popwreckoning updates

Posted: 09 Feb 2009 02:45 PM CST

New York City’s The Dig are leaving the Big Apple for the City of Brotherly Love to play at The Khyber on February 26th. Before hitting Philly, the fellas will be touring up and down the East Coast, starting in Washington DC on February 16th and culminating in Athens, Georgia on March 16th.

The Dig has built a steady following through consistent touring since their 2007 acclaimed debut EP, Good Luck and Games, two month-long residencies at Piano’s in NYC, and multiple performances on Fox’s “Fearless Music”.

To get a taste of The Dig for yourself before they hit your city, you can download the band’s new demo (tracklist below) from their website.

download “She’s Going To Kill That Boy”

Tracklisting:
01. She’s Gonna Kill That Boy
02. Penitentiary
03. He’s A Woman

Tour Dates:
Feb 16 - Black Cat / Washington DC
Feb 17 - Talking Head Club / Baltimore
Feb 18 - Pianos / New York City (FREE show!)
Feb 20 - Radio Bean / Burlington, Vt.
Feb 21 - Iron Horse / Northampton, Ma.
Feb 22 - T.T. The Bears / Cambridge, Ma.
Feb 24 - Club Hell / Providence
Feb 26 - The Khyber / Philadelphia
Feb 28 - Thunderbird Cafe / Pittsburgh
Mar 03 - Double Door / Chicago
Mar 05 - Phoenix Hill / Louisville
Mar 06 - Sam's Saloon / Indianapolis
Mar 07 - Rumba Cafe / Columbus
Mar 11 - Preservation Pub / Knoxville
Mar 12 - The Garage / Asheville, NC
Mar 13 - Elliot's Review / Winston-Salem
Mar 14 - The Mansion / Chapel Hill
Mar 16 - Go Bar / Athens, Ga.

The Dig: website | myspace

Photo: Bernard Dechant

December 2, 2008 — The Modern Society in Philadelphia (3)
January 29, 2009 — Black Keys’ Dan Auerbach plans solo record/tour (0)
January 6, 2009 — Antony & the Johnsons Presale, Tour Dates (0)
December 4, 2008 — Free Everything, Now! EP, Tour Dates (0)
November 28, 2008 — Kevin Devine ‘I Could Be With Anyone’ EP (5)
October 27, 2008 — Circles - Weighs A Ton (0)
September 6, 2008 — Valencia ‘We All Need A Reason To Believe’ CD Release Show (1)
August 27, 2008 — Static of the Gods National Tour (0)
July 29, 2008 — Punk Rock Payroll News (0)
July 25, 2008 — Pattern Is Movement, The Ting Tings @ Johnny Brenda’s, Philadelphia (0)

Blink-182 Is Back

Posted: 09 Feb 2009 01:45 PM CST

If you haven’t heard: Blink-182 is back in business. The guys (Mark Hoppus, Tom DeLonge and Travis Barker) reunited for the Grammys, but the official statement is that they are reuniting for a lot more:

Hi. We’re blink-182. This past week there've been a lot of questions about the current status of the band, and we wanted you to hear it straight from us. To put it simply, We’re back. We mean, really back. Picking up where we left off and then some. In the studio writing and recording a new album. Preparing to tour the world yet again. Friendships reformed. 17 years deep in our legacy.

Summer 2009.

Thanks and get ready…

Not really sure what this means for the future of Angels and Airwaves, but hey! More Blink!

So far 2009 is a big year for the reunions. Josh has already been to Ultimate Fakebook and Get Up Kids reunions shows and No Doubt shows are upcoming. Blink-182 just announced a reunion, and Absolute Punk is also suggesting Matchbook Romance will reunite. Want to place bets on any more reunions?

Blink-182: website | myspace

February 9, 2009 — Getting Down with the Grammys (0)
December 31, 2008 — Most Anticipated Albums of 2009 (1)
December 31, 2008 — Top Concerts of 2008 (1)
December 25, 2008 — Under Cover: Christmas Edition (6)
November 17, 2008 — Get Up Kids Reunion Show - Record Bar, Kansas City (5)
November 12, 2008 — Under Cover - Fleetwood Mac “Dreams” (1)
October 22, 2008 — Dear in the Headlights, Motion City Soundtrack @ Liberty Hall, Lawrence KS (0)
October 4, 2008 — The Last Reggie & The Full Effect Show EVER (0)
September 25, 2008 — Interview with: Kyle Dee of the Frantic (0)
September 8, 2008 — Matt Pryor @ the Trocadero Balcony, Philadelphia (0)

Interview with: Cary Brothers

Posted: 09 Feb 2009 11:45 AM CST

The man behind “Blue Eyes”, the surprise dance hit “Ride” and the Hotel Cafe Tour, Cary Brothers, has been hard at work on his new album. Bethany recently had a chance to catch up with him and ask him a few questions:

Bethany, PopWreckoning: Let's talk about your new album. You've been in the studio working on a follow-up this past December. Is it all done or do you have some work to do on songs?
Cary Brothers: I have one last song that I can't quite finish. I have like ten, eleven songs done now and one that…Well, there's always has to be one song that's got to be a bitch to get done right and this is the one. And actually, I think part of it, too, is that I don't want to finish. I don't want to get out of the studio and it allows me to keep the process going a little bit. But I think I'm a couple days away and then I'll be completely done.

PW: Do you have any guests on this album or is it all you?
CB: This album is pretty, I think it is pretty much just all me. It was a very Pink Floyd for this last one and the people I'm working with. We would just kind of go in and start messing around on the songs. I wasn't even planning on it going on this record earlier this year. It was basically just two of us and we kept going, going and going and we would bring in six people like horn and violin players but for the most part it was just two of us in a room doing everything. So no special guests, but we're still not completely done. We could still entice some people to come in and do something, I guess and add to a bar here or there.

PW: What then should people expect from this record? Is there an overall theme on it?
CB: I think this is maybe a more up record. Most of stuff, most of it is has the same singer-songwriter stamp. I'm a singer, I'm a songwriter and I think there's a certain type of brand that comes with that label that I've never really felt comfortable with. If anything this is the record that pushed me away from that for good. There's a much more band sounding aspect on the record. So there's a little more of a rock edge, I think.

PW: Is there a song in particular that you're really excited for people to start hearing? I know you have a few shows in March where you're going to start previewing a few songs.
CB: I mean at this point, I'm just excited to play any new music. I've been on the road and working my EPs and the last album for the last few years and I got a little tired. So I'm just excited to do anything new.
There's one song called "Ghost Town" that is kind of like my baby song for this record that I feel really, really good about. I'm just excited about the ability to get out and play and do some new material live for the first time. I'm so excited for the shows in March.

PW: Is there going to be a more fleshed out tour later, too?
CB: Yeah. We're just finishing the record and then going to mix it in like three weeks. We should have it totally mixed by March just in time for the shows. So we'll get it done and play the shows and figure out a release date. We'll start planning a tour around that later this year. Hopefully, I'll be on the road by the mid to late summer.

PW: You have a rough idea for when the record would come out?
CB: Right now, I have no idea. I just want with this record—I just want to take my time. I don't want to announce a release date. I just want to let it happen organically. I want to let that happen with the release and it takes time to get the word out and plan for it to get out in the world.

PW: In addition to working on the record, you started doing a video blog. One of the things you did was to cover a Ryan Adams song. Why did you choose that song and what do you think of Adams' announcement that his current tour with the Cardinals would be his last?
CB: I don't really believe anything any rock star would say like that. I feel like, like how many times has Jay-Z retired? I'll believe it when I see it. So even if Ryan Adams retired, he'd probably still release like another seven records in the next three years of unreleased material.
As for the cover, I just think he's a brilliant songwriter. I have versions of him and he's never really left my iPod with "Come Pick Me Up". I really wanted to save that version of that song because I really loved it so much.

PW: Speaking of other versions of songs, "Ride" kind of got you popularized as a dance floor sensation.
CB: Yes. That was weird. Haha.
PW: Do you find that you have this new fan base that is completely surprised by what the rest of your music sounds like?
CB: Yeah, this whole Tiesto thing was weird. I'm not really familiar with dance culture, you know? It's not really my forte so much. I definitely spent some time in clubs when I was younger, but he kind of came out of nowhere and asked to do this remix.
I didn't really know who he was at the time. I Googled him and the first thing I see is a picture of him in front of like 500,000 people at Carnival in Brazil. I was like, "Oh yeah, it would be great if you remixed my song." He did it and it has been amazing. I love what he did with the music and it opened me to a whole different world and a literally different part of the world.
Most of the stuff I have done has been in the States and it crossed over to a little bit of Europe, but dance culture is so massive over there. I didn't realize the impact that something like that would have. It is almost like, well, in Europe they don't really care about rap. I almost feel like rap here is what dance music is over there. It's a culture of music that kind of is a driving force especially for kids at night. That song, you remix a song, it doesn't stray too far from the original. At the same time it is really incredible at getting messages out with things like MySpace for kids who got into the music through that song and went back and went after my record. So, just because they listen to dance music at night, doesn't mean they don't listen to other stuff during the day. It has been, that was, a real blessing. It was right when I decided to take a little time off from the road and start writing again. It was a nice way to keep things going.

PW: Are there any other remixes that you think you'd like to do or let people do in the future?
CB: I'm down for anybody to remix anything on this record after that experience. It is so much fun. It's basically opposite of what I do, so I love somebody taking the tracks off and experimenting to see what they can come up with. I've been talking to a lot more DJs and producers in that world about doing maybe a remix record after this record comes out—of the new stuff. Tiesto and I are actually working on an original song for his next record now, which is fun because it is nice to be finding a middle ground between what he does and what I do. Hopefully, he'll come up with a pretty cool song.
PW: That is exciting. Are you learning some tips? Would you try remixing a song yourself or leave that to others?
CB: Yeah, I can barely press record. Haha. I'm a writer. I go through and buy little plug-ins for Pro Tools and try to make beats. I'm just not very good at it. I know what I like, but I will leave that stuff to the experts.

PW: One of the things that I've been impressed with is the work that you've done with your own label. How important do you think it is to have your own control over your records and what is being put out? What advice would you have for an upcoming band trying to make it in this industry?
CB: It really depends on what you do. The kind of music that I make is…I think with this record there is a little more pop to it. If you're making more of indie style kind of music on the well off-beaten path, I think the independent distribution and creating your own label is really the way to go now.
If you're Britney Spears, obviously you can't do it independently and good for Britney and whoever is releasing those records with the success that they have. I feel like huge labels know how to do one thing really well right now. They know how to find a single and they know how to sell the shit out of it. A lot of my decisions came from when I first started watching friends and people that I admire and watched their sudden demise. Now two, three years later, those guys are bartenders. Their careers are over and the emotions of that when a career with so much promise falls apart like that.
I've just seen people get put through that grinder and I just knew that I didn't want to be a part of that. So, I have a more of a slow and steady wins the race opinion of putting music out there. I'm not in to being a huge music star. I just want to continue writing music and paying rent. I like having authority and I always want to be more part of the decision making process than I think most artists are these days. There's so many opportunities these days to be independent and sell records that you're making ten times the amount of money you would on a major label. If you're making a quarter of a million records then you're making ten times as much as the people that are selling or lower level bands that are doing pretty well.
And you have control. I love all these little niche audiences that are forming, especially around the internet. You find your audience and you communicate with them. You use MySpace, you use Facebook and you use touring to keep in touch with the audience and they'll keep coming back. That's what I found. That's how I got into this. I was doing it out of my bedroom and the only communication was the internet. I didn't have any money. All I had was a laptop and an internet connection and that's how I got started.
I really feel like it is the wild west in the music industry now and whomever is willing to do the work gets the gold. To me that's exciting. People talk about the fall, but to me it's just fine, there are more opportunities than before.

PW: With everything that is going on in the music industry and with everything new on the internet with social networking sites, how important are things like television and the movies? Both have played a role in your career, especially with Garden State. How important is it that bands try to get a song in the background of a TV show or something?
CB: When I was a kid, I found so much music that I love through soundtracks and movies and old John Hughes movies. That's what I loved as a kid, so it was a no-brainer for me that was what I wanted for me. I'm a huge movie freak. I'm a massive movie nerd, so getting a song in a movie for me is as important as getting a record out.
To me, TV and even film is kind of like the new radio for indie bands especially now that out in LA Indie 103.1 has kind of collapsed. It was the only place that really played my kind of music in town and that closed up shop just a few weeks ago. So it has hit me more than ever that really the only way to get music out and into people's ears is through using the TV and film world.
I love it to because the people in charge, music supervisors, who run those shows, they have pretty good taste and a lot of those people are former college radio DJs and they want to find something new. They want to find something that excites them and they don't want to use the same old songs that everybody else is using. They'll take a chance on an artist and give people breaks that they never would have gotten through a label or been able to get to that many people that quickly.

PW: To wrap up, since you are a big movie buff and that's one of your passions: with the Oscars around the corner, do you have any thoughts about best picture? What do you think of the nominations?
CB: I hope Heath [Ledger] pulls one down. I thought he was pretty amazing in that movie. Otherwise, I am a big Slumdog [Millionaire] fan. I think Danny Boyle is one of the best directors on Earth. He has done a mass body of work and if anything he should be rewarded for what he's done. I saw kind of everything this year, but the movie that excited me the most was Slumdog Millionaire.
PW: So not something like [The Curious Case of] Benjamin Button, which led the pack with 13 nominations?
CB: It could also lose 13 awards. I thought it was good, but I thought Benjamin Button was basically a really dark rewrite of Forrest Gump.
PW: I would agree with that.
CB: Yeah, I kind of felt like I had seen it before.

Cary Brothers: website | myspace

Who You Are
Price: USD 11.99
50 used & new available from USD 3.89

Photos by: Laura Crosta

February 6, 2009 — Interview with: Joshua Radin (0)
February 2, 2009 — Interview with: Amie Miriello (2)
January 6, 2009 — MTV & Gallic Wars: Luis Vuitton & Prada Mixtape - Free Download (0)
December 15, 2008 — Interview With: Jessie Baylin (0)
December 1, 2008 — Interview with: Brendan Walter of Valencia (1)
November 20, 2008 — Interview with: Paul DiGiovanni of Boys Like Girls (1)
November 15, 2008 — Interview with: Josh Ocean of TV/TV (0)
November 1, 2008 — Ray Lamontagne - Gossip in the Grain (1)
October 26, 2008 — Interview with Will Noon, Straylight Run, pt. II (1)
October 25, 2008 — Interview with: Will Noon, Straylight Run, pt. I (1)

New Felice Brothers Record “Yonder Is The Clock”, 2009 Tour Dates

Posted: 09 Feb 2009 10:15 AM CST

Team Love Records is proud to announce the release of The Felice Brothers‘ latest full-length, Yonder Is The Clock, due out April 7th. Yonder Is The Clock follows up the fellas’ critically acclaimed self-titled record released in 2008.

Titled with a phrase drawn from the pages of Mark Twain, Yonder Is The Clock is a nod to all of the American ghosts that lend their narrative and characters to the forthcoming release. The Felice Brothers studio was built from the remains of an abandoned chicken coop and it was there over the summer and fall of 2008 that they wrote and recorded this new collection of songs. The record is teaming with tales of love, death, betrayal, baseball, train stations, phantoms, pandemics, jail cells, rolling rivers and frozen winter nights.

In February The Felice Brothers hit the road for a nine-date run with Old Crow Medicine Show, and continue on with headlining dates throughout the spring. Highlights include a record release party at the Bardavan Opera House in Poughkeepsie, NY on April 7th, and a swing through Austin, TX for SXSW 2009.

Tracklisting:
01. The Big Surprise
02. Penn Station
03. Buried In Ice
04. Chicken Wire
05. Ambulance Man
06. Sailor Song
07. Katie Dear
08. Run Chicken Run
09. All When We Were Young
10. Boy from Lawrence County
11. Memphis Flu
12. Cooperstown
13. Rise and Shine

Tour Dates:
Feb 06 - The Millenium Center / Winston-Salem *
Feb 07 - Tivoli Theatre / Chattanooga *
Feb 08 - North Charleston Performing Arts Center / North Charleston *
Feb 10 - The Venue / Gainesville *
Feb 11 - Tampa Theatre / Tampa *
Feb 13 - House of Blues / New Orleans *
Feb 14 - The Lyric Theatre / Oxford, Ms. *
Feb 15 - Minglewood / Memphis *
Mar 13 - Water Street Music Hall / Rochester
Mar 14 - The Mohawk / Buffalo
Mar 15 - Stuart’s Opera House / Nelsonville, OH
Mar 16 - Radio Radio / Indianapolis
Apr 07 - The Bardavan Opera House / Poughkeepsie
Apr 09 - The Paradise / Boston
Apr 10 - Valentines / Albany
Apr 11 - Higher Ground / Burlington
Apr 15 - Birchmere Bandstand / Alexandria, Va.
Apr 16 - The Trocadero Theatre / Philadelphia
Apr 17 - Webster Hall / New York City
Apr 18 - Pearl Street Nightclub / Northampton, Ma.
Apr 19 - New Legacy Concert Series at Ringwood Public Library / Ringwood, NJ
Apr 22 - Mr. Smalls / Pittsburgh
Apr 24 - Headliner’s / Louisville
Apr 25 - The Mercy Lounge / Nashville
Jul 17 - Master Musicians Festival / Somerset, Ky.
Jul 25 - Floydfest / Floyd, Va.

* w/ Old Crow Medicine Show

The Felice Brothers: website | myspace | @ first unitarian church chapel | @ first unitarian church
Team Love: website

The Felice Brothers
Price: USD 12.99
42 used & new available from USD 8.48

July 16, 2008 — Jenny Lewis Sophomore Album, Tour Dates (0)
June 24, 2008 — Nik Freitas - The Barbary, Philadelphia (0)
May 27, 2008 — The Felice Brothers Play Summer’s Biggest Festivals (0)
February 9, 2009 — The Dig @ The Khyber, February 26th (0)
February 6, 2009 — Harlem Shakes to tour with Tokyo Police Club, “Technicolor Health” out March 24th (0)
February 5, 2009 — Ray LaMontagne 2009 Tour Dates (0)
February 5, 2009 — YACHT March Tour, New Album “See Mystery Lights” (0)
January 30, 2009 — Minature Tigers to Tour with Ben Folds (0)
January 30, 2009 — Blind Pilot - 3 Rounds and a Sound (1)
January 29, 2009 — Black Keys’ Dan Auerbach plans solo record/tour (0)

Dent May - The Good Feeling of Dent May and His Magnificent Ukulele

Posted: 09 Feb 2009 08:45 AM CST

Why is it that everyone who wants to seem oh-so-idiosyncratic has to play a ukulele now? I know, it's not something you see too much in recorded music, but in the Toronto and Halifax music scenes, you see these guys everywhere. While everyone else can't seem to get enough of these goofballs, for this reviewer, enough is enough already. Enough has been enough for a while now. It's one thing to see these dumb kids writing their goofy songs about nothing and playing them on a ukulele to seem oh-so-quirky to the local hipsters, but it's another when they're making albums and touring with A.C. Newman. The next dude I see with a ukulele who's not People of Canada's Alex Squire, I'm gonna go Juicy Fruit commercial on his and his ukulele's idiosyncratic ass.

Dent May's shtick is basically to take the template of 60s’ French crooner music and make it sound as insipid and goofy as he can by singing about oddball topics like being an alcoholic and lazy college kids who smoke pot. I can see some people finding this all very entertaining and just lapping it up but for the rest of us who still have faith in the vitality of art: not so much.

There's nothing horribly wrong with The Good Feeling of Dent May and His Magnificent Ukulele: the compositions are solid, the lyrics all work alright and the production is actually quite polished with a nice classic cavernous reverb sheen. It's just that it's stupid. The music has seemingly no reason to exist. It wants to be quirky, entertaining and enjoyable, but it's just annoying and boring. When Flight of the Concords cycle through musical genres writing songs that are actually laugh-out-loud funny, it all works beautifully (having a television show to give everything context is even better), but May just does not have any of that going for him.

In a way, I know I'm being a little hard on Dent May but this idiotic-syncratic ukulele stuff can no longer be encouraged. Ukulelers, consider yourselves warned.

The Good Feeling Music of Dent May and His Magnificent Ukulele is available now from Paw Tracks Records.

Tracklisting:
01. Welcome
02. Meet Me In The Garden
03. College Town Boy
04. Oh Paris!
05. Howard
06. Girls On The Square
07. You Can’t Force A Dance Party
08. God Loves You, Michael Chang
09. At The Academic Conference
10. 26 Miles (Santa Catalina)
11. I’m An Alcoholic
12. Love Song 2009

Dent May: website | myspace

Good Feeling Music of Dent May
Price: USD 13.98
31 used & new available from USD 6.94

Written by: Marc Z. Grub

February 5, 2009 — Loney, Dear - Dear John (0)
January 29, 2009 — Everything, Now! - Spatially Severed (2)
January 29, 2009 — The Color Wheels - The Color Wheels (0)
January 27, 2009 — I Am The Branch - Drink Tea (1)
January 23, 2009 — O Pioneers! - Neon Creeps (0)
January 16, 2009 — Sweet Water - Clear the Tarmac (4)
January 10, 2009 — Franz Nicolay - Major General (1)
January 9, 2009 — The Love Language - The Love Language (0)
January 6, 2009 — The Cotton Jones Basket Ride - Paranoid Cocoon (2)
December 30, 2008 — Rosie and Me - Swing, Swing Demos (1)

Getting Down with the Grammys

Posted: 09 Feb 2009 06:11 AM CST

This year hosted the 51st annual Grammy Awards. Okay, I know that a lot of people find the Grammys irrelevant, but they are still one of the only American televised award shows to honor music. Now; while I haven’t cared about who wins since forever (okay, well I actually cared last year because I was tight with a guy up for an award. And he won! yay Zach Nipper!). Anyways, I can’t help but to get suckered in and watch every year.

Awards weren’t too shocking. Coldplay won a few (I’m sure Joe Satriani is pleased with the success of “Viva La Vida”), Alison Krauss and Robert Plant won a few, and Adele was our best new artist. Nothing too shocking except that there weren’t really too many rap awards this year and those seemed to dominate the last few years.

So we’ll move right past the awards and on to the performances and the outfits. Perhaps the most fascinating in both of those categories was Coldplay. I think at this point that we’ve all seen their militaristic jackets they’ve been wearing on tour. They basically took those and attacked them with a highlighter. These bright neon colors definitely made the boys stand out, but I feel the verdict is still out if this was a good look or not. It kind of grew on me as the night went on and there were plenty of chances to see it as they repeatedly went up to perform and accept awards.

What I’m sure I did not like was Coldplay’s performance. Chris Martin started off their performance solo at the piano playing “Lost”. This was good. I even didn’t mind Jay Z’s addition to the song. It was kind of cool to have the gentleness of the song offset by the rap. But then it was downhill as the strings heralded the start of “Viva La Vida”. Martin was up and bouncing. Now if there was a Grammy for the “Best Bouncing in a Rock Song”, I’m confident Martin would have won. However, all that bouncing drains a guys energy and doesn’t leave much breath support for the actual singing: “I used to rule the wo–gasp, gasp.” All that wheezing is not very impressive.

Moving on from Coldplay, there were plenty of other questionable performances. Kid Rock–how are you at the Grammys? How are you relevant? I think we can all agree that was questionable.

Disney had their share of representation at the awards. Miley Cyrus performed with Taylor Swift. Hearing the two of them side by side, it is extra apparent that Taylor can sing. Poor Miley had to deal with harmonizing with her perfect voice. The Jonas Brothers had an easier time with the audience and while I found their performance with Stevie Wonder a little cheesy, I still really enjoyed it.

Speaking of cheesy (or should I say fruity?) performances, Katy Perry dropped down in a banana to perform her popular “I Kissed A Girl”. My favorite part of her performance was when she finally gave up mouthing the words and let the pre-recording take over.

The latter half of the show featured some better performances. M.I.A. performed uber-preggers (her due date = Grammy day) with practically every famous male in rap/hip hop. It was hard to determine if her belly or Kanye‘s ego was bigger on that stage. Her performance was broadcast in black and white, resulting in a really cool effect.

Dave Grohl behind the drums was good to see again as he performed with Paul McCartney. He looked so at home. I must admit, that while I love the Beatles, I kind of prefer seeing Grohl back there instead of Ringo. He’s a little easier on the eyes. Soon after the pairing of these rock legends, Radiohead took to the stage with a full marching band, which I’m declaring as a must for all future Radiohead performances. Carrying on the amazing effects of percussionists were these guys on the stairs during T.I. and Justin Timberlake’s performance.

I suppose the biggest union of the night was the reunion of the guys in Blink-182 who assured audiences that they were indeed back. Internet rumors have been cycling around for awhile now, but further confirmation can be found on Blink-182’s Facebook page and new website announced they are working on an album and a tour is in the future. So summer 2009 look out!

2009 Grammy Winners:
Record of the Year - “Please Read The Letter” by Robert Plant & Alison Krauss
Album of the Year - Raising Sand by Robert Plant & Alison Krauss
Song of the Year - “Viva La Vida” by Coldplay
Best New Artist - Adele
Best Female Pop Vocal Performance - “Chasing Pavements” by Adele
Best Male Pop Vocal Performance - “Say” by John Mayer
Best Pop Performance by a Duo or Group with Vocals - “Viva La Vida” by Coldplay
Best Pop Collaboration with Vocals - “Rich Woman” by Robert Plant & Alison Krauss
Best Pop Vocal Album - Rockferry by Duffy
Best Dance Recording - Harder Better Faster Stronger by Daft Punk
Best Rock Performance by a Duo or Group with Vocals - “Sex On Fire” by Kings Of Leon
Best Rock Song - “Girls In Their Summer Clothes” by Bruce Springsteen
Best Rock Album - Viva La Vida Or Death And All His Friends by Coldplay
Best Alternative Music Album - In Rainbows by Radiohead
Best R&B Album - Jennifer Hudson by Jennifer Hudson
Best Rap Album - Tha Carter III by Lil Wayne
Best Short Form Music Video - “Pork And Beans” by Weezer [Mathew Cullen, video director; Bernard Rahill, video producer]