Awards
Page: 3

The second annual I’m Just Me: A Charley Pride Celebration of Inclusion brunch will take place May 6 at the Hall Park Hotel in Frisco, Texas, two days before the 2025 Academy of Country Music Awards.
Mickey Guyton, a two-time ACM Award nominee and the first Black woman to host the ACM Awards, in 2021, will emcee the event that celebrates honorees who represent Pride’s legacy in country music as leaders in hope, advocacy and innovation.
This year’s honorees are country singer/songwriter Brittney Spencer, iconic artist Lionel Richie, Guyton, “A Bar Song (Tipsy)” singer Shaboozey, the Freddy Fender Estate, F2 Entertainment president/CEO Fletcher Foster, Presidential Medal of Freedom recipient and grandmother of Juneteenth Opal Lee, Amazon Music head of country music Michelle Tigard Kammerer, Tennessean country music reporter Marcus Dowling and mtheory CEO Cameo Carlson. (More honorees are to come.)
Trending on Billboard
The groundbreaking Pride, who died in 2020 at age 86, was country music’s first Black superstar, breaking down barriers despite facing racial adversity and going on to win three Grammy Awards. He was the first Black artist to win entertainer of the year at the Country Music Awards, and he received the ACM’s Pioneer Award and the Recording Academy’s Lifetime Achievement Award. He scored 29 No. 1s on Billboard’s Hot Country Songs chart and was the first Black artist to reach No. 1 on the chart.
The invite-only I’m Just Me event will be presented by Amazon MGM Studios, in partnership with Amazon Music and the Academy of Country Music.
“We’re honored to support this celebration that uplifts trailblazers pushing the genre forward, while reaffirming our commitment to broadening the narrative and welcoming a wider range of voices into the spotlight,” Ryan Redington, GM of Amazon Music, said in a statement.
Reba McEntire will host the 60th ACM Awards, which will stream free live across more than 240 countries and territories on Prime Video and the Amazon Music channel on Twitch from Ford Center at The Star in Frisco, Texas, on Thursday, May 8, at 8 p.m. ET/5 p.m. PT.
Hanna Nicole and Ashley Grace are so in sync that they even finish each other’s sentences at times.
Collectively known as Ha*Ash, the Louisiana-born sisters’ bond has powered the duo’s career over the past 20 years, and that built-in connectedness also contributes to their unbreakable status in Latin music. On April 24, the sisters will be honored at Billboard and Telemundo’s annual Latin Women in Music event with the Unbreakable Award, celebrating both their music and their career as a remarkable sibling duo that is perhaps more relevant than ever today.
“When I hear the word unbreakable, the first thing that comes to my mind is that, although this career has been like a roller coaster, here we are doing what we love to do the most,” says Hanna, who is a year and a half older than Ashley. “It’s an honor to not only be recognized for our work after 23 years of career but to continue to live from our stories and songs. It’s a blessing.”
Speaking in perfect English and Spanish, a reflection of their bicultural upbringing — living half of the year in Mexico and the other half in the U.S. as kids — Hanna and Ashley are in the midst of their biggest tour ever, with a South American trek that included stops at Chile’s Viña del Mar Festival, in the wake of their 2024 album, Haashville.
Trending on Billboard
It’s the latest high point in a career that fueled Latin pop’s domination in the early 2000s with their country-tinged “Odio Amarte,” the first single from their self-titled debut album, and “Estés Donde Estés,” which became Ha*Ash’s first top 10 hit on Billboard‘s Latin Pop Airplay chart.
“ ’Estés’ became the theme song of a Mexican telenovela, so it got such a big push from that,” Ashley explains. “Back then, if one of your songs was picked up by a telenovela, it was like wow you made it. We never imagined this would be our breakthrough song, but it opened doors. We started performing small gigs, and after that, we kind of took off.”
But it was “Odio Amarte” that showcased Ha*Ash’s signature sound: Latin pop with a country twist. It was a style that came naturally to the Mexican-American sisters who grew up in the South listening to the likes of Reba McEntire, Dolly Parton and Garth Brooks. Hanna and Ashley — professionally trained musicians and singers — would translate those artists’ songs to Spanish so their friends in Mexico could understand what they were singing about.
“That’s who we are, a mixture of two cultures, different musical genres, that’s the consequence of where we lived and who we are,” says Hanna. But their vision of fusing pop with country was met with resistance from some label execs who argued country wasn’t popular in the Latin world. “We would get yeses from labels we were visiting but they wanted us to just do pop, and we didn’t want to record just to record, we wanted to do what felt natural to us. We said no to those labels because we weren’t in a hurry to release anything, and we wanted to be loyal to our sound.”
Ha*Ash
Sony Music
Eventually, their demo ended up in the right hands at Sony Music México, with whom they signed and released their debut LP, Ha*Ash, in 2003. It was also around that time that the then teenagers signed with Ocesa Seitrack for management.
“Staying genuine to their music has been extremely relevant [to their success],” says manager Octavio Padilla of Ocesa Seitrack. “That is what has generated a true connection between Ha*Ash and their fans and that has maintained this bond for so long. If today you go to a Ha*Ash show in Chile, Argentina or anywhere in Latin America, you will be able to see that connection where all their fans feel identified and close to Hanna and Ashley.”
All told, Ha*Ash has released a total of eight albums and, over the years, the duo has accumulated a total of 16 entries on Latin Pop Airplay, four of which reached the top 10, including “El Cielo Te Mandó Para Mí” from their latest studio album, Haashville (2024), which reached a No. 7 high on Latin Pop Airplay.
Besides recording music, touring has been key to Ha*Ash’s success. “Thank God that’s been where we’ve overachieved,” says Hanna. “I wouldn’t say that we wouldn’t be here if it wasn’t for live shows, but our careers would be different. Today, we are very fortunate to be on tour and sell the number of tickets that we have sold but tomorrow is not guaranteed so we value the good moments.”
That grateful mentality was instilled in them as little kids. Hanna and Ashley grew up in a strict household where they were taught the value of hard work at a young age. They started performing when they were around 12 years old at state fairs, rodeos and even a stint at the Louisiana State Penitentiary, as tourism ambassadors — handpicked by the Secretary of State in Louisiana who heard them sing at church. “On the weekends, we would fly from Mexico to Louisiana to sing at all these events and we’d take our guitars, which were way bigger than us, and we’d perform and then fly back to Mexico on Sundays,” Hanna recalls of their extraordinary childhood.
Ashley chimes in, “We were home-schooled and when we weren’t touring, my dad would ask, ‘What’s your schedule? Because you’re not just going to sleep around or watch television.’ So, it was either piano or guitar class, singing class, going to the gym, doing something productive. ‘If you have an hour that I don’t see on your schedule, you’re wasting your time,’ he would tell us.”
And they wouldn’t have it any other way either. “When we signed with Sony, we were underage so my dad would go into every single meeting. He was always like, ‘One day I won’t be here, so you guys need to sit in and listen because I know I have done my job when I’m not here and you’re able to continue with your career.’ We are very grateful to my dad for that, for teaching us to work and to value.”
Reflecting on their 20 plus years in music, Hanna and Ashley are most grateful to be able to do this together.
“I just feel that we were brought up to do everything together and once we were working and traveling, although we’re surrounded by so many people, at the end of the day, it’s just us,” Hanna says. “We’ve always had each other’s backs, and we speak so openly about what works and what doesn’t because we have a bond that is like no other. We’re sisters first and then we’re partners. Sisterhood always comes first.”
The third annual Billboard Latin Women in Music special will air live at 9 p.m. ET / 8 p.m. CT on Thursday, April 24 exclusively on Telemundo, Universo, Peacock and the Telemundo app and throughout Latin America and the Caribbean on Telemundo Internacional.
Read Billboard’s Latin Women In Music 2025 executive list here.
UPDATE (April 23): Emmy Award-winning producers Jesse Collins and Dionne Harmon, and Emmy-nominated Jeannae Rouzan-Clay of Jesse Collins Entertainment are set to return as executive producers of the 77th Primetime Emmy Awards, broadcasting live coast-to-coast from the Peacock Theater in L.A., Sunday, Sept. 14. This marks their third consecutive year as the show’s executive producers.
Collins has also served as an executive producer of the Grammy Awards for each of the last four years, working alongside Ben Winston and Raj Kapoor. He won his Primetime Emmy as an executive producer of The Pepsi Super Bowl LVI Halftime Show Starring Dr. Dre, Snoop Dogg, Mary J. Blige, Eminem, Kendrick Lamar, 50 Cent, which won outstanding variety special (live) three years ago. His fellow executive producers on that show were Jay-Z and Desiree Perez.
Trending on Billboard
“We’re thrilled to be partnering again with the talented team at Jesse Collins Entertainment,” Television Academy chair Cris Abrego said in a statement. “Jesse, Dionne and Jeannae are terrific collaborators who have now produced two exceptionally creative, innovative and entertaining Emmy broadcasts, and we’re excited about their approach to this year’s celebration of television.
PREVIOUSLY (April 16): Comedian Nate Bargatze is set to host the 77th Primetime Emmy Awards, broadcasting live coast-to-coast from the Peacock Theater at L.A. Live in Los Angeles on Sunday, Sept. 14 (8-11 p.m. ET/5-8 p.m. PT) on CBS, and available to stream live and on demand on Paramount+.
With this announcement, three of the four EGOT-level awards shows will have had first-time hosts this year. Conan O’Brien hosted the Oscars for the first time on March 2. Cynthia Erivo will host the Tony Awards for the first time on June 8. The only EGOT-level show to stay with a tried-and-true host was the Grammys, which was hosted by Trevor Noah for the fifth time on Feb. 2.
“It’s a huge honor to be asked to host such an iconic awards show and I’m beyond excited to work with CBS to create a night that can be enjoyed by families around the world,” Bargatze said in a statement.
“Nate is one of the hottest comics in the business with a remarkable and hilarious brand of comedy that deeply resonates with multi-generational audiences around the globe,” said Television Academy chair Cris Abrego.
Bargatze, 46, received a Grammy nomination three years ago for best comedy album for The Greatest Average American. The comedian, author, podcaster, actor, director and producer is a Nashville native. He grossed $82.2 million and sold 1.1 million tickets in 2024, according to numbers reported to Billboard Boxscore, which put his tour at No. 1 for the year’s highest grossing comedy tours.
Cedric the Entertainer, star of CBS’ The Neighborhood, hosted the Primetime Emmys in 2021, the last time CBS aired the show. (The Primetime Emmys rotate among the three legacy networks and Fox.) Last year’s show, on ABC, was co-hosted by the father-and-son team of Eugene Levy and Dan Levy.
The producer of this year’s show has not yet been named. Jesse Collins Entertainment produced the last two Primetime Emmy Awards telecasts, with Alex Rudzinski on board as director for both shows.
Nominations for the 77th Primetime Emmy Awards will be announced by the Television Academy on Tuesday, July 15, streaming live at 8:30 a.m. PT on the academy’s website.
This year’s Creative Arts Emmy Awards will be held on Saturday, Sept. 6, and Sunday, Sept. 7. Those ceremonies will be produced by the Television Academy.
Paramount+ with Showtime subscribers will have access to stream live via the live feed of their local CBS affiliate on the service, as well as on demand. Paramount+ Essential subscribers will not have the option to stream live, but will have access to on-demand the day after the special airs.
Lola Young is the top nominee for The Ivors 2025, which celebrate achievements in songwriting and screen composing across eight categories. Young is nominated for three awards – best song musically and lyrically for “Messy,” best album for This Wasn’t Meant for You Anyway, and rising star.
Young, 24, has had success on both sides of the Atlantic this year. “Messy” logged four weeks at No. 1 on the Official U.K. Singles Chart and has climbed as high as No. 14 on the Billboard Hot 100. This Wasn’t Meant for You Anyway, her sophomore album, reached No. 16 on the Official U.K. Albums Chart and No. 64 on the Billboard 200.
RAYE – the winner of last year’s songwriter of the year award – Ghetts, and Conor Dickinson each received two nominations. Both of Dickinson’s nods are for writing with Young.
Trending on Billboard
In the PRS for Music most performed work category, Wham!’s 1984 holiday classic “Last Christmas” is one of the five nominees, a remarkable sign of its staying power. The song’s writer, George Michael, was nominated in the category 21 years ago for “Amazing.” Harry Styles’ 2022 smash “As It Was” was also nominated. This is the third year in a row that that global smash, which Styles cowrote with Kid Harpoon and Tyler Johnson, has been nominated in this category. Also in the running are “Houdini” by Dua Lipa, “Stargazing” by Myles Smith, and “Prada” by Cassö, RAYE and D-Block Europe.
This year marks the 70th year of the Ivors, also called the Ivor Novello Awards, with the winners set to be revealed at the ceremony taking place at Grosvenor House, London, on Thursday May 22. Amazon Music sponsors the awards.
This year, 74 individual British, Irish or U.K. resident composers and songwriters, and their international collaborators, have received Ivor Novello nominations – 66% of them for the first time.
The rising star award celebrates British, Irish or UK resident songwriters aged 18-24 who are “at the tipping point of greatness,” in the Ivors’ phrase. Each nominee receives year-long, tailored support for their creativity and career from Amazon Music and The Ivors Academy. The 2025 nominations celebrate five female rising stars – Bea and her Business, Liang Lawrence, LULU., Nia Smith and Lola Young.
Pa Salieu is nominated in best contemporary song with “Allergy,” four years on from his last nomination in the same category for “Energy.”
The Ivors also celebrates Britain and Ireland’s finest composers across film, TV and video games. Daniel Pemberton nominated for best original film score for a second successive year, this time with Fly Me to the Moon. He was nominated last year for Spider-Man: Across the Spider Verse. Also nominated is Mica Levi’s score to The Zone of Interest. Levi previously won this award in 2018 for Jackie.
Martin Phipps was nominated for best television soundtrack for the second successive year for Black Doves. He was nominated last year for the final season of The Crown.
Also, Ivor Novello Awards will be presented for the songwriter of the year with Amazon Music, outstanding song collection, visionary award with Amazon Music, special international award, and PRS for Music icon award.
Roberto Neri, chief executive of The Ivors Academy, said in a statement: “An Ivor Novello Award holds a unique place in music, as it is judged by fellow songwriters and composers, making it the most respected acknowledgement of creative excellence. We are proud to welcome and celebrate the nominees’ achievements and look forward to honouring their work at the 70th edition of The Ivors in May.”
As previously announced, U2 are the latest songwriters set to become Academy Fellows, in recognition of their enduring influence and impact on the craft of songwriting. Bono, The Edge, Adam Clayton and Larry Mullen Jr. will become the first Irish songwriters that the Academy has inducted into Fellowship in its 81-year history.
The Ivors, presented by The Ivors Academy, is one of the most prestigious award ceremonies in music. Judged by songwriters and composers, the awards recognize excellence in craft and creativity. For more information visit www.ivorsacademy.com/theivors
Here’s a full list of nominations for The Ivors 2025.
Best Album
Brat written by Charli xcx, A. G. Cook and Finn Keane; Published in the UK by Sony Music Publishing, Concord Music Publishing obo Alias Guild and Universal Music Publishing; Performed by Charli xcx
On Purpose, With Purpose written by Ghetts and TenBillion Dreams; Published in the UK by BMG Rights Worldwide UK; Performed by Ghetts
The Loop written and performed by Jordan Rakei; Published in the UK by Sony Music Publishing
This Wasn’t Meant for You Anyway written by William Brown, Conor Dickinson, Jared Solomon and Lola Young; Published in the UK by Sony Music Publishing obo Day One Songs, Sony Music Publishing – Solomon Gouda and Sony Music Publishing; Performed by Lola Young
Who Am I written and performed by BERWYN; Published in the UK by Sony Music Publishing
Best Contemporary Song
“Allergy” written by Felix Joseph, Alastair O’Donnell and Pa Salieu; Published in the UK by Universal Music Publishing and Sony Music Publishing; Performed by Pa Salieu
“Angel of My Dreams” written by Pablo Bowman, JADE, Steph Jones and Mike Sabath; Published in the UK by Kobalt Music Publishing, Sony Music Publishing and Universal Music Publishing obo Hipgnosis Hits-Steph Jones Who Music-Vistaville Music; Performed by JADE
“Circumnavigating Georgia” written and performed by Sans Soucis; Published in the UK by Sentric Music
“Double Standards” written by Ghetts, EMIL, Sampha Sisay and R-Kay; Published in the UK by BMG Rights Worldwide UK, Ditto Plus Music Publishing and Sony Music Publishing – Young Songs; Performed by Ghetts feat. Sampha
“How Black Men Lose Their Smile” written by Bashy, Toddla T and Linton Kwesi Johnson; Published in the UK by Downtown Music obo DLJ Songs, BMG Rights Worldwide UK and Universal Music Publishing obo L-K-J Music Publishers; Performed by Bashy
Best Song Musically and Lyrically
“Child of Mine” written and performed by Laura Marling; Published in the UK by Kobalt Music Publishing
“Genesis.” written by Rodney Jerkins, RAYE and Toneworld; Published in the UK by Universal Music Publishing, Warner Chappell Music and Kobalt Music Publishing obo Mohemmusic-Songs by Seventy 7 Music; Performed by RAYE
“In the Modern World” written by Grian Chatten, Conor Curley, Conor Deegan, Thomas Coll and Carlos O’connell; Published in the UK by Domino Publishing Company; Performed by Fontaines D.C.
“Messy” written by Conor Dickinson and Lola Young; Published in the UK by Sony Music Publishing obo Day One Songs and Sony Music Publishing; Performed by Lola Young
“Mine” written and performed by Orla Gartland; Published in the UK by Kobalt Music Publishing obo San Remo Music
PRS For Music Most Performed Work
“As It Was” written by Kid Harpoon, Tyler Johnson and Harry Styles; Published in the UK by Universal Music Publishing and Concord Music Publishing obo These Are Pulse Songs; Performed by Harry Styles
“Houdini” written by Caroline Ailin, Danny L Harle, Tobias Jesso Jnr, Dua Lipa and Kevin Parker; Published in the UK by Sony Music Publishing obo Viking Jamz Publishing, Sony Music Publishing, Universal Music Publishing and Warner Chappell Music obo Radical 22 Publishing; Performed by Dua Lipa
“Last Christmas” written by George Michael; Published in the UK by Warner Chappell Music obo WHAM! Music Limited; Performed by WHAM!
“Prada” written by D-Block Europe, Obi Ebele (Da Beatfreakz), Uche Ebele (Da Beatfreakz), Jahmori “Jaymo” Simmons and RAYE; Published in the UK by Sony Music Publishing, Bucks Music Group Ltd obo Armada Music Publishing, Kobalt Music Publishing obo Fat Pigeon (Publishing) Limited and Warner Chappell Music; Performed by Cassö, RAYE and D-Block Europe
“Stargazing” written by Peter Fenn, Jesse Fink and Myles Smith; Published in the UK by Kobalt Music Publishing obo Songs by 308 Publishing-Where Da Kasz At, Lyric Global Copyright Services Crescendo obo Arcade Artists Publishing-Jesse Fink Publishing-Spirit One Music Crescendo and Sony Music Publishing; Performed by Myles Smith
Rising Star Award With Amazon Music
Bea and her Business
Liang Lawrence
Lola Young
LULU.
Nia Smith
Best Original Film Score
Fly Me to the Moon composed by Daniel Pemberton; Published in the UK by Sony Music Publishing obo Apple
Hard Truths composed by Gary Yershon; Published in the UK by Universal Music Publishing obo Thin Man Films
Kneecap composed by Michael ‘Mickey J’ Asante
The Substance composed by Raffertie; Published in the UK by Universal Music Publishing obo Universal Pictures Music
The Zone of Interest composed by Mica Levi; Published in the UK by Domino Publishing Company
Best Original Video Game Score
Empire of the Ants composed by Mathieu Alvado and Mark Choi
Farewell North composed by John Konsolakis
Flock composed by Eli Rainsberry
Senua’s Saga: Hellblade II composed by David Garcia Diaz
The Casting of Frank Stone composed by Boxed Ape
Best Television Soundtrack
Black Doves composed by Martin Phipps; Publishing in the UK by BMG Rights Management UK obo Maisie Anthems
Mary & George composed by Oliver Coates; Published in the UK by SATV Publishing
Rivals composed by Jack Halama and Natalie Holt; Published in the UK by Universal Music Publishing obo Walt Disney Music Company
True Detective: Night Country composed by Vince Pope; Published in the UK by Universal Music Publishing obo T-L Music Publishing
Until I Kill You composed by Carly Paradis; Published in the UK by BMG Rights Management UK obo Veti Music Publishing
Few artists embody the meaning of evolution quite like Anitta. The Brazilian superstar, unapologetically herself and fearless, has expanded the boundaries of global Latin music with hits in three different languages — an unprecedented feat among modern-day pop stars. As the recipient of the first-ever Vanguard Award at Billboard’s 2025 Latin Women in Music event — celebrating an artist who boldly forges her own paths — Anitta continues to prove why she’s in a league of her own.
Through her trilingual funk carioca, reggaetón, Afrobeat, and fizzy pop songs, the singer closes the divide between cultures while celebrating her Brazilian roots on the world stage, as evinced in her 2024 album, Funk Generation. With multiple songs reaching the coveted Billboard Hot 100 — such as “Envolver” at No. 70, “Bellakao” with Peso Pluma at No. 53, or most recently, “São Paulo” with The Weeknd at No. 43 — Anitta continues to blaze new trails in music and global pop culture.
Trending on Billboard
“I’ve been around a lot of performers. I will tell you — I will put my money on Anitta every day,” Rebeca León, her manager and longtime friend, tells Billboard. “She can sing for six hours straight, and her Carnival performances are the most incredible experiences.”
But Anitta’s path hasn’t been defined solely by music. After years of living in the fast lane, the artist, born Larissa de Macedo Machado, is now embracing her vulnerability and leaning into her more spiritual side. “Anitta is a persona she created,” explains León, referencing the personal challenges the artist has faced. “Larissa is the softer side of Anitta.” That introspection is at the heart of Larissa: The Other Side of Anitta, her 2025 Netflix documentary that explores the woman behind the icon, her journey of healing, and her fearless decision to embrace her true self, after going through personal issues.
In this interview, conducted in early April (a week after her birthday), Anitta reflects on her dual identities, her mission to bring funk carioca to the global stage, and her ongoing journey of embracing every part of herself — sensual, spiritual, and everything in between.
Anitta, first off, happy belated birthday! How did you celebrate this year?
I love celebrating my birthday. We are so blessed to be alive, we have to celebrate. This year, I started with a ritual. Here in Brazil, my father, my brother, and I all follow Yoruba [traditions]. But I also love incorporating Buddhism and Hinduism into my life. The first party was a Shamanic ritual with a Shaman who guides me in life. I invited Krishna Das to do a kirtan — a [chanting] practice with mantras — and he performed at my house. Krishna Das is a great singer. I love his songs. It was really special.
On the second day, I hosted a party with a band I love. Then the other day, I did another show in my house with a reggae band that I love. Then I traveled. Every year, my astrologers tell me where I should spend my birthday for my solar return, so I always celebrate it in a place based on their guidance. This year, I went to Fernando de Noronha, a great [archipelago] in Brazil.
Iude Rìchele
Congratulations on being chosen to receive the Vanguard Award at Billboard‘s Latin Women in Music event — how does it feel to be recognized in this way?
I’m really happy. Last year, I also received an award in Brazil because of how I fight for change. Movies, music, books — and entertainment in general — can [serve as a catalyst for] change in our culture and lives. A popular movie or a type of music can completely shift how people behave. I always try to apply that idea to my work. It could be through my music videos, my speeches, my dancers, my outfits, or even in interviews — I always try to bring attention to things I really believe people need to [notice]. I go with the flow, but I also try to change the flow a bit. In the beginning [of my career], it was all about [promoting] women empowerment because I could see a lot of men singing about women in a way [that implied] they could do everything, while women could not.
The documentary Larissa: The Other Side of Anitta shows so many incredible moments, from Río’s Carnival to being in love with your childhood sweetheart, to diving deeper into your spirituality. Now that you’re showing the world who Larissa is, how is it navigating these two identities — the personal and artistic?
That was something I really wanted to do. We’ve been watching other people’s lives on social media, and we believe [what we see]. We think that [those lives are] perfect. We tell ourselves, “Oh, I wish I was like that. I wasn’t born lucky,” or “I need a new car, a new house. I need more.” But in reality, that’s not what we actually need because we are comparing ourselves to lives that aren’t real. Social media only shows pieces of people’s lives. It doesn’t show how they got what they have, how they are feeling mentally or their pressures and struggles.
I wanted to use this movie to show people that it’s not like that. Everyone goes through struggles, and you can relate to my life even if you think it’s perfect. Deep down, we are all the same. I wanted to show that to gain success, money, or whatever you’re striving for, you have to work really hard. The internet today gives the impression that everything is easy, that you don’t need to work or study — you just get it. But I wanted to show that, no, success comes at a big cost. We need inspiration, but it’s also okay to hope.
Iude Rìchele
Last year, you made waves with your Funk Generation album. How important was it for you to bring funk carioca to the world stage?
That was the baile funk experience. It was important because I really believe this rhythm has the power to be the next wave. I also love Afrobeat, and funk [carioca] has roots that trace back to that, from Africa, Bambata. That’s why it feels similar. I thought it was really important to bring this culture to the world. We performed in so many countries, and when everybody showed up, it was super special. I felt so strong and empowered on stage representing this rhythm and its energy.
I think sensuality is also an essential part of who I am — something I’ll never regret or give up on. Sometimes when I talk about spirituality, like mantras I love or hope to work on one day, people think I’m going to stop doing [the other parts]. They ask if I’ll stop being sensual or stop dancing the way I do in funk. But there’s no need for separation; doing one thing doesn’t mean you can’t do the other. It’s the opposite, actually. We need to embrace all parts of ourselves — the sensuality, the spirituality, and the power I feel when I’m performing funk and dancing. It makes me feel so powerful, so special. I was really happy with that tour.
Your hours-long Carnival performances have been praised for their high energy and artistry. How do you physically and mentally prepare yourself?
Mentally, it’s the hardest. It can f–k up your mind if you’re not ready because there is so much noise, so many people, so much energy. You have to make a deal with yourself and understand [what it takes] to handle it, because it can be tricky with all the ups and downs.
Physically, [preparation] is important. I was traveling and working so much, but when I decided to stay in Brazil for the moment, I got healthier because I could establish a routine. The body likes routine. It’s important to give your body structure during the days between shows. For Carnival, I performed every Saturday and Sunday for two months, spending four to five hours on stage each time. [To sustain that,] you need to maintain a strong routine during the weekdays.
Iude Rìchele
As you embark on this new phase of your journey, what do you hope fans take away from seeing you as Larissa?
I’m trying not to be in a rush. I used to always try to deliver. You know, that anxiety that comes from big companies and people expecting results and numbers and paybacks. But now I’ve realized that the more we act in survival mode, the less we get. It’s hard to create something truly new and impactful when you have people in your environment being like, “What’s the next step? So what are we doing? What’s the plan?” Now I’m just trying to silence [those voices], and trying to be confident and follow my heart.
One thing I’ve always done in my career is trust [my intuition]. Even if everyone else was going right, I would go left. I didn’t mind waiting years for that decision to pay off. I would keep insisting on the left because that was the direction I felt good with. At some point, I started to lose that confidence because so many people around me were pushing for immediate results. But now, I’m trying to just keep this mindset. I don’t care if everyone else is going one way. If I feel like this is the right way, I’m going to keep going that way, no matter what.
Iude Rìchele
The third annual Billboard Latin Women in Music special will air live at 9 p.m. ET / 8 p.m. CT on Thursday, April 24 exclusively on Telemundo, Universo, Peacock and the Telemundo app and throughout Latin America and the Caribbean on Telemundo Internacional.
Read Billboard’s Latin Women In Music 2025 executive list here.

Born one hundred years ago in Havana, Cuba, on October 21, 1925, Celia Cruz sang almost before she could talk. The second oldest of 14 children, she could carry a tune at 10 months old, according to her mother, and as a toddler, sang her youngest siblings to sleep. Those bedside moments were the first stage for the woman who would become the single best-known and most influential female figure in the history of Afro Cuban music.
By the time she died in 2003 at age 77, Cruz had over 70 albums to her name and had transfixed generations of fans with her mesmerizing stage presence and a signature, rich, expressive contralto that could turn a single word into a masterpiece of a song.
Trending on Billboard
Cruz was recognized worldwide as much for her extravagant flamboyant outfits, tireless work ethic and colorful wigs as for her trademark cry of “Azúcar!.” But Cruz possessed, above everything, an extraordinary voice.
“Forget about getting her behind a mic,” Marc Anthony once told Billboard. “She’ll turn anybody out.”
Indeed, Cruz adamantly refused to lip-sync, even on live TV shows. “I can’t go out there and pretend,” she told Billboard in 2000. “In Cuba, I worked with a man named Rodrigo Neira, who was the choreographer of the Tropicana. He wanted a singer to sing and a dancer to dance.”
Although Cruz’s dancing abilities weren’t negligible, her voice was incomparable.
Cruz’s recorded legacy is a veritable history of Latin music, from her days with Cuba’s legendary La Sonora Matancera to her highly experimental and avant garde later fare, which even mixed urban music with her salsa beats.
Cruz charted until the day she died, and beyond. More than 20 years after her death, she generated 64 million on-demand official streams in the United States in 2024, according to Luminate. Last year, the U.S. Mint released a commemorative Cruz quarter, the only coin that bears the stamp of a Latin artist. The item joins a list of Cruz memorabilia that includes a stamp, a doll, multiple exhibits, merchandise lines and both a TV series and film in the works, among other projects.
As a child, Cruz began singing in amateur contests. Her big break came in 1950, when she was called in to replace the lead singer of the legendary La Sonora Matancera, arguably the best salsa band of all time. Cruz gained international acclaim with La Sonora, with whom she remained for 15 years, eventually marrying lead trumpet player Pedro Knight.
Following the Cuban revolution, she settled in New York in 1962 and was never allowed to return to her home country. Cruz’s career also flourished stateside, first through her association with Tito Puente’s Ticco Records and later with Fania Records.
Although Cruz remained a popular and venerated figure — she received a star on the Hollywood Walk of Fame in 1987 — she gained a new legion of followers in 2000 after signing with Sony Music Latin, a label that gave her a star treatment until the day she died. With Sony Latin, Cruz won three consecutive Latin Grammy Awards in 2000, 2001 and 2002.
The secret to her perennial success, she told Billboard, was very basic: “First of all, I take good care of myself. I rest. Second, I plan my shows well. I always try to shape my repertoire around a particular audience. And finally, I’m always changing my outfits, my look onstage.” But at the core of it was her tireless work ethic, and that voice.
After being diagnosed with cancer in 2002, Cruz made a final trip to the recording studio in February 2003. She recorded for two months and died in July.
This year, Billboard’s Latin Women in Music honors Cruz and her extraordinary life not on the anniversary of her death but in the centennial year of her birth. Cruz will posthumously receive the Legend Award at the gala, which will air April 24 at 9 p.m. ET on Telemundo, and be honored with a musical tribute with performances by Ivy Queen, La India and Olga Tañon.
Billboard spoke to four people who had personal ties to Cruz. Here are their recollections, in their own words.
Emilio Estefan
Celia Cruz, Gloria Estefan and Emilio Estefan pose as Gloria receives her Walk of Fame Star on the Hollywood Walk of Fame on Feb. 3, 1993 in Los Angeles.
Vinnie Zuffante/Getty Images
Celia was someone who was able to bring our music to this country at a time when women weren’t really welcomed in the music industry.
When she joined forces with Fania and Johnny Pacheco, she showed the world what true talent was. And she never changed her musical essence or who she was. She was such an example of humility, perseverance, talent — my God. She became family to us. I was just starting out as a producer, and my dream was always to work with her. But I didn’t offer because we were just getting started. We had met, but we hadn’t really talked much yet.
One night, we were playing at the Dupont Plaza, and she asked us to sit at her table. It was like talking to a queen. I remember one time we were performing at the Ovni, and we always played “Quimbara.” She was in the audience, and she came onstage to sing. Our hearts almost burst out of our chests.
I had the honor of producing several albums for her. One day she called me and said, “I don’t have a record label anymore.” And I told her, “I’m going to send you to Sony.” Thank God I called Tommy [Mottola, who] said, “Don’t even worry about it. We’ve got to sign her.” She went into Sony with so much respect. They were going to give her the boost she needed. She passed away with six No. 1 hits. At the time, there was resistance because most of the artists selling records were men. She was one of the women who proved to the world that women could make everyone dance. She was such an inspiration for Gloria [Estefan]. I think we can all learn something from her.
She and Pedro [Knight] were such humble, kind people who taught us so much. When we were recording, she was so professional. She could almost sing live; she practiced her parts, showed up with humility and was always so proud of her Cuban roots. And the love between her and Pedro… It’s rare to work with a couple and see them love each other so much for so many years, being such simple, good people with so much talent.
She was my great teacher. She always remembered to send birthday cards to everyone. Those little thoughtful gestures. She was like a sister to Gloria. She’d come over to eat at our house and was so funny. She’d wash Pedro’s shirts and iron them when they were on tour. I’ll never forget when I produced the Latin Grammys [for CBS on 2000] — she had terrible knee pain but got up to sing “Quimbara” with Ricky [Martin] anyway. No one could tell what she was going through.
One day she came to us and said, “I got the big C.” I had no idea what she meant. She called me to help arrange her burial. She told me, “I want every fan I have to be able to say goodbye to me.” She wasn’t just loved by Cubans — she was loved by the whole world. She left me one of her dresses, shoes and wig as a thank you, along with a beautiful note for me and Gloria. In a way, I feel at peace knowing I was able to help a woman like her, that I could get her signed to Sony. In these times we’re living in, when one person shines, we all shine. And she made all of us shine.
La India
La India & Celia Cruz
Courtesy La India
I met Celia in 1988 through important people in her life. Her nephew was a big fan of mine and he would go see me at the Palladium. He told me he was Celia Cruz’s nephew and we didn’t believe him. Celia was already a legend. We listened to her music and all the Afro Yoruba-ness around her was really interesting. And of course we all loved La Sonora Matancera.
One day, she sent a message through him, saying, “Muchas benidiciones en tu show.” (“Many blessings on your show.”) Then in 1990, a year before I decided to cross over from dance to salsa tropical, I was already collaborating with Tito Puente and Tito arranged for us to meet.
We all went to dinner. When I met her, it felt as if we were already family. We spoke about her music, about her. She said she always felt she had a natural ability to sing music with a lot of rhythm. She said, “One thing I notice about you is you study a lot of jazz, but you have a lot of soul. I’d like you to cross over from dance music and do a salsa album.” We sang with prerecorded TV tracks then, and she said, “You need to be up there singing with a live band.”
She set up a meeting with Ralph Mercado [founder and president of RMM Records, to which Cruz was signed at the time] and said, “Hey, I want you to sign her.”
We were very close. We talked a lot about music, about the hard labor of a woman. We talked about believing in ourselves, being professional and giving 100% to the music. I found it to be very empowering.
She used to say, “Yo soy tu madrina musical [“I’m your music godmother],” and she wanted to officially be my godmother. I hadn’t had my first communion, and I needed to be baptized.
She baptized me on Feb. 14, which is the day of friendship and love, and it brought a lot of light into my life, which I needed. I came from a very dysfunctional family, but a very praying family. God was always in our lives. I think that’s why it meant so much to me to be baptized with Celia and [husband] Pedro Knight [by my side], and because it meant she would always be in my life. And she was. She was really cute and she wrote telegrams. She had an AT&T calling card and boy, did she use it to the fullest. She called from the airport, when she landed, when she was in her room. Because she was so spiritual, she felt she needed to pray with her goddaughter; that was me. She always prayed before her show. We would hold hands and then we’d go up onstage with her.
We toured together. Everywhere she traveled she was the goddess of the goddesses. She would walk in first, everybody was waiting for her, and we were like little ducks. All of us, me, Marc [Anthony], Cheo [Feliciano], Oscar [D’León], we were all behind her going to all these beautiful places in Europe. She really believed in us. She thought we were coming with talent to bring light to salsa tropical.
Celia was always an icon, a living legend. She had a lot of vocal control and a beautiful vibrato. Pedro helped her a lot. He quit the trumpet to make sure she was ready to get on that stage and sing her heart out. He was a great partner. She was very lucky to have him.
In the studio she was a master of great ideas. I gave her a lot of energy, and it was great to have her there with me.
She always told me that one of the things she liked about me was that she saw my talent and that I didn’t have to wear little outfits. We’re here as women, as talented women. She would say, “Sabes porqué he tenido exito? Porque yo vendo talento, no vendo sexo.” (“You know why I’ve been successful? Because I sell talent, not sex.”)
Now, I see what she meant. It’s a male-dominated world, and she wanted respect. She liked being on the road. She liked to take her music to different markets, and she loved shopping. Shopping and music, forget about it. Y su cafecito con su azucar.
She always tried to encourage the new generation by being positive and working hard. She spoke about the perseverance of hard work, professionalism. Always record, arrive early and have a great orchestra behind you. And all that you get, you give back.
Randy Malcom
The Gente De Zona member on the group recording “Celia,” which blends two Cruz hits using her original vocals.
Alexander Delgado and Randy Malcom Martínez of Gente de Zona.
Courtesy Gente de Zona
I knew Celia’s work because I studied music in Cuba, but I never got the chance to meet her in person. Since Celia was banned in Cuba, you couldn’t hear her on the radio or see her on TV.
Celia, Willy Chirino, all those artists were prohibited. She was always a defender of freedom.
After recording “La Gonzadera,” we were trying to figure out how we could use her vocals from “La Negra Tiene Tumbao” in a song. Her digital session recordings from her last recordings were nowhere to be found, but after 10 years of searching with Omer [Perdillo, her manager], we finally found them.
What we did was mix two songs together, closing it out with “La Negra Tiene Tumbao.”
But for us, using her voice — can you imagine? As a kid, I’d hear some of her stuff with my dad through videos that had been leaked. Cuba only had two TV channels, and there was a concert she did, I think in Africa, that somehow got through. People had recorded it and we’d watch it. For us, it was such a point of pride. A Cuban woman who was outside of Cuba, yet so huge in the music world — it seemed impossible to reach that level. When I was little, people told me she was a singer who wasn’t allowed in Cuba.
When my dad heard the song, he was blown away. He was like, “How did you pull this off?” And I told him, “Dad, they gave me permission.” This whole story is so nostalgic for every Cuban, given the political situation. Everything feels so deep. In our country, there’s so much music, so much art, but it dies there. It’s heartbreaking to see so many artists who don’t get the chance to share their work. I’m left with this sense of longing because I wasn’t able to fully experience her work. And she has incredible songs. Celia was always ahead of the game when it came to music. She was someone who never let herself fall behind.
Goyo
Goyo
Johana Garcia
I met Celia because my dad and an uncle promoted shows in Colombia and they brought José Alberto “El Canario” and Celia together to Buenaventura, Quibdó, and a show in Tuluá that didn’t end up happening. But I traveled with her on the same bus from Buenaventura to Tuluá, and I got the chance to talk with her. She said something to my mom about me, and my mom made me sing. I was about 13 or 14 years old.
I’d seen her on TV, but my dad collected albums and my mom was a huge fan of Celia. I’ve always been really close to my mom, and in many moments of her life, Celia’s music was her soundtrack. “Ritmo, Tambor y Flores” was my first real connection to Celia. One of my aunts made me learn the song, and I sang it the first time I performed in a parade in Condoto. I was about 9 years old, and at my fifth-grade graduation, “Ritmo, Tambor y Flores” was already part of my repertoire. That’s the song I sang to her on the bus.
I went to see her in Buenaventura first. She was wearing white leggings, a shiny top and a short, white wig and she looked amazing. Like, wow — it wasn’t often you saw women who could pull off a look like that. I saw music as something totally normal because my mom sang, my uncle brought artists and I’d go to the studios of Grupo Niche. I felt like I was part of the scene.
So when they said, “Now we’re heading to Tuluá on the bus with Celia and “El Canario,” it felt normal. She was traveling with her husband and it was a big, comfy bus. And she said, “What a beautiful little girl. She has something special.”
My mom told me to sing “Ritmo, Tambor y Flores.” She started singing the chorus, and I sang the second part because I was feeling a little shy. She said, “Keep going, keep going.” And we all started singing together. Imagine that — my skin still tingles thinking about it. It feels like such a normal story, but honestly, it’s not that normal. Especially because kids are usually pretty sheltered at that age. Later, when I was 15, I saw her again, and by then, she looked older, and I was so impressed by the respect people had for her and how she kept thriving as an artist, even as someone who was already so established. She was always in the big leagues. What’s happening now isn’t possible without talking about her. Her story needs to be told.
Illustration by Selman Hoşgör
The third annual Billboard Latin Women in Music special will air live at 9 p.m. ET / 8 p.m. CT on Thursday, April 24 exclusively on Telemundo, Universo, Peacock and the Telemundo app and throughout Latin America and the Caribbean on Telemundo Internacional.
Read Billboard’s Latin Women In Music 2025 executive list here.
Emmylou Harris, R&B star Eddie Floyd and Jody Stephens, drummer of iconic power-pop band Big Star, are set to perform at the 2025 Grammy Hall of Fame Gala, which will take place Friday, May 16, at The Beverly Hilton Hotel in Beverly Hills, California – the site of the first Grammy Awards ceremony in 1959.
All three have recordings being inducted this year. Harris will be joined by producer Daniel Lanois and jazz drummer Brian Blade for a performance of a song from her 1995 album Wrecking Ball, which Lanois produced. Floyd is being honored for his 1966 classic “Knock on Wood”; Big Star for its 1972 album #1 Record.
Trending on Billboard
Percussionist Cindy Blackman, who is married to Carlos Santana, is also set to perform. The band Santana’s 1999 album Supernatural is being honored.
Also on the bill: R&B powerhouse Ledisi; actor and singer Leslie Odom Jr.; and guitar virtuoso Orianthi; as well as previously announced performer, composer and bandleader Jon Batiste. Each performance will celebrate one of this year’s Grammy Hall of Fame inductees. More performers will be announced soon.
The event will additionally honor this year’s label honoree, Republic Records. Atlantic Records was the initial label honoree at last year’s gala, which marked the first time there was a stand-alone event to honor the inducted recordings. Last year’s gala was held at the Novo Theatre at L.A. Live.
As previously announced, the event will also include the presentation of the inaugural Ray Charles Architect of Sound Award, created in partnership with The Ray Charles Foundation. This new annual honor recognizes an artist whose creative legacy reflects the visionary innovation of Ray Charles. The first recipient is seven-time Grammy Award winner Batiste, who will also perform during the gala.
Returning as host is CBS News journalist Anthony Mason. The show will again be produced by Ken Ehrlich, alongside Ron Basile, Lindsay Saunders Carl and Lynne Sheridan. Ehrlich produced or executive produced the annual Grammy Awards telecast for 40 years. Cheche Alara, a Grammy and Latin Grammy Award-winning composer, producer and conductor, will serve as musical director for the event.
The gala will celebrate the 2025 Grammy Hall of Fame inducted recordings. In addition to the four already named, they are: J.D. Crowe & The New South’s J.D. Crowe & The New South; Jay-Z’s Reasonable Doubt; Fela Kuti & Afrika 70’s Zombie; Linda Martell’s “Color Him Father”; Miami Sound Machine’s “Conga”; Cat Stevens’s Tea for the Tillerman; Luther Vandross’s Never Too Much; Clara Ward’s “How I Got Over”; and Geeshie Wiley’s “Last Kind Words Blues.”
This year’s additions to the Grammy Hall of Fame meet the main requirements – they exhibit “qualitative or historical significance” and are at least 25 years old. Eligible artist(s), producer(s), engineer(s), and mixer(s) of these 13 recordings will receive a certificate from the Recording Academy.
The Grammy Hall of Fame was established by the Recording Academy’s national trustees in 1973. Inducted recordings are selected annually by a member committee drawn from all branches of the recording arts with final ratification by the academy’s national board of trustees. Counting these 13 new titles, the Grammy Hall of Fame totals 1,165 inducted recordings. The full list of past inducted recordings can be found here.
The Grammy Hall of Fame Gala serves as a fundraiser to support the Grammy Museum’s national education programs. It includes a cocktail reception, dinner, and concert program. Tickets are on sale now. Individual tickets are $1,250. For more information, visit this site.
Kendrick Lamar leads this year’s American Music Awards nominations with a total of 10, including artist of the year, album of the year (GNX) and song of the year (“Not Like Us”). Impressively, he has three of the five nominees for favorite hip-hop song: “Like That” with Future and Metro Boomin, “Not Like Us,” and “Luther” with SZA).
Lamar, who already has three AMA wins to his name, could tie Michael Jackson and Whitney Houston for the most awards in a single year should he win in all eight categories.
Post Malone is runner-up with eight nominations, including artist of the year, album of the year (F-1 Trillion) and song of the year for “I Had Some Help,” his smash collab with Morgan Wallen. Posty, who has previously taken home awards in the rap/hip-hop and pop/rock categories, could take home an award in a third distinct genre. He has three nominations in country categories. He also has two nominations for collaboration of the year: “I Had Some Help” and “Fortnight” with Taylor Swift.
Trending on Billboard
Billie Eilish, Chappell Roan and Shaboozey are next in line with seven nods. Six artists tied with six nominations each: Bruno Mars, Lady Gaga, Wallen, Sabrina Carpenter, SZA and Swift. Swift, the top winner in AMAs history with 40 wins, could extend her lead should she win in any of her six categories.
Women artists did well in the nominations: Seven of the nominees for album of the year are women, as are six of the nominees for artist of the year.
Roan is the only artist to be nominated in all three of this year’s new categories: album of the year, song of the year, and social song of the year.
Of the 49 artists to receive two or more nominations, just three were groups or duos, a sign of how dominant solo personalities are in this era. Fuerza Regida was the top group or duo, with three nominations, followed by Linkin Park and Twenty One Pilots with two each.
Two of the five nominees for favorite country album are by Black artists, a sign of increased diversity in that genre. Beyoncé’s Cowboy Carter and Shaboozey’s Where I’ve Been, Isn’t Where I’m Going are both vying for the prize. The artists are also nominated for favorite female country artist and favorite male country artist, respectively.
Ariana Grande is nominated for both artist of the year and favorite soundtrack, for her work alongside Cynthia Erivo on the Wicked soundtrack.
The 51st AMAs, with host Jennifer Lopez, is set to air live from Las Vegas on Monday, May 26. The show will air live coast-to-coast at 8 p.m. ET/5 p.m. PT on CBS, and stream on Paramount+ in the U.S. This marks Lopez’s second time hosting the ceremony, a role she first took on in 2015. Lopez, who has performed on 10 previous AMA telecasts, will also perform on this one.
This will be the first regular American Music Awards broadcast in two and a half years, since the show in November 2022 that was hosted by comedian Wayne Brady. This will also be the first regular AMAs broadcast on CBS. The AMAs aired on ABC from 1974 to 2022.
This show will be the first in two other ways. It’s the first AMAs show to be broadcast in Las Vegas. All the others were held in the Los Angeles area. And it’s the first show since it moved to Memorial Day. The show aired in January or February each year from 1974 through 2003, and then in October or November each year from 2003 to 2022. The plan is for the show to air each Memorial Day, paying tribute to U.S. troops and veterans in addition to honoring the year’s hottest music stars.
Three of the 10 artists nominated for artist of the year are first-time AMAs nominees: Roan, Carpenter and Zach Bryan. (Bryan is a first-time nominee because the show was on hiatus in the period in which he broke through.)
Several of the artists who already hold the lead for most wins in their categories could extend their leads this year. Swift is already out front in three categories in which she is nominated again this year – artist of the year (seven wins), favorite female pop artist (seven wins), favorite pop album (five wins).
Other artists who could extend their leads in their categories are Eminem for favorite male hip-hop artist (three wins), Bad Bunny for favorite Latin album (three wins), Linkin Park for favorite rock artist (six wins), and Marshmello for favorite dance/electronic artist (four wins).
Shakira, who won five times in the gender-neutral Latin artist category, is nominated for favorite female artist, where she is competing with two-time category champ Becky G.
Nominees are based on key fan interactions – as reflected on the Billboard charts – including streaming, album and song sales, radio airplay and tour grosses. These measurements are tracked by Billboard and Luminate, and cover the data tracking eligibility period of March 22, 2024 through March 20, 2025.
Legendary producer Dick Clark created the show, which is known as the world’s largest fan-voted award show. The 2025 American Music Awards is produced by Dick Clark Productions and will broadcast globally across linear and digital platforms.
Paramount+ with SHOWTIME subscribers will have access to stream live via the live feed of their local CBS affiliate on the service, as well as on demand. Paramount+ Essential subscribers will not have the option to stream live but will have access to on-demand the day after the special airs.
American Music Awards 50th Anniversary Special, which aired on CBS in October 2024- was one of the most-watched entertainment specials of the year. As the most-streamed AMAs in the show’s history, the special surpassed 13M in reach and averaged over 6.1M viewers, an increase of +53% from the last show in 2022 on ABC.
Fan voting is now open via VoteAMAs.com and the @AMAs Instagram profile in all awards categories. Voting closes Thursday, May 15, at 11:59 p.m. PT, with the exception of collaboration of the year and social song of the year, which will remain open through the first 30 minutes of the AMAs broadcast (on the VoteAMAs.com site only; Instagram voting in all categories ends May 15).
Here’s a complete list of 2025 American Music Awards nominees. They are listed in alphabetical order by first name.
Artist of the Year
Ariana Grande
Billie Eilish
Chappell Roan
Kendrick Lamar
Morgan Wallen
Post Malone
Sabrina Carpenter
SZA
Taylor Swift
Zach Bryan
New Artist of the Year
Benson Boone
Chappell Roan
Gracie Abrams
Shaboozey
Teddy Swims
Tommy Richman
Album of the Year (new category)
Beyoncé, Cowboy Carter
Billie Eilish, Hit Me Hard and Soft
Chappell Roan, The Rise and Fall of a Midwest Princess
Charli xcx, Brat
Gracie Abrams, The Secret of Us
Future & Metro Boomin, We Don’t Trust You
Kendrick Lamar, GNX
Post Malone, F-1 Trillion
Sabrina Carpenter, Short n’ Sweet
Taylor Swift, The Tortured Poets Department
Song of the Year (new category)
Benson Boone, “Beautiful Things”
Billie Eilish, “Birds of a Feather”
Chappell Roan, “Good Luck, Babe!”
Hozier, “Too Sweet”
Kendrick Lamar, “Not Like Us”
Lady Gaga & Bruno Mars, “Die With a Smile”
Post Malone featuring Morgan Wallen, “I Had Some Help”
Sabrina Carpenter, “Espresso”
Shaboozey, “A Bar Song (Tipsy)”
Teddy Swims, “Lose Control”
Collaboration of the Year
Kendrick Lamar & SZA, “Luther”
Lady Gaga & Bruno Mars, “Die With a Smile”
Marshmello & Kane Brown, “Miles on It”
Post Malone featuring Morgan Wallen, “I Had Some Help”
ROSÉ & Bruno Mars, “APT.”
Taylor Swift featuring Post Malone, “Fortnight”
Social Song of the Year (new category)
Chappell Roan, “HOT TO GO!”
Djo, “End of Beginning”
Doechii, “Anxiety”
Lola Young, “Messy”
Shaboozey, “A Bar Song (Tipsy)”
Tommy Richman, “Million Dollar Baby”
Favorite Touring Artist
Billie Eilish
Luke Combs
Morgan Wallen
Taylor Swift
Zach Bryan
Favorite Music Video
Benson Boone, “Beautiful Things”
KAROL G, “Si Antes Te Hubiera Conocido”
Kendrick Lamar, “Not Like Us”
Lady Gaga & Bruno Mars, “Die With A Smile”
Shaboozey, “A Bar Song (Tipsy)”
Favorite Male Pop Artist
Benson Boone
Bruno Mars
Hozier
Teddy Swims
The Weeknd
Favorite Female Pop Artist
Billie Eilish
Chappell Roan
Lady Gaga
Sabrina Carpenter
Taylor Swift
Favorite Pop Album
Billie Eilish, Hit Me Hard and Soft
Chappell Roan, The Rise and Fall of a Midwest Princess
Charli xcx, Brat
Sabrina Carpenter, Short n’ Sweet
Taylor Swift, The Tortured Poets Department
Favorite Pop Song
Benson Boone, “Beautiful Things”
Billie Eilish, “Birds of a Feather”
Lady Gaga & Bruno Mars, “Die With a Smile”
Sabrina Carpenter, “Espresso”
Teddy Swims, “Lose Control”
Favorite Male Country Artist
Jelly Roll
Luke Combs
Morgan Wallen
Post Malone
Shaboozey
Favorite Female Country Artist
Beyoncé
Ella Langley
Kacey Musgraves
Lainey Wilson
Megan Moroney
Favorite Country Duo or Group
Dan + Shay
Old Dominion
Parmalee
The Red Clay Strays
Zac Brown Band
Favorite Country Album
Beyoncé, Cowboy Carter
Jelly Roll, Beautifully Broken
Megan Moroney, Am I Okay?
Post Malone, F-1 Trillion
Shaboozey, Where I’ve Been, Isn’t Where I’m Going
Favorite Country Song
Jelly Roll, “I Am Not Okay”
Koe Wetzel & Jessie Murph, “High Road”
Luke Combs, “Ain’t No Love in Oklahoma”
Post Malone featuring Morgan Wallen, “I Had Some Help”
Shaboozey, “A Bar Song (Tipsy)”
Favorite Male Hip-Hop Artist
Drake
Eminem
Future
Kendrick Lamar
Tyler, The Creator
Favorite Female Hip-Hop Artist
Doechii
GloRilla
Latto
Megan Thee Stallion
Sexyy Red
Favorite Hip-Hop Album
Eminem, The Death of Slim Shady (Coup de Grâce)
Future & Metro Boomin, We Don’t Trust You
Gunna, one of wun
Kendrick Lamar, GNX
Tyler, The Creator, Chromakopia
Favorite Hip-Hop Song
Future, Metro Boomin & Kendrick Lamar, “Like That”
GloRilla, “TGIF”
GloRilla & Sexyy Red, “Whatchu Kno About Me”
Kendrick Lamar, “Not Like Us”
Kendrick Lamar & SZA, “Luther”
Favorite Male R&B Artist
Bryson Tiller
Chris Brown
PARTYNEXTDOOR
The Weeknd
Usher
Favorite Female R&B Artist
Kehlani
Muni Long
Summer Walker
SZA
Tyla
Favorite R&B Album
Bryson Tiller, Bryson Tiller
PARTYNEXTDOOR, PARTYNEXTDOOR 4 (P4)
PARTYNEXTDOOR & Drake, $ome $exy $ongs 4 U
SZA, SOS Deluxe: LANA
The Weeknd, Hurry Up Tomorrow
Favorite R&B Song
Chris Brown, “Residuals”
Muni Long, “Made for Me”
SZA, “Saturn”
The Weeknd & Playboi Carti, “Timeless”
Tommy Richman, “Million Dollar Baby”
Favorite Male Latin Artist
Bad Bunny
Feid
Peso Pluma
Rauw Alejandro
Tito Double P
Favorite Female Latin Artist
Becky G
KAROL G
Natti Natasha
Shakira
Young Miko
Favorite Latin Duo or Group
Calibre 50
Fuerza Regida
Grupo Firme
Grupo Frontera
Julión Álvarez y su Norteño Banda
Favorite Latin Album
Bad Bunny, DeBÍ TiRAR MáS FOToS
Fuerza Regida, Dolido Pero No Arrepentido
Peso Pluma, ÉXODO
Rauw Alejandro, Cosa Nuestra
Tito Double P, INCÓMODO
Favorite Latin Song
Bad Bunny, “DtMF”
FloyyMenor X Cris Mj, “Gata Only”
KAROL G, “Si Antes Te Hubiera Conocido”
Oscar Maydon & Fuerza Regida, “Tu Boda”
Shakira, “Soltera”
Favorite Rock Artist
Hozier
Linkin Park
Pearl Jam
Twenty One Pilots
Zach Bryan
Favorite Rock Album
Hozier, Unreal Unearth: Unending
Koe Wetzel, 9 lives
The Marías, Submarine
Twenty One Pilots, Clancy
Zach Bryan, The Great American Bar Scene
Favorite Rock Song
Green Day, “Dilemma”
Hozier, “Too Sweet”
Linkin Park, “The Emptiness Machine”
Myles Smith, “Stargazing”
Zach Bryan, “Pink Skies”
Favorite Dance/Electronic Artist
Charli xcx
David Guetta
John Summit
Lady Gaga
Marshmello
Favorite Soundtrack
Arcane League of Legends: Season 2
Hazbin Hotel (Original Soundtrack)
Moana 2 (Original Motion Picture Soundtrack) • Auliʻi Cravalho, Dwayne Johnson and Cast
Twisters: The Album
Wicked: The Soundtrack • Cynthia Erivo, Ariana Grande and Cast
Favorite Afrobeats Artist
Asake
Rema
Tems
Tyla
Wizkid
Favorite K-Pop Artist
ATEEZ
Jimin
RM
ROSÉ
Stray Kids
The American Music Awards are produced by Dick Clark Productions, which is owned by Penske Media Eldridge, a joint venture between Eldridge Industries and Billboard parent company Penske Media.
The American Music Awards are fan-voted, and now that the 2025 nominations have been announced — with Kendrick Lamar leading the way thanks to a whopping 10 nods — here’s how to cast your ballot for your favorite stars. There are a few different ways to vote: First, you can cast your vote online at […]

The inaugural MUSIC AWARDS JAPAN ceremony, the largest music awards in the country, is set to take place in May in Kyoto. Embodying the theme of “Connecting the world, illuminating the future of music,” the new international music awards is hosted by the Japan Culture and Entertainment Industry Promotion Association (CEIPA), an association jointly established by five major organizations in the Japanese music industry.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
This year’s MAJ will recognize works and artists in more than 60 categories, including the six major awards for Song of the Year, Artist of the Year and more, which have gained significant attention and recognition from Feb. 5, 2024 to Jan. 26, 2025. The entries for each category were announced in March and the nominees for each category last week.
The fourth installment of Billboard Japan’s series exploring the trends and characteristics of MAJ will focus on the Best Vocaloid Culture Song entries that recognizes the Vocaloid song with the most outstanding musical creativity and artistry. Music created using Vocaloid software has developed in a unique way in Japan and we’ll assess how it’s currently being listened to around the world by breaking down various data of the category’s entries. In this article, songs using voice synthesizer software other than Yamaha’s Vocaloid products, such as CeVIO and Synthesizer V, will also be collectively referred to as “Vocaloid.”
Trending on Billboard
Trends Differ in Japan and Other Countries
Billboard Japan
We first calculated the share of each virtual singer software (voicebank) used for each song entered in the Best Vocaloid Culture Song category, based on the number of global streams excluding Japan. The graph shows Hatsune Miku is featured in more than half the Vocaloid songs being listened to overseas. The share of songs using Miku’s voice in Japan is 34%, so she’s more popular outside the country.
During the tallying period, the top 3 Vocaloid tracks being listened to outside of Japan all featured Hatsune Miku. Furthermore, six of the top 10 songs use her virtual voice. On the other hand, only three tracks featuring Miku made it into the top 10 in Japan, falling short of the five featuring Kasane Teto.
Billboard Japan
The above shows the percentage of the kinds of voicebank being used for each song entered in the category (when multiple kinds were used, such as in a duet, both were counted). The voicebank used the most was Hatsune Miku, accounting for 37% of all songs. Additionally, since the release of Kasane Teto for Synthesizer V AI in April 2023, the number of songs using her virtual voice has increased, making it the second most used after Miku’s. The top 5 were followed by Kagamine Len, Megurine Luka, IA, Kaai Yuki, and KAFU all tied at No. 6, and Zundamon and Adachi Rei tied at No. 11.
Vocaloid Music is Being Listened to Globally
Billboard Japan
59% of the streaming shares of the entries in the Best Vocaloid Culture Song category came from outside Japan. 25% of the streams of the entries in the Song of the Year (SOTY) category, which honors outstanding songs from both Japan and abroad, came from overseas, so this indicates Vocaloid is a genre that is particularly popular in other countries among Japanese songs.
Billboard Japan
The graph above shows the streaming shares for all entries in the Best Vocaloid Culture Song category during the tallying period, broken down by country/region excluding Japan. The top four countries—the United States, South Korea, Indonesia, and Taiwan— are the same as the Top Global Hits from Japan category that recognizes domestic songs that have become global hits. Compared to that award, the ratio of Southeast Asian countries is slightly lower, and that of South American countries is slightly higher. Also, while the share of entries ranked No. 11 and below in Top Global Hits from Japan was 32%, the same share for Best Vocaloid Culture Song was 42%, suggesting that Vocaloid music is being listened to in more countries/regions than the predominant Japanese songs being listened to outside of the country.
South America Leads Miku’s Popularity while East Asia Shows Diversity
Billboard Japan
From here, we’ll explore trends by country/region. The chart above shows the shares of voicebanks by country for the entries in the category. Because DECO*27’s “Rabbit Hole” (Hatsune Miku) and Satsuki’s “Mesmerizer” (Hatsune Miku & Kasane Teto) dominate the top 2 spots in many countries/regions, Miku accounts for over half the total streams in almost all countries/regions, and in particular, the shares in Latin American countries such as Mexico, Chile, and Brazil exceed 60%. Songs emphasizing rhythm and feel of the lyrics are more likely to gain popularity in these countries, such as MARETU’s “Binomi” (Hatsune Miku) and Nunununununununu’s “Mimukauwa Nice Try” (Hatsune Miku).
Meanwhile, Asian countries such as South Korea, Taiwan, and Indonesia have relatively lower percentage of Miku tracks. Songs using other voicebanks, such as Kanaria’s “KING” (GUMI), Sasuke Haraguchi’s “Hito Mania” (Kasane Teto), and Iyowa’s “Kyukurarin” (KAFU) are popular in these countries as well. In particular, South Korea has over 20% of songs using voicebanks other than Miku, GUMI, and Teto. Due to its cultural proximity to Japan, other East Asian countries have relatively mature markets for Vocaloid music, which is probably why the preferences for songs using different virtual voices diversified faster than in other regions.
But countries in North and Central/South America aren’t simply following in the footsteps of Asia’s Vocaloid music scene. The popularity of Hatsune Miku’s character and differences in national characteristics, such as “melody-oriented” or “rhythm-oriented” preferences, are contributing to the differences in how Vocaloid music is being received.
Vocaloid music is steadily spreading across countries and languages. Because the genre isn’t bound by a specific musical style, MAJ’s Best Vocaloid Culture Song category serves as a significant metric. The nominees for this award this year are Sasuke Haraguchi’s “Igaku,” Yoshida Yasei’s “Override,” Kurousa P’s “Senbonzakura,” Hiiragi Magnetite’s “Tetoris,” and Satsuki’s “Mesmerizer.” The winner will be announced at the award ceremony in May, and we look forward to seeing how the award develops in the coming years.