Be the first to find out about GRAMMY nominees, winners, important news, and events. Privacy Policy
GRAMMY-nominated U.K. garage and R&B superstar Craig David discusses his eighth studio album, '22,' his new book 'What's Your Vibe?,' and how both returned him to a child-like state of wonder.
At 19, Craig David went from a music obsessive just trying to pull some money together to buy more vinyl and gear, to a chart-topping global sensation with his GRAMMY-nominated debut single "Fill Me In." The success and fame continued with his massively successful first album, Born to Do It . A lot has happened since that 2000 album, and the British star feels blessed to still be doing what he loves.
In a deeply engaging and personal manner, David details his rapid rise, the challenges of fame, and learning to trust his intuition in his new book, What's Your Vibe?: Tuning into your best life , available in the U.K. Oct. 6. (Its U.S. release will be announced at a later date.)
On Sept. 30, he'll drop his eighth studio album, 22 — a celebration of the 22 years since Born to Do It , and a return to that more innocent creative space, when he was just a teenager writing songs while looking out his bedroom window in Southampton. David also finds deep connection to the meaning of 22 in numerology, which is known as the " master builder " number and is about turning dreams into reality that serve the greater good.
Across its 17 inviting tracks, 22 reflects what David loves and thrives at: singing beautifully about love and life, atop danceable garage rhythms and sexy R&B bops, and collaborating with singer/songwriters and producers. Opener "Teardrops" delivers that classic, smooth garage sound David brought to the world with his early singles, while "Who You Are" featuring 27-year-old U.K. singer/songwriter, producer and remixer MNEK is a perfect marriage of voices. There's also upbeat classic house on "My Heart's Been Waiting For You" with London producer Duvall (of trio Disciples), and anthemic EDM on "DNA" with Swedish DJ/production duo Galantis.
In a deep dive with GRAMMY.com, Craig David discusses his new album, book, and the journey to get here.
22 opens with your classic, smooth garage sound on "Teardrops." Was that an intentional choice, to set the tone for the album?
The whole album ended up coming about throughout lockdown. It kind of hit a certain point where we recognized that we have to surrender to this, it's happening. In that surrender, we had to look at different things that fill our soul with a little bit of joy. And for me, that was being in my studio at home.
And that felt very similar to when I made my first album, Born to Do It . I felt like all of my childhood and joy was made leading up to that [first] album and it was just life . It was going into the studio, it was seeing my friends. It was "I'm gonna write a chorus today and come back to it tomorrow and maybe write a verse."
Working on "Teardrops," gave me the feel of when I was making "Rewind" [in 1999] with the Artful Dodger, and I thought "What a nice way to open the whole thing." It's got the nostalgia of the ehhh, ehhh, yeahhh , and it's got this whole riff from " They Don't Know ," the [1998] Jon B. song, which has actually been my alarm clock for the last three or four years.
"Teardrops" wasn't that at first. We'd written it and I started singing it in the morning, over that riff of my alarm clock. I called up the producer Mike Brainchild, and sang him the melody over it. He was getting his hair cut and he told the guy, "It's cool, you don't have to do the fade all crazy. I'll come back." Literally that day, he took that guitar, flipped it on it, revocaled it, and there you have "Teardrops." It's one of my favorites on the album, to be honest. I always feel you got to start on the right foot.
What do you think was the magic sauce that put you back into your 19-year-old self?
The title of Born to Do It came from Willy Wonka & the Chocolate Factory , my all-time favorite movie. There's a part at the beginning where the kid runs into the candy shop and he says, "Candy Man, how did you do it?" And the Candy Man says, "Well my dear boy, do you ask a fish how it swims? Do you ask a bird how it flies?" The boy says, "No, sir." "You don't because they were born to do it." I feel it's an intrinsic feeling of almost getting out of the way of the thing that you know that you love and enjoy.
This period of time was reflective. It also made me recognize how grateful and how blessed I am to be in the position that I've been in for 22 years and be at the stage where I've been able to, I hope, bring lots of joy to many people through my music. I'm more conscious about everything I'm saying now, because I'm in a position where it has an effect.
We get some more garage on "Who You Are."What was it like working with MNEK and how did that track come together?
I mean, it was a long time waiting to actually have his vocals on one of my songs. We've had this beautiful kind of weaving as songwriters working together. MNEK was involved with my song called " Change My Love " [from 2016's Following My Intuition ] and, more recently [in 2020], one with KSI called " Really Love ."
When I'm working with someone, the conversation we have at the start sets the tone for what we're actually gonna sing and talk about. He was talking about just had a huge hit with Joel Corry, "Head & Heart." And he was saying, "You know what, I like my anonymity and a lot of people are pulling at me right now. For my mental health, I'm trying to find balance in all of that." I said to him, "I love how you're wearing your heart on your sleeve. Look how beautiful it is that you can just be you and not feel like you have to act in any way within society. I think we're in a really beautiful, liberating time."
"Who you are" and "wearing your heart on sleeve" became the topic to hopefully be the empowerment song for someone who wants to be able to express who they are. I felt like it really touched a lot of people's hearts. He was the perfect person [to sing it with me].
What was your intention going into working on your eighth studio album? Did that evolve as it started coming together?
I just wanted to have fun , like I did making my first music, not even necessarily the first album. Those [first] songs were me just enjoying being a child and going through being a teenager and looking out my window and aspiring to do this. It was this very magical, whimsical [space]. As an adult, it's important to still find that balance with the inner child that's inside of you, that's always crying out to just have some fun. It's like, "Wow, when did it all become so crazy serious around here?"
The beauty of being so free is that you have these very powerful moments that happen and it creates an album. I could have never told you that my first album was going to go on and sell 7 million copies and have No.1s around the world. I was just like, "I like this song. It feels good , it's giving me vibes. My friends are telling me it's good." I would have been happy with just that. And that was very similar with this [album], I had time to enjoy [it]. I hope it really brings joy to other people. I just want to be of service in that sense.
I love that you open the book checking in with the reader, asking how they're feeling. How do you stay present and grounded in your daily life, especially when things are moving really fast?
On one hand, there's the spiritual practices or rituals — if I start to feel a bit ungrounded or if there's a lot going on in my head, I'll step outside and get some fresh air. Or if there's nowhere to get fresh air, then I just take some deep breaths, and put my hand on my heart and it really does calm everything down. Talking about what we've experienced today, this has got me very much at the moment. The whole book is really "How do you feel?" Not how you're thinking.
We'd like life to be so very organized and in place, but it's messy. It's messy, but in a good way. It's the ice cream melting all over the cone and all over your hand and your nice new outfit. But we had fun, right? That's the premise of the whole thing: Let's get into our bodies, into how we're feeling, and then take it from there. It doesn't mean that life won't present things that can be a bit hard on us. But let's get back to the kid inside of us because that will always find a sweet spot somewhere.
I love that. When you were working on the book, what did it feel like looking back at your life, especially given the timing of being 22 years from Born to Do It ?
Yeah, I feel like you can kind of see why things played out the way that they did when you have a little bit of hindsight. In the midst of something, you're trying to process and work out what's happening around you. When everything first blew up for me, it felt like zero to 100. One moment I'd been working at McDonalds, and selling double-glazed windows on the phone, cold-calling people. Ultimately, I was just wanting to put together some money so I could buy some more vinyl or that hi-fi equipment I wanted. I see now that all of those parts got me to this point in my life. That doesn't mean that I've actually now arrived somewhere, because my life is still continuing on.
I wanted to be able to write something that people could relate to… and hopefully find their own story within what I was saying. And maybe what I did to get through something or how I felt about something might be something someone else is experiencing and they can use some of those tools I used. Same for the album. If I can give you a little something with the book and if my music can lift you out of whatever's going on in your world for three and a half minutes of a song, then my work is done.
And the number 22, funnily enough, has a very deep symbolic, spiritual meaning. It's about recognizing that what you may have thought was the thing you were doing is actually setting you up for the real work. So the music thing was like, "We got to try and get the No. 1, we got to sell records." Now, it's about creating vibrational, energetic moments that connect me on stage when I sing and there's that euphoric moment and life is good.
I'm happy that I realized that this is actually what it is about. It's not about getting number ones or how Spotify plays you got today or how many interviews did you do today? I'd like to say, how many people did you actually connect with today when you did interviews?
What did that success of "Fill Me In" feel like to you at that time? I can't imagine being 19, putting out your first solo single and everyone is listening to it.
It really was euphoric. It's funny because yesterday I actually watched about seven of those [early music] videos, including "Fill Me In." That shot where it starts off in the barber's getting my hair done, it would have only been weeks before that I was at my barber's having those conversations, it was so real. It would then jump from zero to 100, from walking up the high street in Southampton where I grew up, to people running up and asking for my autograph.
It was the start of a new beginning and the end of sort of the innocence and the child phase for me. I had to process this fame and rise. And I'm seeing the whole world, traveling to countries and places I've never been before.
"Fill Me In" was released the same week as Destiny's Child 's "Say My Name" in the U.K.— I had Destiny's Child posters on my wall. I got the call saying I was No. 1and I could not get my head around it. It wasn't so much the number, I was just like, "No way Destiny's Child can be No. 2." It felt so surreal. It's like Charlie getting the golden ticket and walking into the chocolate factory. That was pretty much the first few years, I was thrown into this magical world of pure imagination. At the same time, it was a lot of process.
Now I look back, as I talk about in the book, I had moments of imposter syndrome.I I started to feel the pull of I'm still a local guy in Southampton , but you're not, your album just sold 7 million copies and you're performing on "The Letterman Show." You're not that anymore, but you are. That was a strange moment.
How did your beginnings as a radio and club DJ, as well as making mixtapes in your bedroom, influence your sound and your approach to music?
I loved it. With the mixtapes, you had to have a very good read of who you were selling them to. The choice of songs was important, which goes back to album—that was setting me up to figure out where do the songs fit. When I was supposed to be college studying in the library, I was in there using the printer to make mixtape CDs covers. I had a little laminating machine, the whole thing.
All of those things set me up for more than 22 years where I can jump on and create covers and send them to the design team. And the mixtape period was a really good time. Those are the moments behind the scenes that set you up for when you are doing the thing.
If you could go back and give your 19-year-old self advice or guidance, what would you tell him?
Go out there, do exactly as you're about to do. Because every single thing you're going to do is going to land you in the places that you need to be.
And even though this might sound a little far-fetched for you right now — because you're only 19 and you're a little bit excited because you've just released your first album and it's all going beautifully — but there will be some moments that will be quite hard. Have the faith that there'll be light at the end of the tunnel. Do the right thing. Follow your intuition. That's what will get you through this whole thing. I'll see you when you're my age and you'll see what I mean.
What is your response to seeing artists like Beyoncé and Drake tap into house music and bring it into pop?
I'm all for people being creative and expressive, and showing whatever they're feeling at any point in time in their life. I can only see the positives in putting out music that you love. And if it shines light on a genre of music because of the position that you're in, the more the merrier. All I know is, "Break My Soul," sheeesh , that tune hit .
I have a song called "Heartline," and I do a version where I play that instrumental and then drop the acapella of "Break My Soul" over the top. Ohh , the vibe! "Heartline" is kind of an Afrobeat tune, the tempo sits so nicely — but what Beyoncé is saying! "New foundation, got that motivation, I'm on a new vibration." I'm all for it. Go out there and just do what you want to express, because that’s the inner child in you.
Makaya McCraven's New Album 'In These Times' Untangles The Intricacies Of Rhythm & Tumult
Photo: Sean Mathis/Getty Images
With a new Chic album in the works at London's Abbey Road Studios and a new job title there, Rodgers raises our appetites for what's cooking
Named first-ever Chief Creative Advisor at London's Abbey Road Studios last month, Nile Rodgers found himself answering questions on April 21 at Coachella about who's been in the studio with him working on the upcoming Chic album, It's About Time. Rodgers learned late last year that his health is back in tune, and fans are looking forward to new innovations from the old-school funk master's knack for trend-setting originality.
In addition to the signature sounds he crafted for Chic and Sister Sledge, Rodgers also produced David Bowie's GRAMMY-nominated Let's Dance in 1983 and Madonna's Like A Virgin the following year. He shared three GRAMMY wins at the 56th GRAMMY Awards with Daft Punk, songwriter Paul Williams, and Pharrell Williams, including Record Of The Year for "Get Lucky" and Album Of The Year for Random Access Memories.
Rodgers had been working with Anderson .Paak on new Chic material at Abbey Road, while .Paak was opening for Bruno Mars. A track record like Rodgers' is what prompted Mars to say, "Damn, I gotta stop by and hang with y'all," joining them in the studio and creating an innovation of his own. Emerging artists Nao and Stefflon Don have also been working in London with Rodgers, as well as Craig David, Blondie's Debbie Harry, and Mura Masa.
Haim has been expected at Abbey Road Studios in London, to see what they create with Rodgers. Meantime at Coachella, opening for Beyoncé, the sisters created some beef by boasting "We will kick any band's ass!" Rodgers responded, "I will happily take the challenge," and warns the two groups might be staging some Battle-of-the-Bands get-togethers to duke it out.
Other artists expected to appear on the upcoming Chic project include Disclosure, Ray BLK and Jorja Smith. So we expect good times ahead from the man who brought us "Good Times" to begin with, featuring many of today's hottest artists.
Catching Up On Music News Powered By The Recording Academy Just Got Easier. Have A Google Home Device? "Talk To GRAMMYs"
Ayra Starr has some favorite treats and comfort foods on her tour rider, but her most important essential is the family member she brings everywhere she can.
Because her tour schedule often takes her thousands of miles away from her hometown of Lagos, Nigeria, singer-songwriter Ayra Starr tries to bring a piece of home with her wherever she goes.
That piece is her brother, who is a musical person himself.
"My family is definitely part of my tour rider," Starr says with a laugh in the latest episode of Herbal Tea & White Sofas. "My brother is a songwriter — and is my best friend — so he has to be with me."
When it comes to food for her rider, Starr selects quick, savory meals like ramen noodles — and as she explains, that meal has a connection to home for her, too. "Noodles [are] my favorite food in the whole world, and it just comforts me," she explains.
"In Nigeria, we have noodles called indomie. I used to get it since I was a child, when I became a teenager, when I was in school," she recounts. "When I was in uni, I couldn't cook, I would always just make some indomie, and as Nigerians, we know how to make things taste amazing [by adding extra ingredients] in different ways."
Starr has inventive tricks for making her sweet snacks on tour taste extra-delicious, too. The singer says gummy bears are another tour rider staple — and she's got a super-sweet hack for taking the gummies to the next level.
"You can never go wrong with gummy bears. Why? What else are you looking for," she says. "Let me put you guys on something right now that you might have never tried: Vanilla ice cream with gummies. Game changer. It's over."
Press play on the video above to learn more about Starr's favorite tour snacks, and her favorite parts about her show itself, and keep checking GRAMMY.com for more episodes of Herbal Tea & White Sofas.
Herbal Tea & White Sofas: Koven's Katie Boyle Explains How Having A Picture Of A Happy Dog Backstage Makes Her A Better Performer
Photo Courtesy of Canadian Songwriters Hall of Fame
Sixteen-time GRAMMY winning musician, composer/arranger and producer David Foster was recently inducted into the Canadian Songwriter’s Hall of Fame. Before being feted by his peers, Foster spoke with GRAMMY.com about his career-defining hits.
David Foster was born in Victoria, British Columbia. The son of a blue-collar worker and homemaker, Foster started playing — and studying — piano at age four. One morning his mom was dusting the family piano when she hit a key by accident and David said, "That's an E!" naming the correct note.
"It sounds cliché, but it's true," says the 72-year-old, reflecting on a life spent searching for the right notes. "When I go to the doctor's office, still to this day, when they ask me my occupation, I always reply musician."
After studying music at the University of Washington at 13, the prodigy moved to Edmonton, Alberta where he led a nightclub band in a joint owned by jazz piano player and arranger Tommy Banks. The impresario took Foster under his wing and encouraged the teenager to write. "As a songwriter, I bloomed late," Foster says. "In my early 20s I wrote some songs and some got recorded, but looking back they were just awful."
Thanks to Banks' tutelage on the art of arranging — and the hard work of gigging in bands throughout the early-to mid 1970s — Foster's songs kept getting better. In his CSHF acceptance speech, Foster shared some simple advice another mentor, Quincy Jones , once gave: "The three ingredients to a hit record are: the song, the song and the song."
As a keyboardist during this early chapter of his career, Foster kept searching for those key ingredients. He played on a pair of George Harrison records ( Extra Texture and Thirty Three & 1/3 ) and also lent overdubbed piano to Lynyrd Skynyrd's third studio album Nuthin' Fancy (1975). One of his early production credits was Alice Cooper 's fourth studio record From the Inside . The 1978 concept album chronicled Cooper's time inside a New York sanatorium during a rehab stint for alcoholism. Reflecting back, Foster says this project was not one of his best.
"I don't think that album holds up. Not because of Alice, but more due to my ineptness at producing that kind of music. I believe I took him a little too far to my side," he recalls. "Still, I loved making that record. The same goes for the Tubes, who I co-wrote 'She's a Beauty,' with. They were so inventive and creative.
"Most people, who know me, know that when I lay my hands on the keys what comes back is not rock 'n roll," he adds. "Even though rock is not what I'm known for producing, I listen to all kinds of music."
Foster admits during his prime production years he rarely listened to music for fear he might unintentionally copy something he heard on the radio. These days, he has rediscovered the joy of listening for pleasure. Some music Foster is currently digging includes Big Thief and Miles Davis.
As the decade came to a close, the first major milestone for the songwriter-turned producer — and first GRAMMY — came after co-writing the song, "After the Love Has Gone." Four decades later, the 16-time GRAMMY winner was inducted into Canadian Songwriter's Hall of Fame (CSHF) along with Bryan Adams , Jim Vallance, Alanis Morissette and Daniel Lavoie, became the five newest inductees into the Canadian Songwriter's Hall of Fame (CSHF).
Before being feted by his peers, the legendary musician, composer/arranger and producer, took time to chat about career-defining moments — the hits and the misses — along with the joys of touring the The Kat & Dave Show.
"After the Love Has Gone," the top track off Earth, Wind & Fire 's 1979 album I Am , peaked at No. 2 on both the Billboard Hot 100 and Hot R&B charts. The song was nominated for three GRAMMY Awards: Record Of The Year, Song Of TheYear and Best R&B Vocal Performance by a Duo Or Group — winning the GRAMMY in this category; Foster also won his first GRAMMY (Best R&B Song) for this co-write. The beautiful ballad became the winning formula and sound Foster became known for throughout the 1980s.
"I wrote 'After the Love Has Gone' with my friends Bill Champlin and Jay Graydon," Foster recalls. "I took the song to another friend, Carole Childs, who introduced me to Earth, Wind & Fire's leader Maurice White . He loved the song and wanted to record it. This led to me co-writing with Maurice most of the songs on I Am . He was another mentor."
Foster's admiration for the band remains to this day. "I love Earth, Wind & Fire so much. Every R&B band and artist all the way up to Drake owes a debt to Maurice White and his band. There are so many genres hidden in their music: from rock to jazz; R&B to country."
During the early-to mid-1980s, Foster collaborated with jazz-rock band Chicago on three albums: Chicago 16 , Chicago 17 and Chicago 18 . The producer arrived at a time when the band was in flux. Columbia had dropped them after underwhelming sales and they had recently signed with Warner Bros. Chicago 16 was the band's comeback and included the power ballad: "Hard to Say I'm Sorry." Foster co-wrote the No.1 hit with Chicago's singer/bassist Peter Cetera.
"Anytime you are working with a band it is difficult. Chicago had seven very powerful members and they all had an opinion on what they thought should go on their records," Foster says. "To get the best results in the studio, it can't be a democracy. That is why a producer is there … to say 'yes' to this and 'no' to that. Even a band as famous as Chicago needs direction.
"They didn't believe in all the decisions I made and they struggled with me, but they appreciated the success we had," he continues. "Over the years, slowly, I've talked to all the guys. They've reflected and grown and we are now good."
The trio of Chicago albums was also great for Foster professionally, as a songwriter. A successful writing partnership was formed with Peter Cetera. The pair went on to write "You're the Inspiration" for Chicago 17 . The 1984 album was nominated for three GRAMMY Awards and Foster won Producer Of The Year, Non-Classical and Best Instrumental Arrangement Accompanying Vocal (s). This was Cetera's last record with the band. Despite Chicago's commercial success in the 1980s, Cetera and Foster's close-knit relationship was one of the reasons the rest of the band were not happy during this period.
"They had lost their way," recalls Foster. "I did my best to remind them of their greatness and try to recapture some of the magic of their early albums in the 1970s; these were phenomenal records when they had the tiger by the tail and were running on all eight cylinders."
Foster worked with Whitney Houston on The Bodyguard soundtrack — taking the Dolly Parton -penned "I Will Always Love You" and making it into a GRAMMY-winning hit.
In their first collaboration, Foster chose to include the third verse to the song — which had not made it into Linda Ronstadt 's 1975 cover — after Parton herself pointed out that she would love to hear it. In a 2013 interview remembering Houston one year after her death, Foster spoke of how much he loved working with her because she always surprised him and brought something different to every recording. "Ninety-nine percentof the time Whitney gave me something better than what I asked for," he said.
This ballad topped the Billboard charts in 1993 and remained there for four weeks. In the documentary David Foster: Off the Record , the producer recalls the first time he saw Céline Dion .
After getting a tip about the young singer, who was already a star in her province, Foster flew to Montreal and then drove 100 miles in the rain to hear Céline perform in a tent in rural Quebec. Her voice hit him immediately and Foster ended up producing her English-language debut, Unison (1990). He is credited with bringing her music to an audience outside the Francophone world.
"Céline's the best singer I've ever worked with," Foster says of the five-time GRAMMY winner, with whom he notched another one of his 16 golden gramophones for Falling into You (1986). "She was also incredible at taking direction. She knew her job, which was to sing. When it came to everything else, she just let others take care of it. Céline was the perfect artist. She had opinions, but she would try anything asked of her and that was golden."
Another fortuitous Canadian discovery was Michael Buble , whom Foster first heard at a wedding when the unknown singer delivered an original version of the oft-covered popular standard "Mack the Knife."
As with his first listen of Céline, Foster heard something in Bublé's delivery. Eventually, the pair convened in Los Angeles to record. The crooner's self-titled debut arrived in 2003 on Foster's label 143 Records and cracked the Top 10 in Canada. The following year, Bublé won New Artist Of The Year at The Junos [Canada's equivalent to the GRAMMY Awards]. From there, the rise to stardom for the artist was steady. It's Time , his fourth studio album was released in 2005 and reached No.1 in Canada, Italy and Japan; it also spent 104 weeks on Billboard Top Jazz chart, including a record-breaking 78 weeks at No.1.
It's Time featured Bublé's first megahit, "Home." The original song, co-written with Foster's daughter Amy Foster-Gillies, won the Juno for Single Of The Year and went to No.1 in 10 countries. While Bob Rock produced It's Time , Foster was heavily involved in overseeing his young protégé and arranging many of the songs.
After spending 40 years in what he calls "dark studios," Foster decided to take a hiatus from the producer's chair and return to his first love of playing piano and performing.
Currently, Foster is on tour with his wife, singer, songwriter and actress, Katherine McPhee. "I love performing live," he says. "For so many years I was in a submarine environment: air-tight studios with no windows. I would make a record and then whoever I was working with, they would get to leave the studio and go out into the world and play these songs we had written and recorded and see the reaction from people. I never got to experience that. Now I do."
Before hanging up, Foster reveals he is returning to the studio with Chris Botti , to help produce a live album for the former trumpeter in Sting 's band. "He's just phenomenal!" Foster says describing his admiration for Botti. "Chris called me late one night and pleaded with me to produce for him. 'All I need you to do is come in for one week,' he said. 'I want to make a live album.' I thought, One week sounds like fun … And, I want to win another GRAMMY!"
5 Essential D'Mile Productions: Silk Sonic, H.E.R. & Others
GRAMMY-winning gospel singer Tye Tribbett leads a full band in a danceable, joy-filled performance of "Get Up" in this feel-good live performance video.
Tye Tribbett leads a stage full of performers and dancers in this electrifying live performance of "Get Up," the second track from his Tribbett's eighth album to date, All Things New , released last summer.
In this episode of Positive Vibes Only, grab a front-row seat to Tribbett's funky, feel-good show, which celebrates the feel-good joy of faith.
From start to finish, this performance is an onstage, high-energy dance party. It begins with a dazzling light show, chorus vocals and a crowd of dancers, before a horn section kicks in to crank up the energy even further.
All Things New embraces genre-blending and collaboration for an epic tracklist. Tribbett says it's all about embracing joy — especially in light of the COVID-19 pandemic, when fans and musicians alike were unable to join together.
"I made this album to fight against the feeling of defeat in light of everything we have all been through these past few years," the singer explains. "I wanted to put a joyful experience out in the world to remind not just me but all of us that there is still beauty to the world."
The jubilant mood of the album translates perfectly to the live version of "Get Up," which taps a funky horn section and bass line to round out the proceedings. The crowd, too, is an integral part of the performance — with a number of close-ups of fans filming, dancing and grooving.
Press play on the video above to immerse yourself in the joy of Tribbett's "Get Up" performance, and keep checking GRAMMY.com every Sunday for more new episodes of Positive Vibes Only.
Positive Vibes Only: Chad Lawson Leads A Trio Of Classical Instruments In His Tranquil Performance Of "Fields Of Forever"
@ 2022 - Recording Academy. All rights reserved.
Some of the content on this site expresses viewpoints and opinions that are not those of the Recording Academy and its Affiliates. Responsibility for the accuracy of information provided in stories not written by or specifically prepared for the Academy and its Affiliates lies with the story's original source or writer. Content on this site does not reflect an endorsement or recommendation of any artist or music by the Recording Academy and its Affiliates.