natalia lafourcade uk tour

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Natalia LaFourcade  

• On tour: no
• Upcoming 2024 concerts: none

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WAMU Theater

San Jose Civic

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Natalia Lafourcade (born February 26, 1984) is a Mexican pop-rock singer-songwriter and musician best known for her hit single “En El 2000”, hailing from Coatepec, Mexico.

Born the daughter of French-Chilean singer and musician Gastón Lafourcade, Natalia grew up singing, acting and playing a number of instruments during her time in school. At the age of 10 Lafourcade sung in a Mariachi group before joining a girl trio group named Twist in 1998. Three years later the singer was offered a spot in a new pop/rock group by Italian producer Loris Ceroni, however after appearing reluctant, Ceroni encouraged Lafourcade to go solo.

The musician and producer Ceroni subsequently produced the majority of Lafourcade’s debut, self-titled full-length released in 2003. Issued by Sony Norte, “Natalia Lafourcade”, is a genre-defying record that showcases the singer’s wide spectrum of influences, distinctive vocals and apt songwriting. The album has since been certified three times platinum, aided by the singles “En El 2000”, “Busca un Problema”, “Elefantes”, and “Te Quiero Dar”, and secured four Latin Grammy Award nominations.

Following the release, Lafourcade surrounded herself with drummer Alonso, guitarist Chanona, and accordion and keyboard player Yuno, who collectively became known as Natalia y la Forquentina. The band’s debut arrived in 2004 after being invited to compose a song for the film “Temporado de Patos”, for which Natalia y la Forquentina produced crafted “Un Pato”. Working with producer Emmanuel del Real, the group’s debut album “Casa” was released in 2005 marked by driving guitars and heavy drums. Despite not fairing as well as her solo debut, the record topped the Mexican Albums Chart, earned platinum certification and the Latin Grammy for Best Rock Album. The group supported the release by a year-long series of shows around Mexico, after which in 2006 Natalia y la Forquentina parted ways.

After moving to Canada for nine months Lafourcade recorded and released the EP “Las 4 Estaciones del Amor” in January 2009. Noted for its instrumental nature, the four-track record is themed around the earth’s seasons and raised the anticipation for the singer’s solo sophomore release. In May 2009 Lafourcade issued her second full-length album “Hu Hu Hu”, led by the single “Axul”. The record rose to No. 9 on the Mexican Album Chart and subsequently spawned the singles “Ella es Bonita”, “Cursus Melodias”, and “No Viniste”. The full-length “Majer Divina” arrived in September 2012 winning a pair of Latin Grammy Awards, followed by “Hasta La Ruiz” in March 2015.

Live reviews

If I'm honest, I almost didn't go to this show. I'm not Latino, I don't speak Spanish, and my date couldn't make it. But I'm a fan, so I went alone. The venue was an 800 seat synagogue, which is not where you might expect one of the biggest pop acts in Mexico to perform, but it's intimate and amazing. In a theater full of people that obviously were fans and knew her music, I somehow ended up seated between an older gentleman and another gentleman with his daughter that knew the venue, but not the artist. They came based on the venue and a blurb of her on the website. They were all very cool.

I was glad there was no opening act, because I just wanted to see Natalia. She is easily my favorite artist today, and one of my favorite of all time.

When she came on stage, the crowd erupted. I'm sure many had purchased tickets to her Lincoln theater show that was cancelled last year. (I'd purchased the VIP package for that show, so I was doubly heartbroken; but I understood Houston to Dallas to LA made more sense than Houston to DC to LA).

Natalia sang flawlessly. She did that little dance she does with her shoulders too. At times one could be forgiven for feeling she was singing directly to you, as I did several times. The music felt very liberating and personal. The set was light on her early work, which made sense because a lot of people here came to know her through her Grammy winning Hasta La Raiz. I purchased three or four of her cds since discovering her music on the 2015 Latin Grammys (and a good friend from Durango, Mexico also suggested her to me). I recognized all but three songs.

She started with a showcase of slow to mid-tempo songs, but as she picked up the pace, people stood up, waved a huge Mexican flag and moved to the area between the seats and the stage and started dancing. They were ready to party and she did not disappoint. I felt the room's connection to Mexico as Natalia served as the ultimate conduit. She spoke several times between songs, which added a more intimate feel to the show. Since I don't understand Spanish fluently, I can only imagine that she something about missing home and the delicious food, and perhaps some of the inspiration for her songs.

Tu Si Sabes Quereme has been my jam since late spring and apparently I'm not alone. Her performances of this song were sensual and playful and had everyone on their feet singing along. I'm sure Despicito, or whatever, has many managers telling their clients it's time to crossover to the American market (I'm going to the upcoming Bomba Estereo and Vanessa De Mata concerts too), but Natalia's a once-in-a-generation artist; right up there with Aretha, Adele, and Brasil's Regina Elis. She proves it with each new cd. For my money, Tu Si Sabes Quereme is the song of the year and I hope it receives proper recognition from the academy.

She also sang Nunca Es Suficiente and Para Que Sufrir, which are now classics. And everything on Musas transports you "to a time in Mexico." Sometimes she joined the band and played guitar and the sitar/ukulele. Oh, I almost forgot to mention her band is tight, but standup bass player is ridiculous! He reminds me of Flea from the Red Hot Chili Peppers, he's clearly a dude that likes the funk.

The only thing that could have possibly made the experience better would have been a meet and greet afterwards. I know that's a lot to ask, even for a small sold-out venue, but considering we don't get to see you often and your next visit here is destined to be at a much larger venue, it may have been a nice opportunity. Until then, I will enjoy my coffee mug and Musas t-shirt. Thank you for a wonderful time and best in life!

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Natalia had her Houston concert at Scout Bar, which is in Webster, TX. Doors opened at 7pm, meet and greet was supposed to take place at 8pm but it took almost an hour to happen. Because of that delay, the concert begun around 10:21pm. Regardless of how long it took, the concert was pretty awesome. She is very talented and also the musicians that work with her. Everyone was filled with energy while her fans were enjoying, singing to her songs. I will definitely come back if she happens to tour in the US again (I kind of doubt that will happen soon) but I will be more than glad if she happens to show again in Houston. More than likely, if I happen to be in Mexico, I'll go and see her as she holds concerts in Mexico pretty often.

TALENTED. If you need to know anything about Natalia LaFourcade it is that she is absolutely and totally talented. She first appears on stage with just an acoustic guitar and her voice. Her beautiful, non-auto tune, not screaming at me, but signing like a bird- beautiful voice. Stunning performance.

Eventually her band joins her and they continually play their songs, jam style. Natalia and her band all seemed delighted to play. True musicians no side acts, dancers, or intermissions.

Loved all the songs, she closed the show with Ella es Bonita, than for an encore she sang Currucucu Paloma. Just phenomenal show. Absolutely blown away by the musicianship and the power of her beautiful voice.

I am heartbroken that the concert for November 11 of this year 2019 at Berkeley California was cancelled .. it was my 49 birthday and I bought VIP table 4 to take my 8 year old daughter and my aunt and uncle . Natalia's music is very special for me and has become very significant for my daughter Maddy who was upset but I made a promise to her to get tickets as good or better for when she can please come back to the San Francisco area . I hope i get lucky and I can take my daughter who speaks no Spanish but sings her songs .. this was going to be our first concert together ... we have had a rough year my little ones and I and I hope she makes up for the cancelled date :))

Brenda and I heard her music for the first time during Dia de los Muertos in Oaxaca City 2017, we were instant fans and adopted Tú Sí Sabes Quererme as "our song." It's been three weeks and we have not stopped listening to her songs, she is amazing. No Vivo por Vivi with Juan Gabriel is so enchanting in great part due to Natalia's serene vocals. We caught her show last week in Anaheim at the House of Blues and are catching her shows in Paris and Barcelona in February 2018. The show at the House of Blues was more like a cocktail party than a concert and we can't wait to experience that feeling again. If you have the chance, go to see her live, it's worth it!

I enjoyed the show. She was amazing. Great voice and music style. I did not like the Social Hall venue at all!!! First I did not get to meet her even though I paid for it. Somehow the meet and greet was at 7 pm and nowhere in my ticket did I see meet and greet 7pm, only doors open at 8 pm!! I did email and called Social Hall but never got a hold of anyone or response. And when I got there a little bit after 8 they did not try to accommodate at all they said we will call you. Seriously the list of meet and greet was less than 10 people and two of them were my boyfriend and I. I am truly disappointed with Social Hall venue.

The night was just amazing. Las Cafeteras which opened for Natalia were just awesome. They got the crowd all pumped up. I don't know much about them but I was extremely happy with their performance. I hope to see them again,Natalia choose well. As for Natalia Lafourcade she was beyond breathtaking. She is a wonderful, talented young lady. It was my first time seeing her live but I'm sure it won't be my last. I had a great time and wonderful experience last night. Can't wait to see her again. Her rendition of the old songs was beautiful. I loved everything about last night. Till the next time...

EPIC! That's how I can describe the Natalia Lafourcade show in LA last night. With an absolutely stunning backdrop of skyscrapers in the evening lights, Natalia and her band, quite simply, killed it. The musicianship was flawless. Every song was performed with sincerity, a passion I've not seen in years of catching many a concert. Her voice was commanding, yet she could have been singing directly to you. Love how she mixed in some old favs into the whole Musas concept. Can't recommend her show enough. Viva México, Viva Veracruz, and Viva Natalia!

Natalia is an amazing artist, her smile, her music, her sweet voice and her energy on stage make her a truly special performer that is improving with age. He radiates on stage and she connects with her fans Spanish or English speaking alike. Personally I believe she will eventually become a legend in her craft and especially in Mexico.

Pier 17 as a venue is not organized it took 45 minutes to go in and the sound at times left a lot to be desired.

The natalia lafourcade show in denverwas cancelled!!!!

She cancelled last minute because she was asked to play a song at Oscars.

No refunds yet.

That's a really crappy thing to do but O Well.

She had a show in l.a. that we flew to, bought vips, hotel ,flight,

She was gonna appear with mon laferte,

Mon was a no show....

So she isused to dissapointing fans....

Posters (22)

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• My Bloody Valentine (1255)
• Natalia LaFourcade (1256)
• Elle King (1257)

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Touring history

Most played:

• Mexico City (48)
• Los Angeles (LA) (23)
• New York (NYC) (16)
• Chicago (13)
• SF Bay Area (12)

Appears most with:

• Mon Laferte (10)
• Café Tacvba (9)
• Molotov (8)
• Monsieur Perine (8)

Distance travelled:

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Past Events

Here are the most recent UK tour dates we had listed for Natalia Lafourcade. Were you there?

February 2018

• Mon 12 Feb London, KOKO Natalia Lafourcade, Gizmo Varillas

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Natalia LaFourcade tour dates

• On tour: Yes
• Concertful ranking: #1089
• Category: Latin Music

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Natalia Lafourcade

Latest setlist, natalia lafourcade on december 8, 2023.

De Todas Las Flores Tour

WaMu Theater, Seattle, Washington

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Natalia Lafourcade comes back to life

After a five-year hiatus from touring, the Mexican singer-songwriter is on the road promoting “De Todas las Flores,” her first collection of original material since 2015

Natalia Lafourcade walks onstage in the setting Virginia sun, her black gown’s massive skirt clutched in her hand. She’s a solemn, almost funerary vision as she reaches center stage, her eight-piece band looking on. The dress parachutes around her as if it has a life of its own. She sits, guitar in hand, and a hush falls over the Wolf Trap amphitheater. “A este mundo vine solita /Solita me voy a morir,” Lafourcade sings, her voice soaring up toward the wooden rafters: “Into this world I came alone /Alone I am going to die.”

The song, “Vine Solita” (“I Came Alone”), which she sings accompanied by only a sparse piano melody and her own guitar, is the first track from her latest album, “De Todas las Flores” (“Of All the Flowers”). This is Lafourcade’s first tour in five years, and her first stop in the United States. Over the course of the two-hour-plus show, she will die and be reborn.

Much like the Mexican-born singer-songwriter’s career — Lafourcade has built a community of fans throughout Latin America and diasporic communities around the world — the album and its 17-stop tour embody a new vision of borderless musical creation. Throughout the show, she takes her audience on imaginative journeys: “Imagine you’re a bird with giant wings … we’re going to fly to Oaxaca … now we’re in the beach in Veracruz.”

At 39, Lafourcade is among the most successful artists in Spanish-language music, known for her measured, honest songwriting and her covers of Latin American, especially Mexican, folk songs. She holds the distinction of being the female artist with the most Latin Grammys — 14 — and has produced 10 albums in a little over two decades, collaborating with Latin American pop and rock superstars such as Julieta Venegas and Jorge Drexler, and with legendary Mexican guitar duo Los Macorinos.

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During a Zoom interview in Spanish earlier this month, Lafourcade said she had spent the day working and resting in Paris after kicking off the European leg of her tour with a performance at the oldest music hall in the city, the legendary L’Olympia. She was spending a couple of nights in the French capital, the same city where she spent the beginning of 2022 mastering her latest album and where, in a small bar, she first debuted “De Todas las Flores” to an unsuspecting audience.

Her afternoon included a quick trip to the Fête des Tuileries, a seasonal fair nestled in the heart of Paris’s first arrondissement. “I went to get on a ride that spun me across the sky,” she said, referring to a massive, over-160-foot ride that towers over the Jardin des Tuileries during summer months.

Soon, she would head to Spain for stints in Madrid and Barcelona before eventually making her Wolf Trap debut.

“It’s very exciting. People are receiving the music with lots of care, with lots of love,” Lafourcade said of the tour. “It’s something that brings me joy because I feel this album is not an easy album. ‘De Todas las Flores’ is music that grabs you, that lays bare your soul, that lays bare your heart, because it comes from a place of openness, no?”

The album resists easy classification, spanning genres such as Latin folk and jazz, son jarocho, bossa nova, cumbia and bolero. It also marks Lafourcade’s first collection of original music since 2015’s “Hasta la Raíz” (“To the Root”), an intimate, alternative folk-driven record which was certified double platinum in Mexico. In the seven years since, she released four tribute albums to icons of Latin American music, bringing artists such as Agustín Lara, Violeta Parra Sandoval and Álvaro Carrillo back into the mainstream.

“De Todas las Flores” has roots all over — in Veracruz, in Paris and in Texas, where it was recorded by Lafourcade and a team of international musicians at Sonic Ranch — and positions itself at the heart of a vibrant conversation between Lafourcade and bastions of Latin American folk music. She cites Simón Díaz, María Grever, Parra Sandoval and Lara among her inspirations for the album.

But Lafourcade remains an artist connected to her own experiences, to what she calls “the source.” “I think one of the primary ingredients in this album was intuition,” she says. The result was a 12-song record that is primarily concerned with universal, transcendent truths.

It asks listeners to straddle the boundaries between pain and joy, death and life. In “Muerte” (“Death”), for example, Lafourcade’s voice soars over a jazz guitar as she recites, “I give thanks to death /For teaching me to live … This war inside me dies /I am reborn grateful” in the style of a spoken-word poem. At the same time, “Mi Manera de Querer” (“My Way of Loving”), an upbeat samba-jazz love song in which Lafourcade celebrates love without gender, finds her telling a lover that they’re made of light “from head to toe.”

Onstage, both songs are a triumph: “Mi Manera de Querer” is a welcome interlude of effervescent joy, and “Muerte” a testament to Lafourcade’s theatricality as she is seemingly possessed by the very death she sings of, dancing and writhing on the floor along with the song’s swirling instrumentation.

“De Todas las Flores” invites a different kind of intimacy than the exuberant “Hasta la Raíz” precisely because it is a product of its time. For Lafourcade, as for many others, the past few years were complex. They brought with them the death of loved ones and a heightened awareness of death’s inevitability. “I think knowing that is good for you,” she says. “I know that I will have times of life and times of darkness, and that I’m going to have times of life and times of death until death comes, but that’s apparently a type of death, no? In reality, we’re something else, too.”

That awareness meant that death is more present on “De Todas las Flores” than any other album Lafourcade has written. The focus on existential questions wasn’t intentional. To an extent, she said, songs have the autonomy to appear as an album is being written and say “Here I am.”

Writing the new album, Lafourcade says, “was like rediscovering areas of my internal garden, of rediscovering rooms and homes in a place that I hadn’t visited in a while, or that I visited for a moment, and then I forgot existed.” When she started working on it in 2018, she revisited dozens of forgotten voice memos in her phone. The album, she said, was forged in part by “visiting the past, visiting those memories, visiting those songs that already existed.”

The bulk of this memorial exercise, the “return to the pages of a diary,” took place at Lafourcade’s family home in Veracruz, where she sought refuge during the pandemic and rejuvenation after years of relentless touring. The homecoming precipitated a return to herself and her interiority. Slowly, “De Todas las Flores” came together.

By the time Lafourcade closes her Wolf Trap show with a jubilant array of hit songs — including the diamond certified cumbia “Nunca es Suficiente” (“It’s Never Enough”) — she has taken her audience through a moving tour of both “De Todas las Flores” and a selection of Latin American folk standards. Her powerful rendition of the iconic Mexican regional ballad, “La Llorona” (“The Weeping Woman”), is nothing short of spectacular, as her voice stretches to the point of near-straining, only to lift higher with each of the song’s heart-wrenching laments.

Since shedding her black gown in a fitful moment of onstage catharsis, Lafourcade has emerged in a pale blue cotton caftan, reborn. “Thank you to everyone for coming,” she says in her closing speech, encouraging her audience to practice “beautiful love.”

“Long live love. Long live music. Long live this party, it’s for all of you. Until next time.”

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Catching Up With Natalia Lafourcade: How Togetherness, Improvisation & The Element Of Surprise Led To Her Most Exquisite Album

"I feel completely overtaken by this record," Natalia Lafourcade says of 'De Todas las Flores.' Her first album of original material in several years is nominated in the Best Latin Rock or Alternative Album Category at the 2024 GRAMMYs.

Even those who were familiar with the artistry of Mexican singer/songwriter Natalia Lafourcade were stunned by De Todas las Flores , her tenth studio album. Her first collection of original material in seven years, it is also her most vulnerable and sophisticated work to date. Her voice has such an immediacy that almost leaps off the speakers.

Lafourcade is only 39, but she sounds like an old soul on these delicately arranged songs informed by Latin formats like bossa nova, bolero and trova. The shades of composer Claude Debussy in the intro of the folk ballad "Llévame Viento" are no coincidence — her album is a neo-impressionist masterpiece, the best effort of her career, and a fitting nominee in the Best Latin Rock or Alternative Album Category at the 2024 GRAMMYs .

"I would never have imagined my album being nominated in this category. But then I think about the idiosyncrasies of rock — a style spawned from broken places, the crevice where a flower can blossom — and it makes sense," Lafourade told GRAMMY.com in a roundtable discussion with her fellow 2024 nominees.

Recorded live to tape without any previous rehearsals together with a select group of virtuoso, jazz-oriented musicians — including Marc Ribot on guitar — the collection has an austere beauty to it, favoring a purity of sound and stately elegance that has been mostly absent from Latin music during the past decade. No visitors were allowed during the 12 days of sessions to preserve the intimacy of the process. 

Helmed by acclaimed producer Adan Jodorowsky, De Todas las Flores was mixed in Paris — a trip that allowed the singer the opportunity to visit the legendary flower garden by painter Claude Monet. "This album saved me," Lafourcade says. "It reminded me to be responsible for my own garden, my self-care. Its message is not only directed at me, but to other people as well."

Lafourcade’s commitment to her art and her fastidious attention to detail were rewarded at the 2023 Latin GRAMMYs . On the Sevilla stage, she won golden gramophones Record Of The Year , Best Singer/Songwriter Album and Best Singer/Songwriter Song Categories.    

Ahead of the 66th GRAMMY Awards , the singer discussed her recent tour, her recording process, and the album’s common points with a Cuban classic from decades past.

One of the best things that happened to me last year was seeing you in concert during your U.S. tour. I was especially impressed by the gigantic costume that you begin the show with — the larger-than-life skirt.

Ah, yes, the skirt. [ Laughs .] It all began at the photo shoot for the new album. The photographer asked me to wear a huge skirt because she liked the texture, like taffeta. I loved the end result and asked my stage designers for a skirt of many meters in diameter. Something truly huge that would allow me to transform myself. It could be like a boulder, or the endless sea, or a shadow that I carried along with me. 

I wanted something absurdly elegant, the kind of ritualistic getup that you may wear at a wedding or a lavish evening reception. I was getting ready to present the album at Carnegie Hall, and I imagined myself walking onstage in the darkness — the skirt would be the protagonist.

You leave the big skirt behind after the first half of the show. I imagined there was a deeper meaning to that.

The skirt represents the darkness and emptiness that you feel when there your soul breaks down. It’s like a dark canvass that allows you the option of painting it with light, thus finding life again. The skirt pins me down during the first half of the show, but then I lose it, much like an animal sheds its skin. 

All that death — the shadows, the tears, the emptiness — I offer it to the light as a gift, with the understanding that darkness can also be the greatest teacher. The moment where I took off the skirt became very moving to me, like psychomagic. Getting rid of that unwanted weight — but at the same honoring it with gratitude.

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Just like the skirt, De Todas las Flores is a larger-than-life record. I believe it will be treasured by fans for many decades. In a way, it’s the kind of album that transcends us all. Do you feel the same?

I feel completely overtaken by this record. It’s the kind of rare album that appears once in a while. It forced me to become exceedingly humble, honest and patient with myself. My task was to deliver these songs, and let them do their thing with the people who listen and absorb them. 

I am grateful that it is recognized and nominated, but it goes beyond any marketing strategy or accounting. 

Something that strikes me about the album is the almost supernatural immediacy of your voice. It sounds like you’re right here singing those tunes. How is that effect achieved?

I think you’re referring to the magic of an energy that I could not really explain with words. It’s like a physical sensation about something that arrives from a different place. It’s not in me — it’s just passing through my being.  

I’ve never considered myself a virtuoso singer. When we were making the album, I tried to remove myself from the equation. I was vocalizing with the least possible effort, simply surrendering to the songs, allowing them to express what they wanted to say. It felt warm and comforting.

What about the actual recording process?

There were different elements that played a part in creating that feeling: the fact that we were playing together in the same room, without a click track, reverb or autotune of any kind. 

The element of surprise played a big part, because we didn’t really know where the music was taking us. We relied largely on  improvisation. We felt it was important to respect the natural qualities of my voice, the instruments, even the echo in the room. I knew that it would add a special quality to the album, and make it sound like you describe it.   

I remember the indelible moment of listening to Casa for the first time in 2005. A young girl singing bossa novas about ducklings and sunny love songs about baking a cake for her beau...

So innocent, right? [ Laughs .]

The vibe of that record was incredibly light and frothy. In contrast, De Todas las Flores has this beautiful, ever-present gravity. How did you become the singer you are today?

My music has always involved a transference of my soul and personality in the present moment. In the period of time that elapsed between both albums, at one point I broke down. It happens to all of us. The dance of life gives us moments of flight, and moments of crashing down — I see both as treasures. 

My life has been marked by changes. The register of my voice is different; I can’t sing a number of melodies the way I used to. The road taken has given me experience, and you find different shades as you go through life. I’ve learned not to run away from the dark moments, but rather take from them something that can enrich my art. 

That said, a song like "Canta la Arena" [from De Todas las Flores ] is related to the bossa novas of my youth. It’s about finding life and joy at a beach in Veracruz. There are elements that pull me out of the shadows, and I interpret them through my current point of view.  The only way to reinvent yourself is to live intensely, to search and explore. De Todas las Flores is about doing that. A song like "“Pajarito Colibrí" is about liberating your soul from a place of mourning.

I may be completely off, but the acoustic vibe and wide-open spaces remind me of the first Buena Vista Social Club album...

What a spectacular reference. We definitely had in mind albums like Buena Vista , Kind of Blue , Coltrane ’s A Love Supreme , and some Nina Simone records. They all reflect the same search – our album is Latin in the point of view, but reflected through the prism of jazz. A group of musicians playing together in the same room, with audible mistakes. We played together, reading each other, finding the rhythm of the moment in an organic way. Just like the Buena Vista Social Club did.

That album happened by mistake, of course. It was meant as a conclave of African musicians playing in Cuba, but when they didn’t show up, Ry Cooder assembled an improvised group of local veterans.

At one point in the recording, Marc Ribot commented that real music happens within a short span of time. It’s a very intense moment of togetherness, and somebody must be there and press the record button. 

So many coincidences need to happen at the same time for the magic to take place. I’m always praying for that moment, because when it happens, I feel truly alive.

2024 GRAMMY Nominations: See The Full Nominees List

Photo: Jathan Campbell

How Much Is A GRAMMY Worth? 7 Facts To Know About The GRAMMY Award Trophy

Here are seven facts to know about the actual cost and worth of a GRAMMY trophy, presented once a year by the Recording Academy at the GRAMMY Awards.

Since 1959, the GRAMMY Award has been music’s most coveted honor . Each year at the annual GRAMMY Awards , GRAMMY-winning and -nominated artists are recognized for their musical excellence by their peers . Their lives are forever changed — so are their career trajectories. And when you have questions about the GRAMMYs, we have answers.

Here are seven facts to know about the value of the GRAMMY trophy.

How Much Does A GRAMMY Trophy Cost To Make?

The cost to produce a GRAMMY Award trophy, including labor and materials, is nearly $800. Bob Graves, who cast the original GRAMMY mold inside his garage in 1958, passed on his legacy to John Billings , his neighbor, in 1983. Billings, also known as "The GRAMMY Man," designed the current model in use, which debuted in 1991.

How Long Does It Take To Make A GRAMMY Trophy?

Billings and his crew work on making GRAMMY trophies throughout the year. Each GRAMMY is handmade, and each GRAMMY Award trophy takes 15 hours to produce. 

Where Are The GRAMMY Trophies Made?

While Los Angeles is the headquarters of the Recording Academy and the GRAMMYs, and regularly the home of the annual GRAMMY Awards, GRAMMY trophies are produced at Billings Artworks in Ridgway, Colorado, about 800 miles away from L.A.

Is The GRAMMY Award Made Of Real Gold?

GRAMMY Awards are made of a trademarked alloy called "Grammium" — a secret zinc alloy — and are plated with 24-karat gold.

How Many GRAMMY Trophies Are Made Per Year?

Approximately 600-800 GRAMMY Award trophies are produced per year. This includes both GRAMMY Awards and Latin GRAMMY Awards for the two Academies; the number of GRAMMYs manufactured each year always depends on the number of winners and Categories we award across both award shows.

Fun fact: The two GRAMMY trophies have different-colored bases. The GRAMMY Award has a black base, while the Latin GRAMMY Award has a burgundy base.

Photos: Gabriel Bouys/AFP via Getty Images; Frederick M. Brown/Getty Images

How Much Does A GRAMMY Weigh?

The GRAMMY trophy weighs approximately 5 pounds. The trophy's height is 9-and-a-half inches. The trophy's width is nearly 6 inches by 6 inches.

What Is The True Value Of A GRAMMY?

Winning a GRAMMY, and even just being nominated for a GRAMMY, has an immeasurable positive impact on the nominated and winning artists. It opens up new career avenues, builds global awareness of artists, and ultimately solidifies a creator’s place in history. Since the GRAMMY Award is the only peer-voted award in music, this means artists are recognized, awarded and celebrated by those in their fields and industries, ultimately making the value of a GRAMMY truly priceless and immeasurable.

In an interview featured in the 2024 GRAMMYs program book , two-time GRAMMY winner Lauren Daigle spoke of the value and impact of a GRAMMY Award. "Time has passed since I got my [first] GRAMMYs, but the rooms that I am now able to sit in, with some of the most incredible writers, producers and performers on the planet, is truly the greatest gift of all." 

"Once you have that credential, it's a different certification. It definitely holds weight," two-time GRAMMY winner Tariq "Black Thought" Trotter of the Roots added. "It's a huge stamp as far as branding, businesswise, achievement-wise and in every regard. What the GRAMMY means to people, fans and artists is ever-evolving." 

As Billboard explains , artists will often see significant boosts in album sales and streaming numbers after winning a GRAMMY or performing on the GRAMMY stage. This is known as the "GRAMMY Effect," an industry phenomenon in which a GRAMMY accolade directly influences the music biz and the wider popular culture. 

For new artists in particular, the "GRAMMY Effect" has immensely helped rising creators reach new professional heights. Samara Joy , who won the GRAMMY for Best New Artist at the 2023 GRAMMYs , saw a 989% boost in sales and a 670% increase in on-demand streams for her album Linger Awhile , which won the GRAMMY for Best Jazz Vocal Album that same night. H.E.R. , a former Best New Artist nominee , saw a massive 6,771% increase in song sales for her hit “I Can’t Breathe” on the day it won the GRAMMY for Song Of The Year at the 2021 GRAMMYs , compared to the day before, Rolling Stone reports . 

Throughout the decades, past Best New Artist winners have continued to dominate the music industry and charts since taking home the GRAMMY gold — and continue to do so to this day. Recently, Best New Artist winners dominated the music industry and charts in 2023: Billie Eilish ( 2020 winner ) sold 2 million equivalent album units, Olivia Rodrigo ( 2022 winner ) sold 2.1 million equivalent album units, and Adele ( 2009 winner ) sold 1.3 million equivalent album units. Elsewhere, past Best New Artist winners have gone on to star in major Hollywood blockbusters ( Dua Lipa ); headline arena tours and sign major brand deals ( Megan Thee Stallion ); become LGBTIA+ icons ( Sam Smith ); and reach multiplatinum status ( John Legend ).

Most recently, several winners, nominees and performers at the 2024 GRAMMYs saw significant bumps in U.S. streams and sales : Tracy Chapman 's classic, GRAMMY-winning single "Fast Car," which she performed alongside Luke Combs , returned to the Billboard Hot 100 chart for the first time since 1988, when the song was originally released, according to Billboard . Fellow icon Joni Mitchell saw her ‘60s classic “Both Sides, Now,” hit the top 10 on the Digital Song Sales chart, Billboard reports .

In addition to financial gains, artists also experience significant professional wins as a result of their GRAMMY accolades. For instance, after she won the GRAMMY for Best Reggae Album for Rapture at the 2020 GRAMMYs , Koffee signed a U.S. record deal; after his first GRAMMYs in 2014 , Kendrick Lamar saw a 349% increase in his Instagram following, Billboard reports. 

Visit our interactive GRAMMY Awards Journey page to learn more about the GRAMMY Awards and the voting process behind the annual ceremony.

(L-R) Billy Joel, Freddy Wexler

Freddy Wexler On Helping Billy Joel "Turn The Lights Back On" — At The 2024 GRAMMYs And Beyond

"Part of what was so beautiful for me to see on GRAMMY night was the respect and adoration that people of all ages and from all genres have for Billy Joel," Wexler says of Joel's 2024 GRAMMYs performance of their co-written "Turn The Lights Back On."

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

Photo: Andrew Sankovich

GRAMMY U Reps Experience GRAMMY Week Like Never Before Thanks To The Recording Academy & United Airlines

United Airlines flew the GRAMMY U Representatives out to L.A. for an unforgettable 2024 GRAMMY Week. The trip provided significant professional development in music, and the Reps savored every moment. Take a look at the GRAMMY U Reps’ inspirational week.

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 Masterclass with actress/GRAMMY-nominated R&B artist Halle Bailey . 

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."

View this post on Instagram A post shared by GRAMMY U (@grammyu)

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."

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. 

GRAMMY U DC Rep Shaneel Young aspires to work in music marketing. "Interviewing some of the most influential people in the industry about my passions: music, fashion, and culture, will be a moment I remember for the rest of my career," she reflects.

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!"

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.)

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.

Photo: Jason Armond / Los Angeles Times via Getty Images

South African Singer Tyla Won The Inaugural Best African Music Performance Category At The 2024 GRAMMYs. What Does It Mean For African Music On The Global Stage?

While Afrobeats and amapiano are certainly crossing over in America, Tyla’s win reflects how Western influence is often necessary for African music to transcend the continent. Is "Water" what African music needs to blossom?

As the first recipient of the inaugural Best African Music Performance GRAMMY Award, South African songstress Tyla has officially etched her name into history. At the 2024 GRAMMYs , the 22-year-old's amapiano-infused Afro pop hit "Water" beat out several long-established names in African music.

While Tyla's success on Music's Biggest Night stresses the Recording Academy's continued efforts to showcase diverse African music, her victory is more of a one-armed hug rather than a full, legs-off-the-ground embrace of African music. 

This is chiefly because "Water" was successful and marketable for its use of Western pop influences. While Afrobeats and amapiano are certainly crossing over in America , bestowing a golden gramophone upon an artist whose work reflects familiar sounds is a curious step forward for African music. Still, Tyla's win may foster a greater embrace of the African sound, and the virality and pervasiveness of "Water" propelled the Johannesburg-born singer/songwriter to unheard of heights. 

"Water" hit No. 1 on the Billboard U.S. Afrobeats Songs and Hip-Hop/R&B charts, and became the first African song to enter the Billboard Hot 100 since 1968. The track peaked at No. 7, making Tyla the highest-charting African female solo musician in Billboard history. The "Water" dance challenge on TikTok further pushed the track into the global sphere, and the song has been featured in over 1.5 million videos.

The widespread appeal of "Water" is a culmination of elements, notably a fusion of Western pop with subtler amapiano influences. The song melds sleek American R&B and pop compositions with the log drums and piano trails synonymous with the South African amapiano genre. 

Read more: 10 African GRAMMY Winners Through The Years: From Miriam Makeba To Angélique Kidjo & Burna Boy

Indeed, most musical genres (regardless of continent of origin) draw inspiration from and contribute back to each other. The resulting music transcends regional boundaries and appeals globally — and Tyla's "Water" is proof of this resonance. Yet it also reflects how a major Western influence is often necessary for African music to transcend the continent. 

The Recording Academy's new Category was designed to highlight "strong elements of African cultural significance," said Shawn Thwaites, Recording Academy Awards Project Manager and author of the Category. In describing eligibility for the Best African Music Performance Category, Thwaites noted that songs must feature "a stylistic intention, song structure, lyrical content and/or musical representation found in Africa and the African diaspora." 

Still, when it comes to recognizing lesser known genres — from South Africa's gqom to Tanzania’s singeli and Ghana’s asakaa — the global audience still has a long way to go.

"We need to go deeper and in more detail within different genres of music. We know there are multiple different types of music — hundreds of genres, in fact — coming from Africa and from all 54 countries on the continent," Recording Academy CEO Harvey Mason Jr. told GRAMMY.com after his three trips to the vibrant continent. "I'd love to see us be able to honor even more music from Africa and other areas of the world."

Thwaites hopes that celebrating the diversity of African music will also lead to greater cultural exchange. Eventually, this could lead to "more collaborations between artists of different genres and more artist relations between labels and executives in America," he said. 

But for this progression to happen correctly, there has to be a cultural education about the music within the continent and it's something Ghazi Shami , CEO/Founder of Empire Records, Distribution and Publishing — who consulted with the Recording Academy on the new Category — is looking forward to watching develop. 

"I think we'll see expanded categories in African music in the years to come, but this is a great start toward recognizing the merits and impact of African music," he told GRAMMY.com prior to the ceremony. 

Tyla's GRAMMY win is an exceptional achievement — particularly so for a young African woman. Popular African music has often been skewed towards male artists. At the 2023 GRAMMYs , Tems became the only female solo artist currently living in Nigeria to win a GRAMMY. ( Sade , who was born in Nigeria, has won four GRAMMYs but lives in the U.K.)

A similar trend is observed in South Africa, where Miriam Makeba was both Africa's first GRAMMY winner and the country's solo female vocalist to win prior to Tyla. 

Tyla's win is a beacon to other young female performers in Africa — including fellow Category nominee Ayra Starr and singer/songwriter and producer Bloody Civilian — proving that female artists can and will be recognized, regardless of their country of origin. It also demonstrates how the distance between African artists and international prestige has been shortened, thus furthering the likelihood of artistic innovation.

Her win is also notable in a Category stacked with Nigerian artists. Of the five nominated works, "Water" is the only one not created by an artist of Nigerian descent or currently living in Nigeria. (Though South African producer Musa Keys is featured on Davido 's nominated "UNAVAILABLE.") Although South Africa has a lengthy history at the GRAMMY Awards, Tyla is proof the world is listening to what her country has to offer. 

While her fellow nominees — Starr, Burna Boy , Davido, ASAKE & Olamide   — and artists such as Wizkid have also shouldered the responsibility for the globalization of popular African music, there is still a long road ahead. 

Tyla’s win holds significant promise for African music as pop music. While "Water" certainly has noticeable South African elements, its Western appeal may partially lay in its use of familiar sounds. For Africa to truly win, the world has to embrace African music for what it is, and not for what it's trying to be. 

Big First Wins At The 2024 GRAMMYs: Karol G, Lainey Wilson, Victoria Monét & More

• 1 Catching Up With Natalia Lafourcade: How Togetherness, Improvisation & The Element Of Surprise Led To Her Most Exquisite Album
• 2 How Much Is A GRAMMY Worth? 7 Facts To Know About The GRAMMY Award Trophy
• 3 Freddy Wexler On Helping Billy Joel "Turn The Lights Back On" — At The 2024 GRAMMYs And Beyond
• 4 GRAMMY U Reps Experience GRAMMY Week Like Never Before Thanks To The Recording Academy & United Airlines
• 5 South African Singer Tyla Won The Inaugural Best African Music Performance Category At The 2024 GRAMMYs. What Does It Mean For African Music On The Global Stage?

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Natalia Lafourcade Concert Setlists & Tour Dates

De todas las flores tour, natalia lafourcade, natalia lafourcade at americanafest pre-grammy salute to paul simon.

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Natalia Lafourcade at WaMu Theater, Seattle, WA, USA

• Vine solita
• De todas las flores
• Pasan los días
• Llévame viento
• El lugar correcto
• Pajarito colibrí
• María la Curandera
• Caminar bonito
• Mi manera de querer
• Canta la arena

Natalia Lafourcade at San Jose Civic, San Jose, CA, USA

Natalia lafourcade at bésame mucho 2023.

• Ya no vivo por vivir
• Mi tierra veracruzana
• Hasta la raíz
• Nunca es suficiente

Natalia Lafourcade at Special Events Center, Indio, CA, USA

Natalia lafourcade at auditorio telmex, zapopan, mexico.

• Poema María Sabina

Natalia Lafourcade at Auditorio Citibanamex, Monterrey, Mexico

• María la curandera

Natalia Lafourcade at Auditorio Nacional, Mexico City, Mexico

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• Hasta la raíz ( 135 )
• Nunca es suficiente ( 127 )
• Lo que construimos ( 124 )
• En el 2000 ( 118 )
• Amor de mis amores ( 110 )

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486 people have seen Natalia Lafourcade live.

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