Awards
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The first batch of winners of the 2024 Latin Grammys were announced during the Latin Grammy Premiere on Thursday (Nov. 14). The ceremony — where most of the awards are presented — kicked off at 1:15 p.m. ET, a few hours prior to the televised gala (set to begin at 8 p.m. ET).
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For the second year in a row, Edgar Barrera leads the list of nominees with nine nods, including songwriter of the year and producer of the year. He is followed by superstars Karol G and Bad Bunny, who each got eight nominations.
For its 25th anniversary, the Latin Grammy Awards incorporated a new field of electronic music, and two new categories: best Latin electronic music performance, and best contemporary Mexican music album.
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The nominees for the coveted best new artist prize are Agris, Kevin Aguilar, Darumas, Nicolle Horbath, Latin Mafia, Cacá Magalhães, Os Garotin, Iñigo Quintero, Sofi Saar and Ela Taubert.
Below, find the list of Latin Grammy winners for 2024, which will be updated throughout the day. The televised ceremony will be broadcast live starting at 8 p.m. ET on Univision, Galavisión and ViX.
Record of the year
“Mil Veces,” Anitta
“Monaco,” Bad Bunny
“Una Vida Pasada,” Camilo & Carín León
“Catalina,” Cimafunk & Monsieur Periné
“Derrumbe,” Jorge Drexler
“Con Dinero y Sin Dinero,” Fonseca & Grupo Niche
“Mi Ex Tenía Razón,” Karol G
“Mambo 23,” Juan Luis Guerra y 4.40
“Tenochtitlán,” Mon Laferte
“Igual Que Un Ángel,” Kali Uchis & Peso Pluma
Album of the year
Bolero, Ángela Aguilar
Cuatro, Camilo
Xande Canta Caetano, Xande De Pilares
Mañana Será Bonito (Bichota Season), Karol G
García, Kany García
Radio Güira, Juan Luis Guerra 4.40
Autopoiética, Mon Laferte
Boca Chueca, Vol. 1, Carín León
Las Letras Ya No Importan, Residente
Las Mujeres Ya No Lloran, Shakira
Song of the year
“A Fuego Lento,” Daymé Arocena & Vicente García, songwriters (Daymé Arocena & Vicente García)
“A La Mitad” (Banda Sonora Original De La Serie “Zorro”), Julio Reyes Copello & Mariana Vega, songwriters (Maura Nava)
“Aún Me Sigo Encontrando”, Rubén Blades, Gian Marco & Julio Reyes Copello, songwriters (Gian Marco & Rubén Blades)
“Caracas En El 2000,” Marvin Hawkins Rodriguez, Jerry Di, La Pichu, Danny Ocean & Elena Rose, songwriters (Elena Rose, Danny Ocean & Jerry Di)
“Derrumbe,” Jorge Drexler, songwriters (Jorge Drexler)
“(Entre Paréntesis),” Edgar Barrera, Kevyn Mauricio Cruz, Manuel Lorente Freire, Lenin Yorney Palacios & Shakira, songwriters (Shakira, Grupo Frontera)
“Mi Ex Tenía Razón,” Edgar Barrera, Andres Jael Correa Rios, Kevyn Mauricio Cruz Moreno, Karol G & MAG, songwriters (Karol G)
“Según Quién,” Edgar Barrera, Kevyn Mauricio Cruz, Luís Miguel Gómez Castaño, Maluma, Lenin Yorney Palacios & Juan Camilo Vargas, songwriters (Maluma & Carín León)
“Te Lo Agradezco,” Rafa Arcaute, Kany García, Carín León & Richi López, songwriters (Kany García & Carín León)
“313,” Leo Genovese, Residente & Silvia Pérez Cruz, songwriters (Residente, Silvia Pérez Cruz & Penélope Cruz)
Best new artist
Agris
Kevin Aguilar
Darumas
Nicolle Horbath
Latin Mafia
Cacá Magalhães
Os Garotin
Iñigo Quintero
Sofi Saar
Ela Taubert
Best pop vocal album
Tofu, Caloncho
.mp3, Emilia
El Viaje, Luis Fonsi
Hotel Caracas, Mau y Ricky
Orquídeas (AOP), Kali Uchis
Escrita, Nicole Zignago
Best traditional pop vocal album
Obras Maestras, Diego El Cigala
García, Kany García
Mar Adentro, Juliana
Aún Me Sigo Encontrando, Gian Marco
Almas Paralelas, Laura Pausini
Best pop song
“A La Mitad” (Banda Sonora Original De La Serie “Zorro”), Julio Reyes Copello & Mariana Vega, songwriters (Maura Nava)
“A Las 3,” Paty Cantú, Ángela Dávalos, León Leiden & Saibu, songwriters (Paty Cantú & León Leiden)
“Ahora,” David Bisbal, Pablo Preciado & Carlos Rivera, songwriters (David Bisbal & Carlos Rivera)
“Amor,” José Andrés Benitez, Christian Bermudez, Richard Bermudez, Rodney Kumbirayi Hwingwiri, Juan Diego Linares, Luis Alejandro Márquez, Anibal Morin Diaz, Danny Ocean & Rafael Salcedo, songwriters (Danny Ocean)
“Dime Quién,” Lagos, songwriters (Lagos)
“Feriado,” Rawayana, songwriters (Rawayana)
“Igual Que Un Ángel,” Carter Lang, Manuel Lorente Freire, Kali Uchis & Dylan Wiggins, songwriters (Kali Uchis & Peso Pluma)
Best Latin electronic music performance
“La Ceniza,” Ale Acosta, Valeria Castro
“Drum Machine,” Alok
“Pedju Kunumigwe,” Alok, Guarani Nhandewa
“Bzrp Music Sessions, Vol. 53 (Tiësto Remix),” Bizarrap, Shakira – WINNER
“Bambole,” Vikina Featuring Deorro
Best urban/fusion performance
“Nadie Sabe,” Bad Bunny
“Corazon Vacío,” Maria Becerra
“Young Miko: Bzrp Music Sessions, Vol. 58,” Bizarrap Featuring Young Miko
“S91,” Karol G
“Tranky Funky,” Trueno
Best reggaeton performance
“Perro Negro,” Bad Bunny Featuring Feid
“Un Preview,” Bad Bunny
“Triple S,” J Balvin Featuring Jowell & Randy & De La Ghetto
“Byak,” Alvaro Diaz Featuring Rauw Alejandro
“Qlona,” Karol G Featuring Peso Pluma
“Labios Mordidos,” Kali Uchis Featuring Karol G
Best urban music album
Nadie Sabe Lo Que Va A Pasar Mañana, Bad Bunny
Sol María, Eladio Carrión
Sayonara, Álvaro Díaz
Ferxxocalipsis, Feid
Mañana Será Bonito (Bichota Season), Karol G
El Último Baile, Trueno
Best rap/hip-hop song
“Aprender A Amar,” Pablo Drexler, Alberto Escámez López & Nathy Peluso, songwriters (Nathy Peluso)
“Bendecido,” Eladio Carrión, songwriter (Eladio Carrión)
“Blam Blam,” Al2 El Aldeano & Vico C, songwriters (Vico C Featuring Al2 El Aldeano)
“La Sabia Escuela,” Akapellah, Leonardo Daniel Díaz, Jose Gonzalez Ollarves, Marlon Luis Morales Santana, Luis Jacinto Muñoz Hernandez & Pedro Elias Querales, songwriters (Akapellah Featuring Canserbero & Lil Supa)
“Teléfono Nuevo,” Bad Bunny & Luar La L, songwriters (Bad Bunny Featuring Luar La L)
“Thunder y Lightning,” Bad Bunny & Eladio Carrión, songwriters (Bad Bunny Featuring Eladio Carrión)
Best urban song
“Bonita,” Daddy Yankee, songwriter (Daddy Yankee) – WINNER
“Columbia,” Quevedo, songwriter (Quevedo)
“El Cielo,” Feid, Nicolás Jaña Galleguillos, Gabriel Mora Quintero, Andres David Restrepo Echavarria, Sky Rompiendo & Myke Towers, songwriters (Sky Rompiendo, Feid, Myke Towers)
“La Falda,” Julio Emmanuel Batista Santos, Carlos Alberto Butter Aguila, Orlando J. Cepeda Matos, Ralph Jemar Milln Calderon, Jose Reyes, Myke Towers & Siggy Vazquez Rodriguez, songwriters (Myke Towers)
“Luna,” Feid, songwriters (Feid Featuring Atl Jacob)
“Qlona,” Karol G, Daniel Esteban Gutiérrez, Ovy on the Drums & Peso Pluma, songwriters (Karol G Featuring Peso Pluma)
Best rock album
El Dorado (En Vivo), Aterciopelados
Diáspora Live Vol. 1, La Vida Bohème
Herencia Lebón, David Lebón
Alicia En El Metalverso, Mägo De Oz
Mi Mejor Enemigo, Viniloversus
Best rock song
“Algo Bueno Tenía Que Tener (Bogotá)”, Diamante Eléctrico & Andrés Kenguan, songwriters (Diamante Eléctrico)
“Animal Temporal”, Viniloversus, songwriters (Viniloversus)
“Camaleónica”, Ali Stone, songwriters (Ali Stone)
“No Me Preguntes (Live)”, Jesús Quintero & Draco Rosa, songwriters (Draco Rosa)
“Qué Más Quieres”, Anton Curtis Delost, Shaun Lopez, Kathryn Ostenberg, Monica Velez & The Warning, songwriters (The Warning)
Best pop/rock album
Cuando Ella Me Besó Probé A Dios, Bruses
Jet Love, Conociendo Rusia
Jay De La Cueva, Jay De La Cueva
Reflejos De Lo Eterno, Draco Rosa
Adentro, Francisca Valenzuela
Best pop/rock song
“Acapulco,” Emmanuel Horvilleur, Siddhartha & Rul Velázquez, songwriters (Siddhartha Featuring Emmanuel Horvilleur)
“Afilá,” Ali Stone, songwriter (Ali Stone)
“Blanco y Negro,” Christian Mauricio Aloisio Zavala, Lagos & Elena Rose, songwriters (Lagos Featuring Elena Rose)
“5 Horas Menos,” Conociendo Rusia & Natalia Lafourcade, songwriters (Conociendo Rusia Featuring Natalia Lafourcade)
“Diciembre,” Los Mesoneros, songwriters (Los Mesoneros)
Best alternative music album
Por Cesárea, Dillom
Híper, Hello Seahorse!
Nica, Nicole Horts
Autopoiética, Mon Laferte
Pandora, Ali Stone
Descartable, Wos
Best alternative song
“Cabecear,” J Noa, Jeffrey Peñalva “Trooko” & Skai, songwriters (J Noa)
“Déjalo Ir,” Francisco Rojas & Francisca Valenzuela, songwriters (Francisca Valenzuela)
“El Día Que Perdí Mi Juventud,” Devonté Hynes & Nathy Peluso, songwriters (Nathy Peluso)
“Insomnia,” Goyo, Illmind, Omar Isaiah Lupuku, Don Mills, Carlos Santander & Telly, songwriters (Goyo)
“Lloro,” Nicole Horts, Camilo Velez & Maria Vertiz, songwriters (Nicole Horts)
Best salsa album
Yo Deluxe, Christian Alicea
Muevense, Marc Anthony
Siembra: 45° Aniversario (En Vivo en el Coliseo de Puerto Rico, 14 de Mayo 2022), Rubén Blades and Roberto Delgado & Orquesta
Joyas Que Bailan, Ronald Borjas
Coexistencia, Luis Figueroa
Best cumbia/vallenato album
‘Ta Malo, Silvestre Dangond
De La Uno A La 1000 (Primera Temporada), Omar Geles
Se Agradece, Los Ángeles Azules
Vallenatos Pa Enamorar, Osmar Pérez & Geño Gamez
La Sociedad De La Cumbia (Big Band Live), Puerto Candelaria
Best merengue/bachata album
Radio Güira, Juan Luis Guerra 4.40
Agradecido Live!, Eddy Herrera
Superhéroe Merengue, Magic Juan
Lo Tengo Todo, Oscarito
Llamada Perdida, Prince Royce
Best traditional tropical album
Rodando Por El Mundo, José Alberto “El Canario”
Tengo Algo Que Decirte, Luis Fernando Borjas
Voces De Mi Familia, Alex Cuba
Los Mismos Negros, Yelsy Heredia
A Mis Ancestros, Yeisy Rojas
Best contemporary tropical album
Epílogo: La Clave Del Tiempo, Jeremy Bosch
Cuatro, Camilo
Tropicalia, Fonseca
Monte Adentro, Gusi
La Fiesta, Ilegales
Best tropical song
“Baila y Goza,” Renesito Avich & Rafael “Pollo” Brito, songwriters (Renesito Avich Featuring Rafael “Pollo” Brito)
“Con Dinero y Sin Dinero,” Jorge Luis Chacín, Fonseca & Miguel Yadam González Cárdenas, songwriters (Fonseca & Grupo Niche)
“Hasta Que Aguante El Cuerpo,” Jorge Luis Piloto, songwriters (Dayhan Díaz & Pupy Santiago)
“Llorar Bonito,” Luis Figueroa & Yoel Henríquez, songwriters (Luis Figueroa)
“Mambo 23,” Juan Luis Guerra, compositor (Juan Luis Guerra 4.40)
Best singer-songwriter album
Compita Del Destino, El David Aguilar
Scratch De Versos, El Riqué
Pausa, Leonel García
De Magia Imperfecta, Nicolle Horbath
El Abrazo, Rozalén
Best singer-songwriter song
“Antes Que O Mundo Acabe,” Tiago Iorc, songwriter (Tiago Iorc)
“Derrumbe,” Jorge Drexler, songwriter (Jorge Drexler)
“Entonces,” Rozalén, songwriter (Rozalén)
“García,” Kany García, songwriter (Kany García)
“Luz De Cabeza,” El David Aguilar, songwriter (El David Aguilar)
Best ranchero/mariachi album
Mariachi y Tequila (Deluxe), Majo Aguilar
Que Llueva Tequila, Pepe Aguilar
Te Llevo En La Sangre, Alejandro Fernández
Romances Eternos, Mariachi Sol de México de José Hernández
Best banda album
Presente, Julión Álvarez y Su Norteño Banda
Yo Te Extrañaré, Luis Angel “El Flaco”
Diamantes, Chiquis
Best Tejano album
Imperfecto, El Plan
Siempre Gabriella, Gabriella
Ganas (Deluxe), Vilax
Best Norteño album
El Comienzo, Grupo Frontera
Modus Operandi, Intocable
LNDT, Los Nietos de Terán
Te Amaré, Pesado
Terca, Sofi Saar
Best contemporary Mexican music album
Nata Montana, Natanael Cano
Evoluxion, DannyLux
Jugando A Que No Pasa Nada, Grupo Frontera
Boca Chueca, Vol. 1, Carín León
Trastornado, Michelle Maciel
Génesis, Peso Pluma
Best regional song
“Aquí Mando Yo,” Héctor Guerrero, songwriter (Los Tigres Del Norte)
“Canción Para Olvidarte,” Mango, Nabález, Chris Zadley & Nicole Zignago, songwriters (Majo Aguilar)
“El Amor De Su Vida,” Edgar Barrera & Kevyn Mauricio Cruz, songwriters (Grupo Frontera, Grupo Firme)
“Por El Contrario,” Edgar Barrera, Kevyn Mauricio Cruz & Elena Rose, songwriters (Becky G Featuring Angela Aguilar & Leonardo Aguilar)
“Tienes Que Ser Tú,” Salvador Aponte & Yoel Henríquez, songwriters (La Energía Norteña)
Best instrumental album
Impronta, Omar Acosta
Claude Bolling Goes Latin – Suite For Flute And Latin Music Ensemble, Carlomagno Araya, Jose Valentino & The Latin Music Ensemble
Capriccio Latino, Alexis Cárdenas
Encontro Das Águas, Yamandu Costa & Armandinho Macêdo
Tembla, Hamilton De Holanda & C4 Trío
Best folk album
Canto y Río, Martina Camargo
C4 Suena a Navidad, C4 Trío
Raíz Nunca Me Fui, Lila Downs, Niña Pastori, Soledad
Paisajes, Ciro Hurtado
Bullerengue y Tonada, Tonada
Best tango album
El Cantor de Tangos, Guillermo Fernández Featuring Cristian Zarate
Tangos Cruzados, Franco Luciani, Fabrizio Mocata
¿Y El Fin Del Amor?, Mariana Mazú
Apiazolado, Diego Schissi Quinteto
Ya Está En El Aire, Ullmann Cuarteto
Best flamenco album
Andenes del Tiempo, Vicente Amigo
Rumberas, Las Migas
Historias De Un Flamenco, Antonio Rey
Best Latin jazz/jazz album
Collab, Hamilton De Holanda & Gonzalo Rubalcaba
Searching For A Memory (Busco Tu Recuerdo), Sammy Figueroa Featuring Gonzalo Rubalcaba & Aymée Nuviola
My Heart Speaks, Ivan Lins
Pra Você, Ilza, Hermeto Pascoal & Grupo
El Arte Del Bolero, Vol. 2, Miguel Zenón & Luis Perdomo
Best Christian album (Spanish language)
Necesito De Ti, Jesús Israel
No Yo, Sino Cristo, Majo y Dan
Maverick, Redimi2
Kintsugi, Un Corazón
Tu Iglesia, Marcos Witt
Best Portuguese language Christian album
Ele É Jesus – Ao Vivo, Bruna Karla
Deixa Vir – Vol II (Ao Vivo), Thalles Roberto
In Concert (Ao Vivo), Rosa de Saron
Vida (Ao Vivo), Eli Soares
Temporal, Vocal Livre
Best Portuguese language contemporary pop album
Afrodhit, Iza
Super, Jão
Amaríssima, Melly
Os Garotin De São Gonçalo, Os Garotin
Escândalo Íntimo, Luísa Sonza
Best Portuguese language rock or alternative album
Erasmo Esteves, Erasmo Carlos
No Rastro de Catarina, Cátia de França
Me Chama de Gato Que Eu Sou Sua, Ana Frango Elétrico
Ontem Eu Tinha Certeza (Hoje Eu Tenho Mais), Jovem Dionisio
Lagum Ao Vivo, Lagum
Best Portuguese language urban performance
“Joga Pra Lua,” Anitta Featuring Dennis & Pedro Sampaio
“Cachimbo da Paz 2,” Gabriel O Pensador, Lulu Santos, Xamã
“Da Braba,” Gloria Groove Featuring Ludmilla & Mc Gw
“Carta Aberta,” Mc Cabelinho
“Fé nas Maluca,” Mc Carol, Iza
“La Noche,” Yago Oproprio Featuring Patricio Sid
Best samba/pagode album
Alcione 50 Anos (Ao Vivo), Alcione
Xande Canta Caetano, Xande De Pilares
Iboru, Marcelo D2
Tardezinha Pela Vida Inteira (Ao Vivo), Thiaguinho
Subúrbio (Ao Vivo), Tiee
Best MPB (Musica Popular Brasileira)/MAPB (Música Afro Portuguesa Brasileira) album
D Ao Vivo Maceió, Djavan
Se o Meu Peito Fosse o Mundo, Jota.Pê
Portas (Ao Vivo), Marisa Monte
Outros Cantos, Milton Nascimento, Chitãozinho & Xororó
No Tempo da Intolerância, Elza Soares
Best Sertaneja music album
Boiadeira Internacional (Ao Vivo), Ana Castela
Paraíso Particular (Ao Vivo), Gusttavo Lima
Cintilante (Ao Vivo), Simone Mendes
Raiz Goiânia (Ao Vivo), Lauana Prado
Luan City 2.0 (Ao Vivo), Luan Santana
Best Portuguese language roots album
Mariana e Mestrinho, Mariana Aydar, Mestrinho
Aguidavi do Jêje, Aguidavi Do Jêje, Luizinho Do Jêje
De Norte a Sul, João Gomes
Night Clube Forró Latino (Volume I), Marcelo Jeneci
Faróis do Sertão, Gabriel Sater
Best Portuguese language song
“Alinhamento Milenar,” Jão, Pedro Tófani & Zebu, songwriters (Jão)
“Ata-me,” Junio Barreto, songwriter (Alaíde Costa)
“Chico,” Bruno Caliman, Carolzinha, Douglas Moda, Jenni Mosello & Luísa Sonza, songwriters (Luísa Sonza)
“Esperança,” Criolo, Dino D’Santiago, Amaro Freitas & Nave, songwriters (Criolo, Dino D’Santiago, Amaro Freitas)
“Ouro Marrom,” Jota.Pê, songwriter (Jota.Pê)
Best Latin children’s album
Navidad de Norte a Sur: Cantoalegre Big Band (En vivo), Cantoalegre, Orquesta La Pascasia
Cantemos Juntos, Claraluna
¡A Cantar!, Danilo & Chapis
Dun Dun Dara, Payasitas Nifu Nifa
Todos Podemos Cantar 2024, Todos Podemos Cantar
Best classical album
Aire, Aire… No Puedo Respirar, Ricardo Jaramillo, director; Ricardo Jaramillo, Jefferson Rosas & Marcela Zorro, producers
Credo For Orchestra, Choir And Five Soloists, Iván Cardozo, Fernando Escalona, Claudio González, Jhoxiris Medina & Grace Terán; Christian Vásquez, director; Maria Beatriz Cárdenas, Eugenio Carreño & Eduardo Martínez Planas, producers (Orquesta Sinfónica Simón Bolívar de Venezuela, Coro Nacional Simón Bolívar)
Fandango, Anne Akiko Meyers & Gustavo Castillo; Gustavo Dudamel, director; Dmitry Lipay, producers (Los Angeles Philharmonic)
Fantasies of Buenos Aires, Lincoln Trio; Daniel Binelli & Ted Viviani, producers
The Latin Rites, Josep Vicent, director; Fernando Arias, producers (Adda Simfònica Alicante)
Best classical contemporary composition
“Caribbean Berceuse,” Paquito D’Rivera, composer (Barcelona Clarinet Players, Paquito D’Rivera, North Texas Wind Symphony, Eugene Migliaro Corporon (director))
“Fandango,” Arturo Márquez, composer (Los Angeles Philharmonic, Gustavo Dudamel, Anne Akiko Meyers)
“La Minerva – III. Himno A La Mujer,” Juan Pablo Contreras, composer (Juan Pablo Contreras, Orquesta Latino Mexicana, Angélica Olivo)
“Meditation No.1,” Julien Labro, composer (Takács Quartet, Julien Labro)
“Sueño Austral,” Daniel Freiberg, composer (Barcelona Clarinet Players, Freiburger Blasorchester, Miguel Etchegoncelay & Daniel Freiberg)
Best arrangement
“Sueño Austral,” Daniel Freiberg, arranger (Barcelona Clarinet Players, Freiburger Blasorchester, Miguel Etchegoncelay & Daniel Freiberg)
“Night In Tunisia,” Hilario Durán, arranger (Hilario Durán And His Latin Jazz Big Band Featuring Paquito D’Rivera)
“Fuego De Noche, Nieve De Día,” Julio Reyes Copello, arranger (Ricky Martin, Christian Nodal)
“Linha de Passe,” Nailor Proveta, arranger (Orquestra Jazz De Matosinhos, Gabi Guedes, Kiko Freitas)
“Rapsodia Aérea,” Andrés Soto, arranger (Andrés Soto, Orquesta Sinfónica Nacional de Costa Rica, Carl St. Clair)
Best recording package
En Vivo – 100 Años de Azúcar, Nelson Albareda, Sebastian Aristizabal, Kemelly Figueroa-Mouriz, Omer Pardillo-Cid & Albertico Rodríguez, art directors (Celia Cruz)
Figurantes, Boa Mistura, art director (Vetusta Morla)
Karma, Carlos Ortiz, art director (Diana Burco)
Realismo Mágico, Carlos Sadness, art director (Carlos Sadness)
Tekoá, Leonardo Macias, art director (Jair Oliveira)
Songwriter of the year
Edgar Barrera – WINNER
Yoel Henríquez
Manuel Lorente Freire
Horacio Palencia
Pablo Preciado
Best engineered album
Analu, Tó Brandileone, engineers; Daniel Musy, mixer; André Dias, mastering engineer (Analu Sampaio)
Era Uma Vez, Pedro Peixoto & Matheus Stiirmer, engineers; Pedro Peixoto, mixer; Fili Filizzola, mastering engineer (Mobi Colombo)
Os Garotin De São Gonçalo, Uiliam Pimenta, Julio Raposo & Pepê Santos, engineers; Bernardo Martins, mixer; Felipe Tichauer, mastering engineer (Os Garotin)
Quem É Ela?, Túlio Airold, Alex Dos Reis Silva & Gianlucca Pernechele Azevedo, engineers; João Milliet, mixer; Fili Filizzola, mastering engineer (Mariana Nolasco)
Se o Meu Peito Fosse o Mundo, Thiago Baggio, Will Bone, Leonardo Emocija, Rodrigo Lemos & Felipe Vassão, engineers; João Milliet, mixer; Felipe Tichauer, mastering engineer (Jota.Pê)
Producer of the year
Edgar Barrera
Eduardo Cabra
Nico Cotton
Juan Luis Guerra, Janina Rosado
Julio Reyes Copello
Best short form music video
“Ale Ale,” Marc Anthony; Carlos Pérez, director; Joanna Egozcue, producer
“Baticano,” Bad Bunny; Stillz, director
“Oliveira Dos Cen Anos,” C. Tangana; C. Tangana, director
“Sálvanos,” Leonel García; Nuno Gomes, director; Nuno Gomes, producer
“Glock,” Mau y Ricky; Daniel Duran, director; Alegna Espinoza & Maricel Zambrano, producers
“313,” Residente Featuring Penélope Cruz & Silvia Pérez Cruz; Residente, director; Carolina Wolf, producer
Best long form music video
Beautiful Humans Vol 1. Documental, Alemor; Wismer Jimenez, director; Alemor & Wismer Jimenez, producers
Meu Karma, Jovem Mk; Kaique Alves, Gabriel Avelar & Beto Galloni, directors; Rodrigo Castello, Mariê Nunes & Eduardo Saraiva, producers
Hotel Caracas, Mau y Ricky; Daniel Duran, director; Alegna Espinoza & Maricel Zambrano, producers
Grasa (Album Long Form), Nathy Peluso; Agustín Puente, director
Nacimos Llorando, Rubio; Fernando Cattori, director; Luis Betances, Fernando Cattori, Josep Pardo, Jaume Rigual, Ana Laura Solis, Aura Solis & Joe Solis, producers
11/14/2024
Hearing your name called even once is a thrill, but repeating is the ultimate goal.
11/14/2024
One week before the Country Music Association Awards are set to take place in Nashville, the Academy of Country Music announced the submissions and ballot timeline for the 60th Academy of Country Music Awards, which are set to take place on May 8, 2025.
The ACM Awards will stream exclusively on Prime Video for the fourth straight year. They will be held at Ford Center at The Star in Frisco, Texas, for a third straight year and be hosted by Reba McEntire for a second straight year.
This will be the 18th time McEntire has hosted or co-hosted the ACM Awards. She first co-hosted the show in 1986 with John Schneider and the late Mac Davis. McEntire is fast closing in on Bob Hope’s record as the most frequent host of any major awards show. Hope hosted or co-hosted the Oscars 19 times between 1940 and 1978.
Trending on Billboard
The ACM Awards are produced by Dick Clark Productions. The awards are voted on by ACM members. The window to become a member or renew membership, which opened on Oct. 1, closes Friday, Nov. 15 at 10 a.m. CT. Prospective voters can submit an application for ACM membership online at www.acmcountry.com/membership.
The eligibility period for the 60th Academy of Country Music Awards is Jan. 1, 2024 through Dec. 31, 2024. The submissions period, for both the ACM Awards and the ACM Radio Awards, opens Jan. 6, 2025 and closes Jan. 17, 2025.
Here are other key dates for Academy professional members for the ACM Awards and ACM Radio Awards.
ACM Awards
First round voting: Feb. 10, 2025 – Feb. 18, 2025
Second round voting: March 10, 2025 – March 17, 2025
Final round voting: March 31, 2025 – April 7, 2025
ACM Radio Awards
First round voting: Feb. 10, 2025 – Feb. 24, 2025
Final round voting: March 10, 2025 – March 24, 2025
At the 58th annual CMA Awards on Nov. 20, two pairings have the chance to earn their first CMA Award for vocal duo of the year—The War and Treaty and Maddie & Tae. But they are up against three duos who each have previously won multiple times in the category: Brooks & Dunn, Dan + Shay and Brothers Osborne. The Country Music Association’s vocal duo of the year […]
The Country Music Association is set to honor three-time CMA Award entertainer of the year winner George Strait with the 2024 CMA Willie Nelson Lifetime Achievement Award during the upcoming 58th annual CMA Awards, which will air on Nov. 20 on ABC from Nashville’s Bridgestone Arena. Strait will receive his accolade following a performance from […]
11/12/2024
They’re no doubt grateful for the nominations they received, but also probably surprised and maybe even stung by the ones that eluded them.
11/12/2024
The vibe for the Nashville Songwriters Hall of Fame induction on Nov. 6 was a little odd.
Less than 24 hours after an election with results that many pundits see as a pushback against diversity, the Hall welcomed six new members whose output covered a nicely diverse stylistic landscape that touches on country, pop and R&B.
The class featured two performing artists — The Bellamy Brothers’ David Bellamy and late multigenre figure Tony Joe White — plus Liz Rose (“You Belong With Me,” “Crazy Girl”), Victoria Shaw (“I Love the Way You Love Me,” “The River”), Al Anderson (“Unbelievable,” “Love’s Gonna Make It Alright”) and Dan Penn (“Cry Like a Baby,” “Do Right Woman — Do Right Man”).
It was just the third time in the Hall’s 54-year history that two women were inducted together. Prior to Rose and Shaw simultaneously joining, Shania Twain and Hillary Lindsey (“Blessed,” “Jesus, Take the Wheel”) were installed in 2022, and Tammy Wynette and Kye Fleming (“Smoky Mountain Rain,” “Nobody”) were recognized in 2009.
“It’s extra special that there’s two women this time,” Shaw noted in her acceptance speech. “Someday we won’t have to point that out, but it’s still nice.”
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The diversity of the current class was represented by performances that ranged from swamp rock to gospel-flecked soul to pure country. Karen Fairchild applied a spiked tone to Little Big Town’s four-part harmony on Rose’s “Girl Crush,” Nikki Lane balanced a cutting vocal resonance against Kenny Vaughan’s smoky guitar on White’s bluesy “Polk Salad Annie,” and Garth Brooks milked the silence between the phrases in a folky rendition of the Shaw co-writes “A Friend to Me,” “She’s Every Woman” and “The River.” John Andersonoffered a greasy, driving interpretation of Bellamy’s “Redneck Girl”; Wendy Moten prefaced Penn’s induction with a dramatically dynamic version of the 1960s soul single “The Dark End of the Street”; and Vince Gill participated in Al Anderson’s segment by performing“Some Things Never Get Old,” a ballad Anderson recorded as a solo artist, with backing vocalist Carolyn Dawn Johnsonand bassist Glenn Worf.
Nikki Lane performs onstage during the 54th Anniversary Nashville Songwriters Hall Of Fame Gala at Music City Center on November 06, 2024 in Nashville.
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Acceptance in the Hall is notable. It’s an unpredictable — and thus, insecure — vocation, and sustained success is often elusive. Bellamy recalled that his father pestered him to develop a backup plan in the early part of his career, assuming that songwriting wasn’t likely to pay the bills. Jim Stafford’s recording of Bellamy’s “Spiders and Snakes” changed that, starting a hit list that includes “Old Hippie,” “Kids of the Baby Boom” and “If I Said You Have a Beautiful Body Would You Hold It Against Me.”
“My dad called me — I was on the road somewhere,” Bellamy noted during his speech. “He had been to the mailbox and got my first royalty check. He said, ‘Son, I think you’re going to be able to make a living at this.’ ”
For Al Anderson, songwriting built upon his guitar skills, burnished during a run in the eclectic band NRBQ. He became adept at creating hooky, uptempo songs.
“He knows 400,000 chords,” fellow songwriter Sharon Vaughan (“Powerful Thing”) said while inducting Anderson. “During the writing of a song, he uses about 200,000 of them before you get to the second verse.”
Anderson was enthusiastic. He enlisted fellow writer Tia Sillers (“I Hope You Dance”) to speak on his behalf, and she stood at his side on a box, placing her at his eye level. But Anderson still got in a few words before leaving the stage.
“It’s a beautiful thing, writing songs,” he quipped. “You can’t beat it. It’s just the shit.”
Penn’s induction embodied the country/R&B blend that has become increasingly prominent in country circles. He fashioned hits for the likes of Ronnie Milsap,Johnny Rodriguez and T.G. Sheppard in the 1970s, though his journey was rooted more typically in pop and soul. His career started in earnest in the Muscle Shoals region and took off after he moved to Memphis, where he scored with James & Bobby Purify’s recording of “I’m Your Puppet” and James Carr’s “The Dark End of the Street.”
“Dark End” exemplifies Penn’s ability to fuse styles. It rose to prominence in the 1960s, when he still lived in Memphis, though he authored it during a break in a Nashville poker game. Despite its soul history, “Dark End” authors David Cantwell and Bill Friskics-Warren recognized it in the Country Music Foundation book Heartaches by the Number: Country Music’s 500 Greatest Singles. It fits both blue-collar genres in part because of its theme.
“We were always trying to come up with the best cheating song ever,” he was known to say, according to his inductor, songwriter Gretchen Peters (“Independence Day”).
White’s career path likewise wound through both Tennessee music capitals — son Jody White, in accepting his late father’s induction, recalled The Blues Brothers hanging out at the family’s house in Memphis and watching football at Waylon Jennings’Nashville home. White’s biggest copyright, “A Rainy Night in Georgia,” also transcended boundaries, providing soul singer Brook Benton with a classic recording and becoming a country hit for Hank Williams Jr.
“It just invokes a feeling of loneliness,” Jody said before ceremony, “and I think that’s what’s special about it. It’s hard to just make someone have that strong of a feeling by listening to your song.”
Rose is also a genre-hopper. While her songs have succeeded primarily in country, she’s co-written 17 Taylor Swift releases, and they include both country hits (“Tim McGraw,” “Teardrops on My Guitar”) and music from her pop era (particularly the 10-minute “All Too Well”).
Despite the ceremony’s proximity to a contentious election, the Hall of Fame demonstrated how songwriters can pull together even when they disagree. A bit surprisingly, during the course of the evening, neither presenters nor inductees mentioned the election.
“What’s great about this community, everybody’s walking in that room, [feeling] part of the music community as songwriters,” Rose said on the red carpet. “There should be no politics. We all love each other, and that’s being an American.”
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In 2003, Eminem made Oscar history with “Lose Yourself,” the first rap song to win best original song. Now he’s in contention for another top honor. He’s one of 26 songwriters or songwriting teams vying for induction into the Songwriters Hall of Fame this year.
Just six will be elected – three from 13 nominees in the performing songwriters category and three from 13 nominees in the songwriters category, which is reserved for non-performing songwriters. The six inductees will be celebrated at the SHOF’s 2025 Induction & Awards Gala in New York City, which is expected to be in June at the event’s usual home, the Marriott Marquis.
All but five of the 26 nominees are individuals. The five collaborations on the ballot are Steve Barri and P.F. Sloan; Dennis Lambert and Brian Potter; Dan Penn and Spooner Oldham; three members of The Doobie Brothers (Tom Johnston, Michael McDonald and Patrick Simmons); and five former members of N.W.A (Dr. Dre, Eazy-E, Ice Cube, MC Ren and DJ Yella).
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Almost all the nominees are still living. The only exceptions are Sloan, who died in 2015 at age 70, and N.W.A’s Eazy-E, who died in 1995 at age 30.
The youngest nominees are Ashley Gorley and Rodney “Darkchild” Jerkins, both 47. The list includes four women – Franne Golde, Sheryl Crow, Janet Jackson and Alanis Morissette.
Several songwriters who are strongly associated with songwriters who were previously inducted into the SHOF are on the ballot this year – Walter Afanasieff (his frequent collaborator Mariah Carey was inducted in 2022), Roger Nichols (his frequent collaborator Paul Williams was inducted in 2001), Jackson (her brother Michael Jackson was inducted in 2002) and Mike Love (his Beach Boys colleague Brian Wilson was inducted in 2000).
The list includes eight members of the Rock and Roll Hall of Fame – Crow, Eminem, Jackson, George Clinton (who is in the Rock Hall as the leader of Parliament/Funkadelic), Love (who is in the Rock Hall as a member of The Beach Boys), Steve Winwood (who is in the Rock Hall as a member of Traffic), the three aforementioned members of The Doobie Brothers and the five aforementioned former members of N.W.A.
The list includes three members of the Nashville Songwriters Hall of Fame. Sonny Curtis was inducted into that body in 1991, followed by Tom Douglas in 2014 and Oldham in 2020. Curtis, 87, has had many pop and country hits, including “I Fought the Law” and “Walk Right Back,” but he may be best-known for writing “Love Is All Around,” the pitch-perfect theme song from The Mary Tyler Moore Show.
Three of the nominees are past winners of the Grammy for producer of the year (non-classical). Narada Michael Walden won that award in 1988, chiefly for his work with Whitney Houston. Afanasieff won in 2000, Dr. Dre in 2001.
A songwriter with a catalog of notable songs qualifies for induction 20 years after their first significant commercial release of a song.
Eligible voting members have until midnight ET on Dec. 22 to turn in their ballots with their choices of up to three nominees in each of the two categories.
Here’s a complete list of the Songwriters Hall of Fame’s 2025 nominees for induction. The SHOF supplied the five songs listed after each nominees’ name, which they stress “are merely a representative sample of their extensive catalogs.”
Songwriters
Walter Afanasieff – “All I Want for Christmas Is You,” “Hero,” “License to Kill,” “Love Will Survive,” “One Sweet Day”
Steve Barri and P.F. Sloan – “Secret Agent Man,” “Eve Of Destruction,” “Where Were You When I Needed You,” “You Baby,” “Can I Get to Know You”
Mike Chapman – “The Best,” “Love Is a Battlefield,” “Ballroom Blitz,” “Stumblin’ In,” “Kiss You All Over”
Sonny Curtis – “Love Is All Around (Theme from “The Mary Tyler Moore Show”),” “I Fought the Law,” “Walk Right Back,” “More Than I Can Say,” “I’m No Stranger to the Rain”
Tom Douglas – “The House That Built Me,” “Little Rock,” “I Run to You,” “Grown Men Don’t Cry,” “Love Me Anyway”
Franne Golde – “Dreaming of You,” “Nightshift,” “Don’t Look Any Further,” “Don’t You Want Me,” “Stickwitu”
Ashley Gorley – “I Had Some Help,” “Last Night,” “You Should Probably Leave,” “Play It Again,” “You’re Gonna Miss This”
Rodney “Darkchild” Jerkins – “Say My Name,” “The Boy Is Mine,” “You Rock My World,” “Déjà vu,” “Telephone”
Dennis Lambert and Brian Potter – “One Tin Soldier (Theme from “Billy Jack”),” “Don’t Pull Your Love,” “Ain’t No Woman (Like the One I’ve Got),” “It Only Takes a Minute,” “Country Boy (You Got Your Feet In L.A.)”
Tony Macaulay – “Baby Now That I’ve Found You,” “Build Me Up Buttercup,” “Don’t Give Up On Us,” “(Last Night) I Didn’t Get to Sleep at All,” “Love Grows (Where My Rosemary Goes)”
Roger Nichols – “We’ve Only Just Begun,” “Rainy Days and Mondays,” “I Won’t Last a Day Without You,” “Out in the Country,” “Times of Your Life”
Dan Penn and Spooner Oldham – “I’m Your Puppet,” “Cry Like a Baby,” “A Woman Left Lonely,” “Out of Left Field,” “It Tears Me Up”
Narada Michael Walden – “How Will I Know,” “Freeway of Love,” “You’re a Friend of Mine,” “Baby Come to Me,” “Who’s Zoomin’ Who?”
Performing Songwriters
Bryan Adams – “(Everything I Do) I Do It For You,” “Heaven,” “All for Love,” “Have You Ever Really Loved a Woman?,” “Summer of ‘69”
George Alan O’Dowd p/k/a Boy George – “Karma Chameleon,” “Do You Really Want to Hurt Me,” “Time (Clock Of The Heart), “Love Is Love,” “Miss Me Blind”
George Clinton – “Atomic Dog,” “Flash Light,” “(Not Just) Knee Deep,” “I’d Rather Be With You,” “Give Up The Funk (Tear the Roof off the Sucker)”
Sheryl Crow – “All I Wanna Do,” “Soak Up The Sun,” “If It Makes You Happy,” “A Change Would Do You Good,” “Everyday Is a Winding Road”
Tom Johnston, Michael McDonald and Patrick Simmons p/k/a Doobie Brothers – “Listen to the Music,” “Takin’ It to the Streets,” “Black Water,” “What a Fool Believes,” “Long Train Runnin’”
Marshall Mathers p/k/a Eminem – “Lose Yourself,” “Stan,” “Mockingbird,” “Houdini,” “Rap God”
David Gates – “Everything I Own,” “Make It With You,” “Baby I’m-A Want You,” “The Guitar Man,” “If”
Janet Jackson – “Black Cat,” “Together Again,” “Again,” “Got ‘til It’s Gone,” “Rhythm Nation”
Tommy James – “Mony Mony,” “Crimson and Clover,” “Crystal Blue Persuasion,” “Sweet Cherry Wine,” “Tighter, Tighter”
Mike Love – “California Girls,” “Good Vibrations,” “The Warmth of the Sun,” “I Get Around,” “Fun, Fun, Fun”
Alanis Morissette – “You Oughta Know,” “Ironic,” “Hand in My Pocket,” “Thank U,” “Uninvited”
Dr. Dre, Eazy-E, Ice Cube, MC Ren and DJ Yella p/k/a N.W.A – “Express Yourself,” “Dopeman,” “Fu*k Tha Police,” “Gangsta Gangsta,” “Straight Outta Compton”
Steve Winwood – “Higher Love,” “Gimme Some Lovin’,” “I’m a Man,” “Valerie,” “Roll With It”
When Luis Jiménez arrives at the 2024 Latin Grammy Awards ceremony on Thursday (Nov. 14), he will have to play a doubleheader: He will walk the red carpet twice, speak to the same media outlets twice, and perhaps have to split up for the celebrations. The reason? The Venezuelan singer and musician’s two bands, LAGOS and Los Mesoneros, are both nominated this year — and in the same category!
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Both are up for best pop/rock song: LAGOS for “Blanco y Negro” with Elena Rose, and Los Mesoneros for “Diciembre.”
LAGOS is also nominated for best pop song for “Dime Quién.” The pop duo, formed in 2019 by Jiménez and Agustín Zubillaga, already won best pop/rock song last year with Lasso’s “Ojos Marrones,” which they co-wrote. But this time they compete as performers for two songs from their sophomore album Alta Fidelidad, released in May under Warner Music México.
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As for Los Mesoneros, the rock band, active since 2006, had already received a handful of nominations in the past, including for best new artist (2012), best rock album (in 2012 for Indeleble, 2020 for Pangea, and 2021 for Los Mesoneros Live Desde Pangea), as well as best pop/rock song (in 2020 for “Últimas Palabras”). Now they compete with a song from their album Nuestro Año, released in April independently.
“It’s the first time that the bands’ times were synchronized,” Jiménez tells Billboard Español. “When Pangea, Mesoneros’ third album, and Clásico, LAGOS’s debut album, came out, it’s not that it wasn’t challenging — but compared to the size of the projects today, it was too easy.”
He adds: “Now, without a doubt, the challenge is to find the time and the mental state to be able to work creatively and also be able to have those editorial lines separated. It is becoming more and more complicated. But I like a challenge.”
In its 25th anniversary, the Latin Grammys will be broadcast live from the Kaseya Center in Miami on Univision, Galavisión and ViX starting at 8 p.m. (Eastern Time). A few days later, on Nov. 21, Jiménez will perform with Los Mesoneros for the first time at the iconic National Auditorium in Mexico City, where he lives.
Luis, how did you feel when you found out that you were nominated with your two bands in the same category?
A very strange, very particular sensation. Obviously, first and foremost it’s double the joy — “Oh, how crazy, they nominated us!” Then, this was a possible scenario and I didn’t really think much about what I would do if it happened; it was simply: “Well, let’s send all these songs, these albums, and whatever has to happen happens.” Receiving that news was really very nice, it is certainly special for me because for the first time they nominated Los Mesoneros and LAGOS simultaneously, and having that honor of being with all of them in that category is something wonderful.
The two albums came out only a month apart. How has this year been for you?
It’s been a titanic challenge. It really is difficult. I understand why no one does it, because it is very complicated to manage the time, and also to do things with excellence like this, in this format. But I think I’m very lucky and fortunate to have colleagues in each of the projects who support me in everything and who are incredible partners and who have also known how to handle this and help me make everything work out and turn out well, and do it with the standard that we have, and help me survive in the attempt.
Did you record with both bands in parallel? What was this process like?
Actually, thank God it wasn’t parallel, because that would have been very rough. Yes, there was a lot at times in the composition process, like sometimes I was writing with LAGOS and suddenly I went into a lock-out with Mesoneros, but it wasn’t so much that I was one day here and one day there, but rather taking a couple of weeks or a month with LAGOS, and then doing the same with Mesoneros. But the recording was appart. LAGOS recorded Alta Fidelidad about seven months before the Mesoneros album, or at least the second half. Although there were singles there that were sneaking in.
Any particular anecdotes trying to balance things with both groups?
Man, all the time, all the multitasking is crazy. I remember, for example, two or three years ago at the Latin Grammys, I also had to be there both with Mesoneros and LAGOS. LAGOS was there because we were going to play at a Warner party, and Mesoneros was nominated, and I had to go around all over Las Vegas even repeating some interviews — “Ah, is you again!?” And I was like, “Yes, but no.” And well, what’s going to happen now in Miami is going to be quite funny too, because even in the dressing room it’s a challenge. It’s a game of trying to be in two places at the same time. It’s challenging, it’s fun, and well, we’re now talking about that — doing the red carpet twice. It is quite particular.
You started doing rock with Los Mesoneros and then pop with LAGOS. Which genre do you identify with most today?
It’s very difficult to answer that — because it’s as if they’d ask you, “Who do you love more, your mom or your dad?” or “Which child do you love more?” Each one has its own thing and they fulfill me in different ways. Obviously I have always had a rock soul, but even since I was little I have also always been a pop lover. People who know me starting with Los Mesoneros never knew that I had that pop side, but it has always been there, actually. And now with LAGOS, I managed to [get to] that output and place where I can also show that side — but both satisfy me and make me happy in different ways.
As a performer, when you started with LAGOS, how difficult was it to find your own pop sound after years doing rock with Los Mesoneros?
It’s always a challenge and I think that’s the challenge, finding yourself within those scenarios. But I think that LAGOS is very interesting because when it came to light, in 2019, Agustín and I had actually been writing songs for other artists for a while, and making more pop music. And I enjoyed it a lot, it’s just that people didn’t picture it. For me, it was also an adventure to get involved in something that had nothing to do with what I had been doing, but also to discover other facets of myself.
Then, when we launched our LAGOS project, it was time to [ask ourselves], “What is our voice, what is our sound, how do we do it?” And that entailed some research, and a bit of trial and error — but luckily Agustín and I already had that very advanced work chemistry. And in some very crazy way — from Agustín with his set of influences, and me with my more alternative, more rock side — on paper it didn’t have to work, but it worked amazingly. I think that’s what gave LAGOS its identity.
What do your colleagues from both bands say? You’ve said they support you, but now with the nominations, is there any rivalry? Pride? Both?
I truly believe it’s been a miracle. I think that many project colleagues perhaps wouldn’t be able to tolerate such a dynamic — because it’s one thing to do it perhaps alternatingly, but doing it in parallel is a level further. That simultaneity has been the interesting thing, and I think I am seriously too lucky — because they have truly been a great source of support for me. I think they also see the level of dedication and effort and sacrifice that I make to give my 100% to both projects, and in reality they have been allies and are a crucial part of making it work. They are even accomplices.
Now that you have experienced this in parallel this year, is it feasible for you to maintain both bands in the future?
I think we have had to change a lot over time. Like, I have also had to learn to give up many things. I am so neurotic producing, writing, arranging, editing… I have also learned to adapt to growth, and increasingly see where I add more value [by giving] up roles. Yes, I want to continue doing this in parallel. Perhaps obviously now, after this year that has been so intense, we must adapt to delegating more… I think that now the challenge is going to be to get a schedule that’s a little less synchronized, but I do see it as a project that can continue and last longer.
If you win, who do you want to go on stage with to receive the award?
Look, I can leave happy with a scenario in which LAGOS wins in the category that is alone, and Mesoneros wins in the one that includes both. I think everyone ends up happy there. But in reality, whatever has to happen happens. I feel that with so many albums and so much music that comes out every week these days, it’s crazy to be on a list so short, that the Academy considers it one of the five best songs of the genre — and that those five include both bands — for me it’s quite an incredible achievement.
Alissia got some very good news on Friday, when she became only the ninth woman (or team of women) to receive a Grammy nomination for producer of the year, non-classical.
Alissia’s only previous Grammy nod was for production and songwriting work on the deluxe edition of Mary J. Blige’s Good Morning Gorgeous, which was nominated for album of the year two years ago. (Her full name, Alissia Benveniste, appeared on her songwriting credit for “Love Without the Heartbreak,” which she co-wrote with Blige, Anderson .Paak and Rogėt Chahayed.)
Her credits during the current eligibility year included tracks by Rae Khalil, BJ the Chicago Kid, Jamila Wood and Lion Babe.
The Recording Academy introduced the producer of the year, non-classical category at the 1975 Grammy ceremony. Thom Bell, one of the architects of the Philly Soul sound, was the inaugural winner. In all this time, no woman has ever won in the category, either on her own or as part of a collaboration.
It’s a very different story in the producer of the year, classical category. Three women have won multiple times in that category, which was introduced five years after producer of the year, non-classical. Judith Sherman has won seven times, which puts her in a tie with David Frost, Steven Epstein and Robert Woods for the most wins by anyone in the category’s history. Joanna Nickrenz has won twice (once alongside Marc Aubort). Elaine Martone has also won twice.
Alissia is competing this year with D’Mile (Dernst Emile II), who is nominated in the category for the third year in a row; Daniel Nigro, nominated in the category for the second year in a row; and fellow first-time nominees Ian Fitchuk and Mustard (Dijon Isaiah McFarlane).
Who will win when the 67th annual Grammy Awards are presented on Feb. 2 at Crypto.com Arena in Los Angeles? Hard to say, but it won’t be Jack Antonoff, who won the last three years in a row, but wasn’t nominated this year.
Here are all the women who have been nominated for producer of the year, non-classical. The years shown are the years of the Grammy ceremonies.
Wendy Melvoin and Lisa Coleman (1985)