The 58th GRAMMY Awards performance lineup has added a series of collaborations featuring current nominees and several GRAMMY newcomers, including James Bay and Tori Kelly; Andra Day and Ellie Goulding; andSam Hunt with seven-time GRAMMY winnerCarrie Underwood. These performances will mark the GRAMMY stage debuts for Bay, Day, Goulding, Hunt, and Kelly.

Previously announcedperformers areAdele,Kendrick Lamar,Little Big Town, and The Weeknd. A special tribute to 2016 MusiCares Person of the YearLionel Richie will highlight the GRAMMY winner's wide-ranging career.

Bay is nominated for three awards: Best New Artist and Best Rock Song for "Hold Back The River," and Best Rock Album forChaos And The Calm.

Day is nominated for two awards: Best R&B Performance for "Rise Up" and Best R&B Album forCheers To The Fall. Hunt is up for two awards: Best New Artist and Best Country Album forMontevallo.

Goulding has one nomination: Best Pop Solo Performance for "Love Me Like You Do." The song is also nominated for Best Song Written For Visual Media. Kelly is nominated for Best New Artist. Underwood is nominated for Best Country Solo Performance for "Little Toy Guns."

The 58th Annual GRAMMY Awards are produced by AEG Ehrlich Ventures for The Recording Academy. Ken Ehrlich is executive producer, Louis J. Horvitz is director, and David Wild and Ehrlich are the writers. Two-time GRAMMY winner LL Cool J will host Music's Biggest Night for the fifth consecutive year.

Taking place at Staples Center in Los Angeles, the 58th Annual GRAMMY Awards will be broadcast live in HDTV and 5.1 surround sound on CBS on Monday, Feb. 15 at 8 p.m. ET/5 p.m. PT.

For updates and breaking news, visit The Recording Academy's social networks on Twitter,Facebook and Instagram.

HARDYhas rightfully become one of the most recognized names in country music. However, before he was an artist in his own right, he was known as Michael Hardy, a songwriter in Nashville penning songs for some of the genre's top artists.

He's remained loyal to his songwriting roots, continuing to write for both himself and other country stars — often spawning a hit single. First establishing his chops as a primary co-writer forMorgan Wallen(with over 15 cuts across Wallen's albums), HARDY has amassed 16 No. 1 songs throughout his career, including four as an artist.

HARDY's work has also earned multiple industry accolades, with five Academy of Country Music Awards and two Country Music Association Awards as of press time; he took home both Songwriter of the Year and Artist-Songwriter of the Year at the former in 2022 and 2023, respectively. He's also won three CMA Triple Play awards, which goes to writers who penned three No. 1 songs in a 12-month period.

Even those who haven't worked with HARDY recognize his talents, including his musical hero,Eric Church. "In my opinion, he's one of the greatest songwriters Nashville has, that's ever held a pen," Churchsaidat the 2025 ACM Honors, where HARDY presented him with the Icon Award.

Perhaps the Mississippi native's secret to success is his humility. "I'm relieved because I've always wanted to do it and go for it," he once toldThe Bootof balancing a career as an artist and a songwriter. "I just found the right opportunity and was lucky and had Big Loud [Records] on my side."

The country star may add more stats to his resume with the release of his fourth studio LP,COUNTRY! COUNTRY!, out now. In honor of the new album, take a look at some country hits you may not have known were co-written by HARDY.

"Up Down" — Morgan Wallen feat. Florida Georgia Line

Now known for co-writing some of Morgan Wallen's biggest hits including "Sand In My Boots" and "More Than My Hometown," HARDY first formed his relationship with Wallen when the Tennessee-born star was still an up-and-coming artist. He secured multiple cuts on Wallen's debut album, 2018'sIf I Know Me, including theFlorida Georgia Linecollab "Up Down."

Marking both Wallen and HARDY's first No. 1s on Billboard's Country Airplay chart, the  success of "Up Down" helped catapult both Wallen's career as an artist and HARDY's as a songwriter. And while HARDY's seven contributions toIf I Know Mecemented his songwriting partnership with Wallen, "Up Down" helped kickstart HARDY's relationship with Florida Georgia Line, too.

"Simple" — Florida Georgia Line

Just before "Up Down" reached the top spot at country radio in June 2018, Florida Georgia Line released "Simple" as the lead single from their fourth studio album,Can't Say I Ain't Country. The duo co-wrote the track alongside HARDY and Mark Holman, and as HARDYtoldThe Boot at the time, the session was as simple as the song's title (and spelled-out hook) suggests: "It's fun to just dial back and think, 'Okay, how simple can we make this lyric?'"

While "Simple" was the album's biggest hit — also reaching No. 1 on both the Country Airplay and Mediabase charts — HARDY co-wrote eight songs onCan't Say I Ain't Country. With Florida Georgia Line being one of the top country acts at the time, "Simple" was further proof that HARDY's career had only just begun.

"God's Country" — Blake Shelton

In the fall of 2018, HARDY releasedTHIS OLE BOY, his debut EP as an artist, which featured his first single, "REDNECKER." Just a few months later,Blake Sheltondelivered "God's Country" — and took HARDY's career as a songwriter to the next level.

Along with topping Billboard's Country Airplay and Hot Country Songs charts (the latter of which for seven weeks), "God's Country" marked HARDY's first song to receive major award recognition. The gritty track earned HARDY Song of the Year nominations at the 2019 CMAs and the 2020 ACMs; it was named Single of the Year at both shows.

"God's Country" opened doors for HARDY's artist career, too. The single's success helped his 2019 collaborative mixtape,HIXTAPE VOL. 1, go from a four-song EP to a 10-song project featuring 17 country superstars includingKeith Urban,Thomas RhettandJoe Diffie.

"Single Saturday Night" — Cole Swindell

By May of 2020, HARDY was on his way to his first country No. 1 as an artist with his Lauren Alaina and Devin Dawson team-up, "One Beer." And thanks to Cole Swindell, another track soon joined the climb: "Single Saturday Night."

The lead single to Swindell's fourth studio album,STEREOTYPE, was one of five that HARDY co-wrote on the LP (including their duet "Down to the Bar"). Along with notching another co-written No. 1 for HARDY, "Single Saturday Night" was one of the songs that helped him earn the honor of Songwriter of the Year at the 2022 BMI Country Awards.

"Praise The Lord" — BRELAND feat. Thomas Rhett

With several No. 1s under his belt by 2022, it's no surprise that HARDY was one of several chart-topping songwriters forBRELAND's debut album,Cross Country. Alongside BRELAND and Thomas Rhett, HARDY penned "Praise The Lord" with GRAMMY winners and nomineesDavid Garcia,Jessie Jo DillonandJulian Bunetta, as well as other key country writers Rocky Block, Jacob Durrett and Kyle Fishman. The high energy, gospel-tinged song was a different sound than a majority of the music HARDY had previously written for other artists at that point, showcasing his proficiency and versatility. 

"Hate My Heart" — Carrie Underwood

While HARDY's songwriting cuts have been primarily recorded by male artists, he had back-to-back singles with two of country's biggest female artists. Two months after HARDY released "wait in the truck" withLainey Wilson,Carrie Underwoodunveiled "Hate My Heart" as the second single from her ninth album,Denim & Rhinestones.

In addition to Garcia and Underwood, his co-writers included another powerhouse female, three-time GRAMMY-winning songwriterHillary Lindsey. "Hate My Heart" scored Underwood another Top 20 hit at country radio; shesaidin a statement that HARDY "brought a cool vibe and an energy to the track."

"Church" — Jelly Roll

Continuing his streak of successful writes with David Garcia, HARDY joined forces with him for another first-time collaboration, this time withJelly Roll. The trio wrote "Church," a cut from Jelly Roll's debut album, 2023'sWhitsitt Chapel. While it didn't become a single, the poignant track shows another side of HARDY's songwriting and storytelling talents, helping Jelly Roll share his personal testimony of redemption.

"Take Her Home" — Kenny Chesney

After landing No. 1 songs for country vets like Blake Shelton andDierks Bentley, HARDY set his sights on aKenny Chesneycut with 2023's "Take Her Home." And upon writing the song with Zach Abend and Hunter Phelps, all HARDY had to do was text the six-time GRAMMY-nominated superstar.

"I knew it was a song that I had been looking for for a while, and that was obviously very well done," ChesneytoldTaste of Country, recalling HARDY's text about "Take Her Home." "I knew that it had a really good chance of resonating with my audience."

It did indeed. With its deep sense of nostalgia and storytelling reminiscent of 2000s country, "Take Her Home" landed Chesney his record-extending 33rd No. 1 on theBillboardCountry Airplay chart — and scored HARDY yet another No. 1 as a songwriter.

"Missin' You Like This" — Post Malone feat. Luke Combs

Post Malone's first album in the country genre included collaborations from a long list of country hitmakers, which of course included HARDY. And along with co-writing and featuring on "Hide My Gun," HARDY also brought his songwriting chops to one of Malone's two team-ups withLuke Combs, "Missin' You Like This."

The yearning breakup song saw HARDY collaborate with more all-star songwriters,Louis Bell,Ashley Gorley,Ryan Vojtesak, and James McNair (as well as Combs and Malone). While it may not have been a single on the album, "Missin' You Like This" showed a more vulnerable side of HARDY's writing abilities.

"Jesus Loves You" — Cody Johnson

A deep cut on Cody's Johnson'sLeatheralbum, HARDY helped pen "Jesus Loves You" with Mark Holman andChase McGill. The song's title is reminiscent of the children's church song, but it's actually about a man visiting jail to see a robber that broke into his house; the surprise twist offered another display of HARDY's trademark ingenuity.

Just weeks beforeLeatherwon Album of the Year at the 2024 CMA Awards, Johnson delivered a deluxe version of the LP. Featuring another HARDY co-write, "How Do You Sleep At Night?,"Leather Deluxe Editionhinted that HARDY continues to impress country's biggest names — and he's not slowing down anytime soon.

For the past two years, Anyma has told a story that transcends sound — and the boundaries of visual performance in electronic music and beyond. 

With his trilogy ofGenesysalbums, the producer has chronicled the progression of a humanoid named Eva from artificial consciousness to sentience. Through that album series and its cutting-edge live show (whichsold out all six of its initial dates at Las Vegas' Sphere in just 24 hours), he’s scripted a journey of his own: one defined by audacious artistic ambition, technological innovation and creative strategy that defies convention. WithThe End of Genesys, Anyma draws Eva’s and his other characters’ storylines to a close (for now, at least), bringing his narrative arc to a crescendo.

Out May 30,The End of Genesys is the final installment in the melodic techno triptych, which began with Anyma’s 2023 debut album,Genesys. Anyma’s philosophical inquiry into what it means to be humanswelled to life at the Sphere last December during the final shows of the End of Genesysresidency,where Anyma became the first dance/electronic act to play the Las Vegas venue.

"Sonically and visually, I think [Genesys] reached a point where it cannot be done better within the genre I'm working with," the Italian visionary toldGRAMMY.com. "[The album] kind of reached the pinnacle of what I wanted to do. I wrote songs with all my favorite artists and worked with many producers I respect…I think it's the first step into the real music industry for me, and it excites me for the future."

This statement carries weight for the producer born Matteo Milleri, who has worked in the music industry for more than a decade but only recently struck out on his own. Prior to launching Anyma in 2021, Milleri co-founded the melodic techno duo Tale of Us in 2008 alongside Carmine Conti (MRAK). Together, they established Afterlife, an enduring label and event series similarly invested in immersive storytelling.

This groundwork laid the foundation for the Anyma project and will continue to empower its next era. After serving as the Visual Creative Director ofThe Weeknd’s One-Night-Only concert in Brazil last September and inking a global publishing deal with Kobalt Music Group in March, it’s clear Milleri is on the precipice of another creative metamorphosis. His sonic evolution on the last LP of theGenesysseries confirms it. From its edgier sounds to its cross-genre collaborations, includingEllie Gouldingand 070 Shake,The End of Genesyssignals that the audiovisual virtuoso already has his sights set on what’s next.

Ahead of the album’s arrival via Interscope Records, Anyma spoke with GRAMMY.com about why ending this chapter was not only necessary but "liberating."

This interview has been condensed and edited for clarity.

What inspired you to structure the Sphere show into four distinct acts, with each exploring different eras and themes?

I needed to make order in my head because… I did not really visually represent the story in a timeline. The first two visuals start out with an [artificial general intelligence] robot named Eva, who has an awakening. She feels trapped and is looking out through this glass, inviting you to connect with her on a human level. She breaks the glass, and that’s the first scene. The second act, Humana, is about collaborating with real people and exploring themes of transhumanism. 

The third act, The End of Genesys, is meant to represent the potential destructive power of technology. It leaves things open-ended, which is where the final act, Quantum, begins. We introduce a new quantum being, a lost traveler who eventually is revealed to have my form. He discovers Eva, who is still searching for answers and self-connection, and as the two characters connect, Eva begins to take human form. 

The stage where I was performing looked like a quantum computer, making it seem like I was controlling the narrative from beginning to end…I got really into quantum computing and quantum physics in the last year, and I was very inspired. The possibilities to evolve the story and alternative realities are so endless that, in the end, it was like an open ending, and something for the future.

How did the opportunity to become the first dance/electronic act to perform at the Sphere come about? 

I first saw the Sphere on social media and immediately told my agent,We need to go there. After visiting a smaller version in Burbank, I was sold. I called him the next day and said,Make it happen. Fifteen months later, in July 2024, we announced the first shows. Between the visual world-building I had already done and the scale of my shows, I think I had a strong case for being a fit. I knew I could truly maximize what the venue offers.

Given theGenesys series’ cultural resonance and success, closing this chapter must have been quite the task, and considering the Sphere residency allowed you to expand this narrative beyond what was possible in previous performances and through the albums, it had to have felt really good to tell the story the way you always intended to right beforeThe End of Genesys.

When I started the project, I always wanted to tell a very immersive visual and musical story and have the audience’s attention, almost like you're in a cinema. It was always challenging because, apart from technical and financial challenges outside of Sphere, where to produce the kind of content I need, it’s a bit like doing a CGI animated movie. It's tens of millions of dollars, and as a touring artist, you can’t really afford this, just for visuals. 

So, we had to make little scenes, just the most important moments, to show the intentions of the characters. With the Sphere, the potential of the whole lore was completely unlocked. I could really go in and tell the story through a new lens. It changed how I perceive and feel media in general. It was very exciting to be able to do that and push the boundaries of what's possible to experience. 

What do you mean when you say it changed how you perceive and feel media?

I always long for feeling more from art, and by that, I mean stimulating the brain and the mind and the senses, so your feelings are moved. That's the purpose of art in general, I guess. And the Sphere is quite exactly that because you are completely lost in this environment where you don't see it as a screen anymore; it's more like a VR headset without the problems of the VR, like being isolated and alone, or the heaviness of the headset. 

I went to rehearsal like six months before the show. We tested the first visual in the Sphere,TheEnd ofGenesys intro, with the robot breaking the glass. I had previously seen it in the [VR] headset, and I really felt it strongly, but I wasn't prepared for what was going to happen when I saw it with the sound system on in the actual space. I personally felt from that rehearsal something I hadn't felt before from mixed media. 

I feel like it also resonated with the crowd. I saw from the reactions and the comments online that people were saying things like,I've never seen anything like it, like, it's changing forever how things are going to be experienced. That was the whole purpose of the project. And my initial idea was to do it for extended reality; the Sphere didn't even exist when I started it. The fact that this building made it possible sooner than I expected is very exciting and looks good for the future of what humans can do to push this boundary.

What doesThe End of Genesys represent to you conceptually? Is it a conclusion, a transformation or something else entirely?

The End of Genesysis indeed the conclusion of theGenesystrilogy. It's basically the story of this AI being Eva and this humanoid Adam, so it has its own sense of purpose to start and end as a lore. But as a show, it is indeed transformative and progressing into something else.

As an artist, I always like to start and end concepts, but usually, the end of one concept is also the beginning of another. So, for example, at the Sphere show, the different acts represented what the end ofGenesysmeant as a timeline. Genesys as the first act, Humana as the second act, and The End of Genesys as the third act completed the story, both musically and visually, hence the album. The Quantum act hints at the future and where I'm going, let’s say.

What felt most important to you as you prepared to endGenesys?

What's most exciting about endingGenesys is the fact that, both sonically and visually, I think it reached a point where it cannot be done better within the genre I'm working with — melodic techno. It also said what it had to say, in my opinion. So, I'm happy to close this chapter with this album and say this was this moment in time, captured from the beginning to the end, and look where I can go after this and not get stuck in my own concept because of touring needs.  

[TheEnd of Genesys] was also a way to say I won't tour this anymore, because DJing and touring as a live artist never stops. There is no album phase where you tour and then you stop for two years, like other artists. So, I felt the necessity, and it just felt right to finish it. It also feels very exciting in a sense to say it out loud for me. Liberating.

Between its sound and collaborators, this album feels like a bold creative step. How would you describe the way your sound evolved onThe End of Genesys?

It goes straighter to the point, from a songwriting perspective. The songs were written for the show or for the album — some didn't make it to the show — so it wasn't like,Let's get the topline from publishing and just write music to it, which is what you would usually do. 

With my friends and my collaborators, we wrote songs from scratch. We produced them to what I think is the highest level of what can be done with this kind of music. It was more of a communal music writing effort than the first two albums. So, I think it's the first step into the real music industry for me, and it excites me for the future.

What else are you excited for, and how does it relate to where you’re going to go in this post-Genesys era?

I'm excited to now explore the visual side of things more. I'm excited to build an even bigger team and take on bigger projects, which I will be announcing soon, not unlike the one I did for The Weeknd. Pushing visually what can be done both with 3D-CGI and also with AI…is definitely something that's exciting me in the visual field. I think we are now close to starting to get some really good results that are artistically relevant. I didn't use it at all until now because it was a bit too simple, in my opinion. It couldn't really express the details I wanted to express visually, but we’re diving into that more now, and I'm very excited about what can be done. I tried some of the new models recently, and you will see some AI visuals soon. They won't feel like what you've seen before. 

Musically, I'm going to go into two directions at the same time because I have my techno underground alter ego that wants to explore and innovate within dance music but does not necessarily have a commercial purpose. In the last two years, being so concentrated on my records, I worked less on that. 

On the other hand, on the more pop-leaning indie side of things, I'm excited to improve my songwriting skills and really take that stuff to the next level and collaborate even more with bigger artists.

I'd imagine your new residency at [UNVRS] in Ibiza is going to play a big role.

The residency is going to be quite interesting because we are not trying to beat the Sphere residency in any way. It's a big club; it's a beautiful club. It is going to be very stenographic. I'm going to go back a bit to the production, visuals, and music interacting with each other in a more theatrical way. 

Most importantly, it's going to be fun. It is going to be a bit more transformative in the sense that things are going to happen, not when you expect them. I'm going to try to catch the audience by surprise and not have them expect a visual moment at a certain moment or a drop in another moment. I think people are now ready to experience it without judging too much. I think that part is over, and I feel a bit more free to just do what I think is right for this part of my career. 

You’ve been able to break through the traditional dance/electronic bubble, drawing in audiences who aren’t fans of the genre but are intrigued by your world-building and visual storytelling. Has the crossover reception surprised you?

It surprised me very much. I always longed for a bigger exposure of my music, and I didn't really want to change the music too much. So, in a selfish way, I decided to find a different approach to empower it. And that was the whole purpose of Anyma — not necessarily just visuals. My first instinct was, how do we do more than just music videos to promote songs? Some of my favorite artists, likeFKA Twigs and Grimes, used music videos to push a sound that was maybe less obvious for the radio initially, and then it took traction from the visual part of it.

I felt like you can make credible, sick records and by creating a universe around them and putting visuals to it, you can reach a bigger audience and generally make the record shine more. With electronic music, it was challenging because in the beginning, I didn’t have many vocals, and it was always like, okay,What kind of music video can you do? What kind of mediums can I use? In the end, these digital art short clips really resonated with me when I matched them with these cinematic sonics. I would almost argue that the non-vocal songs and audiovisuals were the ones that reached a wider audience than the pop songs. 

It was very surprising when the "Syren" song and visuals started going completely viral online because that's a weird song; you would never expect everybody in the world to know it or resonate with it…it's for a warehouse in Berlin at best. I'm glad to be pushing the genre forward for me and for everybody else.

I think we can expect to see more artists emulate your approach because of how pervasive, visible, and effective it’s been. Of your Sphere residency, you said you're "most proud knowing we're finally touching the future of live experiences." What does that future look like to you within the dance/electronic space specifically?

I feel like it's already happening, like what you said. There are people who are emulating what I've done. But I think most of the things I've seen were very exciting because it didn't feel like a copy of my visual narrative, but more like a similar approach and an empowerment of their personas. I think when these things really make experiences better, ultimately for the performer and the audience, is when your idea can be expressed 360 from the production level. And in that case, you have to become not just a DJ, but a director, an artist, a videographer. 

I think true artistry will rise because people want to feel, see, and hear exciting things these days. The common, normal tricks don't work anymore on crowds in general, across all genres. Some rules are being broken right now, and I feel like what I've done is open the door for artists to find more ways to express themselves. 

Editor's Note: This article was originally published on May 20, 2022 and was updated on May 19, 2025 to reflect Season 23's winner and current information about wins and nominations for all of the mentioned artists.

For more than 20 years,"American Idol" has helped discover some of the biggest names in pop, country, R&B and beyond. As "Idol" winners and contestants have had success in the music industry, many have been awarded with GRAMMY wins and nominations.

"American Idol" crowned its latest winner, Jamal Roberts, on May 18. Beating out fellow finalists John Foster and Brianna Nix, Roberts' win marked a historic moment for the show in two ways: he's the first Black male winner sinceRuben Studdard in 2003, and as Ryan Seacrest noted, Season 23 saw the"biggest finale vote in show history."

Will any of this year's finalists end up in the GRAMMY ranks with their "Idol" predecessors? Time will tell, but for now, see how many "American Idol" winners and contestants have scored GRAMMY Awards and GRAMMY nominations.

Season 1 winnerKelly Clarksonand Season 2 winnerRuben Studdardwere the first "Idol" winners to be nominated for a GRAMMY, both receiving nominations in 2004. Clarkson became the first "Idol" winner towina GRAMMY two years later, when she scooped up two awards: Best Pop Vocal Album forBreakaway, and Best Female Pop Vocal Performance for her smash "Since U Been Gone."

Read More:How Kelly Clarkson's 'Breakaway' Proved Her As America's "Idol"

Clarkson became the first "Idol" contestant to win a GRAMMY for an album twice in 2013, when she won the Best Pop Vocal Album GRAMMY for 2011'sStronger. To date, Kelly Clarkson has won three GRAMMYs and has received 17 nominations.

Season 4 winner (and the newest "Idol" judge)Carrie Underwoodhas won eight GRAMMYs and has received a total of 16 nominations, making her the "Idol" contestant with the most GRAMMY wins and nominations. Her most recent win came in 2022, when she won Best Roots Gospel Album for her 2021 release,My Savior.

Underwood is the only "Idol" winner (and contestant) to win Best New Artist. Only three other "Idol" alums have been nominated for the coveted award:Tori Kelly,Eric Burton of theBlack Pumas andJimmie Allen.

Along with Underwood, Clarkson and Studdard, Season 3 winnerFantasia Barrino and Season 6 championJordin Sparksare the only other winners to be nominated for a GRAMMY; Barrino has won one and has received 12 nominations, while Sparks has received two nominations. Though Season 5 winner Taylor Hicks hasn't technically received a nomination, he was featured onJimmy Fallon's 2012 albumBlow Your Pants Off(on the track "Friday"), which won Best Comedy Album in 2013.

Season 8'sAdam Lambertis the only "Idol" runner-up to be nominated for a GRAMMY. He was nominated for a Best Male Pop Vocal Performance GRAMMY for "Whataya Want From Me" in 2011.

Perhaps two of the most remarkable GRAMMY-winning "Idol" alums areJennifer HudsonandTori Kelly. Hudson has two GRAMMYs and Kelly has three, but clearly "Idol" viewers and judges didn't see the star within: Hudson placed seventh on Season 3, and Kelly was cut before the Top 24 on Season 9.

Another GRAMMY-nominated finalist who finished outside of the Top 3 isChris Daughtry, who placed fourth on Season 5. Daughtry has been nominated for four GRAMMYs, all of which came in 2008 thanks to his eponymous debut album and its hits "It's Not Over" and "Home." (Fellow Season 5 contestantAce Young co-wrote "It's Not Over," making him another GRAMMY-nominated "Idol" star, as the single earned a Best Rock Song nomination.)

Mandisa, who placed ninth on Daughtry's season, was a GRAMMY winner in her lifetime, as her 2013 album,Overcomer, won a Best Contemporary Christian Music Album GRAMMY in 2014. She sadly passed in April 2024; her fellow "Idol" alums Colton Dixon, Melinda Doolittle andDanny Gokey paid tribute to her on an episode of Season 22 with aperformance ofMary Mary's "Shackles (Praise You)."

Gokey, Season 8's third place contestant, has also had a successful career in Christian music. He has been nominated for three GRAMMYs, with two of his albums receiving Best Contemporary Christian Music Album nods and his song "Haven't Seen It Yet" earning a Best Contemporary Christian Music Performance/Song nom.

A number of "Idol" alums have proven you don't have to win "American Idol" to win a GRAMMY or earn a GRAMMY nomination. Be sure to keep watch on your favorite contestants from all 23 seasons — you might just see them on the GRAMMY stage one day.

The spirit of collaboration seems to be in the air this spring, as the third New Music Friday of April is jam-packed with duets of all kinds — ranging from pop to country to reggaeton and beyond.

Among them,Carín León teams up with flamenco iconDiego "El Cigala" and production team Chanela Clicka for "Te Quiero y Me Miento," Xavi and Netón Vega link for "Hija de Papi," andDom Dolla recruitsKid Cudi for "Forever." Plus,Morgan Wallen andPost Malone follow up their GRAMMY-nominated hit "I Had Some Help" with "I Ain't Comin' Back."

There's also several new albums released this week, asJP Saxe makesArticulate Excuses with his new eight-track EP, Too $hort gets down and dirty onSIR TOO $HORT, VOL. 1 (FREAKY TALES), Beirut crafts a commission for Swedish circus Kompani Giraff with the sweepingA Study of Losses andKeri Hilson makes a bold comeback with her third album,WE NEED TO TALK: LOVE. 

Offering more tastes of their respective next albums,Maren Morris further teasesDREAMSICLE with "bed no breakfast," andParker McCollum shares the optimistic "Hope That I'm Enough" from his upcoming self-titled LP. Other new singles includeLukas Graham's feel-good sing-along "You You You,"JoJo andChloe Flower's resplendent cover of "The Very Thought Of You," and Addison Rae's addictive anthem "Headphones On."

Below, press play on 10 more exciting new releases, includingLana Del Rey's second bonafide country single,Wiz Khalifa's long-awaited sequel to a beloved project from the mid-2010s and more collaborations betweenRyan CastroandPeso Pluma,JVKEandTori Kellyand more.

Just one week after dropping the Americana-tinged "Henry, come on," Lana Del Rey continues the rollout of her as-yet-untitled next album with second single "Bluebird."

The 11-time GRAMMY nominee may have delayed the LP from its previously announced release date of May 21, but her vision for her country-tinged project is clear on the new single — a gorgeously subdued lullaby set against a backdrop of twangy guitar, lush strings and harmonica. 

"Little bird, bluebird/ Fly away for both of us/ For you have wings and I've no means to fly/ Little bird, bluebird/ Find some strength inside my hand/ Anything to let you sing goodbye," Del Rey intones on the heartrending ballad, which fans can likely expect to be included in Del Rey's upcoming set at Stagecoach 2025, where she's slated to headline the Palmino Stage next Friday, April 25. 

Read More:Levels Of Lana: 12 Songs To Explore Lana Del Rey's Career For Every Kind Of Fan

Wiz Khalifa — 'Kush & Orange Juice 2'

A full 15 years after releasing the originalKush & Orange Juicemixtape, Wiz Khalifa is ready to wake and bake one more time with the project's long-awaited sequel, the aptly titledKush & Orange Juice 2.

For the occasion, the 10-time GRAMMY nominee packed the sprawling 23-song studio set with a wide array of collaborators, from Don Toliver and Smoke DZA on respective singles "Hide It" and "Bring Your Lungs" toGunna("5 Star"), O.T. Genesis ("How We Act"),Juicy J("My Influence") andTy Dolla $ignand JasonMartin ("Top Down").

Morgan Wallen and Post Malone are pulling the ripcord on their new single, "I Ain't Comin' Back." Opening the song, Wallen embraces his reputation as country music's resident wild child, calling himself a "redneck" and a "lost cause" before declaring "Girl, half of this town has got a name for me/ And I can't say I don't agree."

Posty addshis own perspective to the song's central metaphor to the resurrection of Jesus on the second verse, growling, "Ain't no need to wait three days/ I might be a lot of things/ But I ain't your saving grace."

The unapologetic track, which is set to be included on Wallen's forthcoming albumI'm the Problem(due May 16), marks the pair's second collaboration following their No. 1 hit "I Had Some Help," which reigned atop the Billboard Hot 100 for six weeks last summer and earned two nominations at the2025 GRAMMYs.

Read More:Post Malone's Country Roots: 8 Key Moments In Covers and Collaborations

Third time's the charm for Ryan Castro and Peso Pluma on their new track, "UN TRÍO," which also features an assist from the former's longtime producer SOG.

Not only does the reggaeton banger mark Castro's third collab with Pluma in less than two years (following 2023's "Quema" and 2024's "Mala"), the Spanish-language single serves as the Colombian star's first taste of his forthcoming sophomore album and follow-up to last year'sEl Cantante Del Ghetto.

The track's fierce, black-and-white music video finds Castro and Pluma reveling in marijuana, money and women of all shapes and sizes — all backed by the writhing, seductive shadows of dancing video girls as they perform over SOG's hip-shaking beat.

Read More:Peso Pluma's 10 Biggest Collabs: From "Bzrp Sessions" To "Ella Baila Sola" &"Igual Que Un Ángel"

Two years after dropping the ampiano-focusedTimeless,Davidois back with his fifth full-length album, naturally titled5ive.

The Nigerian Afrobeats star's new studio set was preceded by singles like the YG Marley-assisted "Awuke," "Funds" featuring ODUMODUBLVCK and Chike and "Be There Still," and also features a reunion with "Sensational" collaboratorChris Brown ("Titanium") as well as team-ups withVictoria Monét ("Offa Me"),  and Becky G ("Tek").

Read More:5 Songs To Get Into Davido Ahead Of His New Album, '5ive'

Hailee Steinfeld — "Dangerous"

Hailee Steinfeldgets downright "Dangerous" with her contribution to the soundtrack ofRyan Coogler'sSinners.

The multi-hyphenate stars opposite Michael B. Jordan in the supernatural period piece — which is in theaters nationwide now — and her new song makes the threat of vampires in the Jim Crow-era South visceral as she questions, "Why am I so dangerous to you?/ You know I wanna let you in/ I know what you want to do."

Featuring a score byLudwig Göransson, theSinners soundtrack also includes original music by the likes ofJames Blake ("Séance"),Jerry Cantrell ("In Moonlight"), Rod Wave ("Sinners"),Brittany Howard ("Pale, Pale Moon") and more.  

Read More:How Hailee Steinfeld Is "Entering A New Space" & Paying Tribute To California With Her Next Project

Àngela Aguilarhad a surprise in store for fans on Thursday, April 17: her fourth album,Nadie Se Va Cómo Llegó, will be arriving May 22. And to celebrate, the Mexican-American singer dropped the title track as the LP's first single.

The studio set will pay homage to the five-time Latin GRAMMY nominee's Mexican heritage and deep love of Mariachi music, as evidenced by the swaying Mariachi accompaniment found on "Nadie Se Va Cómo Llegó" and its Manuel Gayosso-directed music video.

"With this new album, my heart is set on bringing a fresh light to Mexican music — honoring where I come from while daring to explore where I can go," Aguilar said in a statement about her forthcoming full-length before promising, "My roots are deep, and they will always be the soul of my sound. But growth means letting tradition dance with evolution."

Read More:Run The World: How Ángela Aguilar's Unique Spin On Ranchera Music Helped Her Become One Of The Youngest GRAMMY Nominees Ever

It's safe to say JVKE and Tori Kelly are on something like cloud nine on their new collaborative single "this is what floating feels like."

Opening with a cascading piano line reminiscent of JVKE's 2022 breakout hit "golden hour," the atmospheric track shows off Kelly's gossamer vocals ("Baby, I wanna feel something/ Air on my feet like Jordan/ You got me levitating/ I'm livin' so high, 'bout to touch the sky," the three-time GRAMMY winner coos) before making way for JVKE to deliver a rap verse filled with confident affirmations. 

The duet is the latest in a string of one-off singles from JVKE, including "this is what forever feels like" featuring Nick Jonas, "pretty" and "her." Meanwhile, Kelly recently marked the one-year anniversary of her self-titled fifth album,TORI., just two months after taking home her latest GRAMMY for her sublime a capella cover of "Bridge Over Troubled Water" with Jacob Collier and John Legend.

Read More:JVKE's "Golden" Year: How The Singer's World Turned "Upside Down" With TikTok, Collaborating With Charlie Puth & More

Julien Bakerand TORRES' collaborative album,Send a Prayer My Way, has been years in the making. The two singers first came up with the idea to make a country album together after playing their first show together back in January 2016.

Fast forward nearly a decade and the LP has finally arrived, with the two indie rockers proudly diving into their Southern roots on highlights like lead single "Sugar in the Tank," romantic closer "Goodbye Baby" and latest focus track "Bottom of a Bottle."

James Bayonly included one collaboration on his 2024 album,Changes All The Time, in the form of foot-stomping opener "Up All Night" withThe LumineersandNoah Kahan. But for the LP's deluxe re-release, the English singer-songwriter enlisted the likes ofJon BatisteandSheryl Crowfor a slew of new bonus tracks.

On the previously released "Sunshine in the Room," Batiste and Bay are positively radiating over a new romance, while Crow shines on the equally sunny "You and Me Time" as she sings, "It's hard living not giving you and me a little real time/ Pinky promise, you know how to make me levitate."

Meanwhile, rising country upstart Maggie Antone provides an assist on the contemplative "The Elephant" and Bay unfurls a tale of loneliness and hope on the deluxe edition's lone solo addition, "Latchkey Kid."