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Phil Collins  

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Traveling to the nation's capital to see a concert is not something I would do for any live act except Phil Collins. Many lifelong Phil fans who have had the opportunity to see him live in his prime say that their time and money would not be worth the effort now that he is unable to stand for prolonged periods of time or play instruments. I reply to that by saying that I have never stood or played an instrument in my life, but if I could sing like Phil Collins, none of that would matter.

It certainly made no difference in the quality of the show that the 67-year-old rock star produced at the Capital One Arena to a packed house of more than 23,000 fans. My wife and I sat in the $94 nosebleed section four stories up, feeling like the two most privileged people there, just to be in the building. We have seen many shows by many high-quality acts, but the two hours offered by the incomparable performer and his fantastic band was one of the most exciting shows we have ever seen in our lives.

His touring band included his 17-year-old son, Nicholas, filling in for his dad on the drums and sounding every bit like the powerhouse percussionist his father had once been. His guitarist of four decades, Daryl Stuermer, and his bassist of more than thirty years, Leland Sklar, helped ensure the Phil Collins sound was not lost with age. The Vine Street Horns, which were most notably used on Collins’ 1996 album, Dance Into the Light, were a driving force behind the success of the show.

Collins performed the title track from that album as well as such high energy numbers as “Hang in Long Enough,” “You Can’t Hurry Love,” “Something Happened On the Way to Heaven,” “I Missed Again,” and “Sussudio,” which kept the audience on the edge of excitement. Another surprise addition to the setlist was “You'll Be in My Heart,” Collins's Oscar-winning hit from the Disney animated film Tarzan.

Speaking of surprises, the highlight of the show came midway when, after Nicholas Collins performed his amazing five-minute drum solo, Phil himself, who had not publicly played the drums in about eight years, joined with Nicholas and percussionist Ritchie Garcia in an incredible drum trio tune, pounded out on the back of guitars and wooden crates. I was in awe that I actually had the opportunity to see him play the drums. It may not have been as he could once do, but it was proof that he still had the beat of the drum in his blood. It was a moment worthy of blurry eyes.

Collins also paid homage to his fifty year partnership with Mike Rutherford and Tony Banks in the legendary rock group Genesis by performing three of their more popular songs, “Throwing It All Away,” “Invisible Touch,” and “Follow You, Follow Me,” during which a montage of Genesis’s best video moments played across the giant arena screen.

Bridgette Bryant and Amy Keys, two beautiful and talented backup singers that I remember from the Going Back show, were on hand to perform with Collins on such duets as “Easy Lover” and “Separate Lives.” A particularly touching duet featured Collins singing with son Nicholas on the piano to “You Know What I Mean,” from his 1981 debut solo album, Face Value. A personal favorite, it was one of the lesser-known tunes offered in the nineteen-song setlist, but equally as adored by die-hard fans like me. Phil Collins could not turn out a song that I wouldn't know by heart. The people in the seats next to me were impressed that I knew the song and they didn’t. Other lesser-known songs included the rousing, horn-driven “Who Said I Would” from No Jacket Required, and the ballad, “Can't Turn Back the Years” from Both Sides.

Of course, no Phil Collins set would be complete without such standards as “In the Air Tonight,” “Against All Odds,” and “Another Day in Paradise,” the latter of which was written nearly three decades ago when Collins was passing through Washington DC on tour and noticed all the homeless people along the streets. The powerful song resonated with my wife and me as we saw the same thing during our trip. He closed the show with his trademark finale hit, “Take Me Home,” which was met with the last of many standing ovations during the night.

Collins made no effort to hide his physical impairment, which had no bearing whatsoever on the quality of his voice and the audience remained eternally grateful for his efforts. For my wife and me, my lifelong hero turned what would have otherwise been a miserable trip to Washington DC into an unforgettable memory that would have been forever regretted had it been missed.

The fact that I didn't go to the Genesis performance in that same venue eleven years ago remains one of the biggest regrets of my life is a testament to this. I also regret then I didn't do more to try to meet him when his assistant led me into the now extinct Roseland Ballroom in New York City eight years ago. I had a copy of my book A Real Life Fairy Tale, in which I detailed my New York City adventure, signed and ready to present to him just in case. It didn't happen even by a long shot. Nevertheless, it was an unforgettable and incredible experience. Had he been in his prime, he could not have achieved a better goal. He made us forget our troubles entirely for those two hours.

I was very thrilled to see many people of all ages eager to see Collins at the Washington show. Many came from our area, including people from such cities as Roanoke, Charlotte, NC, and Goldsboro, NC. I was especially refreshed to meet one man who flew in from Indiana with his wife to attend the show. He had seen Collins before and said he was just as good that night as he was in his prime, which helped me to affirm that my trip was worth it. October 7, 2018 will be a day forever etched in my mind as one of the happiest memories I've ever had.

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It’s been 25 years since Phil Collins graced Charlotte, NC with his presence. The last time was in December 1994 during his Both Sides tour. I was 9 years old and my mother couldn’t afford to let me go. This time, she was more generous than ever to foot the nearly $400 bill, including fees and ticket insurance, for my wife and I to see my lifelong hero in his triumphant return to our part of the country.

Against all odds, if you’ll pardon the pun, the experience was more than worth it. It was my mom, after all, who turned me onto his music from the womb. My five-year-old daughter is a third-generation fan. In the dozens of times I have been to Charlotte to see many wonderful acts, no matter how exciting they were, I secretly wished it were Phil I was going to see.

Anyone who is acquainted with me at all knows I’ve gone to ridiculously strenuous efforts to see Phil Collins twice before, in New York City in 2010 and Washington DC last year. The show was every bit as good as last year’s Washington concert, with the slight exception that “You’ll Be in My Heart” was omitted from the Charlotte show, the anthem between my daughter and me. The obscure “Can’t Turn Back the Years” was replaced by the classic hit, “Don’t Lose My Number,” an upgrade from last year.

Phil’s voice appeared to be even better than last time despite his physical disability. His son Nicholas, 18, had sharpened his skills on the drums as well, which were already flawless. His dad, whose multiple back surgeries and numb extremities have prevented him from playing any instrument for more than a decade, is getting better on his part of the “Drum Trio” portion of the show as well.

Collins, 68, beat machine gun-paced rhythms on guitar back alongside his son and percussionist Ritchie Garcia. This succeed at 10-minute drum duet between Garcia and the younger Collins that had the audience so enthralled that many, including my wife and me, did not notice the elder Collins falling backward, having missed the chair in which he was supposed to have sat. A TMZ video reveals fans gasping and two assistant rushing to his aide. Obviously, it did nothing to diminish his performance, as the second half of the show was just as good, if not better, than the first. It wouldn’t surprise me if he made it back behind the drum kit once again after all.

The Rock and Roll Hall of Famer was backed by his longtime band including several 30 and 40-year veterans such as electric guitarists Daryl Stuermer, bassist Leland Sklar, and keyboardist Brad Cole, all greeted by the audience as old friends. Aside from father and son, the Vine Street Horns were the centerpiece of the show with moves as slick as their notes. Saxophonist George Shelby was cooler than ever on his solo during “I Missed Again.” Acoustic guitarist Ronnie Caryl was introduced as Collins’ best friend and band mate of more than 50 years.

Backup singers Amy Keys and Arnold McCullough were in rare form as the pretended to vie for Phil’s affections during “Easy Lover” by rubbing his bald head. Along with Lamont Van Hood, they were all stars in their own right. However, it was Bridgette Bryant who owned the night, getting her own standing ovation for her powerful duet with Phil on “Separate Lives.”

The rest of the two-hour set list was packed with favorites including “Against All Odds,” “Hang in Long Enough,” “Something Happened on the Way to Heaven,” “Who Said I Would,” “Dance Into the Light,” “You Can’t Hurry Love,” “Sussudio,” and “Take Me Home,” the customary encore. The entire crowd was on their feet before “In the Air Tonight” had even started. Phil stood for this one, too.

Three Genesis songs, “Invisible Touch,” “Throwing It All Away,” and “Follow You, Follow Me,” were also offered.

“We’re all still great friends,” Collins said of his Genesis band mates. “So, you never know.”

At the idea of Genesis touring again and especially of them coming to Charlotte, I and the rest of the sold-out crowd of 16,000 roared our cheers of approval. Collins responded by throwing an imaginary fishing pole and reeling us all in with anticipation.

Perhaps the most touching point of the show came when Phil joined his son at the piano to sing “You Know What I Mean,” Nicholas’s favorite of his dad’s repertoire.

“He taught himself how to play it because I couldn’t remember and I taught myself the words again,” Collins said of the track from his 1981 solo debut Face Value. “In case you don’t like it, it’s a short song. So, it will be over quickly.”

Everyone obviously felt to the contrary, cheering heartily as the song ended with a touching embrace between father and son.

My cousin Jessi Hines designed T-shirts for us that good enough for two people to stop us on the street to inquire where we purchased them. While I didn’t get to meet him as I had dreamed, I did manage to come away with two shirts, a program as well as a VIP placard and commemorative pillow in a plastic tote, given to me by a kind woman who had an extra VIP ticket.

Best of all, I brought along the two books I had written featuring my two previous Phil Collins concert experiences with the hopes of presenting them to him. They were given to the man himself, thanks to Rowanda and the superb staff at Spectrum Center. This was the best staff encounter I have ever experienced. I feel truly blessed. The capacity crowd at Charlotte was as eager as me to see Phil and he certainly made worth the quarter-century wait.

I may be young, and missed the chance to have seen Phil Collins in his prime; but that man can still perform just as well as all the youtube performances I’ve seen from when he was younger.

I had gone to the show with my dad, who wasn’t entirely the biggest fan of Phil Collins, but had been given the opportunity for this live show. As expected, most of the crowd was my dad’s age, leaving me feeling extremely out of place; but the age made no difference. The crowd was super energetic and before the show started you could feel the excitement and anticipation. It was really interesting to see the difference in atmosphere with a completely different age group, as well as the uniquely Phil Collins atmosphere. When he took the stage there was definitely more applause, with the scattered whistling, than screaming and shouting.

The quality of his music is great live as well. His voice has very little difference to his early albums, and the added effect of live instrumentation always adds more. Due to a lack of familiarity with majority of his music, I was able to simply sit back and enjoy the sounds. The crowd on the other hand was singing along to every word of each song. It may not have been my scene, but it was definitely a great experience.

He may be older, he may be sitting, but considering this was his first full concert in 12 years or so, he did amazingly well - and ably supported on the drums by his 16 (!) year old son, Nicholas - a real chip off the old block. He did his dad proud.

As a die-hard Collins fan since the beginning of his solo career, then being hooked by Genesis too, I was a little nervous about what to expect. Would memories of earlier concerts be erased by disappointment and pity by this return? Not at all - ok some of the high notes weren't there, and voices change with age, But it didn't matter - the audience supported ably. I for one throughly enjoyed the journey through the favourites that had been put together. The roof was raised so many times and the singing rang out around the arena. There were some touching moments, especially when Nick played the piano while they sat together and Phil sang 'You Know What I Mean.' An emotional evening as it was the first of the tour - the crowd welcomed him and, I hope, made him feel that the return was well worth it.

It was so good to see the familiar faces supporting too - Daryl Stuermer, Leland Sklar, Brad Cole, Harry Kim and Bridgette Bryant.

Not Dead Yet.... He certainly isn't.

You are going to love it. Amazing show of the old man. The voice remains the same. Very good band. Even sitting still in that English mood and I thought there was still plenty of gas. The name of the tour says it all: I have not died yet. He touched several successes. Only him, Michael Jackson and Paul Macartney sold, as solo artists, over 100 million "records." It's one of the geniuses of pop music. Too bad you can not enjoy the fantastic drummer. But the son seems to have inherited his talent. Best music: the first, Against all Odds. It's creepy. He stopped playing a few hits from Genesis and the song that won the Oscar, but what he played shows the hitmaker he is. It was really good to be there. The atmosphere was peaceful. Many families: from grandmas to grandchildren.

Phil Collins... what a show! Hij had zoveel aan zijn heup, nekwervel, etc. Maar hij was er! Nog steeds aan het touren op 68-jarige leeftijd! Zijn zoon achter de drums. Phil zingt nog steeds fantastisch goed! De hoge noten haalde hij soms niet, maar had het opgelost met inval van het “koortje” wat hij had meegenomen. Het hele podium stond vol met artiesten. In the air tonight, de drum! Dat vond ik geweldig! Sussudio was heel goed opgepakt door het publiek en iedereen ging los! Het einde met het lied take me home pakte mij wel. Dit is de eerste en de laatste keer dat ik deze kans had om hem live te zien! Echt een fantastische show heeft deze man neergezet!

what can I say now. It was one of the best experiences any one could bare witness too, for a man who’s almost 70 he hasn’t lost any ability what so ever, still making & producing unbelievable memories for everyone.

If anyone has any doubts about going to see him, I suggest putting the doubts to bed, because he, his son, his crew were out of this world, he gets the crowds involved in everything he does, along with producing moments where people can danceabout & sing-along.

Phil Collins is not one you want to miss, well worth every penny.

I am a first timer, even if I know well majority of his songs I didn't follow his personal life so I did not know that I would see him prostrated in a chair for the whole concert... Well I guess are things of the age, nevertheless his voice and his band really amazing (including his very talented own son at the drums ;-) ) , just in Prague it seems that they had troubles with the sound sometimes (pretty noticeable if you have more than less trainer ear).. But I am quite happy that I went, and I would give him 7 over 10 :)

I don't know where to start! From start to finish this was THE best concert I have seen all year. He started off with Against All Odds and it was on fast forward from that point on! He stood to sing In the Air Tonight but sat for the rest. His voice is still very strong and the band was awesome. His son Nick is a huge chip off the old block! He wowed everyone with his drum and piano playing. Phil only played a few concerts in the states and I feel fortunate to have seen him for the first and maybe the only time.

Let me start by saying I love Phil Collins. His voice was right on and hasn't diminished at all over the years. But I do have to say that it was sad to see him come limping out with a cane and sitting for 95 percent of the show. That being said the highlights we're Phil hand drumming on a box, his son Nick playing drums as well as Phil and Nick sitting next to Phil at the piano playing on of Nick's favorite Phil songs. Great show, hope it's not the last for Phil and hope to see more of Nick Collins soon!

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Phil Collins emotionally says goodbye to fans as he announces his final ever live show due to ill health

27 March 2022, 17:43 | Updated: 17 March 2023, 10:33

Lily Collins enjoys her father Phil Collins' last-ever show in London

By Tom Eames

Phil Collins has announced that he has played his final ever live show with Genesis - and potentially as a solo artist too - at the band's latest gig.

The 71-year-old music icon made the announcement as he performed with Genesis at the O2 Arena in London on Saturday (March 26).

Phil Collins - who recently said that he can no longer hold a drumstick after surgery on his back - said goodbye to his fans and told the crowd he will now have to get a "real job".

• Phil Collins' Genesis bandmate gives update on star's health: 'Much more immobile than he used to be'
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Genesis have reunited for their Last Domino? world tour, and had to cancel a series of gigs last year due to a Covid outbreak in the band.

Phil Collins declares this to be the last [ever] Genesis show - O2 Arena, London, 26/3/22

Phil's daughter - actor Lily Collins - paid tribute to her father after watching the gig.

She wrote on Instagram: "Tonite [sic] marks the end of an era. To have witnessed this last show was truly the memory of a lifetime and an event I shall hold in my heart forever. Endlessly grateful doesn’t begin to do it justice.

"So much love was left on that O2 stage and an even bigger amount shared between an audience who didn’t want it to end. Thank you @genesis_band for the memories, thank you dad for being such an inspiration and thank you @nic_collins for making me the proudest sister there is. 50 years of songs later and still generations more to celebrate you long after this tour has finished."

View this post on Instagram A post shared by Lily Collins (@lilyjcollins)

Phil has been forced to sit down on a char as he performed with Tony Banks and Mike Rutherford for their first live dates in 14 years.

The singer and drummer's nerve damage has stopped him being able to play the drums, and he has also had to walk with a stick.

He recently told The Guardian : "I don’t do anything at all. I don’t practise singing at home, not at all. Rehearsing is the practice.

"These guys are always having a go at me for not, but I have to do it this way. Of course, my health does change things, doing the show seated changes things.

"But I actually found on my recent solo tours, it didn’t get in the way; the audience were still listening and responding. It’s not the way I would have written it, but it’s the way that it is."

Phil Collins' health has been declining over the last 15 years. He suffered an injured vertebra in his upper neck, and has also battled acute pancreatitis.

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Genesis will bring the invisible touch back to North America with first U.S. tour in 14 years

Their previously announced The Last Domino? U.K. and Ireland reunion tour is coming stateside.

Maureen Lee Lenker is a senior writer at Entertainment Weekly with over seven years of experience in the entertainment industry. An award-winning journalist, she's written for Turner Classic Movies, Ms. Magazine , The Hollywood Reporter , and more. She's worked at EW for six years covering film, TV, theater, music, and books. The author of EW's quarterly romance review column, "Hot Stuff," Maureen holds Master's degrees from both the University of Southern California and the University of Oxford. Her debut novel, It Happened One Fight , is now available. Follow her for all things related to classic Hollywood, musicals, the romance genre, and Bruce Springsteen.

I will follow you, will you follow me...to see Genesis in tour in North America for the first time in 14 years?

The band announced the news on their social media on Thursday. "Genesis confirm their highly anticipated return to North America for the first time in 14 years," their tweet said. "The Last Domino? Tour 2021 will have @tonybanksmusic @PhilCollinsFeed & Mike Rutherford playing major cities across the U.S. & Canada this November & December."

This tour is an added North American leg to a previously announced (and rescheduled due to the COVID-19 pandemic) U.K. and Ireland reunion tour , which was to mark the first time the band played together since their 2007 Turn It On Again tour.

Classic-era members Phil Collins, Tony Banks, and Mike Rutherford will headline the line-up, joined by long-time touring guitarist/bassist Daryl Stuermer and new addition to the group, Phil's son Nic Collins on the drums.

Original lead singer Peter Gabriel will not be joining for the tour. He quit the band in 1975, and hasn't played with them again since a one-time gig in 1982. Guitarist Steve Hackett, who quit the band in 1977, is also absent from the line-up.

Collins' son Nic on drums is a reflection of the singer's own health struggles. Phil Collins suffers from extensive nerve damage to his hands, limiting his ability to play drums. He officially retired from music in 2011, but he backed off from that declaration in 2015. Then, in 2017, he officially launched a comeback tour , where Nic first backed him up on drums, as he will here.

The North American leg of the tour kicks off Nov. 15 in Chicago continues to Washington, D.C.; Charlotte, N.C.; Montreal; Toronto; Buffalo; Detroit; Cleveland; Philadelphia; NYC; Columbus, Ohio; Belmont Park, N.Y.; and Pittsburgh before wrapping in Boston on Dec. 15.

Tickets go on sale May 7, after a Verified Fan sale May 5. More information can be found at the band's website.

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Phil Collins Says He's "Still Not Dead Yet," Adds More U.S. Tour Dates

The U.S. leg of his Not Dead Yet tour in 2018 marked the GRAMMY winner's first major shows in the country in over a decade

Today, GRAMMY-winning drummer/singer/legend Phil Collins announced the Still Not Dead Yet, Live! 2019 U.S. tour. The British star will begin the 15-date tour leg on Sept. 23 in Dallas and finish out on Oct. 19 in Las Vegas, following the success of his 2018 North American return.

He will perform at large venues in U.S. cities, including several he hasn't been to in a decade or more. The dates include stops in Atlanta on Sept. 28, Madison Square Garden in New York City on Oct. 6 and the new Chase Center in San Francisco, Calif. on Oct. 17, before closing things out in Vegas.

Before returning to the States, Collins will bring the Still Not Dead Yet, Live! to Europe in June. He announced that tour last November, tweeting ; "I have rediscovered my passion for music and performing! It's time to do it all again and I'm excited… it just feels right."

The shows follow his successful Not Dead Yet tour, named after his 2016 autobiography, which took him around the world in 2017–2018. The North American leg in Fall 2018 marked his first jaunt in the region in 12 years .

He will be backed by the same band as the last tour, which includes his son Nicholas Collins on drums. The concert's promoter has shared that fans can expect to hear some of his biggest hits over his 40-plus year career, including favorites "Against All Odds," "Another Day in Paradise," "In the Air Tonight" and "Easy Lover."

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In October 2016, Collins celebrated the release of the autobiography and his triumphant return with a performance backed by The Roots on "The Tonight Show With Jimmy Fallon." Prior to Not Dead Yet, his last major tour was another coyly named one, The First Final Farewell Tour in 2004–2005.

He has won eight career GRAMMYs, including as a founding member of iconic '80s rock Genesis . 30 years ago, Collin's released his fourth solo studio album, 1989's …But Seriously . The album had four hit songs, including "Another Day In Paradise," which earned him Record Of The Year at the 33rd GRAMMY Awards .

Tickets for his 2019 U.S. tour go on sale Fri., March 30, with presales beginning the day prior; more info here .

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GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016

Upon winning the GRAMMY for Best Rap Album for 'To Pimp a Butterfly,' Kendrick Lamar thanked those that helped him get to the stage, and the artists that blazed the trail for him.

Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly . Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly .

"Hip-hop. Ice Cube . This is for hip-hop," he said. "This is for Snoop Dogg , Doggystyle . This is for Illmatic , this is for Nas . We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal , Anna Wise and Thundercat ). He also won Best Music Video for the remix of Taylor Swift 's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN ., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers .

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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A Guide To Modern Funk For The Dance Floor: L'Imperatrice, Shiro Schwarz, Franc Moody, Say She She & Moniquea

James Brown changed the sound of popular music when he found the power of the one and unleashed the funk with "Papa's Got a Brand New Bag." Today, funk lives on in many forms, including these exciting bands from across the world.

It's rare that a genre can be traced back to a single artist or group, but for funk, that was James Brown . The Godfather of Soul coined the phrase and style of playing known as "on the one," where the first downbeat is emphasized, instead of the typical second and fourth beats in pop, soul and other styles. As David Cheal eloquently explains, playing on the one "left space for phrases and riffs, often syncopated around the beat, creating an intricate, interlocking grid which could go on and on." You know a funky bassline when you hear it; its fat chords beg your body to get up and groove.

Brown's 1965 classic, "Papa's Got a Brand New Bag," became one of the first funk hits, and has been endlessly sampled and covered over the years, along with his other groovy tracks. Of course, many other funk acts followed in the '60s, and the genre thrived in the '70s and '80s as the disco craze came and went, and the originators of hip-hop and house music created new music from funk and disco's strong, flexible bones built for dancing.

Legendary funk bassist Bootsy Collins learned the power of the one from playing in Brown's band, and brought it to George Clinton , who created P-funk, an expansive, Afrofuturistic , psychedelic exploration of funk with his various bands and projects, including Parliament-Funkadelic . Both Collins and Clinton remain active and funkin', and have offered their timeless grooves to collabs with younger artists, including Kali Uchis , Silk Sonic , and Omar Apollo; and Kendrick Lamar , Flying Lotus , and Thundercat , respectively.

In the 1980s, electro-funk was born when artists like Afrika Bambaataa, Man Parrish, and Egyptian Lover began making futuristic beats with the Roland TR-808 drum machine — often with robotic vocals distorted through a talk box. A key distinguishing factor of electro-funk is a de-emphasis on vocals, with more phrases than choruses and verses. The sound influenced contemporaneous hip-hop, funk and electronica, along with acts around the globe, while current acts like Chromeo, DJ Stingray, and even Egyptian Lover himself keep electro-funk alive and well.

Today, funk lives in many places, with its heavy bass and syncopated grooves finding way into many nooks and crannies of music. There's nu-disco and boogie funk, nodding back to disco bands with soaring vocals and dance floor-designed instrumentation. G-funk continues to influence Los Angeles hip-hop, with innovative artists like Dam-Funk and Channel Tres bringing the funk and G-funk, into electro territory. Funk and disco-centered '70s revival is definitely having a moment, with acts like Ghost Funk Orchestra and Parcels , while its sparkly sprinklings can be heard in pop from Dua Lipa , Doja Cat , and, in full "Soul Train" character, Silk Sonic . There are also acts making dreamy, atmospheric music with a solid dose of funk, such as Khruangbin ’s global sonic collage.

There are many bands that play heavily with funk, creating lush grooves designed to get you moving. Read on for a taste of five current modern funk and nu-disco artists making band-led uptempo funk built for the dance floor. Be sure to press play on the Spotify playlist above, and check out GRAMMY.com's playlist on Apple Music , Amazon Music and Pandora .

Say She She

Aptly self-described as "discodelic soul," Brooklyn-based seven-piece Say She She make dreamy, operatic funk, led by singer-songwriters Nya Gazelle Brown, Piya Malik and Sabrina Mileo Cunningham. Their '70s girl group-inspired vocal harmonies echo, sooth and enchant as they cover poignant topics with feminist flair.

While they’ve been active in the New York scene for a few years, they’ve gained wider acclaim for the irresistible music they began releasing this year, including their debut album, Prism . Their 2022 debut single "Forget Me Not" is an ode to ground-breaking New York art collective Guerilla Girls, and " Norma " is their protest anthem in response to the news that Roe vs. Wade could be (and was) overturned. The band name is a nod to funk legend Nile Rodgers , from the "Le freak, c'est chi" exclamation in Chic's legendary tune "Le Freak."

Moniquea 's unique voice oozes confidence, yet invites you in to dance with her to the super funky boogie rhythms. The Pasadena, California artist was raised on funk music; her mom was in a cover band that would play classics like Aretha Franklin’ s "Get It Right" and Gladys Knight ’s "Love Overboard." Moniquea released her first boogie funk track at 20 and, in 2011, met local producer XL Middelton — a bonafide purveyor of funk. She's been a star artist on his MoFunk Records ever since, and they've collabed on countless tracks, channeling West Coast energy with a heavy dose of G-funk, sunny lyrics and upbeat, roller disco-ready rhythms.

Her latest release is an upbeat nod to classic West Coast funk, produced by Middleton, and follows her February 2022 groovy, collab-filled album, On Repeat .

Shiro Schwarz

Shiro Schwarz is a Mexico City-based duo, consisting of Pammela Rojas and Rafael Marfil, who helped establish a modern funk scene in the richly creative Mexican metropolis. On "Electrify" — originally released in 2016 on Fat Beats Records and reissued in 2021 by MoFunk — Shiro Schwarz's vocals playfully contrast each other, floating over an insistent, upbeat bassline and an '80s throwback electro-funk rhythm with synth flourishes.

Their music manages to be both nostalgic and futuristic — and impossible to sit still to. 2021 single "Be Kind" is sweet, mellow and groovy, perfect chic lounge funk. Shiro Schwarz’s latest track, the joyfully nostalgic "Hey DJ," is a collab with funkstress Saucy Lady and U-Key.

L'Impératrice

L'Impératrice (the empress in French) are a six-piece Parisian group serving an infectiously joyful blend of French pop, nu-disco, funk and psychedelia. Flore Benguigui's vocals are light and dreamy, yet commanding of your attention, while lyrics have a feminist touch.

During their energetic live sets, L'Impératrice members Charles de Boisseguin and Hagni Gwon (keys), David Gaugué (bass), Achille Trocellier (guitar), and Tom Daveau (drums) deliver extended instrumental jam sessions to expand and connect their music. Gaugué emphasizes the thick funky bass, and Benguigui jumps around the stage while sounding like an angel. L’Impératrice’s latest album, 2021’s Tako Tsubo , is a sunny, playful French disco journey.

Franc Moody

Franc Moody 's bio fittingly describes their music as "a soul funk and cosmic disco sound." The London outfit was birthed by friends Ned Franc and Jon Moody in the early 2010s, when they were living together and throwing parties in North London's warehouse scene. In 2017, the group grew to six members, including singer and multi-instrumentalist Amber-Simone.

Their music feels at home with other electro-pop bands like fellow Londoners Jungle and Aussie act Parcels. While much of it is upbeat and euphoric, Franc Moody also dips into the more chilled, dreamy realm, such as the vibey, sultry title track from their recently released Into the Ether .

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Photo: Steven Sebring

Living Legends: Billy Idol On Survival, Revival & Breaking Out Of The Cage

"One foot in the past and one foot into the future," Billy Idol says, describing his decade-spanning career in rock. "We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol."

Living Legends is a series that spotlights icons in music still going strong today. This week, GRAMMY.com spoke with Billy Idol about his latest EP,   Cage , and continuing to rock through decades of changing tastes.

Billy Idol is a true rock 'n' roll survivor who has persevered through cultural shifts and personal struggles. While some may think of Idol solely for "Rebel Yell" and "White Wedding," the singer's musical influences span genres and many of his tunes are less turbo-charged than his '80s hits would belie.  

Idol first made a splash in the latter half of the '70s with the British punk band Generation X. In the '80s, he went on to a solo career combining rock, pop, and punk into a distinct sound that transformed him and his musical partner, guitarist Steve Stevens, into icons. They have racked up multiple GRAMMY nominations, in addition to one gold, one double platinum, and four platinum albums thanks to hits like "Cradle Of Love," "Flesh For Fantasy," and "Eyes Without A Face." 

But, unlike many legacy artists, Idol is anything but a relic. Billy continues to produce vital Idol music by collaborating with producers and songwriters — including Miley Cyrus — who share his forward-thinking vision. He will play a five-show Vegas residency in November, and filmmaker Jonas Akerlund is working on a documentary about Idol’s life. 

His latest release is Cage , the second in a trilogy of annual four-song EPs. The title track is a classic Billy Idol banger expressing the desire to free himself from personal constraints and live a better life. Other tracks on Cage incorporate metallic riffing and funky R&B grooves. 

Idol continues to reckon with his demons — they both grappled with addiction during the '80s — and the singer is open about those struggles on the record and the page. (Idol's 2014 memoir Dancing With Myself , details a 1990 motorcycle accident that nearly claimed a leg, and how becoming a father steered him to reject hard drugs. "Bitter Taste," from his last EP, The Roadside , reflects on surviving the accident.)

Although Idol and Stevens split in the late '80s — the skilled guitarist fronted Steve Stevens & The Atomic Playboys, and collaborated with Michael Jackson, Rick Ocasek, Vince Neil, and Harold Faltermeyer (on the GRAMMY-winning "Top Gun Anthem") —  their common history and shared musical bond has been undeniable. The duo reunited in 2001 for an episode of " VH1 Storytellers " and have been back in the saddle for two decades. Their union remains one of the strongest collaborations in rock 'n roll history.

While there is recognizable personnel and a distinguishable sound throughout a lot of his work, Billy Idol has always pushed himself to try different things. Idol discusses his musical journey, his desire to constantly move forward, and the strong connection that he shares with Stevens. 

Steve has said that you like to mix up a variety of styles, yet everyone assumes you're the "Rebel Yell"/"White Wedding" guy. But if they really listen to your catalog, it's vastly different.

Yeah, that's right. With someone like Steve Stevens, and then back in the day Keith Forsey producing... [Before that] Generation X actually did move around inside punk rock. We didn't stay doing just the Ramones two-minute music. We actually did a seven-minute song. [ Laughs ]. We did always mix things up. 

Then when I got into my solo career, that was the fun of it. With someone like Steve, I knew what he could do. I could see whatever we needed to do, we could nail it. The world was my oyster musically. 

"Cage" is a classic-sounding Billy Idol rocker, then "Running From The Ghost" is almost metal, like what the Devil's Playground album was like back in the mid-2000s. "Miss Nobody" comes out of nowhere with this pop/R&B flavor. What inspired that?

We really hadn't done anything like that since something like "Flesh For Fantasy" [which] had a bit of an R&B thing about it. Back in the early days of Billy Idol, "Hot In The City" and "Mony Mony" had girls [singing] on the backgrounds. 

We always had a bit of R&B really, so it was actually fun to revisit that. We just hadn't done anything really quite like that for a long time. That was one of the reasons to work with someone like Sam Hollander [for the song "Rita Hayworth"] on The Roadside . We knew we could go [with him] into an R&B world, and he's a great songwriter and producer. That's the fun of music really, trying out these things and seeing if you can make them stick. 

I listen to new music by veteran artists and debate that with some people. I'm sure you have those fans that want their nostalgia, and then there are some people who will embrace the newer stuff. Do you find it’s a challenge to reach people with new songs?

Obviously, what we're looking for is, how do we somehow have one foot in the past and one foot into the future? We’ve got the best of all possible worlds because that has been the modus operandi of Billy Idol. 

You want to do things that are true to you, and you don't just want to try and do things that you're seeing there in the charts today. I think that we're achieving it with things like "Running From The Ghost" and "Cage" on this new EP. I think we’re managing to do both in a way. 

** Obviously, "Running From The Ghost" is about addiction, all the stuff that you went through, and in "Cage" you’re talking about  freeing yourself from a lot of personal shackles. Was there any one moment in your life that made you really thought I have to not let this weigh me down anymore ? **

I mean, things like the motorcycle accident I had, that was a bit of a wake up call way back. It was 32 years ago. But there were things like that, years ago, that gradually made me think about what I was doing with my life. I didn't want to ruin it, really. I didn't want to throw it away, and it made [me] be less cavalier. 

I had to say to myself, about the drugs and stuff, that I've been there and I've done it. There’s no point in carrying on doing it. You couldn't get any higher. You didn't want to throw your life away casually, and I was close to doing that. It took me a bit of time, but then gradually I was able to get control of myself to a certain extent [with] drugs and everything. And I think Steve's done the same thing. We're on a similar path really, which has been great because we're in the same boat in terms of lyrics and stuff. 

So a lot of things like that were wake up calls. Even having grandchildren and just watching my daughter enlarging her family and everything; it just makes you really positive about things and want to show a positive side to how you're feeling, about where you're going. We've lived with the demons so long, we've found a way to live with them. We found a way to be at peace with our demons, in a way. Maybe not completely, but certainly to where we’re enjoying what we do and excited about it.

[When writing] "Running From The Ghost" it was easy to go, what was the ghost for us? At one point, we were very drug addicted in the '80s. And Steve in particular is super sober [now]. I mean, I still vape pot and stuff. I don’t know how he’s doing it, but it’s incredible. All I want to be able to do is have a couple of glasses of wine at a restaurant or something. I can do that now.

I think working with people that are super talented, you just feel confident. That is a big reason why you open up and express yourself more because you feel comfortable with what's around you.

Did you watch Danny Boyle's recent Sex Pistols mini-series?

I did, yes.

You had a couple of cameos; well, an actor who portrayed you did. How did you react to it? How accurate do you think it was in portraying that particular time period?

I love Jonesy’s book, I thought his book was incredible. It's probably one of the best bio books really. It was incredible and so open. I was looking forward to that a lot.

It was as if [the show] kind of stayed with Steve [Jones’ memoir] about halfway through, and then departed from it. [John] Lydon, for instance, was never someone I ever saw acting out; he's more like that today. I never saw him do something like jump up in the room and run around going crazy. The only time I saw him ever do that was when they signed the recording deal with Virgin in front of Buckingham Palace. Whereas Sid Vicious was always acting out; he was always doing something in a horrible way or shouting at someone. I don't remember John being like that. I remember him being much more introverted.

But then I watched interviews with some of the actors about coming to grips with the parts they were playing. And they were saying, we knew punk rock happened but just didn't know any of the details. So I thought well, there you go . If ["Pistol" is]  informing a lot of people who wouldn't know anything about punk rock, maybe that's what's good about it.

Maybe down the road John Lydon will get the chance to do John's version of the Pistols story. Maybe someone will go a lot deeper into it and it won't be so surface. But maybe you needed this just to get people back in the flow.

We had punk and metal over here in the States, but it feels like England it was legitimately more dangerous. British society was much more rigid.

It never went [as] mega in America. It went big in England. It exploded when the Pistols did that interview with [TV host Bill] Grundy, that lorry truck driver put his boot through his own TV, and all the national papers had "the filth and the fury" [headlines].

We went from being unknown to being known overnight. We waited a year, Generation X. We even told them [record labels] no for nine months to a year. Every record company wanted their own punk rock group. So it went really mega in England, and it affected the whole country – the style, the fashions, everything. I mean, the Ramones were massive in England. Devo had a No. 1 song [in England] with "Satisfaction" in '77. Actually, Devo was as big as or bigger than the Pistols.

You were ahead of the pop-punk thing that happened in the late '90s, and a lot of it became tongue-in-cheek by then. It didn't have the same sense of rebelliousness as the original movement. It was more pop.

It had become a style. There was a famous book in England called Revolt Into Style — and that's what had happened, a revolt that turned into style which then they were able to duplicate in their own way. Even recently, Billie Joe [Armstrong] did his own version of "Gimme Some Truth," the Lennon song we covered way back in 1977.

When we initially were making [punk] music, it hadn't become accepted yet. It was still dangerous and turned into a style that people were used to. We were still breaking barriers.

You have a band called Generation Sex with Steve Jones and Paul Cook. I assume you all have an easier time playing Pistols and Gen X songs together now and not worrying about getting spit on like back in the '70s?

Yeah, definitely. When I got to America I told the group I was putting it together, "No one spits at the audience."

We had five years of being spat on [in the UK], and it was revolting. And they spat at you if they liked you. If they didn't like it they smashed your gear up. One night, I remember I saw blood on my T-shirt, and I think Joe Strummer got meningitis when spit went in his mouth.

You had to go through a lot to become successful, it wasn't like you just kind of got up there and did a couple of gigs. I don't think some young rock bands really get that today.

With punk going so mega in England, we definitely got a leg up. We still had a lot of work to get where we got to, and rightly so because you find out that you need to do that. A lot of groups in the old days would be together three to five years before they ever made a record, and that time is really important. In a way, what was great about punk rock for me was it was very much a learning period. I really learned a lot [about] recording music and being in a group and even writing songs.

Then when I came to America, it was a flow, really. I also really started to know what I wanted Billy Idol to be. It took me a little bit, but I kind of knew what I wanted Billy Idol to be. And even that took a while to let it marinate.

You and Miley Cyrus have developed a good working relationship in the last several years. How do you think her fans have responded to you, and your fans have responded to her?

I think they're into it. It's more the record company that she had didn't really get "Night Crawling"— it was one of the best songs on Plastic Hearts , and I don't think they understood that. They wanted to go with Dua Lipa, they wanted to go with the modern, young acts, and I don't think they realized that that song was resonating with her fans. Which is a shame really because, with Andrew Watt producing, it's a hit song.

But at the same time, I enjoyed doing it. It came out really good and it's very Billy Idol. In fact, I think it’s more Billy Idol than Miley Cyrus. I think it shows you where Andrew Watt was. He was excited about doing a Billy Idol track. She's fun to work with. She’s a really great person and she works at her singing — I watched her rehearsing for the Super Bowl performance she gave. She rehearsed all Saturday morning, all Saturday afternoon, and Sunday morning and it was that afternoon. I have to admire her fortitude. She really cares.

I remember when you went on " Viva La Bam "  back in 2005 and decided to give Bam Margera’s Lamborghini a new sunroof by taking a power saw to it. Did he own that car? Was that a rental?

I think it was his car.

Did he get over it later on?

He loved it. [ Laughs ] He’s got a wacky sense of humor. He’s fantastic, actually. I’m really sorry to see what he's been going through just lately. He's going through a lot, and I wish him the best. He's a fantastic person, and it's a shame that he's struggling so much with his addictions. I know what it's like. It's not easy.

Musically, what is the synergy like with you guys during the past 10 years, doing Kings and Queens of the Underground and this new stuff? What is your working relationship like now in this more sober, older, mature version of you two as opposed to what it was like back in the '80s?

In lots of ways it’s not so different because we always wrote the songs together, we always talked about what we're going to do together. It was just that we were getting high at the same time.We're just not getting [that way now] but we're doing all the same things.

We're still talking about things, still [planning] things:What are we going to do next? How are we going to find new people to work with? We want to find new producers. Let's be a little bit more timely about putting stuff out.That part of our relationship is the same, you know what I mean? That never got affected. We just happened to be overloading in the '80s.

The relationship’s… matured and it's carrying on being fruitful, and I think that's pretty amazing. Really, most people don't get to this place. Usually, they hate each other by now. [ Laughs ] We also give each other space. We're not stopping each other doing things outside of what we’re working on together. All of that enables us to carry on working together. I love and admire him. I respect him. He's been fantastic. I mean, just standing there on stage with him is always a treat. And he’s got an immensely great sense of humor. I think that's another reason why we can hang together after all this time because we've got the sense of humor to enable us to go forward.

There's a lot of fan reaction videos online, and I noticed a lot of younger women like "Rebel Yell" because, unlike a lot of other '80s alpha male rock tunes, you're talking about satisfying your lover.

It was about my girlfriend at the time, Perri Lister. It was about how great I thought she was, how much I was in love with her, and how great women are, how powerful they are.

It was a bit of a feminist anthem in a weird way. It was all about how relationships can free you and add a lot to your life. It was a cry of love, nothing to do with the Civil War or anything like that. Perri was a big part of my life, a big part of being Billy Idol. I wanted to write about it. I'm glad that's the effect.

Is there something you hope people get out of the songs you've been doing over the last 10 years? Do you find yourself putting out a message that keeps repeating?

Well, I suppose, if anything, is that you can come to terms with your life, you can keep a hold of it. You can work your dreams into reality in a way and, look, a million years later, still be enjoying it.

The only reason I'm singing about getting out of the cage is because I kicked out of the cage years ago. I joined Generation X when I said to my parents, "I'm leaving university, and I'm joining a punk rock group." And they didn't even know what a punk rock group was. Years ago, I’d write things for myself that put me on this path, so that maybe in 2022 I could sing something like "Cage" and be owning this territory and really having a good time. This is the life I wanted.

The original UK punk movement challenged societal norms. Despite all the craziness going on throughout the world, it seems like a lot of modern rock bands are afraid to do what you guys were doing. Do you think we'll see a shift in that?

Yeah.  Art usually reacts to things, so I would think eventually there will be a massive reaction to the pop music that’s taken over — the middle of the road music, and then this kind of right wing politics. There will be a massive reaction if there's not already one. I don’t know where it will come from exactly. You never know who's gonna do [it].

Living Legends: Nancy Sinatra Reflects On Creating "Power And Magic" In Studio, Developing A Legacy Beyond "Boots" & The Pop Stars She Wants To Work With

Graphic: The Recording Academy

Hear All Of The Best Country Solo Performance Nominees For The 2023 GRAMMY Awards

The 2023 GRAMMY Award nominees for Best Country Solo Performance highlight country music's newcomers and veterans, featuring hits from Kelsea Ballerini, Zach Bryan, Miranda Lambert, Maren Morris and Willie Nelson.

Country music's evolution is well represented in the 2023 GRAMMY nominees for Best Country Solo Performance. From crossover pop hooks to red-dirt outlaw roots, the genre's most celebrated elements are on full display — thanks to rising stars, leading ladies and country icons.

Longtime hitmaker Miranda Lambert delivered a soulful performance on the rootsy ballad "In His Arms," an arrangement as sparing as the windswept west Texas highlands where she co-wrote the song. Viral newcomer Zach Bryan dug into similar organic territory on the Oklahoma side of the Red River for "Something in the Orange," his voice accompanied with little more than an acoustic guitar.

Two of country's 2010s breakout stars are clearly still shining, too, as Maren Morris and Kelsea Ballerini both received Best Country Solo Performance GRAMMY nods. Morris channeled the determination that drove her leap-of-faith move from Texas to Nashville for the playful clap-along "Circles Around This Town," while Ballerini brought poppy hooks with a country edge on the infectiously upbeat "HEARTFIRST."

Rounding out the category is the one and only Willie Nelson, who paid tribute to his late friend Billy Joe Shaver with a cover of "Live Forever" — a fitting sentiment for the 89-year-old legend, who is approaching his eighth decade in the business. 

As the excitement builds for the 2023 GRAMMYs on Feb. 5, 2023, let's take a closer look at this year's nominees for Best Country Solo Performance.

Kelsea Ballerini — "HEARTFIRST"

In the tradition of Shania Twain , Faith Hill and Carrie Underwood , Kelsea Ballerini represents Nashville's sunnier side — and her single "HEARTFIRST" is a slice of bright, uptempo, confectionary country-pop for the ages.

Ballerini sings about leaning into a carefree crush with her heart on her sleeve, pushing aside her reservations and taking a risk on love at first sight. The scene plays out in a bar room and a back seat, as she sweeps nimbly through the verses and into a shimmering chorus, when the narrator decides she's ready to "wake up in your T-shirt." 

There are enough steel guitar licks to let you know you're listening to a country song, but the story and melody are universal. "HEARTFIRST" is Ballerini's third GRAMMY nod, but first in the Best Country Solo Performance category.

Zach Bryan — "Something In The Orange"

Zach Bryan blew into Music City seemingly from nowhere in 2017, when his original song "Heading South" — recorded on an iPhone — went viral. Then an active officer in the U.S. Navy, the Oklahoma native chased his muse through music during his downtime, striking a chord with country music fans on stark songs led by his acoustic guitar and affecting vocals.

After his honorable discharge in 2021, Bryan began his music career in earnest, and in 2022 released "Something in the Orange," a haunting ballad that stakes a convincing claim to the territory between Tyler Childers and Jason Isbell in both sonics and songwriting. Slashing slide guitar drives home the song's heartbreak, as Bryan pines for a lover whose tail lights have long since vanished over the horizon. 

"Something In The Orange" marks Bryan's first-ever GRAMMY nomination.

Miranda Lambert — "In His Arms"

Miranda Lambert is the rare, chart-topping contemporary country artist who does more than pay lip service to the genre's rural American roots. "In His Arms" originally surfaced on 2021's The Marfa Tapes , a casual recording Lambert made with Jack Ingram and Jon Randall in Marfa, Texas — a tiny arts enclave in the middle of the west Texas high desert.

In this proper studio version — recorded for her 2022 album, Palomino — Lambert retains the structure and organic feel of the mostly acoustic song; light percussion and soothing atmospherics keep her emotive vocals front and center. A native Texan herself, Lambert sounds fully at home on "In His Arms."

Lambert is the only Best Country Solo Performance nominee who is nominated in all four Country Field categories in 2023. To date, Miranda Lambert has won 3 GRAMMYs and received 27 nominations overall. 

Maren Morris — "Circles Around This Town"

When Maren Morris found herself uninspired and dealing with writer's block, she went back to what inspired her to move to Nashville nearly a decade ago — and out came "Circles Around This Town," the lead single from her 2022 album Humble Quest .

Written in one of her first in-person songwriting sessions since the pandemic, Morris has called "Circles Around This Town" her "most autobiographical song" to date; she even recreated her own teenage bedroom for the song's video. As she looks back to her Texas beginnings and the life she left for Nashville, Morris' voice soars over anthemic, yet easygoing production. 

Morris last won a GRAMMY for Best Country Solo Performance in 2017, when her song "My Church" earned the singer her first GRAMMY. To date, Maren Morris has won one GRAMMY and received 17 nominations overall.

Willie Nelson — "Live Forever"

Country music icon Willie Nelson is no stranger to the GRAMMYs, and this year he aims to add to his collection of 10 gramophones. He earned another three nominations for 2023 — bringing his career total to 56 — including a Best Country Solo Performance nod for "Live Forever."

Nelson's performance of "Live Forever," the lead track of the 2022 tribute album Live Forever: A Tribute to Billy Joe Shaver , is a faithful rendition of Shaver's signature song. Still, Nelson puts his own twist on the tune, recruiting Lucinda Williams for backing vocals and echoing the melody with the inimitable tone of his nylon-string Martin guitar. 

Shaver, an outlaw country pioneer who passed in 2020 at 81 years old, never had any hits of his own during his lifetime. But plenty of his songs were still heard, thanks to stars like Elvis Presley , Kris Kristofferson and Waylon Jennings . Nelson was a longtime friend and frequent collaborator of Shaver's — and now has a GRAMMY nom to show for it.

2023 GRAMMY Nominations: See The Complete Nominees List

• 1 Phil Collins Says He's "Still Not Dead Yet," Adds More U.S. Tour Dates
• 2 GRAMMY Rewind: Kendrick Lamar Honors Hip-Hop's Greats While Accepting Best Rap Album GRAMMY For 'To Pimp a Butterfly' In 2016
• 3 A Guide To Modern Funk For The Dance Floor: L'Imperatrice, Shiro Schwarz, Franc Moody, Say She She & Moniquea
• 4 Living Legends: Billy Idol On Survival, Revival & Breaking Out Of The Cage
• 5 Hear All Of The Best Country Solo Performance Nominees For The 2023 GRAMMY Awards

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Phil Collins has announced a series of shows on his ‘Not Dead Yet, Live!’ tour – his first major North American tour in 12 years.

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Phil Collins announced his first major North American tour in 12 years . The 15-date ‘Not Dead Yet, Live!’ trek launches on 5 October in Ft. Lauderdale, Florida and concludes on 28 October in Los Angeles. The tour, titled after his 2016 memoir Not Dead Yet , is billed as a celebration of the Genesis star’s career.

Citi card members can register for a pre-sale now through Wednesday, May 9th midnight; the pre-sale runs Friday, 11 May at 10 am through to Sunday, 13 May at 5:00 pm. Registration begins Friday, 11 May at noon local time for the Verified Fan sale, which lasts from Monday, 14 May at 10 am through 11.50 pm. Tickets then go on general sale begins Tuesday, 15 May at 10am.

Collins’ backing band for the tour will include several long-time touring members – guitarist Daryl Stuermer (his former touring mate in Genesis), keyboardist Brad Cole, bassist Leland Sklar and percussionist Luis Conte – along with a horn section, backup vocalists and Collins’ 16-year-old Nicolas on drums.

Collins announced his “retirement” after concluding his 2010 tour behind covers album Going Back – but those plans turned out to be tentative. In 2014, he returned to the stage with a pair of songs at Miami Country Day School, which his sons attended. Then, two years later, he performed a mini-set during a fundraiser for his Little Dreams Foundation. Since then, he played ‘Easy Lover’ (with Hamilton star Leslie Odom Jr.) and ‘In the Air Tonight’ at the U.S. Open tennis tournament, and promoted Not Dead Yet with a Roots-assisted ‘In The Air Tonight’ on The Tonight Show .

The singer toured the UK and Europe last summer, though he was forced to delay some shows after suffering a “severe gash” from a fall.

Phil Collins plays the following North American tour dates in 2018:

October 5: Ft. Lauderdale, FL @ BB&T Center October 7: Washington, DC @ Capital One Arena October 8: Philadelphia, PA @ Wells Fargo Center October 9: Boston, MA @ TD Garden October 11: Toronto, ON @ Air Canada Centre October 13: Newark, NJ @ Prudential Center October 14: Brooklyn, NY @ Barclays Center October 16: Montreal, QC @ Centre Bell October 18: Cleveland, OH @ Quicken loans Arena October 19: Columbus, OH @ Nationwide Arena October 21: Minneapolis, MN @ Target Center October 22: Chicago, IL @ United Center October 25: Oakland, CA @ Oracle Arena October 27: Las Vegas, NV @ MGM Grand Garden Arena October 28: Los Angeles, CA @ The Forum.

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Concert review: Genesis resonates on final tour with decades of songs, spectacular visuals

WASHINGTON – When the end is near, everything resonates a little deeper.

That feeling of finality shadowed Genesis' performance at Capital One Arena in D.C. on Thursday, the second city on the band's North American tour, which launched earlier in the week with a pair of shows in Chicago.

But with a 50-plus-year career on their resume, there is still plenty to celebrate as Genesis takes its final lap around the country , armed with spectacular lights and video to complement their kaleidoscopic catalog.

Co-founders Mike Rutherford and Tony Banks told USA TODAY that "The Last Domino?" outing will indeed be the end of the road for the band. Currently, the tour is slated to wrap with a few makeup dates (COVID, naturally) in London March 24-26.

A busy Sting:  New album, new Vegas show means no retirement yet for the musician

The health of singer Phil Collins , 70, has been at the forefront of this tour – Genesis' first since a 2007 reunion – and his initial appearance may have caused some concern in the sold-out arena.

Looking a bit frail and pallid, Collins, who suffers from degenerative nerve damage, clasped a cane and walked gingerly to his swiveling throne, where he would stay seated most of the next two-plus hours.

But remaining stationary didn't quell his charisma.

His 20-year-old son, Nic, perched behind him on the drum riser to assume the rhythm duties that Collins so memorably wove into Genesis' sound since 1970.

As columns of white lights polka-dotted the stage and a high-def screen flashed close-ups of the trio, they slithered through the taut instrumentals "Behind the Lines" and "Duke's End."

A muddy sound mix clouded "Turn it On Again," but cleared up for the ominous "Mama." Lava-red splashes oozed across the screens as Collins dug into his theatrical leanings to sneer and grimace through the lyrics, punctuating them with the song's trademark reptilian cackle.

"It's been an interesting couple of years, but we're here tonight," Collins said from his chair, one of several times he addressed the crowd in efforts to engage.

He noted that "Land of Confusion," Genesis' 1986 hit packed with political undertones, was "written about something else," but still resounds (the song's video, featuring satirical puppets of the band members and a Ronald Reagan caricature, is among MTV's most memorable offerings).

In this version, marching masses in masks and raining rolls of toilet paper projected the modern-day point of the song, which benefited from the crunchy licks the willowy Rutherford spun from his guitar.

The band's set list has remained mostly unchanged since the September tour launch in Europe. But the D.C. crowd did experience one mid-set swap: "Duchess" from 1980's "Duke" album, replaced "Misunderstanding," from the same release. It was a curious move since Genesis had just debuted their Top 20 hit in Chicago.

But what is still one of the most impressive elements of Genesis is its broad musicianship. The 23 songs cherry-picked for the tour seesaw between the complicated prog-rock of the band's '70s output (much of it initially fronted by Peter Gabriel) and their omnipresent radio hits of the '80s and '90s, which were bathed in pop, but still retained much lyrical bite.

From 1973's "The Cinema Show," which showcased Nic Collins' wiry strength while his dad air-drummed from his seat, to the set-ending "Invisible Touch," its slick drum patterns endemic of its 1986 birthdate, Genesis seamlessly knitted decades.

Rutherford even donned his specialty double-neck guitar and bass for "Fading Lights," which took on a new poignancy as Collins sang, "Another time it might have been so different/Oh, if only we could do it all again. But now it’s just another fading memory/Out of focus, though the outline still remains."

50 years in:  Billy Joel talks about his lengthy career

The quiet part of the show, when Rutherford, Banks, Collins the younger and longtime guitarist Daryl Stuermer all sat around Phil Collins for stripped versions of several songs, allowed a few moments to absorb the music without the flash. "That’s All" – with Rutherford steering with a pumping bass line – coasted on its easy groove, while a recast "The Lamb Lies Down on Broadway" and relaxed "Follow You Follow Me" appealed to the multiple generations in the crowd.

Banks, who always conducts himself with elegance behind his altar of keyboards, navigated "Firth of Fifth" with Nic Collins, whose playing on the instrumental projected the uncanny sound that his dad created, before riding the tricky time changes of "I Know What I Like (In Your Wardrobe)."

Through the musical calisthenics of "Domino," accompanied by high-kicking lights, and the beauty and sadness of "Throwing it All Away," with Rutherford picking out the melody on electric guitar, Genesis flourished.

But how else would this band say goodbye if not with expert musicianship and a smorgasbord of songs.

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Phil Collins Returns to the Stage (Seated!) with Genesis Amid Health Woes

The "Against All Odds" singer told BBC Breakfast ahead of the farewell tour that he could "barely hold a [drum] stick"

There's nothing coming between this iconic musician and the stage.

Phil Collins returned to the stage in Birmingham on Monday night with the legendary rock band Genesis on its The Last Domino? tour — despite his ongoing health issues.

Though he remained seated the entire time, Collins, 70, still sang the band's songs as his son, Nic, took over on the drums for him. Collins, however, was not alone as his fellow band member Mike Rutherford opted to sit on a stool next to him as he strummed the guitar in concert.

Birmingham was the first stop of the farewell tour for the band — and their first time performing in 13 years since 2007's Turn It On Again tour.

Earlier this month, the drummer opened up in an interview with BBC Breakfast about his health issues and how they've affected his career as a musician over the years. He's no longer able to play the drums.

"I'd love to but you know, I mean, I can barely hold a stick with this hand," Collins told the outlet. "So there are certain physical things that get in the way."

He also expressed frustration about not being able to do what he loves most.

"I'm kind of physically challenged a bit which is very frustrating because I'd love to be playing up there with my son," Collins said.

Genesis — which currently consists of Collins, Rutherford, 70, Tony Banks, 71, and now Nic, 20 — postponed their reunion tour last year due to the COVID-19 pandemic.

Collins underwent back surgery in 2015 and told Billboard in 2016 that he felt like he was walking "on sticks" due to the operation, in addition to suffering nerve damage and multiple foot fractures.

"I don't know if I'll ever be fit enough to play the drums again on tour," Collins said at the time. "My left arm has changed — it's a neural thing. The back surgery I had was great — I mean, how good can surgery be?"

"But it was problem-free. But then when I was recovering on crutches, I fell and fractured my foot," he continued. "When I recovered from foot surgery, I fell again and fractured another part of the same foot. My right foot now is completely numb."

Genesis will perform 37 shows from Sept. 20 to Dec. 16 across the United Kingdom and North America.

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Watch CBS News

Phil Collins, Genesis Reunite For First Tour In 14 Years, Ending In Boston

April 29, 2021 / 10:12 AM EDT / CBS Boston

BOSTON (CBS/AP) – Phil Collins and Genesis are reuniting for their first tour in 14 years and it will end in Boston at the end of the year.

Collins, Tony Banks and Mike Rutherford announced " The Last Domino? " Tour on Thursday. It starts in Europe and will move to the U.S. in Chicago on Nov. 15. The 14-date tour will also include Washington, D.C., Charlotte, Montreal, Toronto, Buffalo, Detroit, Cleveland and Philadelphia.

The tour ends in Boston on Dec. 15 at the TD Garden.

You can get pre-sale tickets at Ticketmaster on May 5. Tickets go on sale to the general public May 7.

Genesis was inducted in the Rock And Roll Hall of Fame in 2010.

(© Copyright 2021 CBS Broadcasting Inc. All Rights Reserved. The Associated Press contributed to this report.)

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Genesis Announce North American Dates For ‘Last Domino?’ Tour

By Andy Greene

Andy Greene

Genesis have rolled out dates for the North American leg of their The Last Domino? tour. It kicks off November 15th at Chicago’s United Center and wraps up December 15th at Boston’s TD Garden. Pre-sale tickets go on-sale via Ticketmaster’s Verified Fan system on May 5th and the general public will have access on May 7th.

Genesis have been completely inactive since the end of their 2007 Turn It On Again reunion tour. This time out, core members Phil Collins , Mike Rutherford, and Tony Banks will be joined by their longtime touring guitarist/bassist Daryl Stuermer and Phil’s twenty-year-old son Nic Collins on drums. He’s been gigging with Phil’s solo band for the past five years, but he has yet to play in public with Genesis. (Original frontman Peter Gabriel left the group in 1975 and hasn’t played with them since a one-off reunion gig in 1982 .)

The world tour is slated to begin September 15th at Dublin’s 3Arena. The group was supposed to start last November, but the pandemic forced them to push it back nearly a year. In the interim, they staged extensive production rehearsals, which they teased in January with a 50-second video that revealed aspects of the stage set. Collins, unable to stand for long periods of time due to medical issues, sings from a chair as on his last few solo tours.

In a recent interview with Gary Kemp and Guy Pratt’s Rockonteurs podcast , Rutherford talked about rehearsing for the tour at the height of the pandemic. “We thought, ‘Are we crazy rehearsing for the tour?'” said the guitarist. ” ‘It might never happen.’ Then we thought, ‘If we don’t do it now and it goes back another year and a half, we might forget the whole thing. Let’s rehearse anyway. We’ll have a show we’re excited about and it keeps the momentum going’ … In our bubble, we had a 90-person crew with lights and sound. We came out of it with a show and we’re ready to go.”

The setlist has been a closely-guarded secret, but Nic Collins did offer some hints in a recent interview with Percussion Discussion. “There were some songs that I’ve known for ages,” he said. “It was the deeper cuts and the more progressive stuff…I did know ‘Firth of Fifth’ and ‘I Know What I Like’ and ‘In The Cage,’ but there were a few songs that I wasn’t aware of. It’s been really cool to prepare for this gig. As I’ve dug through the material to learn it, I’m finding other material and becoming more of a fan of the band.”

He went on to talk about the difficulty of learning the 1976 instrumental “Los Endos” and the final 10 minutes of the 1973 epic “Supper’s Ready,” but refused to say whether or not they made the final setlist for the show.

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A press release for the tour notes that “all venues will be following all mandated precautions in accordance with state and local regulations so as to provide the most secure, Covid-19-free environment possible.”

Genesis – North American The Last Domino? Tour Dates

November 15, 16 – Chicago, IL @ United Center November 18 – Washington, DC @ Capital One Arena November 20 – Charlotte, NC @ Spectrum Center November 22, 23 – Montreal, QC @ Centre Bell November 25 – Toronto, ON @ Scotiabank Arena November 27 – Buffalo, NY @ KeyBank Center November 29 – Detroit, MI @ Little Caesars Arena November 30 – Cleveland, OH @ Rocket Mortgage FieldHouse December 2 – Philadelphia, PA @ Wells Fargo Center December 5, 6 – New York, NY @ Madison Square Garden December 8 – Columbus, OH @ Nationwide Arena December 10 – Belmont Park, NY @ UBS Arena December 13 – Pittsburgh, PA @ PPG Paints Arena December 15 – Boston, MA @ TD Garden

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The phil collins experience closes out the 2022 season at knuckleheads as has become tradition. come for the epic show in our hometown and stay for the after party with kansas city groove therapy..

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We return to the amazing arcada theatre for an encore performance.  this venue is incredible for fans and artists alike., the amphitheater at kroger conner prairie is home to the indianapolis symphony.  we are honored to play our first date at this venue. , july  30, 2022, river view park resort blair ne, may 14, 2022, macken park,  north kansas city, mo, may 7, 2022, our debut performance at the incredible arcada theatre in st. charles, il, may  6, 2022, diamond music hall st. peters, mo.

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One of music’s most iconic and celebrated figures, legendary British singer, songwriter, drummer, and producer Phil Collins has made an indelible mark on pop culture during his five-decade-long career – both as a member of Genesis and as a chart-topping solo artist. Long counted as one of the world’s all-time best-selling recording artists, the Rock and Roll Hall of Famer is also among its most decorated, with multiple GRAMMYS®, Ivor Novellos, BRITs, and an Academy Award to his name. But what is perhaps more impressive is his ability to reach so many fans – across borders and generations – with a string of hits that have become ingrained in the collective consciousness, including “Against All Odds (Take a Look at Me Now),” “Sussudio,” “You’ll Be in My Heart,” and, perhaps most famously, “In the Air Tonight,” which is not only one of the late 20 th century’s most enduring songs, but also features one of music’s most recognizable drum breakdowns.

The impact of Phil Collins’ nearly 50-year career is impossible to measure. As a drummer, he has long been ranked among the greatest in his craft by the likes of Modern Drummer and Rhythm. His musicianship, meanwhile, has influenced a trove of peers, including the late Taylor Hawkins (Foo Fighters) and Neil Peart (Rush), as well as Anthrax’s Charlie Benante. As a singer-songwriter, his timeless work has been embraced by generations of fans (from Ice T and Death Cab for Cutie’s Ben Gibbard to Alicia Keys and Lorde, to name a few) while his songs have been covered and sampled by scores of artists. Beyond his work with Genesis, Collins has sold an estimated 150 million albums worldwide, making him one of the best-selling artists of all time. He also remains one of only three artists (including Paul McCartney and Michael Jackson) to sell over 100 million albums both as solo artists and with their respective bands.

Throughout his career, Collins has been celebrated for his indelible contributions to the pop music canon – both as a solo artist as well as a member of Genesis. Among other honors, his solo work has earned him eight GRAMMYS®, an Academy Award, six BRITs, and six Ivor Novello Awards. In 1999, he received a star on the Hollywood Walk of Fame and was inducted into the Songwriters Hall of Fame four years later, while in 2010, he was inducted into the Rock and Roll Hall of Fame as a member of Genesis.

Challengers: Could Zendaya’s tennis husband hack the ATP Challenger Tour?

While the best tennis players in the world battle in one of the year’s most important tournaments in Madrid, the sport’s parallel universes align.

A whole bunch of top players are battling in the equivalent of baseball’s minor leagues in another part of Spain, in Italy and in France. They are playing Challengers.

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You know where this is going.

There’s this tennis movie that isn’t really a tennis movie called “Challengers,” in which Zendaya stars as Tashi Duncan. She’s the wife and coach of one of the world’s best players, but she was once the next big thing.

Then she got hurt and had to settle for coaching her partner to the top. 

Now he’s in a slump ahead of the U.S. Open. So she gets him to sign up for the Phil’s Tire Town Challenger tournament, where they go up against her husband’s former best friend, who was also once Tashi’s boyfriend.

There’s some history there. Let’s leave it at that.

While basically everyone leaves the theater thinking about love triangles and threesomes, the minds of tennis heads drift to the dynamics of their sport, where top players really do show up in the tournaments which are, on paper, below their standing in the global game.

Challengers is not a tennis movie — but Zendaya has something big to say about the sport

Friday, May 3, Tomas Martin Etcheverry of Argentina, a top 30 player who nobody wants to face during the first week of a Grand Slam, was taking on world No 77 Arthur Rinderknech of France at a Challenger tournament in Aix-En Provence in France.

Days before, Etcheverry had lost to Canada’s Denis Shapovalov in Madrid.

Frances Tiafoe, a second-round loser to Pedro Cachin of Argentina (the guy who asked Nadal for his shirt after their match two days later), was trying to grind out wins at the Sardegna Open in Cagliari. It didn’t go well for the 2022 U.S. Open semi-finalist, who was the top seed but lost 6-1, 7-5 to Federico Coria.

Italians Fabio Fognini — another former top 10 player — and Lorenzo Musetti, world No 29 in the rankings and a guy who is supposed to rival Carlos Alcaraz and Jannik Sinner in the future, were on home turf. O n the women’s side, Emma Navarro, world No 23 and climbing but less than a week after a third-round loss in Madrid, was seeking form in Lleida, Spain, in the WTA quasi-equivalent of a Challenger, a “125 event”. 

This is happening a lot nowadays, even though the tournaments usually have all the glitz and glamor that Phil’s Tire Town offers — which is to say, none. Their appeal to these kinds of players is, instead, part necessity and part invention, going in tandem with the effort by the ATP and WTA to elevate the Masters 1000 tournaments , which are one level below a Grand Slam event.

Inside tennis' corridors of power: A fractured hall of mirrors where nothing is as it seems

By expanding their draws and duration from a week to 12 days, the tours have sold more tickets and created more days of prime tournament television content. They have also poked some holes in top players’ schedules if they lose in early rounds.

Take Tiafoe, who showed up in Madrid the weekend before the midweek start of the tournament. Because the top 32 players get a first-round bye, he waited nearly a week to play his first match, which he lost to Cachin. His next scheduled tournament, the Italian Open, was still at least 10 days away. He was suddenly looking at a vacuum of a fortnight while 3,500 miles away from home. So off to Cagliari he went — with the luxury of a wildcard — along with mainstays like Musetti, compatriot Lorenzo Sonego, and fellow American Chris Eubanks.

The increasing frequency of this scenario creates a dilemma for the players who live these events. If players like Tiafoe et al miss the glamor of a roofed stadium, huge crowds or just somewhere to change that isn’t a portable toilet, then their opponents are trying for a taste of that rarefied air. Their routes in are winning — and winning a lot — on a Challenger Tour that is getting more and more competitive, or being blessed by the capricious wild-card system, whose sense of arbitrary glory is dimmed by a combination of soft nationalism, draw-stacking with as many known players as possible to sell more tickets, and the influence of companies such as IMG, which both run tournaments and represent talent.

Karue Sell, a tennis personality of some renown on YouTube who has returned to the pro game at 30 and is winning matches at the Porto Alegre Challenger in Brazil right now, says more wild cards should go to players who are in a rich vein of form on that tour, where the conditions (he’s not a fan of the balls in Brazil) and level of talent are a grind. Winning for two weeks is enough for a Grand Slam; why shouldn’t it be enough to get you into one?

How to fix tennis

Bernard Tomic, the Australian hot-headed tennis enigma, raised some eyebrows a few years ago when he said that there was little difference between a player ranked 60th and another ranked 250th.

He would not find a lot of people arguing today, at least in the men’s game.

Top players can drop down with little friction and going the other way is not so easy, but that doesn’t mean the elite are having it their own way. Improved competition has made lesser players better and the margins between rankings smaller.

Dominic Thiem, the 2020 U.S. Open champion who has struggled to get through a recurring wrist injury and motivational challenges, has spent plenty of weeks trying to find form on the Challenger Tour. It’s not gone well. Thiem is 2-3 in three Challenger events since November. Naomi Osaka, another former Grand Slam champion, was applauded for dropping down to play a WTA 250 (not even a Challenger) in Rouen because it showed seriousness about winning matches, the implication being that she was giving herself a chance to beat some also-rans. She lost in the round of 32.

“Everybody is playing really good tennis nowadays,” said Thiago Monteiro, a 29-year-old Brazilian.

Monteiro should know. He has spent much of his career bouncing between Challenger tournaments and the ATP Tour. He recently lost twice in eight days to someone named Orlando Luz, a 26-year-old Brazilian currently 333rd in the rankings, who has never climbed higher than world No 272.

Then Monteiro beat Stefanos Tsitispas, the world No 7, in Madrid’s second round, even though Tsitsipas had just made the final in Barcelona after winning the Monte Carlo Masters . Tsitispas knew he’d let down his guard against someone hungry and capable. He had forgotten the any-given-day dynamic every tennis player must respect.

Cachin, who beat Tiafoe then pushed Nadal to three sets, has had a similar trajectory to Monteiro, logging plenty of weeks at Challenger events across the world the past decade. He said the only real difference between solid ATP Tour players and those he faces in the Challenger events is consistency.

Plenty of players can raise their level for a set or three, or even five with a top player. They serve hard, rip forehands, and have moments of exquisite touch. They can look like superheroes on a practice court. But their bodies and brains don’t allow it day after day, tournament after tournament, year after year. 

“Can you be there all the time?” Cachin asked after his loss to Nadal. 

Most can’t, which is why they are eating bad food, staying in bad hotels and struggling to break even, knowing they might be one or two good weeks away from the big show. And nothing excites them more, Monteiro said, than when a top player shows up with his fancy bag and designer shirts, sleeves patched with the names of blue-chip companies. Here comes a chance to prove to themselves and the dozen or so people watching in the bleachers that they have the goods, at least for a few hours.

Monteiro said he has felt it from both sides, salivating at chances to play someone like Thiem on any court, at any time, while knowing that, as one of the top players in Brazil, he has a massive target on his back if he plays a home Challenger.

“ Didn’t do really well,” he said the other day in Madrid, still a bit haunted by the memory of losses in Sao Leo and Florianopolis in Brazil and Oeiras in Portugal.

“Everybody wants also to beat me.”

(Top photo: Clive Brunskill/Getty Images; Niko Tavernise/Metro-Goldwyn-Mayer Pictures; Mike Lawrence/ATP Tour)

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Matthew Futterman is an award-winning veteran sports journalist and the author of two books, “Running to the Edge: A Band of Misfits and the Guru Who Unlocked the Secrets of Speed” and “Players: How Sports Became a Business.”Before coming to The Athletic in 2023, he worked for The New York Times, The Wall Street Journal, The Star-Ledger of New Jersey and The Philadelphia Inquirer. He is currently writing a book about tennis, "The Cruelest Game: Agony, Ecstasy and Near Death Experiences on the Pro Tennis Tour," to be published by Doubleday in 2026. Follow Matthew on Twitter @ mattfutterman

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Kris kim, 16, becomes youngest player to make pga tour cut in nine years.

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McKINNEY, Texas — Kris Kim, a 16-year-old amateur playing on a sponsor exemption at the CJ Cup Byron Nelson, became the youngest player in nine years to make the cut in a PGA Tour event.

Kim finished his second round Friday with a birdie for a 4-under 67.

At 7-under 135, he was among 66 players who made the cut, which was 6 under.

“Just make the cut, to be honest,” Kim told reporters after the round. “I knew something around this number would be good enough, but to shoot that I’m pretty happy.” 

Jake Knapp was the leader at 14-under 128.

Kyle Suppa was 16 when he made the cut at the Sony Open in Hawaii in 2015.

“It feels pretty good,” Kim said. “I feel like I played well over the last two days. Stay pretty patient out there, and I guess it worked.” 

At 16 years, seven months old, Kim surpassed Jordan Spieth as the youngest player to make the cut at the Nelson.

“I’ve enjoyed it so much the last couple of days, and being here two more days makes it so much sweeter.” 

Kim finished Saturday’s third round tied for 46rd at 8-under after shooting a 1 under for the day with Knapp getting ready to tee off.

Spieth was two months shy of his 17th birthday when made his first PGA Tour start at his hometown event in 2010, and finished tied for 16th.

Kim, who is the son of former LPGA Tour player and South Korea native Ji-Hyun Suh, is making his PGA Tour debut.

He is the first amateur sponsored by South Korean company CJ Group, which is the title sponsor of the Nelson for the first time.

— With AP

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How ‘The Fall Guy’ Landed Taylor Swift and Kiss for its Soundtrack — and the Alanis Morissette Karaoke Moment That Didn’t Make the Final Cut

SPOILER ALERT: This story discusses plot elements from “ The Fall Guy ,” now playing in theaters.

Long before Taylor Swift embarked on the Eras Tour, director David Leitch and producer Kelly McCormick had the idea to use “All Too Well” as a key moment in “The Fall Guy.”

McCormick, a self-professed Swiftie, and Leitch were trying to find a fresh and contemporary song to fit into a particular scene.

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The lyrics to Swift’s 2012 song “All Too Well” evoked exactly what Colt was feeling in that moment – extreme heartbreak. He’s someone who has lost it all. As the song plays, Jody catches him singing along. She asks, “Have you been crying to Taylor Swift?” You bet he was.

Though the film is hitting theaters as Swift Mania reaches a fever pitch, it should be noted that scene was written and the rights to the song were secured before the Eras Tour became the hottest concert (and movie) ticket on the planet.

“It happened before the tour frenzy,” confirms music supervisor Rachel Levy. With the song being an integral part of the narrative, there wasn’t a backup plan in place were Swift to say no. Levy adds, “Taylor is a friend of sync. We haven’t had much that’s been denied by her. She likes to place her songs in movies, and there was no reason to think that it would be denied.”

She wasn’t entirely convinced, but Leitch was insistent. “What I liked about Kiss was it was crystallizing the tone of the movie for me, which was equal parts camp and cool,” he explains.

The conversation continued through filming and Leitch learned during post-production that Gosling, Universal Pictures president Peter Cramer and (a still-unconvinced) McCormick all rejected the idea of the song.

“I was like, ‘I think you should cut that Kiss out.’ Peter Cramer was like, ‘I think you should cut Kiss out,’ and Ryan Gosling was like, ‘I don’t see Kiss in this thing,'” McCormick says, laughing. So they tried different songs, but nothing seemed to work. “By the end, it was the only thing that tied the whole room together.”

“I Was Made For Lovin’ You” turned out to be the most challenging for Levy to get clearance for. But in addition to using the track as a needle drop several times throughout the film, composer Dominic Lewis deconstructed the song and integrated it into his theme. Then, singer Yungblud recorded a cover version which plays during an action sequence involving a speedboat.

The result: “I Was Made For Lovin’ You” became the beating heart of the film’s soundtrack. McCormick laughs, “Everyone is saying, ‘Of course it’s Kiss. Of course, it’s that song.”

Along with other throwbacks like the “Miami Vice” theme (which, along with Colt’s treasured “Miami Vice stunt team” jacket is a nod to Leitch getting his start working in stunt shows ), Phil Collins’ “Against All Odds” and a karaoke version of Christina Aguilera’s “Genie in a Bottle,” the soundtrack features original songs, including “Unknown Stuntman,” Blake Shelton’s take on the theme from the 1980s “Fall Guy” TV show.

“Kelly had that connection to Blake, and it was an obvious yes,” Levy says. “I can’t imagine anyone better to sing and perform a cover of the original theme song, and that was one of the easiest things we did because everyone agreed and was super excited about it.”

Levy credits Leitch’s love for music in bringing the movie music together. “If you look at his work from ‘Bullet Train’ to ‘Hobbs and Shaw,’ and ‘Deadpool,’ they have big musical moments with character.” But when assembling the stunt-tacular soundtrack, a few songs didn’t make the final cut.

One song that Levy cleared but wasn’t used is Alanis Morissette’s scornful anthem “You Oughta Know.” It was meant to be another song Jody sings during the film’s karaoke scene. She’s slowly losing it as, once again, Colt hasn’t shown up when he should.

“She’s slowly losing it on stage in front of the crew, and she doesn’t know what song to sing,” McCormick recalls. “[Emily] wrote a letter to Alanis Morrissette begging her for the song, and Alanis who historically never gives it, gave it, and we don’t use it.”

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