.

My Day at the Grammys with Hunter Hayes

Novelist goes behind the scenes and on the red carpet with the young country star

Hunter Hayes performs onstage at the 55th Annual GRAMMY Awards.
Kevork Djansezian/Getty Images
February 15, 2013 9:20 AM ET

Thanks to a new novel I'd written, The Love Song of Jonny Valentine, about an 11-year-old pop star, I was given the opportunity to attend the Grammys last Sunday. The idea was to get a taste of what the momentous, chaotic day is like for a real-life young nominee. And so I packed my bags for Los Angeles, leaving behind, as per CBS's widely circulated memo about sartorial restrictions, my crotchless tuxedo.

The performer in question was Hunter Hayes, the 21-year-old country-music wunderkind who was up for three awards, including Best New Artist, and who also performed live. Hayes, from Breaux Bridge, Louisiana, is a musical prodigy. He began picking up instruments at age two, played onstage with Hank Williams Jr. two years later, and recorded two amateur albums by the time he was 10. He moved to Nashville when he was seventeen and co-wrote a Rascal Flatts song a couple of years after. His eponymous debut, for which he played all thirty-odd instruments (not a typo), wrote or co-wrote every song, and was co-producer, has racked up widespread acclaim, and the single "Wanted" has sold over two million copies. It made him the youngest male solo country artist ever to top Billboard's Hot Country Songs chart.

Hayes' team wanted to ensure that I understood he was no Justin Bieber. He was a real musician who had worked hard not to let a teeny-bopper image subsume him, they pointed out, despite his overlapping demographic appeal with some of Bieber's fan base. I was curious to see how non-manufactured he really was – or if this (relative) absence of packaging was itself the most cynical form of packaging.

Grammy Awards 2013: Celebrating Pop Music's Demented Excess

I arrived at Le Parc Suite Hotel, in West Hollywood, at 10 in the morning to meet Hayes' publicist, three managers and a two-man crew from the entertainment-news program Access Hollywood that would be filming his preparations. Hayes' core team all hails from Nashville and flouts industry-shark stereotypes. Ansel Davis, one of his managers – "I'm a recovering lawyer," he told me, and his shoes, adorned with a skull design, suggested the extent of his rehabilitation – said he discovered Hayes playing in a flatbed truck at a festival in Lafayette, Louisiana.

As we waited outside Hayes' hotel room for him to finish his ablutions, the entourage, Grammy veterans all, good-naturedly lamented the grueling day ahead of them. His gregarious publicist, Tree Paine, predicted she would be on-duty until two in the morning. (She's been coming to the Grammys since 1996 and seemed to be on good terms with every media member in attendance.) "Hundreds of thousands of people would pay anything to be here," Davis said. "But it's work."

"Yet there's an energy to it when you walk in," he continued, carrying in a large coffee for the nominee. Hayes was sitting on the couch in his average-sized room, wearing a blue hooded sweatshirt, jeans and scuffed black leather Converses. A compact five-foot-six, he has the unthreatening, telegenic looks of a primetime teen-soap-opera actor, and bears some resemblance to a mash-up of Chad Michael Murray from One Tree Hill and Neil Patrick Harris (who later presented an award).

His suite betrayed no signs of egomanical accoutrements. A Grammy worker I met later in the day told me of a diva's legendary request for rose petals in her toilet, as evanescent a luxury as I could imagine. The sole indulgence Hayes had permitted himself for his nominations was a Bell & Ross aviation watch – he's working on getting a pilot's license. "It was my biggest splurge," he said. "It took three people to talk me into getting it."

Mumford & Sons React to 'Mind-Fucking' Grammy Win

The Access Hollywood crew lobbed Hayes a few softballs. He required no time to transition into interview mode, staring directly into the camera's bright lights and providing self-effacing, articulate responses that sounded unrehearsed despite the hundreds of times he's likely given them.

"I'm a little nervous," he confessed, about both the event and his abbreviated rendition of "Wanted." "It's a big deal for me." He said he feels anxious on any performance day, when every decision is "calculated" toward that night's set. "I get nervous and stressed and zone out for thirty minutes to an hour" beforehand with a vocal warm-up and guitar strumming, he said. "I can't relax. I disagree with anyone who says they're not nervous."

"There's an energy spike before a show," added the artist, who, in addition to coffee, swigs Pepsi (with whom he has an endorsement deal) and five-hour-energy drinks pre-show. A mini-crisis developed later when a full energy drink was not available and Hayes was able to absorb only 2.5 hours of fuel.

It was time to go. Hayes packed his personalized ear monitor; artists bring their own, since they're molded to their ears. Access Hollywood wanted a wide shot of him leaving the room. "Let's hide the drink cart," he joked, pointing to the unopened liquor bottles on a counter. "The thing I haven't touched that people will think is for me."

The crew filmed a long shot of Hayes walking down the hall, in sunglasses, looking a little more Hollywood. We divided up into two black Lincoln Navigators – what appeared to be the official talent car of the Grammys – and, after much jockeying, I sat next to him in the backseat as the cameraman shot him from the middle row. He was asked, inevitably, about the existence of a girlfriend. He deflected it like a pro.

"I've always believed when the right person comes, you make compromises," he said. "But I'm scared of finding that now. I'm not nine-to-five. I can't shut it off."

Hayes did over 200 events in 2012, and had spent the previous week on an Esquire photo shoot and playing The Tonight Show, among other media requests. He got his first place in Nashville the week the Grammy nominations were announced, in December, but wasn't in town for his move-in and slept on a mattress on the floor for a little while. His traveling entourage now numbers 14, taking up two buses.

To read the new issue of Rolling Stone online, plus the entire RS archive: Click Here

prev
Music Main Next

blog comments powered by Disqus
Around the Web
Powered By ZergNet
Daily Newsletter

Get the latest RS news in your inbox.

Sign up to receive the Rolling Stone newsletter and special offers from RS and its
marketing partners.

X

We may use your e-mail address to send you the newsletter and offers that may interest you, on behalf of Rolling Stone and its partners. For more information please read our Privacy Policy.

Song Stories

“Try a Little Tenderness”

Otis Redding | 1966

This pop standard had been previously recorded by dozens of artists, including by Bing Crosby 33 years before Otis Redding, who usually wrote his own songs, cut it. It was actually Sam Cooke’s 1964 take, which Redding’s manager played for Otis, that inspired the initially reluctant singer to take on the song. Isaac Hayes, then working as Stax Records’ in-house producer, handled the arrangement, and Booker T. and the MG’s were the backing band. Redding’s soulful version begins quite slowly and tenderly itself before mounting into a rousing, almost religious “You’ve gotta hold her, squeeze her …” climax. “I did that damn song you told me to do,” Redding told his manager. “It’s a brand new song now.”

More Song Stories entries »
 
www.expandtheroom.com