For 3 minutes and 14 seconds of Boys Like Girls' recent set at New York City's Hammerstein Ballroom, Martin Johnson asked just one thing of the sold-out crowd: put your phones away.

"Let's do it like it's 2007," the frontman said before the band went into their biggest hit, "The Great Escape." 

Just before that, Johnson had requested exactly the opposite: take your phones out and capture the pop-punk anthem on film. But after the first chorus, phones were pocketed, and the energy in the room shifted to pre-smartphone, pure, and carefree teenage nostalgia. 

That's the kind of magic Johnson and his BLG bandmates — original drummer John Keefe, and new recruits (but old friends) guitarist Jamel Hawke and bassist Gregory James — have been feeling on their latest tour, which wraps on Nov. 1 in Raleigh, North Carolina. It's both a celebration of the band's beloved classics and their new album, SUNDAY AT FOXWOODS, their first in 11 years.

As Johnson proudly declared to the NYC crowd on Oct. 27, one week after the album's release, "In case you haven't noticed, we are back and we're better than f—ing ever."

In the time that the band spent apart, Johnson expanded his repertoire songwriter and producer for the likes of Avril Lavigne and Kygo; in 2017, he started a solo venture under the moniker The Night Game. Boys Like Girls was always in the back of his mind, but there was a lot of personal healing to do in order for the band to come back in full force. And after a 12-show reunion in 2016, it felt like maybe Boys Like Girls would never return.

"We sobbed in each other's arms after the [last] show — I don't know why we felt that way, but we all kind of knew that would be our last show ever," Johnson recalls. "That felt a little more like a celebratory victory lap with my best friends than it felt like reopening a chapter."

Yet, BLG still found its way into the music he was making — and once he had a song called "BLOOD AND SUGAR," he knew it was time to try again. Johnson had clearly never fully lost sight of the band's sound, though; SUNDAY AT FOXWOODS carries the same spirit as Boys Like Girls' older material, leaning more into anthemic '80s pop production and their signature guitar-driven, roaring melodies.

Below, Johnson details the healing journey that helped the new-and-improved iteration of Boys Like Girls come to life — and why it's just the beginning of their return.

This interview has been edited for clarity. As told to Taylor Weatherby.

You emotionally kind of go through this roller coaster, being on the radio at 20 and peaking, by cultural standards, at 23. And then you're trying to reassume your place in society at 24 as a normal human being, and you have to drop the narcissism and ego that are required to be that type of an artist. What happens is you bury the good things with the bad, and you almost become a completely different person. 

At that point, at 24, I also got sober. It was a bit of the death of a persona of introducing myself as Martin from Boys Like Girls instead of Martin Johnson. And kind of like, Who am I? Because I only know myself in the context of the music I make, and that's not going to make me a happy man long term. 

So then 12 years later, you look at your new music, and you've buried your ability to make [the music you used to make], because you've suppressed this kid inside you. You're not ashamed of them at all — I was grateful that that kid brought me so much value and incredible experience and life experience as a man. 

A lot of it I don't even remember, because I was so young, or inebriated. But it was important to make peace with that kid, and let him into the room, before figuring out what this was. And looking my 18 to 23-year-old self in the eyeballs and saying "I love you, I accept you, I'm not embarrassed of you, and thank you for everything that you did for me as a man." 

Then there's this "emo night" culture, where you go into a club and they play all the songs from 2002 to 2008, and everybody screams along really loud wearing all black and T-shirts that say "Sad as f—." And you're in the epicenter of that, but it feels like another life — it doesn't feel like you. Like, you're standing there in your mid 30s, [and it's] literally like I'm a museum exhibit behind glass. So also finding love for what culture has made out of who I was as a kid was [another] vital component of making this record.

For 12 years, I wasn't really emotionally available to watch old videos of myself. I was, like, on drugs, so watching myself perform in 2009 really hurts my heart. So I went back and I watched everything I could on YouTube, I listened to every single demo that [we] had never put out — and there are hundreds — I listened to every voice memo that I had from 2004 to 2010, I went through my entire video/photo library, all my camcorder tapes. 

And what a gift to experience that deep into my 30s, when I had made peace with myself as a human, and learned to love myself but hadn't yet loved my past or felt grateful for my past. There was always this, like, eerie disconnect around the age of 24, and this sort of line in the sand where like a new life began. That line doesn't exist for me anymore — and that was a huge part of creating SUNDAY AT FOXWOODS.

I think it's also vitally important to have no rules. The thing that kept me from being willing to step into the ring to make a Boys Like Girls record for so long is [that] I felt there were rules. We made that first record with two guitars, a bass, drums, and a little bit of synthetic programming. When you do that, you do it with as much intensity and bravado as you possibly can, because you don't know anything else. Then you're in your mid-30s, and your toolkit has expanded so much, from writing music for other people and from time on the globe, and from failing, you know what I mean? 

For me, that created this beautiful freedom, where I was able to feel free to use that skill set, but also infuse the things that I had learned in my 20s/30s. Which was super liberating, because it felt like a second chance at creating music that changed my life.

[Last year], I bicycled across the U.S. It was 4,400 miles, it took me 70 days. I did it with one other guy, carrying all this stuff, camping and [staying in] some hotel rooms. I think the purpose for that was, I was looking at my life — and I deeply love my life, but I'm always looking for more. I'm always looking for what's next, I'm always looking for fulfillment, and I'm looking for what's my next creative endeavor — what is going to be the thing that makes me feel free and wild.

For a while, music had actually made me feel a little bit confined. And it's hard to even explain that, but I think a lot of it is to do with the direction the music industry has taken, where everything is dictated by metrics. So the fatigue that's involved with that had created a little bit of a block for me, and I had thought about stepping back on stage to segway out of that block, but I didn't know if that was the answer. 

I'm in a super happy marriage, [and I was] super excited that she was gonna let me go on the bike. We weren't sure if we were ready to have a kid yet. I got out on the bike, and within two weeks, the world got really quiet and two things became extremely clear.

Number one, I am supposed to sing. It was the thing I was supposed to do since I was a kid. It became really clear to me that in order to express myself and not feel locked in a box, what I needed to do was make my own music with no rules. 

And then also, I was like, I'm ready to be a dad, and I'm ready for what that looks like and I'm ready for that responsibility. It's so funny, because when I was a kid, being a dad felt like not freedom at all. We actually named our daughter Freedom.

I don't know that I'm never gonna write for somebody else again. This chapter for me is about my creative outlet and performance in the context of Boys Like Girls — what that means to my childhood self, what that means to my current self, what that means to me as a father and a man.

We booked a little bit of a trial-and-error tour last year — a soft, like, "Should we do this?" We went to Southeast Asia and Australia, and we played When We Were Young Festival and a couple of headlining sets here. The mutual energy exchange that we were experiencing from the crowd wasn't really something we had felt since maybe 2009. And that's really contagious to feel that — when you look out at the crowd and you're delivering escape and joy and euphoria, you receive it back.

It made sense to feel like, "Guys, let's play some songs here. This was a big part of who we are — why just totally kick it under the rug? It's been a long time. Let's go jam." And then it took on a really big, deeper meaning for us getting it in front of people. It was like, "Let's take a real crack at this. We'd been doing completely other s— for 12 years. Let's put it all on ice and let's do Boys Like Girls again."

It was the most liberating thing any of us have ever [done], and the biggest commitment we've made to ourselves as musicians since 2005 when we signed a record deal.

We played our first show since 2016 in Australia. We were in Perth. I stepped on stage with my best friends, and all of a sudden, this completely full club, sold out, is screaming these songs I wrote at 18. Sometimes you don't choose your path, it chooses you, and it became really clear to me that I had a job to do and this was it. At first, that came with a little bit of guilt that I hadn't done it sooner. Like, How did I neglect this for so long?

But I allowed that to just be the story of Boys Like Girls, and that's because our fans have grown up with us. I look out and I see it. I'm just like, Wow, we grew up together, dude. That was a journey together. And here we are, man. We made it, that's crazy. And it feels like that on this tour. 

I feel completely cut loose. I think you can hear that in the music, I think people can feel that in the performances, and playing the older songs has never felt better. I'm really enjoying doing this, and I feel like as soon as I get off the road, I want to make more Boys Like Girls music.

We're closer than we've ever been by a massive long shot. And that's a huge gift, but it came through a lot of work, finding what this looked like in 2023 — really asking ourselves the hard questions.

Obviously Boys Like Girls is not in its original form, but it's pretty much as original as it possibly could be considering the circumstances. Jamel was in the band in 2009 through '11 — he was our auxiliary guitar player. What's funny about Jamel was, we actually asked him to join the band in 2004 and he said no. [Laughs.]

Greg had been around the band and best friends with us for 15 years. He used to live with Paul [DiGiovanni, BLG's original guitarist] when the band was kind of peaking, played bass with us on stage a couple of times in between 2007 and 2009, and opened for us acoustic a few times on the OP Tour with Cobra Starship. He had sort of been a huge part of our story the whole way.

Morgan [Dorr, former bassist] and Bryan [Donohue, original bassist] and Paul, we love those three so, so deeply. I think we're on stage with the exact people that we're supposed to be on stage with right now. The guys are really assuming the character well and owning the music in a way that I'm so proud of. They've been there the whole time, so the context and the cultural significance is so clear. It's not just playing a four-chord part — it's playing a movement, it's playing a cultural moment, it's going back in time with us.

We're lining up stuff for next summer. This tour feels natural and amazing. My family and my wife are so supportive about the journey. My relationship with my bandmates is the best it's ever been in our entire career of 20 years. I feel healthy, happy and supercharged. And I'm ready to make the best music of my career.

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Few music festivals have had the cultural impact of Lollapalooza. 

Conceived in 1991 as a farewell tour for Jane's Addiction by lead singer Perry Farrell, the festival quickly became a traveling showcase for alt-rock and counterculture. Its eclectic lineups, which also included punk, metal, and hip-hop acts, helped define a generation's musical tastes. 

A new, three-episode documentary, "Lolla: The Story of Lollapalooza," takes an in-depth look at the festival's journey over three decades. From its early days of bringing together alt acts including Nine Inch Nails, Living Colour, Pearl Jam, and the Beastie Boys, Lollapalooza has evolved into what it is today: a three-day festival based in Chicago's Grant Park since 2005. The festival remains an enduring celebration of alternative music.

"Lolla" explores how Lollapalooza defied expectations by both embracing and helping shape the emerging youth culture of the '90s — a rebellious, introspective shift from the flashy excess of the '80s. The docuseries highlights the festival's influence through a trove of archival footage and exclusive interviews with Lollapalooza co-founders, show promoters, bookers, MTV hosts. Of course, "Lolla" features a who's who of '90s-era rockers — including Farrell himself, Flea from Red Hot Chili Peppers, Tom Morello of Rage Against The Machine, Trent Reznor from Nine Inch Nails, Donita Sparks from L7, Ice-T. 

To watch "Lolla" is to open a time capsule for alternative culture, one where the stage becomes a symbol of generational change. Read on for five takeaways from the documentary, which is now streaming on Paramount+. 

The Reading Festival Served As Inspiration

For their farewell tour, Jane's Addiction decided to emulate the UK Reading Festival's approach to curating live music and alternative acts in a multi-day, open-air forum (where bands like the Buzzcocks and Pixies played to crowds of 40,000). 

Jane's Addiction had been scheduled to play the 1990 Reading Festival, but Farrell partied too much the night before after a club gig and lost his voice, and the band had to cancel. Drummer Stephen Perkins and future Lollapalooza co-founder Marc Geiger decided to check out the event anyway, which planted the seed for the future tour. 

"Reading was a cornucopia of artists, and scenes, and curation, and it was such a vibe," recalled Geiger in an interview scene from the doc. "I remember saying, 'Perry, we have to do it.'"

Farrell was game after missing his chance to see Reading first-hand. So Lollapalooza co-founders Geiger, Don Muller and Ted Gardner, who was also Jane's Addiction band manager, got to work emulating the Reading model. In addition to live music, Farrell wanted something "completely subversive" with booths to engage festival goers with everything from henna tattoos and art galleries, to nonprofit and political organizations like Greenpeace, PETA, the Surfrider Foundation, and even voter registration for the Rock The Vote campaign. The result was art and activism combined with commerce.

Lolla Was Born From The Death Of Jane's Addiction

Although Jane's Addiction had a big buzz with their third album, Ritual de lo Habitual, the band was on the edge of  dissolution. "We really couldn't stand each other," admitted Farrell. Ready for his next act, Farrell saw the opportunity to end on a high note with Jane's Addiction. "The best work we did, we left on the stage at Lolla," he said in the doc. 

In the early '90s, alternative acts were not selling out massive venues. Organizers were on edge, hoping fans would buy tickets and show up to not one, but 28 U.S. tour dates featuring the seven-act lineup for the first-ever Lollapalooza.

What nobody expected was the watershed success. The first show saw fans sweat it out to see their favorite acts in Phoenix, on a day with temperatures well over 100 degrees. Nine Inch Nails' equipment melted in the heat, leading the band to destroy their failing gear before walking off the stage. 

Despite initial hiccups, the tour wasn't hindered. Lollapalooza's first year sold out in a majority of venues holding 15-18,000 people, driven largely by word-of-mouth and favorable coverage by MTV.  

"I think everybody knew and ultimately felt, 'wow, I'm sort of lucky to be here — I'm part of something,'" recalled Geiger in the doc. "It was bigger than anything these artists or fans had seen at that time."

Lollapalooza '92 further mixed genres on the main stage — like gangsta rap (Ice Cube), grunge (Pearl Jam) and shoegaze (Lush) — while greatly expanding the line-up on a side stage upon which Farrell and Perkins introduced their new band Porno For Pyros, alongside many other acts. Lollapalooza's model was born. 

Early Years Embraced Racial Inclusivity, But Lagged Gender-Wise

Right from the start, Lollapalooza organizers mixed up the bill beyond white artists that traditionally headlined rock concerts long before and after Jimi Hendrix performed at Woodstock and Monterey Pop. Part of why Lollapalooza thrived is the inclusion of bands like Ice-T's Body Count, Fishbone, and Living Colour — favorite headliners during the early tours.

Rage Against The Machine guitarist Tom Morello credited Living Colour with helping build "the alternative arc" and opening doors for Rage. "Without Living Colour, Rage Against The Machine doesn't get a record deal. Ever," Morello said. 

A big moment came near the end of the '91 tour when Ice-T and Farrell squared off to cover Sly and the Family Stone's "Don't Call Me ******, Whitey" in which they tersely trade verses, then end up tangoing across the stage. It was a provocative performance that grabbed headlines and the audience's attention months after the high profile police beating of Rodney King in Los Angeles. In '92, Soundgarden showed solidarity with Body Count by performing their controversial track "Cop Killer" with their guitarist Ernie C onstage in Miami. 

While Lolla embraced racial diversity, the early line-ups were male-dominated. Lone female act Siouxsie and the Banshees were a favorite in '91 and later Lollapalooza main stage artists, like Sonic Youth, Babes In Toyland, Lush, and the Breeders — which had more if not all female members — were outnumbered by their male counterparts.

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Donita Sparks noted that L7 got booked in '94 only after they fired off a bluntly worded fax to the organizers. "We got the offer," Sparks said, "but we had to push the issue. And we had to fight for it. 'Cause that's how much we wanted to be on Lollapalooza, and more importantly, that's how much we felt we deserved to be on Lollapalooza.

Female artists would eventually receive their Lolla dues, with Billie Eilish, Lorde, HAIM, Miley Cyrus and Karol G performing as festival headliners, and artists like Lady Gaga starting out as side stage artists before exploding in popularity and returning to headline the fest a few short years later. 

It Became A Victim Of Its Own Success

Lollapalooza from years '91 to '93 were the purest in terms of alt-rock acts, but as the event drew a wider range of talent and demand, it began to suffer a bit of an identity crisis. After all, it's hard to be a beacon for the underground scene once that culture is above ground.

By Lolla '94, attendance set records and alt-rock had hit the mainstream while grunge peaked and critics bemoaned its growing conventional status. Former second stage booker John Rubeli revealed that Nirvana turned down a $6 million offer to headline the '94 tour because of frontman Kurt Cobain's fear of selling out. Cobain's suicide a few short weeks later changed the scene. 

In '95, the festival returned with more indie bands on the mainstage, but some were eclipsed by bigger artists like Coolio, who drew a bigger crowd to the parking lot side stage. Increased popularity drove commercial sponsorship, and the event became more expensive. Ticket sales dropped. Then in '96, Farrell quit his involvement with the festival for a year in protest over the booking of Metallica, whose aggressive music and audience he felt were out of step with his vision.

"I felt disrespected," Farrell said. "I'm not putting this thing together to make the most money. I'm putting this thing together to make the most joy."

Upon his return in 1997, Farrell's inclusion of electronic acts like the Orbital and the Prodigy were, to some ears, ahead of the curve. The festival then went on a six-year hiatus. 

Lollapalooza returned on shaky legs for its 2003 tour, which included Audioslave, Incubus, the Donnas, and the reunion of Jane's Addiction. But it was truly reborn in 2005 as a three-day event in Chicago through concert promoters C3 Presents (who co-executive produced the "Lolla" doc).  Admittedly, some of the 21st century headliners like Lady Gaga, Miley Cyrus, Journey, and Paul McCartney would never have fit the '90s festival bill. 

Times have changed and, today, the festival has embraced its conventional success while retaining its original genre-spanning reach with the Killers, Melanie Martinez, Skrillex, and Tyler, the Creator included on this summer's lineup.

Lolla Was A Model For Coachella, Bonnaroo, And Beyond

Prior to the arrival of Lollapalooza, rock festivals were usually single weekend events that took place in a fixed location, like Woodstock in '69, Steve Wozniak's US Festival in '82 and '83, and European festivals like Reading. "I just think it's the first American, truly eclectic concert series since Woodstock," said Ice-T. "And even Woodstock wasn't as eclectic because Woodstock was pretty much all rock."

Lollapalooza's successful tour format inspired other popular tours and live events, especially in the mid-'90s. During the festival's break during the late '90s and early 00's, niche festivals like Ozzfest, Vans Warped Tour, and Lilith Fair stole the show. These festivals not only continued Lollapalooza's legacy by bringing diverse genres to cities across the country, but transformed the live music scene into a cultural phenomenon. 

While epic, genre-spanning weekend festivals like Coachella and Bonnaroo have been raging since the early aughts, Lollapalooza first proved that a seemingly radical idea could grow and thrive. Incorporating a mix of rock, hip-hop, electronic, and alternative acts, inclusivity and mobility became a festival blueprint. Today, Lollapalooza is tapping into international audiences and local music scenes with versions of the festival in Argentina, Berlin, Stockholm, Paris, and even Mumbai. 

Lollapalooza's success proves that the media and music industry often don't realize the size and passion of certain scenes and subcultures until they're brought together in the right setting. By uniting diverse musical acts and their fans, Lollapalooza highlights eclectic talent but also shows just how much people crave that representation and diversity.

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Since 2001, Primavera Sound has served as Barcelona's kickoff to summer. And with a stacked lineup chock full of effervescent acts for its 2024 iteration, this year's fest will certainly get the feel-good, warm-weather vibes rolling.

Phoenix starts the party with pop rock and new wave on May 29, setting the stage for fellow headliners Pulp, Vampire Weekend, and Justice on May 30. Lana Del Rey, The National, and Disclosure will make everyone's Friday night on May 31. Then, SZA, PJ Harvey, Mitski, and Charli XCX will ring in June on Saturday, before house/electronic acts ANOTR, The Blessed Madonna, Chloé Caillet, and Mochakk close things out on June 2.

But the headliners are just the beginning of what makes this year's Primavera Sound Barcelona exciting. Peggy Gou, L'Imperatrice, or Omar Apollo will likely tease new tunes, as they all gear up for June album releases. And just a month ago, Faye Webster, The Last Dinner Party, and Eartheater all had their respective Coachella debuts, proving they're more than ready to tackle the Primavera stage.

In the festival's jam-packed five-day lineup, hundreds of acts are primed to kick-start summer with a bang. Below, GRAMMY.com highlights 10 sets you won't want to miss in Barcelona — from Deftones' alt-metal bash to Amaarae's soulful hip-hop.

yeule

Performing: May 30, Plenitude Stage

Singaporean musician yeule is pioneering the ambient and glitch pop genres one song at a time. Born Nat Ćmiel, their stage name is based on a video game character, Paddra Nsu-Yeul, which speaks to their artistic steps in and out of reality. yeule's musical (and fashion) aesthetic is defined by the cyberworld, marked by futuristic, alternative styles that bewitchingly break norms.

Though they started out as a bedroom producer, yeule's more recent creative endeavors — like their invigorating 2022 album, softscars — have been more collaborative, adding a new layer of inspiration and beauty to their work. With influences ranging from Avril Lavigne to Radiohead, yeule's Primavera set will be ideal for living out all of your emo nostalgic fantasies.

Deftones

Performing: May 30, Amazon Music Stage

Get ready to scream with Deftones at Primavera. Winning their first GRAMMY back in 2001, the alternative metal band is still rocking out 20-plus years later — and making waves in this festival lineup. While Primavera tends to be led by various electronic and pop acts, Deftones is uniquely ushering punk to the festival's frontlines.

Banding together in 1988 in Sacramento, Deftones is known for their progressive experimentation within metal and rock, often dipping into psychedelia, post-punk, trip hop. Headed by lead vocalist Chino Moreno, the band's hardcore sound is unabashedly raw, original and heavy, continuing to evolve expansively with the metal genre.

Paving the way for contemporary heavy metal over the years, Deftones is a defiant act you won't want to miss at a major stage at Primavera Sound.

Troye Sivan

Performing: May 31, Santander Stage

Ready to feel the rush? Troye Sivan certainly is.

The Australian pop star is making Primavera an early stop in his tour for Something To Give Each Other, his latest album featuring jubilant singles like "Rush" and "Got Me Started." Once his European tour wraps in Birmingham, England at the tail end of June, he'll be headlining the Sweat Tour with fellow headliner Charli XCX — who coincidentally will be performing at Primavera the next day on June 1.

From the electropop seedlings on his 2015 debut, Blue Neighborhood, to the full-fledged forlorn beauty of his 2020 EP, In A Dream, Sivan's artistry has evolved significantly in the last decade. Today, his music is its most freeing yet, and there's no doubt it'll be glorious (and sweaty) on the Primavera stage.

Obongjayar

Performing: May 31, Plentitude Stage

UK-based Nigerian artist Obongjayar's musical style is nearly indescribable. Interlacing Afrobeat, spoken word, and EDM, all of his songs are distinctly tinged with a signature, soulful vibrance, and it'll be sensational to see how Obongjayar takes his pensive profundity to fill the Primavera stage.

Though he might be best known for the Fred again.. collaboration "adore u" (which samples his track "I Wish It Was Me"), Obongjayar's special sound effortlessly meshes with everyone he works with. From "If You Say" with Sarz, to "Point and Kill" with Little Simz, to "Protein" with Jeshi, it would be fair to call Obongjayar a chameleon — except instead of blending in, he's standing out.

Ethel Cain

Performing: May 31, Santander Stage

There's no better word to describe Ethel Cain's music than transcendent.

A master of gothic indie rock, Cain stitches together uncanny Americana and lovelorn nostalgia into a radiant, sensory experience. Her debut album, 2022's Preacher's Daughter, is divine and sometimes disturbing, but its ambience live sends audiences into an impossibly satisfying trance.

Whether you're listening to the enchanting slow burn of "A House In Nebraska" or the eerie roar of "American Teenager," both Cain's storytelling and live performance are infallibly spine-chilling — do yourself a favor and don't miss Cain's hauntingly beautiful set at Primavera.

BADBADNOTGOOD

Performing: May 31, Cupra Stage

Looking for a band that combines jazz styles with hip-hop production? Look no further than BADBADNOTGOOD, an innovative Canadian instrumental band.

After meeting at a Toronto jazz program in 2010, the three-piece band bonded over their hip-hop music appreciation, and the rest is history. Since then, BADBADNOTGOOD (which now features Leland Whitty in place of original member Matthew Tavares) has released five studio albums — fittingly, including covers of hip-hop songs with jazz interpretations. The group has also worked with Kendrick Lamar, Tyler, The Creator, Thundercat, and many more notable artists.

The band's collaborative production and remixing has earned them two GRAMMY wins and five total nominations, and there's no question BADBADNOTGOOD's set will put a spell on Barcelona.

Arca

Performing: May 31, Amazon Music Stage

Electronica is Arca's playground, and the pioneering producer's set at Primavera is sure to craft a whole new world. Dynamism defines the Venezuelan musician's shape-shifting art; through its avant-garde fusion of reggaeton, ambient techno, and dark electronica, her music is bursting with vigor.

Arca's music often discusses themes of gender identity and sexuality, and her views of queerness center around harmony and inclusion, which reflect in her pristine tracks "Nonbinary" and "Machote" on her GRAMMY-nominated album KiCk i. Having released 10 albums since 2006; worked with artists like Rosalía, Björk, and the late SOPHIE; and even opened for Beyoncé's Renaissance World Tour, Arca brings immeasurable experience to Barcelona.

The producer's music naturally begs to be heard live — it's meant to sweat to and be danced to, and Arca's Primavera set will embody true electronic extravagance.

ATARASHII GAKKO!

Performing: June 1, Cupra Stage

This rising Japanese girl group's powerful sound easily warrants a stage name in all caps and with an exclamation point.

Fresh off their U.S. television debut on "Jimmy Kimmel Live!," ATARASHII GAKKO! is ready to tackle the Primavera Sound stage with their engaging J-pop that integrates elements of hip-hop, rock, and jazz. Intrepid and commanding, their live performance features synchronized dancing, matching sailor school uniforms, and occasionally a marching band.

The quartet's upcoming world tour has a handful of sold-out dates. They've already conquered crowds at Coachella and Head in the Clouds — and there's no doubt that ATARASHII GAKKO! will bring their best to Barcelona.

Amaarae

Performing: June 1, Amazon Music Stage

Ama Serwah Genfi — better known as Amaarae — is an alté trailblazer. Raised between Atlanta and Accra, Ghana, the singer crafts mercurial music that is both introspective and stylish, and destined to be performed for vast audiences.

From her 2017 EP, Passionfruit Summers, to her 2023 album, Fountain Baby, it's easy to be mesmerized by her distinct, eccentric soprano and overflowing confidence. Her critically acclaimed "Sad Girlz Luv Money" (featuring Molly and Kali Uchis) charted globally in 2021, and just last year, she became the first Ghanaian American to perform an NPR Tiny Desk Concert. Amaarae's live performances bring her blend of R&B, pop, and afrobeats to a new level, and she's ready to introduce her infectious global beats to Primavera.

Bikini Kill

Performing: June 1, Pull&Bear Stage

Famed pioneers of the riot grrrl movement in the '90s, Bikini Kill is bringing punk fun (and rage) to the Primavera stage.

Influencing alternative stars like Sleater-Kinney, Pussy Riot, and The Linda Lindas, it's no question that the iconic American band has inspired the next generation, whether that be through their music or activism. From "Rebel Girl" to "Feels Blind" to "I Like F—ing," Bikini Kill's beautifully irate music calls for female solidarity and empowerment still resonate with listeners today.

Though the band broke up in 1997, they reunited in 2019 and have since been touring together — and now, Primavera offers a special chance to see another inspiring moment from the revolutionary rockers.

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When legendary songwriter Linda Perry discovered that Kate Hudson could sing, she enabled the actress' childhood dream to come true.

In the midst of the COVID-19 pandemic, Perry happened to be on a virtual school program during which Hudson sang a rendition of Katy Perry's "Firework." Soon after, Perry called Hudson in for a studio session — and before they knew it, they were creating Hudson's debut album.

But their interaction was much more serendipity than it was coincidence. And perhaps you could say the same for Hudson's breakthrough role as the music-obsessed "band-aide" Penny Lane in 2000's Almost Famous. Music was always Hudson's first love, now manifested as Glorious — a glittering musical coronation.

Across 12 tracks, Hudson shows off her sultry voice over an array of pop-rock melodies, conjuring the enchanting air of Stevie Nicks and the dynamic vocal power of Sheryl Crow. While some may remember hearing Hudson sing in the 2009 film adaptation of the musical Nine or her short stint as a sassy dance instructor on season 5 of "Glee," Glorious shows an entirely new side of the actress. She feels right at home as she rocks the soulful opener "Gonna Find Out," hits you in the heart on the tender ballad "Live Forever," and surprises with belting power on the soaring title track.  

A musical venture has been on Hudson's vision board, first recognizing the pop star prowess of Madonna and Belinda Carlisle when she was just 5 years old. That lifelong aspiration has led her to feeling more assured in her debut album than anything she's done in her career thus far. As she declares, "I've never felt more present in something in my life." 

She's already felt that synergy on stage, too. Hudson made her performance debut in Los Angeles the day after Glorious lead single, "Talk About Love," premiered in January; she's since shocked viewers of "The Tonight Show Starring Jimmy Fallon" and "The Voice" with her prowess ("Who knew Kate Hudson could sing?" one "Voice" fan tweeted). And while her singing career doesn't mean her acting chapter is closed, she's ready for a tour: "I can't wait to actually go out and meet people that I've never been able to meet before."

Below, Hudson details her journey to Glorious in her own words — from letting go of potential criticism, to gaining confidence in her voice (with help from Sia!), to simply enjoying a particularly special life moment.

I would always say no if someone asked me to sing. [Whether] it was a charity [event] or some sort of show, I just always had this thing where I didn't want to put myself out there like that.

I realized I had a fear of being on stage. And I was like, You know what, I've got to just start saying yes. So it started with that — I'm just going to say yes to singing, even if it scares me to death. 

It's my happy place, singing and writing. The only thing that would have been holding me back was the fear of what people might say about it. And that is, I think, the worst possible thing to do — not make art because you're afraid of the criticism. 

I'm always writing, but when Linda [Perry] said, "Will you come in and sing this song?" and I did, and then she asked if I wrote music, and she's like, "We should write together," that was sort of the beginning of what this album became. Getting in the studio with Linda, we had no expectation, we didn't know what it was going to be — one song, four songs. It ended up being, like, 20-plus songs.

It was a real passion project, versus being a younger artist, and wanting that to be my number one vocation. So I was able to be more present in the process and with no expectation. It sort of had that domino effect of starting the writing and then really just loving it — becoming kind of all-encompassing. Once you open the floodgates, there's so much to write about. I can't wait to get back in the studio already.

I think [my hesitation to sing before] was more about, Why am I singing? I find music so precious that, if I wasn't ready, ready, ready, I just didn't want to do it. And it's kind of my personality too. I was the little girl that wouldn't do anything unless I felt like I had perfected it and had the confidence to be doing it.

And then COVID [hit]. Honestly, it was like, Okay, I'm not getting any younger. I want music to be a part of my life in a bigger way. I can sort of see myself, as I get older, being more surrounded by music and writing music, and being more immersed in music like that, because I love it so much. 

I was thinking about this the other day — lately, Danny [Fujikawa, Hudson's musician/actor fiancé] and I write, like, a song a week, and sometimes multiple. I love it, we love doing it together. So it's something that I can't wait to, hopefully, be able to do just more of.

The performance thing is so new for me that it's wild. This past month of performing, and being in front of people, and sharing music, and sharing my voice like that, is something brand new. I call it, like, putting on a new pair of shoes and wearing them in a little bit — going to different places and your voice sounds different in different rooms. 

Trying to really understand what that feels like is so much fun for me, and so interesting, and so exhilarating. But I find that they're two very different things to love, singing live and writing.

When I was little, I just loved pop stars — like, Madonna, Janet Jackson, Belinda Carlisle. I was also very fashion-forward. My mom always let me wear my own outfits, and sometimes I was so insane. When I was, like, 5, I dressed like I was living out my pop star life. So, I think, the whole thing with music, and fashion, and dancing, that was my dream when I was little.

For a lot of performers — people who like to be [doing] musical theater, love to sing, love to dance — we kind of get into all of it. To me, it's the performing aspect. I say to my kids, "Do all of it. You need to get into movement. You need to get into voice. You use all of it." As you see, a lot of great actors are wonderful singers, and love to do musical theater, and started out doing musical theater. Whether it be Leslie Odom Jr., Josh Gad, Annie Hathaway, Amanda Seyfried, Hugh Jackman — a lot of these people are just so musical and have incredible instruments. 

I never focused on the instrument. I never took real vocal classes. I would sing instinctually, but I never was "in voice" or anything like that. When I would get into writing, it's a little bit of a different thing. Finding that feeling, that energy of, like, what your voice is as a singer/songwriter is a really interesting process. But I've kind of secretly been doing that since I was like, 19 in my living room. [Laughs.]

It took me a lot to find confidence in my voice. Because some instruments have bigger range, some instruments are more intricate — and by instruments, I mean voices. And if I was to compare myself [to anyone], I think it would take away from the freedom I feel when I just love to sing. 

Certain people that I admire that I've worked with, [have] allowed me to feel more confidence in opening up my voice, being able to really just go for it. Like, working with Sia on Music, the film that we did [in 2021], was huge for me. She really helped me feel more confidence in my big, belting voice.

I've always been writing [songs]. It's always been my outlet for myself, whether I think they're good or terrible. [Laughs.] I'd say 19 [is when] I picked up guitar, and I always played a little piano when I was younger, but then I got more into piano at like, 20. People always say, "Where's your happy place?" and I've always said, "My piano." When I'm really sad and depressed, it's just where I go to get it out. And then the opposite, too — when I'm ready to have fun, it's my favorite place to be. 

There's a lot of people that just have a connection to music, love it so much, and don't know what they would do without it. I find it to be the most connective art form. Large groups of people get to feel something at the same time, together, and have these experiences that, I think, are just so important for the human experience, to be that connected through something.

[When I was filming Almost Famous],I still probably felt like, at some point, I will do music, whether it be in a movie, a musical or in my life. And, to be honest, I'm not a calculated person. I really have never been someone who was like, I'm going to do this and then I'm going to do that, and then I have to do that, and that's going to look like this. 

I'm such an Aries. I just want to have fun where I'm at. I like being spontaneous, I like being open to things, and I like being present in where I am. So if you took me back there, I was just so happy to be a working actress. I wasn't thinking, like, Now what?

In reflection, at that time, crossing over [into music] was sort of looked poorly upon— if you're starting to become successful in one thing, you need to stick to that. You have to understand, like, if someone even did a commercial, the perception of it would be like, "Oh that person's career is over."

Now, the world has completely shifted and it just doesn't matter anymore. Which is such a nice thing for a lot of artists.

At the end of the day, these are art forms that we really care about. It's really important to us to make the right movies — when you're creating a character, or when you're writing an album. People might not see [that] from the outside in. It fuels something that is just like, you couldn't live without it. 

So when you get to a certain place that you are being known for what you love, for the art form, and you become a celebrity, the criticism is so extreme. It's so extreme that it's like, if you feed into it, it will stop you from wanting to take any risks as an artist. You start to become precious about things — you get nervous to step out on a limb because it could destroy things that you've been really working hard to build. But the irony of that is, you aren't really an artist unless you're taking those chances. 

Entering this phase of my life age-wise, I've been through all of that harsh criticism so many times that after a while, you realize like it just doesn't matter. What matters is that you're putting your best foot forward, you know?

I'm so happy in my home life. I feel very cozy in my familial unit — my parents, and my brothers, and my partner, and my kids. That allows the safety to feel good putting myself out there like this.

Obviously music is in our life all the time, but [my kids] love it. It's a very comfortable place for all of us — being on tour, being in all these different stages. It's just so funny, I think, for them to see me in that position, versus their dad. [Editor's note: Hudson has three kids; son Ryder with the Black Crowes frontman Chris Robinson, son Bing with Muse singer Matt Belamy, and daughter Rani with Fujikawa.] It's been really fun for them to watch. At least that's what they tell me. 

I think what's really fun for them is to see that the thing that they know that I love, that they've been surrounded by their whole life — which is me singing and writing — I think it's fun for them to actually see that I decided to pursue the thing I love the most.

I'll never forget the first time [performing live] because I felt like I was surrounded by all of my closest friends and family, and they all know what the process has been for me. So it was very special. 

I'm just so happy singing on stage. I can't wait to actually go out and meet people that I've never been able to meet before and have that connection. I can't wait to get into like, the weird places in the world, and experience what it feels like to connect with people in Cleveland, or in Kansas City, or Dusseldorf, Germany!

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I was reading something about women and imposter syndrome, and how many women feel that way about all of the things that we've done — it doesn't matter what it is. It's a very popular thing for women to feel when they become successful in something, [that] they don't really deserve it.

I've had that before in my acting career. Those kinds of feelings creep up all the time. I think they do for a lot of women. But, I'm a worker bee. I work really hard, and I put the things out in the world that I feel connected to, and that I hope people love. And if there's success in it, the only thing that would ever make me feel like I didn't deserve it would be someone else, not the work I've put into it.

And the truth is, I think all artists [are] always striving to be better than how we are right now. I think that's part of the deal. If you've thought, like, Yeah, I'm the best. That's kind of weird. That's problematic. For most artists, it's never enough. You're always striving to make things better.

I'm old enough, at this point, to have a good sense of what not to worry about. I would love for people to like what I'm doing, it would make me feel so good. But I also know that everyone's gonna have a different opinion.What I've learned the most is put your head down, do good work and have fun — enjoy every moment and don't overthink it. So that's kind of what I'm leaning into in this process [with].

I definitely want to make more music. That's the thing I know, is that no matter where, or what it's for — whether it's for musicals, film, television, another album — writing is just something I'm never going to stop doing. I started this with no expectations, and I've taken each moment in the moment it presents itself. And I'm gonna stay there.

I've never felt more present in something in my life. Even though it's so crazy right now — I don't even know what day it is. It's been a wildly busy time. But having music being a part of my life like this has just been the greatest, cathartic, joyful transition. I don't ever want that to go away.

I definitely have moments where I wake up and I feel this immense amount of gratitude that I'm getting to share music and that people are hearing it. And the warmth that I'm receiving has felt really special. It does not go unnoticed. 

It's been the most special moment of my life. So far, it's been great. I'm sure my sophomore experience will feel very different. [Laughs.] But right now, I'm just having so much fun.

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The Latin Recording Academy today announced that 18-time Latin GRAMMY winner and two-time GRAMMY winner Carlos Vives will be the 2024 Latin Recording Academy Person of the Year. He will be honored at a star-studded gala leading up to the 2024 Latin GRAMMYs, which this year marks the 25th anniversary of the Latin GRAMMY Awards.

The heartfelt tribute concert will honor Vives' celebrated career, which spans more than 30 years as a multifaceted singer and composer, and will feature renditions of his renowned repertoire performed by an array of notable artists and friends. In addition to his achievements in music, the 2024 Latin Recording Academy Person of the Year gall will honor Vives' continued commitment to environmental and social initiatives.

Details about the coveted event, which takes place during the 2024 Latin GRAMMY Week in Miami, will be announced at a later date.

An architect of Latin music's ongoing evolution and global expansion, Carlos Vives is one of the most respected artists in Spanish-language music around the world. He helped pioneer a new Latin American sound, redefining traditional Colombian vallenato by incorporating pop and rock. The first Colombian to win a GRAMMY Award, he boasts more than 10 billion streams on digital platforms, 20 million albums sold, and enduring hits like "La Gota Fría," "Pa' Mayte," "La Tierra Del Olvido," "Fruta Fresca" and "Volví A Nacer."

Vives has become an ambassador of Colombian and Latin American culture around the world, and his commitment also transcends the musical realm. In 2015, he created the Tras La Perla initiative to promote the sustainable development of Santa Marta and its ecosystem.

In addition, he created the Escuela de Música Río Grande to offer artistic experiences to children and young people and founded the record label Gaira Música Local to promote new Colombian talent. As part of his ongoing commitment to music education, Vives has been a strong advocate and generous supporter of the Latin GRAMMY Cultural Foundation since its inception and sponsored its annual Prodigy Scholarship in 2018.

"Carlos Vives is one of the most prolific and beloved artists of our time, whose commitment to Latin music and support for the new generations truly personifies the values of our Academy," Latin Recording Academy CEO Manuel Abud said in a statement. "We honor him as our Person of the Year for his vast contributions to our musical heritage and for his many philanthropic initiatives."

"I am honored and moved to have been chosen as the 2024 Latin Recording Academy Person of the Year. It is the reward for an authentic journey, for a wonderful team, and, above all, it is the recognition of the musical spirits of our Latin American diversity," Vives said in a statement. "These spirits taught us to love and enrich our language, to take care of it, and to respect it in order to exalt humanity with it."

The Latin Recording Academy Person of the Year honors musicians and their artistic achievements in the Latin music industry as well as their humanitarian efforts. The past honorees are Laura Pausini (2023), Marco Antonio Solís (2022), Rubén Blades (2021), Juanes (2019), Maná (2018), Alejandro Sanz (2017), Marc Anthony (2016), Roberto Carlos (2015), Joan Manuel Serrat (2014), Miguel Bosé (2013), Caetano Veloso (2012), Shakira (2011), Plácido Domingo (2010), Juan Gabriel (2009), Gloria Estefan (2008), Juan Luis Guerra (2007), Ricky Martin (2006), José José (2005), Carlos Santana (2004), Gilberto Gil (2003), Vicente Fernández (2002), Julio Iglesias (2001), and Emilio Estefan (2000).

Net proceeds from the Latin Academy Person of the Year Gala will go toward the charitable work of the Latin GRAMMY Cultural Foundation.

The 2024 Latin Recording Academy Person of the Year gala will take place days ahead of the 2024 Latin GRAMMYs, which take place Thursday, Nov. 14, in Miami at Kaseya Center, in partnership with Miami-Dade County and the Greater Miami Convention & Visitors Bureau (GMCVB). The nominations for the 2024 Latin GRAMMYs will be announced Tuesday, Sept. 17.

This year, the Latin Recording Academy will introduce two new Latin GRAMMY categories and a new field: Best Latin Electronic Music Performance, housed within the new Electronic Music Field, and Best Contemporary Mexican Music Album (Regional-Mexican Field). These additions also include several changes, including additional category amendments, to be added to the 2024 Latin GRAMMY Awards Process.

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