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Myke Towers and Yandel took over the stage at Watsco Center in Coral Gables, Fla., bringing their characteristic energy to the 2023 Billboard Music Awards with a performance of “Borracho y Loco.”
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“I think of you drunk and crazy, you left my heart broken / I only know about you through social media, liking the photos,” the duo sing on their collaboration, which was released in September.
Yandel is a finalist for three awards at this year’s ceremony, including Latin rhythm song of the year and Latin airplay song of the year for his Feid collaboration “Yandel 150” and Latin rhythm artist of the year, duo or group, alongside Wisin. “Yandel 150” topped Billboard’s Latin Airplay and Latin Rhythm Airplay charts (dated April 15), marking his 15th No. 1 among 34 chart appearances.
The 2023 Billboard Latin Music Awards featured additional performances from Bad Bunny, Calibre 50, Chiquis, Eddy Lover, Eladio Carrión, Farruko, Grupo Frontera, La Factoría, Los Ángeles Azules, Los Sebastianes, Manuel Turizo, Marc Anthony, Marshmello, Justin Quiles, Nicki Nicole, Olga Tañon, Pepe Aguilar, Peso Pluma, Sky Rompiendo, Sofía Reyes, Tini, Ximena Sariñana, El Alfa and Yng Lvcas.
Check back in to Billboard.com throughout the night to get the latest news on performances, special awards and more.
Justin Quiles and El Alfa kicked off the 2023 Billboard Latin Music Awards on Thursday night (Oct. 5), bringing the heat to the Watsco Center in Coral Gables, Fla., with a tropical performance of their hit, “Fiesta Loca.”
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With dancers ready for a pool party in swimsuits and lush palm trees against a sunset facade behind them, the musical duo traded verses as they sang and rapped about partying until the break of dawn in a “Fiesta Loca” — or crazy party — as the song’s title suggests. A slew of onstage pyrotechnics ended the fittingly hot performance before the rest of the awards show got underway.
“Fiesta Loca” was released in July and comes less than a year after El Alfa released his fifth studio album, Sagitario, in November 2022 and his June 2023 compilation album, Dembow Worldwide Hits Teteo 42. Quiles, meanwhile, hasn’t released an album since 2021’s La Última Promesa.
The 2023 Billboard Latin Music Awards will feature additional performances from Bad Bunny, Calibre 50, Chiquis, Eddy Lover, Eladio Carrión, Farruko, Grupo Frontera, La Factoría, Los Ángeles Azules, Los Sebastianes, Manuel Turizo, Marc Anthony, Marshmello, Myke Towers, Nicki Nicole, Olga Tañon, Pepe Aguilar, Peso Pluma, Sky Rompiendo, Sofía Reyes, Tini, Ximena Sariñana, Yandel and Yng Lvcas.
Check back in to Billboard.com throughout the night to get the latest news on performances, special awards and more.
The 2023 Billboard Latin Music Awards are here, with the biggest names in Latin music gracing the red carpet before the show on Thursday night (Oct. 5). Peso Pluma walked the carpet confident as the leader the pack with 21 nominations this year across 15 categories, including Artist of the Year, Songwriter of the Year, […]
Last December, the Recording Academy convened a listening session of artists, label executives and stakeholders both in the United States and across Africa to discuss the rising influence of music coming from the continent. The meeting, which lasted several hours, was a key part of the process that led to the addition of a category that will be presented for the first time at the 66th Grammy Awards on Feb. 4: best African music performance.
“There’s a threshold that you like to see for a genre of music before it actually could make for a healthy category,” says academy CEO Harvey Mason Jr., who led the meeting alongside global music genre manager Shawn Thwaites. “When you talk about music coming from Africa, you’re seeing Afrobeats grow, you’re seeing amapiano and other genres coming out of the continent over the last three to five years. That started the discussions around, ‘Is it the right time?’ ”
The new category reflects the exploding commercial and cultural appeal of music by African artists in the United States. Its growth over the past few years has been almost linear: Davido’s 2017 single “Fall” was the first Nigerian song to be certified gold in the United States by the RIAA in 2020; Wizkid and Tems’ “Essence” became the first Afropop song to reach the top 10 of the Billboard Hot 100 in 2021; Burna Boy’s Love, Damini debuted at No. 14 on the Billboard 200 in 2022, becoming the highest-charting Afro-fusion album in chart history; and in May, Rema and Selena Gomez’s “Calm Down” became the first song to ever top both the U.S. Afrobeats Songs and Pop Airplay charts and peaked at No. 3 on the Hot 100. (“Calm Down” was released too early to be eligible.)
“I don’t think currently there’s better or more advanced music being made anywhere outside the continent,” says Seni Saraki, CEO and editor in chief of The NATIVE Networks, the Lagos, Nigeria-based media and content company that launched a joint venture with Def Jam in September 2022. “From what we call Afrobeats — which is, really, just popular music from Nigeria — through amapiano, the rap music, Afropop, I genuinely think this is some of the most exciting music in the world right now. And the academy is becoming cognizant of that.”
The new category is also an attempt to address some of the controversy that has arisen around the global music album award, renamed from best world music album in 2020 due to “connotations of colonialism,” but still seen as little more than a catchall for non-Western music. As the music industry has itself become more global, the academy recognized that the time had come to offer a home for music from the African continent. But it also goes beyond the popularity of Afrobeats, which itself is more of an umbrella term: The academy listed some 30 different genres that could qualify for the category, including alté, fuji and high life.
“People know about Afrobeats and they’re learning about amapiano, but they don’t realize there are so many other genres on the continent that are underserved, and they can’t just be put in a bulk category called ‘world music,’ ” says Tina Davis, president of EMPIRE, which has invested heavily in African music and artists. “And much respect to the Recording Academy because they actually took the time to want to find out. [Mason] went to the continent to just learn more about it.”
The industry has also taken notice. In the past few years, an explosion of new signings, joint ventures and licensing deals for African artists and labels from U.S.-based companies and distributors has brought a new generation of stars like Rema, Asake and Ayra Starr to join the continent’s established hit-makers. “There was a time a few years ago when I was at RCA and it seemed like we were the only ones on it,” says Def Jam chairman/CEO Tunji Balogun, who signed Tems and worked closely with Wizkid and Davido while an A&R executive at RCA and has since signed Adekunle Gold and Stonebwoy to Def Jam. “Now every week, there’s another label signing someone. The budgets are open.”
“I think you see more labels paying attention to it, you see the marketplace paying more attention to it; there’s a spotlight on it,” RCA co-president John Fleckenstein says. “The Grammys are the big leagues of awards, one of those artistic validations that many artists dream about. It’s a bit of an awakening that we are more global than we’ve ever been.”
There is, however, a little reticence around the new category; in the past, artists from genres like hip-hop, R&B and some of the Latin sectors have looked at the genre categories as boxes that merely nod to their music while gatekeeping them from the more prestigious general-field categories like song, record or album of the year. Further, a category called best African music performance, while welcome, is itself incredibly broad, covering a continent with 54 countries and 1.4 billion people.
“It’s a really important moment for the Grammys,” says Temi Adeniji, managing director of Warner Music Africa and senior vp of strategy for Sub-Saharan Africa. “But then the next step is, how do you actually roll this thing out? Even regionally — East Africa, Southern Africa, West Africa — it would be great to see a diversity of nominees, and that would reflect a real understanding from the Grammys of how large the continent is and how diverse the sounds are that are coming out.”
Talks of additional categories around African music, as well as a possible African Grammys, could be part of a future that Mason says this category is just the start of. “We want to serve music people, regardless of where they are,” he says. “I don’t know what that means yet, but we will continue to try and make sure that we are reaching as many music people regardless of their geography.”
The Potential Nominees?
Five songs that are in strong contention for a nod for the inaugural best African music performance Grammy.
Wizkid feat. Ayra Starr, “2 Sugar” (Starboy/RCA)
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Following the crossover success of his “Essence” (featuring Tems) was this breakout hit from the Nigerian superstar’s More Love, Less Ego album, featuring a powerful vocal from Starr, who is herself blossoming into a major force in African music.
Libianca, “People” (5K/RCA)
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With an arresting, emotional vocal performance, the 22-year-old Cameroonian American singer — who previously appeared on season 21 of The Voice — has captivated fans and the industry alike. “People” spawned remixes by artists such as Ayra Starr, Omah Lay and Becky G on the way to a long-running No. 2 peak on the U.S. Afrobeats Songs chart.
Davido feat. Musa Keys, “Unavailable” (Davido Music Worldwide/RCA)
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The lead single from one of the year’s best albums in any genre, “Unavailable” showcases Davido at his irresistible best, combining Magicsticks’ amapiano production with a slick verse from South Africa’s Musa Keys to craft one of 2023’s more enduring anthems.
Adekunle Gold feat. Zinoleesky, “Party No Dey Stop” (Def Jam)
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Insistent, urgent and eminently catchy, Gold’s debut Def Jam single blends the street melodies of fellow Nigerian Zinoleesky with his own knack for songwriting for a club banger with substance. It’s aspirational yet relatable, much like the album on which it appears.
Asake feat. Olamide, “Amapiano” (YBNL/EMPIRE)
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Asake’s meteoric rise over the past few years led to a headlining slot at Brooklyn’s Barclays Center in September. This track, alongside label boss and Nigerian music legend Olamide, is among his best, celebrating his trademark amapiano vibe and orchestral backing vocals, yet elevating both artists.
This story will appear in the Oct. 7, 2023, issue of Billboard.
The CMT Music Awards are headed back to the Lone Star State. The 2024 CMT Music Awards will return to the Moody Center in Austin, Texas, on Sunday, April 7, 2024, airing on CBS Television Network, and available to stream live and on demand on Paramount+ with Showtime. The awards show will air from 8 p.m. to 11 p.m. ET.
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“We couldn’t be more excited to bring the CMT Music Awards on CBS back to Austin in 2024! From the electrifying, sold-out Moody Center crowd to fans packing the streets for our outdoor Congress stage, and Bevo himself walking the Red Carpet, our Texas-sized welcome proved to be one of our biggest and most unforgettable shows yet,” CMT Music Awards executive producers Margaret Comeaux, John Hamlin and Leslie Fram said in a statement. “We’re thankful to our incredible partners at Moody and the City of Austin and thrilled to bring CMT’s signature blend of world premieres, genre-blending surprises and once-in-a-lifetime collaborations back this April!”
Jeff Nickler, sr. vp, Oak View Group, added, “Oak View Group and Moody Center are honored to welcome CMT, CBS and Paramount back to Austin. We look forward to building upon the success of last year’s record-breaking event and to hosting another sold-out audience for Country Music’s biggest party.”
Jelly Roll was the big winner in 2023, taking home CMT Music Awards trophies for male video of the year (“Son of a Sinner”), breakthrough male video of the year (“Son of a Sinner”), and CMT digital-first performance of the year (“Son of a Sinner”).
Meanwhile, artists including Jelly Roll, Kelsea Ballerini, Wynonna Judd and Ashley McBryde provided some of the 2023 awards show’s most talked about moments. Performers and nominees for the 2024 CMT Music Awards will be revealed at a later date.
In 2022, the CMT Music Awards shifted from its longtime home on CMT to CBS, and in 2023, the CMT Music Awards earned its biggest audience yet. The 2023 show was the first to be held at the Moody Center.
Country music is having a major mainstream moment.
Morgan Wallen’s “Last Night” spent 16 nonconsecutive weeks from March to August at No. 1 on the Billboard Hot 100, claiming the undisputed song of the summer crown — and is one of four country songs to top both the Hot 100 and Hot Country Songs charts in 2023, the most in a year since 1975.
And Wallen’s success story is far from the genre’s only recent standout. Thanks to artists like Luke Combs, whose cover of Tracy Chapman’s “Fast Car” spent eight weeks at No. 2 on the Hot 100, and Zach Bryan, whose breakthrough single, “Something in the Orange,” reached the top 10 of the Hot 100 while his album American Heartbreak reached No. 5 on the Billboard 200, country music consumption surged in the United States for the first half of 2023. According to Luminate, it was up 20.3% compared with 2.5% growth during the same period in 2022 — and that was before Jason Aldean’s polarizing track, “Try That in a Small Town,” hit No. 1 on the Hot 100; before Appalachian breakout Oliver Anthony Music dominated headlines with his viral populist anthem, “Rich Men North of Richmond”; and before Bryan topped both the Hot 100 and Billboard 200.
Whether that commercial surge will translate to Grammy nominations on Nov. 10 — and in particular to a long overdue showing for country artists in the general-field categories — could prove one of the more compelling narratives this awards season, particularly with country outliers Anthony and Bryan potentially leading the way.
“Country music [is at] peak awareness right now, and the industry people that vote have an opportunity to recognize that or not,” says Joey Moi, Big Loud partner/president of A&R, as well as Wallen’s producer. “You’re looking at two or three artists [from the country format] that are hanging up there with the big kids.”
Country has often been neglected when it comes to Grammy nominations in the general-field categories — album, record and song of the year and best new artist, for which all 13,000 Recording Academy members can vote. (Starting with the 2024 Grammys, the so-called Big Four becomes the Big Six, with the addition of songwriter of the year, non-classical and producer of the year, non-classical moving into the general field.)
Five Grammy Award cycles have occurred since nominations in the Big Four categories were increased from five to eight and then to 10 contenders, and there have been 196 total Big Four nominations in that time — yet only six have gone to mainstream country artists or projects, with just one victory: Kacey Musgraves’ album of the year trophy for Golden Hour in 2019. (The nominees will revert to eight per category for the 2024 awards.)
But recognition of many of these songs beyond only country audiences could shift the dynamic this year. Anthony went from obscurity to instant household name with “Rich Men North of Richmond,” which debuted at No. 1 on the Hot 100 in August. “Rich Men” was submitted for record and song of the year, though not in any country categories, nor was Anthony entered into consideration for best new artist. (His manager did not respond to a request for comment on the submissions.)
Should “Rich Men” receive a song or record of the year nod — or even a win — it would not be the first time voters have marked their ballots for a song with a message. At the 2019 ceremony, Childish Gambino’s commentary on institutional racism, “This Is America,” won song and record of the year. Two years later, “I Can’t Breathe,” H.E.R.’s poignant take on George Floyd’s murder, won song of the year.
But though “Rich Men” has enjoyed a kind of flashpoint notoriety — the song was even referenced at the Republican presidential debate in August — that may not translate to Grammy votes.
“Artists who have huge moments still have to consider who’s voting,” one Grammy consultant says, noting that voters aren’t the fans who propelled “Rich Men” to No. 1 but creatives who make music. And while the timing of Anthony’s breakthrough means he is fresh in voters’ minds as they mark their ballots, that could also work against him. “I don’t know if the industry is going to wait and hold off to see if [he] has legs or it’s a flash in the pan,” one Grammy voter says. “If this happened in March or April and maintained through the year, we’d have a much clearer story. [He’s] kind of starting the race about five minutes later than everybody else.”
Bryan — who, unlike Anthony, is entered in several country categories as well as album, song and record of the year — may have a different experience. Unlike the self-released Anthony, he is signed to Warner Records, which has the infrastructure to run a campaign for him. His success has built steadily over the past 18 months and extends beyond one song and one format, or as the Grammy voter puts it: “He has had a career that has grown and gathered some roots.” Bryan and past Grammy favorite Musgraves debuted at No. 1 on the Hot 100 with their duet, “I Remember Everything,” from his self-titled album that entered the Billboard 200 and Top Country Albums at No. 1. And when it comes to the general-field categories, he could draw from a particularly broad base of voters: His self-titled set, which arrived Aug. 25, also launched atop the Top Rock Albums, Top Rock & Alternative Albums and Americana/Folk Albums charts.
By creating their own nontraditional paths, Anthony and Bryan could, ironically, achieve recognition that some of country’s most respected artists have not: None of Miranda Lambert’s 27 career Grammy nods have been in the general-field categories, while only one of Chris Stapleton’s 17 nominations has been. Whether they also end up distracting from the work of their more conventional country peers in the general categories remains to be seen. Adds the Grammy voter: “I don’t know if people are aware of a lot of the other great country records that may have been out there over the year — they’ve taken up so much air in the room.”
Additional reporting by Jessica Nicholson.
This story will appear in the Oct. 7, 2023, issue of Billboard.
As R&B superstar SZA has continued to ascend to the highest levels of popular music’s stratosphere over the past year — No. 1 hits, festival headlining slots, A-list collaborations, raves from critics and peers — her résumé still lacks a key item: major Grammy success. While SZA has been nominated for 15 Grammys — an impressive number, considering that as of the most recent ceremony, she still only had one full-length album to her name — she has just one win: in the best pop/duo group performance category, for her guest turn on Doja Cat’s crossover smash, “Kiss Me More.”
That seems likely to change at the 2024 Grammys, following the December 2022 release of her SOS, one of the most universally lauded albums of the past year. Not only did it draw near-unanimous praise, it also brought SZA to a new level of commercial dominance: SOS topped the Billboard 200 for 10 nonconsecutive weeks, with all 23 of its tracks hitting the Billboard Hot 100 — including breakout single “Kill Bill,” which became her first No. 1 on the chart. “There’s nobody close,” says artist development specialist and academy member Chris Anokute when gauging SZA’s 2024 Grammy credentials. “The girl has paid her dues. She has been releasing music for seven years. And she has made a multigenre, multiformatted album — the best multigenre, multiformatted record I’ve heard in years. And it deserves to be the album of the year.”
Indeed, the feeling among insiders that Billboard spoke with for this article is that SZA’s career has hit all the right beats for a Grammy artist since she signed with Top Dawg Entertainment (TDE) a decade ago — and that it’s time for the Recording Academy to properly recognize her. “The Grammys are supposed to reward artists who show development and growth; artists who were once opening up and then get to arena level,” one music industry veteran says. “The Grammys really should want to be behind the trajectory of an artist like that.”
A source on SZA’s team confirms that the label will run a traditional campaign for her and points to increased visibility from the second leg of her North America tour (which includes two late-October stops in Los Angeles), as well as a deluxe reissue of SOS — recently confirmed by SZA herself as being titled Lana, featuring “seven to 10 [new] songs” and coming sometime this fall. The team has also sent out SOS boxes to “partners at press, radio” and digital service providers that include the album on vinyl and CD, as well as a compass, ring, metal straw and cleaning brush.
“Such packages have become very effective through the years because that’s what helps make projects stand out,” says a veteran marketing strategist of the box set promotional strategy. “It’s about what’s going to remind people that this record is a contender.”
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While the album (and its accompanying singles, “Kill Bill” and the more recent top 10 hit “Snooze”) likely will be in the running, it’s working against the tide of recent history. R&B has had some success in the past decade within the all-genre Big Four categories, but the genre’s most successful artists in the general field have tended to be those who embraced more of a classic, retro-vibing R&B mold: Bruno Mars and Silk Sonic, H.E.R., Jon Batiste. Artists like SZA — whose R&B is largely rooted in hip-hop sonics (and who came up as the lone R&B artist on the rap-focused TDE) — have, like rap itself, struggled to gain that kind of Grammy recognition.
Anokute doesn’t necessarily see that lack of recent precedent as an issue for SZA’s chances, instead calling back two decades to a pair of artists whose blend of classic and modern soul sounds made them pop insiders and Grammy darlings. “To me, you could compare this SZA moment to Lauryn Hill’s and Alicia Keys’ big Grammy moments [in 1999 and 2002, respectively],” he says. “She has crossed boundaries, she has crossed race with this album. At the end of the day, popular is popular, right? … You can’t call pop music [only] music that is on top 40 radio. Pop music is the most popular genre. And at the end of the day, Black music is the most popular music in the world.”
No matter how popular her music is currently, SZA will still have her work cut out for her contending at next year’s Grammys, likely against some of the other biggest artists in the world right now — including Olivia Rodrigo, Morgan Wallen and of, course, three-time album of the year winner Taylor Swift. However, Anokute points out that no one, not even the galactically popular Swift, can boast the cross-demographic appeal that SZA now has: “In terms of the most popular record between all genres of people, SZA beats Taylor Swift. I don’t know anybody listening to Taylor Swift outside of mostly, you know, white people… But I know a lot of white people, a lot of Black people, a lot of Spanish people that are listening to SZA and are huge fans. I’m not saying that Taylor only appeals to white people or Caucasian people, but the majority of her fan base is not Black or brown. SZA’s is, but she also crossed over.”
And whether the Grammys ultimately reward SZA’s latest, one music industry veteran says that it is in the Recording Academy’s best interest to look forward with R&B as much as backward. “We appreciate [the recognition for] the Bruno Marses and the H.E.R.s — they’re a safe balance,” the veteran says. “I think the academy knows that to be a part of the future, they have to embrace the future… Can we prove the Rolling Stone guy [Jann Wenner] wrong? That’s what we should focus on.”
This story will appear in the Oct. 7, 2023, issue of Billboard.
“I don’t go on TikTok,” says PinkPantheress when asked whom she pegs as future TikTok stars. It’s surprising, to say the least. Few musicians have utilized the platform as expertly as she has over the past three years. What started out as a bet with a friend to prove she could crack its algorithm — “I told her I could make a viral video if I wanted to. And then I did,” she remembers — wound up launching what has turned out to be a fruitful career IRL.
“Once I figured out the algorithm, I was like, ‘Well, surely this would be able to blow up the music, too,’ ” she says. The 22-year-old English musician (who goes by various pseudonyms in lieu of her real name) is sitting in a midsize meeting room at the 1 Hotel in Brooklyn’s DUMBO neighborhood, where the décor — black leather, bare metal and treated wood everywhere — is working hard to make nature feel modern, but she looks effortlessly cool in baggy denim and a comfortable tank top. She’s polite and cordial, even though it’s clear she would rather be doing anything but an interview. “I was like, ‘Well, I might as well just try and see what happens. And even if I don’t get anyone listening to it, at least it’s out there and not just stuck on my laptop.’ ”
The songs that were hiding out on her laptop quickly found an audience. Her brand of drum’n’bass-meets-’90s pop/R&B tapped right into the heart of the zeitgeist, resonating with a generation of kids who don’t know life before the internet, smartphones and social networks but are downright tickled by the idea of a more analog lifestyle.
“When I posted my first song, people were commenting saying it was really good. And I saw people using the sound — like 200 uses in a day or something,” PinkPantheress says. “At that point I was like, ‘Wow, this is crazy.’ Imagine you have a song that you didn’t think anyone was going to listen to, to suddenly way more people than you expected listening to it.”
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Uploaded three years ago on Christmas Day, the song was the Michael Jackson-sampling “Just a Waste,” and it showcased what has become her trademark style: throwing a disco ball drenched in despair into a blender to create something deceptively fun. But while PinkPantheress loves sampling, she’s weary of relying on its easy pleasures. “I always like to think that I’m adding something to [the sample], which is, like, relevant enough that suddenly it’s a new song. I just think too many songs these days are just an interpolation,” she says.
With hordes of new fans clamoring for more, PinkPantheress uploaded “Pain” in January 2021, a song that would have fit in perfectly with the Euro alt-pop invasion of the late 1990s. At only a minute and 39 seconds long, it’s really more of a ditty than a song — but manages to perfectly convey forlorn teenage love.
“Just a Waste” and “Pain” showcased a young, gifted songwriter, one who could succinctly capture and clearly telegraph universal feelings to make listeners feel as if she might be reading their DMs. Early on, unrequited love dominated her music. The feeling of “having someone that you’ve always wanted to see romantically but you’ve never managed to be able to and stuff like that,” she says. Now that she’s getting more famous, though, her music may soon have a more optimistic glint. “I guess the more I create music, the less I want to be stuck in that world.”
Born in Bath, England, to a Black Kenyan mother and a white British father, PinkPantheress was raised in Kent with her older brother. She took to music at an early age, learning to play piano and forming a rock band with a few friends while in grammar school. She spent most of her free time watching music videos and interviews on YouTube. By the time she got to college, she started making electronic music and experimenting with musical software to create her own productions.
To try out her songs, she wrote and produced for her friend MaZz. “I think, objectively, the songs were good songs,” PinkPantheress says. “She was kind of the [voice] and face for my writing.” But, like many talented songwriters, PinkPantheress soon “wanted more control over how I sounded.” She registered for SoundCloud under the name of her favorite Steve Martin movie and began uploading songs.
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Nothing caught on — but when she took to TikTok in December 2020, seemingly overnight, she became an indie pop darling. “Pain” broke onto the U.K. Singles chart in August 2021 and peaked at No. 35. Later that year, she signed a deal with Parlophone and Elektra Records and released her first mixtape, To Hell With It. As booking offers came in for PinkPantheress — who had yet to perform live — her management at Upclose took things slowly, opting for smaller shows that allowed her to build an audience rather than going for festival stages.
“I remember my first few shows after my mixtape was out at the end of 2021 and [my management] were making me do rooms of like 100 people and 150 people,” she recalls. “The biggest room I did was probably 800. I remember thinking, ‘Why are these rooms so small?’ ”
“It has been superintentional,” says Jesse Gassongo-Alexander, PinkPantheress’ co-manager, when asked about helping her build a fan base after finding so much success online. “It was always a case of putting in the hard work and taking the slower route to build a foundation that is solid that’s going to allow her to stay here for a while.”
Her story resembles that of another young female artist who managed to parlay massive online success into real-world results: rapper Ice Spice. On paper, PinkPantheress and Ice Spice may seem like photo negatives of each other — one’s a brash rapper from the Bronx who has no problem putting herself in the spotlight; the other’s an introverted singer who prefers the solitary pursuit of songwriting to industry glad-handing — but to PinkPantheress, they’re more alike than different. So much so that she offered Ice a spot on the remix to her hit song, “Boy’s a liar Pt. 2,” earlier this year.
“I feel like I don’t have that many peers that exist in a similar space to me,” she says. “I’m not talking about levels. I’m talking about internet space. I think a lot of people see me as being this, like, internet cutesy teen-pop girl. I feel like she was one of the newcomers whom I got drawn to because, even though she does drill and rap, it still feels like she’s in the same cutesy world to me. And she’s Black too, and that was a big important part of it to me. I prefer to collaborate with other Black artists.”
Lia Clay Miller
The song became an instant hit, her biggest so far, debuting at No. 14 on the Billboard Hot 100 after going viral on TikTok. For many in the United States, “Boy’s a liar Pt. 2” was the first time they had heard PinkPantheress. It got her her first BET Award nominations (best collaboration, BET Her Award), landed her an MTV Video Music Awards nod (best new artist) and ultimately peaked at No. 3.
Many believe she’s a lock for her first Grammy nomination thanks to the song — if she had to guess, probably for best pop duo/group performance. She’s taken aback and amused when told about the drama that has surrounded the Grammy Awards’ classification of certain albums by Black artists — even more so when she learns how disappointed Justin Bieber was when his album Changes got the nod for best pop vocal album instead of best R&B album.
But even without a Grammy nomination, she can count this year as an unequivocal success. In addition to her biggest single yet, she appeared on Barbie: The Album — as good an “I’ve arrived” moment as any. But still, even as her career explodes, it’s surprising to hear that TikTok has taken a back seat.
“I didn’t leave it behind. I still post on it,” she says reassuringly. “I love using it to post my own videos, but I do not watch videos on there. Because like a year ago, I would scroll and I’d see too many TikToks about me. I was like, ‘I can’t do this anymore.’ ”
Makes sense. Her management team trusts her to make the best decisions for herself. “I think she has shown how globally intelligent she is by being one of the earlier trendsetters,” Gassongo-Alexander says. “Coming from TikTok and appealing to a wider audience and then knowing how to retain that wider audience.”
How does PinkPantheress plan to keep growing that audience? By keeping on keeping on, it seems. She’s uninterested in sacrificing her core audience at the altar of pop stardom. Thankfully, her music is naturally easy on pop fan ears. “What I’ve realized is that my natural way of writing is more pop-friendly than anything,” she says. “So even though the beats can be kind of alternative, I still write in a very standard structure. And I make sure all the lyrics are tangible. And because of that, I think that it has made the [music] that I’m doing very accessible to mainstream audiences. But my biggest fear is having people hear me do a [song] and recognize that I’m doing it for the wrong reasons.”
This story will appear in the Oct. 7, 2023, issue of Billboard.
The first time Gracie Abrams met Aaron Dessner, at his famed Long Pond studio near Hudson, N.Y., the pair wrote over 10 songs. “We hit it off,” recalls Dessner, 47, of their first session in spring 2021. That’s a bit of an understatement, considering what followed: Dessner went on to produce and co-write Abrams’ acclaimed debut album, Good Riddance, released in February and brimming with honest reflections sung in her delicate voice that float over intriguing chord progressions and indie-rock riffs. In June, following the album’s vinyl release, Abrams topped Billboard’s Emerging Artists chart.
In early September, following appearances by both on Taylor Swift’s Eras Tour (Abrams as an opener, Dessner as a guest), the duo played three sold-out, intimate acoustic shows in New York, Nashville and Los Angeles, where they performed songs of Abrams’ both old and new. The gigs bookended a recording pit stop at Long Pond. “We made a lot of music, and it feels really different than what we’ve done before… like the best stuff we’ve made,” Dessner reveals.
Abrams, 24, is one of the newest artists to become a Long Pond regular, joining an eye-popping group of talent that includes Swift, Ed Sheeran and, of course, Dessner’s band, The National — all of whom have been incredibly active in recent years, continuing Dessner’s streak as one of the most in-demand, and busiest, collaborators in music today. As such, and with Abrams a likely best new artist contender, could Dessner finally score a long-awaited nod for producer of the year, non-classical?
“I don’t know another person that could do what Aaron does,” Abrams says. “There’s a kind of sensitivity that doesn’t necessarily exist in most artist-to-producer relationships that I am aware of.”
What was it about Long Pond that felt immediately inspiring or comfortable?
Gracie Abrams: Everything. I felt really open as a result of the space feeling open, and it’s entirely a testament to Aaron’s entire personality. The place feels very inviting [for] sharing all your secrets and deepest, most private feelings without any hesitation.
When Gracie’s debut arrived, Aaron wrote on Instagram that it almost feels like you two are siblings. What’s the best example of that?
Abrams: I mean, maybe brutal truth all the time. I tell Aaron everything as soon as it happens to me, so I burden him with my life story in a way that I feel like only people who you’re related to by blood should have to take on.
Aaron Dessner: And I get to live vicariously through Gracie, which is really nice. (Laughs.) When you write songs and make music with someone — and when you make so much music as we have — it’s an intimate, vulnerable experience, so you get to know each other really well. And it’s also the thing that makes music most meaningful, I think, the friendships that you collect along the way. Because when I look back — I’m quite a bit older than Gracie, although we don’t feel so far apart — there are these friendships that I still have from different points along the way, and those are the mile markers. Because [as a musician] you don’t have a very normal life and you’re traveling all the time and kind of running on fumes and it’s so amazing but it’s also hazardous, being unstructured and not having your support system or your family close by a lot of the time. The only way I know how to do this is to grow close to people and learn from them. I always feel like I’m learning as much as anyone might learn from me.
What is the biggest lesson you have learned from each other?
Abrams: My identity now has been massively shaped by what I’ve learned in this relationship with Aaron the past couple years, not just musically — which it has entirely helped guide me in terms of self-trust — but just how to be a very decent person. Especially in the context of the music industry. I grew up in L.A. and started recording here first and it felt very different than when I went to Long Pond for the first time, and it really broadened my imagination for the kind of life that I could have if I’m lucky enough to do the thing that I love, versus what I assumed to be the blueprint that always secretly made me feel a little depressed.
Dessner: To be honest, I’ve never written songs in the room with anyone [before]. I would always make music alone or with my brother [Bryce]. Most of the time, I write the music first and then someone writes to it. That has been how The National worked and how I worked with [Swift] and other people. And Gracie came and we wrote together in the room, and it’s a scary thing because you don’t have the chance to be figuring out your brilliant idea. And I found I was even more comfortable doing it like that, where I would basically sketch [an idea] and Gracie could guide me or bounce off it in real time and write words and melodies. And then over time we got really good at it, and that’s what I ended up doing a lot with Ed Sheeran. I don’t know that I would have been able to do it had I not had that confidence from this.
Gracie Abrams photographed on September 1, 2023 at Long Pond Studio near Hudson, NY.
Wesley Mann
Aaron Dessner photographed on September 1, 2023 at Long Pond Studio near Hudson, NY.
Wesley Mann
Aaron, why do you think Gracie could be in the running for best new artist?
Dessner: Gracie is making incredibly compelling, emotionally direct songs that really resonate with her fan base. [She has] become an artist that’s clearly impacting a lot of people. And I think the record is one of the best of the year, and she’s one of the artists that should be in that discussion. I also think with all of this stuff, it’s subjective. It’s a total honor to be in any conversation about the Grammys and to win a Grammy, and of course it sounds like I have to say that, but a lot of my favorite artists have never been in that conversation. So I kind of take it with a grain of salt. I have a lot of respect for it, but at the same time if you don’t get nominated… it doesn’t diminish what you’re doing.
And Gracie, why should Aaron get a producer of the year nod?
Abrams: I don’t know another person that could do what Aaron does could make album of the year after album of the year. I can identify instantly whether or not Aaron has touched a song because you can feel it, and I can’t compare that to anything. It’s not something that I’ve found anywhere else. And I think also it’s so evident, like the songs that people fall in love with on all the albums that Aaron has made are the ones that really work. The ones that the die-hard fans want to hear and scream at the top of their lungs.
How do these sets you’ve been performing together compare to the stadium shows you both played as part of Swift’s Eras Tour?
Dessner: As much as I am close friends with and know Taylor well, you can’t believe that she pulls it off. It’s like, the best thing that has ever happened to live music in a way. And seeing Gracie play those shows [as an opening act] and seeing people in the stadium singing the songs, it’s a crazy moment in her career. It reminded me of, in a way, in 2007-8, R.E.M., on their final tour, invited The National to open for them, and that was this real moment for us because one of our favorite bands, a giant American rock band, was saying, “Come, we love you.” This is on a much bigger scale than that was, but it feels related, it feels like that really fueled us, and I can feel that in Gracie now, like there’s this confidence, and it’s exciting.
Abrams: There’s something about the scale of what Taylor has done that is unlike anything I’ve ever felt or known in my entire life, and I agree that it is the best thing that has ever happened to live music. Just to be in a place where that many people are equally moved and emotional and down to express it as loudly as possible, it’s really unbelievable. That feeling, though — being in a stadium, at least a Taylor Swift stadium, and these intimate rooms — is very connected, which sounds wild maybe. One of the many millions of things I learned this summer is, she does actually make it feel like you’re on another planet and like it’s just you and her in the room. And I’ve been lucky enough to see the show so many times and I’ve watched it from every possible place in the stadium, and that’s true every time.
From left: Gracie Abrams and Aaron Dessner photographed by Wesley Mann on September 1, 2023 at Long Pond Studio near Hudson, NY.
Wesley Mann
From left: Aaron Dessner and Gracie Abrams photographed by Wesley Mann on September 1, 2023 at Long Pond Studio near Hudson, NY.
Aaron, have you and Taylor’s longtime collaborator Jack Antonoff ever joked that you two could be competing for producer of the year for the foreseeable future?
Dessner: He has produced so many records and been in that really intensely for a long time, whereas I’ve been really doing all my esoteric art music with my brother and making music with The National and touring a lot. But I feel like there’s a lot of camaraderie between Jack and I, having worked on a lot of the same records now, and I think anyone that gets nominated is lucky. Some people have more notoriety for whatever reason, and I think part of the thing is like, how much do people know what you do? So, the answer is, I think we’ll think it’s funny.
For an artist or producer who wants to build what you two have, what advice would you give?
Abrams: I hope I’ve gotten less annoying about it, but [Aaron] very much encouraged following your gut, which is maybe cliché advice or feels empty, but I think I was so lucky to have had the person saying that to my face be someone whose work I have admired forever and someone who I trust. But having not heard that or believed it, a lot of the music wouldn’t exist, or I would be in a very different place in general right now.
Dessner: There are a lot of producers who franchise themselves and collect as many artists as they can, and you can see that, and I feel like the work becomes diminished or something. You also have to live and experience things. I like the way community slowly grows… I feel like people find each other for a reason.
This story will appear in the Oct. 7, 2023, issue of Billboard.
Taylor Swift leads all nominees for the 2023 MTV EMAs with seven nods, including best artist, best song and best video, the latter for her single “Anti-Hero.” This year’s nominations were announced Wednesday morning (Oct. 4) and they find Olivia Rodrigo and SZA just behind Taylor with six noms each — including for best artist, best song and best video — with Doja Cat, Måneskin, Miley Cyrus and Nicki Minaj each garnering four.
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This year’s event will be broadcast live to more than 150 countries on Nov. 5 from the Paris Nord, marking the first time the ceremony has returned to the City of Light since 1995; the show will also be available in a number of international territories on Pluto TV and on-demand on Paramount+.
This year’s list of honorees also includes 26 first-time nominees, including BTS’ Jung Kook — his first EMA noms as a solo artist — as well as Central Cee, FLO, Ice Spice, PinkPanthress with three each and Asake, Coi Leray, Metro Boomin’, The Weeknd (who now goes by his birth name, Abel Tesfaye), NewJeans, Peso Pluma and Reneé Rapp with two each.
The 2023 EMAs will also add a new best Afrobeats category this year, with Asake, Aya Nakamura, Arya Starr, Burna Boy, Davido and Rema in the running. Fans can start voting for their favorite categories starting today here; voting will be open through 11:59 p.m. CET on Oct. 31. Fans in 24 regions around the world will be able to vote for their favorite performers in the best local act category.
Check out the complete list of 2023 MTV EMA nominees below.
Best Song
Doja Cat – “Paint The Town Red”
Jung Kook feat. Latto – “Seven”
Miley Cyrus – “Flowers”
Olivia Rodrigo – “vampire”
SZA – “Kill Bill”
Taylor Swift – “Anti-Hero”
Rema, Selena Gomez – “Calm Down”
Best Video
Cardi B feat. Megan Thee Stallion – “Bongos”
Doja Cat – “Paint The Town Red”
Little Simz – “Gorilla”
Miley Cyrus – “Flowers”
Olivia Rodrigo – “vampire”
SZA – “Kill Bill”
Taylor Swift – “Anti-Hero”
Best Artist
Doja Cat
Miley Cyrus
Nicki Minaj
Olivia Rodrigo
SZA
Taylor Swift
Best Collaboration
Central Cee x Dave – “Sprinter”
David Guetta, Anne-Marie, Coi Leray – “Baby Don’t Hurt Me”
KAROL G, Shakira – “TQG”
Metro Boomin, The Weeknd, 21 Savage – “Creepin’”
PinkPantheress, Ice Spice – “Boy’s a Liar Pt. 2”
Rema, Selena Gomez – “Calm Down”
Best New
Coi Leray
FLO
Ice Spice
Peso Pluma
PinkPantheress
Reneé Rapp
Best Pop
Billie Eilish
Dua Lipa
Ed Sheeran
Miley Cyrus
Olivia Rodrigo
Taylor Swift
Best Afrobeats
Asake
Aya Nakamura
Ayra Starr
Burna Boy
Davido
Rema
Best Rock
Arctic Monkeys
Foo Fighters
Måneskin
Metallica
Red Hot Chili Peppers
The Killers
Best Latin
Anitta
Bad Bunny
KAROL G
Peso Pluma
ROSALÍA
Shakira
Best K-pop
FIFTY FIFTY
Jung Kook
NewJeans
SEVENTEEN
Stray Kids
TOMORROW X TOGETHER
Best Alternative
Blur
Fall Out Boy
Lana Del Rey
Paramore
Thirty Seconds To Mars
YUNGBLUD
Best Electronic
Alesso
Calvin Harris
David Guetta
Swedish House Mafia
Peggy Gou
Tiësto
Best Hip-Hop
Cardi B
Central Cee
Lil Wayne
Lil Uzi Vert
Metro Boomin
Nicki Minaj
Travis Scott
Best R&B
Chlöe
Chris Brown
Steve Lacy
Summer Walker
SZA
Usher
Best Live
Beyoncé
Burna Boy
Ed Sheeran
Måneskin
SZA
Taylor Swift
The Weeknd
Best Push
November 2022: Flo Milli
December 2022: Reneé Rapp
January 2023: Sam Ryder
February 2023: Armani White
March 2023: FLETCHER
April 2023: TOMORROW X TOGETHER
May 2023: Ice Spice
June 2023: FLO
July 2023: Lauren Spencer Smith
August 2023: Kaliii
September 2023: GloRilla
October 2023: Benson Boone
Biggest Fans
Anitta
Billie Eilish
BLACKPINK
Jung Kook
Nicki Minaj
Olivia Rodrigo
Sabrina Carpenter
Selena Gomez
Taylor Swift
Best Group
aespa
FLO
Jonas Brothers
Måneskin
NewJeans
OneRepublic
SEVENTEEN
TOMORROW X TOGETHER
2023 MTV EMA Best Local Act Nominees:
Best African Act
Asake
Burna Boy
Libianca
Tyler ICU
Diamond Platnumz
Best Asia Act
BE:FIRST
BRIGHT
Moria
Tiara Andini
TREASURE
Best Australian Act
Budjerah
G Flip
Kylie Minogue
The Kid LAROI
Troye Sivan
Best Brasilian Act
Anavitoria
Kevin O Chris
Luisa Sonza
Manu Gavassi
Matue
Best Canadian Act
Charlotte Cardin
Drake
Jamie Fine
Shania Twain
The Beaches
Best Caribbean Act
Eladio Carrion
Mora
Myke Towers
Rauw Alejandro
Young Miko
Best Dutch Act
FLEMMING
Idaly
Kriss Kross Amsterdam
S10
Zoë Tauran
Best French Act
Aime Simone
Aya Nakamura
Bigflo & Oli
Louane
Ninho
Slimane
Best German Act
Apache 207
AYLIVA
Kontra K
Luciano
Nina Chuba
Ski Aggu
Best Hungarian Act
ajsa luna
Analog Balaton
Beton.Hofi
Co Lee
Hundred Sins
Best India Act
Dee MC
DIVINE
Mali
Tsymyoki
When Chai Met Toast
Best Italian Act
Annalisa
Elodie
Lazza
Måneskin
The Kolors
Best Israeli Act
Anna Zak
Liad Meir
Noa Kirel
Nunu
Shira Margalit
Best Lat Am Central Act
Blessd
Feid
Manuel Turizo
Ryan Castro
Sebastian Yatra
Best Lat Am North Act
Danna Paola
Kenia Os
Kevin Kaarl
Siddhartha
Natanael Cano
Best Lat Am South Act
Bizarrap
Duki
Fito Paez
Lali
Nicki Nicole
Best New Zealand Act
BENEE
JessB
Jolyon Petch
L.A.B.
SIX60
Best Nordic Act
Alessandra
Käärijä
Loreen
Swedish House Mafia
Zara Larsson
Best Polish Act
Doda
Kasia Nosowska
Mrozu
Sanah
Vito Bambino
Best Portuguese Act
Bárbara Bandeira
Bispo
Carolina Deslandes
Marisa Liz
PIRUKA
Best Spanish Act
Abraham Mateo
Álvaro de Luna
Lola Índigo
Quevedo
Samantha Hudson
Best Swiss Act
Danitsa
Gjon’s Tears
KT Gorique
Monet192
Stress
Best UK & Ireland Act
Calvin Harris
Central Cee
PinkPantheress
Raye
Sam Smith
Tom Grennan
Best US Act
Doja Cat
Nicki Minaj
Olivia Rodrigo
SZA
Taylor Swift