Grammys
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Miley Cyrus is set to perform her smash âFlowersâ at the 2024 Grammy Awards on Sunday (Feb. 4) at Crypto.com Arena in Los Angeles, Billboard has confirmed. Variety was first to report the news. The ceremony will air live on CBS and Paramount+. Surprisingly, this will be the first time Cyrus has performed the song on TV since its release in January 2023.
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Sixteen years into her post-Hannah Montana pop career, Cyrus received her first Grammy nominations in âBig Threeâ categories â album, record and song of the year. Cyrusâ father, Billy Cyrus, has landed two record of the year nominations â for âAchy Breaky Heartâ (1992) and as a featured artist on Lil Nas Xâs âOld Town Roadâ (2019). The Cyruses are just the third parent-child pair to each receive record of the year nominations, following Frank Sinatra & Nancy Sinatra and Nat âKingâ & Natalie Cole.
âFlowers,â which entered the Billboard Hot 100 at No. 1 and remained there for eight consecutive weeks, is also nominated for best pop solo performance.
Cyrus co-wrote âFlowersâ with Gregory Aldae Hein and Michael Pollack. It appears on Cyrusâ album Endless Summer Vacation, which is also nominated for best pop vocal album.
Also set to perform on the show are Burna Boy, Luke Combs (with Tracy Chapman), Billie Eilish, Billy Joel, Dua Lipa, Joni Mitchell (in her first Grammy performance), Olivia Rodrigo, Travis Scott, SZA and U2. Burna Boy is expected to be joined by 21 Savage and Brandy. Mitchell is expected to be joined by Brandi Carlile.
In addition, Stevie Wonder, Fantasia Barrino, Annie Lennox and Jon Batiste will perform in the In Memoriam segment, in which they will honor Tony Bennett, Tina Turner, SinĂ©ad OâConnor and Clarence Avant, respectively.

Stevie Wonder, Fantasia Barrino, Annie Lennox and Jon Batiste are set to honor recently departed music icons at the 2024 Grammy Awards, set for Sunday (Feb. 4) at Crypto.com Arena in Los Angeles. Most have deep personal connections to the honorees. Wonder will pay tribute to Tony Bennett, with whom he teamed to perform âFor […]
Who will win in the Latin categories at the 2024 Grammy Awards?  Every year, Billboardâs Latin and Español teams gather to predict who we think will win in the Latin categories at the ceremony. Our predictions are based not only on our appreciation of the music, but also on our knowledge of the market and the understanding of the voting history of Academy members. Our predictions are not endorsements, but rather educated guesses.
Leading up to Sundayâs 66th annual Grammy Awards, weâve gathered our Latin and Billboard Español editorial team and embarked on a lively discussion, with educated guesses based on the marketplace and past voting behavior (not endorsements). Our participants are Leila Cobo, Billboardâs Chief Content Officer, Latin/Español; Jessica Roiz, Billboardâs assistant editor, Latin; Griselda Flores, Billboardâs senior editor, Latin; Sigal Ratner-Arias, Billboard Españolâs deputy editor; and Isabela Raygoza, Billboard Españolâs associate editor.
The Grammy Awards will be held on Sunday, Feb. 4 at the Crypto.com Arena in Los Angeles beginning at 8 p.m. ET on CBS, and will stream live and on-demand on Paramount+. The ceremony will be hosted by Trevor Noah for the fourth consecutive year.
Below, our predictions of who should or who will win the Latin categories at the Grammys. Most of these categories are awarded during the Pre-telecast ceremony where more than 80 of the 94 Grammy categories are announced. The Premiere Ceremony, which will begin at 3:30pm ET can be streamed on the Recording Academyâs YouTube channel and on live.GRAMMY.com.
Best Latin Pop Album
La Cuarta Hoja, Pablo AlborånBeautiful Humans, Vol. 1, AleMorA Ciegas, Paula ArenasLa Neta, Pedro CapóDon Juan, MalumaX Mà (Vol. 1), Gaby Moreno
SIGAL RATNER-ARIAS: I really like all the albums on this list, and I am having trouble predicting who will win. But Iâm bidding on Maluma for Don Juan, an ambitious and eclectic 25-track set spanning different genres, with hot collaborations like âSegĂșn QuiĂ©nâ with Carin LeĂłn, âLuna Llenaâ with Ryan Castro and âOjitos Chiquiticosâ with Don Omar. It is Malumaâs third Grammy nomination, and the third time may be the charm. By the way, neither of the Latin Grammy winners of the two pop album categories were nominated here (Julieta Venegas for Tu Historia, and AndrĂ©s Cepeda for DĂ©cimo Cuarto.)
GRISELDA FLORES: The album I think should win is Paula Arenasâ A Ciegas. Itâs truly a touching and beautifully-produced set. So is Pablo AlborĂĄnâs La Cuarta Hoja. I think those two are the strongest contenders in this category. On the other hand, Maluma is a household name so voters may choose him. Although it may not seem fair given that Malumaâs set should perhaps have been nominated in the urban category, not pop because while itâs an eclectic set, it still leans more urban.
LEILA COBO: Itâs hard to imagine that Maluma wonât win here for his Don Juan, especially in the wake of the recent success of his single âSegĂșn QuiĂ©nâ alongside Carin LeĂłn. Itâs not just the name recognition, which carries major weight for a Latin act in the Grammys, but also the fact that Don Juan features run of the mill perreo and reggaetĂłn, but also, some solid, thoughtful hits. While the other nominees here are worthy, and four of them â Paula Arenas, Gaby Moreno, Pablo AlborĂĄn and Maluma himself â have been previously nominated for this award, the nod will likely go, finally, to the superstar of the group.Â
JESSICA ROIZ: Every singer-songwriter in this category is so deserving of the Grammy; however, I would like to see Pedro CapĂł win it this year. La Neta symbolizes a life-changing moment for CapĂł, one that he captures in this ultra-personal set, where he navigates emotions of honesty and vulnerability, and belts lyrics about love, happiness, loneliness, life and death. Recorded and produced entirely by him at his house during the pandemic, the Puerto Rican artist notes that the âsilence was necessary for me to come back to my roots [âŠ] Very personal. Itâs a pandemic album, a picture of everything that happened to me in my life,â he previously told Billboard.
ISABELA RAYGOZA: I appreciate the mix of straight Latin pop with more folky sounds in this category, and I would love to see Gaby Moreno take this one. Thereâs a whimsical quality that harkens back to the Great Latin American songbook on Morenoâs X MĂ (Vol. 1), that channels the spirit of Victor Jara, or even Woody Guthrie if weâre thinking bilingual in general. Thereâs so much poetic depth in songs like âFronterasâ and âLuna de XelajĂșâ with Oscar Isaac, that also has a haunting quality to it. And that vibrato!
Best MĂșsica Urbana Album
Saturno, Rauw AlejandroMañana Serå Bonito, Karol GData, Tainy
S.R.A.: Karol should take this Grammy home with Mañana SerĂĄ Bonito. It already won the Latin Grammy for best mĂșsica urbana album and was crowned, more importantly, as album of the year. With a contemporary, eclectic sound and empowering, honest songs like âProvenza,â âMientras Me Curo del Coraâ and âTQGâ with Shakira, it should win, and I really hope it does.
G.F.: Karol Gâs Mañana SerĂĄ Bonito should and will win. This is probably the only Latin category with an obvious winner. Itâs a history-making set that was not only commercially and critically successful, having already won album of the year at the Latin Grammys, it was a groundbreaking album for Karol and Latin music in general becoming the first-ever Spanish-language album by a woman to top the Billboard 200. I have no doubt Karol will take this award home.
L.C.: Karol G already won this very category at the Latin Grammys, in addition to album of the year. That pedigree, alongside Mañana being hands down one of the best albums of the year, should clinch Karol Gâs win, even in the face of daunting competition from Rauw Alejandro and hitmaker producer Tainy. Among the three contenders, only Karol G delivered not one, but a handful of global hits, including âTQG,â her top 10 Hot 100 smash alongside Shakira. The fact that Karol G is a woman and would be the first woman to snag this win, is a bonus, but should not for one second take away from the fact that this set is a tour de force.
I.R.: Uff, I have to say that these three albums are all fire, and itâs definitely a hard one to choose, because the three albums transcend the âmĂșsica urbanaâ category.  I think the easy choice is to give it to Karol G, because this album saw her rise to superstardom, while becoming a stadium performer. However, my personal favorite, admittingly, must be Tainyâs Data. Tainy not only lived up to the anticipation of his debut but surpassed it, transforming his abstract musical configurations into a dazzling journey with plenty of ethereal moments in technicolor well beyond the mĂșsica urbana soundscape. Shout out to Saturno too for the freestyle reemergence, which was brilliant too. This was a bold move after coming off the success of the more mainstream sound of Vice Versa and the trap thump of his Eps.
J.R.: I must admit that Tainyâs debut studio album is a masterpiece that laces his unmatched skills, good music taste, and A-list artist friends such as Bad Bunny, Daddy Yankee, Wisin & Yandel, Julieta Venegas, and more. And though his creativity shines in various reggaetĂłn bangers fused with synth-based dance and pop beats, I believe that Karol Gâs Mañana SerĂĄ Bonito should and will win the award. After all, not only did La Bichota make Billboard history reaching No. 1 on the Billboard 200 but the set nabbed the coveted album of the year at the 2023 Latin Grammys. It only makes sense.Â
Best Latin Rock or Alternative Album
MARTĂNEZ, CabraLeche De Tigre, Diamante ElĂ©ctricoVida Cotidiana, JuanesDe Todas Las Flores, Natalia LafourcadeEADDA9223, Fito Paez
S.R.A.: Vida Cotidiana. Grammy darling Juanes may add one more gramophone to his long list with this raw, emotional album, in which he reflects on his relationship with his wife and children and the problems that affect his native Colombia. With 11 songs including âGris,â âAmores Prohibidos,â âOjalĂĄâ and âVeneno,â and a return to his rock roots, it already won the Latin Grammy last November for best pop/rock album. Â
G.F.: This is a tough one because all albums are worthy of taking this award home. But to me there is one that stands out: De Todas Las Flores. Natalia Lafourcade is an artist whoâs won multiple Latin Grammys through the years and, in November, won best singer/songwriter album for De Todas Las Flores. Deservingly so. The album â produced by Adan Jodorowsky â is a gorgeous project that cements Lafourcade as one of the best musicians and songwriters of this generation. She deserves all the flowers.
L.C.: Perhaps the most competitive category in the Latin field â one where every album was meticulously thought out as a cohesive body of work â but my bets are on Juanes and his much-acclaimed Vida Cotidiana, despite formidable opposition from Latin Grammy darling Natalia Lafourcade and icon Fito PĂĄez. But Juanes has the historic pedigree of Grammy approved fare, not to mention heâs the one artist here who has actually performed at one of the ceremonies. Last but not least, Vida includes gems.
I.R.: Another category with more than one great albums, from Fito Paez reimagining this timeless songs from El Amor DespuĂ©s del Amor in EADDA9223, to Juanesâ rollicking but vulnerable Vida Cotidiana, and Natalia Laforcadeâs De Todas Las Flores which she recorded live on analog tape â I also saw her perform this album live on its debut in Carnegie Hall and I was blown away. Although there are several Grammy darlings here, Iâll predict this one will go to Lafourcade for the reasons aforementioned. The classical strings, the jazzy playfulness, and her introspective songwriting make this one a winner.
J.R.: I think Juanesâ Vida Cotidiana should win â another ultra-personal album created during the pandemic. The set not only marks the Colombian artistâs return to his rock roots meshed with funk, son, and cumbia, but itâs also an homage to his everyday life, including the challenges and differences his family faced after spending 24 hours a day together in quarantine. I do believe, however, that Recording Academy sweetheart Natalia Lafourcade will win the Grammy with De Todas las Flores, a beautifully-crafted set with lyrics that delve deep into personal growth and self-love.
Best Regional Mexican Music Album (Including Tejano)
Bordado A Mano, Ana BĂĄrbaraLa SĂĄnchez, Lila DownsMotherflower, Flor De ToloacheAmor Como En Las PelĂculas De Antes, Lupita InfanteGĂNESIS, Peso Pluma
S.R.A.: GĂ©nesis. Peso Pluma didnât get to see his breakthrough album nominated to the 2023 Latin Grammys, but it sure deserves the love of the Academy and his peers. A chart-topper on Billboardâs Top Latin Albums and Regional Mexican Albums, the 17-track set took the music world by storm, with hits like âRosa Pastelâ with Jasiel Nuñez, and âLady Gagaâ with Gabito Ballesteros and Junior H. It also made history on the Billboard 200 chart, where it became the highest ranked debut for a regional Mexican album at No. 3.
G.F.: As a woman, I would love to see a woman take home this category. Honoring genre veteran Ana BĂĄrbara with this award for such a solid album would be beautiful to see. But in all fairness, this award should go to Peso Pluma. The Mexican corridos singer revolutionized the genre with GĂ©nesis, giving the decades-old genre a massive boost around the world. His global movement should be recognized.
L.C.: How very unlikely to find four women competing in any single category, much less this one. Although the gut reaction is to go for Peso Pluma â not just for his album but also for his global renown and chart prowess â this one may go to Ana BĂĄrbara, in a nod to her 30 years of music and her exquisitely crafted Bordado a Mano (no pun intended), which includes Vicente FernĂĄndezâs last duet, a high bar. Ana BĂĄrbara is also boosted by her recent BMI Icon award and the fact that sheâs being honored at the upcoming Premio Lo Nuestro.
I.R.: I admit, Lila Downâs potent voice usually finds its way to the depth of my soul. Iâve been a fan of hers since my undergrad days. But Flor de Toloacheâs Motherflower is truly riveting. It brims with passion and it fuses sounds from the frontier, a mariachi, bolero outing with cutting-edge production, and Mireyaâs gut-wrenching rasp is chilling. I think they will win. But the album, admitingly, that received the most plays for me was Peso Plumaâs Genesis, while mega boosting corridos bĂ©licos scene to the mainstream, and for that we applaud.Â
J.R.: My best bet is that one of the ladies will win the grammy for best mĂșsica Mexicana (including Tejano) album â perhaps Ana BĂĄrbaraâs Bordado a Mano, which is the only set in this group that was nominated at the 2023 Latin Grammys for best ranchero/mariachi album. On the other hand, I also think Peso Pluma could potentially win his first career Grammy with GĂ©nesis. The historic set became only the fourth regional Mexican effort to hit No. 1 on the Billboard Top Latin Albums this decade, following Alejandro FernĂĄndezâs Hecho en MĂ©xico (Feb. 29, 2020) and two Eslabon Armado albums: Vibras de Noche (Aug. 2020) and Desvelado (May 2023), and reached No. 3 on the all-genre Billboard 200 chart.Â
Best Tropical Latin Album
Voy A Ti, Luis FigueroaNiche SinfĂłnico, Grupo Niche y Orquesta SinfĂłnica Nacional de ColombiaVIDA, Omara PortuondoMIMY & TONY, Tony Succar, Mimy SuccarEscalona Nunca Se HabĂa Grabado AsĂ, Carlos Vives
S.R.A.: It is a tough category since it combines multiple tropical music styles all in one. Three of these nominees already received Latin Grammys in November: Grupo Niche for best salsa album, Carlos Vives for best cumbia/vallenato album, and Omara Portuondo for best traditional tropical album. Ruben Blades wasnât nominated to the Latin Grammys neither this or last year, but he took the best pop latin album Grammy in 2023 for Pasieros with Boca Livre. So, anything could happen here. Â
G.F.: I loved Carlos Vivesâ album, and I think it will win. His passion for vallenato beautifully translates in Escalona. After winning best cumbia/vallenato album at the Latin Grammys in November, I think it has a pretty good chance at winning this category.
L.C.: This competition among icons pits Ruben Blades, Carlos Vives, Grupo Niche and Omara Portuondo against each other, plus newcomer Luis Figueroa and Tony Succar in his poignant collab with his own mother. But Vivesâ highly personal look at tradition and history is in a league of its own, a masterful fusion of cultural understanding and commercial execution that is hard to match.
I.R.: My prediction here goes to Carlos Vivesâ Escalona Nunca Se HabĂa Grabado AsĂ, a heartfelt homage to the legendary Colombian composer, Rafael Escalona. The vallenato revivalist simply breathes new life into Escalonaâs classics, and they sound as fresh as ever, preserving the beauty of Vivesâ musical heritage and reinventing it for a new era.
J.R.: I believe Carlos Vivesâ Escalona Nunca Se HabĂa Grabado AsĂ will win best Tropical album, but personally, I would like to see Niche SinfĂłnico by Grupo Niche and the Orquesta SinfĂłnica Nacional de Colombia take the Grammy. The latter tributes some of the biggest compositions by the late Jairo Varela (Nicheâs founder and director) and delivers elegant versions of timeless salsa tunes like âMi Pueblo Natalâ and âCali Pachanguero.â Both Colombian acts already nabbed a Latin Grammy for their respective albums, which makes me believe this Grammy will stay in Colombia.
Few people had a bigger 2023 than Coco Jones â and she could very well turn 2024 into an even bigger year following Sunday nightâs 2024 Grammys, where sheâs nominated for a whopping five Golden Gramophones.
Ahead of Musicâs Biggest Night, Billboard staff writer Kyle Denis sat down with Jones to break down her whirlwind year and her feelings going into her first Grammy Awards as a nominee. At Sunday nightâs telecast, Jones is nominated for best new artist, best R&B song (âICUâ), best R&B performance (âICUâ), best traditional R&B performance (âSimple,â with Babyface) and best R&B album (What I Didnât Tell You â Deluxe).
âThe Grammys are just a very respected group of people who earned their voice and their credits and credentials,â she says. âTo me, I respect everyone who is nominated and decides because I just feel like the Grammys also help up-and-coming [artists and creatives]. For them to recognize the work that Iâm doing, it just feels very affirming.â
The âCaliberâ singer continues, âWhen I first learned I was nominated, I was on the plane. I definitely was asleep. My phone was vibrating so much, I was like, âThis turbulence is crazy!â But what I realized was, everyone was texting me congratulations.â
Last year, Jones earned her first Billboard Hot 100 entry with âICUâ (No. 62), which earned a remix featuring Justin Timberlake and also reached the top of Mainstream R&B/Hip-Hop Airplay and R&B Digital Song Sales. The success of âICUâ also gave way to a deluxe version of 2022 EP, What I Didnât Tell You, which climbed to No. 6 on Heatseekers Albums â her first appearance on the chart in exactly a decade. In addition to her own music, Jones has lent her talents to collaborations with the likes of Brent Faiyaz (âMoment of Your Lifeâ), Lil Tjay (âGratefulâ), Adekunle Gold (âMake It Easyâ) and Mean Girls movie musical star ReneĂ© Rapp (âTummy Hurtsâ).
âI have to say I really loved [working with] ReneĂ© Rapp,â Jones gushes. âI think that was just so cool because it was mixing pop and R&B, and thatâs something I want to do moving forward, so I like that. To me, it was kind of like foreshadowing.â
Like Rapp, Jones is also an acclaimed multi-hyphenate. Sheâs currently gearing up to film the forthcoming new season of Peacockâs Bel-Air, in which she portrays the ever-fashionable Hilary Banks. âIâm excited! A lot is still up in the air, we just ended the strike and I know everybody is getting back to work,â she says. âIâm not sure whatâs in store for Hilary, I definitely want it to be surprising though, Iâm like âLetâs up the stakes!’â
After spending 2023 on a major headlining tour, racking up R&B smashes and promoting season two of Bel-Air, Jones is ready to conquer the new year with the lessons sheâs learned from those experiences. âEverythingâs in seasons,â she muses. âSometimes, people come into your life for a season, sometimes you have seasons where you donât understand whatâs going on, but seasons are the weather so they must change and they must evolve and they must go to something different. Donât try to hold on to whatever has outlasted its season.â
Coco Jones talks about receiving five Grammy nominations, whatâs next for her role as Hilary Banks in the show Bel-Air, her song for The Color Purple soundtrack, how she is planning to top the success she saw with her hit song âICU,â performing in front of her hometown Nashville, why she loves her collab with ReneĂ© Rapp and more!
Coco Jones:I guess, look at music creation from the standpoint of âWhat do you want the final world to be? Where do you want the songs to live, and how do you want to feel on stage?â because youâre going to do that every day. Hey, yâall, itâs Coco Jones, and youâre watching Billboard News.
Kyle Denis:First off, happy new year! How are you feeling now that weâre officially in 2024?
Coco Jones:Iâm excited. I think I learned a lot in 2023. I just had a birthday, and Iâm ready for whatever challenges are up.
Kyle Denis:What do the Grammys mean to you? And how does it feel to now have âGrammy nominatedâ in front of your name?
Coco Jones:Grammys are just a very respected group of people who earned their voice and earned their credits and their credentials. To me, I respect everyone who is nominated and who decides, because I just feel like the Grammys also help up-and-coming artists, help up-and-coming creatives. And so for them to recognize the work that Iâm doing, it just feels very affirming.
Kyle Denis:Youâre up for five awards, and I want to list them out because you deserve that. Youâre up for best new artist, âICUâ is up for best R&B performance and best R&B song. What I Didnât Tell You deluxe is up for best R&B album, and âSimpleâ with Babyface is up for best traditional R&B performance. Congratulations.
Coco Jones:Thank you.
Kyle Denis:Wow. Where were you when you first learned about those nominations?
Coco Jones:Oh, when I first learned I was nominated, I was on the plane. And I definitely was asleep. My phone was vibrating so much. I was like, âThis turbulence is crazy.â But what I realized is everyone was texting me congratulations. So as soon as I landed, I was calling everybody back.
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Mariah Carey and Lenny Kravitz took center stage before a packed and cheering ballroom for The Recording Academy Honors presented by The Black Music Collective (BMC) Thursday evening (Feb. 1) in Los Angeles. The two music icons were saluted as this yearâs Global Impact Award recipients â a CEO Merit Award âhonoring the essence and evolution of Black excellence,â as Recording Academy CEO Harvey Mason Jr. noted in his opening remarks.
And with Masonâs declaration, âLetâs get this party started,â a stellar array of music performances and emotion-packed acceptance speeches rocked the rafters of the Fairmont Century Plaza. Leading the charge was Davido with a spirited performance of âMona Lisaâ that that got the audience on its feet, dancing and waving napkins around the room.Â
That moment was just the first in a series of standing ovations setting the tone prior to the award presentations. Among the eveningâs noteworthy performances, under the direction of the eventâs music supervisor Adam Blackstone, was Andra Dayâs powerful rendering of the Billie Holiday classic âStrange Fruit,â Gabby Simoneâs insightful interpretation of Nina Simoneâs âFour Womenâ and Erica Campbellâs soul-clenching take on the gospel standard âI Love the Lord.â
Just as stirring were the performances and speeches given on behalf of the honorees, beginning with H.E.R. paying tribute to singer-songwriter-multi-instrumentalist Lenny Kravitz. Referencing one of his hits, she said, ââAmerican Womanâ made me say to my dad, âI want to play guitar. I want to be a rock star like Lenny Kravitzâ ⊠Thank you for breaking so many barriers and paving the way for artists like me. Thank you, Lenny Kravitz, for teaching us all to let love ruleâ â (a nod to the title of Kravitzâs 1989 debut studio album).
Kravitz began by sharing early musical memories that helped shape his legendary career, such as being a 5-year-old sitting on the lap of Duke Ellington in the Rainbow Room while the latter played âTake the A Train.â And Kravitzâs dad taking him to see the Jackson 5 at Madison Square Garden and afterwards âwanting to be the sixth brother.â The four-time Grammy winner further invoked a host of additional influences such as Stevie Wonder, Earth, Wind & Fire, James Brown, Nina Simone, Grandmaster Flash, Parliament-Funkadelic and Bob Marley.
Lenny Kravitz accepts the Global Impact Award onstage during the Recording Academy Honors presented by The Black Music Collective during the 66th GRAMMY Awards on February 01, 2024 in Los Angeles, California.
Leon Bennett/Getty Images for The Recording Academy
âI could go on all night,â he continued. âI love this music because it feeds our hearts and strengthens our resolve to keep conveying hope and healing to a whole new world. To be a part of this lineage is a privilege I cherish. It is with deep gratitude that I thank you, knowing that music in every corner of the planet uplifts and expresses the goodness of Godâs everlasting love.â Then fellow musicians Andrew Watt, Chad Smith, Verdine White, George Clinton and Quavo joined forces to perform âFly Awayâ to roaring applause â and hearty hugs from Kravitz on stage.
More cheering ensued when Stevie Wonder took the stage to pay tribute to Mariah Carey in word and song. âEvery time we meet and talk, itâs like having a brand new day,â he began. âI thank you for your friendship, your heart and the consistent spirit of love that you show ⊠and Iâm just going to say this âŠâ Thatâs when Wonder segued into the choruses of two of his songs: âKnocks Me Off My Feetâ (âI donât want to bore you with it, but I love you, I love youâ) and âAll I Doâ (âall I do is think about youâ) and ad libbing at the end, âyou are my hero.âÂ
After thanking Wonder (âI will never not get excited to be in the company of your greatness!â), Carey drew plenty of audience laughter as she held the award and remarked that she hadnât won a Grammy in a long time. She went on to thank Harvey Mason jr. and the Academy, congratulate fellow honoree Kravitz and wish everyone a happy Black History Month, the five-time Grammy winner said in part:
âWhen I first started in the music business, I was often told to conform to certain expectations. I wasnât encouraged to focus on my love for Black music. It took countless arguments, endless tantrums and mostly unwavering determination. But eventually, I was able to reveal my authentic self, as they say, and create music that came from my heart ⊠I discovered a newfound sense of freedom and fulfillment. As I accept this award, I do so with gratitude for all of you here and every person who has supported me along this journey; the fans that have stood by me through thick and thin.
âBut most importantly,â she continued, âI accept this award on behalf of every person who has ever felt silenced or marginalized, who has ever been told their voice doesnât matter. Your truth matters. We will continue to pave the way together for a future where authenticity is celebrated, diversity is embraced and music has the power to change the world.â
Additional performers feting Carey in song included Babyface (âEverytime I Close My Eyesâ) Busta Rhymes (âI Know What You Wantâ), Tori Kelly (âVision of Loveâ) and Yolanda Adams (âMake It Happenâ). And among the Recording Academy executives who shared remarks were BMC chair Rico Love and  Ryan Butler, the Academyâs vp of diversity, equity and inclusion.
Prior to the event â produced by MVD Inc. â guests were treated to striking black-and-white portraits of Jay-Z, Nipsey Hussle and other artists in the Icons Gallery curated by music executive and photographer Lenny S.Â

Media reports today that Taylor Swift wonât perform on the 2024 Grammy telecast, which is set for Sunday (Feb. 4), are a big blow to the Recording Academy, CBS and Swiftâs many fans. Swiftâs apparent decision also runs counter to the usual pattern when an artist dominates a year the way Swift owned 2023. Swift […]
Mariah Carey received the Recording Academyâs Global Impact Award at the 2024 Black Music Collective on Thursday night (Feb. 1), and the elusive chanteuse poked some fun at the Grammys during her speech. Explore Explore See latest videos, charts and news See latest videos, charts and news âIs this a real Grammy? I havenât seen […]
The country contingent of this yearâs Grammy Awards may be the closest that Nashville ever gets to time travel.
This yearâs crop of nominees for the Feb. 4 ceremony includes best new artist candidates Jelly Roll and The War and Treaty, a Dierks Bentley collaboration with Billy Strings, best country album finalists Lainey Wilson and Zach Bryan, and Luke Combsâ remake of âFast Car.â
Each of those nominations â and most of the other country contenders, too â manage to move in two different directions on the time continuum, pushing the genre into the future while still hanging onto something out of the past.
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The Grammys, according to John Carter Cash, are drawn to performances that are both âforward-thinking and connecting with the roots.â He should know: Heâs nominated as an arranger on a new version of âFolsom Prison Bluesâ â most closely associated with his father, Johnny Cash â recorded by String Revolution featuring Tommy Emmanuel. The performance is an adventurous instrumental piece that wraps âFolsomâ in folk and jazz ideals, absolutely widening the footprint of the song. Yet it remains significantly old-school: the original melody is intact during much of the recording, and it employs guitars that belonged to the Man in Black and his original guitarist, Luther Perkins.
The Grammys come under criticism every year among some country executives and broadcasters because the nominations donât particularly line up with the biggest current projects in the genre. But that was never the intent of the awards, which are voted on by the creative class, rather than marketers and managers. Those creatives â including musicians, songwriters and producers â tend to reward the craft as much as the commerce, and the slate typically recognizes performances that build on bedrock influences while making a new statement. Sometimes, as in Bryanâs Kacey Musgraves Billboard Hot 100-topping collaboration âI Remember Everything,â that includes some of the most popular current music. But in others, such as Brandy Clarkâs twice-nominated âBuried,â that means elevating music from outside the mainstream.
The nominations tend to honor artists and performances that respect the past without being bound by it. That is, to be sure, how the most original artists operate. âIf you love country music, and youâre trying to do it, you love the old stuff,â Bentley notes. But âyou canât just go back and redo the old stuff. Itâs already been done.â
There are exceptions. Combsâ revision of âFast Car,â up for best country solo performance, is a faithful update of a classic, though the current circumstances are different: male singer Combs renders it from a different perspective than female originator Tracy Chapman, and it re-emerged in country instead of the folk/pop arena where she introduced it. Solo competitor Dolly Partonâs âThe Last Thing on My Mindâ is a reworking of a song she first cut with duet partner Porter Wagoner in 1967. And Vince Gill is a best country duo/group finalist with steel guitarist Paul Franklin for bringing attention to âKissing Your Picture (Is So Cold),â an obscure Ray Price song re-recorded for a tribute album.
 âWhen I first heard Vince Gill, I thought, âWhoa, this is so cool, so new,â and it was, of course,â Bentley remembers. âListening to Vince now, thatâs nothing but traditional country music, but the way he did it, it felt new. Itâs the same thing with Morgan Wallen now. A lot of his songs are super country. My daughter listens to him, she goes, âOh my god, this is so cool and new and different.â Iâm like, âThatâs pretty country: dobro, and Bryan Sutton on the acoustic.â So you kind of kind of trick everyone a little bit.â
Carly Pearceâs ability to walk the line between old and new is one of the reasons her Chris Stapleton collaboration âWe Donât Fight Anymoreâ secured a best country duo/group performance nomination. The spare, acoustic arrangement builds on the genreâs origins, as does its mature lyrical portrait of a debilitated relationship. But the melody and the phrasing are notably modern.
âTheyâre looking for artistic expression,â Pearce suggests. âThat song is one of the most authentic to me, so I think it resonates, obviously, in a commercial way, but more in an artistic way, which is what I love about the Grammys. They see the whole vision of an artist and not just whatâs played on the radio. For it to have that marriage together is really [key].â
Even Kelsea Balleriniâs best country album entry Rolling Up the Welcome Mat has that forward-thinking, roots-respecting aura. Compiled as a series of songs that documents her emotional journey following a divorce from Morgan Evans, it mostly features a boundary-testing, pop-leaning sound, though mining her inner world for her art is very much an old-school Hank Williams kind of approach.
âIn my brain, itâs like I made a movie,â she says. âItâs solely focusing and zooming in on the songwriting and the storytelling, and to me, that is honoring the genre that I dig my heels into every day. The sonic elements that accompany it, to me, donât hold as much weight as the story that youâre telling.â
Even personal history can influence the artistic time-machine effect. Songwriter of the year nominee Jessie Jo Dillon (âMemory Lane,â âHalfway To Hellâ) compares Jelly Rollâs rise from a prison background and drug abuse to Johnny Cashâs messages about forgiveness. And Wilson sees Jelly Rollâs willingness to mine his experiences as a major influence on the format moving forward.
âEverybodyâs past and everything â none of that matters,â she says. âWeâve all done things, weâve all messed up. Itâs about whatâs on the inside, and Jelly Roll is nothing but good.â
Ultimately, the creatives who vote for the Grammys all draw from the same musical past as the nominees, and the country finalists list is a qualitative statement about how the genre can continue to evolve.
âItâs very, very difficult to know where youâre going if you donât know where you come from,â says The War and Treatyâs Michael Trotter Jr. âWe like to pay respect, homage, pay a nod to the past â because itâs still our present.â
At the Grammys, that past dictates how country moves into its future.
The 2024 Grammys are almost upon us, which will provide the answer to this yearâs biggest Grammy-related question â and we donât mean whether Taylor Swift will make history as the first artist to win album of the year four times. We mean: Can you make it through the whole thing?
The telecast is scheduled to run three and a half hours, from 8 p.m. to 11:30 p.m. ET, but veteran Grammy watchers know that the day actually begins at 3:30 p.m. ET with what the Recording Academy rather grandly calls the Premiere Ceremony, but what you probably call the pre-telecast awards. More than 80 of the 94 Grammy categories are announced on that show, which will stream on the Recording Academyâs YouTube channel and on live.GRAMMY.com.
If you manage to make it through both shows, thatâs eight hours â assuming the telecast doesnât run over (which it often does). So, itâs not only Musicâs Biggest Night, itâs Musicâs Longest Day and Night.
As always, the telecast will have something for everybody. Performers range from 20-year-old superstar Olivia Rodrigo to music legend Joni Mitchell, who is still adding to her considerable legacy at 80.
The show will be held at Crypto.com Arena in Los Angeles, where it has been held for 21 of the past 25 years. U2 is set to take the stage from Sphere just outside Las Vegas, where the bandâs acclaimed U2:UV Achtung Baby Live at Sphere show is playing. It will be the first live broadcast from the venue.
Billy Joel will perform his just-released single âTurn the Lights Back On.â
Luke Combs and Tracy Chapman will team to perform âFast Car,â which Combs revived last year. His version, a pop and country smash, is nominated for best country solo vocal performance. Chapmanâs original version won 35 years ago for best pop vocal performance, female. Chapman performed the song to close the 1989 telecast.
Other expected collaborations are Burna Boy (with 21 Savage and Brandy) and Mitchell (with Brandi Carlile).
Trevor Noah will host the Grammys for the fourth consecutive year. He received a nod for best comedy album for I Wish You Would, and is vying to become only the second Grammy host to win a Grammy that same night. The first was Kenny Rogers, who won best country vocal performance, male for âThe Gamblerâ in 1980, when he hosted the show for the first of two times.
It is unknown whether Taylor Swift will perform, though CBS has promoted the fact that she will be âin the buildingâ to accept any awards she may win. Any additional performers will be added to this report as they are announced.
Songwriter Justin Tranter will host the Premiere Ceremony live from Peacock Theater, which is adjacent to Crypto. Tranter is nominated for songwriter of the year, non-classical in recognition of their work with such artists as Miley Cyrus, MĂ„neskin and ReneĂ© Rapp. This is just the second year that that award has been presented and the first since the category was bumped up to the General Field, which also includes the Big Four categories â album, record and song of the year plus best new artist.
Producer of the year, non-classical was also bumped up to the General Field this year. Jack Antonoff is vying to become the first producer to take that award three years running since Babyface, who won it three in a row from 1996 to 1998.
Presenters on the main telecast include Samara Joy, last yearâs surprise winner for best new artist, and Meryl Streep, who is nominated for best audio book, narration and storytelling recording for Big Tree. If she wins, it will be her first Grammy, after seven nominations. Streep has won three Oscars and three Primetime Emmys.
Performers on the Premiere Ceremony will include Harvey Mason (not the CEO of the Recording Academy â thatâs Harvey Mason Jr.). The elder Mason, a highly regarded drummer, amassed 10 Grammy nominations between 1975 and 2009.
The 66th annual Grammy Awards will be held on Sunday, Feb. 4, live on both coasts beginning at 8 p.m. ET on CBS, and will stream live and on-demand on Paramount+. The show will be produced by Fulwell 73 Productions for the Recording Academy for the fourth consecutive year. Ben Winston, Raj Kapoor and Jesse Collins are executive producers.
The Premiere Ceremony will stream live that same day, beginning at 3:30 p.m. ET on the Recording Academyâs YouTube channel and on live.GRAMMY.com. This yearâs Premiere Ceremony is produced by Branden Chapman, Ruby Marchand, Chantel Sausedo, and Rex Supa on behalf of the Recording Academy. Greg V. Fera is executive producer and Cheche Alara is music producer and music director.
Main Telecast
Host
Trevor Noah
Performers
Burna Boy (with 21 Savage and Brandy)
Luke Combs (with Tracy Chapman)
Billie Eilish
Billy Joel
Dua Lipa
Joni Mitchell (with Brandi Carlile)
Olivia Rodrigo
Travis Scott
SZA
U2
Presenters
Christina Aguilera
Samara Joy
Lenny Kravitz
Maluma
Lionel Richie
Mark Ronson
Meryl Streep
Taylor Tomlinson
Oprah Winfrey
Premiere Ceremony (pre-telecast awards)
Host
Justin Tranter
Performers
Adam Blackstone      Â
Brandy Clark Â
Bob James
Gaby MorenoÂ
Harvey Mason
J. Ivy, Larkin Poe, Pentatonix, Sheila E., Jordin Sparks (opening number)Â Â
Kirk Franklin             Â
Laufey
Robert Glasper                      Â
Terrace Martin
Presenters
Carly Pearce
Jimmy Jam
Molly Tuttle
Natalia Lafourcade
Patti Austin
Rufus Wainwright