Awards
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After the breakthrough year she has had, Sabrina Carpenter is likely to contend in multiple categories when Grammy nominations are announced Nov. 8. Her latest studio project, Short n’ Sweet, is considered a shoo-in for a best pop vocal album nod and could potentially be up for album of the year. And she could even land a nomination for best new artist — despite Short n’ Sweet being her sixth full-length.
How can an artist who has released six albums be in the conversation for best new artist? Because, while the Grammys set a minimum number of releases an artist must have to qualify in this category (five singles/tracks or one album), there is no maximum. Instead, the Grammys’ rules and guidelines booklet says nominations for the honor hinge on when “the artist had attained a breakthrough or prominence” — and it delegates that determination to a screening committee.
So Carpenter’s potential nomination comes down to whether the screening committee thinks she had achieved prominence as of Sept. 15, 2023, the last day of the previous eligibility year. At that point, the highest she had ever climbed on the Billboard Hot 100 was a decidedly decaf No. 48, for “Skin” in February 2021. She performed on the MTV Video Music Awards’ preshow on Sept. 12, 2023. (This year, by contrast, her medley of three hits that had each reached the top three on the Hot 100 was a highlight of the main show.)
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Megan Moroney is another not-quite-so-new artist whom the screening committee will likely discuss at length. She had a No. 30 hit on the Hot 100 in May 2023 with “Tennessee Orange,” and her popularity has continued to build since: In May 2024, she won new female artist of the year at the Academy of Country Music Awards.
Other top contenders in the category this year, including Chappell Roan, Benson Boone, Shaboozey, Teddy Swims, Sexyy Red and Reneé Rapp, more clearly fit the best new artist criteria the Grammys outline.
The rules in this category have changed over the years as the Recording Academy has struggled to strike just the right balance: not too strict, not too lenient. In the past, the academy has sometimes disqualified artists for reasons that may now seem petty; take Whitney Houston, who had recorded a couple of duets prior to releasing her debut album and was therefore deemed ineligible, or singer-songwriter Richard Marx, who had contributed a song to a soundtrack. Other times, the academy has leaned too far in the other direction. Robert Goulet won in 1963, two years after he became a star in the Broadway musical Camelot. When Alessia Cara claimed the prize in 2018, it was nearly two years after her ballad “Here” hit the top five on the Hot 100.
Three past winners for best new artist — Crosby, Stills & Nash (who won in 1970), Jody Watley (1988) and Lauryn Hill (1999) — wouldn’t be eligible under today’s rules. David Crosby, Stephen Stills and Graham Nash were all already known for their work in previous groups, as were Watley (in Shalamar) and Hill (Fugees).
Perhaps the academy should have just named the award “best new or developing artist” or “best breakthrough artist” to skirt the issue of whether these talents were truly new, but given the marquee award’s notoriety, such a change is now unlikely. Voters are probably stuck with best new artist — along with the yearly debates over who should and shouldn’t qualify for it.
And if Carpenter isn’t just nominated but steps onto the stage on Grammy night to accept the award, well, it won’t be without precedent. In 2001, Shelby Lynne won the accolade — precisely six albums into her career.
This story appears in the Oct. 5, 2024, issue of Billboard.
On Thursday (Oct. 3), one day before first-round voting opens for the 67th annual Grammy Awards, the Recording Academy released its 2024 Membership Report. The most eye-popping statistic: 66% of the current Grammys electorate has joined since the Recording Academy introduced its new membership model in June 2019. Under that model, the academy invites large new member classes to join, with an eye on boosting the numbers of women, people of color and people under 40 in the academy.
Thus, the voting membership that delivered album, record and song of the year to Adele in 2017 and those same three awards to Bruno Mars in 2018 is much different today. We started to see a shift in voting patterns in February 2019, even before the new membership model was introduced, when Childish Gambino’s “This Is America” became the first hip-hop hit to win record or song of the year. (It won both.) That same year, Kacey Musgraves’ Golden Hour won album of the year.
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Since 2019, approximately 8,700 creators have become voting members of the Recording Academy. Of that total, more than 2,000 joined just this year. There are now more than 13,000 total voting members, according to the Academy.
Other key takeaways from the report include:
Boosting Numbers of Women
In 2019, the Recording Academy set an ambitious goal to add 2,500 women voting members by 2025. With a year to go, the Academy has already surpassed this goal, adding more than 3,000 women voting members. Since 2019, the percentage of women voting members has grown by 27%.
Increasing Racial Diversity
The Academy reports that the percentage of people of color has grown by 65% since 2019 among voting members. Since 2019:
The percentage of Black or African American+ members has grown by 90%.
The percentage of Hispanic or Latin+ members has grown by 43%.
The percentage of AAPI+ (Asian American or Pacific Islander) members has doubled, reflecting a 100% increase.
The current voting membership, counting the new voting members added this year, is 49% white or Caucasian; 38% people of color; and 13% prefer not to disclose or unknown. That “people of color” slice breaks down like this: 19% Black or African American+; 10% Hispanic or Latin+; 4% Asian or Pacific Islander; 2% prefer to self-describe; and other smaller slices.
The current voting membership is 66% men; 28% women; 6% prefer not to disclose/unknown; and other, smaller slices.
Too Much Jazz. Not Enough Country
By genre, the current voting membership is 27% pop; 19% jazz; 17% R&B; 17% rock; 13% American roots; 13% alternative; 12% classical; 10% global music; 10% Latin music; 10% other; 10% rap; 9% dance/electronic; 9% country; 8% gospel/Christian; 8% visual media; 7% contemporary instrumental; 5% new age; 4% children’s; 4% musical theatre; 3% reggae; 3% spoken word; and 1% comedy. (Members could select more than one genre.)
Jazz and classical are overrepresented, relative to their share of the music market. Country lags behind its share of the music market.
By area of specialization, the current voting membership is 46% songwriters/composers; 33% producers; 33% instrumentalists; 32% vocalists; 19% engineers; 12% arrangers; 6% other; 4% music video; 3% album packaging; 3% album notes writers; 2% music supervisors; 2% conductors; 2% spoken word.
In a letter accompanying the release of the report, Harvey Mason Jr., CEO of the Recording Academy, said in part: “The Recording Academy membership has never been more reflective of the music community than it is today. It has more women, more People of Color, and a broad representation of diverse genres and crafts. But we’re not just celebrating numbers. Our organization has been fundamentally transformed by this extraordinary infusion of new talent, making us an unquestionably better, stronger, more successful, and more impactful organization.
“And we’re not done yet. Even though we’ve made huge strides towards creating a diverse and representative membership body, there is still much work to be done. We want to recruit more young voters, because the future of music is in their hands. We want to see an increase in the percentage of women and people of color, because our goal must always be to accurately represent our community.
“And as we globalize our mission, we want a membership body that reflects every corner of the music world.”
Mason added some specifics in an interview with Billboard this week. “It’s been a very intentional effort to try and make sure that our membership is the most relevant, the most diverse. …We’re not just trying to build numbers. We’re looking at, what is the music community made up of? … A big goal for us is to make sure that we’re matching or coming close to the community that makes music. That’s not the same as the general population of our country. We know that R&B/hip-hop is roughly 33%-34% of all music created and consumed. We know what the numbers are for Latin music, women, and other groups. We have a rough idea of what the numbers feel like.”
On July 26, Mason sent a pointed letter, via email, to the Academy’s voting members, “It’s about the current year and the quality of the work, period!,” he implored. “There should be no other rationale for voting. If you are taking into account an artist’s older work, or their reputation, or race, or gender, what label they are on, who their manager is, how many friends participated in the project, or anything else like that, you’re not doing your job.”
Talking to Billboard, Mason expressed a little more sympathy for members who may be inclined to take other factors into account, though he again said he hoped the focus would be on the music. “Voters have their own ideas around how they vote and what they chose to vote for and we want to give them some latitude to be able to do that but it’s my hope and I believe it’s the Academy’s desire that our voters will evaluate the music based on the merit of that music exclusively. It’s not about past sins [of the academy]. It’s not about genre representation. It’s really about the quality of the music. My hope is that people listen to the music and evaluate it based on the merits.”
At another point in the conversation, he said “The whole idea of this membership [drive] is not just to hit numbers, it’s to try to get the right results and the right outcome.”
Asked to be more specific about that statement, Mason said, “I’m not saying the positive result is any specific album or genre winning any specific award. I’m just looking for accuracy and relevance and making sure the outcomes are reflective of what’s happening in music. I don’t care what genre that is. I’m definitely not looking at making reparations [for past Grammy outcomes]. I’m just saying the outcomes for our academy … are all driven by our membership and if we have the right membership, we’re a better organization.”
First-round voting for the Grammy Awards opens on Friday Oct. 4 at 9 a.m. PT, and closes on Oct. 15 at 6 p.m. PT. Grammy nominees will be announced on Nov. 8. Final-round voting will be held from Dec. 12 to Jan. 3. All voting members, including those welcomed in the 2024 new class, are eligible to participate in the voting process. The 67th annual Grammy Awards will be held on Feb. 2 at Crypto.com Arena in Los Angeles. The host has yet to be named. Trevor Noah hosted the last four Grammy telecasts.
The 66th annual Grammy Awards were held on Sunday, Feb. 4. Ben Winston, Raj Kapoor and Jesse Collins were executive producers. Hamish Hamilton directed. The show received a Primetime Emmy nomination for outstanding variety program (live), but lost to The Oscars (which was also executive produced by Kapoor). The Recording Academy has yet to announce the host, producer or director of the 2025 show.
The MOBO Awards has announced its 2025 ceremony will take place in the new location of Newcastle, England. The ceremony – which celebrates Music of Black Origin – will head to the North East for the first time since its founding in 1996. This year’s ceremony was held at the Sheffield Arena and previous events have been held in London, Leeds and Glasgow.
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Next year’s big night will take place on February 18 at Newcastle’s Utilita Arena near the banks of the River Tyne.
The award categories celebrate the best of UK rap, jazz, pop, R&B, soul and, in recent years, have expanded to include alternative and rock acts, alongside electronic performers. The nominees, host and performers for 2025’s ceremony will be announced over the coming months.
“Newcastle is a city steeped in history, culture, and a dynamic sense of community alongside an electric nightlife, making it the perfect host city,” Kanya King CBE, founder/CEO of MOBO Group said in a statement. “We are honoured to bring the MOBO Awards to this iconic destination, eager to deliver a show that will resonate far beyond the North East.”
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The MOBOs also announced the return of the MOBO Fringe events, which will take place around the main ceremony which King said will engage with the “local community to create an inspiring and impactful programme that highlights the significant cultural influence of Black music.”
Kim McGuinness, North East Mayor, added: “I’m thrilled to welcome the MOBO Awards to a new home in our region – just the latest major event putting North East England on the international map for culture. I know the Awards and the MOBO Fringe Festival across venues in Newcastle and Gateshead will be a huge inspiration for a new generation of young and emerging musicians working here in the North East.”
2024’s ceremony was hosted by comedian Babatúnde Aléshé and Love Island star Indiyah Polack. Performers included the Sugababes, Soul II Soul, Ghetts and more, with wins on the night for Little Simz, RAYE, Central Cee, Potter Payper and Stormzy.
After a four year hiatus, the DJ Awards returned Wednesday (Oct. 2) in Ibiza, with a flurry of DJs and industry execs being honored in the ceremony at island venue Chinois. Awards were handed out by the hosts of the show, Jaguar of BBC Radio 1 and presenter Katie Knight. The awards were awarded to […]
Sara Bareilles is set to perform at the 2024 CARE Impact Awards, which will take place Monday, Oct. 21, at the Ziegfeld Ballroom in New York City. Ali Velshi, chief correspondent for MSNBC and host of Velshi on that network, will host the seventh annual awards ceremony. The honorees are Lynsey Addario, MacArthur Fellow, Pulitzer […]
Grammy-winning singer Paula Cole; singer-songwriter and performance artist Amanda Palmer; artist, songwriter and vocal producer AIJIA; rock journalist Katie Daryl; and Shure Inc. chairman, president and CEO Christine Schyvinck are the first honorees announced for the 13th annual She Rocks Awards.
The show is set to take place Jan. 25 at the Hilton Anaheim Pacific Ballroom in Anaheim, Calif. Doors open at 6 p.m.
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The Women’s International Music Network produces the show. NAMM is the presenting sponsor.
Lindsey Stirling and Jennifer Batten will co-host this year’s event. Stirling is an electronic violinist, dancer and artist who blends classical violin and modern electronic music. Her 2012 debut album Lindsey Stirling logged 96 weeks on the Billboard 200. Her next two studio albums, Shatter Me and Brave Enough, both cracked the top five. Stirling has more than 13.7 million YouTube subscribers and has won two Billboard Music Awards.
Batten is renowned for her guitar work, having toured the world as part of Michael Jackson’s solo tours for 10 years and with Jeff Beck for three years. With three solo albums and numerous global performances to her name, Batten continues to influence the guitar world through her instructional DVDs and masterclasses.
Shantaia, a Nashville-based singer-songwriter, will open the event. Named the 2023 female artist of the year by the Saskatchewan Country Music Association, Shantaia has toured with The Washboard Union and opened for such notable artists as Kane Brown and Chris Lane. Her most recent concept album is Exes and Friends. Shantaia’s performance is sponsored by PRS Guitars.
“The She Rocks Awards has become a beacon for recognizing women who have broken barriers and set new standards in the music industry,” Laura B. Whitmore, founder of the WiMN and co-producer of the She Rocks Awards, said in a statement. “This year’s event will shine a spotlight on these incredible role models, with much more to come.”
The She Rocks Awards is one of the premier events during the NAMM Show, bringing together industry professionals, artists, fans, and media to celebrate the achievements of women in music. The event will feature live music, speeches, celebrity appearances, and a silent auction, along with dinner for attendees.
The 2025 She Rocks Awards is open to the public. Tickets are available now, and a variety of sponsorship opportunities are also available. For more information and to purchase tickets, visit www.sherocksawards.com.
Here’s more detail on the initial 2025 She Rocks Awards honorees. This post will be updated as additional honorees are named.
Paula Cole
Cole, who won the Grammy for best new artist in 1998, is known for her hits “Where Have All the Cowboys Gone?” (a top 10 hit on the Billboard Hot 100) and “I Don’t Want to Wait” (a No. 11 Hot 100 hit which logged 56 weeks on the chart). The latter song, which became famous as the theme to Dawson’s Creek, was heard on the 2024 Primetime Emmy Awards. Cole’s latest album Lo is her first collection of new original songs in nearly a decade.
Amanda Palmer
A pioneering singer-songwriter and performance artist, Palmer gained fame with the punk cabaret duo The Dresden Dolls. She is known for her TED talk “The Art of Asking,” which became a best-selling book. Palmer’s fan-funded 2012 album Theatre Is Evil (a collab withThe Grand Theft Orchestra) made the top 10 on the Billboard 200 and remains the top-funded original music project on Kickstarter.
AIJIA
A versatile artist, songwriter, and vocal producer, AIJIA has worked with such artists as Selena Gomez and Anderson .Paak. She is an advocate for women’s equality and has been an ambassador for Rock Camp for Girls for more than a decade.
Katie Daryl
A rock journalist and former vp of programming & original development at AXS TV, she has developed such popular shows as The Top Ten Revealed and Sounds Delicious while maintaining a successful on-air presence as a host and producer.
Christine Schyvinck
Chairman, president, and CEO of Shure Inc. Schyvinck has led the global growth and innovation of one of the world’s leading audio electronics manufacturers. Schyvinck is recognized as one of the few women in executive leadership in the pro audio industry.
Travis Scott is set to receive the I Am Hip Hop Award at the upcoming 2024 BET Hip Hop Awards. BET announced on Tuesday (Oct. 1) that the innovative Houston rapper will be honored at the 2024 BET Hip Hop Awards show on Oct. 15. “Travis Scott is a visionary artist who continues to push […]
The National Museum of African American Music (NMAAM) is set to hold its inaugural awards gala on Saturday, Oct. 5, in downtown Nashville.
The event, slated to run from 6 to 8 p.m., will honor musicians, producers, educators and others who have made significant contributions to the music industry, and have progressed NMAAM’s mission of preserving and promoting the legacy of African American music.
This year’s honorees are producer/music executive Torrance Esmond (known as “Street Symphony”); Dr. Forrest Harris, president of American Baptist College and a member of the NMAAM’s Education Advisory Council; Americana Music Association executive director Jed Hilly; The Lovenoise Group managing partner Eric Holt; Origins Records CEO Gina Miller; award-winning professor, songwriter and author Alice Randall; and Grammy-winning singer-songwriter, musician and activist (and soon to be Broadway star) Allison Russell.
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The evening is slated to feature musical performances and heartfelt tributes to celebrate the honorees. The night will also feature a dinner, open bar and an afterparty in the NMAAM Rivers of Rhythm and Feature galleries.
NMAAM president/CEO C. Dion Brown said in a statement, “Bringing NMAAM’s first Awards Gala to Broadway is a powerful reminder of African American music’s influence on all genres. As we celebrate Black music 365 days a year, this event honors those who’ve championed our mission to preserve this rich cultural legacy.”
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The 56,000-square-feet NMAAM opened in 2021 and works to preserve and celebrate more than 50 musical genres and styles—among them blues, jazz, gospel, hip-hop and R&B—that have been created, inspired and/or influenced by African Americans. The museum has more than 1,500 artifacts, objects, memorabilia and clothing, as well as multiple galleries that highlight various narratives and perspectives on African American history and music.
Tickets to NMAAM’s inaugural gala are available at the NMAAM website.
Final nominations have been announced for this year’s Association of Independent Music (AIM) Awards. Electronic music producer Barry Can’t Swim (real name: Joshua Mainnie) leads the pack with three nominations, followed closely by Jorja Smith, Sampha, CASISDEAD and Kneecap, who are up for two awards each.
Singer-songwriter Sampha, who is in the running for best independent video and best independent track, will be among the live performers on the night, alongside Manchester rapper and fellow nominee OneDa.
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The 14th edition of the annual awards show, which recognizes the achievements of the artists, labels, entrepreneurs and companies that make up the U.K.’s indie sector, is set for Oct. 17 at London’s Roundhouse venue.
Nominees also include D-Block Europe, Kim Gordon, Actress, rapper Skrapz, Mount Kimbie, Anohni and the Johnsons and jazz nine-piece Nubiyan Twist, who are all in the running for the best independent album prize alongside Smith and Barry Can’t Swim.
AIM announced the nominees in seven categories on Aug. 13, but have now announced the nominees in all 14 competitive categories, as well as the recipient of the diversity champion award. Afrobeats artist, producer and songwriter Silvastone, who has collaborated with the likes of Popcaan, Sneakbo, Bugzy Malone and Lady Leshurr, has been named AIM’s 2024 diversity champion in recognition of his commitment to his local community in Croydon and work as a youth ambassador.
R&B singer Jorja Smith, a 2019 Grammy nominee for best new artist, is also listed in the best independent track category for her hit “Little Things,” which reached No. 11 on the Official U.K. Singles chart.
2023 Mercury Prize winners Ezra Collective, Fontaines D.C., KNEECAP, Hudson Mohawke and Nikki Nair, Sampha, NikNak, Matthew Halsall, Amy Gadiaga and CASISDEAD — who was crowned best hip-hop/grime/rap act at the BRIT Awards on March 2 – round out the best track shortlist.
Other categories announced on Tuesday (Oct. 1) by AIM, which represents more than 1,000 U.K. independent artists and music companies, include best independent label. Heavenly Recordings, Ninja Tune, Partisan Records, Seattle’s Sub Pop Records and British indie Transgressive Records are the nominees in that category.
New for 2024 is the award for the U.K.’s best independent record store. Drift in Totnes, Manchester-based Piccadilly Records, Rough Trade Bristol and London’s Honest Jon’s and Stranger Than Paradise Records are all in the running for the inaugural prize.
The top five list for the public-voted best live performer title numbers Belfast rap trio Kneecap, Laura Misch, Pendulum, Raye and Frank Turner. All other nominees and winners are decided by the AIM board and a panel of expert judges.
The five contenders for the independent breakthrough award number London rapper CASISDEAD, Barry Can’t Swim, Bar Italia, Saint Harison and Wunderhorse, who all receive free access to studio time at London’s Metropolis Studios as part of their nomination.
AIM’s One to Watch category, which has previously been collected by Nia Archives and Arlo Parks, shines a light on spoken word artist Antony Szmierek, drum and bass MC OneDa, DJ Kitty Amor and artist/producers Lynks and Miso Extra.
Sponsors and media partners for October’s awards ceremony, which will be hosted by BBC Radio 1 DJ Jack Saunders, include Spotify, Vevo, Meta, Notion, Amazon Music and the BBC.
Here’s the full list of nominees for the 2024 AIM Independent Music Awards:
Diversity Champion
Silvastone
Best Independent Label
Heavenly Recordings
Ninja Tune
Partisan Records
Sub Pop Records
Transgressive Records
Best Creative Campaign
Chrysalis Records (BODEGA, ‘Our Brand Could Be Yr Life’)
Dead Oceans (Slowdive, ‘everything is alive’)
Identity Music (Lofi Girl, ‘Snowman’)
Warp Records (Aphex Twin, ‘Blackbox Life Recorder 21f / In a Room7 F760’)
Young (Sampha, ‘LAHAI’)
Best Live Performer
Frank Turner (Xtra Mile Recordings)
KNEECAP (Heavenly Recordings)
Laura Misch (One Little Independent)
Pendulum (Mushroom Music)
RAYE (Human Re Sources)
Best Boutique Label
AD 93
Houndstooth
LAB Records
New Soil
Sonic Cathedral
PPL Award for Most Played Independent Artist
Barry Can’t Swim (Ninja Tune)
Coach Party (Chess Club Records)
Far From Saints (Ignition Records)
Popeth (Recordiau Côsh Records)
Tom A. Smith (TYM Records)
Best Independent Record Store
Drift
Honest Jon’s
Piccadilly
Rough Trade Bristol
Stranger Than Paradise Records
Music Entrepreneur of the Year
Andrew Batey (Co-Founder & Co-CEO, Beatdapp)
Atlanta Cobb (Founder & Director, Music Industry Mentor)
Colin Batsa (President and Chairman, EGA Distro)
Meg Carnie (Studio Manager / Co-Founder / Artist Manager – South Lanes Studios)
Tom Allen (President, Downtown Royalties and Financial Services, Downtown Music)
Best Independent Album
Actress – LXXXVIII (Ninja Tune)
ANOHNI and the Johnsons – My Back Was a Bridge for You to Cross (Rough Trade Records)
Barry Can’t Swim – When Will We Land? (Ninja Tune)
D-Block Europe – Rolling Stone (EGA Distro)
Jorja Smith – falling or flying (FAMM)
Kim Gordon – The Collective (Matador Records)
Mount Kimbie – The Sunset Violent (Warp Records)
Nabihah Iqbal – Dreamer (Ninja Tune)
Nubiyan Twist – Find Your Flame (Strut Records)
Skrapz – Reflection (EGA Distro)
Best Independent Remix
“The Egyptian Lover Remix” – Sudan Archives – Freakalizer (Stones Throw Records)
“Joy Anonymous Remix” – Ezra Collective, Sampa the Great – JOY (Life Goes On) (Partisan Records)
“L BEATS Mashup” – Jorja Smith – Little Things x Gypsy Woman (FAMM)
“Olof Dreijer Remix” – Björk – Oral (feat. Rosalia) (One Little Independent)
“P-rallel Remix” – Aluna, Jayda G – Mine O’ Mine (Mad Decent Under Exclusive Licence to Because Music)
One To Watch
Antony Szmierek (LAB Records)
Kitty Amor (Defected Records)
Lynks (Heavenly Recordings)
Miso Extra (Transgressive Records)
OneDa (Heavenly Recordings)
Best Independent Track
Amy Gadiaga – “All Black Everything” (Jazz re:freshed)
CASISDEAD – “Venom” (XL Recordings)
Ezra Collective – “Ajala” (Partisan Records)
Fontaines DC – “Starburster” (XL Recordings)
Hudson Mohawke & Nikki Nair – “Set the Roof” (Warp Records)
Jorja Smith – “Little Things” (FAMM)
KNEECAP, Grian Chatten – “Better Way To Live” (Heavenly Recordings)
Matthew Halsall – “An Ever Changing View” (Gondwana Records)
NikNak – “1200RPM” (Accidental Records)
Sampha – “Spirit 2.0” (Young)
Best Independent EP/Mixtape
George Riley – Un/limited Love (Ninja Tune)
Headie One & K-Trap – Strength to Strength (One Records and Thousand8)
HONESTY – BOX (Partisan Records)
JGrrey – If Not Now? (PACE, a subsidiary of Marathon Music Group)
Potter Payper – Thanks for Hating (EGA Distro)
UK Independent Breakthrough
Bar Italia (Matador Records)
Barry Can’t Swim (Ninja Tune)
CASISDEAD (XL Recordings)
Saint Harison (Tell Your Friends)
Wunderhorse (Communion Records)
Best Independent Video
Gia Ford – “Poolside” (Chrysalis Records)
Khruangbin – “A Love International” (Dead Oceans)
Master Peace – “I Might Be Fake” feat. Georgia (PMR Records)
Mitski – “My Love Mine All Mine” (Dead Oceans)
Sampha – “Only” (Young)
Leading into this week’s GMA Dove Awards, Forrest Frank is one of the frontrunners with nods for new artist of the year and pop/contemporary recorded song of the year (“Good Day”). He’s also set to perform during Christian music’s biggest night, when the GMA Dove Awards are held Wednesday (Oct. 2) at Lipscomb University’s Allen Arena. The show will air on TBN and TBN+ on Oct. 4.
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In August, “Good Day” rose to No. 2 on Billboard’s streaming, airplay and sales-based Hot Christian Songs chart, after previously rising into the upper echelon of Spotify’s U.S. Viral 50 chart.
However, the Houston native never intended to release “Good Day” after he wrote it in early 2024. He recalls to Billboard that he sent the song to a close music friend, who offered up some discouraging feedback.
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“He was like, ‘I don’t know about this song,’ so I had put it on the back burner because of that,” Frank recalls. “I thought maybe it was a little too on the nose, too happy.”
But then, Frank’s fans took the song from the dust bin to viral hit. While most artists tease out songs early on social media, Frank offers up early versions of songs in the 6,000-member Grouped app community that he’s named The Tree House. When Frank let the community vote on five unreleased songs, “Good Day” was the clear choice.
“I kept seeing the comments rolling in, like, ‘”Good Day” is my favorite,’ ‘Good Day,’ ‘Good Day’…so I put the song out, not thinking it was special at all, and then it just completely blew up.”
“Good Day” is Frank’s highest-ranking song on the Hot Christian Songs chart, but it’s not his first. In 2023, Frank’s collaboration “Up!” with Connor Price reached No. 8 on the chart. In April, his four-song EP God Is Good, which featured “Up!” and “Good Day,” debuted in the top 5 on the same chart.
In August, Frank saw his biggest chart hit yet. His album Child of God (which includes the four songs from the God Is Good EP) debuted at No. 1 on the Top Christian Albums chart and has held that spot for the past nine weeks. To date, he’s earned 5.2 million monthly listeners on Spotify.
“Just on a macro level, Forrest is speaking to an enormous community of people in a way that they really haven’t been spoken to,” says Tony Talamo, who serves as Frank’s manager, but was also recently named general manager at Atlantic Music Group.
“I think it’s just the way that he’s able to communicate and expose his music to this community has really registered with people, and just how genuine he is about the whole thing,” Talamo continues. “I think it just shines through in the music and that’s what people really kind of gravitate towards.”
Frank, 28, grew up listening to music ranging from CCM to jazz and first began creating music as a high school student, using the compact Maschine Mikro production and beats-making machine to produce his own musical creations.
Shortly after graduating from Baylor University with a degree in business, he teamed with fellow musician Colin Padalecki in 2017, joining the group Surfaces (they released the album Surf that year). At the time, Frank was working a corporate gig in Seattle, doing sales for the Fortune 500 company Abbott, while continuing with his obsession with making music. Simultaneously with his work as part of Surfaces, he was also already releasing solo music, issuing his first solo project, Warm, in 2018.
In 2019, Surfaces released “Sunday Best.” The following year, Frank married — and he and his wife, Grace, moved to Waco, Texas. Around that time, “Sunday Best” gained traction, rising to the top 20 on Billboard’s Hot 100 chart and ultimately earning 980 million plays on Spotify. The song was certified 3x multi-platinum by the RIAA. Surfaces followed with songs including “Wave of You” and even collaborated with Elton John on the song “Learn to Fly” from John’s The Lockdown Sessions.
But as Frank began getting his first taste of success with Surfaces, Frank was “wrestling with the feeling of ‘I don’t want to be famous,’” he says. “Ultimately, my goal is to lead people to Jesus, and I hope I’m doing that through pop music. I remember I would pray salvation prayers at a low decibel beneath these pop songs.”
The success of “Sunday Best” came at the height of the COVID-19 pandemic when concerts and tours of all sizes were paused. After turning down performance opportunities for over a year, Frank says he “felt like eventually I was pretty much retired from pop music. I was like, ‘I’ll write songs for Surfaces, but I feel like we are supposed to be at home. And if God wants me to go back to [work in a] corporate [setting], I’m fine with that.’”
At the same time, he was writing and singing worship songs. He kept returning to one of the songs he’d crafted during his personal time, “No Longer Bound,” eventually recording and releasing the song in January 2023. The song went viral (it’s earned over 64 million Spotify streams to date), and he soon followed with the Connor Price collaboration “Up!,” “Lift My Hands,” and ultimately, “Good Day.”
“Things just snowballed from there,” Frank says.
Frank is one of a crop of newcomers making waves in Contemporary Christian Music, alongside fellow GMA Dove Awards new artist of the year nominees Charity Gayle, Josiah Queen, Seph Schlueter and Terian. Newcomers to the genre are seeing gains in streaming, social media and touring, as CCM music rose in the first half of the year as one of the top fastest-rising musical genres in the U.S.
“There’s this new level, where people are coming forward with their own personal sound because of the availability of technology and the lack of hoops to jump through,” Frank says. “And I think that even the Christian industry probably hasn’t had much friction or competition for a lot of years. But now you’ve got all these kids, like you’ve got an 18-year-old who knows more than the 40-year-old about production because they went direct to the source and learned on YouTube versus going to a college. And so these young, talented, hungry kids are rising forward and they’re making great songs.”
Frank’s connection with fans extends beyond the U.S. market: According to Chartmetric, while the United States remains Frank’s top market, 13.3% of his listenership comes from Brazil (he has leaned into that market by incorporating Portuguese-language content on his social media).
“We just went and shot a live version of his [sold out] show at the Shrine in [Los Angeles],” Talamo says. “We employ all our digital content team when he needs it, but he really leads the way with it. It’s giving him all the things he needs to do things the way he wants to. Forrest is such a machine in the way that he operates from writing and producing the music, shooting the content, performing, and thinking about all the creative elements that come together. He’s so in tune with his business and his projects.”
That business-focused mindset extends beyond music, as does Frank’s future goals.
‘I do have an entrepreneurial mind and I’m always thinking about different things,” he says. “For example, I bought a space in Waco, and I’m turning it into this physical retail space where people can come in and buy albums and merch — but it’s also going to be a grocery store and a coffee shop that serves the community, and I’m going to source it to local farms. Honestly, I could predict that in the next five to 10 years, something will emerge that has nothing to do with music. That could even become my main thing.”
Not anytime soon, however — considering that his new single “Never Get Used to This,” featuring JVKE, just debuted at No. 39 on Billboard’s Christian Airplay chart, while he has seven songs peppering the Hot Christian Songs chart, including “Good Day,” “Never Get Used to This,” and “Life is Good.”
As with “Good Day,” Frank says he’ll continue to bring all his music to his most devoted fans first.
“When I’m thinking about my next release, before taking it to Instagram or TikTok I’ll probably throw three or four snippets in [the Treehouse group] to get the feedback,” Frank says. “For me, it helps as an artist — not every song’s going to be a hit, but at least I can be a little more refined in my moves so when I bring a song to socials it’s like, ‘Okay, this is the one that’s already been proven in this smaller focus group.’”
With his Child of God tour having recently wrapped, the UTA-aligned Frank has an even larger tour slated for 2025. He says touring as a CCM artist has been markedly different from some of his past performance experiences.
“I’ve never viewed myself as a performer,” he says. “I just wanted to make music and be a producer. I’ve done maybe hundreds of shows with Surfaces that were in the name of entertainment, and looking back, I can now recognize fully that it always felt like a disconnect. And on this past tour, it just felt so right. It felt like every cell of my body was being used for God and his glory, and every show was a 10 out of 10 because of that. It changed my perspective of being onstage to where now I’m excited because I get to be a conductor of bringing people to the Lord, versus just connecting with fans per se, which I do love as well.
“This whole journey just has felt like a gift from God, and he’s just continued to bless me with new songs and new ideas,” Frank adds. “I can’t take any credit for it. Anytime anything good happens, it’s just like, ‘Okay, God for whatever reason has selected me as a vessel for Him.’”