sounds of the 70s tour 2022

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How The Sounds Of The '70s Took Over The 2022 GRAMMYs: The Return Of ABBA, The Throwback Vibes Of Silk Sonic & More

Between the feel-good soul of Silk Sonic and the return of pop greats ABBA, there’s no denying that the 1970s have permeated mainstream music once again. And as several 2022 GRAMMY nominations reflect, its influence goes beyond the dance floor.

It started as a mysterious announcement: an invite to an event deemed "a historic day that celebrates the past and future of ABBA ."

Why this message was coming in September 2021, four decades after their gargantuan global success in the '70s, was an open question. As it turns out, there was a future of ABBA — and an auspicious one. 

The beloved band would release new music for the first time since 1982 in the form of the album Voyage . The project earned ABBA the first-ever GRAMMY nomination, thanks to the aptly-titled single "I Still Have Faith In You," up for Record of the Year. But in addition to being the group's highest-charting album to date — it debuted at No. 2 on the Billboard 200 in November — Voyage was emblematic of a '70s influence that had infiltrated contemporary music in full force. 

That's especially reflected at the 2022 GRAMMY Awards : In practically every nomination field this year, the sounds and sentiments of the '70s are thriving as boisterously as a pair of bell bottoms under a shimmering disco ball. From ABBA's inaugural nod to the musical voice of this year's most-nominated artist, Jon Batiste (who received 11 nominations across seven fields), it's an undeniable fact that everything old is new again. 

So why are the sounds of the '70s making such a triumphant return? One could argue that after two years of dour headlines and uncertainty, people are eager to remember times when society let loose and the culture was just unapologetically fun. Those two qualities are front and center in Doja Cat and SZA 's downright fun "Kiss Me More," nominated for four GRAMMYS including Song and Record of the Year.

"I wanted to make a song about kissing," Doja matter-of-factly told Apple Music's Zane Lowe. "I just thought it would be cute. That doesn't happen too often, but just a song that's solely about kissing." How does one package up that blatant innocence in a musically joyous way? By infusing it with disco beat, of course, courtesy of Olivia Newton-John 's "Physical " (though released in 1981, the single borrowed its buoyant vibe from the previous decade).

As ABBA, Doja and SZA have been bringing the disco era's pure pop sounds, Bruno Mars and Anderson .Paak 's Silk Sonic dug into the soul and R&B of the time. The duo's acclaimed album An Evening with Silk Sonic takes a page from bygone acts like the Stylistics , the Spinners and the Manhattans . All of those groups who sang with deep passion, stacked melodies and slow-simmering rhythms. 

Silk Sonic's debut single, "Leave The Door Open," is a recipe for a bonafide throwback gem, with serious harmonizing buoyed by Mars' falsetto. Its '70s stylings clearly resonated: Along with topping several charts, "Leave The Door Open" is nominated for four GRAMMYS, including Record and Song of the Year.

Then there's Jon Batiste. He's the ceremony's most-nominated artist with a whopping 11 chances to win a prized trophy (including Record of the Year for "Freedom" and Album of the Year for We Are ,) and the most acknowledged act since Kendrick Lamar scooped up 11 nods six years ago. (Only Michael Jackson and Babyface have been nominated for more GRAMMYS, once each scoring 12 nominations in a single year.) Much like Bruno Mars, Batiste's musical influences have a firm foundation in the past, specifically music popularized decades before his own 1986 birth.

"It has the classic feel I was trying to imitate when I was growing up," said Batiste in a recent interview of We Are 's soulful, throwback and funky feel that could have been right at home smack in the middle of the 70s. "My mentors — Stevie Wonder, or Quincy Jones, who wrote the liner notes for the album — when they listen to it, they hear that in it." 

The recycling of former sounds is a story as old as the music industry itself, with long-antiquated genres popping up and taking culture by storm on a regular basis. These periods of renewed interest are akin to the revival of any sort of trend in music, fashion or otherwise. It often follows a formula: first something is cutting edge, then it becomes mainstream, sometimes resulting in a period of ultra-proliferation. During this phase, the trend morphs into passé, only to be forgotten about — and then subsequently rediscovered by some future generation. 

This oft-repeated cycle, which takes place over a period of 20 to 40 years, is another reason why the '70s are back. It even occurred during the actual 1970s, as the '50s came back into vogue in the wake of the Vietnam War and subsequent American political upheaval. Yearning for a simpler time, that innocence was found through the shows and music stemming from "Happy Days," American Graffiti and That's Entertainment taking over culture.

The 1960s had its comeback moment as well: At the turn of the century, pop had gone fully bubblegum and synthetic, paving the way for a '60s revival. By the mid-2000s, the spirit of the Motown era had returned; GRAMMY-winning artists like Amy Winehouse to Duffy brought soul back to pop radio, and the Beyonce and Jennifer Hudson-starring Dreamgirls revived the Motown story on screen. 

Even as the '70s influence is flourishing now, so is the emo music of the aughts. Elements of pop-punk are sprinkled across Olivia Rodrigo 's Album Of The Year-nominated Sour (even sampling genre heavyweights Paramore in the hit "Good 4 U"); Halsey 's If I Can't Have Love, I Want Power (up for Best Alternative Music Album) incorporates emo sounds in tracks like "Easier Than Lying."

Like ABBA, a few other veteran '70s acts earned GRAMMY nominations this year. AC/DC — who formed in Australia in 1973 and released a variety of acclaimed albums through the decade — received their first nominations since 2010. The group's 17th studio album, 2020's Power Up, is up for Best Rock Album, while its single "Shot in the Dark" also scored nods for Best Rock Song and Best Music Video.

Powerhouse vocalist Mavis Staples notched her 14th GRAMMY nomination — and her first for Album Of The Year — as a featured artist on the aforementioned Batiste's album, We Are. (Staples got her start in the '70s with family gospel/soul band the Staple Singers , who fully came into their own with a string of nominations in R&B categories from 1971 to 1973.) 

It's been well-documented that GRAMMY voting has continually been a push and pull between new generations of decision makers and the old guard. The nominating of bygone artists is as much about honoring a legacy as it is about a current place in the music landscape. 

Read More: For The Record: How AC/DC's 'Power Up' Continues Their Electrifying Legacy

The same push and pull is happening on a macro level with audiences whose very contemporary love for these past eras translates to streams and album sales. Case in point: AC/DC's Power Up debuted at No. 1 on the Billboard album charts, only the third time the band has ever achieved the feat.

Meanwhile, ABBA's Voyage not only enjoyed critical acclaim , but its No. 2 debut on the Billboard 200 marked the first top 10 album of the band's history. It's a long way from the days when ABBA were considered more of a guilty pleasure than icons in the making. Today, they're GRAMMY nominated and widely regarded as legends of the industry, no doubt a result of a changing, nostalgia-loving culture.

While there may be no exact explanation for the '70s making a comeback at this particular moment — even ABBA's Benny Andersson admits "I really don't get it" — Bruno Mars arguably encapsulated the decade's musical revival best in a 2021 Rolling Stone interview about Silk Sonic's process. "I don't know what year it is," he said. "I'm not looking at the charts. So we'd just come here every night, have a drink, and we play what we love."

How The Pandemic And Political Turmoil Inspired 2022 GRAMMY Nominees: Alicia Keys & Brandi Carlile, Foo Fighters & More

Photo: Courtesy of Dylan Chambers

ReImagined: Watch Dylan Chambers Channel Bruno Mars In This Groovy Cover Of "Uptown Funk"

Pop-soul newcomer Dylan Chambers offers his rendition of "Uptown Funk," Mark Ronson and Bruno Mars' infectious 2014 hit.

In the latest episode of ReImagined, soul-pop newcomer Dylan Chambers delivers a fresh, heartfelt take on "Uptown Funk", using an electric guitar to drive the performance.

In the year of its inception, Mark Ronson and Bruno Mars ' "Uptown Funk" quickly made strides across the map, from a No. 1 peak on the Billboard Hot 100 to a Record Of The Year and Best Pop Duo/Group Performance win at the 2014 GRAMMYs . Ten years after its release, it is the ninth most-viewed YouTube video of all-time and was named one of Billboard 's "Songs That Defined The Decade."

Chambers named Mars as one of his most influential inspirations and praised Silk Sonic 's Las Vegas residency as one of the "greatest concerts" he has attended in an interview with Muzic Notez .

"Don't believe me, just watch," Chambers calls in the chorus, recreating its notable doo-wop ad-libs with the strums of his instrument.

Chambers dropped his latest single, "I Can Never Get Enough" on April 10, following his March release "High (When I'm Low)." Both tracks will be a part of his upcoming EP, For Your Listening Pleasure! , out May 17.

Press play on the video above to watch Dylan Chambers' groovy rendition of Bruno Mars & Mark Ronson's "Uptown Funk," and check back to GRAMMY.com for more new episodes of ReImagined.

Behind Mark Ronson's Hits: How 'Boogie Nights,' Five-Hour Jams & Advice From Paul McCartney Inspired His Biggest Singles & Collabs

Photo: Dania Maxwell / Los Angeles Times via Getty Images

7 Incredible Sets From Coachella 2024 Weekend 1: Doja Cat, No Doubt, Raye & More

With a weekend full of surprise guests, exciting reunions and breakout performances from first-time performers, this weekend in Indio was one for the books. Read on for seven of the top performances at the first weekend of Coachella 2024.

While every headliner at last year’s Coachella held some sort of historical cultural significance, Coachella 2024 ’s roster instead represented a series of graduations from opening slots and side stages to top-tier main stage titan status.

Friday featured Lana Del Rey , whose sole previous Coachella performance was at the Outdoor Theatre in 2014. Saturday was capped by Tyler, The Creator appearing for the third time in Indio (his last appearance as runner up to Haim and Beyoncé on the main stage in 2018). And on Sunday, Doja Cat occupied the uppermost spot after her penultimate main stage appearance in 2022.

Yet Coachella Weekend 1 this year’s attendees got astronomically more bang for their buck than they counted on, due to a surprise-guest-heavy lineup. The bulk of those special moments came from  A-list talent, from Billie Eilish with Lana Del Rey to Olivia Rodrigo with No Doubt , Justin Bieber joining Tems , Kesha with Reneé Rapp, most of the Fugees performing alongside YG Marley, Will Smith performing "Men in Black" with J Balvin … the list goes on. 

When all was said and done, the diversity, quality and impact of the weekend’s performances were tremendous. Even without elite bonus appearances, there were plenty of performances — quite a few of them newcomers, recent buzzbands and imminent breakthroughs — that made this year’s Coachella more than worthy of an early accolade for one of the first-rate fests of 2024. Read on for seven of the best sets from Coachella 2024.

Faye Webster Thrills Loyal Fans With Supreme Confidence

Underneath the shaded canopy of the Mojave Tent, Faye Webster held her sprawling audience in the palm of her hand during her Coachella debut on Friday. Deafening cheers rang out at the start of every song, which seemed to infuse the 26-year-old singer/songwriter with a level of energy unparalleled up to this point in her career.

Webster deftly worked her way through 11 tracks, each one received with wild cheers from fans, who sang with such gusto that they often nearly overpowered her own vocals. The crossroads of her confidence and creativity fully manifested during closing tune "Kingston," which saw her pausing to let the audience belt out the remainder of the line, a beckoning gesture that exuded self-assuredness. 

Notably, three of six new songs ("Wanna Quit All the Time," "He Loves Me Yeah!" and "Lego Ring") from her recently released fifth album Underdressed at the Symphony were live debuts. The fact that Webster saved them for Coachella showed a clear intention to ensure the set was extra special. Beyond any shadow of doubt, she succeeded. 

Lana Del Rey Taps Billie Eilish, Jon Batiste & Others For Standout Friday Set

With her notoriously downtempo demeanor, Lana Del Rey wasn’t the obvious choice for a Friday headlining spot on the main stage, but when all was said and done, her 20-song set delivered plenty to position her as a standout performer. 

Dressed in an elegant baby blue gown, her entrance — a slow ride on the back of a motorbike through the lanes of the crowd all the way to the stage — worked wonders to build excitement. And her first three song choices, a shortened version of "Without You" (not performed since 2014) and two more gems from the vault — "West Coast" (debuted 10 years ago to the day at her first Coachella appearance) and her superb cover of Sublime’s "Doin’ Time" — signaled her intention to make this show a truly special occasion (neither of the latter two tunes have appeared on a setlist since 2019).

From there it was a parade of hits culled from her robust catalog, as the GRAMMY-nominated singer waltzed her way across the expanse of a fairytale palace stage production, at several points venturing up flights of stairs to a towering terrace. Four of her 10 albums feature production from Jack Antonoff (who played with Bleachers on Saturday), so it was unsurprising when he took the helm of the white grand piano toward the end for a strikingly serene duet with a hologram Lana on "Hope is a Dangerous Thing for a Woman Like Me to Have — But I Have It."

Jon Batiste (who performed his own set on Saturday) also assisted on piano for an alluring take on "Candy Necklace," but the pinnacle moment arrived during performances of "ocean eyes" and "Video Games" alongside surprise guest Bil l ie Eilish . Sitting side by side atop a balcony, the two harmonized through much of those tracks, and the occasions when Lana sat back to let Billie sing several sections solo were absolutely arresting. The two superstars stared adoringly at each other throughout, clearly just as awe-inspired by the unprecedented collaboration as the audience, which erupted with rapturous applause that rivaled the decibels of the set’s glittering fireworks finale.

Raye Races Toward Superstardom During Emotional Debut

After just one song of Raye’s Saturday afternoon performance, there was no question that her Coachella debut would be remembered as one of the most striking in recent years. The British songwriter and chanteuse, who shattered the record for most wins and nominations in a single year at this year’s BRIT Awards, poured every ounce of her soul into her 45-minute set. The crowd inside the Mojave tent hung on every note and went absolutely berserk all the way from the sultry intro of "The Thrill is Gone" to gloriously anthemic closer "Escapism."

Backed by a powerhouse band of eight backup singers, three string players, four brass aces and the standard guitar, drums and bass, each song was a showstopper. Without question, the most impactful moment came on "Ice Cream Man," which deals with her own experience with sexual assault and rape.

"I want you to know it’s not an easy song to sing," she started. And before she could continue, the audience released a loud roar of support, to the point that the singer shed tears. When she composed herself, she continued, "But it’s important to be loud .. and to be brave. This allows me to be loud about something I’ve been quiet about my entire life. I am very f—ing strong."

That moment — which culminated into a big band-style belter that evoked the power of Amy Winehouse and Billie Holiday — likewise drew tears from many in the audience. Further, it defined Raye as an artist destined for superstardom on the merits of genuine talent, an infinitely infectious spirit, and incomparably hard work ethic. To that end, it should be no surprise she’s the songwriter behind tunes from GRAMMY-winning artists including Beyoncé , no big deal. 

Sublime Revives Their Definitive Sound Alongside Jakob Nowell

Though many were referring to Sublime’s Saturday afternoon appearance on the Coachella main stage as a "reunion" in the days leading up to the festival, new frontman Jakob Nowell — son of the band’s deceased original singer Bradley Nowell — made it abundantly clear that wasn’t precisely the case.

"My name is Jakob Nowell and this is Sublime," he said following the conclusion of opening song "April 29, 1992," gesturing toward the beloved Southern California ska-punk band’s surviving members bassist Eric Wilson and drummer Bud Gaugh.

Read more: Sublime's Jakob Nowell On Leading His Father's Legendary Band & What To Expect At Coachella

His resistance to co-opt his dad’s legacy was admirable, which was an issue for some when Rome Ramirez joined Wilson and Gaugh in 2009 to form Sublime with Rome , a chapter that ended for those original members when Gaugh left the band in 2011 and Wilson subsequently exited in February. With all the pieces in place, the next hour played out as a fantastically fun alliance of old and new.

Jakob sounded strikingly like his dad during most moments, though he asserted his own spin on the classic sound by adding a hardcore-esque growl at various points in the set. Among the 14 songs, they revived early-era material that hadn’t been played live since the mid '90s, including "Date Rape," "Badfish" and "Doin’ Time." One cut, "Romeo," had not been performed live since 1988. The band likewise included tunes that Bradley never got to perform from the band’s final self-titled album, including some of their biggest commercial successes. Tracks such as "What I Got" and "Santeria" were sung by thousands, a chorus oozing with celebratory mass catharsis. 

By the end, there could be only one conclusion: the most definitive version of a revived Sublime has arrived and, should they choose to continue on, they’ll be received by fans with open arms. 

No Doubt Snatches Headliner Status During Jubilant Reunion

Though the reunion of No Doubt was billed as the runner-up to Tyler, the Creator’s Saturday night finisher, it’s absolutely valid to argue that the beloved Southern California outfit — playing their first show since 2015 — was the evening’s true headliner. The eye-popping expanse and unerring enthusiasm of the audience (the largest of the weekend), combined with the group’s sheer joy and explosive energy, drove the feeling home.

Every member of the core group — bassist Tony Kanal , guitarist Tom Dumont , drummer Adrian Young and frontwoman Gwen Stefani — emanated pure exultation, wide grins plastered permanently on their faces. Stefani was especially fired up; after the band powered through five treasured tracks — including opener "Hella Good" (performed at the end of long catwalk), "Ex-Girlfriend," and "Different People" (featured for the first time since 2009) — the singer stopped to address the sea of screaming fans.

"Wow … you showed up to Coachella Saturday night 2024 to see No Doubt play together on this stage for the first time in nine years. Are you crazy?!" Stefani said. "If I could just somehow explain the amount of love [we feel] and how much I wanna slap the s— out of you guys tonight!"

The sentiment was meant endearingly, but every song did hit intensely. In particular, a rendition of "Bathwater" featuring special guest Olivia Rodrigo — as hyped as Stefani with her never-ending spinning and bouncing antics — left a lasting mark. For old school fans, the Return to Saturn single was a special treat, and with Rodrigo in the mix, it elicited equal exuberance from younger audience members.

For the finale of the 16-song setlist, the band fulfilled the promise of euphoric nostalgia with a hard-hitting trio of tracks off 1995 breakthrough third album Tragic Kingdom : "Just a Girl," "Don’t Speak" and "Spiderwebs." The timeless tunes incited a sudden surge of fans toward the stage, and one would’ve been hard pressed to spot anyone not participating in the jubilant singalongs. It was a moment of multi-generational unity and unbridled joy — unquestionably unforgettable, and hopefully just the precursor to a triumphant new era of No Doubt.

Olivia Dean Enters the Stateside Festival Scene With Humbling Authenticity

Watching the first few moments of British neo-soul singer Olivia Dean’s Sunday afternoon performance in the Gobi tent, you’d never know this was her first American festival appearance. And what an incredible debut, at one of the States’ most prestigious festivals with only one album under belt (2023’s Messy ) to boot. The 25-year-old stunned with utmost finesse and confidence, working the stage like a long-established diva and immediately eliciting rapturous applause after each of the first two songs, "OK Love You Bye" and "Echo."

While it can sometimes be off-putting when an artist introduces every song with a tidbit explaining what it’s about, this method had the opposite effect for Dean. Her context made each moment feel intensely personal, and the audience reaction was overwhelming. One of many tunes with a distinctly Motown bop, "The Hardest Part," was prefaced with the remark that it "recently changed [her] life," and spoke to the process of overcoming grief. After the final note was sung, she received a deafening standing ovation, prompting her to endearingly cover her face in response. And there was so much power in her anecdote before "Carmen," a tribute to how her grandmother made everything possible for her. 

"My granny came to London when she was 18 … had never been on a plane … left her life behind and had my mom, and my mom had me," she said, already being drowned out by cheers before the final remark: "This song is for my granny and anyone brave enough to move and any immigrant in the crowd right now."

As she wrapped up her short set with the bewitching single "Dive," the sun broke through the clouds, illuminating her with the loveliest natural spotlight to complement a performer who already naturally, effortlessly shines on her own.

Doja Cat Exudes Total Command & Flawless Flow For Sunday Finale 

It cannot be overstated: Doja Cat’s fest-closing performance on the main stage was a visionary masterpiece, and the strongest headlining set of the first weekend. That wasn’t certain from the stripped-down beginning moments when the GRAMMY-winning singer/rapper appeared on a circular b-stage mid-audience, dressed in a hazmat suit and encircled by a black and yellow biohazard pattern.

But excitement built steadily as she bombastically delivered opening song "ACKNOWLEDGE ME," which, even in an abbreviated format, lived up to its title and created a palpable air of anticipation. From there, she strutted back toward the main stage via a connected catwalk, meeting briefly in the middle with South African quintet the Joy (set to release their self-titled debut album on June 21) offering up fiery raps amidst the group’s arresting a cappella .

Shortly after, Doja appeared on the main stage dressed in a knee-length platinum blonde weave, flanked by an army of dancers who all wore matching getups covered in the same synthetic hair. The effect when they all converged, their movements completely in sync, created an optical illusion of one enormous hairy creature moving across the stage to punctuate the ferocity of "Demons." 

That was just the first taste of a breathtaking series of visual sequences over the course of the 70-minute show, each profoundly enhanced by cinematography that created the effect of watching a top-quality music video on the main stage’s massive screens. If you witnessed the camera work during Beyoncé’s Homecoming show back in 2018 or Rosalía’s production in 2023, you’ll understand the aesthetic. 

Other key moments when the video work was utterly astonishing arrived during the live debut of "OKLOSER" (one of five first-time song features) where the previously smooth camera went rogue, shakily weaving through the gang of dancers to create the effect of maneuvering through a chaotic house party; again during "Attention" as the lens wove through dancers in fur coats wielding Cruella de Vil-inspired cabrioles until it settled on Doja at the end of the line; and finally during closing track, "Wet Vagina," where Doja and her dancers rolled and writhed (in perfect choreographed unison) on the b-stage filled with brown mud, the sequel ending in a stunning birds-eye shot. 

Backtracking a few moments earlier, maybe the most jaw-dropping production element came on "WYM Freestyle" in the form of a giant T-Rex skeleton following Doja down the catwalk while flames erupted from the stage behind her. The precise reason for that wasn’t evident, but it certainly boosted the ferocity of her raw rap delivery.

The unending visual feast only served to amplify Doja’s already flawless flow. She never missed a vocal mark, whether singing or rapping. She didn’t even once pause to banter with the audience, creating the effect of total focus and command. Big bonuses: 21 Savage materializing mid-set to serve up "n.h.i.e.," Teezo Touchdown’s cameo on "MASC" and A$AP Rocky (who likewise performed with Tyler, the Creator on Saturday) swooping in for "URRRGE!!!!!!!!!!" before Doja dazzled with super-hit "Paint the Town Red."

When all was said and done, Doja Cat more-than-earned her graduation to festival headliner, and while she’s already set for an arena tour this year, she’s clearly destined to stun at stadiums not far in the future. 

Coachella 2024 Weekend 1 Recap: 20 Surprises And Special Moments, From Billie Eilish & Lana Del Rey To Olivia Rodrigo With No Doubt

Photo: Jeff Kravitz/FilmMagic

Where Do You Keep Your GRAMMY?: Autumn Rowe Revisits Her Unexpected Album Of The Year Win With Jon Batiste

Acclaimed songwriter Autumn Rowe reveals the inspirational location where her Album Of The Year golden gramophone resides, and details the "really funny way" she first met Jon Batiste.

Ever since Autumn Rowe won a GRAMMY in 2022, it's been her biggest motivation. That's why the musical multi-hyphenate keeps the award nestled in her writing room — to keep her creative juices flowing.

"It reminds me that anything is possible," she says in the latest episode of Where Do You Keep Your GRAMMY?

Rowe won her first-ever career GRAMMY in 2022 with an Album Of The Year award for Jon Batiste 's We Are . "It was very stressful," she recalls with a laugh.

"Right before they announced Album Of The Year, the pressure started getting to me," Rowe explains. "Album Of The Year is the biggest possible award you can win. So, I'm like, 'We didn't win any of these [categories], how are we going to win the biggest award?"

The win also taught her one unforgettable, valuable lesson: "We matter. The music matters. Everything matters. We just have to create it. If there isn't space for it, we have to make space for it. Don't wait for something to open."

Rowe says she grew up "super dirt poor" and never even had the opportunity to watch the awards ceremony on television. "To be a GRAMMY winner means it is possible for everyone," she declares.

Press play on the video above to learn more about the backstory of Autumn Rowe's Album Of The Year award, and remember to check back to GRAMMY.com for more new episodes of Where Do You Keep Your GRAMMY?

Where Do You Keep Your GRAMMY?: Christopher "Tricky" Stewart Recalls Winning Song Of The Year For Beyoncé's "Single Ladies"

Photo: Kevin Winter/Getty Images

2024 Oscars: Watch Jon Batiste Perform A Poignant Rendition Of "It Never Went Away" From The Documentary Film 'American Symphony'

At the 2024 Academy Awards, five-time GRAMMY winner Jon Batiste performed a soul-nourishing version of "It Never Went Away" from ‘American Symphony,’ the acclaimed documentary film about his and wife Suleika Jaouad’s personal and creative lives.

At the 2024 Oscars on March 10, five-time GRAMMY winner and 20-time nominee Jon Batiste took the stage for a scintillating version of his co-write with Dan Wilson , "It Never Went Away."

For said performance, the multimedia phenom kept the proceedings spare and probing, letting his iridescent piano and singular pipes do the heavy lifting. Watch it above.

"It never went away/Every time I see your face," Batiste sang, in a commensurately understated, off-white stage outfit and backdrop. "The feeling's just the same/ It's never goin' away."

"It Never Went Away" was featured in the acclaimed 2023 documentary American Symphony , about his and his wife author Suleika Jaouad's personal and creative development — under the spectre of cancer and an impending debut at Carnegie Hall, of the symphony of the same name.

2024 Oscars: Watch Performances & Highlights

"It was very complicated from a producing point of view to navigate the puzzle of Jon's insane life, and then trying to find our way into the hospital, and then back out again, and back in again," American Symphony director Matthew Heineman said last year at a live interview covered by GRAMMY.com.

In the same conversation Heineman aptly described the overall process as reflecting "the symphony of life that we witnessed over the past year."

Keep checking this space for more updates on the 2024 Oscars — including GRAMMY winners and nominees who are featured during the big night!

Inside American Symphony : 5 Revelations About The Jon Batiste Documentary

• 1 How The Sounds Of The '70s Took Over The 2022 GRAMMYs: The Return Of ABBA, The Throwback Vibes Of Silk Sonic & More
• 2 ReImagined: Watch Dylan Chambers Channel Bruno Mars In This Groovy Cover Of "Uptown Funk"
• 3 7 Incredible Sets From Coachella 2024 Weekend 1: Doja Cat, No Doubt, Raye & More
• 4 Where Do You Keep Your GRAMMY?: Autumn Rowe Revisits Her Unexpected Album Of The Year Win With Jon Batiste
• 5 2024 Oscars: Watch Jon Batiste Perform A Poignant Rendition Of "It Never Went Away" From The Documentary Film 'American Symphony'

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Sounds of the 70's

Join The Sounds of the 70’s for their unforgettable live show, as they explore the sounds of Abba , T.Rex , Queen , Bowie , Mud , The Sweet , Dolly Parton , The Rolling Stones , Chic and other amazing seventies legends!

Hear the music from the musicals; Grease , Saturday Night Fever and Rocky Horror Picture Show .

From glam rock to prog rock, Motown to disco – there's something for everyone!

You can't help grooving to The Sounds of the 70's !   Featuring five talented young performers, The Zoots have played more than 1,000 live shows, and performed at iconic venues like Old Trafford and the London Palladium!

The multi award winning band boasts of five singers/multi instrumentalists and a LED light up guitar which is one of only two in the whole world.

The show is accompanied by animation and exciting video footage throughout.

"Impossible not to like" The Stage

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Cast Announced For 8-TRACK: THE SOUNDS OF THE '70S

8-TRACK will be performed  December 3, 2021, to January 23, 2022.

Jamal Howard , director and choreographer of the company's show for the holiday season, 8-TRACK, has announced his cast and creative team for this sung-through musical built around hit songs from the 1970s. 8-TRACK was devised by Rick Steves, who created the long-running hit revue BEEHIVE: THE 60'S MUSICAL and features the music of The Emotions, The Carpenters, Labelle, Barry Manilow , The Doobie Brothers, The Bee Gees, Helen Reddy , and more! 8-TRACK premiered at the Milwaukee Repertory Theatre in 2001, has enjoyed long runs at Detroit's Century Theater and St. Paul's Ordway Center and has been a hit in regional theaters across the country. Jeremy Ramey will be music director. 8-TRACK will be performed December 3, 2021, to January 23, 2022. Press opening performances are Sunday, December 12, 2021, at 7:00 pm and Monday, December 13, 2021, at 7:30 pm.

The production team will include Mara Ishihara Zinky (she/her, Scenic Designer), Jazmin Aurora Medina (she/her, Costume Designer), Piper Kirchhofer (she/her, Lighting Designer), Stefanie M. Senior (she/her, Sound Designer), Kaitlyn Souter (she/her, Stage Manager), J Alan (J/she, Assistant Director/Assistant Choreographer), Nicholas Reinhart (he/him, Production Manager), Christopher Pazdernik (any, Managing & Casting Director), Fred Anzevino (he/him, Artistic Director).

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Sat, Oct 07

Annabelle Ferguson Auditorium

The Sound of the 1970s - Tribute to the Legends

Don't Miss It! It's Gonna Be a Big One! Hurry to get your advanced tickets now. Tickets Are Selling Fast!!!

Time & Location

Oct 07, 2023, 7:00 PM – 11:00 PM

Annabelle Ferguson Auditorium, 5200 Silver Hill Road District Heights, MD

About the event

Moonman Media Group and K. Sal Entertainment presents

The Sound of the 1970's - Tribute to the Legends

Live performances by:

• THE STYLISTICS REVUE ft. VAN FIELDS
• ROLLS ROYCE REVUE 
• GREG HILL TRIBUTE TO THE DELFONICS
• STUART ORLANDO MORGAN BLUE MAGIC REVUE
• "N.L.T." TRIBUTE TO THE DELLS
• PERSUADERS REVUE

DOORS OPEN AT 6:00 PM / SHOW STARTS @ 7:00 PM

For more information, please call 443-857-2771 OR 443-324-7025

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Cast announced for 8-TRACK: THE SOUNDS OF THE ‘70S

Jamal Howard, director and choreographer of the company’s show for the holiday season, 8-TRACK, has announced his cast and creative team for this sung-through musical built around hit songs from the 1970s. 8-TRACK was devised by Rick Steves, who created the long-running hit revue BEEHIVE: THE 60’S MUSICAL and features the music of The Emotions, The Carpenters, Labelle, Barry Manilow, The Doobie Brothers, The Bee Gees, Helen Reddy, and more! 8-TRACK premiered at the Milwaukee Repertory Theatre in 2001, has enjoyed long runs at Detroit’s Century Theater and St. Paul’s Ordway Center and has been a hit in regional theaters across the country. Jeremy Ramey will be music director. 8-TRACK will be performed  December 3, 2021, to January 23, 2022.  Press opening performances are  Sunday, December 12, 2021, at 7:00 pm and Monday, December 13, 2021, at 7:30 pm.   8-TRACK tells, entirely through hit songs of the seventies, the story of four young people as they navigate their lives through the many challenges and changes of that tumultuous decade. They live through the final years of the Vietnam War, the early days of the LGBTQ rights movement, the rise of feminism, and finally enter the Disco Era and its legendary party scene. The score  ranges from soft pop/rock to R&B and Motown and reflects the social consciousness of the 1970s in songs like Marvin Gaye’s “What’s Going On,” as well as its the party spirit in K.C. and the Sunshine Band’s “Get Down Tonight.” The MINNEAPOLIS STAR-TRIBUNE called 8-TRACK “an infectious, joyous celebration — a ritual really — as each song brings up specific memories of time and place. While each individual is different, these memories coalesce into a gleeful spirit.”   Playing the four principal characters is a quartet of Theo Ubique newcomers with impressive credits in Chicago and across the US. Wesly Anthony Clergé (he/him), is a classically trained baritone whose credits include great musical theater leading roles like Sweeney Todd, The Phantom of the Opera, and Sky Masterson, as well operatic leads like Don Giovanni. Mia Nevarez (she/her), a 2020 graduate of Northwestern University has had credits at the Goodman, the Marriott, and has appeared in Porchlight’s New Faces Sing Broadway 1979. Patrick O'Keefe (he/him) has Chicago credits including MAMMA MIA! (Music Theater Works); PETER AND THE STARCATCHER (Big Noise); A MAN OF NO IMPORTANCE (PrideArts); HEAD OVER HEELS (Kokandy); and the premiere production of Michael Potsic's FLIGHT (Beverly Arts Center). Jasmine Lacy Young (she/her) was most recently seen in LEGALLY BLONDE and MY WAY: A MUSICAL TRIBUTE TO FRANK SINATRA at Metropolis PAC. They will be joined by ensemble members Alli Atkenson (she/her), Chamaya Moody (she/her), Matt Patrick (he/him) & Roy Samra (he/him).

Upper Row L-R: Wesly Anthony Clergé, Mia Nevarez, Patrick O'Keefe, Jasmine Lacy Young. Lower Row L-R: Alli Atkinson, Chamaya Moody, Matt Patrick, Roy Samra.

The production team will include Mara Ishihara Zinky (she/her, Scenic Designer), Jazmin Aurora Medina (she/her, Costume Designer), Piper Kirchhofer (she/her, Lighting Designer), Stefanie M. Senior (she/her, Sound Designer), Kaitlyn Souter (she/her, Stage Manager), J Alan (J/she, Assistant Director/Assistant Choreographer), Nicholas Reinhart (he/him, Production Manager), Christopher Pazdernik (any, Managing & Casting Director), Fred Anzevino (he/him, Artistic Director).   Director/Choreographer Jamal Howard says 8-TRACK will be “an honest look at the ‘seventies that celebrates, not satirizes, the decade. While people today poke fun at the ‘seventies for their flamboyant and now-dated fashions and hair styles and party scene, it was a time of major changes in society that affected the lives of most everyone. The ‘seventies were much like our current decade in terms of their pace of change – and I think our show’s themes will resonate as much for audiences who weren’t around during the ‘seventies as for those who were.”  He promises a show with lots of dancing – “and not just disco, though there will be a good dose of that, but also the signature moves of Motown and 1970’s stage and screen musicals. Our dances will be inspired as much by The Temptations or CABARET and A CHORUS LINE as by disco.”   As the LOS ANGELES TIMES said, “8-TRACK replays good times of ’70s. Life may not be a musical comedy, but everyday existence does unfold to a sort of soundtrack: the songs that follow you around from car radio to home stereo. These tunes acquire a resonance as they become associated with events of the day. They become, in essence, little time capsules, capable of transporting listeners back in time.”   Single tickets for 8-TRACK will go on sale beginning November 3rd at   www.theo-u.com . Prices are $35.00 for previews December 3-12, and $42 - $54 for regular performances December 13 – January 23 except that ticket prices for the New Year’s Eve show (including a champagne toast) are $70 for the show only. Optional three course prix fixe dinners are available for $29.00 per person, per show. 3-show subscription prices: Previews:$75, Thurs/Sun: $110, Fri/Sat: $125. Dinner subscriptions $75 additional.

The menu for 8-TRACK, catered by Good To Go Jamaican Cuisine at 711 Howard Street next to Theo Ubique, is:

Appetizers Jerk chicken wings OR Veggie spring rolls   Entrees* Curry chicken OR Curry veggies *All entrees are served with Rice & peas, fried plantains, and steam cabbage.   Desserts Caramel cake

 Dinner reservations must be placed one week in advance of the desired performance date.   Following 8-TRACK in the season will be the musicals ONCE UPON A MATTRESS, playing March 11 – May 1, 2022; and GODSPELL, playing June 10 - July 31, 2022. Season packages for the remaining three shows are available. Preview subscriptions are $75 for show-only and $150 for dinner and show; regular performances are $110 show-only and $185 for dinner and show on Thursdays and Sundays; and $125 show-only and $200 for dinner and show on Fridays and Saturdays.

Theo Ubique will be requiring all audience members to be fully vaccinated from COVID-19 this season. Photo ID and proof of vaccination (photos or photocopies are acceptable) will be required at the door.

LISTING INFORMATION

8-TRACK: The Sound of the 70's In Concert Conceived by Rick Seeber Directed and choreographed by Jamal Howard Musical Direction by Jeremy Ramey Musical Arrangements by Michael Gribben

December 3, 2021 - January 23, 2022

Press Opening Sunday, December 12, 2021, at 7 pm and Monday, December 13, 2021, at 7:30 pm Ticket prices previews (Fridays – Sundays, December 3 – 12): All seats $35.00 Ticket prices regular run (Thursdays – Sundays, December 16 – January 23, except Friday, December 31): Thurs. & Sun. $42 bar seats, $45 riser seats, $50 table seats; Fri & Sat:  $46 bar seats, $49 riser seats, $54 table seats. Dinner is $29 additional, with reservations required one week in advance.   Ticket prices for the New Year’s Eve performance at 7:30 pm on Friday, December 31, which includes a champagne toast, are $70 show-only and $99 per person including a three-course prix fixe dinner.   Senior discount (65+) $5.00 off ticket prices. Curtain Times: Thursdays, Fridays, and Saturdays at 7:30 pm; Sundays at 7:00 pm. No performances Christmas week Thursday, December 23 through Sunday, December 26. All performances will be held at the Howard Street Theatre, 721 Howard Street, Evanston More information at  www.theo-u.com  or by phone at 773-939-4101 Weds-Sun Noon – 5 pm. 

Theo Ubique will be requiring all audience members to be fully vaccinated from COVID-19 this season. Photo ID and proof of vaccination (photos or photocopies are acceptable) will be required at the door. (Starting one hour before curtain, all unsold seats will be released for $20.)   With its propulsive rhythms and dazzling harmonies, 8-TRACK is a fast-paced musical journey through one of the most impassioned decades of the 20th Century as lived by four young adults who navigate the changes of those times. Their story is told through the music of The Emotions, The Carpenters, Labelle, Barry Manilow, Marvin Gaye, The Doobie Brothers, The Bee Gees, Helen Reddy, KC and the Sunshine Band, and more! Rediscover the heart and soul of the forgotten decade with this joyously rousing, moving, and often downright hilarious musical in concert. “An electric, energetic, and powerful good time!” – LOS ANGELES TIMES   BIOS   Jamal Howard  (He/Him, Director/Choreographer). Jamal is the co-Artistic Director of New American Folk Theatre (NAFT) and served as Associate Artistic Director at Emerald City Theatre (ECT). He made his Theo Ubique debut as Choreographer and Associate Director of SONGS FOR A NEW WORLD. Chicago: THE WIZ (Director/Choreographer, ECT), CORDUROY (Director, ECT), MAGIC TREE HOUSE: SHOWTIME WITH SHAKESPEARE (Director/Choreographer, ECT), SCRAPS (Director, NAFT), DIRTY GIRL (Director/Choreographer, NAFT), DARK OF THE MOON (Director, NAFT), FANTASTIC MR. FOX (Choreographer, ECT). Other companies Jamal has worked with include T.U.T.A., The Den Theatre, Broken Nose Theatre, Filament Theatre, Mudlark Theater, Facets, The Beverly Arts Center, Children's Musical Theatre San Jose, and Quest Theatre Ensemble.   Jeremy Ramey  (He/Him, Resident Music Director) is a concert pianist, conductor and music director based in Chicago. In 2019, Jeremy received his tenth Jeff nomination and sixth Jeff Award for his work on THE BRIDGES OF MADISON COUNTY. He had previously received Jeff awards for THE LIGHT IN THE PIAZZA, SMOKEY JOE’S CAFE, RENT, and THE MOST HAPPY FELLA all with Theo Ubique. In 2016, he won his second Broadway World Award for Music Direction for his work on BETTE, LIVE AT THE CONTINENTAL BATHS with the production company Hell in a Handbag. He received his training in piano performance and music at Rhodes College, Northwestern University and The Juilliard School of Music.   Rick Seeber  (Conceiver) is a nationally known theatrical and audio producer/director. He produced THE SINGULAR DOROTHY PARKER Off Broadway. 8-TRACK, THE SOUNDS OF THE 70'S, conceived and directed by Mr. Seeber, premiered at Milwaukee Rep and has enjoyed long runs in over thirty-five cities, including at the Ordway Center, St. Paul, MN, the Hermosa Beach Playhouse, CA, the Downtown Cabaret Theatre, Bridgeport, CT, the Pittsburgh CLO, Capital Rep Albany, NY, and the Derby Dinner Playhouse Louisville, KY. His many productions of BEEHIVE, THE 60'S MUSICAL began with a year-long run in Denver followed by two coast to coast national tours, the most recent touring to 70 cities. Other engagements of Beehive include the Luxor Hotel Las Vegas, Harrah’s Atlantic City, the Gem Theatre Detroit, Theatre Under the Stars Houston and Stagewest, Toronto. Mr. Seeber's production of A BRIEF HISTORY OF WHITE MUSIC ran for a year in Denver followed by numerous productions including Milwaukee Rep, WaterTower Theatre, Dallas, TX, MusicalFare, Buffalo, NY and the Oregon Cabaret Theatre. The national tour played in cities as diverse as Aspen, CO, Billings, MT and Springfield, MA. His newest show, COUNTRY IS -THE MUSIC OF MAIN STREET, recently premiered at the PACE Center in Colorado. www.rickseeber.com PKS:M2Y   ABOUT THEO UBIQUE

Theo Ubique was founded in 1997 by artistic director Fred Anzevino. Productions were first staged at the Heartland Studio Theatre, and from 2004 to May 2018, at No Exit Café, where the company began focusing on musicals and revues, reigniting the cabaret theatre trend in Chicago. The company moved to the Howard Street Theatre, a venue owned and developed for Theo Ubique by the City of Evanston, in fall of 2018. Theo Ubique has produced more than sixty shows and won 64 Jeff Awards, having received 154 nominations. The company also earned three After Dark Awards.  

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Sounds of the Seventies

Sep 13 - 16, 2022

Sidekick Theatre

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• About The Host

In the 1970s an exciting new genre of rock music emerged in Southern California. This country-tinged soft-rock sound was known for evocative lyrics, catchy guitar licks, and luxuriant harmonies. “Sounds of the 70s” evokes memories of those carefree, open-road years through the music of Fleetwood Mac, America, the Eagles, Neil Young, Linda Ronstadt, the Doobie Brothers, and more. And as you’d expect from every Sidekick concert, dazzling musicianship abounds!

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Sidekick Theatre  is a 501(c)(3) not-for-profit professional theater based at the Minnesota Masonic Heritage Center in Bloomington that produces shows for adults and children. Under the artistic leadership of Tim Stolz and Brian Pierce, Sidekick Theatre is committed to developing and presenting original and reimagined plays and musicals that foster the exchange of ideas, inspire laughter, promote new perspectives and awaken possibility in audiences of all ages.

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Sounds of the Seventies: Classic 70's

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The Sounds of the Supremes with '70's/'80's Supreme Kaaren Ragland

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The Sounds of the Supremes with ‘70’s/’80’s Supreme Kaaren Ragland. Performing all the hits of The Supremes! One of the greatest female vocal groups in history with songs that personify the Motown Sound will tour the U.K. in November, 2019.

This incredible line up led by 70’s/80’s "Supreme" Kaaren Ragland are set to amaze U.K. audiences with their incomparable energy packed shows.

Celebrating 30 years of non-stop touring in 2019 to more than 70 countries worldwide. This show will not disappoint!!

Kaaren Ragland, Kathy Merrick and Althea Burkhalter collectively and individually have performed with artists as diverse as Martha Reeves, Herbie Hancock, James Ingrams, Cab Calloway and Boz Scaggs to name a few. Featuring more than 20 of the greatest Motown songs ever written including “You Keep Me Hanging On”, “Stop In The Name of Love”, “Where Did Our Love Go”, “Love Child,” Nothing But Heartaches”, “Reflections”, “You Can’t Hurry Love”, “Back In My Arms ” and “Baby Love.

These three American woman tour the world regularly to Europe, the UK, Japan, SE Asia and most recently New Zealand and Australia (with The Jacksons, Kool & the Gang, Pointer Sisters, Village People, Sister Sledge). The Sounds of the Supremes deliver an unparalleled vocal blend to these legendary Motown classics with style, incredible choreography and unrivaled glamour.

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The 27 biggest concert tours featuring ‘70s bands in 2023

• Updated: Sep. 07, 2023, 12:29 p.m. |
• Published: Jul. 19, 2022, 5:30 a.m.

Bruce Springsteen and the E Street Band are just one of the many groups who made their name in the '70s on tour in 2022 and 2023. SL

• Matt Levy | NJ Advance Media for NJ.com

Although bell bottoms and disco didn’t quite survive the ‘70s, many of the decade’s biggest stars are still performing at peak levels.

From rockers like Bruce Springsteen and Aerosmith to R&B icons Diana Ross and The Temptations , they’re all putting on can’t-miss tours featuring all your favorite oldies this year.

After a bit of whittling and fine-tuning, our team has put together an epic list of the 78 biggest classic rock, R&B, funk, pop, New Wave and country concert tours featuring acts from when Watergate was still recent news.

(Note: First-time Vivid Seats users can save $20 off ticket orders over $200 with promo code NJ20 at checkout.)

Classic Rock

Billy Joel’s MSG residency

StubHub | Ticketmaster | Vivid Seats

Bruce Springsteen and the E Street Band’s 2023 Tour

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Foreigner’s “Farewell Tour”

July 6 to Nov. 18

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Lynyrd Skynyrd and ZZ Top’s “The Sharp Dressed Simple Man Tour”

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Billy Joel and Stevie Nicks concerts

Aug. 5, 2023 to Mar. 9, 2024

Rick Springfield’s “I Want My ‘80s Tour”

Aug. 4 to Sept. 17

Alice Cooper

Runs Aug. 6 through Oct. 23

Stevie Nicks

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Sting’s “My Songs World Tour”

Runs Sept. 1 through Oct. 12

Aerosmith’s “The Peace Out Tour”

Runs Sept. 2 through Jan. 26

Graham Nash’s tour

Sept. 5 to Nov. 18

Eagles’ “The Long Goodbye”

Runs Sept. 7 through Nov. 17

Eric Clapton

Runs Sept. 8-19

Ringo Starr and his All Starr Band

Runs Sept. 17 through Oct. 13

Queen and Adam Lambert tour

Oct. 4 to Nov. 12

KISS’ “End Of The Road Tour”

Runs Oct. 29 through Dec. 2

R&B/Funk

Anita Baker’s “The Songstress Tour”

Tour runs from Feb. 11 to Dec. 23

Janet Jackson’s “Together Again Tour”

Tour runs from June 9 to Oct. 27

Lionel Richie and Earth, Wind & Fire on “Sing A Song All Night Long”

Runs Aug. 4 through Sept. 15

The Temptations tour

Runs Sept. 8 through Dec. 10

Rod Stewart tour

Runs Feb. 10 through Nov. 22

Cheap Trick tour

Runs Sept. 8 through Oct. 22

Duran Duran’s tour

Runs May 27 through Sept. 19

The Pretenders’ tour

Runs Aug. 16 through Oct. 6

Blondie’s show dates

Sept. 15 and 17

U2′s “U2:UV Achtung Baby Live At Sphere”

Sept. 29 to Dec. 16

Willie Nelson′s “Outlaw Music Festival Tour”

Runs Sept. 29 through Dec. 16

Not into ‘70s music?

Check out or story on the 50 biggest concert tours featuring ‘80s bands in 2022 .

Born even a little later?

Try out the biggest concert tours featuring ‘90s bands in 2022 here .

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Matt Levy covers the live entertainment industry, writing about upcoming concerts, festivals, shows and events. He can be reached at [email protected] .

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Gary Davies

Gary Davies is a leading BBC Radio DJ, who has enjoyed a career packed with mixing the sounds of various music styles and generations. He is the more...

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Jelly Roll has lost around 70 pounds preparing for 5K event, reports say

(Gray News) - Country music star Jelly Roll is reportedly on a weight loss journey while making a lifestyle change.

The 39-year-old singer told People that he has lost around 70 pounds and hopes to lose more as he is working out more and eating healthier.

“I’m probably down 70-something pounds,” People quoted the singer. “I’m eating healthy right now.”

Jelly Roll announced his Beautifully Broken tour will begin on Aug. 27 in Salt Lake City, but he has also been preparing to run in a 5K event in California next month.

“I’m doing two to three miles a day, four to six days a week. I’m doing 20 to 30 minutes in the sauna, six minutes in a cold plunge every day,” the 39-year-old told People.

Jelly Roll is scheduled to participate in a 5K event hosted by comedians Bert Kreischer and Tom Segura at the Rose Bowl in Pasadena, California, on May 7.

The singer shared on social media in January that he had begun training for the race.

Earlier this month, the rapper-turned-country star won big at the 2024 CMT Music Awards , taking home three awards at the annual event celebrating the best in country music videos.

Copyright 2024 Gray Media Group, Inc. All rights reserved.

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