Awards
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02/10/2024
Here’s how we handicap this year’s Rock & Roll Hall of Fame class and their chances of induction.
02/10/2024
Rickey Minor will return as music director of the 2024 Oscars, set to air live on ABC on Sunday, March 10, at the Dolby Theatre at Ovation Hollywood. Minor also served as music director last year. Minor has received 15 Primetime Emmy nominations for outstanding music direction, winning twice. He has been nominated three times for […]
Tres Generaciones Tequila and Billboard joined forces for a two-night extravaganza. The first night, on Tuesday (Jan. 30), the brands joined together to celebrate emerging artists, producers, and creatives making waves and earning their stripes in the music space. The following evening, the established industry leaders gathered for Billboard’s Power 100 event.
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The intimate Tuesday event at the Sun Rose in West Hollywood featured notable guests including Conan Gray, Moses Sumney, Halle Bailey, Rocsi Diaz, Paris Jackson, and Elton Qualls-Harris. Against the backdrop of the evening, attendees mingled while enjoying three specialty curated signature cocktails: the Hibiscus Margarita, Piña Paloma, and Tres ’73.
January 30, 2024; Billboard and Tres Generaciones host the ‘New Nominees Dinner’ at the Pendry Hotel in West Hollywood, California
Brandon Todd/Billboard
To conclude the night, Billboard’s Editorial Director, Hannah Karp, and veteran host Rocsi Diaz delivered remarks, lauding accomplishments and unveiling the partnership between Tres Generaciones Tequila and Billboard. This collaboration aims to infuse culture, music, and premium tequila into conversations throughout the country over the year. Rocsi Diaz and Tres Generaciones Tequila will host and moderate curated panels in Houston, Atlanta, Chicago, New York, Miami, and Los Angeles, bringing together local heroes and experts to spotlight the top “Get Up” anthems for each city.
The following day, the celebration continued to the Billboard Power 100 event. Attendees were greeted by a captivating wall activation featuring light-up Tres Generaciones letters, creating a perfect backdrop for memorable photos. The event’s ambiance was enhanced with a Tres Generaciones Tequila DJ booth, where DJ Amorphous skillfully curated a mix of R&B, Afropop, Hip-Hop, Reggaeton, and electronic sounds.
Atmosphere at the Billboard Power 100 Event held at NeueHouse Hollywood on January 31, 2024 in Los Angeles, California.
Brandon Todd for Billboard
The soirée featured a personalized touch with a signature Tres ’73 cocktail, adding flair to the evening’s libations. As the event unfolded, the atmosphere buzzed with networking opportunities, connecting new faces and rekindling past industry relationships including SZA, Boygenius, Clive Davis and many more. The celebration continued with award presentations for Executive of the Year, Label of the Year, and the prestigious Clive Davis Visionary Award.
Atmosphere at the Billboard Power 100 Event held at NeueHouse Hollywood on January 31, 2024 in Los Angeles, California.
Brandon Todd for Billboard
DJ Amorphous at the Billboard Power 100 Event held at NeueHouse Hollywood on January 31, 2024 in Los Angeles, California.
Trevor Noah had a special guest on his Spotify podcast What Now? With Trevor Noah on Thursday (Feb. 8) – Ben Winston, who was one of the executive producers of the Grammy telecast on Sunday, Feb. 4 (along with Raj Kapoor and Jesse Collins).
Noah, who has hosted the show the last four years and this year was also credited as a producer, opened by saying “Can I tell you there are few gigs I’ve done in my life that are more stressful than the Grammys? It’s exciting, it’s fun, but … it’s too much stress.”
Winston agreed. “I worked on that show for like four months and then the last three or four weeks it becomes intense and then the last few days it’s even more intense and then the last hour before the show is like the worst of all of it because that’s when everything you’ve been planning for a year falls apart because artists aren’t showing up … I’ve run the Grammys for four years now. For the last two years that half-hour before we’ve gone live I would say without question are the two most stressful half-hours of my entire life. Just the stuff that comes in and how just feel like you’re sinking on a ship that you’ve been building for months.”
One of the major stressors was a number of top stars arriving late for the 5:00 p.m. PT starting time, the result of a combination of factors – always heavy L.A. traffic aggravated by a rainstorm on show day, tight security and demonstrations near Crypto.com Arena where the show was taped, which impeded traffic.
Trevor asked Winston if a story he had heard was true – that Mariah Carey, who was set to present the first award, was picked up in a golf cart to get to the show on time.
“That’s 100% real,” Winston said. He recalled that at 4:48, none of the first three presenters (Carey, Christina Aguilera and Kacey Musgraves) was in the building. “It was an absolute nightmare. So, Patrick Menton, head of talent and co-executive producer of the show, got a guy in a golf cart – this is the God’s honest truth – to drive the wrong way down the [freeway] on the hard-shoulder, drove over a mile, got Mariah out of her SUV, stuck umbrellas to each side of it so she wouldn’t get soaked [and got her there].”
Winston communicated with Noah through an earpiece the host was wearing during the telecast. “I’m trying not to stress you out because I’m in your ears the whole time. I have to give him his props here. Trevor is unbelievable at taking information live in your ear. I was slowing you down because Mariah wasn’t ready yet. [As soon as] they went ‘Mariah is ready,’ you went ‘Time for our first award.’”
Noah and Winston also discussed Jay-Z’s calling out Grammy voters for repeatedly denying his wife Beyoncé the album of the year prize. Jay’s remarks were unexpected, but both men defended his right to say what he said.
The podcast played an excerpt of Jay’s remarks: “Think about that: the most Grammys, never won album of the year. That doesn’t work. Some of you are going to go home tonight and feel like you’ve been robbed. Some of you may get robbed. Some of you don’t belong in the category. When I get nervous, I tell the truth.”
“I’ll tell you this much. I didn’t expect it,” Noah said, likening it to the moment in 2005 when Kanye West went off-script at the Hurricane Katrina telethon and said “George Bush doesn’t care about Black people.” Noah said when Jay made his surprise remarks, “I felt a little bit like Mike Myers” [who was West’s shocked co-presenter on that telethon].
Noah set the scene: “I have just presented Jay with the Dr. Dre [Global Impact] Award. I’m on stage. I’m standing to the side. I’m expecting Jay-Z to come up and make a speech and I expect it to be a speech the way everybody makes a speech, “Reach for the stars, dream big, this is inspiration, hope for the best, thank you so much, I love you all, good night.”
And then Jay gets up and starts his speech. There are moments where I’m like, ‘Am I hearing this correctly?’ because I’m behind and you can’t really hear exactly what he did. … People are laughing. It was almost like a roast meets an acceptance speech. I liked it, though, I will say that. I like it when people are honest, I won’t lie.”
Winston agreed. “I don’t think it was as disrespectful to the Grammys as has been taken. He and his wife between them have won 60 [56, actually] Grammys as a couple. So he stood there as a real honored guy. Listen, I have nothing to do with the awards. I’m not even in the Academy. I can’t vote. I make the TV show with you Trevor. I’ve done it for the last four years.
“Of the last four years, they’ve turned up three out of the four. The only one that they didn’t come to was the one in Vegas [in 2022]. So, I think it matters to them. I think the Grammys and the Recording Academy matters to them as an institution. And any institution that matters to you, you want it to be done right, and you care about that. I respect that. And I also say ‘fair play’ to the Grammys for saying ‘speak whatever you feel.’ He also gave it credit saying the Black Music Collective has done a lot of good work. So yeah, he feels like Beyoncé should have won an album of the year…”
Noah interjected, “which I second, by the way.” Noah parodied West’s infamous interruption of Taylor Swift at the 2009 MTV Video Music Awards and said, “Ben, I’mma let you finish, but I do think Beyoncé should have won for one of the greatest albums of all time” [an apparent reference to Lemonade, which lost to Adele’s 25].
Later in the conversation, Noah returned to the subject of Jay-Z’s blast. “I appreciate the moments where Jay-Z comes on stage and just throws a little spice into the pot. Man, thank you Jay-Z. If Jay-Z can’t do it, who can? Maybe he’ll inspire more people to do it. This is life. It gets people interested. It gets us talking. It’s entertainment.”
Both defended Swift, who has been criticized for not acknowledging Celine Dion, who presented her with album of the year.
“To be fair, she was excited she had just won album of the year,” Winston said. “I don’t think she meant disrespect by it in any way. I think she was just excited.”
Noah concurred. “In those moments, speaking from experience, humbly, you do black out a little bit when it’s like a major moment.”
Noah may have been referring to the moment on Jan. 15 when he won a Primetime Emmy as executive producer and host of The Daily Show With Trevor Noah, which was voted outstanding talk series. For his part, Winston has won at least one Primetime Emmy in each of the last eight years. He won last month as an executive producer of Elton John Farewell From Dodger Stadium, which was voted outstanding variety special (live).
Winston asked Noah if he was worried when he started his monologue that so few of the people who were mentioned in the monologue were in the room yet.
“Live TV is live,” Noah said. “… In this moment in particular, you’re about to do something in a room where people aren’t even sort of in yet, yet you’re talking about them and to them and they’re not there. I’m literally scanning the room praying that I will see anybody, anybody, anybody in their seats. So, you look around and say, ‘Oh thank God, there’s Ed Sheeran, there’s 21 Savage.’
“Like when Meryl Streep came in … First of all, she’s Meryl Streep. She didn’t need to run in because she was late. She ran in. She apologized for being late in a really nice, respectful, human way .. In that moment I was like, ‘OK, everything is going to be OK and thank you Jesus. I think we’re doing to get through this thing.’”
Winston gave Noah credit for his willingness to do his opening monologue in the audience, among the celebrity guests. “Most of the time with comedians at the beginning of the show, they’re on a stage, they’re safe, they’ve got their prompter. We literally stick you in amongst them, for two reasons. Firstly, I think it’s much more of an interesting watch. You walking around the room shows off who’s in the room. The second reason is … [we’ve] got to clear that stage for the next artist. We don’t have space for you on that stage.”
“I both love and hate it,” Noah said of performing his opening jokes while standing in the audience. “I love it from a producer’s perspective. I see why you wanted to do it and I enjoy that element of it. As a performer, it’s chaos….I won’t lie to you guys. It’s terrifying, but I do enjoy it.”
Winston concluded the podcast by explaining his role as one of the executive producers of the Grammys.
“My job I think is to program that show to do the best I can to make sure I have something for everybody, whether you’re Auntie Margaret in Alabama or you’re Cool Kid in New York, there’s something for you. You only get a viewing figure [good rating] for a Burna Boy if you follow it up with a Billy Joel. So, you’ve got to find that balance so you can actually get audience for those new artists, get people excited by Victoria Monét, Burna Boy, because they’re watching these other ones that they came for.”
Halle Bailey and Danielle Brooks, who star in the 2023 musical version of The Color Purple, will be honored at the 17th annual ESSENCE Black Women in Hollywood Awards, set to take place on Thursday, March 7, at the Academy Museum of Motion Pictures in Los Angeles. Grammy-winning rapper Cliff “Method Man” Smith will host […]
If we’re going to talk snubs and surprises at the Grammys, let’s address the big Latin elephant in the room.
There was very little Latin presence at this year’s Grammy awards. Only three Latin names – Edgar Barrera, Gustavo Dudamel and 123 Andrés – were nominated in non-Latin categories (for songwriter of the year (non-classical), best orchestral performance and best children’s musical album, respectively). The first nomination is a major look, perhaps explained by the fact that this is a relatively new category with a fresh perspective.
And the latter two won – not entirely unsurprising, given Dudamel’s stature and new appointment as the director of the New York Philharmonic. The best children’s album win for 123 Andrés was the most poignant, a sign that the more innocent children’s music perhaps has less barriers.
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As for the show itself, only 10 to 12 awards of the 91 total are typically given out during the telecast. In his post Grammy column, Bob Lefsetz wrote, “Now if I want to be honest, a lot of other genres were recognized in the pre-show, but unless you won an award, or are related to or work with the winner, no one knows and no one cares. They won’t put this music on the telecast, it’s not broad enough.”
I beg to differ. First, many categories are given out in the pre-telecast simply because only a handful of awards are given out on air. There are many others that many people care about.
When it comes to the Latin music categories historically, however, they have hardly ever made the telecast – despite the fact that Latins now represent nearly 20% of the U.S. population, and that Spanish is the second most-consumed language in music in the country. But, the Grammys aren’t about representation, right? If that were the case, we would be advocating for Latin nominees in every category of the awards, because, well, we’re 20%. But that’s not it.
The Grammys are about quality, and cultural and artistic impact. That’s why the absence of Peso Pluma – a catalyst for the revival of an entire musical genre that has impacted the charts and American consciousness, and whose music is downright dazzling — in the general categories was so jarring.
The Mexican music superstar’s absence was especially conspicuous in the best new artist category. He was eligible among 405 new artists who competed for those eight slots, but he was not nominated. In fact, only two other artists who perform in Spanish have ever been nominated for best new artist – Rosalía in 2019 and Anitta in 2022, and neither artist won.
Why was Karol G considered good ratings fodder – the stadium headliner was seated at the front of the room and received her award for best música urbana album on air, after all — but was still shut out of any non-Latin category? This, despite the fact that she ended the year at No. 23 on Billboard’s year-end top artists chart, her Mañana Será Bonito was a top 20 album on Billboard’s year-end chart, and she played to sprawling sold-out crowds all year.
Clearly, despite all the positive moves towards diversifying the Recording Academy’s voting body, members are still resisting the concept of including music in Spanish as part of the mainstream. In the entire history of the Grammys, only one album in Spanish has ever received an album of the year nomination: Bad Bunny’s Un Verano Sin Tí in 2023. The last Spanish-language song nominated for song of the year or record of the year was “Despacito” in 2018. It didn’t win in either category, but it got the chance to compete. The importance of those opportunities to participate in the competition cannot be overlooked.
Ironically, the first-ever record and song of the year winner, back when the awards launched in 1959, was an Italian-language song, Domenico Modugno’s “Nel Blu Dipinto Di Blu (Volare).” Then in 1964, the Stan Getz/Astrud Gilberto version of “The Girl From Ipanema” won record of the year. Los Lobos’ hit cover version of Ritchie Valens’ “La Bamba” was nominated for both record of the year and song of the year in 1988, and Ricky Martin’s “Livin’ La Vida Loca” was nominated in those same two categories in 1999 (although Martin’s smash was mostly in English). That’s an awfully short list across 60-plus years, and yet we remain unable to even consider Spanish-language music as a real option in the Big Four.
Yesterday, a major Latin recording artist told me, “How come we never get nominated in the main categories? It makes me really angry.”
It doesn’t make me angry. Just sad.
Leila Cobo is Billboard’s Chief Content Officer for Latin and Español.
Front row, from left: Public Enemy’s Chuck D, Victoria Monét, The Isley Brothers’ Ernie and Ronald Isley, Keyshia Cole, Clive Davis, Dionne Warwick and Rickey Minor. Back row, from left: Lainey Wilson, Andrew Wyatt, Harvey Mason Jr., Mark Ronson, Maluma, Tom Hanks, Rita Wilson, Public Enemy’s Flavor Flav, Noah Kahan, Jelly Roll, Josh Groban, The War and Treaty’s Michael Trotter Jr., Green Day’s Tré Cool, The War and Treaty’s Tanya Trotter, Green Day’s Billie Joe Armstrong, Andra Day and Green Day’s Mike Dirnt photographed on February 3, 2024 at The Beverly Hilton in Beverly Hills, Calif.
Sami Drasin
It’s been less than 48 hours since SZA took home three Grammy Awards, and she’s had some time to reflect on the “fever dream” of a spectacular night at the 66th annual ceremony.
The SOS star took to Instagram on Monday night following the whirlwind of the Grammy Awards over the weekend, where she thanked those who played an integral role in her success and accolades.
“Thank you to every single person that forged this album out of thin air with me. Thank you to every person playing my sh– zooming me up the charts over and over and over again. Thank you for Putting me in rooms, conversations and stages I never dreamed of. Only way from up is higher.”
She had a leading nine nominations heading into the show, and SZA claimed victory in three different categories: best R&B song (“Snooze”), best progressive R&B album (SOS), and best pop duo/group performance (“Ghost in the Machine” with Phoebe Bridgers).
“It doesn’t feel like anything yet because I’m still in last night. I’m not really in today yet. But I’m just so grateful and relieved that it’s [Feb.] 5. I survived [Feb.] 4,’ she told The Hollywood Reporter. “I didn’t crash and burn on national television, and I’m so grateful.
“Had I not won a lick, won a single thing, I would’ve been so grateful to just have survived the night. So to have one of my closest friends [Lizzo] present me an award and then also get to take home a couple more is wild. It’s like a fever dream, basically.”
Billboard named SZA’s SOS loss to Taylor Swift’s Midnights in the album of the year category as one of the biggest Grammy snubs of the night.
“I don’t actually. I’m grateful I won three,” SZA said when asked if she had any thoughts on her loss to Swift. “I could have left with nothing and I didn’t, and I’m grateful. My parents got to see it and I didn’t bomb on live television, and that was so scary. And I faced some really big fears and I’m just happy that it all went well, genuinely. And I’m happy for everybody.”
Lizzo made a rare public appearance as a presenter for SZA’s best R&B song victory — in the midst of a harassment lawsuit filed against Lizzo by her dancers — and the pair shared a warm embrace. In her acceptance speech, SZA recalled when the duo was on a small tour together about a decade ago and to see how far they’ve come in the time since as superstars in the industry.
The “Truth Hurts” singer returned the favor and congratulated SZA with a heartfelt post to Instagram on Monday.
“I want to congratulate my beautiful friend SoLana. She made an album that touched millions of people and created a voice for so many women who aren’t afraid to feel deeply. S.O.S is a triumphant soliloquy of songs that effortlessly shows growth, grief, admissions of guilt and even Good days,” she wrote.
“I said it last night and I’ll say it again— WE NEED YOU SZA, you are the artist of a generation, a one of a kind voice and a timeless poet. I’m so glad you got your flowers on that Grammy stage, but the real trophy is your gift. And for that, WE Thank you. I’m so proud of you and LOVE YOU DEEP!!!! SIZZO SUPREMACY @sza.”
Find both SZA and Lizzo’s posts below.
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After years of of the dance community firing off hot takes on how the Grammys’ dance/electronic fields didn’t quite get the nominees — and occasionally the winners — right, the realm has been uniquely quiet since the close of the ceremony on Sunday.
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This general calm (minus a few predictable naysayers) suggests a mutual agreement that the 2024 Grammys finally, more or less, nailed dance/electronic music.
This success is largely due to the best pop dance recording award, newly introduced in 2024 to honor dance music that crosses over with pop, while also freeing up space in the dance/electronic recording category for more traditional thump-thump, womp-womp, boot-and-cats dance/electronic music.(Albeit more traditional dance/electronic music that’s still, most often, very commercially popular.)
You couldn’t have come up with two more apt figureheads for these factions than Kylie Minogue and Skrillex, with the former winning the pop dance Grammy for her culture-penetrating “Padam Padam” and the latter winning for his widely beloved bass bomb “Rumble,” a collaboration with U.K. grime MC Flowdan and Fred again.., who both also received awards for the win.
It is, of course, difficult to say what the nominee field would have looked like this year if pop dance hadn’t been introduced, but it’s almost certain it wouldn’t have represented the both sonic ends of the dance/electronic world thoroughly. (Racial and gender representation is a different matter: Flowdan was the only person of color nominated in the fields and Romy was the only female producer, encapsulating the dance category’s persistent issue with nominating mostly straight, white men. This issue was particularly acute in 2024, given the big four categories were dominated by women, including three winning queer women.)
Without the extra space provided to dance with the new category, it’s possible the dance/electronic recording category’s most left-of-center nominee, Aphex Twin’s “Blackbox Life Record 21F”, wouldn’t have made the cut. Or maybe only one David Guetta song instead of two would have been nominated.
It’s also possible that “Padam Padam” might have beat “Rumble,” the victory of which is particularly important given the spotlight it puts on grime, a sonic and cultural phenomenon in the U.K. but not yet a commercial force in the U.S. “I think you can put a bit more respect on the [grime] name,” Flowdan told Cracked Magazine following his win, “because in certain areas I feel that the music or the genre or the culture’s kind of downplayed as if it’s not something that’s really influential.”
What’s almost certain, though, is that like in so many years past, without pop dance, the nominee field would have likely ended up being just kind of odd, with dance-oriented pop stars like Minogue potentially up against an avant-garde electronic artist like Aphex Twin. This issue was vividly demonstrated last year, when Beyoncé was up against Bonobo, Kaytranada, Diplo, Rufus du Sol and ODESZA when her “Break My Soul” was nominated for (and won) best dance/electronic recording.
In the category’s early years, the nominee field commonly included artists like Minogue (who won the award in 2004), as well as fellow dance-leaning pop greats Madonna, Cher, Britney Spears and Justin Timberlake. It started more frequently rewarding electronic-world producers like The Chemical Brothers and Daft Punk in the late ’00s. A few years after that, the category was taken over by a new strain of pop-leaning dance music, EDM, for an era when mainstage bangers by artists like The Chainsmokers competed against more underground acts like Riton — exacerbating the issue that ultimately resulted in the addition of the new category.
Competition between such different artists may have been technically fair, but it never totally made sense. But this year, the pop dance category eradicated the strange-bedfellows phenomenon that’s plagued the dance/electronic recording category since it was introduced to the awards in 1998.
The pop dance category not only made a formal space for producers like Guetta, whose work generally has major crossover with pop, but, by awarding Minogue in particular, pulled off the neat trick of returning an artist like her — one whose work is so often inspired by and at home in the club world — to the dance field where she rightly belongs. Minogue is as much of a dance act as Skrillex, and this year, finally, they didn’t have to fight for space or recognition.
Tate McRae‘s “Greedy,” which has topped the Billboard Canadian Hot 100 multiple times and has climbed as high as No. 3 on the Billboard Hot 100, is nominated for single of the year at the 2024 Juno Awards, where it is competing with Charlotte Cardin‘s “Confetti,” Daniel Caesar‘s “Always,” Lu Kala’s “Pretty Girl Era” and Talk‘s “A Little Bit Happy.”
Nominations were announced Tuesday (Feb. 6) in a press conference at the CBC Building in Toronto. Comeback artist Nelly Furtado, who will host as well as perform on the broadcast ceremony on March 24, was a surprise guest at the nominees announcement. She also received a nomination for “Eat Your Man,” her collaboration with Dom Dolla, for dance recording of the year.
Cardin received the most nominations for the 2024 Juno Awards. The breakthrough Montreal pop singer-songwriter got six nods, including artist of the year, album of the year and pop album of the year (99 Nights), single of the year (“Confetti”) and TikTok Fan Choice.
Cardin previously cemented her Canadian stardom on the Junos stage in 2022, winning six awards. With her “Confetti” ubiquitous in both Quebec and the rest of Canada, it could be another big year for her.
Caesar and Talk follow with five nods each. Allison Russell, who won her first Grammy on Sunday, Feb. 4, for “Eve Was Black,” voted best American roots performance, received three Juno nods, as did Aysanabee, Connor Price, Lauren Spencer Smith, McRae and DVBBS.
Punjabi-Canadian artist Karan Aujla, a cover star for Billboard Canada’s inaugural digital cover, was also announced as a performer at the upcoming Junos ceremony at the Scotiabank Centre in Halifax. He follows fellow cover star AP Dhillon, who played the first full Punjabi performance at the awards last year. Joining Aujla as performers will be country breakout Josh Ross and singer-songwriter Talk.
Shubh, another Punjabi-Canadian artist, is nominated for the TikTok Fan Choice, a fan-voted award, along with Aujla, Cardin, Ross, Caesar, DVBBS, McRae, ThxSoMch and Walk off the Earth.
Nominated with Cardin for album of the year are Néo-Romance by Alexandra Stréliski, Never Enough by Caesar, Mirror by Spencer Smith and Lord of the Flies & Birds & Bees by Talk.
Cardin, Caesar, Smith and McRae are all nominated for artist of the year too, along with the legacy artist of the category, Shania Twain.
International album of the year, the only category reserved for non-Canadian artists, includes hit albums by SZA, Metro Boomin, Luke Combs, Morgan Wallen and Taylor Swift, who was nominated twice in the same category last year. Music executive, author and lawyer Chip Sutherland will receive the Walt Grealis Special Achievement Award.Tickets for the show, which will be broadcast live on CBC, and the JUNO Week events, are on sale at ticketmaster.ca/junos. The majority of the awards will be presented at The Juno Opening Night Awards the night before the main ceremony on March 23.
Here’s the complete list of 2024 Juno nominations:
TikTok Juno Fan Choice
Charlotte Cardin, Cult Nation*The Orchard
Daniel Caesar, Republic*Universal
DVBBS, Ultra*Sony
Josh Ross, Universal
Karan Aujla, Warner
Shubh, Mass Appeal*The Orchard
Tate McRae, RCA*Sony
The Weeknd, XO*Universal
ThxSoMch, Elektra*Warner
Walk off the Earth, Golden Carrot*The Orchard
Single of the Year
“Confetti,” Charlotte Cardin, Cult Nation*The Orchard
“Always,” Daniel Caesar, Republic*Universal
“Pretty Girl Era,” LU KALA, LVK/Amigo Records*AWAL
“A Little Bit Happy,” TALK, Capitol*Universal
“greedy,” Tate McRae, RCA*Sony
International Album of the Year
Gettin’ Old, Luke Combs, River House/Columbia*Sony
HEROES & VILLAINS, Metro Boomin, Boominati*Universal
One Thing At A Time, Morgan Wallen, Big Loud/Republic*Universal
SOS, SZA, Top Dawg/RCA*Sony
1989 (Taylor’s Version), Taylor Swift, Taylor Swift*Universal
Album of the Year
Néo-Romance, Alexandra Stréliski, Secret City*F.A.B.
99 Nights, Charlotte Cardin, Cult Nation*The Orchard
NEVER ENOUGH, Daniel Caesar, Republic*Universal
Mirror, Lauren Spencer Smith, Universal
Lord of the Flies & Birds & Bees, TALK, Capitol*Universal
Artist of the Year
Charlotte Cardin, Cult Nation*The Orchard
Daniel Caesar, Republic*Universal
Lauren Spencer Smith, Universal
Shania Twain, Republic*Universal
Tate McRae, RCA*Sony
Group of the Year
Arkells, Arkells Music*Universal
Loud Luxury, Armada*Sony
Nickelback, BMG*Warner/ADA
The Beaches, AWAL*Independent
Walk off the Earth, Golden Carrot*The Orchard
Breakthrough Artist of the Year
Connor Price, Independent
Karan Aujla, Warner
LU KALA, LVK/Amigo*AWAL
Shubh, Mass Appeal*The Orchard
TALK, Capitol*Universal
Breakthrough Group of the Year
Busty and the Bass, Arts & Crafts*Universal
Crash Adams, Warner
Good Kid, Good People*The Orchard
Men I Trust, Independent
New West, Republic*Universal
Songwriter of the Year
Allison Russell, Publisher: PO GIRL MUSIC / CONCORD MUSIC PUBLISHING
Aysanabee, Publisher: SELF PUBLISHED
Charlotte Cardin, Jason Brando & Lubalin, Publisher: BIG BOY ED
Nicholas Durocher & Connor Riddell, Publisher: SUMMER CAMP MUSIC PUBLISHING LTD. / ARTHAUS MEDIA INC. / PEER MUSIC CANADA INC.
William Prince, Publisher: SELF PUBLISHED
Country Album of the Year
The Compass Project – South Album, Brett Kissel, Big Star*Universal
Right Round Here, Dean Brody, Starseed*Stem
Do It Anyway, Jade Eagleson, Starseed*Stem
Ahead Of Our Time, James Barker Band, RECORDS/Columbia*Sony
Spillin’ My Truth, Tyler Joe Miller, MDM*Universal
Adult Alternative Album of the Year
Powder Blue, Begonia, Birthday Cake*The Orchard
Multitudes, Feist, Universal
Are We Good, Hayden, Arts & Crafts*Universal
Motewolonuwok, Jeremy Dutcher, Secret City*F.A.B.
Revolution, Shawnee Kish, Amelia*Symphonic
Alternative Album of the Year
Here and Now, Aysanabee, Ishkōdé*Universal
Dizzy, Dizzy, Royal Mountain*Universal
To Learn, Leith Ross, Republic*Universal
See You In The Dark, Softcult, Easy Life*The Orchard
Lord of the Flies & Birds & Bees, TALK, Capitol*Universal
Pop Album of the Year
99 Nights, Charlotte Cardin, Cult Nation*The Orchard
Mirror, Lauren Spencer Smith, Universal
Saturn Return, Rêve, 31 East*Universal
Queen Of Me, Shania Twain, Republic*Universal
Lost In Translation, Valley, Universal
Rock Album of the Year
Fearless, Crown Lands, Universal
Formentera II, Metric, Metric Music*Thirty Tigers/The Orchard
Blame My Ex, The Beaches, AWAL*Independent
Pretty Monster, The Blue Stones, MNRK*Outside
Glory, The Glorious Sons, TGS*Warner
Vocal Jazz Album of the Year
Songwriter, Alex Bird & Ewen Farncombe, Independent
You’re Alike, You Two, Caity Gyorgy & Mark Limacher, La Reserve*Independent/The Orchard
Little Bit a’ Love, Denielle Bassels, Independent
Our Roots Run Deep, Dominique Fils-Aimé, Ensoul*F.A.B./Believe
Your Requests, Laila Biali, Empress*Independent/Believe
Jazz Album of the Year (Solo)
Day Moon, Christine Jensen, Justin Time*F.A.B./Nettwerk
Walls Made of Glass, Gentiane MG, TPR*Propagande/A-Train
Sonic Bouquet, Jocelyn Gould, Independent
Twelve, Noam Lemish, TPR*Independent/A-Train
The South Detroit Connection, Russ Macklem, TQM*Independent/IDLA
Jazz Album of the Year (Group)
Migrations, Allison Au with the Migrations Ensemble, Independent
Septology-The Black Forest Session, Canadian Jazz Collective, HGBS Blue*MIG/Proper/UMV/MVD/Independent
Cry Me A River, Hilario Duran and His Latin Jazz Big Band, Alma*Universal
Recent History, Mike Murley & Mark Eisenman Quartet, Cornerstone*Outside/The Orchard
Convergence, Nick Maclean Quartet feat. Brownman Ali, Browntasauras/Independent
Instrumental Album of the Year
Néo-Romance, Alexandra Stréliski, Secret City* F.A.B.
When we were that what wept for the sea, Colin Stetson, 52 Hz
Calibrating Friction, Haralabos [Harry] Stafylakis, New Amsterdam*Naxos
Fourth Album, Markus Floats, Constellation*Secretly
Tesseract, Meredith Bates, Phonometrograph*Independent
Francophone Album of the Year
Zayon, FouKi, Disques 7ième, Ciel*Believe
Dans la seconde, Karkwa, Simone*Sony/The Orchard
En concert avec l’Orchestre symphonique de Montréal (sous la direction du chef Simon Leclerc), Les Cowboys Fringants & l’Orchestre symphonique de Montréal, Les Disques de La Tribu*Propagande/Believe
À boire deboutte, Salebarbes, Productions Grand V.*The Orchard
Non conventionnel Souldia, Disques 7ième Ciel*Independent/Believe
Children’s Album of the Year
Big Words, ABC Singsong, Independent/The Orchard
Going Back: Remembered and Remixed Family Folk Songs, Vol. 1, Ginalina, Independent
Love-a-By, Splash’N Boots, Independent/The Orchard
Welcome to the Flea Circus, The Swinging Belles, Independent
Maestro Fresh Wes Presents: Young Maestro, Stick To Your Vision For Young Athletes, Young Maestro, Independent
Classical Album of the Year (Solo Artist)
Infinite Voyage, Barbara Hannigan, Alpha Classics*Naxos/Independent
Nielsen: Violin Concerto, Symphony No. 4, James Ehnes, Chandos*Naxos/The Orchard
Fauré: Nocturnes & Barcarolles, Marc-André Hamelin, Hyperion*Universal
De Hartmann: Cello Concerto, Matt Haimovitz, Pentatone/Naxos
mouvance, Suzie LeBlanc, Centrediscs*Canadian Music Centre/Naxos
Classical Album of the Year (Large Ensemble)
Bekah Simms: Bestiaries, Cryptid Ensemble, Ensemble Contemporain de Montreal, Centrediscs*Canadian Music Centre/Naxos
Maxime Goulet: Symphonie de la tempête de verglas, Orchestre classique de Montréal, conducted by/dirigé par Jacques Lacombe, ATMA*Universal
Sibelius 3 & 4, Orchestre Métropolitain, conducted by/dirigé par Yannick Nézet-Séguin, ATMA*Universal
Mahler: Symphony No. 5, Orchestre Symphonique De Montreal, conducted by/dirigé par Rafael Payare, Pentatone*Naxos
Rachmaninoff: Symphonies Nos. 2 & 3; Isle of the Dead, The Philadelphia Orchestra, conducted by/dirigé par Yannick Nézet-Séguin, Deutsche Grammophon*Universal
Classical Album of the Year
Mythes, Andrew Armstrong & James Ehnes, Onyx*The Orchard
Portrait: Alex Baranowski, Angèle Dubeau & La Pietà, Analekta*Naxos/The Orchard
Portrait, Cheng² Duo, Centrediscs*Canadian Music Centre/Naxos
Il Ponte di Leonardo, Constantinople, Glossa*Naxos
Basta parlare!, Les Barocudas, ATMA*Universal
Classical Composition of the Year
Simulacra, Amy Brandon, Independent
Portrait of an Imaginary Sibling, Dinuk Wijeratne, Centrediscs*Canadian Music Centre/Naxos
…and the Higher Leaves of the Trees Seemed to Shimmer in the Last of the Sunlight’s Lingering Touch of Them…, Emilie Cecilia LeBel, Redshift
Shāhīn-nāmeh, for Voice and Orchestra, Iman Habibi, Analekta*Naxos/The Orchard
Don’t Throw Your Head in Your Hands, Nicole Lizée, Redshift
Rap Album of the Year
bag or die, bbno$, Independent*Stem
Spin the Globe, Connor Price, Independent
Crying Crystals, Haviah Mighty, Mighty Gang*Foundation Media
KAYTRAMINÉ, KAYTRAMINÉ, Independent
PANIC, TOBi, RCA*Sony
Dance Recording of the Year
“Eat Your Man,” Dom Dolla & Nelly Furtado, Three Six Zero*Sony
“Crew Thang,” DVBBS, Jeremih & Sk8, Ultra*Sony
“Need Your Love,” Felix Cartal & Karen Harding, Physical Presents*Fontana North
“I Go Dancing” (feat. Ella Henderson), Frank Walker, Ultra*Sony
“Next To You” (feat. Kane Brown), Loud Luxury & DVBBS, Armada*Sony
Contemporary R&B Recording of the Year
“For the Better,” Aqyila, Sony
“Never Enough,” Daniel Caesar, Republic*Universal
“Heartbreak Hill,” Jon Vinyl, Vinyl*Foundation Media
“When It Blooms,” Nonso Amadi, Universal
FACETS, Shay Lia, AWAL
Reggae Recording of the Year
“Stir This Thing,” Ammoye, Donsome*Ingrooves/Virgin
“Feel Like Home,” Exco Levi, Penthouse*High Priest/ONErpm
“Roots Girl,” Jah’Mila, Independent
“Dread Kirk,” Diamond & Finn, Independent
“Rush Dem” (feat. 4Korners, Haviah Mighty), Omega Mighty, Independent*Foundation Media
Contemporary Indigenous Artist or Group of the Year
Here and Now, Aysanabee, Ishkōdé*Universal
Scream, Holler & Howl, Blue Moon Marquee, Independent*IDLA
Inuktitut, Elisapie, Bonsound*Sony/The Orchard
Revolution, Shawnee Kish, Amelia*Symphonic
Bekka Ma’iingan, Zoon, Paper Bag*Fontana North
Contemporary Roots Album of the Year
The Returner, Allison Russell, Fantasy*Universal
We Will Never Be The Same, Good Lovelies, Outside
Beyond The Reservoir, Julian Taylor, Howling Turtle*Warner
A Light in the Attic, Logan Staats, Red Music Rising*Believe
Stand in the Joy, William Prince, Six Shooter*The Orchard
Traditional Roots Album of the Year
Paint Horse, Benjamin Dakota Rogers, Good People*The Orchard
The Breath Between, David Francey, Independent
Roses, Jackson Hollow, Mountain Fever*Syntax Creative
Second Hand, James Keelaghan, Borealis*Universal/IDLA
Resilience, Morgan Toney, Ishkōdé*Universal
Blues Album of the Year
SoulFunkn’BLUES, Blackburn Brothers, Electro-Fi*Isotope Music/The Orchard
Scream, Holler & Howl, Blue Moon Marquee, Independent/IDLA
One Step Closer, Brandon Isaak, Independent
The Big Bottle of Joy, Matt Andersen, Sonic*Warner
Gettin’ Together, Michael Jerome Browne, Borealis*Universal/IDLA
Contemporary Christian/Gospel Album of the Year
Glory To God, Brooke Nicholls, Independent
ALL YE LEPERS, Joshua Leventhal, Independent
Arrow, K-Anthony, Independent
Where I’m Meant to Be, Stirling John, Independent
Alive, Tuzee, Independent
Global Music Album of the Year
Donte sann yo, Bel and Quinn, Independent
Kizavibe, Kizaba, Disques Nuits d’Afrique*Believe
SMS for Location Vol. 5, Moonshine, Moonshine/FORESEEN*MNRK
Okantomi, OKAN, Lulaworld*Symphonic
Soap Box, Waahli, Wyzah Musk*Lemont
Jack Richardson Producer of the Year
Hill Kourkoutis
Jason Brando, Lubalin, Mathieu Sénéchal & Sam Avant
Joel Stouffer
Shawn Everett
Wondagurl
Recording Engineer of the Year
Denis Tougas
George Seara
Matty Green
Serban Ghenea
Shawn Everett
Album Artwork of the Year
Carolyne De Bellefeuille (Art Director/Directeur artistique), Jessica Ledoux (Designer & Illustrator/Concepteur & Illustrateur), Mali Savaria-Ille (Designer & Illustrator/Concepteur & Illustrateur), Veronique Lafortune (Designer & Illustrator/Concepteur & Illustrateur), Leeor Wild (Photographer/Photographe); INUKTITUT – Elisapie, Bonsound*Sony/The Orchard
Heather Goodchild (Art Director/Directeur artistique), Colby Richardson (Designer/Concepteur), Colin Fletcher (Illustrator/Illustrateur), Sara Melvin (Photographer/Photographe), MULTITUDES – Feist, Universal
Kit King (Illustrator), Vanessa Heins (Photographer/Photographe), THE LOVE STILL HELD ME NEAR – City and Colour, Dine Alone*The Orchard
Nicolas Lemieux (Art Director/Directeur artistique), Mykaël Nelson (Designer & Illustrator/Concepteur & Illustrateur), Albert Zablit (Photographer/Photographe), RIOPELLE SYMPHONIQUE – Orchestre Symphonique de Montréal, GSI*Independent
Quinton Nyce (Art Director/Directeur artistique), Brodie Metcalfe (Designer/Concepteur), Davis Graham (Illustrator/Illustrateur), Kaylee Smoke (Photographer/Photographe), I’M GOOD, HBU? – Snotty Nose Rez Kids, Independent*Fontana North
Music Video of the Year
“Of Woods and Seas,” Andrew De Zen, Alaskan Tapes, Nettwerk*Amped
“Demons,” Ethan Tobman, Allison Russell, Fantasy*Universal
“onetwostep” (feat. juicelover), Jordan Clarke, des hume des hume*Independent
“DAMN RIGHT,” Sterling Larose, Snotty Nose Rez Kids, Distorted Muse*Fontana North
“feral canadian scaredy cat,” Sterling Larose & Zachary Vague, young friend Nettwerk
Electronic Album of the Year
INFINITY CLUB, Bambii, Innovative Leisure*Red Eye
Birds, Bees, The Clouds & The Trees, Harrison, Last Gang*MNRK
Creatures of the Late Afternoon, Kid Koala, Envision*Amplified/Believe
Synthetic Season 2, Rich Aucoin, We Are Busy Bodies*Redeye
No Highs, Tim Hecker, Sunblind/Kranky*The Orchard
Metal/Hard Music Album of the Year
As Gomorrah Burns, Cryptopsy, Nuclear Blast*AEC/Believe
Electric Sounds, Danko Jones, Sonic Unyon*Universal
Goliath, Kataklysm, Nuclear Blast*AEC/Believe
VOID, KEN mode, Artoffact*MVD/The Orchard
Morgöth, Tales, Voivod Century*Sony
Adult Contemporary Album of the Year
Heavy Lifting, Amanda Marshall, Metatune*The Orchard
I Wish I Was Flawless, I’m Not, BANNERS, Nettwerk*Amped
To Be Loved, Vol. 1, Josh Sahunta, Independent*Believe
Run Where the Light Calls, Luca Fogale, Amelia*Symphonic
Wildflower, Steph La Rochelle, Independent
Comedy Album of the Year
Life of Leisure, Derek Seguin, Independent
Never Was, Graham Clark, Independent
A Lylebility, Kyle Brownrigg, Independent
Sexiest Fish in the Lake, Laurie Elliott, Howl & Roar*Independent
SAP, Mae Martin, Independent*Netflix
Traditional R&B/Soul Recording of the Year
“Hello,” Aqyila, Sony
“Unbreakable,” Jhyve, Independent
“Where To Find Me,” Katie Tupper, Arts & Crafts*Universal
“9 to 5,” Luna Elle, Hot Freestyle*Independent/Believe
“Real World,” RealestK, Columbia*Sony
Rap Single of the Year
“American Nightmare,” Belly, XO/Roc Nation*Universal
“Spinnin” (feat. Bens), Connor Price, Independent
“Honey Bun,” Haviah Mighty, Mighty Gang*Foundation Media
“Minimum Wage,” Pressa, RCA*Sony
“Someone I Knew,” TOBi, Same Plate/RCA*Sony
Underground Dance Single of the Year
“Call My Name,” BLOND:ISH, Warner
“Mad Mess,” DJ Karaba, DJ Karaba*The Orchard
“Could Be Wrong,” LOSTBOYJAY, Universal
“Eclipse,” Peach, Psychic Readings*One Eye Witness/Music Deli
“Concorde Groove,” Smalltown DJs, Fool’s Gold*Virgin Music
Traditional Indigenous Artist or Group of the Year
Sing. Pray. Love., Joel Wood, Independent
LFS5, Nimkii & the Niniis, Independent
Mitòòdebi (For My Relatives), The Bearhead Sisters, Independent
Reverie, The Red River Ramblers, Independent
Drum Nation, Young Scouts, Independent