Bill Withers, a three-time GRAMMY-winning soul legend best known for the iconic classics "Ain't No Sunshine," "Lovely Day" and "Lean On Me," has died due to heart complications, the Associated Press reports. According to a statement from his family, Withers died Monday (March 30) in Los Angeles. He was 81.

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"We are devastated by the loss of our beloved, devoted husband and father," the statement read. "A solitary man with a heart driven to connect to the world at large, with his poetry and music, he spoke honestly to people and connected them to each other. As private a life as he lived close to intimate family and friends, his music forever belongs to the world. In this difficult time, we pray his music offers comfort and entertainment as fans hold tight to loved ones."

Harvey Mason jr., Chair and Interim President/CEO of the Recording Academy, shared a touching message about Withers' passing on behalf of the organization.

"Bill's work has made a lasting impression on the music industry, with countless acclaimed artists performing renditions of his recordings, including Aretha Franklin, Paul McCartney and Barbra Streisand," Mason jr. said. "His music will continue to influence the music community and be cherished by the world for years to come. Our hearts go out to his loved ones and all who were impacted by his incomparable work."

Born in Slab Fork, W. Va., in 1938, Withers started his singing career in his early 30s. He began recording professionally starting in 1970 before retiring from music in the mid-'80s. While his career was somewhat brief, Withers released several hit albums and singles across his eight-album discography.  

Read: Bill Withers Visits The GRAMMY Museum

The singer's 1971 debut album, Just As I Am, featured "Ain't No Sunshine," his breakthrough hit and an eternal Withers classic. The track, which peaked at No. 3 on the Billboard Hot 100 chart, has been covered by multiple pop music luminaries and contemporaries, including Michael Jackson, Ladysmith Black Mambazo and Black Label Society, and has been featured in multiple films, TV shows and soundtracks, including When We Were Kings and "American Crime Story: The People v. O. J. Simpson." The song also secured Withers his first career GRAMMY win, for Best Rhythm & Blues Song, at the 14th GRAMMY Awards, held in 1972; in the same year, the song was also nominated for Best Pop Vocal Performance, Male, while Withers himself was nominated for Best New Artist Of The Year.

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His second album, 1972's Still Bill, saw Withers expand his reach. Peaking at No. 4 on the Billboard 200 chart, his highest placement on that chart and his sole top 10 hit album, Still Bill featured "Lean On Me," which became his only hit single to top the Billboard Hot 100 chart. R&B group Club Nouveau's 1987 version of the track, which topped the Billboard Hot 100 chart, notched Withers his third and final GRAMMY win, for Best Rhythm & Blues Song in 1988, for his writing contribution to the song. Most recently, "Lean On Me" has become a popular, uplifting anthem among healthcare workers and those affected by the coronavirus pandemic, who have taken to sing the song online and on social media during the health crisis.

Withers is also known for the R&B classic "Just The Two Of Us," a collaboration with Grover Washington Jr., which won for Best Rhythm & Blues Song at the 24th GRAMMY Awards, held in 1982; the song was also nominated for Record Of The Year, Song Of The Year and Best Pop Vocal Performance, Male that same year. Other Withers classics include "Lovely Day," "Use Me," "Grandma's Hands," the GRAMMY-nominated "In The Name Of Love" and "Grandma's Influence."

The 2009 documentary film, Still Bill, followed Withers' early roots, breakthrough career and post-retirement family life.  

In 2015, Withers was inducted into the Rock & Roll Hall Of Fame.

Withers is survived by his wife, Marcia, and his two children, Todd and Kori, according to the Associated Press.

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With worldwide sales of 32 million, five GRAMMY nominations, and more than a dozen Hot 100 hits to her name, Aaliyah achieved more in her tragically cut-short 22 years than most would several lifetimes over. And more than two decades after her untimely death, the female R&B scene is still very much indebted to her pioneering talents.

In the last few years alone, she's been namechecked by Beyoncé, sampled by SZA and Normani, and covered by Mariah the Scientist and Sinead Harnett. And that's only on a sonic level. Ella Mai and Mahalia also recreated her signature tomboyish look in their video for "What You Did," as did Jhené Aiko on " P*$$Y Fairy (OTW)." Justine Skye and Sevyn Streeter are just a few of the names who paid their respects in 2023 ABC tribute Superstar. And going further back, Aaliyah has also been cited as a major source of inspiration by Ciara, Tinashe, Nelly Furtado, and Rihanna, while Katy B and Jessie Ware even named their "Jolene"-esque duet after their musical icon.

And thanks to Aaliyah's innovative second and third studio efforts, 1996's One In A Million and 2001's Aaliyah, finally escaping from licensing limbo in 2021, those growing up in the streaming age are now discovering her supremely sultry voice, masterly interpretative skills, and array of forward-thinking hits, too. In the last three years, the likes of "Try Again" and "Are You That Somebody" have racked up more than 140 ad 170 million streams, respectively, on Spotify alone.

But why exactly does the singer nicknamed Baby Girl still have such a hold on contemporary artists, several of whom were barely out of diapers when she was busy tearing up the R&B rulebook? To coincide with the 30th anniversary of Aaliyah's debut album, Age Ain't Nothing But A Number, here's a look at how the "street but sweet" star built up such an inspirational legacy.

She Knew How To Use Her Voice 

Aaliyah arrived at a time when powerhouses Mariah Carey, Celine Dion and Whitney Houston were the dominant female singers. But the New Yorker quickly proved that lung-busting multiple octaves isn't the only way to vocally impress.

Aaliyah was still capable of such acrobatics. According to producer Daryl Simmons, she would often rely on opera runs before recording to warm up her voice; Diane Warren, who worked with the star on ballad "The One I Gave My Heart To," has spoken of how she was taken aback by her versatility. But Aaliyah's signature delivery was very much "less is more." You can hear her sensual, featherlight tones in the likes of Kelela, Rochelle Jordan, and The Internet's Syd, the latter of whom has specifically hailed Aaliyah as a formative influence on her own cooler-than-cool style.

She Retained An Air Of Mystery 

Aaliyah's less-is-more approach also applied to her public profile. Perhaps due to the controversy surrounding her relationship with debut album producer R. Kelly, the singer largely preferred to let her music do the talking.

Even when she did speak to the press, she kept her cards close to her chest. And she avoided giving the more salacious outlets any further ammunition by growing up away from the spotlight. If they were looking for celebrity beefs, love triangles or stumbling out of nightclubs, they had to look elsewhere.

In the social media era where oversharing is the norm, Aaliyah's desire to keep her private life entirely private now seems both admirable and practically impossible. But there are still several artists who've recognized there's a power in retaining a sense of mystery. Just look at Sault, the enigmatic collective said to be fronted by the Aaliyah-esque Cleo Sol, who've released 11 albums and evenperformed live without officially revealing their true identities.

She Was A Triple Threat 

Triple threats are par for the course these days. From Beyoncé and Rihanna to Brandy and Nicki Minaj, almost every female R&B star now seems determined to show they can pull off singing, dancing and acting — and, in the case of Jennifer Lopez's recent passion project, all at the same time. But Aaliyah was one of the first to showcase such impressive versatility.

In 2000 thriller Romeo Must Die, she stole the show from Jet Li as the daughter of a crime lord who refuses to get drawn into his dangerous underworld. And thanks to an inventive blend of wirework and futuristic choreography, she was equally spellbinding in the video for tie-in single "Try Again." 

Meanwhile, her slithery performance as the titular bloodsucker was by far the standout in 2001 horror Queen of the Damned. Having landed key roles in The Matrix Reloaded and Sparkle shortly before her untimely death, Aaliyah's movie career would undoubtedly have ascended to the same lofty heights as her musical.

She Wasn't Afraid To Take Control 

Don't be fooled by Aaliyah's softly spoken vocals and coy demeanor. The star was never afraid to tell it like it is. Just ask A&R executive Jeff Sledge, who guided her early days with Jive Records. "She was shy but when she would speak, you could tell she was a real artist," he told The Guardian in 2021. "She had her ideas of what she wanted to do and say — she wasn't a puppet."

Although her talents lay as a performer/interpreter rather than a songwriter/producer, Aaliyah continued to exert creative control throughout her discography. While promoting sophomore One In A Million, she told MTV, "I was very confident in my convictions and what I wanted this time around." 

It's a mindset reflected across her lyrical themes, too. On "If Your Girl Only Knew," she hits back at a player whose attention she's unwillingly caught, while on "Are You That Somebody," she insists on keeping her new beau a secret until he proves his worth.

She Helped Launch Missy Elliott's Career 

Although Missy Elliott had started to make waves in the music industry — firstly in short-lived girlband Sista, and then as writer/producer for Jodeci and Aaron Hall — it was her partnership with Timbaland and Aaliyah on 1996's One In A Million where she truly established herself as an R&B game-changer. Elliott co-penned nine tracks, including the singles "Hot Like Fire," "4 Page Letter" and "If Your Girl Only Knew," her sensual melodic hooks the perfect foil for Timbaland's innovative beats.

By the time their crowning glory, "Are You That Somebody," dropped in 1998, Elliott had become a star in her own right: maintaining the synergy, her debut album, 1997's Supa Dupa Fly, also boasted a guest appearance from Aaliyah. But as Elliott told Entertainment Weekly in a tribute to Aaliyah after her passing, their connection went far beyond the studio: "It was more of a family vibe than just work. We could tell each other anything." Over the next few years, both established (Whitney, Mariah) and emerging (702, Tweet) female talent would follow Aaliyah's lead by utilizing Elliott's production skills.

She Gave The Youth A Voice 

From SWV and En Vogue to Brownstone and Jade, the mid-'90s R&B scene was dominated by ladies well into adulthood. Aaliyah, however, was just 15 when debut Age Ain't Nothing But A Number hit the shelves. Subsequently, a generation of young girls immediately latched on to who they saw as a kindred spirit.

Although Aaliyah always sounded more mature than her years, her debut often reads like a schoolgirl's diary entry. (She even opens the title track by noting one: "May 5, 1993/ Aaliyah's diary/ Got it," goes the often-omitted intro.) Songs about crushes, hanging out with her friends, and partying on the weekend certainly reflected the teenage experience with authenticity (Aaliyah was still attending Detroit High School for the Fine and Performing Arts).

What's more, "Young Nation" essentially finds her spearheading a new youth movement, "keeping it smooth with a jazz attitude.""There were so many messages in her songs that guided me and became the soundtrack to my childhood," British singer Kara Marni told The Guardian, proving that Aaliyah's generational influence extended far beyond her homeland.

She Had A Timeless Sense Of Style 

"There doesn't seem to be a current streetwear trend that Aaliyah didn't sport first," Vogue's fashion editor Janelle Okwodu recently claimed, no doubt referring to everything from bandanas and baggy jeans to sports jerseys and ski hats. From the moment she first graced MTV in overalls, a tracksuit and the chunkiest of leather vests in "Back & Forth," the New Yorker made it crystal clear she wasn't interested in appealing solely to the male gaze.

Aaliyah could dress up for the occasion; see the Roberto Cavalli ballgown she wore to the 2000 VMAs. But her sense of style always leaned more toward the casual and tomboyish end of the spectrum, empowering the next generation of R&B performers to wear exactly what they wanted. British singer Nao was one such follower of her fashion: "There was a part of Aaliyah that made me feel comfortable in rolling out in my denim trousers or in an oversized jumper and knowing that my music can be enough."

She Proved Female R&B Could Think Outside The Box 

TLC's "No Scrubs," Missy Elliott's "Get Ur Freak On," Amerie's "1 Thing." Think of the most innovative R&B singles of the pre-streaming era and it's likely a female act is responsible. And thanks to a sonic palette that still sounds like it's been sent from the future, Aaliyah undeniably paved the way.

Age Ain't Nothing But A Number first established her innovative ways, her mellifluous vocals gliding across Timbaland's progressive beats and bank of avant-garde sound effects. But it was 2001's eponymous LP that truly pushed the genre into various weird and wonderful directions, from the snake-charming classical sample on "We Need A Resolution," to the warped Nine Inch Nails-esque guitars on "What If," to the squelchy sci-fi funk of "Try Again." 

Even when she went classic, as on gorgeous slow jam, "I Care 4 U," she practically invented alternative R&B. Musical boundaries might now be a thing of the past, but in the early '00s, Aaliyah was one of the few breaking them down.

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GRAMMY U members got a special treat from Tori Kelly when the singer (and Sing-er) took the stage for the first ever GRAMMY U "Unwrapped" event on May 15. Held at The Novo in downtown Los Angeles, the event brought together fans, music industry professionals, and students for a night that dove deep into the creative process behind Kelly’s brand new record, TORI. Amazon Music and Mastercard were presenting sponsors for this event. 

Joined on stage by producer and collaborator Tenroc, Kelly took fans through a journey of several tracks from her new record, from inception to completion. Kelly discussed each track, aided by a video presentation and using stems to highlight special production techniques, musical intricacies, and cool little Easter eggs. The showcase was followed by a round of live questions from the audience, where Kelly dished about everything from her voiceover work to her pre-studio rituals, before grabbing a guitar and performing two new tracks: "High Water" and "Oceans." 

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Here’s a glimpse into all the songs Kelly and Tenroc featured, from "Missin' U" to "Spruce."

"thing u do”

When it came time to make Tori, Kelly told the audience that she wanted to focus on "songs that make [you] wanna dance," and "songs that [anyone] can belt out in the car." Mainly collaborating just with Tenroc, Bellion, Clyde Lawrence, and Jordan Cohen, Kelly put together a record that's strongly influenced by late '90s and early '00s pop, with references to chirping Sidekick phones and plenty of nostalgic vocal effects. 

"missin u" in particular is interesting, not just because it was inspired by Craig David and the U.K. Garage sound — with Kelly taking special care to pronounce "garage" in true British fashion at the live event — but also because it was released in both its original form and as an R&B edit. The latter version is the one Kelly and Tenroc highlighted at the event, going through Kelly's vocal tracks, and really digging in on the remix's bridge, which Kelly wrote just for that track and recorded in her home studio.

Getting to see Tenroc's Logic Pro work on the big screen seemed to mesmerize everyone in attendance, with most marveling at the ease he seemed to have flicking through the dozens of stems, layers, and plug-ins. 

"missin u"

When it came time to make TORI, Kelly told the audience that she wanted to focus on "songs that make [you] wanna dance," and "songs that [anyone] can belt out in the car." Mainly collaborating just with Tenroc, Bellion, Clyde Lawrence, and Jordan Cohen, Kelly put together a record that's strongly influenced by late '90s and early '00s pop, with references to chirping Sidekick phones and plenty of nostalgic vocal effects.

In particular, "missin u" is interesting, not just because it was inspired by Craig David and the U.K. Garage sound — with Kelly taking special care to pronounce "garage" in true British fashion at the live event — but also because it was released in both its original form and as an R&B edit. The latter version is the one Kelly and Tenroc highlighted at the event, going through Kelly's vocal tracks, and really digging in on the remix's bridge, which Kelly wrote just for that track and recorded in her home studio.

Getting to see Tenroc's Logic Pro work on the big screen seemed to mesmerize everyone in attendance, with most marveling at the ease he seemed to have flicking through the dozens of stems, layers, and plug-ins. 

"shelter"

Talking about "shelter," Kelly described a sort of shorthand she'd developed with Tenroc, after working closely together over the past few years. She said they're at the point where they can communicate with "sounds" and "telepathy," a benefit she attributes to not switching producers throughout the making of her record.

Tenroc and Kelly used "shelter" to talk about the comping process, or the act of combining the best parts of different takes into a single track. Kelly said she typically does about five takes of a vocal track, all in different personas: one normal, one shyer, one wild, one with a lot of vocal runs, and one that's sort of a wild card. She can keep each take separate in her mind that way, remembering how she recorded a vowel slightly better in one take or gave a line a little grittier vocal texture in another. It's not something everyone can do, though, and Tenroc said it's truly amazing to witness in person — a fact the live audience could attest to. 

For Kelly, a lot of making TORI, was about exploring different tones and textures of her voice, she said. She'd sometimes start by doing an impression of a singer like Rihanna and Willow in one run, and then blend the inspired version with her own, stretching herself vocally. She demonstrated that kind of thing live at the show, doing off-the-cuff runs of bits of "Shelter" to talk about how they changed the way the word "plate" in the chorus. 

Tenroc also showed off how he used the Little Alterboy plug-in to alter Kelly's voice, turning the rap in "shelter," as well as the "you, you, you, you, you" bit into what sounds like a deep masculine voice, even though those lines were originally laid down by Kelly herself. 

"spruce"

When "spruce" was first being envisioned by Kelly and co-writer Casey Smith, it was a song called "truce" about making up with your loved one before going out on the town. Kelly had been wanting to make a "getting ready, girly song," though, and Bellion came into the studio one day with the idea of merging the two ideas in what became "spruce." 

Written over a loop made by Tenroc, "spruce" — featuring Kim Chaewon of K-Pop group LE SSERAFIM — is emblematic, Kelly said, of her effort to let go, change, and try new things in the studio. The production was inspired by Jai Paul and uses sidechain compression, which is when the level of one instrument or sound triggers a compressor to control the level of another sound. The crowd clearly seemed taken with the sound when Tenroc played examples of how it was used in the track, which he said he made in part with the Serum plugin. Kelly said the result feels fully "3-D," like you're "inside" the track rather than just listening along.

"same girl"

The last — and most personal —song on the record, "same girl," was mostly written by Kelly while she was on a plane. She wanted something that felt like it could close the record, and she recorded it live with Tenroc in her studio, where he also played piano. 

Kelly said the song was inspired by her love of various music styles and genres. She explained, "Coming up as an artist, I always felt a little insecure about trying to stay in one lane and be in one box. I love so many different genres. I'm inspired by so many different things." She continued, "And so finding my sound I always thought that was a bad thing... But I'm grateful for all these different genres I've been able to dabble in. This song was me being overwhelmed by people's opinions and letting it get to me a little bit while thinking of my career as a whole."

Kelly said that while she worried when she was writing that the lyrics would be too personal and too specific, she's had great feedback about the track, something that reminds her that, "Anytime you write about your own experience, someone else out there is going to be able to relate to it." 

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On "Dear Life," R&B singer Genia pens a farewell letter to her lover — while simultaneously reflecting on how the intense saga crumbled her.

"I can't take anymore/ Put my pride aside, thought you could save me," she cries in the first verse. "These days, I don't know what I need/ You destroy me from the inside out/ If I go off the deep end/ You'll be sure not to bring me back."

In this episode of Press Play, watch Genia deliver a stripped-down performance of the vulnerable track alongside her guitarist.

The California native released "Dear Life" on Nov. 10, via Def Jam Recordings. She has also dropped three more singles — "Like That," "Know!," and "Let Me Wander" — leading up to her sophomore mixtape, 4 AM In The Ville, on April 19. 4 AM is a sequel to her debut, 4 PM In The Ville; both projects are inspired by Genia's experience of growing up in Victorville, California.

""[The songs] explore the different stages of grief in a relationship," she revealed in an interview with Urban Magazine. "The second tape is really me touching on falling in love, betrayal, anger, and rape."

Watch the video above to hear Genia's acoustic performance of "Dear Life," and check back to GRAMMY.com for more new episodes of Press Play.

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Coco Jones is feeling more inspired than ever following a year of exciting surprises and breakthroughs. In 2023, the 25-year-old budding star celebrated her first Billboard Hot 100 entry thanks to her platinum-selling "ICU" single, embarked on her first headlining tour, and earned her first GRAMMY nominations.

"Being a GRAMMY-nominated artist changes everything. It's such a different creative mindset when the world says, 'You're good, we like what you do,'" Jones tells GRAMMY.com. "It's like a gold star. It makes you want to work harder, it makes you wanna continue to impress, and it makes you impressed with yourself, too."

Jones is nominated across five categories at the 2024 GRAMMYs: Her 2022 EP What I Didn't Tell You is up for Best R&B Album and its "ICU" will compete for Best R&B Performance and Best R&B Song. Her feature on Babyface's "Simple" has received a nod for Best Traditional R&B Performance. Jones is also up for the coveted golden gramophone for Best New Artist.

In recent years, her vocal prowess has received praise from SZA, Janet Jackson, and Beyoncé, but anyone who's even remotely familiar with Jones' story knows that her newfound success is anything but overnight. Jones first found success at age 14, when she starred in the 2012 Disney movie musical Let It Shine. The Tennessee native faced colorism early on, which she addressed in a 2020 YouTube video that went viral.

"I always wanted that representation that my dreams were possible growing up," she shares. "I definitely was not based in reality of what the entertainment industry is. It's tough and it's challenging and sometimes it isn't fair and that is not what I was prepared for as a kid."

During the pandemic, Jones secured a spot in "Bel-Air" (Peacock's reimagining of "The Fresh Prince of Bel-Air") as the spoiled yet beloved Hilary Banks, but she never let go of her love of  music. Following her 2014 departure from Hollywood Records, Jones released music independently, including the ominous "Hollyweird" and "Depressed"; when Def Jam approached her in the summer of 2021, she was ready for her close-up.

Fast forward to present, and Jones is gearing up for one of the most pivotal nights of her blossoming career. But perhaps the most precious thing she's collected along the way is self-assurance. "I'm learning that I have to believe in my creative choices and that I shouldn't second guess what I feel because it does well," she says with a laugh.

Of her recent success, Jones says the back-to-back accolades shocked her, but like a true artist, she's already thinking ahead and manifesting an exciting first for 2024: "I want my debut album to hit No. 1 on the Billboard 200 chart."

Ahead of the 2024 GRAMMYs, Jones discusses the power of representation for dark-skinned Black women, why her mother is her biggest inspiration, and how joining forces with Babyface created momentum in her career.

This interview has been condensed and edited for clarity.

After finding out that you received five GRAMMY nominations, you posted an Instagram video showing you and your mother reveling in the excitement of it all. Tell me more about that moment and your mother's role in this journey.

I'm one of four children and my mom owned multiple businesses, but she made us all feel loved and supported while also being a boss. Watching her navigate the entertainment industry — which she had no prior experience with — was very inspiring. She took every challenge head-on and still managed to make time with all of her kids. 

She's always been a visionary, so I think for her, it's like, This is exactly what we worked for. The end goal is to be award-winning, to be show-stopping, to be classic, to be timeless. That's what she saw for me even when I was a little girl on stage singing Aretha Franklin.

There were times when it was hard for me to see what she saw in me, especially when you're dealing with the rejection that is the music industry. But she always knows the right thing to say to keep me going and to keep my faith. So, when it wasn't like how it is now, she was the entire team. She did anything she could to help me progress.

You retweeted a meet-and-greet with a fan, who donned your merch from 2018, which seemed to take you by surprise. It seems like your 2023 breakthrough was a win for not just yourself, but for those early supporters as well.

I would definitely say it's a win for my fans and my supporters, but also for young Black women who look like me and have big dreams and just want to see what they are dreaming about is possible. I know that I inspire so many young Black women — they tell me almost every day that seeing me win helps them believe in themselves winning.

My goal is to continue to break those barriers down for young Black women so that it's not such a surprise when we succeed.

In a 2022 interview, you said you wanted to experience the highs of being an entertainer and being on stage "even if it meant a lot of lows." Many creatives feel that way. Do you have any advice for struggling artists who feel like no one's paying attention?

You can make it this thing where you feel like you're running out of time, or you can make it feel like you're adjusting to time. Time is whatever you decide it is.

There were so many obstacles I didn't understand, but hindsight is 20/20. I needed the lessons that I learned, I needed the self-reliance, I needed the optimism and the faith. So, I think it was all very growing but still tough not knowing what was going to happen, not knowing if I was going to have that life-changing job, that life-changing song. 

I'm just grateful to God for protecting me through all the confusion and for not giving up. I had enough support around me and enough doors to open even though they felt far and few between to keep me sustained and pursuing this dream, even though I was pursuing it without any guarantees.

What I Didn't Tell You isn't the first EP you released, but it's the one that made you a first-time GRAMMY nominee. What was different this time around?

I was very supported; when Def Jam approached me, they seemed so understanding of my vision that I couldn't help but feel like we were already a team. They helped me put the pieces together. Before this, I was just on my own or it was me and my mom, so I felt more supported with this EP release. My label understands me and what I want to be, and there's no pushback against who I am and what I can naturally do. It's all about enhancing. 

As part of R&B's new class, what do you want to bring to the genre?

More uptempo! I want to be able to sing my heart out but make a bop that you wanna dance to. I love how Whitney Houston would do that with some of her songs like "I'm Your Baby Tonight" and "How Will I Know."

Your breakthrough single, "ICU," is up for Best R&B Song, but what lesser-known song off What I Didn't Tell You (Deluxe) would you nominate in the same category if you could?

"Fallin'" because it's a sensual song, and I feel like it sits in a really cool, pretty place in my voice. It also tells a good story of the chaos that my life is while also starting to fall for somebody.

In 2022, you joined forces with R&B legend Babyface for his collaborative Girls Night Out project. Your "Simple" duet with him is nominated for Best Traditional R&B Performance. Do you think collaborating with Babyface acted as a precursor for the incredible year you had?

When I learned Babyface wanted me on his album, I was beside myself. He was really one of the first legends to give me that stamp of approval. I definitely think the recognition I got from him was like a turning point in what was next for my life. The world started to notice around that time. 

When I interviewed Babyface soon after the release of Girls Night Out, he talked about doing his homework to better understand the differences in today's R&B. That was surprising to hear, because he's clearly an expert at writing hit songs but not above learning from others. What did you learn from his mentorship?

I just learned that you can be a legend and you can still be open to ideas, open to new talents, and open to suggestions. Just stay open to what’s new, who's new, and why they're doing well, and that's what will keep you legendary. 

I'm a big fan of studying music, so I will continue to be a student. Creating music and studying music are two different things to me. I study it and then I feel creative, so I think it's about separating them because sometimes if you're creating while studying, you just end up repeating exactly what somebody's doing and that doesn't feel authentic. It's more about getting inspired and then creating.

My love for music and being a creative is what keeps me going because it's not always fun, it's not always easy. Sometimes it's about business, sometimes it's about pushing past your exhaustion. I don't think I would do that, not for this long, if I didn't love the payoff of being a creative. 

How will you celebrate if you win a GRAMMY?

I haven't thought about how I'm gonna celebrate. I think my favorite type of celebrations are intimate. They're with people who are in the mud with me — my family, my team. I would probably just want to have a great dinner and think about how far we've come and what's next.

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