Grammys
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Dance music is arguably having one of its biggest years ever at the Grammy Awards, led by our Queen Beyoncé, nominated in both best dance/electronic recording and best dance/electronic album for her club-oriented LP Renaissance and its life-giving lead single, “Break My Soul.”
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That nomination caused a stir in the dance music community, with many celebrating its inclusion as a win for the Black and queer roots of dance music, the leading dance producers who worked on the LP, and the visibility of house music in the mainstream realm while others side-eyed it as not entirely of the dance world.
Beyond the presence of this pop icon, the rest of the nominees are tried and true Grammy favorites, with previous winners Diplo, Kaytranada, David Guetta and RÜFÜS DU SOL all up for awards along with seven-time nominee Bonobo and three-time nominee ODESZA.
What does it all mean? Ahead of the presentation of the dance categories on the Grammys pre-telecast this Sunday (Feb. 5), we hash it all out.
In 2023, the Grammys have fully settled into their post-nominations review committee era, meaning the dance categories, among others, were determined by majority vote rather than a panel of experts. How do you think the removal of these review committees has affected the dance nominees pool this year?
ZEL MCCARTHY: Do you remember a few years ago when a woman rode a horse into a nightclub in South Beach? I think they got as far as the dance floor before the horse got spooked, the rider got thrown, and unbridled chaos was unleashed. Of course, it’s the album artwork of Renaissance that makes this club tale apposite, as Beyoncé, a divine being known primarily as a pop artist, rode a mirrorball-encrusted horse into the proverbial club that is the Dance Field this year and the result is chaotic. Disco visual aesthetics notwithstanding, “Break My Soul” is really a house-inspired record more than an actual dance track, but the Robin S sample is its stable pass into the paddock. Plus, as a tune, it undeniably slaps.
That said, Renaissance is not a dance album. The Grammys seem to know this, since two of the album’s tracks earned noms in the R&B and Traditional R&B fields. Given the exacting parameters each field establishes for itself, it strains credulity that some sort of nominations review committee-type invisible hand didn’t have something to do with leading this horse to the wrong starting line, perhaps in an effort to bolster the category’s star power, or maybe improve the jockey’s own record-breaking stats in this year’s derby. Either way, everybody knows that, when someone lets a horse into a club, you gotta shut it down.
KAT BEIN: I think the obvious knee-jerk reaction is to say, “Beyonce’s inclusion in the dance category seems to be a clear-cut result of this change,” but in reality, the dance category has long been a haven for strange pop inclusion. Should David Guetta and Bebe Rexha‘s “I’m Good (Blue)” be nominated simply because David Guetta was once a serious French DJ and producer, and this track interpolates a Eurodance hit from 25 years ago? Yeah, it has synths, but it has more hallmarks of modern pop music than electronic history. It’s a pop homage to the dance world… which is basically what Beyoncé’s album is as well, although Bey brings a touch more art to the table.
I think the greater issue at play, if it is at all an issue (and people seem to think there is one), is how we define electronic dance as a genre versus modern pop, which is all made with synths and electronic sounds. That issue already existed. I don’t think The Chainsmokers have been a dance act since “Closer” came out, and are rather a pop band, but we draw these weird lines to keep them in the “dance” category, as far as the industry seems to be concerned.
I don’t think much has actually changed in regard to nominations in the dance categories compared to anything that was nominated in the last five years. A major pop act just decided to make a dance record and submit for inclusion, and the timing is coincidental. We’ll see if the changes have any long-term effects.
KATIE BAIN: Without review committees in the mix to add a layer of tastemaking, it seems the dance Grammys have really settled upon a group of name recognition artists that feel safe and respectable, if not innovative, to nominate each year. No disrespect to any of these nominated acts, whom I’m generally all fans of, but to see the same artists over and over, and the same artists in both categories, in a genre that’s so incredibly diverse has to be at least partially a function of the review committees going away.
Is there anything surprising to you about this batch of nominees?
ZM: Given the bounty of excellent albums released this past year, it’s surprising that voters would have opted for three tonally similar albums of adult contemporary electronica and an album that is tantamount to a mixtape of singles from Diplo. Like, nothing here is technically bad, but is anything here inspiring?
On the recording side, the five nominees have so little in common with each other musically, it’s hard to compare them. Like the last few years, however, this category includes one or two tracks that are so forgettable, their inclusion speaks to the achievement of nomination campaigns above all.
KRYSTAL RODRIGUEZ: I wasn’t very surprised. I think many dance music fans would have predicted most of these artists, and some are also Grammy dance-category darlings. (Bonobo and RÜFÜS have each been nominated for best dance/electronic recording in three out of the last four years, for example.) What gets me is the overlap: not just in the nominees’ musical styles, but how many of them appear in both categories. Yes, these artists are very prominent in the dance community, but they represent only a sliver of what our vast world has to offer. Some diversity would be nice, along with new and fresh names.
KAT BEIN: I think people were surprised to see Beyoncé, but now that I sit with it, nothing is shocking.
KATIE BAIN: I’m both surprised and unsurprised by how unsurprising this batch of nominees feels.
Let’s talk about snubs! Who didn’t get the nod and should have?
ZM: The majority of dance and electronic music is instrumental and not song-based in the way pop, rock and other mainstream genres are. There are entire genres of house, techno, ambient, and experimental music that are worthy of consideration, but it’s hard to expect artists to join the Academy and seek that recognition given what the awards currently honor. For instance, if the membership does have an understanding of DJing and electronic music production as art forms, it isn’t reflected in the nomination of a cover version of a late ’90s novelty Eurodance record.
KR: I would have liked to see Eliza Rose & Interplanetary Criminal’s “B.O.T.A. (Baddest Of Them All)” in contention for best dance/electronic recording. It represents so much of the last couple years in music—the rise of U.K. club music, TikTok-viral success stories, sampling an older song and updating it for today’s dance floors. It’s also just really cute and fun and good!
The lack of Fred Again.. in either category is also surprising. With huge tracks such as “Jungle,” a full album, a Swedish House Mafia collab, a sold-out tour and a widely talked-about Coachella debut, it was the kind of star-making year that you’d think would be capped off by a Grammy nod.
KAT BEIN: As Krystal said, was anything Fred Again.. released possible to nominate? He is literally the biggest thing in dance music right now. His music and hype is so omnipresent, the mere phrase “Fred Again.. vibes” has become a meme as artists in any corner of house music desperately seek to carve out a slice of said hype, ironically or not. I was at Portola Festival in San Francisco, and they had to shut the whole warehouse stage down because it was so full of people, they were gonna break a fire penal code. Not that popularity alone should demand nominations, but he’s everywhere else. Why not the nom list?
Also, I feel Shygirl would have been a great artist to nominate for almost anything. She works with incredible producers and brings a fabulous energy to her tracks, and definitely creates inside the rave music space. Her work is also pushing the envelope in an interesting way, which deserves reward. I also feel they should have given Swedish House Mafia some love as the legacy act! That album was really fun!
KATIE BAIN: I agree with everything that’s been said here, particularly how weird the exclusion of Fred Again.. is. Over at the Brit Awards he’s nominated for album of the year, artist of the year and best dance artist. Given the incredible success he’s had and how widely beloved his music is, a nomination for him really could’ve marked a new type of dance music crossover at the Grammys. Feels like a missed opportunity. And yes Kat, I was also rooting for Swedish House Mafia.
If Drake‘s Honestly, Nevermind — which leaned fully into the sounds of of the moment underground house — had been submitted to the Grammys, would these categories look different?
ZM: Even if 2023 Drake was cool with trophies like 2019 Drake was, it’s hard to imagine him getting behind Honestly, Nevermind. As an artist who feeds off of his audience, despite critical acclaim, it feels like there wasn’t enough of a popular response to the album to keep him interested in promoting it and thus, he fulfills the promise of the album title in the process.
KR: I don’t think so. Based upon the reactions following its release, Honestly, Nevermind was not particularly well-received. (I find that mildly bizarre, considering the success of his previous dance-inspired singles like “Take Care” and “Passionfruit.”) Maybe in an alternate world it slides into best album on Drake’s name alone, but beyond that, I don’t think it would be successful.
KAT BEIN: I am one of the biggest Drake fans, historically, and I just did not listen to that album in full. I started it and then I was like, “Honestly, nevermind.” I really liked seeing his Instagram posts from Ibiza, I will say that much.
KATIE BAIN: I love this album, but given the other nominees in this category, I’m not sure the Grammys are up to speed on the type of underground house it showcases. So, nah.
Best dance/electronic recording. Who will win? Who should win?
ZM: “Break My Soul” will win. Kaytranada & H.E.R.’s “Intimidated” is a worthy rival to Bey, but if the Queen deserves any award this year, it might as well be this one.
KR: “Break My Soul.” A hit, a moment, a lifestyle.
KAT BEIN: “Break My Soul” is an uplifting track with an uplifting music video, and she’s the winningest woman in Grammy history. Personally, I like the RÜFÜS song the most. It has the most dynamics and interesting sounds in it, which is I guess how I rate music. I also like the Diplo song, in spite of myself.
KATIE BAIN: “Break My Soul.” It will, and it should, win, particularly given that this category wasn’t even around when the music that inspired the song was in its heyday during the early and mid-’90s.
Best dance/electronic album. Who will win? Who should win?
ZM: Beyoncé should win, but not because Renaissance is a great dance album; it’s just a better body of work than the four other underwhelming nominees.
KR: A win for Renaissance is a win for Honey Dijon, Green Velvet, Luke Solomon, house music and disco.
KAT BEIN: Geez, my logic for Best Dance/Electronic Recording said Beyoncé, so maybe Beyoncé. Who should win? I think ODESZA did a really interesting excavation of themselves on The Last Goodbye, and I’m a sucker for interesting stories and artists who try. I have some friends who helped produce the Diplo album, and I would selfishly love to see them get Grammys. I think these are all good albums with merit, but I struggle to say these albums moved the needle forward for the art of electronic dance music in general. So, in a weird way, maybe Beyoncé does deserve to win by virtue of being the most conversational?
KATIE BAIN: Beyoncé will undoubtedly win and, as Krystal said, that’s undoubtedly a very good thing for further visibility of its collaborators and themes. I do have a soft spot in my heart for ODESZA, who probably thought it was theirs to lose until Beyoncé rode in on her crystal horse. Considering that there were five years between this and their last album, it also seems unlikely we’ll be seeing them again in this category for awhile.
Is there anything else you’d like to add?
ZM: For the last year, the Recording Academy has touted its many reforms as being emblematic of a “New” Academy. The televised show itself is operating in compliance with a highly touted inclusion rider, and all indicators from within and around the organization are that it is continuing to lead a recalcitrant industry towards meaningful improvements in equity and diversity. But the dance music industry has very quietly and deliberately resisted any such changes to the two dance field awards. Dance music power brokers have mollified concerns from Recording Academy leaders by upholding the existing categories as sufficient, and the overwhelmingly white and male nominees in those categories as accurate reflections of the state of dance and electronic music. Regardless, the music keeps on moving on. Maybe one day, the Academy will catch up.
KR: I still think dance music and electronic music should be separate categories.
KAT BEIN: This was the year I acknowledged that I am indeed an “old head,” and if that colors my interpretation of things as a critic, I will acknowledge it, but I will not apologize.
KATIE BAIN: I’m obviously biased and I say this every year, so not to beat a dead horse (in the club), but the dance categories really do deserve shine on the televised ceremony, particularly given how the nominations often reflect their role as a tangent of mainstream pop. I thought Beyoncé could be the one to inspire that move to primetime this year, but, just like always, we’ll see you at the pre-telecast.
The 2023 Grammy Awards are nearly upon us, and of the biggest questions that fans and spectators are waiting to have answered is who will win in the coveted best new artist award, one of the Big Four categories. This year’s best new artist has 10 contenders: Anitta, Måneskin, Wet Leg, Latto, Omar Apollo, Muni Long, Molly Tuttle, Domi & JD Beck, Samara Joy and Tobe Nwigwe.
Anitta had a breakout year in 2022. The Brazilian star’s album Pieces of Me was released in April and spawned a viral hit with “Envolver,” which allowed her career to ascend to heights in the time since. (See: tracks with Cardi B and Missy Elliott, appearing onstage alongside Snoop Dogg at Coachella.)
Italian rock band Måneskin found success following the success of breakthrough track “Beggin,” originally a cover of the classic 1967 Four Seasons song of the same name; the band’s take went viral on TikTok. Since then, the rockers have delivered a much-talked-about performance of “Supermodel,” a brand new album titled Rush, and now have a best new artist nom under their belts. “When they said our name I started screaming,” vocalist Damiano David said on the Tonight Show of the moment he found out about the band’s nomination. “We were actually shooting a video for this because we wanted to share the reaction but we couldn’t because it was too vulgar, too aggressive.”
British duo Wet Leg has also made waves over the past year, and secured an alternative hit with the heavily memed track “Chaise Lounge.” Not soon after, they started gaining the attention of hitmaker Harry Styles, who covered the duo’s “Wet Dream.” Now, the two-piece, in addition to being nominated for best new artist, is also up for best alternative performance, best alternative album, best engineering, nonclassical and best remixed recording.
Who do you think should win best new artist at the Grammys? Vote in our poll below.
In 2018, the Recording Academy increased the number of nominees in the Big Four Grammy categories — album, song and record of the year and best new artist — from five to eight. Then, three years later, it boosted the pool from eight to 10.
These expansions were made to recognize more music creators and to represent more genres, according to the academy — yet for country artists, the benefits have thus far been nonexistent.
For the five Grammy Award nomination cycles (for ceremonies taking place in 2019-2023) since the first increase, there have been 196 total Big Four nominations, yet only six have gone to mainstream country artists or projects, with only one victory: Kacey Musgraves’ album of the year trophy for Golden Hour in 2019. In the five cycles before the increase (2014-2018), country artists scored seven nominations of the far smaller 125 total nods.
For the 65th Grammys, which will take place Feb. 5 in Los Angeles, country music is completely absent from the Big Four.
Genre classification can be blurry, but for this story, Billboard counted nominations that went to an artist or music that appears on Billboard’s Country Airplay, Hot Country Songs and Top Country Albums charts or is traditionally considered country. For 2023, that means Brandi Carlile’s album and record of the year nods don’t count in the country tally (though her 2020 song of the year nomination for co-writing Tanya Tucker’s “Bring Me My Flowers Now” did); same with song of the year nominee Taylor Swift, who is now considered a pop artist despite her country start. Best new artist nominee Molly Tuttle plays bluegrass, and while the genre is a branch of country music, her music doesn’t appear on those Billboard charts.
Previous years also have not-quite-country outliers: Maren Morris’ record of the year nomination for appearing with Zedd and Grey on “The Middle” didn’t count in the 2019-2023 tally since it was a pop hit. Though Sturgill Simpson doesn’t receive mainstream country radio play, A Sailor’s Guide to Earth debuted at No. 1 on the Top Country Albums chart and the set won the Grammy for best country album in 2017, so its album of the year nomination counts in the 2014-2018 tally. Similarly, Margo Price, whose albums chart on Top Country Albums, counts for her 2019 best new artist nomination.
Shelly Maree, the Recording Academy’s country awards manager, considers the low recent total cyclical, in part. “Right now, we’re in another lull period where you’re not hearing country played on top 40 [radio], so you’re not really hearing anybody break through like that, [while] rap and hip-hop and dance are having huge moments,” she says. “You can really kind of plop down into any decade or any five-year period in our top four nominations and you’re going to see reflected what is of the era at that moment.”
But for the country community, the absence of representation in the general field illuminates a bigger concern: that the genre doesn’t receive the broader attention it deserves, hurting its chances at nominations for those trophies. While the academy deems all Grammys equal, the four general-field categories carry more prestige and receive greater media attention.
“Generally speaking, country music remains outside of the large pop music tent, which includes many of the contemporary genres like pop and hip-hop and rock,” says Beverly Keel, Middle Tennessee State University dean of the College of Media and Entertainment and a former MCA Records Nashville executive. “I think a lot of Grammy voters may not even listen to country, and I think there is, in many voters’ minds, still a stigma about country that it’s not as sophisticated, hokey, the music of the conservatives.”
Additionally, despite the notable rise in streaming among younger country artists, the music lacks the global reach some pop-oriented genres enjoy. “Most country stars are not international stars like Beyoncé, Rihanna, Bruno Mars,” Keel says. “Country is largely limited to the United States and Canada, so it doesn’t have the reach, whereas a pop song may be No. 1 in 20 countries.”
As Mary Hilliard Harrington, manager for Dierks Bentley and Elle King, notes by email: “Even prior to 2019, country has been grossly underrepresented in the main categories. It has always been a problem.” The three mainstream country artists with the most career nominations are Willie Nelson (56), Dolly Parton (53) and Vince Gill (47) — but Nelson and Gill have each landed only one Big Four nomination (in 1983 and 2008, respectively), while Parton has earned two (most recently in 1988).
The current generation of country hit-makers hasn’t fared much better. Miranda Lambert, who is nominated in all four country categories this year, has never received a Big Four nomination despite 27 career nods. Only one of Chris Stapleton’s 17 nominations has been in the general field, when Traveller received an album of the year nod for the 2016 Grammys. And one of country’s biggest new stars, Morgan Wallen, didn’t compete at all in 2022: He was shut out from Grammy nominations after his 2021 smash Dangerous: The Double Album was mired in controversy.
Country music has recently fared best in the new artist category, with Price, Luke Combs, Ingrid Andress and Jimmie Allen nabbing nominations since 2019. For the 2023 awards, Zach Bryan, the top new country artist on Billboard’s year-end charts, and rising star Lainey Wilson were both considered leading contenders for best new artist, and their respective labels (Warner Records and BBR Music Group) ran campaigns accordingly. But when nominations were announced in November, neither earned a best new artist nod, nor did anyone else from the genre. Though Wilson made significant press and TV appearances in an effort to reach as broad an audience as possible, Bryan made almost none, which sources say may have limited his exposure to Grammy voters.
Significantly, the overall voting pool lacks enough country advocates to consistently propel the genre into the Big Four without strong support from allies. Of the current 12,000-plus voting members, less than 10% identify with the country genre, according to the academy, compared with pop (23%), jazz (16%), rock (15%), R&B (15%), American roots (13%), alternative (10%) and classical (10%). (Voters can identify with as many genres as they want.) All voting members can cast ballots for the Big Four.
While qualifying creators can still apply to join the academy, following the recommendation of its Task Force on Diversity and Inclusion, in 2018 the academy began inviting creators to join as voting members. The move was meant to make the voting pool more reflective of the diverse creative community and initially focused on women, people of color and those under 40.
In recent years, however, potential new members who identify as country have received fewer invitations than peers in other popular genres. Of the 2,710 invitations extended in 2021, 9% of recipients identified with the country genre, with 13 other genres ranking higher. The highest percentage of invited voters identified as pop (29%), followed by R&B (23%), jazz (18%), alternative (18%), rock (16%) and rap (15%). In 2022, the academy welcomed nearly 2,000 new voting members; 9% cited country as their focus, compared with pop (33%), R&B (22%), alternative (19%) and rap (15%).
The country community’s easiest way to increase its odds would be by boosting its presence in the voting membership. “A really good place to start is talk to your friends and [ask], ‘Are you a Recording Academy member?’ And then step two is, ‘Are you voting?,’ ” Maree says. “This year, we were really encouraging our active members to fulfill that responsibility and use their voices, especially [since] the first round of voting directly dictates our nominations now that we no longer have nominating committees. ‘Are they voting?’ is the first thing we always ask people when they have any kind of questions about what they see when it comes to nominations day.”
Although Keel says a Grammy is “what people grow up dreaming about winning,” for country artists, the conversation doesn’t begin and end with one awards ceremony. More so than many other genres, country music has numerous awards shows to fete its own accomplishments, including the Country Music Association Awards, the Academy of Country Music Awards and the CMT Music Awards. Those ample additional opportunities to bring home trophies could help lessen the sting of a Grammy snub, Harrington says.
“At this point — because it’s nothing new — [the omissions are] more of an eye roll than outrage,” she says. “The country community is truly the best in terms of supporting its artists, celebrating great music and producing our own network television award shows. Being part of the Grammys is cool and a bucket list dream for a lot of artists, but we have it pretty good in Nashville. If we aren’t invited to that party, we’ll just throw our own.”
This story will appear in the Feb. 4, 2023, issue of Billboard.
Since their inception in 1958, the Grammy Awards have made plenty of history — from first-ever wins for new artists to record-breaking nomination numbers, the annual event has earned its title as Music’s Biggest Night.
In the modern era for the annual ceremony, the Grammys have finally started to make history for queer acts as well as representation for LGBTQ artists and performers at the show has steadily risen. From Culture Club winning best new artist in 1984 (making Boy George the first openly gay man to win the award) to Sir Elton John becoming the first LGBTQ person to win the prestigious Grammy Legend Award, to the Grammys becoming the first of the major award shows to remove gendered categories, the annual affair has proven to be a huge night for queer artists around the globe.
This Sunday (Feb. 5), that representation for queer folks will stay on full display — out folk star Brandi Carlile is nominated for seven awards at the ceremony (including album and record of the year), while other stars like Steve Lacy, Omar Apollo and Anitta round out noms in the remainder of the Big Four categories.
But along with awarding LGBTQ artists with statues, the Grammys have also historically provided a stage for queer performers to give that love right back to their community. Sunday will feature at least four queer performers (Carlile, Lacy, Sam Smith and Kim Petras), further adding to a grand tradition of stars standing up for LGBTQ people through their performances.
Below, Billboard takes a look back at some of our favorite queer performances in Grammys history that helped to uplift the LGBTQ community, from Elton John to Lil Nas X.
The 65th Annual Grammy Awards on Sunday, Feb. 5, will include a star-studded segment celebrating the 50th anniversary of hip-hop. It will include performances by Big Boi, Busta Rhymes with Spliff Star, De La Soul, DJ Drama, DJ Jazzy Jeff, Missy Elliott, Future, GloRilla, Grandmaster Flash, Grandmaster Mele Mel & Scorpio/Ethiopian King, Ice-T, Lil Baby, Lil Wayne, The Lox, Method Man, Nelly, Public Enemy, Queen Latifah, Rahiem, Rakim, RUN-DMC, Salt-N-Pepa and Spinderella, Scarface, Swizz Beatz and Too $hort.
LL Cool J will introduce the segment, perform and give a dedication to hip-hop. Questlove will serve as producer and musical director, The Roots will provide music and Black Thought will narrate.
LL Cool J won two Grammys in rap categories in the 1990s for “Mama Said Knock You Out” and “Hey Lover.” He hosted the Grammy telecast for five consecutive years from 2012 to 2016. Questlove is a six-time Grammy winner, including three awards with The Roots. He won both a Grammy and an Oscar last year for his music documentary Summer of Soul. Black Thought has won two Grammys – one with The Roots and one for best musical theater album for his contribution to Hamilton.
The segment is being produced by Questlove, Jesse Collins, Patrick Menton of Fulwell 73, creative producer Fatima Robinson, and Shawn Gee, Questlove’s manager and president of LNU.
“For five decades, hip-hop has not only been a defining force in music, but a major influence on our culture,” Harvey Mason Jr., CEO of the Recording Academy, said in a statement. “Its contributions to art, fashion, sport, politics, and society cannot be overstated. I’m so proud that we are honoring it in such a spectacular way on the Grammy stage. It is just the beginning of our yearlong celebration of this essential genre of music.”
The Grammys will also honor hip-hop with one of three breakout performances in this year’s In Memoriam segment.
On Wednesday (Feb. 1), the Academy announced that the In Memoriam segment at the 2023 Grammy Awards will include breakout tributes to three diverse artists who died last fall — Loretta Lynn, Christine McVie and Quavo.
Kacey Musgraves will perform Lynn’s 1970 classic “Coal Miner’s Daughter” in tribute to the country legend, who died on Oct. 4 at age 90; Sheryl Crow, Mick Fleetwood and Bonnie Raitt will team to perform “Songbird” from Fleetwood Mac’s album of the year-winning Rumours to honor McVie, who died on Nov. 30 at age 79; and Maverick City Music will join Quavo for Quavo’s sentimental ballad “Without You” to honor Takeoff, who died on Nov. 1 at just 28.
Also, Cardi B, who four years ago became the first female solo artist to win a Grammy for best rap album, will serve as a presenter on the show.
And the Grammys aren’t done celebrating hip-hop’s anniversary. In partnership with the Recording Academy, CBS will broadcast a special hip-hop music event later in 2023.
The 65th Annual Grammy Awards will air live from Crypto.com Arena in Los Angeles and will be hosted for the third year in a row by Emmy-winning comedian Trevor Noah. The show will be broadcast live on Sunday, Feb. 5, at 8 p.m. ET/5 p.m. PT on CBS and will be available to stream live and on demand on Paramount+.
The Recording Academy made its first performers announcement on Wednesday (Jan. 25), revealing that Lizzo, Bad Bunny, Mary J. Blige, Carlile, Luke Combs, Steve Lacy, and Sam Smith and Kim Petras would take the stage. Harry Styles was announced as an addition to the lineup on Sunday (Jan. 29) during the fourth quarter of the AFC Championship game. The game aired on CBS, the Grammys’ network since 1973.
With LL Cool J’s participation in the show, three past Grammy hosts will be on board. Billy Crystal, who hosted the show from 1987 to 1989, and James Corden, who hosted in 2017-18, are set as presenters.
The 65th Annual Grammy Awards are produced by Fulwell 73 Productions for the Recording Academy. Raj Kapoor serves as showrunner and executive producer, alongside Ben Winston and Jesse Collins as executive producers. Phil Heyes joins the team for the first time as director. Eric Cook is co-executive producer with Tabitha Dumo, Tiana Gandelman, Patrick Menton and David Wild as producers.
Prior to the telecast, the Grammy Awards Premiere Ceremony will be broadcast live from the Microsoft Theater at 12:30 p.m. PT and will be streamed live on live.Grammy.com. Randy Rainbow, a first-time Grammy nominee this year for best comedy album for A Little Brains, A Little Talent, is co-hosting the show. His co-host has yet to be named.
The all-star segment on Sunday’s Grammy Awards and the upcoming “event” on CBS are part of Paramount Global’s companywide initiative to honor the 50th anniversary of hip-hop. Paramount announced an extensive slate of new and returning content offerings and initiatives that celebrates the culture across the media and entertainment company’s portfolio of leading broadcast, cable, streaming and digital brands.
“ ‘Love is the bridge between you and everything,’ ” Terius Nash reads aloud, gesturing to the words scrawled in the corner of an art piece. “Ah!” he claps. “I love it. These quotes are completely amazing.”
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The 45-year-old hit songwriter and artist, better known as The-Dream, sighs wistfully as he plops down on a peach-colored velvet love seat, which sits just beneath the artwork. Hung in an ornate gold frame, the piece depicts a group of people intertwined in collective embrace — a painting style reminiscent of Renaissance-era masterpieces — juxtaposed in front of an urban brick wall that’s splattered with various phrases written in technicolor graffiti. The artwork consumes an entire wall of the sitting room in The-Dream’s so-called “creative house” in the upscale Buckhead area of Atlanta. Otherwise, the room is completely bare — nothing but tall ceilings and crisp marble floors.
The-Dream adjusts his powder blue bucket hat and peers around his shoulder, back at the phrase. “I like how the longer you think about it,” he says, “the more you realize you don’t fully know what it means.” Its significance is determined by an individual’s perspective and understanding — just like the artwork itself, which he purchased three years ago at Eden Art Gallery in New York. With its hologram surface, its phrases are obscured when entering the room from the left… but from where The-Dream sits on the far right, the portrait shifts, its words clearly revealed.
The-Dream himself has unlocked some of the defining phrases in 21st century popular music, helping to craft smashes like Beyoncé’s “Single Ladies (Put a Ring on It),” Rihanna’s “Umbrella,” Justin Bieber’s “Baby” and Mariah Carey’s “Obsessed,” among many others. He has been present for studio sessions where the meaning of a word has expanded, then permeated popular culture in a different shape. He laughs when reminiscing about Beyoncé’s 2013 self-love anthem “Flawless,” and how he didn’t realize the full impact those eight letters could carry until he saw them needlepointed in scrolling cursive on a throw pillow following its release. “You don’t realize how many people wanted to capture that [feeling] until you see your lyrics on a pillow!” he says.
“This guy just writes a title that, when you read it, you know you have to listen to the song out of curiosity alone,” explains Christopher “Tricky” Stewart, The-Dream’s longtime writing and production partner. “I think he has an unmatched ability to figure out a unique lyrical perspective that can make an artist not only have a hit song, but a song that defines culture and the artist’s career. Something they can build on for the rest of their lives.”
Though The-Dream has been a behind-the-scenes force for the past two decades, he speaks to Billboard on the precipice of a career pinnacle, as evidenced by his presence at the 2023 Grammy Awards. He’s nominated in three of the Big Four categories — record, song and album of the year — for his work on Beyoncé’s seventh solo full-length, Renaissance, and its smash lead single, “Break My Soul.” The acclaimed album, along with his contributions to Pusha T’s It’s Almost Dry and Brent Faiyaz’s Wasteland, also earned The-Dream a nod in the inaugural songwriter of the year, non-classical category, where he will compete against Amy Allen, Nija Charles, Tobias Jesso Jr. and Laura Veltz.
Pusha T (left) and The-Dream attend The-Dream Listening Party at Gold Bar on December 18, 2018 in New York City.
Johnny Nunez/WireImage
“This means everything,” says Steven Victor — who manages The-Dream in addition to Pusha T, Nigo and others — of the new Grammy category, which he says The-Dream has advocated for for years. To Victor, a great songwriter can embody the points of view of many different types of artists — rap greats like Jay-Z and Pusha T, vocal powerhouses like Carey and Mary J. Blige, pop headliners like Bieber and Britney Spears, four-quadrant superstars like Beyoncé and Rihanna — and shape-shift into them regardless of their genre or personal identity. The-Dream, he vouches, is the best at this in the whole business.
“No one is going to think through these songs more than me,” The-Dream declares. Musical ideas often haunt him through the night, he explains, as more concepts, words and melodies flood his consciousness hours after a studio session ends. His creativity gnaws at him: He recently began attending fashion design classes at the Savannah College of Art and Design (SCAD) and pulls out a collection of expert drawings — a sketch of a clementine, another of a skull.
“I drew a lot as a kid,” The-Dream says with a smile. When asked what he likes to draw most, he shrugs and thinks back to his overall creative approach: “I feel like I’m better when I have an assignment.”
“We had no idea what was happening at the time,” The-Dream says of growing up during the popularization of Atlanta’s music scene in the 1990s, when Southern rap reached the mainstream and acts like TLC and Usher took over pop. “It makes more sense to look back and understand it now.” He recalls watching the success of his neighbor and elementary school classmate T.I. and attending night classes with his pal André 3000 as a teen. “I don’t know what he did or why he was there,” he says with a laugh of the OutKast icon, “but I sure know I was flunking!”
Shortly after some of his acquaintances found musical success in Atlanta, The-Dream signed a publishing deal in 2001 with local mogul Laney Stewart, older brother of Tricky, and scored a writing credit on the B2K song “Everything.” Two years later, The-Dream linked up with Tricky — already producing hits for Mya and Blu Cantrell — and helped create the 2003 Britney Spears-Madonna team-up “Me Against the Music.” “It was explosive to write with him from the very beginning,” says Tricky. The pair complemented each other: Tricky was the perfectionist producer, and The-Dream was the emotive songwriter.
The pair’s brand of rhythmic pop took off in the second half of the decade, with “Umbrella” and “Single Ladies” reaching the top of the Billboard Hot 100 in 2007 and 2008, respectively, and “Baby” making Bieber a teen superstar in 2010. Meanwhile, The-Dream launched his career as an artist, signing with Def Jam and releasing a trio of R&B albums between 2007 and 2010: Love/Hate, Love vs. Money and Love King have earned a combined 2.25 million equivalent album units, according to Luminate.
Tricky Stewart (left) and The-Dream onstage during the 22nd annual ASCAP Rhythm and Soul Awards held at The Beverly Hilton Hotel on June 26, 2009 in Beverly Hills, California.
Lester Cohen/WireImage
His recording career has been sporadic since then, his focus constantly pulled back to creating hits for other artists. The-Dream says it’s difficult to define why he’s able to write so clearly about the experiences of others, “but really it’s my job to understand what the artist is going through, even if they don’t understand it yet,” he explains. “ ‘Umbrella’ is a love story, but for some reason, it feels like there is some misery in there too. Like, why do you need to assure this person they can count on you? Maybe, underneath, you know you haven’t had anyone to count on in your life, so you know what it means to be in that place.”
By 2018, the songwriter had turned that approach into one of the most bankable blueprints in popular music: over 70 Hot 100 entries as a songwriter, including 14 top 10 hits and five No. 1s, with 21 career Grammy nominations and five wins. That year, he sold 75% of his catalog, including his writing credits and solo releases, to Merck Mercuriadis’ Hipgnosis for a reported $23 million. It was the song fund’s first-ever catalog purchase.
“I wanted him to be the Dr. Dre to my Jimmy Iovine, if you like,” says Mercuriadis with a grin. “When we look back on the first 25 years of this millennium, I know his songs are going to be the ones people talk about.”
Throughout the 2010s, The-Dream shared the studio with all kinds of artists, but working with women vocalists was always his penchant. In the past, he has spoken about how the early death of his mother, who died of cancer when he was 15, gave him a “soft spot” when interacting with women. “There’s no such thing as a day with no grieving,” he says now, his eyes softening as he looks down at his sneakers.
After his mother’s death, he was put under the watchful eye of his grandfather, a hardscrabble cement mason who grew up in the Jim Crow South. The-Dream fondly recalls the days of listening to his grandfather talking “actively about how to make things well, looking at [them] from all different angles,” over games of pinochle with fellow masons. There’s an invisible throughline, he explains, between the ethos of a master builder, that of an artistic genius like da Vinci, and that of a songwriter like himself.
“When thinking about an artist like Beyoncé, I want to try to consider all the different ways this could reach people,” he says. “I want the song to matter to Beyoncé standing onstage, the person in the front row of the show and that person who’s in the rafters, who barely made it in, got a ticket from a friend last minute. I have to write for each one of them.”
The-Dream performs at the 2017 BET Experience on June 24, 2017 in Los Angeles, California.
Harmony Gerber/WireImage
“Single Ladies,” from Beyoncé’s 2008 album, I Am… Sasha Fierce, was the start of a long-term creative partnership and friendship between The-Dream and the superstar, who has tapped the songwriter to help craft at least one song from each of her subsequent albums — “Love on Top” from 2011’s 4, “Partition” from 2013’s Beyoncé and “6 Inch” from 2016’s Lemonade. (“Both Bey and I are Virgos,” The-Dream jokes, alluding to the astrological sign’s association with perfectionism.) For her latest release, Renaissance, The-Dream is one of the architects behind all but two of the album’s 16 tracks.
“Bey wanted to bring everyone together — that was the first thing on the board,” explains The-Dream of Beyoncé’s mission for her first solo album in six years. Following a tumultuous global period, he says, “It doesn’t matter who you are, we all know we were hurting,” and that the bounce, funk, house and all-around maximalist dance of Renaissance was intended as collective therapy.
For the album’s focal point, “Break My Soul,” The-Dream and Tricky teamed up to sketch out the single and then took it to Beyoncé, who “transformed it” into a No. 1 hit, says Tricky. “Dream and Bey’s closeness and attention to detail got us to a place with that song that we couldn’t have gotten [to] without that bond.”
Of course, many other collaborators also helped to finalize each Renaissance track — which songwriter Diane Warren questioned following the album’s July release. She took to Twitter to write, “How can there be 24 writers on a song?… This isn’t meant as shade, I’m just curious.” The-Dream replied in defense, schooling Warren with an explanation of sampling, its ties to Black culture and the lack of economic resources for Black musicians.
“By the way, I think she’s one of the greatest,” says The-Dream of Warren a few months after the exchange. “Sometimes [songwriters] lose that feeling, that connection to what art was all about in the first place. Really, it’s whatever it takes to give the world something good, so if that takes a whole gang of people… so be it.”
The way The-Dream speaks about collectively creating Renaissance mirrors his views on the role of the church as the birthplace of generations of talented Atlanta musicians, some known, many more unknown. “For us Southern Black folks… everybody was musical, everyone singing those hymns from back then,” he says with the fervor of a preacher at the pulpit. “I love hearing the gathering of people, huddled together, humming a song. No time signature. No industry. No three minutes and 30 seconds.”
Incorporating Southern culture’s sense of collectivism is not new for The-Dream and Houston-born Beyoncé, but Renaissance stands as their wholehearted embrace of the principle. “We learned to not be too big to call,” he says, reflecting on the process of inviting others to collaborate on the album. “If you think Grace Jones would sound great on something? Call. Nile Rodgers would be cool on this? Call.”
As a songwriter, The-Dream doesn’t control when artists release the songs he has helped pen — the timing is serendipitous, or “like lightning in a bottle,” as he puts it. So it’s a bit of kismet that, after his years spent fighting for a songwriting category, one of the biggest projects of his career is nominated in the award’s inaugural year.
“I keep thinking, ‘How is this happening?’ ” he asks. Win or lose, The-Dream is basking in the recognition. “It feels good,” he says. “Too good.”
This story will appear in the Feb. 4, 2023, issue of Billboard.
Demi Lovato, Sabrina Carpenter and Jimmie Allen each performed intimate sets while celebrating their fellow songwriters at the National Music Publishers’ Association (NMPA) and Billboard Grammy Week Showcase, held at Nightingale Plaza in Los Angeles on Wednesday night (Feb. 1).
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Lovato and Carpenter used the showcase to highlight the work of some of their closest collaborators, with Lovato capping off the evening by performing a pair of Holy Fvck songs — “Feed” and “4 Ever 4 Me” — that Laura Veltz, a key contributor to the album, helped create. Veltz, also a veteran pop and country songwriter, smiled from the front row as Lovato delivered both vocal showcases.
Meanwhile, Carpenter highlighted longtime studio powerhouse Amy Allen, who joined the pop star onstage for a charming duet of their shared song, “Vicious,” from last year’s Emails I Can’t Send. Carpenter then performed an acoustic version of “Nonsense,” her current fast-rising Billboard Hot 100 hit.
And before performing two of his songs — including a rousing new track titled “Small Town Anthem” as well as his hit “Down Home” — Jimmie Allen took the microphone to reflect on his career trajectory and the importance of songwriting in the country music world as a means of sharing different perspectives. “Just being part of the overall music community, it’s been great,” he told the audience. “Thanks to everyone who’s given me a shot.”
In addition to Veltz, Amy Allen and Jimmie Allen receiving songwriting honors at the showcase, Nija Charles earned the Hitmaker trophy for her wide variety of pop, hip-hop and R&B credits, including on smashes by Lady Gaga, Ariana Grande and Cardi B. Charles thanked the NMPA and Billboard for “shedding light on songwriters” as they continue to fight for artistic expression. “I never thought I would win something like this,” Charles added.
And Liz Rose, the veteran country songwriter, was also honored on Wednesday night, as a celebration of her co-write on Taylor Swift’s “All Too Well” roaring back in late 2021 when the 10-minute version of the song topped the Hot 100. Rose thanked the fans for making “All Too Well” such an enduring favorite, as well as Swift for revitalizing the song for Red (Taylor’s Version). As Rose succinctly put it, “She didn’t forget this song.”
In addition to being recognized at the event, Veltz, Amy Allen and Charles are all nominated for the songwriter of the year, non-classical Grammy, along with The-Dream and Tobias Jesso Jr. The inaugural award in the new Grammy category will be presented on Sunday night (Feb. 5).
At the upcoming 65th annual Grammy Awards, legendary rocker Ozzy Osbourne is nominated in four categories for his Patient Number 9 album, including its title track, which features the late Jeff Beck.
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In a recent interview with Billboard, Osbourne discussed his good fortune with collaborations, having worked with most of his heroes. However, he has yet to work with his biggest inspiration: Paul McCartney. A devoted Beatles fan, Osbourne has indeed reached out to McCartney in the past. “I did ask him one time,” he says, “but he came up with the excuse of, ‘Well, I couldn’t beat the bass player that was already on there.’ I went, ‘Maybe you’re right.’”
Patient Number 9 is indeed a star-studded affair. Beck, Mike McCready, Eric Clapton and former Black Sabbath bandmate Tony Iommi, plus many more, all contributed instrumentals. The co-writers are just as impressive, with Osbourne tapping Chad Smith, Ali Tamposi and the late Taylor Hawkins, among others.
“He died literally a week or two after he worked on my album,” Osbourne recalled of the Foo Fighters drummer. He shared with a laugh how Hawkins would repeatedly tell him, “Dave Grohl is my boss.” Says Osbourne, “I didn’t know if he was joking or what.”
He also discussed working with Post Malone and Miss Piggy, who according to the rocker said he “stunk.”
He also touched on what having a hit reality TV show did for his career (and to his family) and most importantly, addressed how his fans have been there for him every step of the way. “That’s the thing I really miss about not doing gigs,” he says. “I’m a hands-on guy. I like talking to my fans, I miss them terribly.”
On Wednesday (Feb. 1), Osbourne posted a note to fans on social media, saying, “This is probably one of the hardest things I’ve ever had to share with my loyal fans…” In it, he announced that his touring days have come to an end and that his scheduled European/UK tour dates have been canceled. “Believe me when I say that the thought of disappointing my fans really f—s me up, more than you will ever know.”
“My team is currently coming up with ideas for where I will be able to perform without having to travel from city to city or country to country,” he continued in the note, which echoes a hope he shared during his Billboard interview.
“My goal is to get back onstage as soon as possible.”
Watch the full interview in the video above.
The 2023 Grammys is just days away, which means music fans will soon find out who’s walking away with new golden gramophones on music’s biggest night.
Of course, part of the fun is getting to predict the winners, and today, Billboard is honing in on one question: Whose song do you think should win the Grammy for record of the year?
It’s been a few years now since the Recording Academy widened the field of its top prizes to 10 nominees, and this year’s pack of hopefuls are heavyweights across multiple genres — from pop to R&B, hip-hop and more.
As one of the Big Four categories, the race for record of the year will once again pit Beyoncé against Adele in a hotly anticipated rematch of their epic face-off back in 2017. At the time, 25 memorably — and the Beyhive would certainly say controversially — beat out Lemonade for album of the year, and Adele gave Queen Bey a teary apology during her modest acceptance speech. But which do you think deserves record of the year in 2023: Adele’s “Easy on Me” or Beyoncé’s “Break My Soul”?
The two superstars are hardly the only contenders, though. Harry Styles had one of the biggest smashes of the year with “As It Was,” which dominated the Billboard Hot 100 for 16 non-consecutive weeks — a streak that was eventually broken by first-time nominee Steve Lacy‘s No. 1 hit “Bad Habit.” Or maybe you think it’s about damn time for Lizzo to walk away with the trophy for, well, “About Damn Time.”
And don’t count out the dark horses of the field: ABBA scored its first-ever nomination last year in the same category thanks to “I Still Have Faith in You,” but could the Swedish pop pioneers clinch their first win with “Don’t Shut Me Down”? There’s also Mary J. Blige‘s “Good Morning Gorgeous,” Kendrick Lamar‘s “The Heart Part 5,” Doja Cat‘s “Woman” and Brandi Carlile‘s Lucius-assisted “You and Me on the Rock” to consider.
The 2023 Grammys will air Sunday (Feb. 5) on CBS. Vote for who you think should win record of the year below.
The In Memoriam segment at the 2023 Grammy Awards on Sunday, Feb. 5, will include breakout tributes to three diverse artists who died last fall — Loretta Lynn, Christine McVie and Takeoff.
Kacey Musgraves will perform Lynn’s 1970 classic “Coal Miner’s Daughter” in tribute to the country music legend, who died on Oct. 4 at age 90; Sheryl Crow, Mick Fleetwood and Bonnie Raitt will team to perform “Songbird” from Fleetwood Mac’s album of the year-winning Rumours to honor McVie, who died on Nov. 30 at age 79; and Maverick City Music will join Quavo for Quavo’s tender ballad “Without You” to honor his Migos colleague Takeoff, who died on Nov. 1 at just 28.
Lynn won three Grammy Awards and also received a lifetime achievement award from the Recording Academy in 2010. McVie won two Grammys as a member of Fleetwood Mac. In 2018, the band became the first group or duo to be honored at the MusiCares’ Person of the Year gala. Takeoff received two Grammy nominations as a member of Migos.
The CMA Awards on Nov. 9, 2022, opened with a tribute to Lynn by Reba McEntire, Miranda Lambert and Carrie Underwood. The segment included “Coal Miner’s Daughter” as well as “You Ain’t Woman Enough,” “Don’t Come Home A’Drinkin’ (With Lovin’ on Your Mind)” and “You’re Lookin’ at Country.”
Musgraves and Lynn teamed to perform “You’re Lookin’ at Country,” a 1971 Lynn hit, at the CMA awards in 2014.
Other performers set to appear on the Grammy telecast are Harry Styles, Lizzo, Bad Bunny, Mary J. Blige, Brandi Carlile, Luke Combs, Steve Lacy, and Sam Smith and Kim Petras.
This year’s four leading nominees – Beyoncé, Kendrick Lamar, Adele and Brandi Carlile – have yet to be announced as performers, but the Academy may be holding some big names back to build last-minute buzz.
The 65th Annual Grammy Awards will air live from Crypto.com Arena in Los Angeles and will be hosted for the third year in a row by Emmy-winning comedian Trevor Noah. The show will be broadcast live on Sunday, Feb. 5, at 8 p.m. ET/5 p.m. PT on CBS. and will be available to stream live and on demand on Paramount+.
The 65th Annual Grammy Awards are produced by Fulwell 73 Productions for the Recording Academy. Raj Kapoor serves as showrunner and executive producer, alongside Ben Winston and Jesse Collins as executive producers. Phil Heyes joins the team for the first time as director. Eric Cook is co-executive producer with Tabitha Dumo, Tiana Gandelman, Patrick Menton. David Wild is producer.
As previously announced on Wednesday (Feb. 1), first lady Jill Biden and past Grammy Awards hosts James Corden and Billy Crystal will help hand out awards. Other presenters are past Grammy winners Cardi B, Olivia Rodrigo and Shania Twain; current Grammy nominee Viola Davis; and actor Dwayne Johnson.