The Timberlakes are ready!!! GO GRIZZ! #GritNGrind #Playoffs #BabyGrizzROAR

A photo posted by Justin Timberlake (@justintimberlake) on Apr 19, 2015 at 5:12pm PDT

A photo posted by Gwen Stefani (@gwenstefani) on Apr 18, 2015 at 6:18pm PDT

Writing for album #2 ya'll #agreatbigalbum

A photo posted by A Great Big World (@agreatbigworld) on Apr 22, 2015 at 11:32am PDT

A video posted by indiaarie (@indiaarie) on Apr 19, 2015 at 3:20pm PDT

Still on a high from last night. Thanks for all the love and kind words. We're so grateful. #GirlCrush #ACMawards50

A photo posted by Little Big Town (@littlebigtown) on Apr 20, 2015 at 10:56am PDT

Letting go doesn’t mean you stop.

— Janet Jackson (@JanetJackson) April 21, 2015

Green Ringo day McCartney my thanks to everyone on the rock 'n roll Hall of Fame peace and love pic.twitter.com/N01c8EwFAe

— Ringo Starr (@ringostarrmusic) April 20, 2015

Celebrating Tim last night on the #TIME100 red carpet. @TIME pic.twitter.com/DQezSVMWmr

— Faith Hill (@FaithHill) April 22, 2015

After an amazing concert at Carnegie Hall, Chick had a great visit with these amazing musicians and artists. #jazz pic.twitter.com/J39olVsRBX

— Chick Corea (@ChickCorea) April 21, 2015

#RecordStoreDay pic.twitter.com/Q6iZ1pwFFy

— Quincy Jones (@QuincyDJones) April 18, 2015

On the first Saturday of Coachella, No Doubt made a striking comeback on the festival's main stage for their first performance together in nine years. 

Originating from Anaheim, California in 1986, the band is celebrated for their eclectic sound that defies easy categorization — from the ska-punk vibrancy of their early days to the polished pop anthems that later defined their career. 

Their big breakthrough album, Tragic Kingdom, was released in 1995 and propelled them to fame with hits like "Don't Speak" and "Just a Girl," which dominated the Billboard charts for 16 weeks. 

Featuring all original members — Gwen Stefani, guitarist Tom Dumont, bassist Tony Kanal, and drummer Adrian Young — No Doubt's Coachella performance was a tribute to their iconic past and a reminder of their beloved eccentricity. 

The standout set was filled with unbeatable stage presence, surprise guests, and showcased the band's timeless appeal nearly four decades into their career. Known for blending introspective brooding with a uniquely sardonic edge, the band has significantly influenced a generation of complex female artistry. Highlights from the performance, including Stefani's magnetic stage presence, heartfelt interactions with fans, and a surprise appearance by Olivia Rodrigo, underscore their palpable appeal and lasting influence on contemporary music. 

Read on to discover five key highlights from their hotly anticipated return at Coachella during their 'Weekend 1' set:

Gen Z And OG Fans United As One

As fans converged on Coachella's main stage for No Doubt's set, the diversity of the audience was immediately apparent. Younger fans, clad in social media-ready outfits inspired by Gwen Stefani’s iconic style (some even recreating her most iconic looks) braved the evening's brisk winds. 

Despite challenges, the alleged bad modern concert etiquette was not apparent, especially after Stefani's call for a return to old-school concert vibes before performing a “Simple Kind of Life.” 

“Let’s do this old school!” Stefani said as she confessed missing the days when fans would belt out all the lyrics at the top of their lungs without much care in the world. It was a sentiment that quickly resonated through the audience and a moment that not only bridged generational divides but also highlighted No Doubt's broad and enduring appeal. 

The Night Was Full Of Nostalgia

Outside of the fact that frontwoman Stefani is allergic to aging, for a group returning after nine years performing together, No Doubt’s stage presence was just as powerful as their past, dynamic performances.  

“There’s no f—king comparison!” Gwen Stefani roared during “Underneath it All,” capturing the intensity of the moment as she dropped to her knees, rhinestones sparkling on her eyebrows and a smile breaking through. 

Read more: GRAMMY Rewind: Watch No Doubt Accept Their GRAMMY Award For “Underneath It All” In 2004

The band's passion burned just as brightly when they were playing local college gigs in Orange County. There was no sign of awkwardness or a single misstep as Stefani showcased the same brilliance of her early days as a burgeoning musician.

She shared the spotlight seamlessly. As Dumont delivered a guitar solo during “Different People,” Stefani playfully skipped and ran across the expansive stage, never missing a note. 

No Doubt has always transcended nostalgia, yet they embraced their history at Coachella. Stefani dressed to the nines in a plaid, avant-garde outfit while background videos played personal and rehearsal footage from the '90s, evoking a simpler time for the group. Stefani appeared barefaced in a plain white tee, bouncing around a beat up truck in a video that explained the band's origins and showed the magnetic charisma that manifested a star turned supernova.

Olivia Rodrigo Made A Surprise Appearance

Right before Stefani took a brief water break, she flashed a mysterious smirk to the crowd. 

As the introspective track “Bathwater” thrummed to life, a brunette donning a glittering “I [love] ND” tank top emerged, her face turned from the audience. The murmurs quickly escalated into screams, particularly from the younger fans, signaling the arrival of pop starlet Olivia Rodrigo. Matching Stefani in energy and presence, Rodrigo proved a formidable presence on stage, trading verses and singing in duet through the chorus, their performance culminating in a sweet embrace. 

No Doubt’s influence on Rodrigo's music is palpable. After all, tracks like Rodrigo’s “Get Him Back!” and No Doubt’s “Bathwater” are cut from the same mascara-stained cloth — each with a poetic, vengeful twist. They were just girls! Living in captivity! The revenge? Being able to put into song the diabolical conditions of womanhood, while allowing themselves to truly feel — whether it be anger, delusion, or plain pettiness. 

The Band Members Have A Bond

No Doubt’s historic return to the stage elevated the entirety of the Coachella-going experience, setting a standard and outshining the majority of the other acts. Throughout their performance, the admiration they had for one another became increasingly evident. 

From Stefani frequently calling out “Tony! Tony!” to (Tony) Kanal during the set’s adlibs to the end of their set when the group remained locked in a hug for several moments, the group was clearly overjoyed to be back together again. Before exiting the stage, Stefani leaped onto the back of Young while she excitedly kicked her feet, as though in protest of having to leave. 

A Coachella backstage supervisor working onsite during their rehearsals candidly confessed that he was taken by the band's natural chemistry. During soundcheck, he stated they were so intrinsically confident and overjoyed about their performance it seemed as though they had never stopped performing with one another. 

They Showed Deep Gratitude For Their Fans

There was nothing but gratitude on display from each and every member during the festival set. After almost every other song Stefani would belt an “I love you!” to the crowd. 

During an experimental instrumental-only tribute to ska-pop, Kanal ran across the stage with a huge smile, at-the-ready to riff back-to-back with members of the group. 

“Indio, put your f—king hands up!” Stefani commanded the crowd as they gleefully complied. Then, as smoke filled the air under the brilliantly shining crescent moon, she celebrated the group coming together for the first time in nine years. 

“Isn’t this so crazy?” Stefani yelped during her performance for “It’s My Life.” “This is our life! Singing I love you!” 

It was an epic return for No Doubt as a band and Stefani as their fierce leader, showing up to Coachella naturally, just a girl. A girl who loves to sing, rile up the audience in a fierce sing-along, and remind everyone that self-acceptance is all their music has ever been about. 

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Right before their hiatus in 2004, No Doubt had one last hurrah with a win for Best Pop Performance By A Pop Duo Or Group With Vocals for "Underneath It All" at the 46th Annual GRAMMY Awards.

In this episode of GRAMMY Rewind, travel back to when they took the stage to accept their award presented by Mathew Perry together.

Drummer Adrian Young began by praising their families, loved ones, and the citizens of Drapers, Jamaica, for "showing us how to have a good time and relax while recording music" Then, bassist Tony Kanal took a turn at the microphone thanking their team, management company, and label, Interscope Records.

Frontwoman Gwen Stefani closed out the speech by acknowledging "Underneath It All" co-writer, David Stewart of Eurythmics; her then-husband, Gavin Rossdale, who inspired the track; and, of course, the fans for "letting us stay alive as a band for all these years."

This Saturday, No Doubt will reunite again (they took a second hiatus in 2015) for a premiere performance on the Coachella stage. 

Press play on the video above to watch No Doubt's complete acceptance speech for their "Underneath It All" win in 2004, and check back to GRAMMY.com for more new episodes of GRAMMY Rewind.

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When Beyoncé announced her upcoming album, Cowboy Carter, with the drop of two distinctly country tracks, she broke both genre and barriers. Not only did Queen Bey continue to prove she can do just about anything, but she joined a long tradition of country music crossover albums.

Country music is, like all genres, a construct, designed by marketing companies around the advent of widely-disseminated recorded music, to sell albums. But in the roughly 100 intervening years, genre has dictated much about the who and how of music making.

In the racially segregated America of the 1920s, music was no exception. Marketing companies began to distinguish between "race records" (blues, R&B, and gospel) intended for Black audiences and hillbilly music (country and Western), sold to white listeners. The decision still echoes through music genre stereotypes today.

But Black people have always been a part of country music, a message that's gained recognition in recent years — in part because of advocacy work by those like Rhiannon Giddens, who plays banjo and viola on "Texas Hold 'Em," one of two singles Beyoncé released in advance of Cowboy Carter.

And since rigid genre rules' inception, many artists from Lil Nas X to Bruce Springsteen have periodically dabbled in or even crossed over to country music.

In honor of Beyoncé's foray, here are eight times musicians from other genres tried out country music.

Ray Charles — Modern Sounds in Country and Western Music (1962)

In 1962, the soul music pioneer crossed the genre divide to cut a swingin' two-volume, 14-track revue of country and western music.

Part history lesson and part demonstration of Charles' unparalleled musicianship, Modern Sounds in Country and Western Music covers country songs by major country artists of the era, including Hank Williams, Don Gibson, and Eddy Arnold. An instant success, the record topped album sales charts and was Charles' first atop the Billboard Hot 200 charts.

Ringo Starr — Beaucoups of Blues (1970)

The Beatles' drummer loves country music. Ringo Starr cut this album, which sounds like something you'd two-step the night away to at a honky tonk, as his second solo project. He was inspired by pedal steel guitar player and producer Pete Drake, who worked on George Harrison's All Things Must Pass.

With Drake's help, Starr draws out a classic honky tonk sound — pedal steel, country fiddle, and bar room piano — to round out the album.

Beaucoups includes a textbook country heartbreak song, "Fastest Growing Heartache in the West," a bluesy ramblin' man ballad, "$15 Draw," and a surprisingly sweet love song to a sex worker, "Woman Of The Night."

The Pointer Sisters — Fairytale (1974)

Remembered for their R&B hits like "I'm So Excited" and "Jump (For My Love)", the Pointer Sisters dropped "Fairytale," a classic country heartbreak song into the middle of their second studio album, That's A Plenty.

Full of honky tonk pedal steel and fiddle, the track earned the band a GRAMMY award for Country and Western Vocal Performance Group or Duo in 1975, beating out Willie Nelson, Kris Kristofferson, Bobby Bare, and the Statler Brothers; they were the first, and to date, only Black women to receive the award.

The same year the song came out, the Pointer Sisters also became the first Black group to play the Grand Ole Opry, arriving to find a group of protesters holding signs with messages like 'Keep country, country!'

Tina Turner — Tina Turns the Country On! (1974)

Also in 1974, Tina Turner cut her first solo album, Tina Turns the Country On!, while she was still performing with then-husband Ike Turner as the Ike & Tina Turner Revue.

Containing the seeds of the powerful, riveting voice she'd fully let loose in her long solo career after separating from her abusive husband, the album presents a stripped down, mellow Turner.

She covers songs like Kris Kristofferson's "Help Me Make It Through The Night" and Bob Dylan's "Tonight I'll Be Staying Here With You," and delivers a soaring rendition of Dolly Parton's "There Will Always Be Music."

Turner was nominated for a GRAMMY award for the album, but in Best R&B Vocal Performance, Female, category.

The Beastie Boys — Country Mike's Greatest Hits (1999)

This Beastie Boys cut only a few hundred copies (most reports say 300) of this spoof country album — reputedly conceived of as a Christmas present for friends and family, and never officially released.

Presenting the supposed greatest hits of a slightly dodgy, enigmatic character – Country Mike, who shares a name with band member "Mike D" Diamond — the album sounds like vintage steel guitar country. Think Hank Williams and Jimmy Rodgers with a dash of musical oddballs Louden Wainwright III and David Allen Coe's humor and funk.

Country Mike appears just briefly in the liner notes of the band's anthology album, The Sounds of Silence, (which also includes two of the album's tracks: "Railroad Blues" and "Country Mike's Theme"), as part of an alternate universe wherein Mike temporarily lost his memory when he was hit on the head.

"The psychologists told us that if we didn't play along with Mike's fantasy, he could be in grave danger," the notes read. "This song ('Railroad Blues') is one of the many that we made during that tragic period of time."

Cyndi Lauper — Detour (2016)

The "Girls Just Want To Have Fun" singer enjoyed herself thoroughly by deviating from her typical style with 2016's Detour.

Road tripping into country music land, Lauper covered country songs of the 1950s and 1960s, including Marty Robbins' "Begging You," Patsy Montana's "I Want to be a Cowboy's Sweetheart" and Dolly Parton's "Hard Candy Christmas" with guest appearances by Willie Nelson, Alison Krauss, Emmylou Harris, and Vince Gill.

Jaret Ray Reddick — Just Woke Up (2022)

It might be hard to imagine the Bowling for Soup frontman, known for teenage pop-punk angst hits like "Girl all the Bad Guys Want" and "Punk Rock 101" crooning country ballads.

But in 2022, under the name Jaret Ray Reddick, he cut his solo debut, Just Woke Up. Drawing inspiration from Reddick's native Texas, the steel guitar and twang driven album features duets with Uncle Cracker, Cody Canada, Frank Turner, and Stephen Egerton.

Self-effacing and personable as ever, Reddick heads off questions about the viability of his country music with the album's first track, "Way More Country," acknowledging the questions listeners might have:

"I sing in a punk rock band/ And I know every word to that Eminem song "Stan"/ And I've got about a hundred and ten tattoos / But I'm way more country than you."

Bing Crosby — "Pistol Packin' Mama" (Single, 1943)

Legendary crooner of classic Christmas Carols and American standards, Bing Crosby decided to try his hand at country music with his cover of Al Dexter's "Pistol Packin' Mama," the first country song to appear on Billboard's charts.

The song, which tells the story of a man begging his woman not to shoot him when she discovers him out on the town fooling around, has since also been covered by Willie Nelson, Hoyt Axton, and John Prine.

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When Justin Timberlake played his new material for close friends, they had one resounding reaction: "This sounds like everything we know you for, everything we thought we wanted from you."

Those words inspired the title of Timberlake's first album in six years, Everything I Thought It Was, which arrived March 15. The Memphis-born singer has described the release as "incredibly honest" but also as having "a lot of f—ng fun" — a statement that encapsulates how his music has evolved in the past three decades.

Since his beginnings as a child entertainer on shows like Star Search and Disney's Mickey Mouse Club, and later as a member of best-selling boy band *NSYNC, Timberlake proved that he belonged on the stage. His charisma and passion made him stand out effortlessly, and those experiences foreshadowed his star power and the brilliant solo career he was poised to have. 

When *NSYNC announced their hiatus in April 2002, it took Timberlake just six months to release Justified, his debut LP. For the first time in a decade, he was introducing himself as an artist with full agency over his work, and showing exactly the kind of music he wanted to create. 

"I felt like I had so much to prove to myself because I was coming from such a humongous group and a humongous movement of pop music," he reflected in a 2023 YouTube interview for Beatclub. "There was a real sound around what people were considering pop music before I went solo ... I knew I wanted to make a different type of album."

Justified promptly shifted Timberlake's good-boy image into a grown-up stunner. Through R&B, hip-hop and funk beats, he wears his heart on his sleeve; there's lust in lead single "Like I Love You," pain in "Cry Me A River," joy in "Rock Your Body." It resonated with the public — the album peaked at No.2 on the Billboard 200 and spawned two top five singles, proving that Timberlake was more than ready to shine on his own. In addition, the album won him his first GRAMMYs in 2004 for Best Pop Vocal Album and Best Male Pop Vocal Performance for "Cry Me A River"; he had been nominated nine times with *NSYNC, and once for "Like I Love You" the year prior.

Largely produced by the Neptunes and Timbaland, Justified also marked the beginning of a vital partnership for the singer. Timbaland was essential in shaping Timberlake's musical DNA, and helped produce a majority of his discography — including credits on two tracks of EITIW. "We share the same perspective that we always want to make something that reminds us of music that we love, but at the same time is something we've never heard before," Timberlake told GRAMMY.com in 2014.

Following Justified, Timberlake ventured into acting — another one of his burgeoning skills — landing roles in films like 2006's Alpha Dog and Black Snake Moan. However, 2006 was best known as the year Timberlake brought sexy back with his sophomore album, FutureSex/LoveSounds.

Considered by many as peak JT, FS/LS shot his popularity into the stratosphere and solidified him as a superstar in his own right. An avant-garde pop masterpiece, its 12 tracks weave R&B and electronic music, sprinkling in guitar solos and interludes, Timberlake's flawless falsetto and distorted synths. Its experimentalism laid the groundwork for what became known as Timberlake's signature sound, and what he would explore in the future — including on Everything I Thought It Was singles "Selfish" and "Drown." The album also marked Timberlake's first solo No.1 on the Billboard 200, and produced three No.1 singles on the Billboard Hot 100 in a row.

According to Timberlake, those three singles — "SexyBack," "My Love," and "What Goes Around…Comes Around" — "started a sound that I feel like it went on for, humbly speaking, a whole decade." FutureSex/LoveSounds earned Timberlake four more GRAMMYs: Best Dance Recording for "SexyBack" and Best Rap/Sung Collaboration for "My Love" in 2007, and Best Male Pop Vocal Performance for "What Goes Around…Comes Around" and Best Dance Recording for "LoveStoned/I Think She Knows" in 2008.

Following FS/LS, Timberlake started a six-year release pattern that he has continued through Everything I Thought It Was. During those down periods, he still managed to maintain his star prowess by landing successful acting spots and producing songs for artists such as Rihanna and Madonna. And the first six-year hiatus was clearly fruitful, as his third LP was a two-part beast: 2013'sThe 20/20 Experience.

Produced by Timbaland and J-Roc, the double album displayed the singer at his most sophisticated yet, and reflected his growth in the decade since Justified came out. The first half's 10 tracks are lofty, lengthy meanderings inspired by neo soul and Timberlake's lasting love of '60s music. 

"When we were making the record I said, 'If Pink Floyd and Led Zeppelin can do 10-minute songs and Queen can do 10-minute songs, then why can't we?' We'll figure out the radio edits later," he told Capital FM at the time, according to NME. The album went straight to No.1 on the Billboard 200, spearheaded by the austere charm of "Suit & Tie," featuring Jay-Z, and the stirring emotions of "Mirrors."

Six months later, Timberlake dropped the second half of his project, The 20/20 Experience – 2 of 2, and the compilation of both albums, The 20/20 Experience – The Complete Experience. Comprising songs with a more accessible structure (though they still averaged 7 minutes), 2 of 2 also debuted at No.1 on the Billboard 200, and "Pusher Love Girl" won Timberlake his first Best R&B Song GRAMMY in 2014. Furthermore, its sounds pushed Timberlake's versatility to new edges, and deeply impacted his future releases.

As he entered his thirties, Timberlake's priorities shifted; he married actress Jessica Biel in 2012, and welcomed his first son, Silas, in 2015. A break from music was only natural, but this time it was also transformational — and reflected in his artistry. In 2016, in the middle of an album hiatus, Timberlake landed one of the biggest and most unexpected hits in his career: "CAN'T STOP THE FEELING!."

The disco-infused single was part of the soundtrack for DreamWorks Animation's Trolls, where Timberlake voiced the character Branch and worked as executive music producer. Attesting his talent for making simple, feel-good hits, "CAN'T STOP" was Timberlake's first No.1 single in almost a decade, and earned him a GRAMMY for Best Song Written For Visual Media and an Academy Award nomination for Best Original Song. It is also his biggest streaming song to date, with over 1 billion listens on both Spotify and YouTube.

Trolls brought Timberlake back into the limelight after years of focusing mostly on his personal life, and consequently created buzz around his upcoming releases. "I wouldn't say [my new material] is the antithesis of 20/20, but it does sound more singular," he teased in an interview with Variety in 2016. "If 20/20 sounded like it literally surrounds your entire head, this stuff feels more like it just punches you between the eyes."**

In 2018, Timberlake dropped his fifth studio album, Man Of The Woods, whose title derives from the meaning of Silas' name. The album itself was largely inspired by Timberlake's family and his Southern roots, and found him back with Timbaland and the Neptunes. The result is a record where Timberlake mixes his brand of funky pop while diving into the country and Americana sounds of his childhood. It's his most vulnerable work so far; in the album closer, "Young Man," for example, Timberlake takes the position of a doting father passing on his teachings, wrapping it up with vocal snippets from Biel and Silas.

Even though Man Of The Woods largely didn't have the same commercial impact as Timberlake's previous works, it still marked his fourth consecutive No. 1 album on the Billboard 200, and the release lined up with a headlining gig at the Super Bowl XXXV halftime show — a testament to his staying power.

In the years prior to Everything I Thought It Was, Timberlake kept busy by collaborating with artists like SZA ("The Other Side" from Trolls World Tour), Calvin Harris ("Stay with Me" with Halsey and Pharrell Williams), and Jack Harlow ("Parent Trap"). He also welcomed second son, Phineas, in 2020, and worked in several movies, including two Trolls sequels.

2023's Trolls Band Together, the latest installment of the franchise, also held a sweet, dreamlike surprise: Timberlake reunited with *NSYNC to release their first song together in 20 years. The heartwarming, funky "Better Place" was a reminder of the quintet's chemistry, and reignited hopes for further collaborations.

Luckily, fans wouldn't need to wait for too long. *NSYNC is among the three featured artists on  Everything I Thought It Was, on a breezy track called "Paradise." (And those who were in attendance at Timberlake's "one night only" show at The Wiltern in Los Angeles on March 13 got to see the group's first performance together in over a decade, when they premiered "Paradise" and sang four *NSYNC classics.)

This isn't the only callback to the past on the album, though. The chill beats and adoring message of lead single "Selfish" bring to mind a refresh of 20/20's "Not A Bad Thing"; second single "Drown" rides on the same wavelength of "Cry Me A River" and "What Goes Around…Comes Around," but tinged with more sadness than spite. Meanwhile, "Sanctified" is the pure ambition of FS/LS transmuted into a soul-opera-rock trip. Throughout the album's other 15 tracks, Timberlake also dabbles on heavy basslines ("No Angels"), disco melodies ("My Favorite Drug"), sweet R&B croons ("Love & War"), and sour, stingy ballads ("Flame").

As Timberlake declared himself on The Graham Norton Show, bits and pieces of all his previous works come together to form an updated version of himself on this album — one that is finally comfortable in being vulnerable, and thankful for everything he's been through. "I'm everything you thought I was/ I'm everything I thought I was/ It was everything I thought it was," he sings in the opening track, "Memphis."

"I'm having this moment in my life looking back on everything that has been, and accepting all of it. The good, the bad, the fast, the slow," he said on The Kelly Clarkson Show. "It's just about arriving at this place right now in my life, as an artist, as a husband, as a father, as a human. And I'm just really excited about what the future holds."

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