Grammys
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Beyoncé leads the way in the just announced 2023 Grammy nominations, securing nine nods and tying the record for the most-nominated artist of all time.
Three of Bey’s nods are in the Big Four categories, with Renaissance up for album of the year and “Break My Soul” vying for record and song of the year. And whose record does Queen B tie for the most nominations ever? Her husband Jay-Z, of course, with the couple each scoring 88 noms in their careers (Jay picks up five new nods this year between his work on DJ Khaled‘s “God Did” and Bey’s Renaissance).
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Just trailing Beyoncé in 2023 nominations is Kendrick Lamar, who also has three Big Four nods (album of the year for Mr. Morale & The Big Steppers and record and song of the year for “The Heart Part 5”). Adele and Brandi Carlile each add seven nominations to their already storied Grammy legacies, while six artists tie with six nods apiece: Mary J. Blige, Harry Styles, DJ Khaled, Future, The-Dream and mastering engineer Randy Merrill.
Find the full list of nominees below. The 2023 Grammy Awards will be presented on Sunday, Feb. 5, at Los Angeles’ Crypto.com Arena.
Record of the Year
Award to the Artist and to the Producer(s), Recording Engineer(s) and/or Mixer(s) and mastering engineer(s), if other than the artist.
“Don’t Shut Me Down,” ABBABenny Andersson, producer; Benny Andersson & Bernard Lohr, engineers/mixers; Bjorn Engelmann, mastering engineer
“Easy on Me,” AdeleGreg Kurstin, producer; Julian Burg, Torn Elmhirst & Greg Kurstin, engineers/mixers; Randy Merrill, mastering engineer
“Break My Soul,” BeyoncéBeyonce, Terius “The-Dream” Gesteelde-Diamant, Jens Christian Isaksen & Christopher “Tricky” Stewart, producers; Brandon Harding, Chris McLaughlin & Stuart White, engineers/mixers; Colin Leonard, mastering engineer
“Good Morning Gorgeous,” Mary J. BligeD’Mile & H.E.R., producers; Bryce Bordone, Serban Ghenea & Pat Kelly, engineers/mixers
“You and Me on the Rock,” Brandi Carlile feat. LuciusDave Cobb & Shooter Jennings, producers; Brandon Bell, Torn Elmhirst & Michael Harris, engineers/mixers; Pete Lyman, mastering engineer
“Woman,” Doja CatCrate Classics, Linden Jay, Aynzli Jones & Yeti Beats, producers; Jesse Ray Ernster & Rian Lewis, engineers/mixers; Mike Bozzi, mastering engineer
“Bad Habit,” Steve LacySteve Lacy, producer; Neal Pogue & Karl Wingate, engineers/mixers; Mike Bozzi, mastering engineer
“The Heart Part 5,” Kendrick LamarBeach Noise, producer; Beach Noise, Rob Bisel, Ray Charles Brown Jr., James Hunt, Johnny Kosich, Matt Schaeffer & Johnathan Thrner, engineers/mixers; Michelle Mancini, mastering engineer
“About Damn Time,” LizzoRicky Reed & Blake Slatkin, producers; Patrick Kehrier, Bill Malina & Manny Marroquin, engineers/mixers; Michelle Mancini, mastering engineer
“As It Was,” Harry StylesTyler Johnson & Kid Harpoon, producers; Jeremy Hatcher & Spike Stent, engineers/mixers; Randy Merrill, mastering engineer
Album of the Year
Award to Artist(s) and to Featured Artist(s), Songwriter(s) of new material, Producer(s), Recording Engineer(s), Mixer(s) and Mastering Engineer(s).
Voyage, ABBABenny Andersson, producer; Benny Andersson & Bernard LOhr, engineers/mixers; Benny Andersson & Bjorn Ulvaeus, songwriters; Bjorn Engelmann, mastering engineer
30, AdeleShawn Everett, Ludwig Goransson, Inflo, Tobias Jesso, Jr., Greg Kurstin, Max Martin, Joey Pecoraro & Shellback, producers; Julian Burg, Steve Churchyard, Tom Elmhirst, Shawn Everett, Serban Ghenea, Sam Holland, Michael Ilbert, Inflo, Greg Kurstin, Riley Mackin & Lasse Marten, engineers/mixers; Adele Adkins, Ludwig Goransson, Dean Josiah Cover, Tobias Jesso, Jr., Greg Kurstin, Max Martin & Shellback, songwriters; Randy Merrill, mastering engineer
Un Verano Sin Ti, Bad BunnyRauw Alejandro, Buscabulla, Chencho Corleone, Jhay Cortez, Tony Dize, Bomba Estereo & The Marias, featured artists; Demy & Clipz, Elikai, HAZE, La Paciencia, Cheo Legendary, MAG, MagicEnElBeat, Mora, Jota Rosa, Subelo Neo & Tainy, producers; Josh Gudwin & Roberto Rosado, engineers/mixers; Raul Alejandro Ocasio Ruiz, Benito Antonio Martinez Ocasio, Raquel Berrios, Joshua Conway, Mick Coogan, Orlando Javier Valle Vega, Jesus Nieves Cortes, Luis Del Valle, Marcos Masis, Gabriel Mora, Elena Rose, Liliana Margarita Saumet & Maria Zardoya, songwriters; Colin Leonard, mastering engineer
Renaissance, BeyonceBeam, Grace Jones & Tems, featured artists; Jameil Aossey, Bah, Beam, Beyonce, Bloodpop, Boi-lDa, Cadenza, AI Cres, Mike Dean, Honey Dijon, Kelman Duran, Harry Edwards, Terius “The-Dream” Gesteelde-Diamant, Ivor Guest, Guiltybeatz, Hit-Boy, Jens Christian Isaksen, Leven Kali, Lil Ju, MeLo-X, No I.D., NovaWav, Chris Penny, P2J, Rissi, SlaO, Raphael Saadiq, Neenyo, Skrillex, Luke Solomon, Christopher “Tricky” Stewart, Jahaan Sweet, Syd, Sevn Thomas, Sol Was & Stuart White, producers; Chi Coney, Russell Graham, Guiltybeatz, Brandon Harding, Hotae Alexander Jang, Chris McLaughlin, Delroy “Phatta” Pottinger, Andrea Roberts, Steve Rusch, Jabbar Stevens & Stuart White, engineers/mixers; Denisia “@Biu June” Andrews, Danielle Balbuena, Tyshane Thompson, Kevin Marquis Bellrnon, Sydney Bennett, Beyonce, Jerel Black, Michael Thcker, Atia Boggs p/k/a Ink, Dustin Bowie, David Debrandon Brown, S. Carter, Nija Charles, Sabrina Claudio, Solomon Fagenson Cole, Brittany “@Chi_Coney” Coney, Alexander Guy Cook, Lavar Coppin, Almando Cresso, Mike Dean, Saliou Diagne, Darius Dixson, Jocelyn Donald, Jordan Douglas, Aubrey Drake Graham, Kelman Duran, Terius “The-Dream” Gesteelde-Diamant, Dave Giles II, Derrick Carrington Gray, Nick Green, Larry Griffin Jr, Ronald Banful, Dave Hamelin, Aviel Calev Hirschfield, Chauncey Hollis, Jr., Ariowa Irosogie, Leven Kali, Ricky Lawson, Tizita Makuria, Julian Martrel Mason, Daniel Memmi, Cherdericka Nichols, Ernest “No I.D.” Wilson, Temilade Openiyi, Patrick Paige II From The Internet, Jimi Stephen Payton, Christopher Lawrence Penny, Michael Pollack, Richard Isong, Honey Redmond, Derek Renfroe, Andrew Richardson, Morten Ristorp, Nile Rodgers, Oliver Rodigan, Freddie Ross, Raphael Saadiq, Matthew Samuels, Sean Seaton, Skrillex, Corece Smith, Luke Francis Matthew Solomon, Jabbar Stevens, Christopher A. Stewart, Jahaan Sweet, Rupert Thomas, Jr. & Jesse Wilson, songwriters; Colin Leonard, mastering engineer
Good Morning Gorgeous (Deluxe), Mary J. BligeDJ Khaled, Dave East, Fabolous, Fivio Foreign, Griselda, H.E.R., Jadakiss, Moneybagg Yo, Ne-Yo, Anderson .Paak, Rerny Ma & Usher, featured artists; Alissia, Tarik Azzouz, Bengineer, Blacka Din Me, Roget Chahayed, Cool & Dre, Ben Billions, DJ Cassidy, DJ Khaled, D’Mile, Wonda, Bongo Bytheway, H.E.R., Hostile Beats, Eric Hudson, London On Da Track, Leon Michels, Nova Wav, Anderson.Paak, Sl!Mwav, Streetrunner, Swizz Beatz & J White Did It, producers; Derek Ali, Ben Chang, Luis Bordeaux, Bryce Bordone, Lauren D’Elia, Chris Galland, Serban Ghenea, Akeel Henry, Jaycen Joshua, Pat Kelly, Jhair Lazo, Sharnele Mackie, Manny Marroquin, Dave Medrano, Ari Morris, Parks, Juan Pefia, Ben Sedano, Kev Spencer, Julio Ulloa & Jodie Grayson Williams, engineers/mixers; Alissia Beneviste, Denisia “Blu June” Andrews, Archer, Bianca Atterberry, Tarik Azzouz, Mary J. Blige, David Brewster, David Brown, Shawn Butler, Roget Chahayed, Ant Clemons, Brittany “Chi” Coney, Kasseern Dean, Benjamin Diehl, DJ Cassidy, Jocelyn Donald, Jerry Duplessis, Uforo Ebong, Demst Emile II, John Jackson, Adriana Flores, Gabriella Wilson, Shawn Hibbler, Charles A. Hinshaw, Jamie Hurton, Eric Hudson, Jason Phillips, Khaled Khaled, London Holmes, Andre “Dre” Christopher Lyon, Reminisce Mackie, Leon Michels, Jerome Monroe, Jr., Kim Owens, Brandon Anderson, Jerernie “Benny The Butcher” Pennick, Bryan Ponce, Demond “Conway The Machine” Price, Peter Skellem, Shaffer Smith, Nicholas Warwar, Deforrest Taylor, Tiara Thomas, Marcello “Cool” Valenzano, Alvin “Westside Gunn” Worthy, Anthony Jerrnaine White & Leon Youngblood, songwriters
In These Silent Days, Brandi CarlileLucius, featured artist; Dave Cobb & Shooter Jennings, producers; Brandon Bell, Dave Cobb, Torn Elmhirst, Michael Harris & Shooter Jennings, engineers/mixers; Brandi Carlile, Dave Cobb, Phil Hanseroth & Tim Hanseroth, songwriters; Pete Lyman, mastering engineer
Music of the Spheres, ColdplayBTS, Jacob Collier, Selena Gomez & We Are KING, featured artists; Jacob Collier, Daniel Green, Oscar Holter, Jon Hopkins, Max Martin, Metro Boomin, Kang Hyo-Won, Bill Rahko, Bart Schoudel, Rik Simpson, Paris Strother & We Are KING, producers; Guy Berryman, Jonny Buckland, Will Champion, Jacob Collier, The Dream Team, Duncan Fuller, Serban Ghenea, Daniel Green, John Hanes, Jon Hopkins, Michael I!bert, Max Martin, Bill Rahko, Bart Schoudel, Rik Simpson & Paris Strother, engineers/mixers; Guy Berryman, Jonny Buckland, Denise Carite, Will Champion, Jacob Collier, Derek Dixie, Sam Faison, Stephen Fry, Daniel Green, Oscar Holter, Jon Hopkins, Jung Ho-Seok, Chris Martin, Max Martin, John Metcalfe, Leland Tyler Wayne, Bill Rahko, Kim Narn-Joon, Jesse Rogg, Davide Rossi, Rik Simpson, Amber Strother, Paris Strother, Min Yoon-Gi, Federico Vindver & Olivia Waithe, songwriters; Randy Merrill, mastering engineer
Mr. Morale & The Big Steppers, Kendrick LamarBaby Keem, Blxst, Sam Dew, Ghostface Killah, Beth Gibbons, Kodak Black, Tanna Leone, Taylour Paige, Amanda Reifer, Sampha & Summer Walker, featured artists; The Alchemist, Baby Keem, Craig Balrnoris, Beach Noise, Bekon, Boi-lda, Cardo, Dahi, DJ Khalil, The Donuts, FNZ, Frano, Sergiu Gherrnan, Emile Haynie, J.LBS, Mario Luciano, Tyler Mehlenbacher, OKLAMA, Rascal, Sounwave, Jahaan Sweet, Tae Beast, Duval Timothy & Pharrell Williams, producers; Derek Ali, Matt Anthony, Beach Noise, Rob Bisel, David Bishop, Troy Bourgeois, Andrew Boyd, Ray Charles Brown Jr., Derek Garcia, Chad Gordon, James Hunt, Johnny Kosich, Manny Marroquin, Erwing Olivares, Raymond J Scavo III, Matt Schaeffer, Cyrus Taghipour, Johnathan Turner & Joe Visciano, engineers/mixers; KhalilAbdul-Rahman, Hykeem Carter, Craig Balrnoris, Beach Noise, Daniel Tannenbaum, Daniel Tannenbaum, Stephen Lee Bruner, Matthew Burdette, Isaac John De Boni, Sam Dew, Anthony Dixon, Victor Ekpo, Sergiu Gherrnan, Dennis Coles, Beth Gibbons, Frano Huett, StuartJohnson, Bill K. Kapri, Jake Kosich, JohnnyKosich, Daniel Krieger, Kendrick Lamar, Ronald LaTour, Mario Luciano, Daniel Alan Maman, Timothy Maxey, Tyler Mehlenbacher, Michael John Mule, D. Natche, OKLAMA, Jason Pounds, Rascal, Amanda Reifer, Matthew Samuels, Avante Santana, Matt Schaeffer, Sampha Sisay, Mark Spears, Homer Steinweiss, Jahaan Akil Sweet, Donte Lamar Perkins, Duval Timothy, Summer Walker & Pharrell Williams, songwriters;Michelle Mancini, mastering engineer
Special, LizzoBenny Blanco, Quelle Chris, Daoud, Omer Fedi, ILYA, Kid Harpoon, Ian Kirkpatrick, Max Martin, Nate Mercereau, The Monsters & Strangerz, Phoelix, Ricky Reed, Mark Ronson, Blake Slatkin & Pop Wansel, producers; Benny Blanco, Bryce Bordone, Jeff Chestek, Jacob Ferguson, Serban Ghenea, Jeremy Hatcher, Andrew Hey, Sam Holland, ILYA, Stefan Johnson, Jens Jungkurth, Patrick Kehrier, Ian Kirkpatrick, Damien Lewis, Bill Malina, Manny Marroquin & Ricky Reed, engineers/mixers; Amy Allen, Daoud Anthony, Jonathan Bellion, Benjamin Levin, Thomas Brenneck, Christian Devivo, Omer Fedi, Eric Frederic, Ilya Salrnanzadeh, Melissa Jefferson, Jordan K Johnson, Stefan Johnson, Kid Harpoon, Ian Kirkpatrick, Savan Kotecha, Max Martin, Nate Mercereau, Leon Michels, Nick Movshon, Michael Neil, Michael Pollack, Mark Ronson, Blake Slatkin, Peter Svensson, Gavin Chris Tennille, Theron Makiel Thomas, Andrew Wansel & Emily Warren, songwriters; Michelle Mancini, mastering engineer
Harry’s House, Harry StylesTyler Johnson, Kid Harpoon & Sammy Witte, producers; Jeremy Hatcher, Oli Jacobs, Nick Lobel, Spike Stent & Sammy Witte, engineers/mixers; Amy Allen, Tobias Jesso, Jr., Tyler Johnson, Kid Harpoon, Mitch Rowland, Harry Styles & Sammy Witte, songwriters; Randy Merrill, mastering engineer
Song of the Year
A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
“abcdefu,” Sara Davis, GAYLE & Dave Pittenger, songwriters (GAYLE)
“About Damn Time,” Melissa “Lizzo” Jefferson, Eric Frederic, Blake Slatkin & Theron Makiel Thomas, songwriters (Lizzo)
“All Too Well (10 Minute Version) (The Short Film),” Liz Rose & Taylor Swift, songwriters (Taylor Swift)
“As It Was,” Tyler Johnson, Kid Harpoon & Harry Styles, songwriters (Harry Styles)
“Bad Habit,” Matthew Castellanos, Brittany Foushee, Diana Gordon, John Carroll Kirby & Steve Lacy, songwriters (Steve Lacy)
“Break My Soul,” Beyoncé, S. Carter, Terius “The-Dream” Gesteelde-Diamant & Christopher A. Stewart, songwriters (Beyoncé)
“Easy on Me,” Adele Adkins & Greg Kurstin, songwriters (Adele)
“God Did,” Tarik Azzouz, E.Blackmon, Khaled Khaled, F. LeBlanc, Shawn Carter, John Stephens, Dwayne Carter, William Roberts & Nicholas Warwar, songwriters (DJ Khaled feat. Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy)
“The Heart Part 5,” Jake Kosich, Johnny Kosich, Kendrick Lamar & Matt Schaeffer, songwriters (Kendrick Lamar)
“Just Like That,” Bonnie Raitt, songwriter (Bonnie Raitt)
Best New Artist
This category recognizes an artist whose eligibility-year release(s) achieved a breakthrough into the public consciousness and notably impacted the musical landscape.
Anitta
Omar Apollo
DOMi & JD Beck
Muni Long
Samara Joy
Latto
Maneskin
Tobe Nwigwe
Molly Tuttle
Wet Leg
Best Pop Solo Performance
For new vocal or instrumental pop recordings. Singles or Tracks only.
“Easy on Me,” Adele
“Moscow Mule,” Bad Bunny
“Woman,” Doja Cat
“Bad Habit,” Steve Lacy
“About Damn Time,” Lizzo
“As It Was,” Harry Styles
Best Pop Duo/Group Performance
For new vocal or instrumental duo/group or collaborative pop recordings. Singles or Tracks only.
“Don’t Shut Me Down,” ABBA
“BamBam,” Camila Cabello feat. Ed Sheeran
“My Universe,” Coldplay & BTS
“I Like You (A Happier Song),” Post Malone & Doja Cat
“Unholy,” Sam Smith & Kim Petras
Best Traditional Pop Vocal Album
For albums containing greater than 50% playing time of new traditional pop recordings.
Higher, Michael Buble
When Christmas Comes Around…, Kelly Clarkson
I Dream of Christmas (Extended), Norah Jones
Evergreen, Pentatonix
Thank You, Diana Ross
Best Pop Vocal Album
For albums containing greater than 50% playing time of new pop vocal recordings.
Voyage, ABBA
30, Adele
Music of the Spheres, Coldplay
Special, Lizzo
Harry’s House, Harry Styles
Best Dance/Electronic Recording
For solo, duo, group or collaborative performances. Vocal or Instrumental. Singles or tracks only.
“Break My Soul,” BeyoncéBeyoncé, Terius “The-Dream” Gesteelde-Diamant, Jens Christian Isaksen & Christopher “Tricky” Stewart, producers; Stuart White, mixer
“Rosewood,” BonoboSimon Green, producer; Simon Green, mixer
“Don’t Forget My Love,” Diplo & MiguelDiplo & Maximilian Jaeger, producers; Luca Pretolesi, mixer
“I’m Good (Blue),” David Guetta & Bebe RexhaDavid Guetta & Timofey Reznikov, producers; David Guetta & Timofey Reznikov, mixers
“Intimidated,” KAYTRANADA feat. H.E.R.H.E.R. & KAYTRANADA, producers; KAYTRANADA, mixer
“On My Knees,” RUFUS DU SOLJason Evigan & RUFUS DU SOL, producers; Cassian Stewart-Kasimba, mixer
Best Dance/Electronic Music Album
For vocal or instrumental albums. Albums only.
Renaissance, Beyonce
Fragments, Bonobo
Diplo, Diplo
The Last Goodbye, ODESZA
Surrender, RUFUS DU SOL
Best Contemporary Instrumental Album
For albums containing greater than 50% or more playing time of instrumental material. For albums containing greater than 75% playing time of new recordings.
Between Dreaming and Joy, Jeff Coffin
Not Tight, DOMi & JD Beck
Blooz, Grant Geissman
Jacob’s Ladder, Brad Mehldau
Empire Central, Snarky Puppy
Best Rock Performance
For new vocal or instrumental solo, duo/group or collaborative rock recordings.
“So Happy It Hurts,” Bryan Adams
“Old Man,” Beck
“Wild Child,” The Black Keys
“Broken Horses,” Brandi Carlile
“Crawl!,” Idles
“Patient Number 9,” Ozzy Osbourne feat. Jeff Beck
“Holiday,” Turnstile
Best Metal Performance
For new vocal or instrumental solo, duo/group or collaborative metal recordings.
“Call Me Little Sunshine,” Ghost
“We’ll Be Back,” Megadeth
“Kill or Be Killed,” Muse
“Degradation Rules,” Ozzy Osbourne feat. Tony lommi
“Blackout,” Turnstile
Best Rock Song
A Songwriter(s) Award. Includes Rock, Hard Rock and Metal songs. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
“Black Summer,” Flea, John Frusciante, Anthony Kiedis & Chad Smith, songwriters (Red Hot Chili Peppers)
“Blackout,” Brady Ebert, Daniel Fang, Franz Lyons, Pat McCrory & Brendan Yates, songwriters (Turnstile)
“Broken Horses,” Brandi Carlile, Phil Hanseroth & Tim Hanseroth, songwriters (Brandi Carlile)
“Harmonia’s Dream,” Robbie Bennett & Adam Granduciel, songwriters (The War on Drugs)
“Patient Number 9,” John Osbourne, Chad Smith, Ali Tamposi, Robert Trujillo & Andrew Wotman, songwriters (Ozzy Osbourne feat. Jeff Beck)
Best Rock Album
For albums containing greater than 50% playing time of new rock, hard rock or metal recordings.
Dropout Boogie, The Black Keys
The Boy Named If, Elvis Costello & The Imposters
Crawler, Idles
Mainstream Sellout, Machine Gun Kelly
Patient Number 9, Ozzy Osbourne
Lucifer on the Sofa, Spoon
Best Alternative Music Performance
For new vocal or instrumental solo, duo/group or collaborative Alternative music recordings.
“There’d Better Be a Mirrorball,” Arctic Monkeys
“Certainty,” Big Thief
“King,” Florence + The Machine
“Chaise Longue,” Wet Leg
“Spitting Off the Edge of the World,” Yeah Yeah Yeahs feat. Perfume Genius
Best Alternative Music Album
Vocal or Instrumental.
WE, Arcade Fire
Dragon New Warm Mountain I Believe in You, Big Thief
Fossora, Bjork
Wet Leg, Wet Leg
Cool It Down, Yeah Yeah Yeahs
Best R&B Performance
For new vocal or instrumental R&B recordings.
“VIRGO’S GROOVE,” Beyoncé
“Here With Me,” Mary J. Blige feat. Anderson .Paak
“Hrs & Hrs,” Muni Long
“Over,” Lucky Daye
“Hurt Me So Good,” Jazmine Sullivan
Best Traditional R&B Performance
For new vocal or instrumental traditional R&B recordings.
“Do 4 Love,” Snoh Aalegra
“Keeps On Fallin’,” Babyface feat. Ella Mai
“PLASTIC OFF THE SOFA,” Beyoncé
“’Round Midnight,” Adam Blackstone feat. Jazmine Sullivan
“Good Morning Gorgeous,” Mary J.Blige
Best R&B Song
A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
“CUFF IT,” Denisia “Blu June” Andrews, Beyonce, Mary Christine Brockert, Brittany “Chi” Coney, Terius “The-Dream” Gesteelde-Diamant., Morten Ristorp, Nile Rodgers & Raphael Saadiq, songwriters (Beyonce)
“Good Morning Gorgeous,” Mary J. Blige, David Brown, Dernst Emile II, Gabriella Wilson & Tiara Thomas, songwriters (Mary J.Blige)
“Hrs & Hrs,” Hamadi Aaabi, Dylan Graham, Priscilla Renea, Thaddis “Kuk” Harrell, Brandon John-Baptiste, Isaac Wriston & Justin Nathaniel Zim, songwriters (Muni Long)
“Hurt Me So Good,” Akeel Henry, Michael Holmes, Luca Mauti, Jazmine Sullivan & Elliott Trent, songwriters (Jazmine Sullivan)
“Please Don’t Walk Away,” PJ Morton, songwriter (PJ Morton)
Best Progressive R&B Album
For albums containing greater than 50% playing time of newly recorded progressive vocal tracks derivative of R&B.
Operation Funk, Cory Henry
Gemini Rights, Steve Lacy
Drones, Terrace Martin
Starfruit, Moonchild
Red Balloon, Tank and the Bangas
Best R&B Album
For albums containing greater than 50% playing time of new R&B recordings.
Good Morning Gorgeous (Deluxe), Mary J. Blige
Breezy (Deluxe), Chris Brown
Black Radio lll, Robert Glasper
Candydrip, Lucky Daye
Watch the Sun, PJ Morton
Best Rap Performance
For a Rap performance. Singles or Tracks only.
“God Did,” DJ Khaled feat. Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy
“Vegas,” Doja Cat
“pushin P,” Gunna & Future feat. Young Thug
“F.N.F.(Let’s Go),” Hitkidd & GloRilla
“The Heart Part 5,” Kendrick Lamar
Best Melodic Rap Performance
For a solo or collaborative performance containing both elements of R&B melodies and Rap.
“BEAUTIFUL,” DJ Khaled feat. Future & SZA
“WAIT FOR U,” Future feat. Drake & Tems
“First Class,” Jack Harlow
“Die Hard,” Kendrick Lamar feat. Blxst & Amanda Reifer
“Big Energy (Live),” Latto
Best Rap Song
A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
“Churchill Downs,” Ace G, BEDRM, Matthew Samuels, Tahrence Brown, Roget Chahayed, Aubrey Graham, Jack Harlow & Jose Velazquez, songwriters (Jack Harlow feat. Drake)
“God Did,” Tarik Azzouz, E.Blackmon, Khaled Khaled, F.LeBlanc, Shawn Carter, John Stephens, Dwayne Carter, William Roberts & Nicholas Warwar, songwriters (DJ Khaled feat. Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy)
“The Heart Part 5,” Jake Kosich, Johnny Kosich, Kendrick Lamar & Matt Schaeffer, songwriters (Kendrick Lamar)
“pushin P,” Lucas Depante, Nayvadius Wilburn, Sergio Kitchens, Wesley Tyler Glass & Jeffery Lamar Williams, songwriters (Gunna & Future feat. Young Thug)
“WAIT FOR U,” Tejiri Akpoghene, Floyd E. Bentley III, Jacob Canady, Isaac De Boni, Aubrey Graham, Israel Ayomide Fowobaje, Nayvadius Wilburn, Michael Mule, Oluwatoroti Oke & Temilade Openiyi, songwriters (Future feat. Drake & Tems)
Best Rap Album
For albums containing greater than 50% playing time of new rap recordings.
God Did, DJ Khaled
I Never Liked You, Future
Come Home the Kids Miss You, Jack Harlow
Mr.Morale & The Big Steppers, Kendrick Lamar
It’s Almost Dry, Pusha T
Best Country Solo Performance
For new vocal or instrumental solo country recordings.
“Heartfirst,” Kelsea Ballerini
“Something in the Orange,” Zach Bryan
“In His Arms,” Miranda Lambert
“Circles Around This Town,” Maren Morris
“Live Forever,” Willie Nelson
Best Country Duo/Group Performance
For new vocal or instrumental duo/group or collaborative country recordings.
“Wishful Drinking,” Ingrid Andress & Sam Hunt
“Midnight Rider’s Prayer,” Brothers Osborne
“Outrunnin’ Your Memory,” Luke Combs & Miranda Lambert
“Does He Love You- Revisited,” Reba McEntire & Dolly Parton
“Never Wanted to Be That Girl,” Carly Pearce & Ashley McBryde
“Going Where the Lonely Go,” Robert Plant & Alison Krauss
Best Country Song
A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
“Circles Around This Town,” Ryan Hurd, Julia Michaels, Marco Morris & Jimmy Robbins, songwriters (Marco Morris)
“Doin’ This,” Luke Combs, Drew Parker & Robert Williford, songwriters (Luke Combs)
“I Bet You Think About Me (Taylor’s Version) (From the Vault) Lori McKenna & Taylor Swift, songwriters (Taylor Swift)
“If I Was a Cowboy,” Jesse Frasure & Miranda Lambert, songwriters (Miranda Lambert)
“I’ll Love You Till the Day I Die,” Rodney Crowell & Chris Stapleton, songwriters (Willie Nelson)
“‘Til You Can’t,” Matt Rogers & Ben Stennis, songwriters (Cody Johnson)
Best Country Album
For albums containing greater than 50% playing time of new country recordings.
Growin’ Up, Luke Combs
Palomino, Miranda Lambert
Ashley McBryde Presents: Lindeville, Ashley McBryde
Humble Quest, Maren Morris
A Beautiful Time, Willie Nelson
Best New Age, Ambient, or Chant Album
For albums containing greater than 50% playing time of new vocal or instrumental new age recordings.
Positano Songs, Will Ackerman
Joy, Paul Avgerinos
Mantra Americana, Madi Das & Dave Stringer With Bhakti Without Borders
The Passenger, Cheryl B. Engelhardt
Mystic Mirror, White Sun
Best Improvised Jazz Solo
For an instrumental jazz solo performance. Two equal performers on one recording may be eligible as one entry. If the soloist listed appears on a recording billed to another artist, the latter’s name is in parenthesis for identification. Singles or Tracks only.
“Rounds (Live),” Ambrose Akinmusire, soloistTrack from: New Standards Vol. 1 (Terri Lyne Carrington, Kris Davis, Linda May Han Oh, Nicholas Payton & Matthew Stevens)
“Keep Holding On,” Gerald Albright, soloist
“Falling,” Melissa Aldana, soloistTrack from: 12 Stars
“Call of the Drum,” Marcus Baylor, soloist
“Cherokee/Koko,” John Beasley, soloistTrack from: Bird Lives (John Beasley, Magnus Lindgren & SWR Big Band)
“Endangered Species,” Wayne Shorter & Leo Genovese, soloistTrack from: Live at the Detroit Jazz Festival (Wayne Shorter, Terri Lyne Carrington, Leo Genovese & esperanza spalding
Best Jazz Vocal Album
For albums containing greater than 50% playing time of new vocal jazz recordings.
The Evening: Live at APPARATUS, The Baylor Project
Linger Awhile, Samara Joy
Fade to Black, Carmen Lundy
Fifty, The Manhattan Transfer With the WDR Funkhausorchester
Ghost Song, Cecile McLorin Salvant
Best Jazz Instrumental Album
For albums containing greater than 50% playing time of new instrumental jazz recordings.
New Standards Vol. 1, Terri Lyne Carrington, Kris Davis, Linda May Han Oh, Nicholas Payton & Matthew Stevens
Live in Italy, Peter Erskine Trio
LongGone, Joshua Redman, Brad Mehldau, Christian McBride & Brian Blade
Live at the Detroit Jazz Festival, Wayne Shorter, Terri Lyne Carrington, Leo Genovese& esperanza spalding
Parallel Motion, Yellowjackets
Best Large Jazz Ensemble Album
For albums containing greater than 50% playing time of new ensemble jazz recordings.
Bird Lives, John Beasley, Magnus Lindgren & SWR Big Band
Remembering Bob Freedman, Ron Carter & The Jazzaar Festival Big Band Directedby Christian Jacob
Generation Gap Jazz Orchestra, Steven Feifke, Bijon Watson, Generation Gap JazzOrchestra
Center Stage, Steve Gadd, Eddie Gomez, Ronnie Cuber & WDR BigBand Conducted by Michael Abene
Architecture of Storms, Remy Le Boeurs Assembly of Shadows
Best Latin Jazz Album
For vocal or instrumental albums containing greater than 50% playing time of newly recorded material. The intent of this category is to recognize recordings that represent the blending of jazz with Latin, Iberian-American, Brazilian, and Argentinian tango music.
Fandango at the Wall In New York, Arturo O’Farrill & The Afro Latin Jazz Orchestra feat. The Congra Patria Son Jarocho Collective
Crisalida, Danilo Perez feat. The Global Messengers
If You Will, Flora Purim
Rhythm & Soul, Arturo Sandoval
Musica De Las Americas, Miguel Zenon
Best Gospel Performance/Song
This award is given to the artist(s) and songwriter(s) (for new compositions) for the best traditional Christian, roots gospel or contemporary gospel single or track.
“Positive,” Erica Campbell; Erica Campbell, Warryn Campbell & Juan Winans, songwriters
“When I Pray,” DOE; Dominique Jones & Dewitt Jones, songwriters
“Kingdom,” Maverick City Music & Kirk Franklin; Kirk Franklin, Jonathan Jay, Chandler Moore & Jacob Poole, songwriters
“The Better Benediction,” PJ Morton feat. Zacardi Cortez, Gene Moore, Samoht, Tim Rogers & Darrel Walls; PJ Morton, songwriter
“Get Up,” Tye Tribbett; Brandon Jones, Christopher Michael Stevens, Thaddaeus Tribbett & Tye Tribbett, songwriters
Best Contemporary Christian Music Performance/Song
This award is given to the artist(s) and songwriter(s) (for new compositions) for the best contemporary Christian music single or track (including pop, rap/hip-hop, Latin, or rock).
“God Really Loves Us (Radio Version),” Crowder feat. Dante Howe and Maverick City Music; Dante Howe, David Crowder, Ben Glover & Jeff Sojka, songwriters
“So Good,” DOE; Chuck Butler, Dominique Jones & Ethan Hulse, songwriters
“For God Is With Us,” for KING & COUNTRY & Hillary Scott; Josh Kerr, Jordan Reynolds, Joel Smallbone & Luke SmaUbone, songwriters
“Fear Is Not My Future,” Maverick City Music & Kirk Franklin; Kirk Franklin, Nicole Hannel, Jonathan Jay, Brandon Lake & Hannah Shackelford, songwriters
“Holy Forever,” Chris Tomlin; Jason Ingram, Brian Johnson, Jenn Johnson, Chris Tomlin & Phil Wickham, songwriters
“Hymn of Heaven (Radio Version),” Phil Wickham; Chris Davenport, Bill Johnson, Brian Johnson & Phil Wickham, songwriters
Best Gospel Album
For albums containing greater than 50% playing time of newly recorded, vocal, traditional or contemporary/R&B gospel music recordings.
Die to Live, Maranda Curtis
Breakthrough: The Exodus (Live), Ricky Dillard
Clarity, DOE
Kingdom Book One Deluxe, Maverick City Music & Kirk Franklin
All Things New, Tye Tribbett
Best Contemporary Christian Music Album
For albums containing greater than 50% playing time of newly recorded, vocal, contemporary Christian music, including pop, rap/hip hop, Latin, or rock recordings.
Lion, Elevation Worship
Breathe, Maverick City Music
Life After Death, TobyMac
Always, Chris Tomlin
My Jesus, Anne Wilson
Best Roots Gospel Album
For albums containing greater than 50% playing time of newly recorded, vocal, traditional roots gospel music, including country, Southern gospel, bluegrass, and Americana recordings.
Let’s Just Praise the Lord, Gaither Vocal Band
Confessio – Irish American Roots, Keith & Kristyn Getty
The Willie Nelson Family, Willie Nelson
2:22, Karen Peck & New River
The Urban Hymnal, Tennessee State University Marching Band
Best Latin Pop Album
For albums containing greater than 50% playing time of new Latin pop recordings.
AGUILERA, Christina Aguilera
Pasieros, Ruben Blades & Boca Livre
De Adentro Pa Afuera, Camilo
VIAJANTE, Fonseca
Dharma +, Sebastian Yatra
Best Musica Urbana Album
For albums containing greater than 50% playing time of new Musica Urbana recordings.
TRAP CAKE, VOL. 2, Rauw Alejandro
Un Verano Sin Ti, Bad Bunny
LEGENDADDY, Daddy Yankee
La 167, Farruko
The Love & Sex Tape, Maluma
Best Latin Rock or Alternative Album
For albums containing greater than 50% playing time of new Latin rock or alternative recordings.
El Alimento, Cimafunk
Tinta y Tiempo, Jorge Drexler
1940 Carmen, Mon Laferte
Alegoria, Gaby Moreno
Los Años Salvajes, Fito Paez
MOTOMAMI, Rosalia
Best Regional Mexican Music Album (Including Tejano)
For albums containing greater than 50% playing time of new regional Mexican (banda, norteño, corridos, gruperos, mariachi, ranchera and Tejano) recordings.
Abeja Reina, Chiquis
Un Canto por Mexico – El Musical, Natalia Lafourcade
La Reunión (Deluxe), Los Tigres Del Norte
EP #1 Forajido, Christian Nodal
Que Ganas de Verte (Deluxe), Marco Antonio Solis
Best Tropical Latin Album
For albums containing greater than 50% playing time of new tropical Latin recordings.
Pa’lla Voy, Marc Anthony
Quiero Verte Feliz, La Santa Cecilia
Lado A Lado B, Victor Manuelle
Legendario, Tito Nieves
lmagenes Latinas, Spanish Harlem Orchestra
Cumbiana II, Carlos Vives
Best American Roots Performance
For new vocal or instrumental American Roots recordings. This is for performances in the style of any of the subgenres encompassed in the American Roots Music field including bluegrass, blues, folk or regional roots. Award to the artist(s).
“Someday It’ll All Make Sense (Bluegrass Version),” Bill Anderson feat. Dolly Parton
“Life According to Raechel,” Madison Cunningham
“Oh Betty,” Fantastic Negrito
“Stompin’ Ground,” Aaron Neville With The Dirty Dozen Brass Band
“Prodigal Daughter,” Aoife O’Donovan & Allison Russell
Best Americana Performance
For new vocal or instrumental Americana performance. Award to the artist(s).
“Silver Moon [A Tribute to Michael Nesmith],” Eric Alexandrakis
“There You Go Again,” Asleep at the Wheel feat. Lyle Lovett
“The Message,” Blind Boys of Alabama feat. Black Violin
“You And Me on the Rock,” Brandi Carlile feat. Lucius
“Made Up Mind,” Bonnie Raitt
Best American Roots Song
A Songwriter(s) Award. Includes Americana, bluegrass, traditional blues, contemporary blues, folk or regional roots songs. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
“Bright Star,” Anais Mitchell, songwriter (Anais Mitchell)
“Forever,” Sheryl Crow & Jeff Trott, songwriters (Sheryl Crow)
“High and Lonesome,” T Bone Burnett & Robert Plant, songwriters (Robert Plant & Alison Krauss)
“Just Like That,” Bonnie Raitt, songwriter (Bonnie Raitt)
“Prodigal Daughter,” Tim O’Brien & Aoife O’Donovan, songwriters (Aoife O’Donovan & Allison Russell)
“You and Me on the Rock,” Brandi Carlile, Phil Hanseroth & Tim Hanseroth, songwriters (Brandi Carlile feat. Lucius)
Best Americana Album
For albums containing greater than 50% playing time of new vocal or instrumental Americana recordings.
In These Silent Days, Brandi Carlile
Things Happen That Way, Dr. John
Good to Be…, Keb’ Mo’
Raise the Roof, Robert Plant & Alison Krauss
Just Like That…, Bonnie Raitt
Best Bluegrass Album
For albums containing greater than 50% playing time of new vocal or instrumental bluegrass recordings.
Toward the Fray, The Infamous Stringdusters
Almost Proud, The Del McCoury Band
Calling You From My Mountain, Peter Rowan
Crooked Tree, Molly Tuttle & Golden Highway
Get Yourself Outside, Yonder Mountain String Band
Best Traditional Blues Album
For albums containing greater than 50% playing time of new vocal or instrumental traditional blues recordings.
Heavy Load Blues, Gov’t Mule
The Blues Don’t Lie, Buddy Guy
Get On Board, Taj Mahal & Ry Cooder
The Sun Is Shining Down, John Mayall
Mississippi Son, Charlie Musselwhite
Best Contemporary Blues Album
For albums containing greater than 50% playing time of new vocal or instrumental contemporary blues recordings.
Done Come Too Far, Shemekia Copeland
Crown, Eric Gales
Bloodline Maintenance, Ben Harper
Set Sail, North Mississippi Allstars
Brother Johnny, Edgar Winter
Best Folk Album
For albums containing greater than 50% playing time of new vocal or instrumental folk recordings.
Spellbound, Judy Collins
Revealer, Madison Cunningham
The Light at the End of the Line, Janis Ian
Age of Apathy, Aoife O’Donovan
Hell on Church Street, Punch Brothers
Best Regional Roots Music Album
For albums containing greater than 50% playing time of new vocal or instrumental regional roots music recordings.
Full Circle, Sean Ardoin and Kreole Rock and Soul feat. LSU Golden Band From Tigerland
Natalie Noelani, Natalie Ai Kamauu
Halau Hula Keali’i O Nalani- Live at the Getty Center, Halau Hula Keali’i O Nalani
Lucky Man, Nathan & The Zydeco Cha Chas
Live at the 2022 New Orleans Jazz & Heritage Festival, Ranky Tanky
Best Reggae Album
For albums containing greater than 50% playing time of new reggae recordings.
The Kalling, Kabaka Pyramid
Gifted, Koffee
Scorcha, Scan Paul
Third Time’s the Charm, Protoje
Com Fly Wid Mi, Shaggy
Best Global Music Performance
For new vocal or instrumental Global music recordings.
Udhero Na, Arooj Aftab & Anoushka Shankar
Gimme Love, Matt B & Eddy Kenzo
Last Last, Burna Boy
Neva Bow Down, Rocky Dawuni feat. Blvk H3ro
Bayethe, Wouter KeUerman, Zakes Bantwini & Nomcebo Zikode
Best Global Music Album
For albums containing greater than 50% playing time of new vocal or instrumental Global Music recordings.
Shuruaat, Berklee Indian Ensemble
Love, Damini, Burna Boy
Queen of Sheba, Angelique Kidjo & Ibrahim Maalouf
Between Us…(Live), Anoushka Shankar, Metropole Orkest & Jules Buckley feat. Manu Delago
Sakura, Masa Takumi
Best Children’s Music Album
For albums containing greater than 50% playing time of new musical or spoken word recordings that are created and intended specifically for children.
Into the Little Blue House, Wendy and DB
Los Fabulosos, Lucky Diaz and the Family Jam Band
The Movement, Alphabet Rockers
Ready Set Go!, Divinity Roxx
Space Cadet, Justin Roberts
Best Audio Book, Narration, and Storytelling Recording
Act Like You Got Some Sense, Jamie Foxx
All About Me!: My Remarkable Life In Show Business by Mel Brooks, Mel Brooks
Aristotle and Dante Dive Into the Waters of the World, Lin-Manuel Miranda
Finding Me, Viola Davis
Music Is History, Questlove
Best Spoken Word Poetry Album
For albums containing greater than 50% playing time of new spoken word poetry recordings.
Black Men Are Precious, Ethelbert Miller
Call Us What We Carry: Poems, Amanda Gorman
Hiding in Plain View, Malcolm-Jamal Warner
The Poet Who Sat by the Door, J. Ivy
You Will Be Someone’s Ancestor. Act Accordingly., Amir Sulaiman
Best Comedy Album
For albums containing greater than 50% playing time of new recordings.
The Closer, Dave Chappelle
Comedy Monster, Jim Gaffigan
A Little Brains, A Little Talent, Randy Rainbow
Sorry, Louis CK
We All Scream, Patton Oswalt
Best Musical Theater Album
For albums containing greater 51% playing time of new recordings. Award to the principal vocalist(s), and the album producer(s) of 50% or more playing time of the album. The lyricist(s) and composer(s) of 50% or more of a score of a new recording are eligible for an Award if any previous recording of said score has not been nominated in this category.
Caroline, Or ChangeJohn Cariani, Sharon D Clarke, Caissie Levy & Samantha Williams, principal vocalists; Van Dean, Nigel Lilley, Lawrence Manchester, Elliot Scheiner & Jeanine Tesori, producers; Jeanine Tesori, composer; Tony Kushner, lyricist (New Broadway Cast)
Into the Woods (2022 Broadway Cast Recording)Sara Bareilles, Brian d’Arcy James, Patina Miller & Phillipa Soo, principal vocalists; Rob Berman & Sean Patrick Flahaven, producers (Stephen Sondheim, composer & lyricist) (2022 Broadway Cast)
MJ the MusicalMyles Frost & Tavon Olds-Sample, principal vocalists; David Holcenberg, Derik Lee & Jason Michael Webb, producers (Original Broadway Cast)
Mr. Saturday NightShoshana Bean, Billy Crystal, Randy Graff & David Paymer, principal vocalists; Jason Robert Brown, Sean Patrick Flahaven & Jeffrey Lesser, producers; Jason Robert Brown, composer; Amanda Green, lyricist (Original Broadway Cast)
Six: Live on Opening NightJoe Deighton, Tom Curran, Sam Featherstone, Paul Gatehouse, Toby Marlow & Lucy Moss, producers; Toby Marlow & Lucy Moss, composers/lyricists (Original Broadway Cast)
A Strange LoopJaquel Spivey, principal vocalist; Michael Croiter, Michael R. Jackson, Charlie Rosen & Rona Siddiqui, producers; Michael R. Jackson, composer & lyricist (Original Broadway Cast)
Best Compilation Soundtrack for Visual Media
Award to the principal artist(s) and/or ‘in studio’ producer(s) of a majority of the tracks on the album. In the absence of both, award to the one or two individuals proactively responsible for the concept and musical direction of the album and for the selection of artists, songs and producers, as applicable. Award also goes to appropriately credited music supervisor(s).
ELVIS, Various Artists
Encanto, Various Artists
Stranger Things: Soundtrack From the Netflix Series, Season 4 (Vol 2), Various Artists
Top Gun: Maverick, Harold Faltermeyer, Lady Gaga, Hans Zimmer & Lorne Balfe
West Side Story, Various Artists
Best Score Soundtrack for Visual Media (Includes Film and Television)
Award to Composer(s) for an original score created specifically for, or as a companion to, a current legitimate motion picture, television show or series, or other visual media.
The Batman, Michael Giacchino, composer
Encanto, Germaine Franco, composer
No Time to Die, Hans Zimmer, composer
The Power of the Dog, Jonny Greenwood, composer
Succession: Season 3, Nicholas Britell, composer
Best Score Soundtrack for Video Games and Other Interactive Media
Award to Composer(s) for an original score created specifically for, or as a companion to, video games and other interactive media.
Aliens: Fireteam Elite, Austin Wintory, composer
Assassin’s Creed Valhalla: Dawn of Ragnarok, Stephanie Economou, composer
Call of Duty: Vanguard, Bear McCreary, composer
Marvel’s Guardians of the Galaxy, Richard Jacques, composer
Old World, Christopher Tin, composer
Best Song Written for Visual Media
A Songwriter(s) award. For a song (melody & lyrics) written specifically for a motion picture, television, video games or other visual media, and released for the first time during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.
“Be Alive” [From King Richard], Beyonce & Darius Scott Dixson, songwriters (Beyonce)
“Carolina” [From Where the Crawdads Sing], Taylor Swift, songwriter (Taylor Swift)
“Hold My Hand” [From Top Gun: Maverick] Bloodpop & Stefani Germanotta, songwriters (Lady Gaga)
“Keep Rising (The Woman King)” [From The Woman King], Angelique Kidjo, Jeremy Lutito & Jessy Wilson, songwriters (Jessy Wilson feat. Angelique Kidjo)
“Nobody Like U” [From Turning Red], Billie Eilish & Finneas O’Connell, songwriters (4*Town, Jordan Fisher, Finneas O’Connell, Josh Levi, Topher Ngo, Grayson Villanueva)
“We Don’t Talk About Bruno” [From Encanto], Lin-Manuel Miranda, songwriter (Carolina Gaitan – La Gaita, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz & Encanto- Cast)
Best Instrumental Composition
A Composer’s Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.
“African Tales,” Paquito D’Rivera, composer (Tasha Warren & Dave Eggar)
“El Pais Invisible,” Miguel Zenon, composer (Miguel Zenon, Jose Antonio Zayas Caban, Ryan Smith & Casey Rafn)
“Fronteras (Borders) Suite: AI-Musafir Blues,” Danilo Perez, composer (Danilo Perez feat. The Global Messengers)
“Refuge,” Geoffrey Keezer, composer (Geoffrey Keezer)
“Snapshots,” Pascal Le Boeuf, composer (Tasha Warren & Dave Eggar)
Best Arrangement, Instrumental or A Cappella
An Arranger’s Award. (Artist names appear in parentheses.) Singles or Tracks only.
“As Days Go By (An Arrangement of the Family Matters Theme Song), Armand Hutton, arranger (Armand Hutton feat. Terrell Hunt & Just 6)
“How Deep Is Your Love,” Matt Cusson, arranger (Kings Return)
“Main Titles (Doctor Strange in The Multiverse of Madness),” Danny Elfman, arranger (Danny Elfman)
“Minnesota, WI,” Remy Le Boeuf, arranger (Remy Le Boeuf)
“Scrapple From the Apple,” John Beasley, arranger (Magnus Lindgren,John Beasley & The SWR Big Band feat. Martin Aeur)
Best Arrangement, Instruments and Vocals
An Arranger’s Award. (Artist names appear in parentheses.) Singles or Tracks only.
“Let It Happen,” Louis Cole, arranger (Louis Cole)
“Never Gonna Be Alone,” Jacob Collier, arranger (Jacob Collier Featuring Lizzy McAlpine & John Mayer)
“Optimistic Voices I No Love Dying,” Cecile McLorin Salvant, arranger (Cecile McLorin Salvant)
“Songbird (Orchestral Version),” Vince Mendoza, arranger (Christine McVie)
“2 + 2 = 5 (Arr. Nathan Schram),” Nathan Schram & Decca Stevens, arrangers (Decca Stevens & Attacca Quartet)
Best Recording Package
Beginningless Beginning, Chun-Tien Hsia & Qing-Yang Xiao, art directors(Tamsui-Kavalan Chinese Orchestra)
Divers, William Stichter, art director (Soporus)
Everything Was Beautiful, Mark Farrow, art director (Spiritualized)
Telos, Ming Liu, art director (Fann)
Voyeurist, Tnsn Dvsn, art director (Underoath)
Best Boxed or Special Limited Edition Package
Artists Inspired by Music: Interscope Reimagined, Josh Abraham, Steve Berman, Jimmy Iovine, John Janick & Jason Sangerman, art directors (Various Artists)
Big Mess, Berit Gwendolyn Gilma, art director (Danny Elfman)
Black Pumas (Collector’s Edition Box Set), Jenna Krackenberger, Anna McCaleb & Preacher, art directors (Black Pumas)
Book, Paul Sabre, art director (They Might Be Giants)
In and Out of the Garden: Madison Square Garden ’81 ’82 ’83, Lisa Glines, Doran Tyson & Dave Van Patten, art directors (The Grateful Dead)
Best Album Notes
The American Clave Recordings, Fernando Gonzalez, album notes writer (AstorPiazzolla)
Andy Irvine & Paul Brady, Gareth Murphy, album notes writer (Andy Irvine & Paul Brady)
Harry Partch, 1942, John Schneider, album notes writer (Harry Partch)
Life’s Work: A Retrospective, Ted Olson, album notes writer (Doc Watson)
Yankee Hotel Foxtrot (20th Anniversary Super Deluxe Edition), Bob Mehr, album notes writer (Wilco)
Best Historical Album
Against the Odds: 1974-1982, Tommy Manzi, Steve Rosenthal & Ken Shipley, compilation producers; Michael Graves, mastering engineer; Tom Camuso, restoration engineer (Blondie)
The Goldberg Variations- The Complete Unreleased 1981 Studio Sessions, Robert Russ, compilation producer; Martin Kistner, mastering engineer (Glenn Gould)
Life’s Work: A Retrospective, Scott Billington, Ted Olson & Mason Williams, compilation producers; Paul Blakemore, mastering engineer (Doc Watson)
To Whom It May Concern…, Jonathan Sklute, compilation producer; Kevin Marques Moo, mastering engineer (Freestyle FeUowship)
Yankee Hotel Foxtrot (20th Anniversary Super Deluxe Edition), Cheryl Pawelski & Jeff Tweedy, compilation producers; Bob Ludwig, mastering engineer (Wilco)
Songwriter of the Year, Non-Classical
A Songwriter’s Award. (Artists names appear in parentheses.)
Amy Allen• “For My Friends” (King Princess)• “The Hardest Part” (Alexander23)• “If We Were a Party” (Alexander23)• “If You Love Me” (Lizzo)• “Magic Wand” (Alexander23)• “Matilda” (Harry Styles)• “Move Me” (Charli XCX)• “Too Bad” (King Princess)• “Vicious” (Sabrina Carpenter)
Nija Charles• “Cozy” (Beyonce)• “Ex for a Reason” (Summer Walker with JT from City Girls)• “Good Love” (City Girls feat. Usher)• “Iykyk” (Lil Durk feat. Ella Mai & A Boogie Wit Da Hoodie)• “Lobby” (Anitta & Missy Elliott)• “Ride for You” (Meek Mill feat. Kehlani)• “Sweetest Pie” (Megan Thee Stallion & Dua Lipa)• “Tangerine” (Kehlani)• “Throw It Away” (Summer Walker)
Tobias Jesso Jr.• “Boyfriends” (Harry Styles)• “Can I Get It” (Adele)• “Careless” (FKA Twigs feat. Daniel Caesar)• “C’mon Baby Cry” (Orville Peck)• “Dotted Lines” (King Princess)• “Let You Go” (Diplo & TSHA)• “No Good Reason” (Omar Apollo)• “Thank You Song” (FKA Twigs)• “To Be Loved” (Adele)
The-Dream• “Break My Soul” (Beyonce)• “Church Girl” (Beyonce)• “Energy” (Beyonce)• “I’m That Girl” (Beyonce)• “Mercedes” (Brent Faiyaz)• “Rock N Roll” (Pusha T feat. Kanye West and Kid Cudi)• “Rolling Stone” (Brent Faiyaz)• “Summer Renaissance” (Beyonce)• “Thique” (Beyonce)
Laura Veltz• “Background Music” (Maren Morris)• “Feed” (Demi Lovato)• “Humble Quest” (Maren Morris)• “Pain” (Ingrid Andress)• “29” (Demi Lovato)
Best Engineered Album, Non-Classical
An Engineer’s Award. (Artists names appear in parentheses.)
Adolescence, George Nicholas & Ryan Schwabe, engineers; RyanSchwabe, mastering engineer (Baynk)
Black Radio lll, Daniel Farris, Tiffany Gouche, Keith Lewis, Musiq Soulchild, Reginald Nicholas, Q-Tip, Amir Sulaiman, Michael Law Thomas & Jon Zacks, engineers; Chris Athens, mastering engineer (Robert Glasper)
Chloe and the Next 20th Century, Dave Cerminara & Jonathan Wilson, engineers; AdamAyan, mastering engineer (Father John Misty)
Harry’s House, Jeremy Hatcher, Oli Jacobs, Nick Lobel, Mark “Spike” Stent & Sammy Witte, engineers; Randy Merrill, mastering engineer (Harry Styles)
Wet Leg, Jon McMullen, Joshua Mobaraki, Alan Moulder & Alexis Smith, engineers; Matt Colton, mastering engineer (Wet Leg)
Producer of the Year, Non-Classical
A Producer’s Award. (Artists names appear in parentheses.)
Jack Antonoff• “All Too Well (10 Minute Version) (Taylor’s Version) (From the Vault)” (Taylor Swift)• Dance Fever (Florence+ The Machine)• “I Still Believe” (Diana Ross)• Minions: The Rise of Gru (Various Artists)• “Part of the Band” (The 1975)
Dan Auerbach• Dropout Boogie (The Black Keys)• “El Bueno y El Malo” (Hermanos Gutierrez) • Nightmare Daydream (The Velveteers)• Rich White Hooky Blues (Hank Williams Jr.)• Something Borrowed, Something New: A Tribute To John Anderson (Various Artists)• Strange Time to Be Alive (Early James)• Sweet Unknown (Ceramic Animal)• “Tres Hermanos” (Hermanos Gutierrez)• Young Blood (Marcus King)
Boi-lda• “Chronicles” (Cordae feat. H.E.R. & Lil Durk)• “Churchill Downs” (Jack Harlow feat. Drake)• “Heated” (Beyonce) • “Mafia” (Travis Scott)• “N95” (Kendrick Lamar)• “Nail Tech” (Jack Harlow)• “Not Another Love Song” (Ella Mai)• “Scarred” (Giveon)• “Silent Hill” (Kendrick Lamar)
Dahi• “Buttons” (Steve Lacy)• “Count Me Out” (Kendrick Lamar)• “Die Hard” (Kendrick Lamar)• “DJ Quik” (Vince Staples)• “Father Time” (Kendrick Lamar feat. Sampha)• “Give You the World” (Steve Lacy)• “Mercury” (Steve Lacy)• “Mirror” (Kendrick Lamar)• “Rich Spirit” (Kendrick Lamar)
Dernst “D’mile” Emile II• Candy Drip (Lucky Daye)• An Evening With Silk Sonic (Bruno Mars, Anderson .Paak And Silk Sonic)• “Good Morning Gorgeous” (Mary J. Blige)• “Sometimes I Feel Like a Motherless Child” (Jazmine Sullivan)
Best Remixed Recording
A Remixer’s Award. (Artists names appear in parentheses for identification.) Singles or Tracks only.
“About Damn Time (Purple Disco Machine Remix),” Purple Disco Machine, remixer (Lizzo)
“Break My Soul (Terry Hunter Remix),” Terry Hunter, remixer (Beyonce)
“Easy Lover (Four Tet Remix),” Four Tet, remixer (Ellie Goulding)
“Slow Song (Paul Woolford Remix),” Paul Woolford, remixer (The Knocks & Dragonette)
“Too Late Now (Soulwax Remix),” Soulwax, remixers (Wet Leg)
Best Immersive Audio Album
For vocal or instrumental albums in any genre. Must be commercially released on DVD-Audio, DVD-Video, SACD, Blu-Ray, or burned download-only/streaming-only copies and must provide a new immersive mix of four or more channels. Award to the immersive mix engineer, immersive producer (if any) and immersive mastering engineer (if any).
AGUILERA, Jaycen Joshua, immersive mix engineer; Jaycen Joshua, immersive mastering engineer (Christina Aguilera)
Divine Tides, Eric Schilling, immersive mix engineer; Stewart Copeland, Ricky Kej & Herbert Waltl, immersive producers (Stewart Copeland & Ricky Kej)
Memories…Do Not Open, Mike Piacentini, immersive mix engineer; Mike Piacentini, immersive mastering engineer; Adam Alpert, Alex Pall, Jordan Stilwell & Andrew Taggart,immersive producers (The Chainsmokers)
Picturing the Invisible – Focus 1, Jim Anderson, immersive mix engineer; Morten Lindberg & Ulrike Schwarz, immersive mastering engineers; Jane Ira Bloom & Ulrike Schwarz, immersive producers (Jane Ira Bloom)
Tuvayhun – Beatitudes for a Wounded World, Morten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Morten Lindberg, immersive producer (Nidarosdomens Jentekor & Trondheimsolistene)
Best Engineered Album, Classical
An Engineer’s Award. (Artist names appear in parentheses.)
Bates: Philharmonia Fantastique – The Making of the Orchestra, Shawn Murphy, Charlie Post & Gary Rydstrom, engineers; Michael Romanowski, mastering engineer (Edwin Outwater & Chicago Symphony Orchestra)
Beethoven: Symphony No.6; Stucky: Silent Spring, Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)
Perspectives, Jonathan Lackey, Bill Maylone & Dan Nichols, engineers; Joe Lambert, mastering engineer (Third Coast Percussion)
Thvayhun – Beatitudes for a Wounded World, Morten Lindberg, engineer; Morten Lindberg, mastering engineer (Anita Brevik, Nidarosdomens Jentekor & Trondheimsolistene)
Williams: Violin Concerto No.2 & Selected Film Themes, Bernhard Giittler, Shawn Murphy & Nick Squire, engineers; Christoph Stickel, mastering engineer (Anne-Sophie Mutter, John Williams & Boston Symphony Orchestra)
Producer of the Year, Classical
A Producer’s Award. (Artist names appear in parentheses.)
Jonathan Allen• Aspire (Seunghee Lee, JP Jofre, Enrico Fagone & London Symphony Orchestra)• Cooper: Continuum (Jessica Cottis, Adjoah Andoh, Clio Gould & The Oculus Ensemble)• Muse (Sheku Kanneh-Mason & Isa.ta Kanneh-Mason)• Origins (Lucie Horsch)• Saudade (Plinio Fernandes)• Schubert: Winterreise (Benjamin Appl)• Secret Love Letters (Lisa Batiashvili, Yannik Nezet-Seguin & Philadelphia Orchestra)• Song (Sheku Kanneh-Mason)
Christoph Franke• Brahms & Berg: Violin Concertos (Christian Tetzlaff, Robin Ticciati & Deutsches Symphonie-Orchester Berlin)• John Wiliams – The Berlin Concert (John Williams & Berliner Philharmoniker)• Mendelssohn: Piano Concertos (Lars Vogt & Orchestre De Chambre De Paris)• Mozart: Complete Piano Sonatas (Elisabeth Leonskaja)• Mozart Y Mambo: Cuban Dances (Sarah Willis, Jose Antonio Mendez Padron & Havana Lyceum Orchestra)
James Ginsburg• As We Are (Julian Velasco)• Avant L’Orage- French String Trios (Black Oak Ensemble)• Gems From Armenia (Aznavoorian Duo)• Stephenson: Symphony No. 3, ‘Visions’ (Vladimir Kulenovic & Lake Forest Symphony)• Trios From Contemporary Chicago (Lincoln Trio)• When There Are No Words -Revolutionary Works for Oboe and Piano (Alex Klein & Phillip Bush)
Elaine Martone• Beethoven: The Last Sonatas (Gerardo Teissonniere)• Big Things (Icarus Quartet)• Perspectives (Third Coast Percussion)• Schnittke: Concerto for Piano and Strings; Prokofiev: Symphony No. 2 (Yefim Bronfrnan, Franz Weiser-Most & The Cleveland Orchestra)• Strauss: Three Tone Poems (Franz Weiser-Most & The Cleveland Orchestra)• Upon Further Reflection (John Wilson)
Judith Sherman• Akiho: Oculus (Various Artists)• Bach, C.P.E.: Sonatas & Rondos (Marc-Andre Hamelin)• Bolcom: The Complete Rags (Marc-Andre Hamelin)• Felix & Fanny Mendelssohn: String Quartets (Takacs Quartet)• Huang Ro’s A Dust in Time (Del Sol Quartet)• It Feels Like (Eunbi Kim)• Leon: Teclas De Mi Piano (Adam Kent)• Violin Odyssey (Itamar Zorman & leva Jokubaviciute)• Works by Florence Price, Jessie Montgomery, Valerie Coleman (Michael Repper & New York Youth Symphony)
Best Orchestral Performance
Award to the Conductor and to the Orchestra.
Adams, John Luther: Sila – The Breath of the World, Doug Perkins, conductor (Musicians of the University of Michigan Department of Chamber Music & University Of Michigan Percussion Ensemble)
Dvorak: Symphonies Nos. 7-9, Gustavo Dudamel, conductor (Los Angeles Philharmonic)
Eastman: Stay On It, Christopher Rountree, conductor (Wild Up)
John Williams – The Berlin Concert, John Williams, conductor (Berliner Philharmoniker)
Works by Florence Price, Jessie Montgomery, Valerie Coleman, Michael Repper, conductor (New York Youth Symphony)
Best Opera Recording
Award to the Conductor, Album Producer(s) and Principal Soloists, and to the Composer and Librettist (if applicable) of a world premiere Opera recording only.
Aucoin: Eurydice, Yannick Nezet-Seguin, conductor; Barry Banks, Nathan Berg, Joshua Hopkins, Erin Morley & Jakob J6zef Orlinski; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
Blanchard: Fire Shut Up In My Bones, Yannick Nezet-Seguin, conductor; Angel Blue, Will Liverman, Latonia Moore & Walter RusseU III; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
Davis: X – The Life and Times of Malcolm X, Gil Rose, conductor; Ronnita Miller, Whitney Morrison, Victor Robertson & Dav6ne Tines; Gil Rose, producer (Boston Modern Orchestra Project;Odyssey Opera Chorus)
Best Choral Performance
Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble.
Bach: St. John Passion, John Eliot Gardiner, conductor (English Baroque Soloists; Monteverdi Choir)
Born, Donald Nally, conductor (Dominic German, Maren Montalbano, Rebecca Myers & James Reese; The Crossing)
Verdi: Requiem – The Met Remembers 9/11, Yannick Nezet-Seguin, conductor; Donald Palumbo, chorus master (Michelle DeYoung, Eric Owens, Allyn Perez & Matthew Polenzani; The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
Best Chamber Music/Small Ensemble Performance
For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.
Beethoven: Complete String Quartets, Volume 2 – The Middle Quartets, Dover Quartet
Musical Remembrances, Neave Trio
Perspectives, Third Coast Percussion
Shaw: Evergreen, Attacca Quartet
What Is American, PUBLIQuartet
Best Classical Instrumental Solo
Award to the Instrumental Soloist(s) and to the Conductor when applicable.
Abels: Isolation Variation, Hilary Hahn
Bach: The Art of Life, Danill Trifonov
Beethoven: Diabelli Variations, Mitsuko Uchida
Letters for the Future, Time for Three; Xian Zhang, conductor (The Philadelphia Orchestra)
A Night In Upper Town – The Music of Zoran Krajacic, Mak Grgic
Best Classical Solo Vocal Album
Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with greater than 50% playing time of new material.
Eden, Joyce DiDonato, soloist; Maxim Emelyanychev, conductor (II Porno D’Oro)
How Do I Find You, Sasha Cooke, soloist; Kirill Kuzmin, pianist
Okpebholo: Lord, How Come Me Here?, Will Liverman, soloist; Paul Sanchez, pianist (J’NaiBridges & Caen Thomason-Redus)
Stranger – Works for Tenor by Nico Muhly, Nicholas Phan, soloist (Eric Jacobson; Brooldyn Rider& The Knights; Reginald Mobley)
Voice of Nature- The Anthropocene, Renee Fleming, soloist; Yannick Nezet-Seguin, pianist
Best Classical Compendium
Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 50% playing time of the album, and to the Composer and Librettist (if applicable) with over 50% playing time of a world premiere recording only.
An Adoption Story, Starr Parodi & Kitt Wakeley; Jeff Fair, Starr Parodi & Kitt Wakeley, producers
Aspire, JP Jofre & Seunghee Lee; Enrico Fagone, conductor; Jonathan Allen, producer
A Concert for Ukraine, Yannick Nezet-Seguin, conductor; David Frost, producer
The Lost Birds, Voces8; Barnaby Smith & Christopher Tin, conductors; Sean Patrick Flahaven & Christopher Tin, producers
Best Contemporary Classical Composition
A Composer’s Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.
Akiho: Ligneous Suite, Andy Akiho, composer (Ian Rosenbaum & Dover Quartet)
Bermel: Intonations, Derek Bermel, composer (Jack Quartet)
Gubaidulina: The Wrath of God, Sofia Gubaidulina, composer (Andris Nelsons & Gewandhausorchester)
Puts: Contact, Kevin Puts, composer (Xian Zhang, Time for Three & The Philadelphia Orchestra)
Simon: Requiem for the Enslaved, Carlos Simon, composer (Carlos Simon, MK Zulu, Marco Pave & Hub New Music)
Best Music Video
Award to the artist, video director, and video producer.
“Easy on Me,” AdeleXavier Dolan, video director; Xavier Dolan & Nancy Grant, video producers
“Yet to Come,” BTSYong Seok Choi, video director; Tiffany Sub, video producer
“Woman,” Doja CatChild., video director; Missy Galanida, Sam Houston, Michelle Larkin & Isaac Rice, video producers
“The Heart Part 5,” Kendrick LamarDave Free & Kendrick Lamar, video directors; Jason Baum & Jamie Rabineau, video producers
“As It Was,” Harry StylesTanu Muino, video director; Frank Borin, Ivanna Borin, Fred Bonham Carter & Alexa Haywood, video producers
All Too Well: The Short Film, Taylor SwiftTaylor Swift, video director; Saul Germaine, video producer
Best Music Film
For concert/performance films or music documentaries. Award to the artist, video director, and video producer.
Adele One Night Only, AdelePaul Dugdale, video director; Raj Kapoor & BenWinston, video producers
Our World, Justin BieberMichael D. Ratner, video director; Kfir Goldberg, AndyMininger & Scott Ratner, video producers
Billie Eilish Live at The O2, Billie EilishSam Wrench, video director; Michelle An, Tom Colbourne, Chelsea Dodson & Billie Eilish, video producers
Motomami (Rosalia TikTok Live Performance), RosaliaFerran Echegaray, Rosalia Vila Tobella & Stillz, video directors
Jazz Fest: A New Orleans Story, Various ArtistsFrank Marshall & Ryan Suffern, video directors; Frank Marshall, Sean Stuart & Ryan Suffern, video producers
A Band A Brotherhood A Barn, Neil Young & Crazy HorseDhlovelife, video director; Gary Ward, video producer
The Recording Academy will announce the nominations for the 65th Annual Grammy Awards across all 91 categories live from the Grammy Museum and Latin Grammy Week on Tuesday, Nov. 15, at 9 a.m. PT/12 p.m. ET.
The event will stream live on live.Grammy.com and on the Academy’s Facebook, YouTube, Twitter, Instagram, and TikTok channels. The full list of nominees will be published on Grammy.com (and on Billboard.com, among other outlets) immediately following the presentation. Presenters will be announced in the coming days.
The nominations will be revealed just two days before the 23rd Annual Latin Grammy Awards are held at Michelob Ultra Arena in Las Vegas. Bad Bunny is the top nominee at that show with 10 nods, including album of the year for Un Verano Sin Ti. That album, which has topped the Billboard 200 for 13 nonconsecutive weeks, has an excellent chance of becoming the first Latin pop album to receive an album of the year nomination at the all-genre Grammys.
Anitta, Luis Fonsi, Laura Pausini and Thalía are set to host the Latin Grammys, which will air on Thursday, Nov. 17, on Univision.
“We are so excited to celebrate all of this year’s Grammy nominees who contributed to such a prolific year in music,” Harvey Mason jr., CEO of the Recording Academy, said in a statement. “With the addition of five new categories and a new, diverse class of voting members, we look forward to honoring all of this incredible music and the people who made it.”
The five new categories are songwriter of the year, non-classical; best alternative music performance; best Americana performance; best score soundtrack for video games and other interactive media; and best spoken word poetry album. In addition, a new special merit award will be given out for best song for social change, which “celebrates a song that addresses a timely social issue and promotes understanding, peacebuilding and empathy,” according to the Academy.
The 65th Annual Grammy Awards returns to Los Angeles’ Crypto.com Arena on Sun, Feb. 5, 2023. The show will broadcast live on CBS will stream live and on-demand on Paramount+ at 8-11:30 p.m. ET / 5-8:30 p.m. PT.
Follow “Recording Academy / GRAMMYs” on Twitter, Instagram, Facebook, TikTok, and LinkedIn, and use #GRAMMYs to join the conversation as it unfolds on Nov. 15.
Christine Farnon, the Recording Academy’s first full-time employee and one of its longest-serving, died on Monday Oct. 24 in the Los Angeles area of natural causes. She was 97.
Farnon started as an unpaid volunteer in May 1957 – when the Academy was just in its formative stages — and rose to become executive vice president. From 1957 through 1987, she worked alongside a succession of 18 elected, volunteer presidents. These men — and yes, they were all men — served their terms and moved on. Farnon provided continuity and stability. In early 1988, Michael Greene became the Academy’s first paid, permanent president. Farnon stayed on through 1992, to ensure a smooth transition.
Farnon received a trustees award from the Academy upon her retirement. An appreciation in that year’s Grammy program book was fittingly titled “The Recording Academy’s Guiding Light.”
In announcing the honor for Farnon earlier in 1992, Greene said, “The Recording Academy owes much of what it is today to the selfless, conscientious dedication that Christine has exhibited in her years of contributions to the Recording Academy. Chris is a vital member of our [Academy] family and is most deserving of the trustees award.”
The late musicologist George T. Simon, who wrote the aforementioned appreciation, noted, “Chris has always been an integral part of the organization – a seemingly impossible combination of guiding light and steady anchor. Deeply involved from the start in all the Academy’s activities, this warm, intelligent, soft-spoken, sensitive lady has helped tremendously, often leading the way, in chartering and steering the course of [the Academy].”
Simon’s piece quoted Farnon as saying “This has been a rare opportunity, to have one of the most challenging and rewarding careers anyone could wish for, and to work with and for some of the finest people in the recording field.”
Billboard included Farnon in a gallery of groundbreaking female executives that appeared in the Feb. 26, 2022 issue, noting “Decades before Deborah Dugan became the Recording Academy’s first female president/CEO in 2019, Farnon was the top executive at the organization — and while she never held the big title, there was no question of who was in charge.”
Farnon’s responsibilities at the Academy included maintaining contact with disc jockeys and radio personnel and development of annual mailers and special albums designed for radio stations highlighting Grammy nominees. Farnon was a talent coordinator for most of the seven Grammy-branded Best on Record TV shows that aired on NBC. From 1971, when the Grammy Awards became a live telecast, until 1992, when Farnon retired, she was an integral part of the Academy’s TV committee, which oversaw format development, contract negotiations and TV scripts. She eventually received on-screen credit in the crawl at the end of the telecast.
Folklorist and author Bill Ivey, the only person in Academy history to serve two, non-consecutive stints as chairman of the board of trustees (1981-83 and 1989-91), gave Farnon a great deal of credit in an interview with this writer a decade ago for a Grammy.com piece on the Academy’s early days.
“Chris Farnon was central to the Academy’s success,” he said. “She was quite ferocious in protecting the integrity of Grammy and the telecast. …In large part because she was so conservative and protective, Chris handed future leaders an asset of tremendous potential value that converted to earning power as sponsorships and TV revenues really took off in the ’90s.”
In an interview for that same piece, Farnon said that she was “gratified and delighted” to have played a role in the Academy’s growth, though, characteristically, she shared the credit. “The Academy’s present achievements are something that everyone, past and present, can be very proud of,” she said.
“The original vision of what the Academy was meant to be and do hasn’t changed,” Farnon added. “Many of its significant programs had their roots in the Academy’s original goals, although they operate on a much wider and grander scale today.”
Farnon was still able to tick off the Academy’s early goals. “In the early years its goals included the annual Grammy Awards on live TV, scholarships, university courses on the recording arts and sciences, open membership meetings where leading recording individuals explored developments in the recording field, and magazines and/or newsletters to members. Unfortunately, some years most of these programs didn’t come off because there wasn’t enough money or support staff to produce them.”
The Academy was able to realize more of its goals after it struck a better deal with CBS, the long-time network of the Grammy Awards. “By the time I ended my 35-year career at the Recording Academy, the increasing income made it possible for the Academy to be taken to another level,” Farnon said.
Farnon held various positions with the Recording Academy. In the early 1960’s she was named executive director of the Los Angeles chapter. In 1971, she was promoted to national executive director, and in 1986 was appointed executive vice president, a position she held until her retirement.
Farnon also belonged to the local chapter of the American Society of Association Executives (ASAE); the California Copyright Conference; and was a co-founder of the first Toastmistress Chapter in Hollywood – the very name of the latter organization is a sign of the times in which Farnon came up.
Farnon died three years after her ex-husband, Dennis Farnon, who had been the last surviving founder of the Recording Academy. Dennis Farnon died in May 2019 at age 95. Christine Farnon and Dennis Farnon were divorced in 1960.
Dennis Farnon co-founded the Academy in 1957 with Sonny Burke, who died in 1980; Lloyd W. Dunn, who died in 1991; Paul Weston, who died in 1996; and Jesse Kaye, whose date of death is unknown. All five founders were top executives at leading record companies of the period. Farnon was from RCA; Burke, from Decca; Dunn, from Capitol; Weston, from Columbia; and Kaye, from MGM.
Following her retirement, Farnon spent more than 20 years studying painting and was given three commissions of her paintings, plus recognition by the Chatsworth (Calif.) Fine Arts Council for her work.
Farnon is survived by one daughter, Joanna, as well as nieces, nephews and cousins.
A gathering of family and friends will be held at a future date. Condolences to her family may be sent to P.O. Box 150, Ripton VT 05766.
Michael Bublé, a four-time Grammy winner for best traditional pop vocal album, is in the running for another nomination in the category for his latest studio album, Higher. This would be Bublé’s ninth nomination in the category, a total surpassed only by Tony Bennett (17 nods) and Barbra Streisand (13 nods).
First-round voting closed on Sunday (Oct. 23). Nominations in this and 90 other categories will be announced on Nov. 15.
The Recording Academy introduced this category in 1991 as a way to honor the music that by that point had a hard time competing in the pop categories. The first winner was a single, Natalie Cole’s “Unforgettable,” a duet with her late father Nat King Cole, but all subsequent winners have been full-length albums.
Here’s the description of the category from the current Grammy rules and guidelines booklet: “This category is for performances of a type and style of song that cannot properly be intermingled with present forms of pop music. This includes older forms of traditional pop such as the Great American Songbook, created by the Broadway, Hollywood and Tin Pan Alley songwriter of the period between the 1920s and the end of World War II, as well as cabaret/musical theater-style songs and previous forms of contemporary pop. This would also include contemporary pop songs performed in a traditional pop style – the term ‘traditional’ being a reference, equally, to the style of the composition, vocal styling and the instrumental arrangement, without regard to the age of the material.”
A total of 78 albums are vying for nominations in this category this year. There will be five nominees (except in the event of a tie).
Here are 10 albums that are thought to be most likely to receive a nomination, listed in descending order of their perceived likelihood of being nominated — followed by a quick listing of eight more albums that could surprise us with a nomination.
Taylor Swift may well make history when the 65th annual Grammy nominations are announced on Nov. 15. If “All Too Well (10 Minute Version) (The Short Film)” is nominated for song of the year, Swift will tie Paul McCartney and Lionel Richie for the most nominations ever in that marquee category.
Swift’s eligibility in that category was hardly assured. The ballad is an expanded version of a song that appeared on her Red album, which was nominated for album of the year and best country album nine years ago. “All Too Well” was not entered, much less nominated, in a songwriting category at the time.
The Grammy rules and guidelines handbook doesn’t offer clear direction on how the Academy should handle rare cases like this. It states: “A song…must have been released on a recording for the first time, or achieved prominence for the first time, during the current eligibility year.” The Academy decided that there was enough new content in “All Too Well (10 Minute Version) (The Short Film)” that it should be considered a new song.
First-round voting for the Grammy Awards closed on Sunday Oct. 23.
“All Too Well (10 Minute Version) (The Short Film)” is thought to have a good chance of landing a song of the year nomination, though the category has more entries (686) than any other this year. Ten songs will be nominated. If Swift is nominated, three of her six song of the year nods will have come since the Recording Academy expanded the number of nominations in the Big Four categories from five to eight (and now 10). This complicates historical comparisons because McCartney and Richie might have amassed more than six nods if there had been more than five nomination slots in their heydays.
“All Too Well (10 Minute Version) (The Short Film)” is also vying for a nod for best pop solo performance. It is not entered for best country song. This suggests that the screening committees thought the song and performance were more at home in pop than country. By contrast, Red (Taylor’s Version) is competing for a nod for best country album (as well as album of the year), which suggests that the committees thought the album as a whole was more at home in country than pop. “All Too Well: The Short Film” is also competing for a nod for best music video.
Bruno Mars was also in line to potentially land his sixth song of the year nomination for Silk Sonic’s “Smokin’ Out the Window,” but his and Anderson .Paak’s decision to not enter Silk Sonic music this year – on the heels of last year’s awards bounty for “Leave the Door Open” – precluded that possibility. For now, Mars is tied with Swift, Burt Bacharach and John Lennon with five song of the year nods each.
Here’s a recap of the six song of the year nominations for McCartney and Richie and the five for Swift.
Motown legends Berry Gordy and Smokey Robinson are poised to make history as the 2023 MusiCares person of the year recipients. As we reported when the news was announced on Thursday Oct. 20, it’s the first time that two individuals have been co-honorees at the annual fund-raising gala.
But that’s not the only way in which Gordy and Robinson will be making history. The two music greats will be the oldest person of the year honorees to date. Gordy turns 93 on Nov. 28. Robinson is 82. The oldest honoree until now was Joni Mitchell, who was 78 when she was honored earlier this year.
And Motown founder Gordy will be the first non-artist to receive the honor, as well as the first honoree who has not won a Grammy in competition. Gordy has received just one nomination – as a co-writer of the Jackson 5 smash “I’ll Be There,” a 1993 nominee for best R&B song. That requires explanation: The song wasn’t nominated when the J5 record was a hit, but it was nominated 22 years later when Mariah Carey and Trey Lorenz covered it. (Gordy probably wasn’t too disappointed when it lost to a then-current Motown smash – Boyz II Men’s “End of the Road.”)
Gordy and Robinson are the third and fourth person of the year honorees who are Motown royalty. Stevie Wonder received the honor in 1999. Lionel Richie received it in 2016.
According to MusiCares, the person of the year award “celebrates our honoree’s creative accomplishments and philanthropic work. This star-studded dinner and concert experience raises funds for MusiCares’ vital programs and relief efforts.”
That blurb hints at what MusiCares is looking for in an honoree. They certainly want to recognize an accomplished artist who seems worthy of the honor, but just as important, they want to sell tables and individual tickets, ads in the program book and auction offerings. So, they’re looking for someone who has the connections and history in the music industry to fill the room. That’s why most of the honorees are well along in their careers by the time they are selected.
The next person of the year event will be held on Friday, Feb. 3, 2023 at Los Angeles Convention Center – two days before the 65th annual Grammy Awards are presented at the adjoining Crypto.com Arena.
Here are all of the person of the year honorees to date, shown in reverse chronological order. All years refer to the year the person of the year event was held and the year of the corresponding Grammy telecast (or year of award presentations for the years before the launch of the live telecast in 1971.)
Nicki Minaj‘s frustrations regarding her Grammy genre shuffle have resulted in the latest rap beef.
During an Instagram Live on Thursday, Minaj voiced her concerns over “Super Freaky Girl” being moved from the rap category to pop on the 2023 Grammy ballet, deeming it unfair. Minaj — who despite countless hit singles and albums and 10 nominations over the years has yet to win a Grammy — is not the first artist to raise questions about the Recording Academy’s categorizing methods. In the video, she mentions Drake’s best rap song win with “Hotline Bling” at the 2017 Grammys (a point of contention for the Toronto rapper, who said the song was pop but only categorized as rap because of his race and past music) and Latto’s “Big Energy” being eligible to compete in this year’s rap field.
“If ‘Super Freaky Girl’ is a pop song, what genre is ‘Big Energy?’” Minaj asked.
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Like “Super Freaky Girl,” Latto’s chart-topper was also produced by Dr. Luke and Vaughn Oliver; a live version of “Big Energy” is eligible to compete in the best melodic rap performance category at the 2023 Grammys. (A live version is in contention because the original “Big Energy” was released in September 2021, outside the eligibility period.) “They stay moving the goal post when it comes to me,” Minaj added multiple times.
While Minaj also brought up names like Doja Cat, Post Malone, Harry Styles and Adele, she continued to circle back to Latto, both by name and also in ways that the 23-year-old burgeoning rap star could have perceived as subliminal.
“If you know something is unfair as an artist, speak on that sh–,” Minaj went on. “If you can’t tell by now that there is a concerted effort to give newer artists things they really don’t deserve over people who have been deserving for many years, they you not paying attention.”
Minaj also accused “corporate giants” of elevating “someone they can profit off of” and intentionally moving “Super Freaky Girl” to create less competition for other artists in the rap categories. She even mentioned the future of female rap, adding that the genre will no longer “have any Black women.” The comment can be understood as a dig against Latto, whose mother is white and father is Black. Minaj also went on to say in a tweet that Latto is “wiping that spray tan off & being a Karen,” a term typically reserved for white women.
On Twitter, Minaj echoed the sentiments expressed during her Live about “Super Freaky Girl” and “Big Energy,” even quoting tweets from fans who were drawing the comparison.
This didn’t sit well with Latto, who had been trying to celebrate her AMA nominations (including favorite female hip-hop artist and favorite hip-hop song with “Big Energy”) amidst social media backlash to her BET Hip Hop Awards win, sparked by Kodak Black. “Damn I can’t win for losing…all these awards/noms I can’t even celebrate,” she tweeted.
From there, Latto and Nicki went back and forth exchanging a tirade of jabs, airing out past subliminal digs and insulting family members, with fans egging them on in the replies. Nicki posted a screenshot of a text Latto sent her, and Latto returned the favor by releasing an audio recording of a phone conversation she and the “Super Bass” rapper had. The exchange went on for hours, with other female rappers, including Azealia Banks, Erica Banks and Chika, chiming in. In the end, Minaj deleted all of her tweets to Latto, only leaving behind a video clip of Whitney Houston laughing uncontrollably in a music video.
See some of the Twitter feud below:
The walls that separate genres are coming down, which is a good thing in many ways. But it complicates things for the screening committees that decide where records should compete in the annual Grammy Awards process.
Here are some albums that probably gave the screening committee pause – and where they are competing in the 65th annual Grammy Awards process.
Demi Lovato’s Holy F*ck, Avril Lavigne’s Love Sux and Tears for Fears’ The Tipping Point were all on the line between pop and rock; all are competing for best rock album. Coldplay’s Music of the Spheres and 5 Seconds of Summer’s 5SOS5 are also somewhere on that line; they are competing for best pop vocal album.
Florence + the Machine’s Dance Fever is vying for best alternative music album. Two previous albums by the English indie rock band – Ceremonials and How Big, How Blue, How Beautiful – were nominated for best pop vocal album.
Zach Bryan’s American Heartbreak topped Billboard’s folk, country and rock album charts — and reached No. 5 on the all-genre Billboard 200. At the Grammys, it’s competing for best country album.
Lizzo’s Special and Beyoncé’s Renaissance danced on the line between pop, dance and R&B. Special is competing for best pop vocal album. Renaissance is vying for best dance/electronic music album. (Bey won best contemporary R&B album three times (for Dangerously in Love, B’Day and I Am…Sasha Fierce) and best urban contemporary album twice (for Lemonade and Everything Is Love, a collab with her husband Jay-Z as The Carters).
The line between R&B and progressive R&B is often blurry. The Grammys have classified Summer Walker’s Still Over It and Chris Brown’s Breezy as R&B, but have slotted Steve Lacy’s Gemini Rights and Brent Faiyaz’s Wasteland as progressive R&B.
Taylor Swift’s Red (Taylor’s Version) is vying for a nod as best country album. The original Red album was nominated in that category nine years ago but lost to Kacey Musgraves’ Same Trailer, Different Park. In terms of genre album awards, Swift has won best country album once (for Fearless) and best pop vocal album once (for 1989).
Jason Aldean is competing for best country album with Macon, Georgia, a combination of his two single-disc albums Macon (released on Nov. 12, 2021) and Georgia (released on April 22).
The Encanto soundtrack is competing for best compilation soundtrack for visual media, not best pop vocal album, even though it topped the Billboard 200 for nine weeks.
The four Latin albums that made the top 10 on the Billboard 200 in the Grammy eligibility year (Oct. 1, 2021, through Sept. 30) are competing in three different categories. Bad Bunny’s Un Verano Sin Ti and Daddy Yankee’s Legendaddy are vying for best música urbana album. Romeo Santos’ Formula Volume 3 is competing for best tropical Latin album. Eslabon Armando’s Nostalgia is vying for best regional Mexican music album (including Tejano).
Several stars didn’t submit their albums for Grammy consideration, for a broad range of reasons. Silk Sonic didn’t submit An Evening With Silk Sonic. They probably figured (correctly) that they were amply rewarded last year when they won four Grammys for “Leave the Door Open” and they would be better off letting some other artists have some Grammy shine. No artist wants to run the risk of having fans say, “Haven’t they won enough?”
Drake and The Weeknd didn’t submit Honestly, Nevermind and Dawn FM, respectively. They are probably still nursing past disappointments. Drake, one of the most successful musicians of the past 15 years (and, really, in recording history) has won just four Grammys. The Weeknd was inexplicably snubbed in the year that he released “Blinding Lights,” one of the biggest and most universally admired hits of recent years, but has also collected four Grammys over the years.
Other albums that aren’t to be found on the entry list include Meek Mill’s Expensive Pain, Roddy Ricch’s Live Life Fast, Lil Durk’s 7220, Rod Wave’s Beautiful Mind and Tory Lanez’s Sorry 4 What.
All Grammys count the same toward someone’s career Grammy total, but we all know they’re not really on an equal footing. Every media outlet on Earth will report the winners of album of the year and record of the year next Feb. 5, but good luck trying to find out who won best regional roots music album (we’ll have it, of course).
Some categories are far more competitive than others. There are more than 20 times as many entries in this year’s most populated category, song of the year (686), as in this year’s least populated category, best opera recording (30). (More than 22 times, actually, but I didn’t want to sound too nerdy.)
Since final-round voting for the 65th Grammy Awards opened Thursday, Grammy voters have been conscientiously wading through the entry lists for 85 of the 91 Grammy categories. (Or so Academy leaders fervently hope.) The nominees in the other six categories are determined by committees.
Voters may find some surprises as they study the entry lists. The number of entries in each of the Big Four categories dropped significantly compared to last year, perhaps due to the Academy’s new policy of charging a fee for entries beyond five “courtesy entries.”
There are 619 entries for record of the year, down from 1,172 last year; 518 entries for album of the year, down from 837; 686 entries for song of the year, down from 1,163; and 368 entries for best new artist, down from 463.
This is actually a positive trend. The entry lists were far too long. It’s asking too much of busy people to expect them to diligently wade through a list of 1,172 entries – and that was just for one category!
Here’s the new rule, and the rationale behind it, taken from the 65th Grammy Awards rules and guidelines booklet: “The per-entry fee structure encourages entrants to consider the value of each entry and make mindful decisions to put forward work that they truly believe is Grammy-worthy. All professional and voting members of the Recording Academy will receive five courtesy entries every year. Any member who would feel burdened by the entry fees can request the fees be waived by reaching out to the awards department.”
In other surprises, best music video has more entries (661) than all but one category (song of the year). Given how competitive it is, this should really regarded as one of the top awards, but it’s tucked away in the music/video film field, not in the general field (usually called the Big Four).
There are nearly five times as many entries for best score soundtrack for visual media (including film and television) (250) as there are for best compilation soundtrack for visual media (51).
The most populated songwriting category (outside of song of the year) is best American roots song (333). Country, though generally thought of as a songwriter-driven genre, lags behind all other genres with 128 entries.
Here are all songwriting categories, ranked from most to least number of entries this year: song of the year (686), best American roots song (333), best rock song (300), best rap song (219), best R&B song (218), best contemporary Christian music performance/song (172), best song written for visual media (154), best gospel performance/song (134) and best country song (128).
All five of the categories that were added this year had a healthy number of entries. There are 270 entries for best alternative music performance, 226 for best Americana performance, 84 for best spoken word poetry album, 71 for best score soundtrack for video games and other interactive media and 62 for songwriter of the year, non-classical.
The number of entries for songwriter of the year, non-classical is only about one-quarter of the number of entries for producer of the year, non-classical (214), probably because of the new category’s restrictive rules, which were intended to put the focus on songwriters who are not also artists or producers.
The Recording Academy keeps track of the number of entries in each category. Here’s the relevant rule from the rules and guidelines booklet: “Each category shall have at least 40 distinct artist entries. If a category receives between 25 and 39 entries, only three recordings will receive nominations in that year.” That’s the case for both best opera recording, which as noted above, had 30 entries this year, and best choral performance, which had 35.
The rules further state: “Should there be fewer than 25 entries in a category, that category will immediately go on hiatus for the current year – no award given – and entries will be screened into the next most logical category. If a category received fewer than 25 entries for three consecutive years, the category will be discontinued, and submissions will be entered in the next most appropriate category.” (That doesn’t apply to any categories this year.)
If you’re curious, the six categories where the nominations are determined by committees, rather than by voters at large, are all four categories in the package, notes and historical field (best recording package, best boxed/special/limited edition, best album notes, best historical album) and two categories in the production field (best remixed recording, best immersive audio album).
First-round voting continues through Oct. 23. Nominees will be announced on Nov. 15. Final-round voting runs from Dec. 14 to Jan. 4, 2023. The winners will be revealed at the 65th annual Grammy Awards on Feb. 5, 2023.
Here are the categories with most and least entries.
Categories with the most entries
(in descending order)
Song of the year, 686
Best music video, 661
Record of the year, 619
Album of the year, 518
Best new artist, 368
Best rock performance, 350
Best American roots song, 333
Best instrumental composition, 321
Best arrangement, instruments and vocals, 318
Best pop solo performance, 309
Best rock song, 300
Best improvised jazz solo, 284
Best American roots performance, 283
Best engineered album, non-classical, 282
Best global music performance, 280
Categories with the fewest entries
(in ascending order)
Best opera recording, 30
Best choral performance, 35
Best regional roots music album, 40
Best música urbana album, 41
Best large jazz ensemble album, 41
Best musical theater album, 42
Best country duo/group performance, 44
Best roots gospel album, 47
Best bluegrass album, 48
Best compilation soundtrack for visual media, 51
Best gospel album, 54
Best Latin rock or alternative album, 56
Best Latin jazz album, 56
Best tropical Latin album, 58
Best classical solo vocal album, 60
Nicki Minaj has called out The Recording Academy for switching her hit “Super Freaky Girl” out of the Grammy Awards’ rap category, and into pop, a decision she reckons is a contradiction, and part of a broader agenda to celebrate rising rap artists over veterans.
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Earlier this week, Billboard’s sister title The Hollywood Reporter disclosed the Grammys change-up, despite “Super Freaky Girl” logging its eighth week on top of Billboard’s Hot Rap Songs chart.
Minaj’s team submitted the track to the rap categories at the Grammys, but the decision was overturned by the Recording Academy’s rap committee, a source told THR.
The Trinidadian star addressed the situation in a series of tweets, and went deeper still in a 17-minute rant posted on social media.
“’Super Freaky Girl’ was removed from the rap category, we found out today in the Grammy submission. ‘Super Freaky Girl,’ where I only rapped on the song, was removed out of the rap categories at the Grammys, right. And put it in pop,” she explains.
It should be noted that MC Hammer also sampled Rick James’ “Super Freak” for “U Can’t Touch This,” which won the best rap solo performance Grammy back in 1991.
Drake’s “Hotline Bling,” however, in 2017, took out best rap song and best rap/sung collaboration, she points out, though even Drake himself admitted it was a pop number.
On the flip side, Minaj wants the same rules applied to Latto’s pop leaning “Big Energy”.
“Now, let’s say that ‘Super Freaky Girl’ is a pop song. Let’s just say that, right. What is ‘Big Energy?’ If ‘Super Freaky Girl’ is a pop song, what song is ‘Big Energy.’ What genre is ‘Big Energy?’
Suggesting she’s been hard done by, Minaj continued, “If you know something is unfair as an artist, speak on that shit. Drake could’ve just let that shit slide and added it to his collection, but he spoke up.”
If you move “Super Freaky Girl” out of rap and “put it in pop,” she adds, “do the same for ‘Big Energy’. Same producers on both songs, by the way. So let’s keep shit fair.”
Minaj’s “Super Freaky Girl” was a mainstream hit, blasting to No. 1 on the Billboard Hot 100 in August. Its shift into the pop frame, or “moving the goal post,” she says, is part of a process to “uplift the people who they want to shine, the people who these corporate giants can make the money off of the people, control things behind the scenes, they have to elevate someone that they profit off.”
Minaj also issued a warning, claiming unnamed power players had an agenda that would eventually upend diversity in hip-hop.
“If you can’t tell by now that there is a concerted effort to give newer artists things that they really don’t deserve, over people who have been deserving for many years, then you’re not paying attention. And soon female rap will really not have any black women. If you pay attention, you’ll see, you’ll understand.”
The Recording Academy doesn’t reveal reasons when its screening committees relocate tracks into categories other than those that eligible recordings were submitted in, THR notes. The general ballot, which can include thousands of submissions in a single category, isn’t released to the public.
Despite it all, Minaj insists she’s still the queen of rap.
“I know one thing,” she says, “even when I’m rapping on a pop track, I still out-rap.”