kelly faced charges of bribing an Illinois official in order to procure a fake ID for the then-15-year-old Aaliyah in order to marry her. He is currently imprisoned awaiting a trail on charges of racketeering and child pornography.

Journalist Stephen Witt traces the streaming obstacle back to Aaliyah’s uncle, Barry Hankerson, who owns most of her discography through his now-defunct Blackground Records imprint and who seems unwilling to release it. There are also issues with the fact that her three albums were each distributed through different labels.

But with streaming as today’s primary avenue of musical consumption, if Aaliyah’s music isn’t accessible in our all-but-entirely digital era, younger generations who didn’t grow up with it won’t have the chance to truly discover it — no matter who cites Aaliyah as an influence or takes her fashion notes or celebrates the impact she made. As Witt writes, this runs a dangerous risk that Aaliyah will be forgotten. “Nostalgia is cyclical,” he adds, and “if Aaliyah’s catalog isn’t on the right platforms, her music could functionally cease to exist.”

Last summer, it seemed like things started moving along, albeit slowly. Aaliyah’s estate gave a statement saying communication had begun regarding the status of her music and its streaming availability. This January, another statement thanked fans for their patience and support: “We must acknowledge that these matters are not within our control and, unfortunately, take time.”

For those who loved her or still have yet to discover her, hopefully we’re a step closer to having Aaliyah’s music at our fingertips. In the meantime, her voice can still be heard in the musical landscape she helped revolutionize, as well as through the multidimensional trajectory of her legacy — to be sure, a distinction she wanted all along.

“I want people to see me as an entertainer,” Aaliyah considered in a 2001 interview with MTV News. “Someone who can do it all. I want people to look at me as a full-on entertainer.” She paused, then smiled. “And a good person.”

From Phoebe Bridgers To Megan Thee Stallion, Get To Know The Grammys Best New Artist Nominees

Louis Kevin Celestin has only released two studio albums under his Kaytranada moniker, but the Montreal electronic artist can boast about two dozens mixtapes, collaborative projects, and EPs released over the past decade, too. As such, Kay is the archetype for the age-old “Best New Artist?” question that tends to pop up in this category (see also: Bon Iver, Lizzo, etc.). But as he recently put it on Twitter about his 15 years behind the boards: “[I] have an entire lifetime to make music so that’s pretty new if you do the math.” It’s all a testament to his work ethic and drive; throughout both 2016’s 99.9% and 2019’s Bubba, his exploratory, funky, and effervescent beats are heightened by vocal contributions from Tinashe, Kali Uchis, Anderson .Paak, and more. Bubba is up for Best Dance/Electronic Album, and the energizing, hypnotic “10%” scored a nom for Best Dance Recording.

Can TikTok Rule The 2021 Grammys?

By Emilee Lindner

What determines a Grammy-winning tune?

Is it how many weeks a ditty spent on the Billboard Hot 100, how much money it made, or how musically endearing an anonymous group of Recording Academy voters deems it to be? Consider them all. But when it comes to declaring last year’s cream of the crop, TikTok’s impact can’t be ignored.

2020 was the year of staying inside, adopting new hobbies, scrolling for hours, and TikTok taught us new ways to move our bodies as we limbered up to the latest dance trend. As screen time soared, so did the spins on viral tracks that would eventually make our collective quarantine memorable. And they weren’t determined by record labels or radio DJs. TikTok choreographers and creators became 2020’s tastemakers, sending songs both new and old soaring up the charts, and it seems as though the Grammys are following their lead.

Sure, there have been hits boosted by internet virality before (Drake’s “In My Feelings” and the Shiggy Challenge, Rae Sremmurd’s “Black Beatles” and the Mannequin Challenge, Katy Perry’s “Swish Swish” and the Backpack Dance). But none of these songs have won a Grammy before. The “Whip/Nae Nae” and the “Dougie” were never considered awards-bait. Will this be the year that changes that? Let’s take a look at the Grammy nominees and their TikTok come-ups.

Roddy Ricch: “The Box”


sorry to break it to you but i have the best manager and dad ever

♬ The Box – Roddy Ricch

It’s not the title of Roddy Ricch’s “The Box” that you remember, it’s the intro: a squeaky “eee-err” voiced by Roddy himself. TikTokers turned that sound effect into a phenomenon.

The app’s golden child Charli D’Amelio posted at least six videos of slo-mo “The Box” choreography in January 2020, totalling tens of millions of views. While other dance influencers followed suit, more comedy-inclined users turned “The Box” into skits. In February, TikTokers inexplicably focused on the lyric “I’m a 2020 president candidate.”

There’s no doubt that the masses love Roddy. After all, “The Box” spent 11 weeks at No. 1. At the 2021 Grammys, it’s nominated for three prizes, including Song of the Year. But will the Recording Academy’s taste align with those of the people?

Doja Cat: “Say So”


#duet with @yodelinghaley 1 year ago today 🥰🥰 omg time flies

♬ Say So – Doja Cat

Also nominated for Song of the Year is Doja Cat’s “Say So.” The disco-pop song wasn’t even released as an official single until after TikToker Haley Sharpe (a.k.a. @yodelinghaley) plucked it from Hot Pink’s B-side and hurled it to viral heights. Rightfully acknowledging TikTok’s impact, Doja remixed the song with Nicki Minaj and sent it to radio. She continued to ride the prolonged success of “Say So” throughout the end of 2020, somehow reinventing the track with each performance.

As TikTok continues to determine fan favorites faster than any focus group could, Doja’s rise coincided with the app’s. “Without this serendipitous timing, she might not have hit No. 1,” Cat Zhang wrote in Pitchfork. Without a No. 1, would Doja have caught the attention of the Recording Academy, whose pop categories almost only ever include Top 40 (and, in this year’s case, Black Pumas)? Doubt it.

Megan Thee Stallion: “Savage”


NEW DANCE ALERT! 🚨 if u use my dance tag me so i can see🤗 @theestallion #writethelyrics #PlayWithLife #foyou #fyp #foryoupage #newdance #savage

♬ Savage – Megan Thee Stallion

Two weeks after dropping the EP Suga, Megan Thee Stallion seemed focused on singles “B.I.T.C.H.” and “Captain Hook.” But TikTok had other plans. After user Keara Wilson’s “Savage” dance caught fire, it became clear which Suga track would come out triumphant.

Of course, TikTok heavyweights D’Amelio, Madi Monroe, and Addison Rae all had their fun with the dance challenge, as did celebrities like Keke Palmer, Tinashe, and even Megan herself. It wasn’t long until Beyoncé took notice. After Beyoncé’s remix, the song went to No. 1, and now, it’s up for Record of the Year, Best Rap Performance, and Best Rap Song.

It’s a synergetic pairing. Not only did Meg bag the collab of a lifetime, but Bey got a ride to three more Grammy nominations, making her the most-nominated artist at the Grammys this year with a total of nine.

Harry Styles: “Watermelon Sugar”


There are three kinds of dogs: #TheHighNote #tiktokanimals #ratethings

♬ Watermelon Sugar – Harry Styles

Harry Styles’s “Watermelon Sugar” (Grammy-nominated for Best Pop Solo Performance) was released as a promotional single back in 2019, and it took a while for it to pick up steam. Fans shared watermelon-themed photo hacks, makeup tutorials, and fruity recipe ideas. And when it was finally released with an official music video, the song blew up with summer-hungry TikTokers. It’s now Harry’s only No. 1 single. With 1.3 million documented videos using the song (hundreds of thousands of views on each), it’s hard to deny TikTok’s role in its rise — a trajectory that netted him three Grammy nods, including for Best Pop Solo Performance.

Justin Bieber: “Yummy”



♬ Yummy – Justin Bieber

The organic success of “The Box” and “Say So” is mouth-watering for most, but the formula can’t always be manufactured. When Justin Bieber released “Yummy,” his thirst for TikTok fame was all too transparent. He joined the app just to promote the song, attempting to tap into “a generation grown on highly sophisticated, multilayered internet culture” that “can detect bullshit a mile off,” according to Alexis Petridis, Ben Beaumont-Thomas, and Laura Snapes of The Guardian.

However, some fans played along, and “Yummy” soundtracked over 5 million videos. But its success on the app wasn’t user-spawned — Bieber ended up indulging in a paid Chipotle/TikTok integration, which in turn boosted a hashtag. A somewhat less overt strategy can also be pegged to Bieber’s Best Pop Solo Performance competition “Cardigan.” Around the release of Taylor Swift’s Folklore, fans couldn’t help noticing the influx of Swift merch showing up in their favorite influencers’ videos. Coincidence?

DaBaby: “Rockstar” and Dua Lipa: “Don’t Start Now”

Of course, TikTok isn’t directly responsible for the success of every hit song in the past year, but certain Grammy-nominated tracks have resonated with the app’s users. DaBaby and Roddy Ricch’s “Rockstar” (up for Record of the Year, Best Rap Song, and Best Melodic Rap Performance) has a whopping 7.1 million videos on the app, with The Rock, Kane Brown, and Got7 creating their own amped-up clips to the song.

Don’t Start Now” (competing in the Record of the Year, Song of the Year, Best Pop Solo Performance categories), was the first release from Dua Lipa’s Future Nostalgia, and it also had us dancing. Hannah Balanay’s (@thexhan) video for the song — now with 6.6 million likes and 53 million views — not only started a dance trend, but the ever-popular Fortnite promoted the TikTok dance as an “emote,” a kind of victory dance, within the game.

This all points to one thing: The connection between TikTok stardom and the Grammys gold is growing stronger. And when March 14 rolls up, we’ll see if the accolades line up with the ultimate people’s vote — a double tap on a viral vid.

BTS, Taylor Swift, Billie Eilish, And Everyone Else Who Will Perform At The 2021 Grammys

South Korean superstars BTS lit up the Grammys during Lil Nas X’s unforgettably star-studded “Old Town Road” medley last year. The Recording Academy revealed on Sunday (March 7) that the Bangtan Boys will be headed back for round two, set to hit the stage at the 2021 Grammys along with a host of other all-star performers.

Though the award show typically rolls out its performer announcements gradually, the Recording Academy did things a little differently this year by announcing them all at once. The lineup is stacked, including Taylor Swift, Dua Lipa, and Roddy Ricch, each of whom has six nominations. Billie Eilish, Harry Styles, Megan Thee Stallion, Cardi B, Bad Bunny, DaBaby, Doja Cat, and Post Malone will also perform.

After being delayed due to coronavirus concerns, it became clear that the broadcast would not look the same as last year’s, which featured performances that literally set the stage ablaze and a red carpet packed with glittering gowns. But that includes some positives, too, with half of the scheduled 22 acts performing at the awards ceremony for the first time, including Harry Styles, Doja Cat, Haim, and Megan Thee Stallion. Though Beyoncé leads in nominations with nine in total, she is not scheduled to perform.

The 63rd Grammys will nonetheless pull off their broadcast despite the ongoing pandemic while observing safety measures. The Recording Academy stated that “artists will be coming together, while still safely apart, to play music for each other as a community and celebrate the music that unites us all.” Hosted by The Daily Show’s Trevor Noah and broadcast from the Los Angeles Convention Center, it all goes down on Sunday, March 14.