Awards
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The honorees for the 2024 Billboard Women in Music Awards demonstrate the degree to which music has become a global enterprise. There are honorees from Australia (Kylie Minogue), England (Charli XCX), South Korea (NewJeans), Nigeria (Tems), Brazil (Luisa Sonza), Puerto Rico (Young Miko) as well as the continental U.S. (Maren Morris, Ice Spice and Victoria Monét).
Tracee Ellis Ross will host the 2024 Billboard Women in Music Awards, which will be held Wednesday, March 6, at YouTube Theater at Hollywood Park in Inglewood, Calif. – just outside of Los Angeles — and will stream on March 7. The annual event features musical performances and honors women powerhouses who are shaping the music landscape.
Presenters, performers and additional honorees, including the identity of the 2024 Billboard Woman of the Year, will be announced in the coming weeks.
“We could not be more excited to celebrate these inspiring and dynamic artists from around the world, as they move our culture forward and inspire women everywhere to push boundaries and pursue their own dreams,” Billboard’s editorial director, Hannah Karp, said in a statement. “With the talented Tracee Ellis Ross as our host, this year’s Billboard Women in Music Awards will be an unforgettable evening.”
Tracee Ellis Ross
Billboard Women In Music
Four of this year’s honorees – Monét, Ice Spice, Minogue and Tems – are also nominated for Grammy Awards on Feb. 4.
NewJeans landed their first No. 1 album on the Billboard 200 last year. Charli XCX and Ice Spice both had tracks on Barbie: The Album, which reached No. 2 on the Billboard 200 – in addition to soundtracking the Greta Gerwig film that became the biggest box-office hit of 2023.
Tickets to attend the Women in Music Awards are available to the public. American Express card members get early access to tickets from Wednesday, Jan. 24, at 1 p.m. ET/10 a.m. PT through Friday, Jan. 26, at 1 p.m. ET/10 a.m. PT (terms apply), before the public on-sale Saturday, Jan. 27, at 1 p.m. ET/10 a.m. PT, at ticketmaster.com. Ticket prices range from $89-$279. Fans can watch the show one day later, on Thursday, March 7, at 8 p.m. ET/5 p.m. PT on billboardwomeninmusic.com; more details about the stream will be announced soon.
Marriott Bonvoy is the presenting sponsor of Billboard’s Women in Music Awards. Marriott Bonvoy members will have the chance to gain exclusive access to the show through Marriott Bonvoy Moments, the company’s experiences platform. Using Marriott Bonvoy points accumulated from travel and other everyday activities, members will be able to bid on an exclusive red carpet fan experience plus tickets inside the show itself.
Additional sponsors for the 2024 Women in Music Awards include American Express, presenter of the Impact Award; Honda, presenter of the Rising Star Award; Bose; and Coke Studio.
Here’s a list of the 2024 honorees that have been announced so far.
NewJeans: Group of the Year Award
Becky G shared an emotional message on Tuesday (Jan. 23), reacting to her song’s Oscar nomination. “The Fire Inside,” penned by Dian Warren and recorded by the Mexican-American artist for Flamin’ Hot, is up for best original song competing against Barbie‘s “I’m Just Ken” and “What Was I Made For”; American Symphony‘s “It Never Went […]
For the most part, the nominations for the 2024 Oscars went as expected. Oppenheimer and Barbie received best picture nods, as did such favorites as The Holdovers, Poor Things and Killers of the Flower Moon. Two songs from Barbie were nominated for best original song – “I’m Just Ken” (written by Mark Ronson and Andrew Wyatt) […]
They’re both floating on cloud nine! Billie Eilish and brother Finneas‘ “What Was I Made For?” from the Barbie soundtrack earned a 2024 Academy Award nomination for best original song on Tuesday (Jan. 23), and the siblings are delighted by the honor. “We are so incredibly honored to receive a nomination for ‘What Was I […]
Two songs from Barbie were nominated for best original song on Tuesday (Jan. 23) – “I’m Just Ken” (written by Mark Ronson and Andrew Wyatt) and “What Was I Made For?” (written by Billie Eilish and Finneas). A third song from the blockbuster film, “Dance the Night” (on which Ronson and Wyatt collaborated with Dua Lipa and Caroline Ailin) failed to advance to the finals. (Based on a 2008 rule change, no more than two songs from a film can be nominated.)
Barbie is the first film to spawn two best song nominees since La La Land seven years ago. “City of Stars” and “Audition (The Fools Who Dream)” were both nominated. “City of Stars” went on to win. Unlike with Barbie, both songs were written by the same team – composer Justin Hurwitz and lyricists Benj Pasek and Justin Paul.
“What Was I Made For?” is also a Grammy nominee for song of the year.
Oscar perennial Diane Warren was nominated with “The Fire Inside” from Flamin’ Hot. This is her 15th best original song nomination, a benchmark that only five songwriters have reached. This is the seventh consecutive year in which Warren has been nominated, the longest streak in this category since Sammy Cahn was nominated eight years running, from 1954 to 1961.
Warren has yet to win a competitive Oscar. She is one of just five people in Oscar history to amass so many nominations without a win. She joins sound mixer Greg P. Russell (16 nods), the late art director Roland Anderson (15), composer Thomas Newman (15) and the late composer Alex North (15).
Jon Batiste, who won an Oscar three years ago for collaborating on the Soul score with Trent Reznor and Atticus Ross, landed his first best original song nod for “It Never Went Away” from American Symphony, a documentary about a year in his life. Batiste co-wrote the song with Dan Wilson. The pair also have a Grammy song of the year nomination, but for a different song, “Butterfly.” American Symphony was passed over for a nod for best documentary feature.
“Wahzhazhe (A Song for My People)” from Killers of the Flower Moon was a surprise nominee. The song is credited to The Osage Tribe. Many expected Lenny Kravitz’s “Road to Freedom” to be nominated, but it fell short.
In the best original score category, Ludwig Göransson was nominated for his score for Oppenheimer. The Swedish composer won in this category five years ago for scoring Black Panther. He was nominated for an Oscar last year for co-writing a song for the sequel.
John Williams was nominated for Indiana Jones and the Dial of Destiny. This is Williams’ record-extending 49th nod in a scoring category and his fourth for a film in the Indiana Jones franchise. In total, it is Williams’ 54th Oscar nomination (the other five are for best original song), which pulls him closer to Walt Disney’s all-time record of 59 for an individual.
The late Robbie Robertson was nominated for Killers of the Flower Moon. This was the 12th and last Martin Scorsese film that Robertson worked on. Robertson, who died in June at age 80, is the first composer to be nominated in this category posthumously since the legendary Bernard Herrmann was cited in 1976 for both Obsession and Taxi Driver.
Laura Karpman received her first Oscar nod for American Fiction. Karpman is the fifth woman to receive a nomination in this category in the last 25 years, following Rachel Portman (The Cider House Rules and Chocolat), Mica Levi (Jackie), Hildur Guðnadóttir (Joker), Germaine Franco (Encanto). Note: Levi, who was shortlisted this year for her score for The Zone of Interest, came out as non-binary subsequent to her nod for Jackie.
English musician Jerskin Fendrix landed his first Oscar nod for scoring Poor Things. Scores expected to make the cut that fell short were Daniel Pemberton’s Spider Man: Across the Spider-Verse and Anthony Willis’ Saltburn.
The 96th Oscars will be held on Sunday, March 10, at the Dolby Theatre at Ovation Hollywood, and will be televised live on ABC. Jimmy Kimmel is hosting for the fourth time.
Here’s a complete list of the songs that were nominated for best original song, followed by a complete list of the shortlisted songs that were not nominated.
Nominated Songs
“It Never Went Away”Jon Batiste, Dan WilsonAmerican Symphony, Netflix
“I’m Just Ken”Mark Ronson, Andrew WyattBarbie, Warner Bros.
“What Was I Made For?”Billie Eilish, FINNEASBarbie, Warner Bros.
“The Fire Inside”Diane WarrenFlamin’ Hot, Hulu/Searchlight Pictures
“Wahzhazhe (A Song for My People)”The Osage TribeKillers of the Flower Moon (Apple Original Films/Paramount Pictures)
Shortlisted Songs That Were Not Nominated
“Dear Alien (Who Art in Heaven)”Jarvis Cocker, Richard Hawley, Wes AndersonAsteroid City, Focus Features
“Dance the Night”Caroline Ailin, Dua Lipa, Mark Ronson, Andrew WyattBarbie, Warner Bros.
“Keep It Movin’”Halle Bailey, Denisia Andrews, Brittany Coney, Morten RistorpThe Color Purple, Warner Bros.
“Superpower (I)”The-DreamThe Color Purple, Warner Bros.
“High Life”Gary Clark, John Carney, Eve HewsonFlora and Son, Apple
“Meet in the Middle”Gary Clark, John Carney, Eve Hewson, Joseph Gordon-Levitt, John ArdiffFlora and Son, Apple
“Can’t Catch Me Now”Dan Nigro, Olivia RodrigoThe Hunger Games: The Ballad of Songbirds & Snakes, Lionsgate
“Quiet Eyes”Zach Dawes, Sharon Von EttenPast Lives, A24
“Road to Freedom”Lenny KravitzRustin, Netflix
“Am I Dreaming”A$AP Rocky, Metro Boomin, Michael Dean, Peter Lee Johnson, Roisee, ScriptpluggSpider-Man: Across the Spider-Verse, Sony Pictures
Here’s a complete list of the scores that were nominated for best original score, followed by a list of the shortlisted scores that were not nominated.
Nominated Scores
American Fiction (Orion Pictures/Amazon MGM)Laura Karpman
Indiana Jones and the Dial of Destiny (Disney)John Williams
Killers of the Flower Moon (Apple)Robbie Robertson
Oppenheimer (Universal Pictures)Ludwig Göransson
Poor Things (Searchlight Pictures)Jerskin Fendrix
Shortlisted Scores That Were Not Nominated
American Symphony (Netflix)Jon Batiste
Barbie (Warner Bros.)Mark Ronson, Andrew Wyatt
The Boy and the Heron (GKids)Joe Hisaishi
The Color Purple (Warner Bros.)Kris Bowers
Elemental (Pixar)Thomas Newman
The Holdovers (Focus Features)Mark Orton
Saltburn (Amazon/MGM)Anthony Willis
Spider-Man: Across the Spider-Verse (Sony Pictures)Daniel Pemberton
Society of the Snow (Netflix)Michael Giacchino
The Zone of Interest (A24)Mica Levi
Oppenheimer is the top nominee for the 2024 Oscars, with 13 nods.
All five of the films nominated for best film last week at the BAFTA Film Awards (Anatomy of a Fall, The Holdovers, Killers of the Flower Moon, Oppenheimer and Poor Things) were nominated for best picture Academy Awards, along with five additional films – Barbie, Past Lives, American Fiction, Maestro and The Zone of Interest.
This marks the first time in Oscar history that three films not in English – Anatomy of a Fall, Past Lives and The Zone of Interest – are in the running as best picture nominees. This also marks the sixth consecutive year that one or more films in a language other than English has received a best picture nomination.
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For the fifth consecutive year, at least one film nominated for best picture was directed by a woman. But that picture was not the box office blockbuster Barbie — directed by Greta Gerwig — but rather Anatomy of a Fall, directed by Justine Triet (Sibyl).
Two actors are nominated for lead acting honors and as producers of best picture contenders. Bradley Cooper achieved his double play for Maestro, while Emma Stone earned hers for Poor Things. Stone is the second woman to be nominated for acting and best picture for the same film, following Frances McDormand (Nomadland, 2020). This ups Cooper’s career nominations total to 12 and Stone’s to five.
Cooper was also nominated in the original screenplay category, but was passed over for a best director nod. Cooper becomes the fourth person to direct himself to an acting nomination on more than one film (A Star Is Born, 2018). He follows Laurence Olivier, Warren Beatty and Clint Eastwood.
Two songs from Barbie were nominated for best original song – “I’m Just Ken” (written by Mark Ronson and Andrew Wyatt) and “What Was I Made For?” (written by Billie Eilish and Finneas). A third song from the blockbuster film, “Dance the Night” (on which Ronson and Wyatt collaborated with Dua Lipa and Caroline Ailin) failed to advance to the finals. (Based on a 2008 rule change, no more than two songs from a film can be nominated.
Barbie is the first film to spawn two best song nominees since La La Land seven years ago. “City of Stars” and “Audition (The Fools Who Dream)” were both nominated in 2016, with “City of Stars” going on to win.
Oscar perennial songwriter Diane Warren was nominated for “The Fire Inside” from the Cheetos dramedy Flamin’ Hot. This is her 15th best original song nomination, a benchmark that only five songwriters have reached. This is the seventh consecutive year in which Warren has been nominated, the longest streak in this category since Sammy Cahn was nominated eight years running, from 1954-61.
John Williams received his record-extending 49th nod in a scoring category for Indiana Jones and the Dial of Destiny. His overall total of 54 nominations (including five for best original song) is the most for any living person, and second only to Walt Disney at 59. He is also the oldest nominee in a competitive award category at 91 years of age.
The late Robbie Robertson was also nominated for best original score for Killers of the Flower Moon. This was the 12th and last Martin Scorsese film that late Band leader Robertson worked on. Robertson, who died in June at age 80, is the first composer to be nominated in this category posthumously since the legendary Bernard Herrmann was cited in 1976 for both Obsession and Taxi Driver.
Jimmy Kimmel is set to host the 2024 Oscars, which will be held March 10 at its usual home, the Dolby Theatre at Ovation Hollywood. It will mark Kimmel’s fourth time as host.
The Oscar ceremony, which will air on ABC, will be executive produced by Raj Kapoor, Molly McNearney and Katy Mullan, with Kapoor also serving as showrunner. Hamish Hamilton will serve as director. The final round of voting extends from Feb. 22-27.
Here’s the full list of 2024 Oscar nominations.
Best motion picture of the year
“American Fiction,” Ben LeClair, Nikos Karamigios, Cord Jefferson and Jermaine Johnson, Producers
“Anatomy of a Fall,” Marie-Ange Luciani and David Thion, Producers
“Barbie,” David Heyman, Margot Robbie, Tom Ackerley and Robbie Brenner, Producers
“The Holdovers,” Mark Johnson, Producer
“Killers of the Flower Moon,” Dan Friedkin, Bradley Thomas, Martin Scorsese and Daniel Lupi, Producers
“Maestro,” Bradley Cooper, Steven Spielberg, Fred Berner, Amy Durning and Kristie Macosko Krieger, Producers
“Oppenheimer,” Emma Thomas, Charles Roven and Christopher Nolan, Producers
“Past Lives,” David Hinojosa, Christine Vachon and Pamela Koffler, Producers
“Poor Things,” Ed Guiney, Andrew Lowe, Yorgos Lanthimos and Emma Stone, Producers
“The Zone of Interest,” James Wilson, Producer
Performance by an actor in a leading role
Bradley Cooper in “Maestro”
Colman Domingo in “Rustin”
Paul Giamatti in “The Holdovers”
Cillian Murphy in “Oppenheimer”
Jeffrey Wright in “American Fiction”
Performance by an actor in a supporting role
Sterling K. Brown in “American Fiction”
Robert De Niro in “Killers of the Flower Moon”
Robert Downey Jr. in “Oppenheimer”
Ryan Gosling in “Barbie”
Mark Ruffalo in “Poor Things”
Performance by an actress in a leading role
Annette Bening in “Nyad”
Lily Gladstone in “Killers of the Flower Moon”
Sandra Hüller in “Anatomy of a Fall”
Carey Mulligan in “Maestro”
Emma Stone in “Poor Things”
Performance by an actress in a supporting role
Emily Blunt in “Oppenheimer”
Danielle Brooks in “The Color Purple”
America Ferrera in “Barbie”
Jodie Foster in “Nyad”
Da’Vine Joy Randolph in “The Holdovers”
Achievement in directing
“Anatomy of a Fall,” Justine Triet
“Killers of the Flower Moon,” Martin Scorsese
“Oppenheimer,” Christopher Nolan
“Poor Things,” Yorgos Lanthimos
“The Zone of Interest,” Jonathan Glazer
Adapted screenplay
“American Fiction,” Written for the screen by Cord Jefferson
“Barbie,” Written by Greta Gerwig & Noah Baumbach
“Oppenheimer,” Written for the screen by Christopher Nolan
“Poor Things,” Screenplay by Tony McNamara
“The Zone of Interest,” Written by Jonathan Glazer
Original screenplay
“Anatomy of a Fall” Screenplay – Justine Triet and Arthur Harari
“The Holdovers” Written by David Hemingson
“Maestro” Written by Bradley Cooper & Josh Singer
“May December” Screenplay by Samy Burch; Story by Samy Burch & Alex Mechanik
“Past Lives” Written by Celine Song
Achievement in music written for motion pictures (Original score)
“American Fiction,” Laura Karpman
“Indiana Jones and the Dial of Destiny,” John Williams
“Killers of the Flower Moon,” Robbie Robertson
“Oppenheimer,” Ludwig Göransson
“Poor Things,” Jerskin Fendrix
Achievement in music written for motion pictures (Original song)
“The Fire Inside” from “Flamin’ Hot”; Music and Lyric by Diane Warren
“I’m Just Ken” from “Barbie”; Music and Lyric by Mark Ronson and Andrew Wyatt
“It Never Went Away” from “American Symphony”; Music and Lyric by Jon Batiste and Dan Wilson
“Wahzhazhe (A Song For My People)” from “Killers of the Flower Moon”; Music and Lyric by Scott George
“What Was I Made For?” from “Barbie”; Music and Lyric by Billie Eilish and Finneas O’Connell
Best animated feature film of the year
“The Boy and the Heron,” Hayao Miyazaki and Toshio Suzuki
“Elemental,” Peter Sohn and Denise Ream
“Nimona,” Nick Bruno, Troy Quane, Karen Ryan and Julie Zackary
“Robot Dreams,” Pablo Berger, Ibon Cormenzana, Ignasi Estapé and Sandra Tapia Díaz
“Spider-Man: Across the Spider-Verse,” Kemp Powers, Justin K. Thompson, Phil Lord, Christopher Miller and Amy Pascal
Achievement in cinematography
“El Conde,” Edward Lachman
“Killers of the Flower Moon,” Rodrigo Prieto
“Maestro,” Matthew Libatique
“Oppenheimer,” Hoyte van Hoytema
“Poor Things,” Robbie Ryan
Achievement in costume design
“Barbie,” Jacqueline Durran
“Killers of the Flower Moon,” Jacqueline West
“Napoleon,” Janty Yates and Dave Crossman
“Oppenheimer,” Ellen Mirojnick
“Poor Things,” Holly Waddington
Best documentary feature film
“Bobi Wine: The People’s President,” Moses Bwayo, Christopher Sharp and John Battsek
“The Eternal Memory” Nominees to be determined
“Four Daughters,” Kaouther Ben Hania and Nadim Cheikhrouha
“To Kill a Tiger,” Nisha Pahuja, Cornelia Principe and David Oppenheim
“20 Days in Mariupol,” Mstyslav Chernov, Michelle Mizner and Raney Aronson-Rath
Best documentary short film
“The ABCs of Book Banning,” Sheila Nevins and Trish Adlesic
“The Barber of Little Rock,” John Hoffman and Christine Turner
“Island in Between,” S. Leo Chiang and Jean Tsien
“The Last Repair Shop,” Ben Proudfoot and Kris Bowers
“Nǎi Nai & Wài Pó,” Sean Wang and Sam Davis
Achievement in film editing
“Anatomy of a Fall,” Laurent Sénéchal
“The Holdovers,” Kevin Tent
“Killers of the Flower Moon,” Thelma Schoonmaker
“Oppenheimer,” Jennifer Lame
“Poor Things,” Yorgos Mavropsaridis
Best international feature film of the year
“Io Capitano,” Italy
“Perfect Days,” Japan
“Society of the Snow,” Spain
“The Teachers’ Lounge,” Germany
“The Zone of Interest,” United Kingdom
Achievement in makeup and hairstyling
“Golda,” Karen Hartley Thomas, Suzi Battersby and Ashra Kelly-Blue
“Maestro,” Kazu Hiro, Kay Georgiou and Lori McCoy-Bell
“Oppenheimer,” Luisa Abel
“Poor Things,” Nadia Stacey, Mark Coulier and Josh Weston
“Society of the Snow,” Ana López-Puigcerver, David Martí and Montse Ribé
Achievement in production design
“Barbie,” Production Design: Sarah Greenwood; Set Decoration: Katie Spencer
“Killers of the Flower Moon,” Production Design: Jack Fisk; Set Decoration: Adam Willis
“Napoleon,” Production Design: Arthur Max; Set Decoration: Elli Griff
“Oppenheimer,” Production Design: Ruth De Jong; Set Decoration: Claire Kaufman
“Poor Things,” Production Design: James Price and Shona Heath; Set Decoration: Zsuzsa Mihalek
Best animated short film
“Letter to a Pig,” Tal Kantor and Amit R. Gicelter
“Ninety-Five Senses,” Jerusha Hess and Jared Hess
“Our Uniform,” Yegane Moghaddam
“Pachyderme,” Stéphanie Clément and Marc Rius
“WAR IS OVER! Inspired by the Music of John & Yoko,” Dave Mullins and Brad Booker
Best live action short film
“The After,” Misan Harriman and Nicky Bentham
“Invincible,” Vincent René-Lortie and Samuel Caron
“Knight of Fortune,” Lasse Lyskjær Noer and Christian Norlyk
“Red, White and Blue,” Nazrin Choudhury and Sara McFarlane
“The Wonderful Story of Henry Sugar,” Wes Anderson and Steven Rales
Achievement in sound
“The Creator,” Ian Voigt, Erik Aadahl, Ethan Van der Ryn, Tom Ozanich and Dean Zupancic
“Maestro,” Steven A. Morrow, Richard King, Jason Ruder, Tom Ozanich and Dean Zupancic
“Mission: Impossible – Dead Reckoning Part One,” Chris Munro, James H. Mather, Chris Burdon and Mark Taylor
“Oppenheimer,” Willie Burton, Richard King, Gary A. Rizzo and Kevin O’Connell
“The Zone of Interest,” Tarn Willers and Johnnie Burn
Achievement in visual effects
“The Creator,” Jay Cooper, Ian Comley, Andrew Roberts and Neil Corbould
“Godzilla Minus One,” Takashi Yamazaki, Kiyoko Shibuya, Masaki Takahashi and Tatsuji Nojima
“Guardians of the Galaxy Vol. 3,” Stephane Ceretti, Alexis Wajsbrot, Guy Williams and Theo Bialek
“Mission: Impossible – Dead Reckoning Part One,” Alex Wuttke, Simone Coco, Jeff Sutherland and Neil Corbould
“Napoleon,” Charley Henley, Luc-Ewen Martin-Fenouillet, Simone Coco and Neil Corbould
For years, Recording Academy members who were fortunate enough to land Grammy nominations were given a pair of free tickets to the show. Now, the Academy is making members who are nominated buy their companion ticket.
The policy change, announced quietly in November, has drawn criticism. Rhiannon Giddens, a two-time Grammy winner in the folk field, wrote a thoughtful post on Facebook in which she expressed her disappointment with the new policy, and put it in the context of life getting harder for working-class musicians.
Early in her post, she talked about the experience of going to the Grammys for the first time in February 2011, when her band Carolina Chocolate Drops was nominated for best traditional folk album for Genuine Negro Jig. Spoiler alert: They won.
“People might not know this, but it’s expensive to go to the GRAMMYs – if you are nominated, you pay for your flight, hotel, hair, makeup, dress, food, what have you, yourself. All nominees receive a plus one to the ceremony and after party, and for a lot of non-mainstream folks, win or lose, it’s a moment of a lifetime.”
Then she dealt with the Academy’s recent announcement about charging nominated members for their +1 tickets.
“The onslaught on the working class musician was taken up a notch this year. I am not going to the GRAMMYs for various reasons in February but I have just heard that the companion ticket is no longer free but costs 1200 dollars.
“For all the big names that’s easy, and for middle class musicians like me, its doable, if super annoying. For the folks who are just making ends meet, harder than ever in a world that is systematically erasing every avenue the musician used to have to actually make money from their music, from Spotify to closed venues to digitized orchestras, it’s a slap in the face.
“There are folks within the GRAMMY ranks who really love music and are trying to change things for the better. I get that. The afternoon ceremony has slowly been upgraded and is now even livestreamed! But honestly, this is a really bad look – and it makes it ever more obvious who is valued, and more specifically what (that would be lots of money, for the folks in the back).
Giddens attached a photo of her at the Grammys in 2011 and noted, “This picture wouldn’t exist if the policy then was what it is now, and that makes me sad.
“Music is art. Family. Empathy. Love. We’ve made it about money, and that’s a tragedy bigger than we know.”
Asked to comment, the Academy provided this statement to Billboard: “The recent adjustment affects only nominated members of the Recording Academy, which now brings them in line with all other nominees who already pay this cost for a companion seat. We acknowledge tickets to our show can be expensive, but the additional revenue raised from this small subset of our membership allows the Recording Academy, a not-for-profit organization, to serve many thousands of music people by helping to fund our educational initiatives, advocacy efforts, curated programming, and direct assistance extended to music people facing challenges. As with everything we do, the Recording Academy will continue to work to improve and evolve how we serve our music community.”
Giddens’ statement that Grammy tickets cost $1,200 was a little off. Tickets were made available this year at both higher and lower price points. (Tickets at all pricing tiers are now sold out.) Platinum tickets went for $2,000 each, Gold tickets for $1,000 each, Silver tickets for $562.50 each, and Bronze tickets for $375 each. Members may purchase two tickets within any of these pricing tiers and may also purchase two additional Bronze tickets, though additional Bronze tickets are $500, not $375. All of these pricing tiers include the Premiere Ceremony (a.k.a the pre-telecast awards). None of the tiers include the after-party.
An Academy spokesman said that this policy change of charging nominated members for their +1 tickets is true for all nominees, in marquee categories as well as the lower-profile categories that are presented at the Premiere Ceremony.
(Each year, all but about 11 awards are presented at the Premiere Ceremony, which is livestreamed on Grammy.com. These include some high-profile categories, though the biggest awards – including the vaunted Big Four — album, record and song of the year plus best new artist – are presented on the live telecast.)
This isn’t the only money-tightening change the Academy has instituted recently. On July 10, it announced that it was raising annual membership dues from $100 to $150, its first dues increase since 2000. The increase took effect on Aug. 1.
The Academy sought to justify the dues increase in an email to voting members. “It is important to highlight the significant accomplishments we have achieved together since the last dues increase in 2000. We have organized over 650 events across 12 Chapters, celebrated and recognized countless GRAMMY Award nominees and winners, provided $110 million in aid through MusiCares, and actively supported the passage of numerous bills at both the state and federal level to protect creators’ rights.”
A third example of upping fees is that the Academy used to allow members to enter an unlimited number of entries in the Grammy process. Since 2022, all professional and voting members of the Recording Academy receive five “courtesy entries” per year. If they choose to enter more than five entries, they must pay. Last year, the fee was $40 for entries made between July 17-31, $75 for entries made between Aug. 1-23 and $125 for entries made between Aug. 24-31.
The Academy justifies charging a fee for any member making more than five entries by saying, “The per-entry fee structure encourages entrants to consider the value of each entry and make mindful decisions to put forward work that they truly believe is Grammy-worthy.”
Gidden is nominated for two Grammys at this year’s ceremony, which is set for Feb. 4 at Crypto.com Arena in Los Angeles – best Americana album for You’re the One and best American roots performance for a track from that album, “You Louisiana Man.”
It’s her first nod for best Americana album; her third for best American roots performance.
Gidden received her second of two Grammy Awards two years ago – best folk album for They’re Calling Me Home, with Francesco Turrisi.
Gidden won a Pulitzer Prize for Music last year for Omar, a collaboration with Michael Abels. That’s the same award that Kendrick Lamar won five years ago for Damn. Gidden has also been honored at the International Folk Music Awards and Americana Music Honors & Awards, among others.
Six female solo artists and an all-female group account for all but one of the 2024 Grammy nominations for album of the year. Only Jon Batiste’s World Music Radio kept male artists from being shut out in the top category this year. This is the 12th time that female artists have dominated the album of […]
Barbie leads the contenders for the 2024 Guild of Music Supervisors (GMS) Awards. The blockbuster received three nominations – best music supervision for film budgeted over $25 million and two nods for best song written and/or recorded for a film. The nods recognize the work of music supervisor George Drakoulias as well as Mark Ronson and Andrew Wyatt (“I’m Just Ken”) and Billie Eilish and Finneas (“What Was I Made For?”).
Seven of the 10 GMS nominees for best song written and/or recorded for a film are also on the shortlist for Academy Awards for best original song. Oscar nods will be announced Tuesday (Jan. 23). In addition to “What Was I Made For?” and “I’m Just Ken,” these doubly honored songs are “Am I Dreaming” from Spider-Man: Across the Spider-Verse, “Can’t Catch Me Now” from The Hunger Games: The Ballad of Songbirds & Snakes, “It Never Went Away” from American Symphony, “Quiet Eyes” from Past Lives and “Road to Freedom” from Rustin.
The other three songs nominated here were not shortlisted for Oscars, which probably makes this nomination even more meaningful to those concerned. These songs are “Camp Isn’t Home” from Theater Camp, “JUICY” from Joy Ride and “Little Bit ‘O Soul” from Totally Killer.
One week after winning a Primetime Emmy for outstanding music supervision at the Creative Arts ceremony for The White Lotus, Gabe Hilfer receives a GMS nomination for his work on the HBO Max series.
The music supervisors with the most GMS nominations this year are Mike Ladman and Mara Techam for their work in advertising for such brands as Levis, The New York Times and Hennessy. Each received five nominations.
The recipients of the Icon and Legacy Awards will be announced at a later date.
Winners will be revealed at an in-person and virtual awards gala at The Wiltern Theatre in Los Angeles on Sunday, March 3. The ceremony, now in its 14th year, honors outstanding achievement in the craft of music supervision in film, television, documentaries, advertising, trailers, and video games. Tickets are available only to members of GMS and their Friends of the Guild subscribers.
For more information on the ceremony, visit GMSAwards.com. For more information on the organization, visit www.GuildofMusicSupervisors.com
Here’s a complete list of nominations for the 2024 Guild of Music Supervisor Awards.
Film
Best music supervision for film budgeted over $25 million
Matt Aberle – The Holdovers
Deva Anderson, Rachel Lautzenheiser – My Big Fat Greek Wedding 3
Stephanie Diaz-Matos, Philippe Pierre – They Cloned Tyrone
George Drakoulias – Barbie
Steven Gizicki – Maestro
Kirsten Lane – Saltburn
Kier Lehman – Spider-Man: Across the Spider-Verse
Frankie Pine – Are You There God? It’s Me, Margaret.
James A. Taylor – Wonka
Andrea von Foerster – Air
Best music supervision for film budgeted $25 million and under
Lucy Bright – The Iron Claw
Kevin Edelman – Jesus Revolution
Connie Farr – All of Us Strangers
Carly Hildebrand, Natalie Hayden – Polite Society
Vanessa Jorge Perry – Flamin’ Hot
Toko Nagata – Joy Ride
Best music supervision for film budgeted $10 million and under
Adam Bennati – Aristotle and Dante Discover the Secrets of the Universe
Jody Colero – Brother
Meghan Currier – Past Lives
Tracy McKnight – Somewhere in Queens
Howard Paar – Eileen
Andy Ross, Ben Sokoler – War Pony
Michael Turner – Paint
Lindsay Wolfington – Theater Camp
Best music supervision for a non-theatrically released film
Angela Asistio – Chang Can Dunk
Linda Cohen – Please Don’t Destroy: The Treasure of Foggy Mountain
David Fish – Rye Lane
Liz Gallacher – Sitting in Bars with Cake
Rob Lowry, Tracy McKnight – Family Switch
Toko Nagata – Totally Killer
Javier Nuño, Joe Rodríguez – A Million Miles Away
Wyler Sanca – Heist 88
Derryck “Big Tank” Thornton – Praise This
Best song written and/or recorded for a film
“Am I Dreaming” – Spider-Man: Across the Spider-Verse; Songwriters: Mike Dean, Peter Lee Johnson, Rakim Mayers, Roisee, Leland Wayne, Landon Wayne; Performers: Metro Boomin, A$AP Rocky, Roisee; Music Supervisor: Kier Lehman
“Camp Isn’t Home” – Theater Camp; Songwriters: Noah Galvin, Molly Gordon, Nick Lieberman, Ben Platt, Mark Sonnenblick; Performers: Alexander Bello, Bailee Bonick, Donovan Colan, Noah Galvin, Molly Gordon, Luke Islam, Madisen Lora, Kyndra Sanchez, Jack Sobolewski, Quinn Titcomb; Music Supervisor: Lindsay Wolfington
“Can’t Catch Me Now” – The Hunger Games: The Ballad of Songbirds & Snakes; Songwriters: Dan Nigro, Olivia Rodrigo; Performer: Olivia Rodrigo; Music Supervisor: Hillary Holmes
“I’m Just Ken” – Barbie; Songwriters: Mark Ronson, Andrew Wyatt; Performer: Ryan Gosling; Music Supervisor: George Drakoulias
“It Never Went Away” – American Symphony; Songwriters: Jon Batiste, Dan Wilson; Performer: Jon Batiste; Music Supervisor: Priya Autrey
“JUICY” – Joy Ride; Songwriters: Isak Alvedahl, Kirubel Swedin, Sandra Wikstrom; Performer: Ramengvrl; Music Supervisor: Toko Nagata
“Little Bit ‘O Soul” – Totally Killer; Songwriters: John Carter, Kenneth Hawker; Performer: The Linda Lindas; Music Supervisor: Toko Nagata
“Quiet Eyes” – Past Lives; Songwriters: Zachary Dawes, Sharon Van Etten; Performer: Sharon Van Etten; Music Supervisor: Meghan Currier
“Road to Freedom” – Rustin; Songwriter: Lenny Kravitz; Performer: Lenny Kravitz; Music Supervisor: Barry Cole
“What Was I Made For?” – Barbie; Songwriters: Billie Eilish O’Connell, Finneas O’Connell; Performer: Billie Eilish; Music Supervisor: George Drakoulias
Television
Best music supervision – television drama
Ed Bailie, Abi Leland, Toby Williams – Top Boy Season 3
Zoë Ellen Bryant, Pete Saville – I Hate Suzie Too Season 2
Rick Clark – Dark Winds Season 2
Nora Felder – Yellowjackets Season 2
Gabe Hilfer – The White Lotus Season 2
Jonathan Leahy, Manish Raval, Tom Wolfe – Welcome to Chippendales Season 1
Janine Scalise – The L Word: Generation Q Season 3
Best music supervision – television comedy or musical
Matt Biffa – Sex Education Season 4
Leah Harrison – I’m a Virgo Season 1
Mike Moreno – Mariachis Season 1
Javier Nuño, One Six, Joe Rodríguez – Neon Season 1
Frankie Pine – Daisy Jones & The Six Season 1
Robin Urdang – The Marvelous Mrs. Maisel Season 5
Justine von Winterfeldt – Pitch Perfect: Bumper in Berlin Season 1
Laura Webb, Lindsay Wolfington – XO, Kitty Season 1
Best music supervision – reality television
Greg Danylyshyn – Teen Mom: The Next Chapter Season 1
Peter Davis – Are You the One? Season 9
Jon Ernst – Love Is Blind Season 5
Carrie Hughes – Love & Hip Hop: Miami Season 5
Sara Torres, Jordan Young – Love Island USA Season 5
Best song written and/or recorded for television
“A Beautiful Game” – Ted Lasso; Songwriters: Max Martin, Ed Sheeran, Foy Vance; Performer: Ed Sheeran; Music Supervisors: Christa Miller, Tony Von Pervieux
“City On Fire” – City on Fire; Songwriter: Zach Ellis; Performer: Ex Post Facto; Music Supervisor: Jonathan Leahy
“Esperando Pelitos” – Big Mouth; Songwriter: Lin-Manuel Miranda; Performers: Robin De Jesús, PJ Sin Suela; Music Supervisor: Amanda Krieg Thomas
“I Found You” – The L Word: Generation Q; Songwriters: Annalia Marie Mallory, Viv Parker, Lexxi Taylor Saal; Performer: India Carney; Music Supervisor: Janine Scalise
“Look At Us Now (Honeycomb)” – Daisy Jones & The Six; Songwriters: Jason Boesel, Blake Mills, Marcus Mumford, Johnathan Rice, Stephony Smith; Performer: Daisy Jones & The Six; Music Supervisor: Frankie Pine
“The Manster (Dr. Hunkenstein’s Theme)” – Welcome to Chippendales; Songwriters: Dan Bern, Siddhartha Khosla, Robert Siegel, Mike Viola; Performer: Welcome to Chippendales cast; Music Supervisors: Jonathan Leahy, Manish Raval, Tom Wolfe
“Pussy Don’t Lie” – Big Mouth; Songwriters: Megan Pete, Mark Rivers; Performer: Megan Thee Stallion; Music Supervisor: Amanda Krieg Thomas
“Staplehead” – Poker Face; Songwriters: John Darnielle, Jamey Jasta; Performer: Doxxxology; Music Supervisor: Thomas Golubić
Documentaries
Best music supervision for a documentary
Justin Feldman – All Up in the Biz
Jonathan Finegold – Little Richard: I Am Everything
Joel C. High – Maxine’s Baby: The Tyler Perry Story
Susan Jacobs – Wild Life
Aminé Ramer, Andrea von Foerster – Peter Case: A Million Miles Away
Amani “Burt Blackarach” Smith – Stamped from the Beginning
Allison Wood – Last Stop Larrimah
Best music supervision in a docuseries
Janet Billig Rich, Lisa Moberly – Dear Mama Season 1
James Cartwright – Muscles & Mayhem: An Unauthorized Story of American Gladiators Season 1
Kyle McKeveny, Joe Rudge – The Super Models Season 1
Andrea von Foerster – Welcome to Wrexham Season 2
Willa Yudell – Arnold Season 1
Best music supervision in advertising (synch)
Jeremy Daw, JT Griffith – Nike: A Feel for Every You
Andrew Kahn, Morgan Thoryk – Check ‘Em Out
Sunny Kapoor, Mike Ladman, Mara Techam – Going Out in Style in the Greatest Story Ever Worn
Sunny Kapoor, Mike Ladman, Brandy Ricker, Mara Techam – One Fair Exchange in the Greatest Story Ever Worn
Mike Ladman, Mara Techam – Rumble
Sara Matarazzo, Stephanie Pigott, Danielle Soury – American Gothic
Scott McDaniel – Run This Town – The Road to Halftime Starts on Rihanna Drive
Lilah Obregon-Wilson – Wear Your Shine – The Coach Shine Collection
Jonathan Wellbelove – iPhone 14 – Action Mode
Best music supervision in advertising (original music)
Abbey Hendrix, Mika Sheerin, Jonathan Wellbelove – iPhone 15 Pro – On with the Show
Mike Ladman, Mara Techam – Unshattered
Mike Ladman, Mara Techam – More of Life Brought to Life – Sneakers
Sara Matarazzo, Stephanie Pigott, Danielle Soury – Xbox Series X|S – Wake Up and Dream
Nicole Palko, Jonathan Wellbelove – iPhone 15 Plus – Miss You
Trailers
Best music supervision in a trailer – film
Maggie Baron – Problemista – Official Trailer
Deric Berberabe, Jordan Silverberg – Killers of the Flower Moon – Official Trailer 2
Calum Brice-Stevens – All of Us Strangers – Official Trailer
Danny Exum, Derek Liner – Sisu – Official Trailer
Bobby Gumm – Damsel – Official Trailer
Angel Mendoza – Killers of the Flower Moon – Official Teaser Trailer
Scenery Samundra, Gregory Sweeney – Priscilla – Official Trailer
Best music supervision in a trailer – series
Isaac Allaway, Eduardo Fontes Williams – The Crown Season 6 – Part 2 Trailer
Maggie Baron – The Idol – Official Teaser Trailer
Deric Berberabe, Jordan Silverberg – Monarch: Legacy of Monsters – Official Trailer
Deric Berberabe, Jordan Silverberg – Swarm – Official Trailer
Bobby Gumm – The Witcher Season 3 – Official Trailer
Rochelle Holguin Cappello, Katie Pool – Yellowjackets Season 2 – Official Trailer
Sanaz Lavaedian, Marina Polites – Griselda – Official Trailer
Best music supervision in a trailer – video game & interactive
Jonny Altepeter, Peter Li – VALORANT – Iso Agent Trailer – MYTHS
Rebecca Bergman, Brian Murphy – Suicide Squad: Kill the Justice League – Official Justice League Trailer – “No More Heroes”
Chris Fox, Kyle Hopkins – South of Midnight – Announce Trailer
Lindsey Kohon, Naaman Snell, Ryan Tomlin, Brandon Young – Call of Duty: Modern Warfare III – Gameplay Reveal Trailer
Raphaella Lima, Michael Sherwood – Apex Legends: Ignite Launch Trailer
Nick Maker – Marathon – Official Announce Trailer
Ryan Tomlin, Brandon Young – Call of Duty: Modern Warfare III – Makarov Reveal Trailer
Video Games
Best music supervision in a video game (synch)
Alex Hackford – Marvel’s Spider-Man 2
Alex Hackford, Sophie Levine, Monty Mudd – MLB ’23: The Show
Maya Halfon Cordova – Forza Horizon 5: Rally Adventure
Raphaella Lima, Cybele Pettus, Steve Schnur – EA SPORTS FC 24
Raphaella Lima, Cybele Pettus, Steve Schnur – F1 23
Raphaella Lima, Cybele Pettus, Steve Schnur – Madden NFL 24
Ryan Tomlin, Brandon Young – Call of Duty: Modern Warfare II, Season 2-6
Best music supervision in a video game (original music)
Alex Hackford, Scott Hanau, Keith Leary – Marvel’s Spider-Man 2; Composer: John Paesano
Simon Landry, Alex Riviere – Avatar: Frontiers of Pandora; Composer: Pinar Toprak
Steve Schnur – Star Wars Jedi: Survivor; Composers: Stephen Barton, Gordy Haab
Jaren Tolman – Hogwarts Legacy; Composers: Peter Murray, Chuck E. Myers, J. Scott Rakozy
Austin Wintory – Stray Gods: The Roleplaying Musical; Composers: Montaigne, Tripod, Austin Wintory
Brandon Young – Call of Duty: Modern Warfare III; Composer: Walter Mair
Six days after announcing Dua Lipa, Billie Eilish and Olivia Rodrigo as the first performers set for the 2024 Grammy Awards, CBS announced three more performers: Travis Scott, Luke Combs and Burna Boy. These bookings bring gender, genre and racial diversity to Music’s Biggest Night.
The announcement was made during the fourth quarter of Sunday’s NFL football game (Kansas City vs. Buffalo), just as last week’s performer announcement was made during the fourth quarter of the AFC wild-card game. Both games were broadcast on CBS, which has aired the Grammys since 1973.
All three of the newly-added performers are current Grammy nominees. Scott is nominated for best rap album for Utopia. He was also nominated in that category for his previous studio album, Astroworld. Scott has amassed 10 nominations. He has yet to win.
Combs is nominated for best country solo performance for his version of Tracy Chapman’s “Fast Car.” Chapman performed the song as the final performance of the night on the Grammy telecast in February 1989, so there may be reason to hope the Grammys can land a collaborative performance on this year’s show. This is Combs’ seventh nomination. He too has yet to win. He was nominated for best new artist five years ago, but lost to Lipa. (Both artists have done exceptionally well in the ensuing five years.)
Burna Boy is nominated in four categories – best global music album (I Told Them…), best African music performance (“City Boys”), best global music performance (“Alone”), and best melodic rap performance (“Sittin’ on Top of the World”). He won best global music album three years ago for Twice as Tall.
Additional performers will be announced in the two weeks leading up to the Feb. 4 ceremony.
Trevor Noah will host the Grammys for the fourth consecutive year. He too is a Grammy nominee. He is up for best comedy album for I Wish You Would. He’s the first Grammy host to be nominated for a Grammy that same year since Queen Latifah in 2005. Noah won a Primetime Emmy last week for outstanding talk series for The Daily Show with Trevor Noah.
The 66th annual Grammy Awards will be held on Sunday, Feb. 4 from 8:00-11:30 p.m. live ET/5:00-8:30 p.m. live PT on CBS and will stream live and on-demand on Paramount+ (live and on demand for Paramount+ with Showtime subscribers, or on demand for Paramount+ Essential subscribers the day after the special airs).
The telecast will be produced by Fulwell 73 Productions for the Recording Academy for the fourth consecutive year. Ben Winston, Raj Kapoor and Jesse Collins are executive producers.