2024 GRAMMYs: Watch Olivia Rodrigo Bleed Her Soul Dry With Dramatic "Vampire" Performance | GRAMMY.com (2024)

Olivia Rodrigo laid her guts bare at the 65th annual GRAMMY Awards with a powerful performance of "vampire."

The pop sensation smoldered in a red silk dress and bold matching lip as she lamented, "I used to think I was smart, but you made me look so naive/ The way you sold me for parts as you sunk your teeth into me, you're a/ Bloodsucker, dream crusher/ Bleeding me dry like a…damn vampire."

The drama of the moment revved up as (fake) blood started pouring from Rodrigo's arm and the flowery backdrop on stage after the first chorus, with the singer's face and chest eventually smeared red by the song's tense ending.

The lead single off the 2022 Best New Artist winner's angsty sophom*ore studio set GUTS, "vampire" bowed atop the Billboard Hot 100 upon its release last summer. The slow-burning piano ballad became the singer's third No. 1 hit, following the record-shattering "drivers license" and "good 4 u" from her 2021 debut SOUR, and even, remarkably, returned to the top of the all-genre tally for a second time 10 weeks after its initial debut.

"Vampire" is nominated for three GRAMMYs at the 2024 ceremony — Record Of The Year, Song Of The Year and Best Pop Solo Performance — while GUTS is up for both Album Of The Year and Best Pop Vocal Album and album cut "ballad of a homeschooled girl" earned Rodrigo her first-ever nod in the Rock Category (for Best Rock Song).

Seven months after Olivia Rodrigo unleashed her highly anticipated second studio album, she spilled her GUTS even further on March 22: GUTS (spilled) deluxe edition is here.

Rodrigo diehards may know four of the five deluxe tracks, which were previously only available on vinyl editions of GUTS: "obsessed," "stranger," "scared of my guitar," and "girl i've always been." But the deluxe version doesn't come without an unreleased track — the fifth, "so american," is brand new, and closes out GUTS (spilled).

"Obsessed" even got the video treatment, with the official music video dropping at the same time as the deluxe album.Therein, she’s the black sheep among a litany of pageant queens, representing exes: Rodrigo’s sash reads "Miss Right Now." The chorus — "I’m so obsessed with your ex!" detonates with a full rock band.

Rodrigo will even be able to celebrate the arrival of GUTS (spilled) with fans, too. The GUTS World Tour stops Columbus, Ohio, on March 22 — almost exactly a month after it launched in Thousand Palms, California, on Feb. 23. As of press time, the tour (which marks Rodrigo's first headlining arena trek) will feature 77 shows across North America and Europe; it wraps with four nights at Los Angeles' Kia Forum on Aug. 13, 14, 16, and 17.

Before the tour began, GUTS helped Rodrigo earn six more GRAMMY nominations. In addition to a nod for Album Of The Year, the pop-punk princess received nominations for Record Of The Year, Song Of The Year, and Best Pop Solo Performance for "Vampire," Best Rock Song for "Ballad of a Homeschooled Girl," and Best Pop Vocal Album.

Prior to the 2024 GRAMMYs, Rodrigo was already a three-time winner, taking home Best New Artist, Best Pop Vocal Album (SOUR) and Best Pop Solo Performance ("drivers license") in 2022.

Listen to GUTS (spilled) below, watch the "Obsessed" video above, and keep checking back for news about Olivia Rodrigo!

5 Lessons Olivia Rodrigo Learned On 'GUTS'

Since releasing her debut single three years ago, Olivia Rodrigo has not shown any signs of slowing down. And with a sold-out arena tour underway, the three-time GRAMMY winner is keeping that momentum going in awe-inspiring fashion.

As the GUTS World Tour — Rodrigo's first headlining arena trek — kicked off at Palm Springs' Acrisure Arena on Feb. 23, the pop star immersed fans with a dedicated space to examine the moments when you feel unpretty, never have the perfect perfume, or can't help being unapologetically feral. Blooming under a full, Pisces moon, Olivia Rodrigo's luminous performance marked an undiluted moment of self-expression.

Toeing the line between fragile girlhood and brutal adulthood, Rodrigo was unafraid to embrace the Olivia who once was and who is becoming. And as a result, she unleashed a fresh, freer side of herself — one she's ready to share with the world.

Below, read through four ways Olivia Rodrigo's Guts World Tour unveiled a liberated version of the chart-topping superstar.

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She's Unafraid To Celebrate Herself

What makes Rodrigo's GUTS Tour magnificent is it's less about the finer details — like massive sets or onstage collaborations — and more so about her journey since her rise to fame. Rodrigo's honest examination of herself was refreshingly lethal in the zeitgeist of pop music's increasingly formulaic state. In 90 minutes, the show's comparably straightforward set list made sure the album's focus on autonomy was central, woven with her simultaneously intimate and acute insights.

At the start of the show, the backdrop displayed perfectly arranged lit candles spelling out her album's title. Before singing "teenage dream," she proclaimed, "I just turned 21!" (her birthday was Feb. 20). "I'm really f—cking excited about it. I went to the gas station the other day and bought a pack of cigarettes!" As she fervently played the piano, she reminisced about writing the song, noting that she penned it ahead of her last birthday as a teenager, "when I was really afraid of growing up," she admitted to the crowd.

All throughout her melodic existential crisis, a video of her younger self was projected onto the screen. She ended the song with an audio of herself as a child, someone off camera asking her to introduce herself; it was so emblematic of the blitheness youth often brings. And though she recently celebrated a young adult milestone, it was still rather jarring to hear her youthful voice deliver the track's heavy lyrics.

The next two songs served up a mix of painful vulnerability and complete release. Some of the most painful sentiments of GUTS' "pretty isn't pretty" — "I started to skip lunch, stopped eating cake on birthdays," for one — were the lines the audience most enthusiastically sang along to. After hefty musings, it made perfect sense for her to transition to "love is embarrassing," where she allowed herself to let loose. Prancing around on stage, she held up a big "L" to her forehead before laughing and stomping out flailing choreography. The track ended with all of her backup dancers bent over, shimmying their derrieres as Rodrigo sent a shimmering wink to showgoers.

Rodrigo allowed seriousness and silliness to exist simultaneously, and it was clear that every single person in the crowd felt heard. It made the night all the more special, knowing even a star whose impact is nearly immeasurable can also "feel like s—" on their birthday — and it was entirely ok.

*Olivia Rodrigo at the opening night of the GUTS World Tour on Feb. 23 | Kevin Mazur/Getty Images for Acrisure Arena*

She's Signaling Her Evolution While Honoring Her Past

Fans who have known Rodrigo since her starring role in the Disney Channel series Bizaardvark have met many iterations of Olivia Rodrigo: The one who made palatable Disney Channel music, the one breaking ground with her sound, the one unafraid to embrace her pop-punk propensity. The show underscored her evolution as an artist, while being unafraid to make references to her past.

She unabashedly looked back to past Olivia in a quietly powerful performance of "All I Want," a track she wrote when starring on Disney+'s "High School Musical: The Musical: The Series." Despite the glamour of her propelling fame, Rodrigo absolutely refused to be anybody but herself throughout her time on the show. "I was literally peeing my pants on the set" while demonstrating her lyrics to the showrunners, she professes, laughing and shaking her head as she sat on the ground, with nothing but a guitar player backing her silken vocals.

It was a decidedly striking move to reference her squeakier past in a more simplistic form — especially because, as the concert progressed, her performance only became more and more complex and risqué. In a daring act, the dazzling purple backdrop ignited as fallen candles virtually burned everything in sight and, through the ashes, emerged something a bit darker. Now clad in a bold, red jumpsuit, Rodrigo delivered the GUTS hidden track "obsessed" while balanced on top of a glass floor, thrusting her hips into the air and screaming into the backdrop.

Though her vocal delivery was nearly identical to the studio versions of her songs, what made the show all the more mesmerizing was how deeply she felt each and every one of her lines. Even more so than her vulnerability, the fury Rodrigo fully embraced throughout the show was perhaps one of the most freeing aspects of it.

Snatching her purple guitar with unhindered passion, she whipped her hair and fell to the floor while thrumming along to "brutal," to match her guitarist beat-for-beat in intensity. In another audacious move, Rodrigo even grabbed a drumstick out of her drummer's hand and began whacking the drums as well, throwing the stick into the air after the final beat.

During an almost-required lyric change on "all american b—," she sang she's grabbing her "all-American tit*" rather than just her "all-American hips," — which, of course, necessitated an aggressive chest clench. In one of the most memorable moments of the night, Rodrigo asked the crowd to think of someone who "really pisses them off" and commanded everyone to scream as loud as they could. Shutting off the lights, the arena was filled with nothing but raw yodels and screams into the void — and it was glorious.

As the stakes have gradually become higher and higher, Rodrigo's performances came down to something easily decipherable: shameless joy with a side of defiance.

*Chappell Roan at the opening night of the GUTS World Tour on Feb. 23 | Kevin Mazur/Getty Images for Acrisure Arena*

She's Highlighting Diverse Talent Front & Center

Rodrigo's choice of supporting acts further display her understanding of dynamic artistry, as buzzing pop and indie acts Chappell Roan, The Breeders, PinkPantheress and Remi Wolf will rotate through the opening slot. Roan is support for the first stretch, and her set underscored the meaning of a true pop princess in the making.

Delivering flawless vocals and addicting charisma, Roan proved she knows how to serve a memorable performance. As she skipped through the stage and clutched her guitarist while hitting an immaculate high note during "My Kink Is Karma," it was clear that Roan is ready for her arrival as pop royalty.

Nothing about her performance screamed rookie; if anything, it was a masterclass in how to take up space. When she belted, "Oh mama, I'm just having fun on the stage in my heels. It's where I belong!" from the outstanding single "Pink Pony Club," she jumped into the air, pure bliss emanating all the way from head to her sparkly, silver boot-clad toes.

*Olivia Rodrigo at the opening night of the GUTS World Tour on Feb. 23 | Kevin Mazur/Getty Images for Acrisure Arena*

Her Community Of Fans Is Unmatched — And She's Here For It

Despite what was going on onstage, Rodrigo's show made it clear that her authenticity has helped her build quite the loyal following. Along with scream-singing the majority of the set list, fans were dressed to the nines, some adorning elaborate recreations of her music video and performance outfits.

Her fellow Pisces were celebrating their birthdays, wearing Olivia Rodrigo-themed sashes — some turning 13, some 30. All around the arena, fans ran up to one another wishing each other happy birthdays, asking how the other made a certain outfit. Bows, à la Sandy Liang, were sprinkled throughout the crowd, and even became an integral part of Rodrigo's choreography during "lacy."

At the surface, it's easy to dismiss Rodrigo's fandom — especially given her more sanitized, mainstream roots in the industry. Navigating through the crowd, you would hear disgruntled murmurs from security staff, dismissing everyone as just "an annoying group of 14 year old girls" — despite the diversity the audience actually boasted.

Despite it all, Rodrigo became a beacon of acceptance. Suspended above the audience on a crescent moon during GUTS' "logical" and SOUR's "enough for you" — one of the more poignant moments of the show — she took the time to shout out and get closer to those in the nosebleed sections. "I see you!" she belted out, later taking the time to shine the camera on cute couples and exquisite ensembles during her set. Those three words are precisely why Rodrigo's music has such wide appeal — she speaks to those who have felt easily discarded, like they were too much, too loud, too brash.

The night ended with star-shaped confetti floating down to the crowd after a buoyant performance of "get him back!" As the clean-up crew unleashed industrial sized vacuums on the streamers, young fans scrambled about, giggling as they tried to grab as many as possible to bring home, some sticking them in their hair as they leapt about the emptying arena.

Olivia Rodrigo's superpower is her acute ability to make these painful feelings of girlhood feel so uniting. In between the heartbreak and growing pains is this ephemeral moment of unguarded joy, and she brought it all to the GUTS World Tour.

2024 GRAMMYs: Watch Olivia Rodrigo Bleed Her Soul Dry With Dramatic "Vampire" Performance

They say to not meet your heroes. But when Freddy Wexler — a lifelong Billy Joel fan — did just that, it was as if Joel walked straight out of his record collection.

"I think the truth is none of it is that surprising," the 37-year-old songwriter and producer tells GRAMMY.com. "That's the best part. From his music, I would've thought this is a humble, brilliant everyman who probably walks around with a very grounded perspective, and that's exactly who he is."

That groundedness made possible "Turn the Lights Back On" — the hit comeback single they co-wrote, and Wexler co-produced; Joel performed a resplendent version at the 2024 GRAMMYs with Laufey. Joel hadn't released a pop album since 1993's River of Dreams; for him to return to the throne would take an awfully demonstrative song, true to his life.

"I think it's a very raw, honest, real perspective that is true to Billy," Wexler explains. "I think it's the first time we've heard him acknowledge mistakes and regret in quite this way."

Specifically, Joel's return highlights his regret over spending three decades mostly on the bench, largely absent from the pop scene. As Joel wonders aloud in the stirring, arpeggiated chorus, "Is there still time for forgiveness?"

"Forgiveness" is a curious word. Why would the five-time GRAMMY winner and 23-time nominee possibly need to seek forgiveness? Regardless — as the song goes — he's "tryin' to find the magic/ That we lost somehow." The song's message — an attempt to recapture a lost essence — transcends Joel's personal headspace, connecting with a universal longing and nostalgia.

Read on for an interview with Wexler about the impact of "Turn the Lights Back On," why he thinks Joel took such an extended sabbatical, the prospect of more new music, and much more.

This interview has been edited for clarity.

**You did a great interview with Rolling Stone ahead of the 2024 GRAMMYs. Now, we're on the other side of it; you got to see how it went down on the telecast, and resonated with the audience and world. What was that like?**

It's why I make music — to hopefully make people feel something. This song has really resonated in such a big way. More than looking at its commercial success on the charts or on radio, which has been awesome to see, the comments on Instagram and YouTube have been the most rewarding part of it.

Why do you think it resonated? Beyond the king picking up his crown again?

I don't think the song is trying to be anything it's not. I think it's a very raw, honest, real perspective that is true to Billy. I think it's the first time we've heard him acknowledge mistakes and regret in quite this way. And to hear him do it in a hopeful way where he's asking, "Is it too late for forgiveness?" is just very moving, I think.

Forgiveness? That's interesting. What would any of us need to forgive him?

He has said in other interviews, "Sometimes people say they have no regrets at the end of their life." And he said, "I don't think that's possible. If you've lived a full life, of course you have regrets." He has said that he has many things he wishes he would've done differently. This is an opportunity to express that.

I think what's interesting about the song is it has found meaning in various ways with various people and listeners. Some people imagine Billy is singing to former lovers or friends. Other people imagine Billy is singing to his fans asking, "Did I wait too long to record again?" Other people wonder if Billy is singing to the songwriting Gods and muses. Did I wait too long to write again?

In Israel, where the song was number one — or is number one, I haven't checked today — I think the song's taken on the meaning of just wanting things to be normal, wanting hostages to come home and turn the lights back on. So, you never know where a song is going to resonate, but I think that Billy just found his own meaning with it.

You know the discography front to back. What lines can you draw from "Turn the Lights Back On" to past works?

I think it draws on various pieces of his catalog, right? "She's Always a Woman" has a sort of piano arpeggio in the chorus. To me, it feels like a natural progression. It feels like, on the one hand, it's a new song. On the other, it could have come out right after River of Dreams. To me, it just kind of feels natural.

**Back when you spoke with Rolling Stone, you said you couldn't wait to hear "Turn the Lights Back On" at Madison Square Garden. How'd it sound?**

Amazing. Billy is a consummate live performer. I think he's one of the few artists where everything is better live, and everything is always a little bit different each time it's played live.

It's been really cool to watch Billy and the band continue to change and improve the song and the song's dynamics for the show. He told me tonight that tomorrow night in Tampa, I think they're going to try to play with the key of the song, potentially — try it a half a step higher.

Those are the sort of things I think great artists do, right? It's different from being on a certain type of tour where every single song is the same, the set list is the same, the key is the same, the arrangements are the same.

With Billy, there's a lot of feeling and, "Hey, why don't we try it this way? Let's play it a little faster. Let's play it a little slower. Let's try it in a different key." I just think that's super cool. You have to be a really good musician to just do that on the fly.

What have you learned from him that applies to your music making, writ large?

I've learned so much from him. As Olivia Rodrigo said to us at GRAMMY rehearsals, "He's the blueprint when it comes to songwriting."

He has helped raise the bar for me when it comes to melodies and lyrics, but the thing I keep coming back to is he's reminded me that even the greatest artists and songwriters ever sometimes forget how great they are. I think we need to be careful not to give that inner voice and inner critic too much power.

Can you talk about how the music video came to be?

Well, I had a dream that Billy was singing the opening two lines of the song, but it was a 25-year-old version of Billy. It was arresting.

When I woke up, I sort of had the vision for the video, which was one set, an empty venue of some kind, and four Billy Joels. The Billy Joel that really exists today, but then three Billys from three iconic eras where each Billy would seamlessly pick up the song where the other left off.

The idea behind that was to sort of accentuate the question of the song — did I wait too long to turn the lights back on?

And so, to kind of take us through time and through all these years, I teamed up with an amazing co-director, Warren Fu, who's done everything from Dua Lipa to Daft Punk, and an artificial intelligence company called Deep Voodoo to make that vision possible.

What I'm driven by is the opportunity to create conversations, cultural moments, things that make people feel something. What was cool here is as scary as AI is — and I think it is scary in many ways — we were able to give an example of how you can use it in a positive way to execute a creative artistic vision that previously would've been impossible to execute.

Yeah, so I'm pleased with it and I'm thankful that Billy did a video. He didn't have to do one, but he liked the idea of it. He felt it was different, and I think he was moved by it as well.

What do you think is the next step here?

It's been a really rewarding process. And Billy is open-minded, which is really cool for an artist of that level, who's not a new artist by any stretch. To actually be described as being in a place in his life where he's open-minded, means anything is possible. I could tell you that I would love there to be more music.

I'd love to get your honest appraisal. And I know you're not him. But his last pop album was released 31 years ago. In that long interim, what do you think was going on with him, creatively?

Look, I'm not Billy Joel, but I think there were a number of factors going on with him. Somewhere along the way, I think he stopped having fun with music, which is the reason he got into it, or which is a big part of the reason he got into it. When it stopped being fun, I don't think he really wanted to do it anymore.

Another piece to it is that Billy is a perfectionist, and that perfectionism is evident in the caliber of his songwriting. Having always written 100 percent of his songs, Billy at some point probably found that process to be painstaking, to try to hit that bar where he's probably wondering in his head, What would Beethoven think of this? What would Leonard Bernstein think of this?

I think part of what was different here was that, perhaps, there was something liberating about "Turn the Lights Back On" being a seed that was brought to Billy. In this way, he could be a little disconnected from it, where maybe he didn't have to have the self-imposed pressure that he would if it was an idea that he'd been trying to finish for a while.

Ironically, he still made it. Well, there's no "ironically," but I think that's it. There's something to that.

Billy Joel's Biggest Songs: 15 Tracks That Best Showcase The Piano Man's Storytelling And Pop Hooks

Thanks to United Airlines' partnership with the Recording Academy, the students traveled from all over the country to Los Angeles and met in person for the first time. In past years, GRAMMY U Reps have only been able to attend a few select events in addition to the GRAMMY Awards on Sunday. But because of United Airlines, these National and Chapter Reps were able to experience the music industry’s most exhilarating week.

Come with the GRAMMY U Reps as they experience Music’s Biggest Night, behind-the-scenes tours, and events highlighting various initiatives within the music industry during GRAMMY Week 2024. Learn how to apply to GRAMMY U here.

Tuesday: Travel Day

The GRAMMY U group chat was exploding with excited messages as we arrived at the airport early Tuesday morning. Each Rep was about to meet their co-workers — many of whom had only connected virtually — and gain the experience of a lifetime.

United flew all 14 Reps to Los Angeles with exceptional timing, service, and care — even though we were traveling to work at GRAMMY Week, it felt like we were getting celebrity treatment. Once we touched down in L.A., we ran to the United baggage claim to hug our friends and capture the experience to share with fellow GRAMMY U members.

Philly Rep Tamara Tondreau and Nashville Rep Della Anderson┃GRAMMY U

After grabbing lunch near our hotel in downtown L.A., we made it to the Recording Academy Los Angeles Chapter Office in Santa Monica for our first in-person team meeting. Sporting new custom GRAMMY U jackets, T-shirts, and hats, we prepared for our signature GRAMMY Week event, a .

Reps were briefed on plans for the week, then took an office tour where we spotted multiple golden gramophones. Since we work remotely year-round, this was our first time getting to see where all the magic happens.

Wednesday: Behind-The-Scenes & Behind The Music

On Wednesday, we were up bright and early to explore the Crypto.com Arena and learn about the behind-the-scenes preparation it takes to host the GRAMMY Awards each year.

Jody Kolozsvari, Associate Producer of the GRAMMYs and a GRAMMY U alum, guided us around the arena. He also introduced us to the incredible audio, mixing, communications, and production teams as well as Recording Academy CEO Harvey Mason Jr.

"Walking intoCrypto.com Arena and seeing the GRAMMY stage being built was a very surreal moment," said Sara Hudson, GRAMMY U's New York Chapter Rep. "Meeting so many of the people behind the show and witnessing the hard work that is put into producing the GRAMMY Awards made my passion for working in live music grow even more."

Later that night, Philadelphia Chapter Rep Tamara Tondreau and Los Angeles Chapter Rep Jade Bacon worked as GRAMMY U press at the A Celebration of Craft event, a collaboration between the Recording Academy Producers and Engineers Wing and Songwriters and Composers Wing. This was the very first time GRAMMY U Reps were invited to this exclusive event; Tamara, a songwriter herself, called this event "unforgettable."

"Since songwriting sparked my interest in the music industry, it was inspiring to be in the room with so many talented creatives," Tamara says. "Networking with professionals who hold multiple roles in the industry encouraged me and reaffirmed my goal of maintaining both business and creative aspects in my career."

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Thursday: Fostering Community & Culture

Hosted at GRAMMY House, Thursday morning started with a beautiful luncheon at the inaugural A Celebration of Women in the Mix. This event made space for women in the music industry to gather and support one another, recognizing all of the strides made in a male-dominated field.

Twelve of the 14 Reps identify as women, and this was a special moment to meet some of the industry leaders that we look up to as role models. Networking with female artists, managers, and producers who are laying the groundwork for our generation was a powerful moment we will never forget.

After delivering the keynote speech, Ty Stiklorius, the founder of management company Friends at Work, spoke with some of the GRAMMY U Reps.

"Having a conversation with such an established female in the music industry was incredibly inspiring," says Memphis Rep. Shannon Conte. "After this moment of mentorship and encouragement, I left the event feeling much more confident in my ability to one day succeed in becoming an artist manager."

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Dressing up in our finest suits and gowns, we hit the town to attend the exclusive Black Music Collective’s 2024 Recording Academy Honors event, where legends Mariah Carey and Lenny Kravitz accepted Global Impact Awards. Sitting in the same room as these superstars was awe-inspiring, and it was an honor to see how the Black community was celebrated during GRAMMY Week.

GRAMMY U Reps Shaneel Young, Jade Bacon, and Chloe Sarmiento hosted interviews for our social media, highlighting the fashion of dozens of high-profile attendees including Adam Blackstone, Jordin Sparks, Flavor Flav, and Erica Campbell as they walked the signature black carpet. The excitement of the press line on the black carpet provided Reps with first-hand experience of what a career in press and publicity could look like.

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Reps at Black Music Collective’s Recording Academy Honors┃GRAMMY U

These two spectacular events immersed us in the initiatives the Recording Academy has implemented to celebrate diversity and representation in music, and we are so honored to be a part of the company’s continued mission.

Friday: Work Hard, Play Hard

After months spent planning our signature GRAMMY Week event, the GRAMMY U Masterclass with Halle Bailey, presented by Mastercard, we finally saw the fruits of our labor come to life. This year, we welcomed over 500 attendees in person, with members from every Chapter flying in to experience the event together at GRAMMY House.

GRAMMY U PNW Rep Chloe Sarmiento worked as talent lead and interacted directly with Halle Bailey and her team. "It was incredibly fulfilling to see the event come together on-site in Los Angeles after weeks of working on it from home," Chloe says. "Halle and her team were so great to work with, and I couldn’t have asked for a better speaker for the Masterclass!"

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Working with experienced Recording Academy staff onsite further enlightened us about all things event production. From talent handling and partnerships to working radios and managing the stage, we were excited to execute a large-scale event with all of the Reps at GRAMMY House.

After a successful Masterclass, the Reps split up for the evening to conquer even more GRAMMY Week events. Half the group went to the #GRAMMYsNextGen party to spread the word about membership, host a photobooth, and interact with influencers and emerging performers. We met hip-hop duo Flyana Boss, and some of our other celebrity sightings included Laura Marano and Milo Manheim. It was inspiring to see other young professionals who have established themselves in the entertainment industry so early in their careers.

Mastercard surprised us with an entire seated table at the exclusive MusiCares Person Of The Year Gala honoring Jon Bon Jovi. It was an outstanding evening honoring the rock icon and the many ways he has given back to the music community. Following a live auction, Brandy Clark, Lainey Wilson, Jelly Roll, Shania Twain, and others performed some of Bon Jovi’s biggest hits — Bon Jovi even graced the stage with Bruce Springsteen for a special rendition of "Who Says You Can’t Go Home."

The Reps were incredibly grateful to United and Mastercard for granting us the opportunity to witness these exclusive live performances. To see the music community come together to honor a legend while giving back and furthering the mission of MusiCares is a heartwarming aspect of the music industry we don’t get to witness every day.

Reps with Sabrina Carpenter at the Person of the Year Gala┃GRAMMY U

GRAMMY U Chicago Rep Rachel Owen was one of the lucky attendees able to watch the thrilling performances while mingling in the crowd with other musicians like Sabrina Carpenter and David Archuleta.

"To even be in the same room as Shania Twain is an honor, she’s timeless and more exquisite than I could've even imagined," Owen says. "To see her perform live to Jon Bon Jovi is the type of moment you just never take for granted."

Saturday: Divide & Conquer

Saturday was jam-packed with events. Back again at GRAMMY House, a group of Reps attended the Best New Artist Spotlight, where nominees discussed their breakthrough years and what it means to be considered a "new artist." From upstarts Ice Spice and Gracie Abrams to the long musical journey of Victoria Monét, The War and Treaty, and Jelly Roll, these diverse perspectives all stressed that each person has a unique career timeline and reminded us as students to practice perseverance and patience as we navigate this industry.

Various Reps continued at GRAMMY House, some working as press at the #GRAMMYsNextGen Ambassador Power Brunch and the first-ever Academy Proud event, celebrating LGBTQIA+ voices.

A handful of us worked as GRAMMY U press at the Special Merit Awards ceremony and subsequent celebration. Being a part of these exclusive events and witnessing historic moments like the presentation of Lifetime Achievement Awards was truly impactful. We interviewed nominees at the celebration, including boygenius engineer Owen Lantz (the supergroup would win their first three GRAMMYs the very next day.)

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Hundreds of nominees attended the Special Merit Awards and Celebration, proudly displaying their blue medallions and glowing as they took their official GRAMMY nominee photos; the hopeful and energetic spirit of the event fueled our drive to succeed in this industry even more.

Sunday: And The GRAMMY Goes To…

Sunday morning was the day everyone had all been waiting for: the 66th GRAMMY Awards! After getting our glam on, the GRAMMY U Reps got to walk the red carpet for the first time ever. We took tons of photos and videos to commemorate this special moment and share our experience with friends and family.

While most of the Reps were posing on the carpet, Pierson, Jasmine, Rachel, and Chloe had the honor of being trophy presenters during the GRAMMY Premiere Ceremony. This was the first time GRAMMY U Reps from across the country were given the honor of being up close and personal during artists' career-defining moments.

Reps on the GRAMMYs Red Carpet┃Andrew Sankovich

Moving into Crypto.com Arena to be seated for the telecast portion of the evening, the GRAMMY U Reps were ecstatic to watch the ceremony in person. As legends like Joni Mitchell, Billy Joel, Tracy Chapman, and Stevie Wonder blazed on stage, all the Reps were singing and dancing along, thrilled to be a part of Music’s Biggest Night. Phenomenal performances from nominees SZA, Billie Eilish, Olivia Rodrigo, Dua Lipa, Miley Cyrus, and Luke Combs were equally captivating.

Witnessing the live telecast after experiencing so much behind-the-scenes production exemplified how rewarding the music industry can be, and how prestigious winning a GRAMMY truly is. The quiet suspense before a winner was announced and the roars that followed created a rollercoaster of emotions that took our breath away.

Immediately afterward, we were off to enjoy the official GRAMMYs After-Party —and not even the constant showers could not rain on our parade. The Reps hit the dancefloor as soon as NE-YO took the stage, and hearing "Time of Our Lives" felt especially relatable.

As we headed back home on our United flights, we reflected on an exhilarating GRAMMY Week. Not only were we able to be part of exclusive events, but we also interacted with artists, learned from experts, and grew exponentially. Experiencing these moments with the other Reps brought our team closer, while meeting members and peers showed the expansive community GRAMMY U is cultivating.

Because of United, we witnessed all the Recording Academy does for the music industry. After GRAMMY Week, we feel more inspired and empowered than ever to lead the next generation of the music industry.

With additional reporting from Pierson Livingston.