New or Old? How the Grammys Should Recognize Revived Hits

Earlier this year, 'Iris' by Goo Goo Dolls enjoyed yet another sudden revival, one of many since its 1998 release, after social media users and celebrities, from Drew Barrymore to Kevin Bacon, used the song to share photos of their looks from the 1990s. In late September, the melancholy anthem became […]

Earlier this year, the Go Go Dolls' "Iris" had another sudden resurgence — one of many since its release in 1998 — after social media users and celebrities from Drew Barrymore to Kevin Bacon used the song to display photos of themselves in the 1990s. By late September, the melancholy ballad had become a top 10 hit on Spotify's Global 50 chart, surpassing newly released singles from Ariana Grande and BTS.

"Iris" is one of several songs that has had a second (or third or fourth) life decades after its original release, joining the likes of Fleetwood Mac's "Dreams" and the Killers' "Mr. Brightside" in a new school of hits from older eras. But as catalog songs have become commonplace in contemporary culture (almost half of the songs on the Global 50 were released before 2025), it begs the question, what can—or should—the Recording Academy do? - Performing to honor popular songs outside of the eligibility cycle has become a sticking point for artists with this kind of comeback success. RELATED STORIES: Charlie Brooker's New Netflix Series Gets 'Blackmere' Title, Rory Kinnear Reveals Cast, First Look Photos

The Grammys have long recognized achievements in sound restoration with the Best Historic Album Award, while the Academy honors classics and artists through the Grammy Hall of Fame and Lifetime Achievement Award. But as TikTok democratizes music consumption and listeners care less about how old a song is, some think the Grammys could revise the eligibility rules for older songs, or perhaps introduce a new category that reflects the shift in modern music. Popular in Variety

"I think it would be an amazing idea, especially if it's something culturally happening right now. Why not?" says Pat Magnarella, who has managed Go Go Dolls for the past 36 years. "Iris" was originally nominated for Record of the Year and Pop Performance by a Duo or Group in 1999, but the Grammys currently can't renominate it unless it's submitted via a slot, such as a cover, live recording or new remix. It's the new generation that's discovering Iris, and the important thing now is new music, there's no genre anymore. "So when a 14-year-old hears 'Iris,' it's not like, 'Oh, that's an old song' — it's a new song to them."

"There has to be some kind of recognition for this kind of thing," adds Robert Reynolds, who has managed the Killers since they started recording. "Mr. Brightside," first released in 2003, had a similar rise to "Iris" last year, reaching No. 1 on Billboard's Rock Stream Songs chart in early August. "It feels like it's on Academy grounds. They've already accepted that the life of a recording goes beyond the year of publication [with] the Hall of Fame. Historical categories. I think that just applies the same logic to live culture. (A representative for the Recording Academy declined to comment on the matter.)

Across the industry, music listening habits have gradually shifted in favor of older music over the past few years, particularly because of the nostalgia surrounding it. According to Luminate's mid-year 2026 report, 60 percent of Gen Z consumers are interested in music from the 1990s or earlier, up from 18 percent in 2021. The report identifies nostalgia as an important factor in this regard, as 54% of Gen X and 49% of Gen Z cite it as a motivating factor when making a purchase.

Reynolds says it's important for an institution like the Grammys to keep up with the times to reflect changing consumer tastes. "You have to stay relevant with the younger generations - they have to recognize that," he adds. It is definitely time for them to look at this gap between what they reward and what actually happens. Focusing only on what was released in the last 12 months is no longer relevant to how we consume music.