Awards
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After cleaning up at the 2023 ARIA Awards, Troye Sivan is in the box seat heading into the 2024 Shure Rolling Stone Australia Awards, set for March 26 in central Sydney.
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The Aussie pop singer Sivan is in the hunt for best record with Something to Give Each Other, his ARIA Chart-topping 2023 album, and the Rolling Stone Global Award. Sivan dominated the ARIAs with four wins, extending his career collection of pointy trophies to six.
Almost nominated for multiple RS Awards categories are Dom Dolla, Peach PRC, Teen Jesus and The Jean Teasers, The Teskey Brothers and Fisher.
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For the first time, the Ivy Sydney will host the ceremony, with winners in five categories announced on the night: best record, best single, best new artist, Rolling Stone Global Award and and the Reader’s Choice Award.
Also announced today (March 4), Kylie Minogue has a chance to add more silverware to her treasure chest with a nod for the Global Award, for which the brand’s international editorial teams, including editors from Rolling Stone U.S. and Rolling Stone U.K., cast their votes.
Kylie is riding a hot streak. The “princess of pop” received the global icon honor at the weekend during the 2024 Brit Awards in London; recently signed with United Talent Agency (UTA) for live representation in the U.S. and Canada and acting roles worldwide; her More Than Just a Residency show in Las Vegas has been extended through May; she won her second Grammy last month; and she’ll receive Billboard’s Women in Music Icon Award at a ceremony March 6.
“Throughout 2023, Australian artists continue to surpass expectations both domestically and on a global stage, and we’re excited to recognize the ongoing growth of our local music scene,” comments Poppy Reid, editor-in-chief at Rolling Stone Australia publisher The Brag Media. “Our fourth annual Rolling Stone Awards will recognize the outstanding work and exceptional artists emerging from this country. We are also stoked to welcome back our headline partner Shure, who have a longstanding commitment to showcasing and supporting local music. We look forward to celebrating with the music industry on March 26.”
Rolling Stone Australia’s average issue readership is up 10.5% to 243,000 for the 12 months to September 2023, according to the latest Roy Morgan Australian Magazine Readership Report. That result represents a sixth consecutive quarter of double-digit growth for the domestic print edition of Rolling Stone.
2024 Shure Rolling Stone Australia Awards Nominees:
Best SingleDom Dolla ft. MK – ‘Rhyme Dust’Budjerah – ‘Therapy’Amy Shark – ‘Can I Shower At Yours’Fisher ft Kita Alexander – ‘Atmosphere’Peach PRC – ‘Perfect For You’Teen Jesus and the Jean Teasers – ‘I Used to be Fun’Lime Cordiale – ‘Colin’Tkay Maidza ft. Flume – ‘Silent Assassin’
Best New ArtistRoyel OtisDom DollaOliver CroninThe RionsTeen Jesus and the Jean TeasersGrentPerezBlusherOld Mervs
Best RecordTeenage Dads – Midnight DrivingG Flip – DRUMMERThe Amity Affliction – Not Without My GhostsThe Teskey Brothers – The Winding WayTroye Sivan – Something to Give Each OtherBrad Cox – AcresDope Lemon – KimosabèPeach PRC – Manic Dream Pixie
Rolling Stone Global AwardKylie MinogueTones And ITroye SivanThe Teskey BrothersDom DollaDMA’SFisherVacationsTame Impala
The Barbie ballad “What Was I Made For?” by Billie Eilish and Finneas won best song written and/or recorded for a film at the 2024 Guild of Music Supervisors Awards, which were held at the Wiltern Theatre in Los Angeles on Sunday (March 3). The awards, now in their 14th year, celebrate the craft of music supervision in film, television, documentaries, advertising, trailers and video games.
“What Was I Made For?” is the front-runner to win the Oscar for best original song on March 10. If it does, it will be the third GMS winner to go on to win the Oscar, following “City of Stars” from La La Land and “Shallow” from A Star Is Born.
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Eilish and Finneas accepted the award in person and thanked music supervisors for placing their songs in films and TV, dating back to Eilish’s first hit, “Ocean Eyes.” Finneas said, “If we owe our careers to any group of people, it really in all honesty is music supervisors.”
This being the GMS Awards, the award for best song written and/or recorded for a film also went to Barbie music supervisor George Drakoulias, who won a second award for his work on that blockbuster: best music supervision for a film budgeted over $25 million. Drakoulias thanked many people, including executives at Atlantic Records. “If you have a chance to make a soundtrack, make it with Kevin Weaver, because he’s a pitbull. We would do these weekly calls and [it] was like ‘this was an embarrassment of riches.’ Everybody said yes.”
Other double winners on the night were Toko Nagaro (Joy Ride, Totally Killer), Frankie Pine (Daisy Jones & The Six) and Alex Hackford (Marvel’s Spider-Man 2 video game).
Two months after winning a Primetime Emmy for outstanding music supervision for The White Lotus, Gabe Hilfer received a GMS Award for best music supervision, television drama for his work on the HBO Max series.
The Icon Award was presented posthumously to Robbie Robertson, who is nominated for an Oscar for best original score for his work on Killers of the Flower Moon. Rocco DeLuca and Johnny Sheppard performed the hushed “They Don’t Live Long” from Killers. Margo Price, Robert Randolph and Jairus Mozee performed Robertson’s “Evangeline,” which Emmylou Harris introduced in the 1978 film The Last Waltz. Robertson’s award was accepted by his three grown children, Alexandra, Delphine and Sebastian, all of whom have built successful careers in the music field. Previous recipients of the Icon Award include Paul Williams, Diane Warren, Quincy Jones, Burt Bacharach, Kenny Loggins and Marc Shaiman.
The Legacy Award went to music supervisor Allan Mason, who has worked on more than two dozen films, including several that were directed by Barry Levinson, among them Good Morning, Vietnam, Rain Man and Bugsy. Some of the vintage songs Levinson found for movies later became major hits, including Louis Armstrong’s “What a Wonderful World” from Good Morning, Vietnam and The Proclaimers’ “I’m Gonna Be (500 Miles)” from Benny & Joon. Mason took to the stage wearing a Strawberry Alarm Clark T-shirt and carrying his beloved dog, Benny. (“I feel without a doubt he’s here and I’m his +1,” Mason said of Benny.) Previous recipients of the Legacy Award include Pilar McCurry, Mitchell Leib, Maureen Crowe, Bob Hunka, Joel Sill, Gary Lemel and Chris Montan.
Jonathan Finegold won best music supervision for a documentary for Little Richard: I Am Everything. “The king of rock’n’roll is Black and he’s gay, and we need to realize that,” Finegold said. He also fessed up that when he was 11 and 12 and was supposed to be listening to instructional cassettes to study for his bar mitzvah, he was actually listening to Barry White’s Greatest Hits, Abbey Road and Hot Rocks.
Dan Wilson performed his nominated song “It Never Went Away” from the film American Symphony, which he co-wrote with Jon Batiste. Batiste is set to perform it on the Oscars, where it is nominated for best original song. India Carney performed her nominated song “I Found You” from the Showtime series The L Word: Generation Q. Spotlight Performer d4vd, signed to Interscope/Darkroom, performed “Romantic Homicide.” Tia P performed a rap song, “Stay Ready,” which served as a thank-you to the event’s sponsors, each of whom got a name-check in the song.
Presenters included Mark Ronson, Tyrese Gibson, Nia Vardalos, Ben Platt & Noah Galvin, Luca Guadagnino, PJ Morton, RuPaul’s Drag Race’s Crystal Methyd, Freddy Scott, Ryan Lott of Son Lux and Volker Bertelmann.
The event was produced by the Guild of Music Supervisors Awards production committee – president Lindsay Wolfington (who won an award as the music supervisor of Theater Camp), vice president Heather Guibert, plus Joel C. High and Janet Lopez. Show production is handled by Angelia Bibbs-Sanders from ABS Collective with talent producer Julie Donsky and technical production by Nick Urbom from Big Push Media Group.
Here’s a complete list of nominations for the 2024 Guild of Music Supervisor Awards, with winners marked.
FILM
Best music supervision for film budgeted over $25 million
Matt Aberle – The Holdovers
Deva Anderson, Rachel Lautzenheiser – My Big Fat Greek Wedding 3
Stephanie Diaz-Matos, Philippe Pierre – They Cloned Tyrone
WINNER: George Drakoulias – Barbie
Steven Gizicki – Maestro
Kirsten Lane – Saltburn
Kier Lehman – Spider-Man: Across the Spider-Verse
Frankie Pine – Are You There God? It’s Me, Margaret.
James A. Taylor – Wonka
Andrea von Foerster – Air
Best music supervision for film budgeted $25 million and under
Lucy Bright – The Iron Claw
Kevin Edelman – Jesus Revolution
Connie Farr – All of Us Strangers
Carly Hildebrand, Natalie Hayden – Polite Society
Vanessa Jorge Perry – Flamin’ Hot
WINNER: Toko Nagata – Joy Ride
Best music supervision for film budgeted $10 million and under
Adam Bennati – Aristotle and Dante Discover the Secrets of the Universe
Jody Colero – Brother
Meghan Currier – Past Lives
Tracy McKnight – Somewhere in Queens
Howard Paar – Eileen
Andy Ross, Ben Sokoler – War Pony
Michael Turner – Paint
WINNER: Lindsay Wolfington – Theater Camp
Best music supervision for a non-theatrically released film
WINNER (TIE): Angela Asistio – Chang Can Dunk
Linda Cohen – Please Don’t Destroy: The Treasure of Foggy Mountain
David Fish – Rye Lane
Liz Gallacher – Sitting in Bars with Cake
Rob Lowry, Tracy McKnight – Family Switch
WINNER (TIE): Toko Nagata – Totally Killer
Javier Nuño, Joe Rodríguez – A Million Miles Away
Wyler Sanca – Heist 88
Derryck “Big Tank” Thornton – Praise This
Best song written and/or recorded for a film
“Am I Dreaming” – Spider-Man: Across the Spider-Verse; Songwriters: Mike Dean, Peter Lee Johnson, Rakim Mayers, Roisee, Leland Wayne, Landon Wayne; Performers: Metro Boomin, A$AP Rocky, Roisee; Music Supervisor: Kier Lehman
“Camp Isn’t Home” – Theater Camp; Songwriters: Noah Galvin, Molly Gordon, Nick Lieberman, Ben Platt, Mark Sonnenblick; Performers: Alexander Bello, Bailee Bonick, Donovan Colan, Noah Galvin, Molly Gordon, Luke Islam, Madisen Lora, Kyndra Sanchez, Jack Sobolewski, Quinn Titcomb; Music Supervisor: Lindsay Wolfington
“Can’t Catch Me Now” – The Hunger Games: The Ballad of Songbirds & Snakes; Songwriters: Dan Nigro, Olivia Rodrigo; Performer: Olivia Rodrigo; Music Supervisor: Hillary Holmes
“I’m Just Ken” – Barbie; Songwriters: Mark Ronson, Andrew Wyatt; Performer: Ryan Gosling; Music Supervisor: George Drakoulias
“It Never Went Away” – American Symphony; Songwriters: Jon Batiste, Dan Wilson; Performer: Jon Batiste; Music Supervisor: Priya Autrey
“JUICY” – Joy Ride; Songwriters: Isak Alvedahl, Kirubel Swedin, Sandra Wikstrom; Performer: Ramengvrl; Music Supervisor: Toko Nagata
“Little Bit ‘O Soul” – Totally Killer; Songwriters: John Carter, Kenneth Hawker; Performer: The Linda Lindas; Music Supervisor: Toko Nagata
“Quiet Eyes” – Past Lives; Songwriters: Zachary Dawes, Sharon Van Etten; Performer: Sharon Van Etten; Music Supervisor: Meghan Currier
“Road to Freedom” – Rustin; Songwriter: Lenny Kravitz; Performer: Lenny Kravitz; Music Supervisor: Barry Cole
WINNER: “What Was I Made For?” – Barbie; Songwriters: Billie Eilish O’Connell, Finneas O’Connell; Performer: Billie Eilish; Music Supervisor: George Drakoulias
TELEVISION
Best music supervision – television drama
Ed Bailie, Abi Leland, Toby Williams – Top Boy Season 3
Zoë Ellen Bryant, Pete Saville – I Hate Suzie Too Season 2
Rick Clark – Dark Winds Season 2
Nora Felder – Yellowjackets Season 2
WINNER: Gabe Hilfer – The White Lotus Season 2
Jonathan Leahy, Manish Raval, Tom Wolfe – Welcome to Chippendales Season 1
Janine Scalise – The L Word: Generation Q Season 3
Best music supervision – television comedy or musical
Matt Biffa – Sex Education Season 4
Leah Harrison – I’m a Virgo Season 1
Mike Moreno – Mariachis Season 1
Javier Nuño, One Six, Joe Rodríguez – Neon Season 1
WINNER: Frankie Pine – Daisy Jones & The Six Season 1
Robin Urdang – The Marvelous Mrs. Maisel Season 5
Justine von Winterfeldt – Pitch Perfect: Bumper in Berlin Season 1
Laura Webb, Lindsay Wolfington – XO, Kitty Season 1
Best music supervision – reality television
Greg Danylyshyn – Teen Mom: The Next Chapter Season 1
Peter Davis – Are You the One? Season 9
Jon Ernst – Love Is Blind Season 5
WINNER: Carrie Hughes – Love & Hip Hop: Miami Season 5
Sara Torres, Jordan Young – Love Island USA Season 5
Best song written and/or recorded for television
“A Beautiful Game” – Ted Lasso; Songwriters: Max Martin, Ed Sheeran, Foy Vance; Performer: Ed Sheeran; Music Supervisors: Christa Miller, Tony Von Pervieux
“City On Fire” – City on Fire; Songwriter: Zach Ellis; Performer: Ex Post Facto; Music Supervisor: Jonathan Leahy
“Esperando Pelitos” – Big Mouth; Songwriter: Lin-Manuel Miranda; Performers: Robin De Jesús, PJ Sin Suela; Music Supervisor: Amanda Krieg Thomas
“I Found You” – The L Word: Generation Q; Songwriters: Annalia Marie Mallory, Viv Parker, Lexxi Taylor Saal; Performer: India Carney; Music Supervisor: Janine Scalise
WINNER: “Look At Us Now (Honeycomb)” – Daisy Jones & The Six; Songwriters: Jason Boesel, Blake Mills, Marcus Mumford, Johnathan Rice, Stephony Smith; Performer: Daisy Jones & The Six; Music Supervisor: Frankie Pine
“The Manster (Dr. Hunkenstein’s Theme)” – Welcome to Chippendales; Songwriters: Dan Bern, Siddhartha Khosla, Robert Siegel, Mike Viola; Performer: Welcome to Chippendales cast; Music Supervisors: Jonathan Leahy, Manish Raval, Tom Wolfe
“Pussy Don’t Lie” – Big Mouth; Songwriters: Megan Pete, Mark Rivers; Performer: Megan Thee Stallion; Music Supervisor: Amanda Krieg Thomas
“Staplehead” – Poker Face; Songwriters: John Darnielle, Jamey Jasta; Performer: Doxxxology; Music Supervisor: Thomas Golubić
Documentaries
Best music supervision for a documentary
Justin Feldman – All Up in the Biz
WINNER: Jonathan Finegold – Little Richard: I Am Everything
Joel C. High – Maxine’s Baby: The Tyler Perry Story
Susan Jacobs – Wild Life
Aminé Ramer, Andrea von Foerster – Peter Case: A Million Miles Away
Amani “Burt Blackarach” Smith – Stamped from the Beginning
Allison Wood – Last Stop Larrimah
Best music supervision in a docuseries
Janet Billig Rich, Lisa Moberly – Dear Mama Season 1
James Cartwright – Muscles & Mayhem: An Unauthorized Story of American Gladiators Season 1
Kyle McKeveny, Joe Rudge – The Super Models Season 1
WINNER: Andrea von Foerster – Welcome to Wrexham Season 2
Willa Yudell – Arnold Season 1
Advertising
Best music supervision in advertising (synch)
Jeremy Daw, JT Griffith – Nike: A Feel for Every You
Andrew Kahn, Morgan Thoryk – Check ‘Em Out
Sunny Kapoor, Mike Ladman, Mara Techam – Going Out in Style in the Greatest Story Ever Worn
Sunny Kapoor, Mike Ladman, Brandy Ricker, Mara Techam – One Fair Exchange in the Greatest Story Ever Worn
Mike Ladman, Mara Techam – Rumble
Sara Matarazzo, Stephanie Pigott, Danielle Soury – American Gothic
WINNER: Scott McDaniel – Run This Town – The Road to Halftime Starts on Rihanna Drive
Lilah Obregon-Wilson – Wear Your Shine – The Coach Shine Collection
Jonathan Wellbelove – iPhone 14 – Action Mode
Best music supervision in advertising (original music)
Abbey Hendrix, Mika Sheerin, Jonathan Wellbelove – iPhone 15 Pro – On with the Show
Mike Ladman, Mara Techam – Unshattered
Mike Ladman, Mara Techam – More of Life Brought to Life – Sneakers
Sara Matarazzo, Stephanie Pigott, Danielle Soury – Xbox Series X|S – Wake Up and Dream
WINNER: Nicole Palko, Jonathan Wellbelove – iPhone 15 Plus – Miss You
Trailers
Best music supervision in a trailer – film
Maggie Baron – Problemista – Official Trailer
Deric Berberabe, Jordan Silverberg – Killers of the Flower Moon – Official Trailer 2
Calum Brice-Stevens – All of Us Strangers – Official Trailer
Danny Exum, Derek Liner – Sisu – Official Trailer
Bobby Gumm – Damsel – Official Trailer
WINNER: Angel Mendoza – Killers of the Flower Moon – Official Teaser Trailer
Scenery Samundra, Gregory Sweeney – Priscilla – Official Trailer
Best music supervision in a trailer – series
Isaac Allaway, Eduardo Fontes Williams – The Crown Season 6 – Part 2 Trailer
Maggie Baron – The Idol – Official Teaser Trailer
Deric Berberabe, Jordan Silverberg – Monarch: Legacy of Monsters – Official Trailer
Deric Berberabe, Jordan Silverberg – Swarm – Official Trailer
Bobby Gumm – The Witcher Season 3 – Official Trailer
WINNER: Rochelle Holguin Cappello, Katie Pool – Yellowjackets Season 2 – Official Trailer
Sanaz Lavaedian, Marina Polites – Griselda – Official Trailer
Best music supervision in a trailer – video game & interactive
Jonny Altepeter, Peter Li – VALORANT – Iso Agent Trailer – MYTHS
WINNER: Rebecca Bergman, Brian Murphy – Suicide Squad: Kill the Justice League – Official Justice League Trailer – “No More Heroes”
Chris Fox, Kyle Hopkins – South of Midnight – Announce Trailer
Lindsey Kohon, Naaman Snell, Ryan Tomlin, Brandon Young – Call of Duty: Modern Warfare III – Gameplay Reveal Trailer
Raphaella Lima, Michael Sherwood – Apex Legends: Ignite Launch Trailer
Nick Maker – Marathon – Official Announce Trailer
Ryan Tomlin, Brandon Young – Call of Duty: Modern Warfare III – Makarov Reveal Trailer
Video Games
Best music supervision in a video game (synch)
WINNER: Alex Hackford – Marvel’s Spider-Man 2
Alex Hackford, Sophie Levine, Monty Mudd – MLB ’23: The Show
Maya Halfon Cordova – Forza Horizon 5: Rally Adventure
Raphaella Lima, Cybele Pettus, Steve Schnur – EA SPORTS FC 24
Raphaella Lima, Cybele Pettus, Steve Schnur – F1 23
Raphaella Lima, Cybele Pettus, Steve Schnur – Madden NFL 24
Ryan Tomlin, Brandon Young – Call of Duty: Modern Warfare II, Season 2-6
Best music supervision in a video game (original music)
WINNER: Alex Hackford, Scott Hanau, Keith Leary – Marvel’s Spider-Man 2; Composer: John Paesano
Simon Landry, Alex Riviere – Avatar: Frontiers of Pandora; Composer: Pinar Toprak
Steve Schnur – Star Wars Jedi: Survivor; Composers: Stephen Barton, Gordy Haab
Jaren Tolman – Hogwarts Legacy; Composers: Peter Murray, Chuck E. Myers, J. Scott Rakozy
Austin Wintory – Stray Gods: The Roleplaying Musical; Composers: Montaigne, Tripod, Austin Wintory
Brandon Young – Call of Duty: Modern Warfare III; Composer: Walter Mair
The 2024 Brit Awards – the U.K.’s equivalent of the Grammys – are unfolding at The O2 Arena in London. Dua Lipa was set to open the show, just as she opened the Grammy telecast on Feb. 4. Kylie Minogue, who will receive the Global Icon Award, is set to close the show.
RAYE led the nominations for this year’s Brits with seven nods, which made her the most nominated artist in a single year since the Brits began in 1977. Central Cee and J Hus each received four nods. Lipa received three. 2024 also saw the first Brit nomination for The Rolling Stones in more than a decade. The legendary band is nominated for alternative/rock act.
Clara Amfo, Maya Jama and Roman Kemp are co-hosting the ceremony, which is being broadcast in the U.K. on ITV1, STV, ITVX and STV Player. Fans outside the U.K. can watch the show via an exclusive YouTube livestream.
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For 2024, The Brits increased the number of nominees for both artist of the year and international artist of the year from five to 10, a change aimed at improving representation and inclusion. The Brits have a whopping 15 nominations in two categories – song of the year and international song of the year.
The British pop/R&B act category was split in two this year — British pop act and British R&B act. Winners in both categories, as well as the three other genre categories – alternative/rock, dance and hip-hop/grime/rap – were decided by a public vote via Instagram from Feb. 1-15.
In December, The Brits announced The Last Dinner Party as the winner of the 2024 Rising Star award.
RAYE won Songwriter of the Year. The two previous winners of that award are Ed Sheeran and Kid Harpoon, which makes RAYE the first woman to receive the honor.
Chase & Status are this year’s Producer of the Year winners. The electronic music duo, consisting of Saul Milton (Chase) and Will Kennard (Status), is also nominated for group of the year. They have produced not only their own releases, but the works of such other acts as Becky Hill, Rihanna, Rita Ora and Tinie Tempah. Chase & Status are the fourth multi-person production team to win Producer of the Year, following Stock Aitken Waterman (1988), Chris Potter, The Verve & Youth (1998) and Alan Moulder & Flood (2014).
Here’s the complete list of 2024 Brit Awards nominees, with winners marked as they are announced.
Mastercard album of the year
Blur, The Ballad of Darren, Parlophone/Warner Music
J Hus, Beautiful and Brutal Yard, Black Butter/Sony Music
Little Simz, NO THANK YOU, Forever Living Originals/AWAL
RAYE, My 21st Century Blues, Human Re Sources/The Orchard
Young Fathers, Heavy Heavy, Ninja Tune
Artist of the year
Arlo Parks, Transgressive
Central Cee, Columbia Records/Sony Music
Dave, Neighbourhood/Live Yours
Dua Lipa, Warner Records/Warner Music
Fred Again.., Atlantic/Warner Music
J Hus, Black Butter/Sony Music
Jessie Ware, EMI / Universal Music UK
Little Simz, Forever Living Originals/AWAL
Olivia Dean, EMI/Universal Music UK
RAYE, Human Re Sources/The Orchard
Group of the year
Blur, Parlophone/Warner Music
Chase & Status, EMI/Universal Music UK
Headie One & K-Trap, One Records & Thousand8/The Orchard
Jungle, Caiola/AWAL
Young Fathers, Ninja Tune
Best new artist
Mahalia, Asylum/Atlantic Records/Warner Music
Olivia Dean, EMI/Universal Music UK
PinkPantheress, Warner Records/Warner Music
RAYE, Human Re Sources/The Orchard
Yussef Dayes, Brownswood Records/ADA/Warner Music
Song of the year
“Miracle,” Calvin Harris/Ellie Goulding, Sony Music/Universal Music UK
“Prada,” cassö/RAYE/D-Block Europe, Ministry Of Sound/Sony Music
“Let Go,” Central Cee, Columbia Records/Sony Music
“Sprinter,” Dave & Central Cee, Neighbourhood/Live Yours
“Dance the Night,” Dua Lipa, Atlantic Records/Warner Music
“Eyes Closed,” Ed Sheeran, Asylum/Atlantic Records/Warner Music
“Who Told You,” J Hus Ft Drake, Sony Music/Universal Music
“Strangers,” Kenya Grace, Warner Music
“Wish You the Best,” Lewis Capaldi, EMI/Universal Music Group
“Boy’s a Liar,” PinkPantheress, Warner Records/Warner Music
“Escapism.,” RAYE ft 070 Shake, Human Re Sources/The Orchard
“Dancing Is Healing,” Rudimental/Charlotte Plank/Vibe Chemistry, Columbia/Sony Music
“Firebabe,” Stormzy Ft Debbie, #Merky Records/0207 Records/Universal Music UK
“REACT,” Switch Disco & Ella Henderson, Relentless Records/Sony Music
“Messy in Heaven,” Venbee & Goddard, Room 2/Columbia Records/Sony Music
International artist of the year
Asake, YBNL Nation/Pri.me
Burna Boy, Spaceship/Bad Habit/Atlantic Records
Caroline Polachek, Perpetual Novice/The Orchard
CMAT, CMATBABY/AWAL
Kylie Minogue, BMG Records
Lana Del Rey, Polydor/Universal Music UK
Miley Cyrus, Columbia/Sony Music
Olivia Rodrigo, Polydor/Geffen/Universal Music Group
SZA, RCA/Sony Music
Taylor Swift, EMI/Republic/Universal Music Group
International group of the year
Blink-182, Columbia/Sony Music
Boygenius, Polydor/Interscope/Universal Music Group
Foo Fighters, Columbia/Sony Music
Gabriels, Parlophone/Warner Music
Paramore, Atlantic/Warner Music
International song of the year
“What Was I Made For?,” Billie Eilish, Darkroom/Interscope/Polydor/Universal Music Group
“Daylight,” David Kushner, Miserable Music/Virgin Music Group/Universal Music Group
“Paint the Town Red,” Doja Cat, RCA/Sony Music
“Giving Me,” Jazzy, CHAOS/Polydor/Universal Music UK
“People,” Libianca,5k Records/Sony Music
“Made You Look,” Meghan Trainor, Epic Records/Sony Music
“Flowers,” Miley Cyrus, Columbia Records/Sony Music
“Stick Season,” Noah Kahan, Mercury Records/Republic Records/Island UK/Universal Music Group
“Miss You,” Oliver Tree & Robin Schulz, Atlantic Records / Warner Music
“vampire,” Olivia Rodrigo, Polydor/Geffen/Universal Music Group
“(It Goes Like) Nanana,” Peggy Gou, XL Recordings
“Calm Down,” Rema, Mavin Records/Jonzing World/Virgin Music Group/Universal Music Group
“Kill Bill,” SZA, RCA/Sony Music
“greedy,” Tate McRae, RCA/Sony Music
“Water,” Tyla, Epic Records/Sony Music
Alternative/rock act
Promoted by Radio X
Blur, Parlophone/Warner Music
Bring Me The Horizon, RCA/Sony Music
The Rolling Stones, Polydor/Universal Music UK
Young Fathers, Ninja Tune
Yussef Dayes, Brownswood Records/ADA/Warner Music
Hip-hop/grime/rap act
Promoted by KISS Fresh
CASISDEAD, XL Recordings
Central Cee, Columbia Records/Sony Music
Dave, Neighbourhood/Live Yours
J Hus, Black Butter/Sony Music
Little Simz, Forever Living Originals/AWAL
Dance act
Promoted by Capital Dance
Barry Can’t Swim, Ninja Tune
Becky Hill, Polydor/Universal Music UK
Calvin Harris, Columbia/Sony Music
Fred again.., Atlantic/Warner
Romy, Young Recordings
Pop act
Promoted by HITS Radio
Calvin Harris, Columbia/Sony Music
Charli XCX, Atlantic/Warner Music
Dua Lipa, Warner Records/Warner Music
Olivia Dean, EMI / Universal Music UK
RAYE, Human Re Sources/The Orchard
R&B act
Promoted by Capital XTRA
Cleo Sol, Forever Living Originals
Jorja Smith, FAMM/The Orchard
Mahalia, Atlantic/Warner Music
RAYE, Human Re Sources/The Orchard
SAULT, Forever Living Originals
Brits rising star
Caity Baser, EMI / Universal Music UK
Sekou, Island / Universal Music UK
WINNER: The Last Dinner Party, Island / Universal Music UK
Producer of the Year
Winner: Chase & Status
Songwriter of the Year
Winner: RAYE
Global Icon Award
Winner: Kylie Minogue
Dua Lipa is set to open the 2024 Brit Awards, which will be held at the O2 Arena in London on Saturday (March 2). The pop star also opened the 2024 Grammy Awards on Feb. 4 in Los Angeles, performing “Training Day” and “Houdini.” Kylie Minogue is set to close the Brits.
The show will be broadcast live in the U.K. from 8:30 p.m. local time on ITV1, STV, ITVX and STV Player. Fans outside the U.K. can easily watch the show, just a half-hour delayed, via an exclusive YouTube livestream. The international stream will start at 9 p.m. GMT, which translates to 4 p.m. ET and 1 p.m. PT.
Clara Amfo, Maya Jama and Roman Kemp are set to co-host The Brit Awards 2024 with Mastercard – the show’s official name. Yinka Bokinni and Jack Saunders will present The Brits’ Red Carpet for ITV2 and The Brits’ Aftershow for ITVX. On the red carpet show, St. Vincent will present The Last Dinner Party with their Rising Star award. St Vincent is in London promoting her new album, All Born Screaming, ahead of its April release.
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The 2024 Red Carpet Live Stream, hosted by actor Layton Williams and KISS FM presenter Harriet Rose, will broadcast from 5:30 p.m. local time on The Brits’ Instagram and Facebook. Harriet will also speak to winners backstage on the night.
The Brits have already announced the winners of four awards. As noted above, The Last Dinner Party are the winners of the Brits Rising Star award. RAYE won Songwriter of the Year, while Chase & Status took Producer of the Year. Minogue will be presented with the Brits’ Global Icon award, an award won by Taylor Swift three years ago.
Here are the performers and presenters on the 2024 Brit Awards.
Performers
Becky Hill with Chase & Status
Calvin Harris & Ellie Goulding
Dua Lipa
Jungle
Kylie Minogue
RAYE
Rema
Tate McRae
Presenters
AitchAshley WaltersCharli XCXGreen DayJaime WinstoneJoe Keery (Stranger Things)Jonathan Bailey (Bridgerton)Kingsley Ben-Adir (Bob Marley: One Love)Luke EvansMarisa Abela (upcoming Amy Winehouse biopic, Back to Black)St. Vincent
Foreigner is having a moment. The band, which is currently nominated for induction into the Rock & Roll Hall of Fame, is also being saluted in an ad promoting the Oscars, which are set for March 10. The ad tweaks the title of Foreigner’s 1977 breakthrough hit “Feels Like the First Time” with the copy […]
Young Miko vividly remembers the first time she realized her music could make an impact. It was in 2021, after the Puerto Rican singer-rapper released her second single, “Vendetta,” in collaboration with trans artist Villano Antillano — a hard-hitting trap song in which the two spit bars about empowerment, individuality, resilience and self-confidence, all while spotlighting the LGBTQ+ community.
“That’s when I felt a before and after in my life,” Miko tells Billboard. “It’s a moment that I always return to, and I realize that it wasn’t just a song. I feel in my heart that it started a very beautiful movement or gave it more strength. I love feeling that from the beginning I’ve been doing something good with the voice that life has given me and with the space I have, which has to have a purpose.”
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That same voice — one that effortlessly transitions from unapologetic rap rhymes to smooth, sugary vocals — and a devoted work ethic have propelled Miko to become one of música urbana’s brightest new stars, breaking through in the male-dominated genre while primarily singing about her queer identity.
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The 25-year-old artist born María Victoria Ramírez de Arellano Cardona has landed major collaborations with Bad Bunny, Arcángel, Feid, Bizarrap and Karol G — most recently playing the latter’s romantic interest in Karol’s cinematic “Contigo” music video. She has also had a strong presence on the Billboard charts, including four hits on Hot Latin Songs and three on Latin Airplay, two entries on the Billboard Hot 100 and five on the Billboard Global 200 and Global Excl. U.S.
But even amid those successes, Billboard‘s 2024 Women in Music Impact honoree says she’s still learning. “It’s important to have that mentality and to not think I’m at my peak,” she says. “I want to feel like I’m never going to stop being a student, and for me, that’s the coolest part.”
How has embracing your queer identity in your lyrics affected your art?
It has been everything. My lyrics demonstrate a Young Miko that’s 100% true to herself. Thank God, I’ve felt comfortable enough from the beginning to be able to do it and give myself that space to be myself and do what I want with my music. I think it’s very nice that it had a good impact on the music industry in general and on the people around me. Obviously, sometimes, it can get loud — your surroundings, the opinions of others — but I feel like Young Miko would never have been the same if I wasn’t 100% honest in my music.
How have you used your social media presence to create change around you?
Beyond a social media platform, I like to start with my circle and the people who are with me every day. In whatever way I can help, I will always try to add or contribute my grain of sand. Obviously, being aware that anything I publish or associate with will have an impact, period. I know that now people are listening and paying attention to what I say, which gives me more reason to want to promote a good message. There are so many people with so many followers, and they don’t use it for sh-t. For me, it’s a blessing that life has decided to put me in a spot where my voice matters.
You joined Karol G for her Mañana Será Bonito tour and headlined your own Trap Kitty tour last year. What effect did the touring life have on you?
I f–king love touring! It’s so much fun. I feed off a lot from the crowd and the energy. Sometimes you have to see it to believe it — the emotion of all the people and how they know your songs. I learned that it’s not always going to be pretty. There are days that are going to be super tiring, and if you cancel or postpone a show, it’s horrible [for the fans] but you must get through it. Beyond learning as an artist, I learn as a person. When I’m on tour, I miss my home, my parents, my island, the warmth of my people. It’s a roller coaster and not for the weak. It’s so surreal, but I f–king love it.
This story will appear in the March 2, 2024, issue of Billboard.
My big struggle is deciding whether I care more about being the biggest artist I can be commercially or being critically sound,” Charli XCX says. “Then sometimes I land in this place of not caring about either of those things.”
For most of her decade-plus career as both a songwriter for other pop stars (Gwen Stefani, Camila Cabello, Selena Gomez) and a beloved solo performer herself, Charli has managed to strike an enviable balance between the two pop poles she has just described. The 31-year-old British artist has made inescapable hits like her 2014 Iggy Azalea collaboration, “Fancy,” which spent seven weeks at No. 1 on the Billboard Hot 100, and more sonically experimental pop — including her celebrated pairings with SOPHIE, with whom Charli pioneered hyperpop — while establishing herself as a tastemaker with a track record for working with cutting-edge artists like Yaeji, Rina Sawayama and Caroline Polachek before the industry fully catches on.
Tough, playful and whip-smart, her track “Speed Drive” from the Barbie soundtrack is classic Charli and also her biggest commercial success since 2014’s “Boom Clap.” Now she’s gearing up for her sixth studio album, BRAT. (On Wednesday, Charli posted on social media to expect the album this summer.)
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The follow-up to 2022’s Crash is, she says, a club record evoking the illegal London rave scene where she started performing “when I was 14 or 15,” produced from a tight collection of sounds to create “this unique minimalism that is very loud and bold.”
“Loud and bold” could well describe the entire career of Billboard’s 2024 Women in Music Powerhouse honoree. As she chats over Zoom (wearing a white hoodie and a single gold star sticker on her chin) she’s characteristically frank, admitting she finds the time between albums challenging — “probably the reason why I eventually won’t be a musician.” But for now, with a new one finished, she’s gearing up for her life to return to a pop star pace.
YSL jacket and scarf, David Yurman earrings.
Joelle Grace Taylor
Beaufille jacket and skirt, Abra shoes.
Joelle Grace Taylor
What’s the concept of the new album?
This album is very direct. I’m over the idea of metaphor and flowery lyricism and not saying exactly what I think, the way I would say it to a friend in a text message. This record is all the things I would talk about with my friends, said exactly how I would say them. It’s in ways very aggressive and confrontational, but also very conversational and personal. And not in that boring way where artists are like, “This is my most personal record.” To me, it feels like listening to a conversation with a friend.
Do you feel like you’re in a unique position to showcase ideas and sounds from the club world to more mainstream audiences?
I think I’ve had a pretty big impact on popular music; I won’t lie. But it feels weird even saying that in a subtle way in this interview, to be honest. I don’t think it has ever been [my or my collaborators’] intention to transport elements of club or underground music to a wider audience; I think we’ve just been instinctual. There’s a spontaneity within my music that feels off the cuff, blunt and at the same time outlandish. It’s just this fearlessness, too. I don’t mean to sound arrogant, but I see it when I write in sessions for other people or with people that I don’t really write much with. It’s like … I don’t follow a rulebook of how to write a song.
Acne shirt, MM6 bra, Beaufille belt, Abra pants, YSL shoes.
Joelle Grace Taylor
For Crash, you intentionally stepped into the role of a major-label pop star, like cosplay. Is the new album’s direct approach a reaction to that?
It’s definitely related. The pendulum always swings for me. I think a good artist always has to re-form, reformulate and reclothe themselves, quite literally. You’re right, Crash was about me being signed to a major label [Asylum Records UK/Warner Music UK] and feeling like I’d never played that traditional, stereotypical major-label pop star game. I wanted to play this satirical role, so I was hypersexualizing myself, taking songs other people had written for me and using an A&R person for the first time in my career.
This record is the polar opposite. It’s not collaborative. It’s not me playing a character. It’s direct and honest. I really tried not to write love songs or songs about my romantic relationship. [She got engaged to The 1975’s George Daniel in late 2023.] There are a couple, but generally speaking, I wanted it to feel more gossipy, so it is a reaction to Crash. I’m quite a reactionary person.
You’ve written with and for a lot of other women. Has that been intentional?
There are a couple of songs I’ve written that have been for male artists, but it’s not a conscious decision. It just happened like that. I honestly don’t know that I would be able to write from a male perspective.
YSL jacket and scarf, Diesel skirt and shoes, David Yurman earrings.
Joelle Grace Taylor
Charli XCX photographed on November 27, 2023 in Los Angeles. Beaufille jacket.
Joelle Grace Taylor
You’re receiving the Powerhouse award. What’s your relationship with power?
Some days you wake up and feel very powerful, or empowered, or in control, or confident, or whatever positive words that are related to power or a woman in power. But some days you wake up and feel worthless and small and insecure and not good enough. I don’t think that’s specific to me or my industry; I think that’s just human nature. It’s impossible to feel powerful all the time. For me, at least, that would feel like a lie.
There’s also a lot of power in vulnerability. This is cheesy, but I think when I’m most honest and true to myself, that makes me feel most powerful. Sometimes that upsets people, whether that’s people I work with or my fans or my family. There’s always someone to upset. You just have to ask if it would feel like a sacrifice to not make this decision the way you want to make it. That’s what I ask myself.
Are there specific moments in your career when you stepped into a greater level of power?
When I started working with [producer] A. G. Cook, when I started working with SOPHIE, there was this kinship and understanding that made me feel very powerful because I felt like we were on this unspoken journey together that not many other people could be on.
And then working with my friends — not weird Los Angeles friends that I’ve picked up at parties, but my friends I’ve had since I was 11. That feels powerful because there’s a level of grounding. To them, I’m not this person who is a pop star. I am their friend Charli who was once not very cool.
This story will appear in the March 2, 2024, issue of Billboard.
When Victoria Monét looked in the mirror five years ago, she saw a successful songwriter whose growing list of estimable credits included co-writes on two of Ariana Grande’s biggest hits, “Thank U, Next” and “7 Rings.” What Monét, then 30, didn’t see was a successful solo artist — a goal she had been tirelessly pursuing since 2009.
“It was a very difficult, uphill battle trying to get people to understand there’s a duality to me, that my relevance wasn’t only based on my proximity to somebody else,” Monét recalls. “Interview after interview, questions were snuck in about the artists I worked with. I just wanted to be a stand-alone artist with my own reputation.”
Monét’s long-held dream finally became reality with the 2023 release of her RCA debut studio album, Jaguar II. Her breakthrough single, “On My Mama,” and two earlier album singles, “Smoke” (with Lucky Daye) and “Party Girls” (with Buju Banton), created what she calls a “snowball effect” — and validated her solo artistry, not only in terms of chart position, different interview questions and her first headlining tour, but also in the form of golden hardware.
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At the Grammys in February, Monét — who entered with seven nominations, including record of the year and best R&B song — won best new artist, as well as the statuettes for best R&B album and best engineered album, non-classical. Her best traditional R&B performance nod — for “Hollywood,” featuring Earth, Wind & Fire and her toddler daughter, Hazel Monét — was record-breaking in its own right, making Hazel the youngest-ever Grammy nominee.
Roberto Cavalli dress, Paumé Los Angeles ring, Elisheva & Constance earrings, choker and bracelet.
Sami Drasin
Oude Waag dress and Paumé Los Angeles earrings.
Sami Drasin
But Monét’s three wins — her first triumphs after three prior nods for her work with Grande and R&B duo Chloe x Halle — represent another pivotal moment for the Atlanta-born, Sacramento, Calif.-raised singer-songwriter, who began pursuing a solo career when she moved to Los Angeles in 2009 to audition for a girl group under development by Grammy-winning producer Rodney Jerkins. Monét got the job and the group signed a Motown contract, though it was later dropped without releasing any music.
That setback, however, yielded the start of a friendship with future Grammy- and Academy Award-winning songwriter-producer D’Mile and pushed Monét to focus on the songwriting she had dabbled in while growing up in Sacramento. Shouting out D’Mile as a key supporter and mentor (“He let me and the girl group live in his place”), Monét worked with him on music she had begun recording on the side as an independent artist while she racked up writing credits with acts such as Travis Scott, Blackpink, Fifth Harmony and fellow rising R&B singer and new Grammy winner Coco Jones.
“It’s very hard to ask somebody to invest their time when you don’t have a label to push it through, a production or video budget,” Monét says. “But D’Mile was like, ‘I don’t care about that. I think you’re talented and love your voice … We got this.’ ”
Monét, who didn’t have a manager at that time (“Even when I opened for Ariana on tour in 2016, I did hotel bookings and routing”), found another kindred spirit when she met manager Rachelle Jean-Louis in 2018. “She has been my ride-or-die,” Monét says. “She saw things when no one else saw them.”
Jean-Louis, a former label executive and music supervisor, first crossed paths with Monét while working as the latter, placing Monét’s collaboration with RCA artist Lucky Daye, “Little More Time,” on HBO’s Insecure. “We’re mirrors of each other,” Jean-Louis says. “We both love music, are hard workers and passionate about what we do. Victoria’s melodies and the layering of her vocals reminded me a lot of early Marvin [Gaye] and Janet [Jackson], which was something I hadn’t heard currently at that time. And then hearing she wrote all of her songs … that’s a rare form of artistry that I’ve always admired.”
Oude Waag dress and Paumé Los Angeles earrings.
Sami Drasin
Music fans got their first taste of Monét’s solo work through four EPs she released between 2014 and 2018. While none of those projects charted, they featured Monét’s ’70s-influenced modern soul that began generating word-of-mouth buzz for the indie artist. But on her Jaguar EP, released in August 2020, the singer emphasized another side of herself.
“I had to learn how to survive,” Monét said during a Grammy Museum Q&A in December when comparing the music industry to a jungle. “The jaguar symbolized my journey up to that point.”
Her first entry on the Billboard Hot 100 as a solo artist was in 2019, when “Monopoly,” a song she co-wrote and was featured on with Grande, cracked the chart at No. 69. The week before, Monét had reached No. 16 on the Emerging Artists list.
With the August 2023 release of sequel Jaguar II, which delivers a sonically mesmerizing mix of ’70s retro soul, dancehall and Southern rap — and, like Jaguar, was executive-produced by Monét, D’Mile and Jean-Louis — Monét hit her stride. The album debuted at No. 6 on Top R&B Albums and No. 22 on Top R&B/Hip-Hop Albums. Meanwhile, “On My Mama,” which samples Texas rapper Chalie Boy’s 2009 track, “I Look Good,” peaked at No. 4 on Hot R&B Songs, while spending 24 consecutive weeks in the top 10. Since the first tracking week of 2023 (from Dec. 29, 2022, to Feb. 1, 2024), Monét’s songs as an artist have generated 342.6 million official on-demand streams, according to Luminate.
“Because songwriters are writing for other artists, it’s really easy to hear their songs but think of the artist they wrote for instead,” Jean-Louis says. “But with the music that Victoria’s making, you can’t do that. The only person you hear when you listen to Victoria Monét’s music is her.”
Victoria Monét photographed on January 16, 2024 at Cricket Ranch in Los Angeles.
Sami Drasin
Paumé Los Angeles ring, Elisheva & Constance earrings, choker and bracelet.
Sami Drasin
With Jean-Louis and a predominately female core team handling both her business and creative plus strong support from RCA (“It has been a real joy to collaborate with a [label] team that really sees me; RCA changed that narrative for me”) — the newly minted three-time Grammy winner is looking ahead to festival performances at Coachella and Governors Ball, along with the deluxe version of Jaguar II.
But, reflecting on her hard work, setbacks and wins thus far, Monét says it all makes her cherish her recognition as Billboard’s 2024 Women in Music Rising Star even more.
“I prefer it this way rather than [achieving] fame quickly or being given to me on a silver platter,” she explains. “I know I have a great foundation and legs to stand on because everything I built was brick by brick. A career takes an excellent amount of patience.”
This story will appear in the March 2, 2024, issue of Billboard.
Country Radio Broadcasters (CRB) has revealed the 2024 slate of Country Radio Hall of Fame inductees in on-air personality and off-air categories.
This year’s on-air category honorees are Cody Alan (SiriusXM The Highway), as well as Pat Still and Tom Malley (Pat & Tom) of KNCI/Sacramento. The radio category inductees are Mike Moore (program director at WKHX/Atlanta), Jim Robertson (retired, former VP/GM at WOGK/Gainesville) and Meg Stevens (senior vp of programming at WUBL/Atlanta).
The CRB’s Country Radio Hall of Fame committee chairman Joel Raab said in a statement, “On behalf of the selection committee, congratulations to the well-deserving Country Radio Hall of Fame Class of 2024. These professionals stand out in so many ways and are a great example of distinguished broadcasters who have positively affected the lives of so many in the Country Radio and Music community.”
The Country Radio Hall of Fame honors individuals who have made significant contributions to the radio industry over a two-decade period, 15 of whom must be in the country format.
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Alan’s career has included time at KPLX/Dallas, WWKA/Orlando and WCOS/Columbia, S.C. He has also held positions at CMT and CBS-TV. He’s been honored by the Country Music Association (national daily on-air personality of the year in 2021) and Academy of Country Music (national on-air personality of the year in 2013). He has also earned the GLAAD Leadership Award (2020) and the vision award from the Human Rights Campaign (2022), among other accolades.
Still and Malley have been heard on Sacramento County airwaves since 1992. In 2020, KCNI won the Country Music Association’s large market station of the year.
Moore, the program director at Cumulus WKHX in Atlanta, previously worked from 2003-2019 at KWJJ in Portland, steering the station to earning a 2010 Country Music Association major market station of the year honor. He was named director of country programming for Entercom in 2006. His career path also includes time at WSIX/Nashville, WWKA/Orlando and WWYZ/Hartford. He has additionally served on boards for the CRB and the Country Music Association.
Robertson served as operations manager at KIKK/Houston from 1986-1993 (during that time, he was named the CMA’s large market program director of the year in 1987 and 1988) and later worked for 25 years at vp/GM at WOGK/Gainesville/Ocala. Under his guidance, WOGK was named CMA station of the year. Robertson retired from full-time radio in 2019.
Stevens launched her country radio career at WBBS/Syracuse and, over the course of seven years, rose from music director to program director. A six-year tenure at WGAR/Cleveland followed, along with time at WMZQ in Washington, D.C. and WPOC in Baltimore. In 2017, Stevens took the reins at WKKT/Charlotte, rising to senior vp of programming for the iHeartMedia Charlotte cluster. Stevens was named a Billboard Country Power Player in 2020.
The Country Radio Hall of Fame Induction and Dinner will be held Jun. 19 at the Virgin Hotel Nashville.
The 2024 Oscars will have strong Latin representation. Two Puerto Rican superstars of different generations — Bad Bunny and Rita Moreno — have been added as presenters for the March 10 ceremony, along with Chris Hemsworth, Dwayne Johnson, Michael Keaton, Regina King, Jennifer Lawrence, Kate McKinnon, John Mulaney, Catherine O’Hara, Octavia Spencer and Ramy Youssef.
Moreno won an Oscar in 1962 for West Side Story. In 1977, she became the first Latina (and just the third person overall) to complete the EGOT. In 2022, Bad Bunny made history when Un Verano Sin Ti became the first Spanish-language album to top Billboard’s year-end chart and to receive a Grammy nod for album of the year.
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On Wednesday, the Academy announced that another popular Latin star, Becky G, would perform the nominated “The Fire Inside” from Flamin’ Hot on the telecast. Becky G was born in Inglewood, Calif., to Mexican American parents.
Previously announced Oscars presenters are Mahershala Ali, Nicolas Cage, Jamie Lee Curtis, Brendan Fraser, Jessica Lange, Matthew McConaughey, Lupita Nyong’o, Al Pacino, Michelle Pfeiffer, Ke Huy Quan, Sam Rockwell, Michelle Yeoh and Zendaya.
The 96th Oscars will air live on ABC and broadcast to outlets worldwide on Sunday, March 10, at the new, earlier time of 7 p.m. ET/4 p.m. PT.
Jimmy Kimmel is hosting the show for the fourth time. It will be held at its usual home, the Dolby Theatre at Ovation Hollywood.
Raj Kapoor is executive producer and showrunner for the 2024 Oscars. Molly McNearney and Katy Mullan are also executive producers. Hamish Hamilton is directing. Rickey Minor is music director.