Grammys
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There are countless storylines heading into Sunday’s 2025 Grammy Awards. Could Beyoncé finally take home album of the year with Cowboy Carter? Could Chappell Roan sweep the Big Four categories? Or might an unexpected pick go home with best new artist instead of the “Good Luck, Babe!” hitmaker?
Today is the day where we get answers to those questions and more. Going into Sunday — where the bulk of the 2025 Grammys will be handed out at the Grammy Premiere Ceremony (starting at 3:30 p.m. ET) followed by the prime-time, star-studded telecast at 8 p.m. ET — Bey leads with 11 nominations. She’s followed by Charli XCX, Billie Eilish, Kendrick Lamar and Post Malone with seven nods apiece, followed by Sabrina Carpenter, Chappell Roan and Taylor Swift with six each.
But who will go home with some new hardware? Follow along with Billboard all night as we update our complete 2025 Grammys winners list live to find out.
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Record of the Year
“Now and Then,” The BeatlesGiles Martin & Paul McCartney, producers; Geoff Emerick, Steve Genewick, Jon Jacobs, Greg McAllister, Steve Orchard, Keith Smith, Mark ‘Spike’ Stent & Bruce Sugar, engineers/mixers; Miles Showell, mastering engineer
“TEXAS HOLD ‘EM,” BeyoncéBeyoncé, Nate Ferraro, Killah B & Raphael Saadiq, producers; Hotae Alexander Jang, Alex Nibley & Stuart White, engineers/mixers; Colin Leonard, mastering engineer
“Espresso,” Sabrina CarpenterJulian Bunetta, producer; Julian Bunetta & Jeff Gunnell, engineers/mixers; Nathan Dantzler, mastering engineer
“360,” Charli xcxCirkut & A. G. Cook, producers; Cirkut & Manny Marroquin, engineers/mixers; Idania Valencia, mastering engineer
“BIRDS OF A FEATHER,” Billie EilishBillie Eilish & FINNEAS, producers; Thom Beemer, Jon Castelli, Billie Eilish, FINNEAS, Aron Forbes, Brad Lauchert & Chaz Sexton, engineers/mixers; Dale Becker, mastering engineer
“Not Like Us,” Kendrick LamarMustard, Sean Momberger & Sounwave, producers; Ray Charles Brown Jr. & Johnathan Turner, engineers/mixers; Nicolas de Porcel, mastering engineer
“Good Luck, Babe!,” Chappell RoanDan Nigro, producer; Mitch McCarthy & Dan Nigro, engineers/mixers; Randy Merrill, mastering engineer
“Fortnight,” Taylor Swift feat. Post MaloneJack Antonoff, Louis Bell & Taylor Swift, producers; Louis Bell, Bryce Bordone, Serban Ghenea, Sean Hutchinson, Oli Jacobs, Michael Riddleberger & Laura Sisk, engineers/mixers; Randy Merrill, mastering engineer
Album of the Year
New Blue Sun, André 3000André 3000 & Carlos Niño, producers; André 3000, Carlos Niño & Ken Oriole, engineers/mixers; André 3000, Surya Botofasina, Nate Mercereau & Carlos Niño, songwriters; Andy Kravitz, mastering engineer
COWBOY CARTER, BeyoncéBeyoncé, Terius “The-Dream” Gesteelde-Diamant & Dave Hamelin, producers; Matheus Braz, Brandon Harding, Hotae Alexander Jang, Dani Pampuri & Stuart White, engineers/mixers; Ryan Beatty, Beyoncé, Camaron Ochs, Terius “The-Dream” Gesteelde-Diamant, Dave Hamelin, S. Carter & Raphael Saadiq, songwriters; Colin Leonard, mastering engineer
Short n’ Sweet, Sabrina CarpenterJack Antonoff, Julian Bunetta, Ian Kirkpatrick & John Ryan, producers; Bryce Bordone, Julian Bunetta, Serban Ghenea, Jeff Gunnell, Oli Jacobs, Manny Marroquin, John Ryan & Laura Sisk, engineers/mixers; Amy Allen, Jack Antonoff, Julian Bunetta, Sabrina Carpenter, Ian Kirkpatrick, Julia Michaels & John Ryan, songwriters; Nathan Dantzler & Ruairi O’Flaherty, mastering engineers
BRAT, Charli xcxCharli xcx, Cirkut & A. G. Cook, producers; A. G. Cook, Tom Norris & Geoff Swan, engineers/mixers; Charlotte Aitchison, Henry Walter, Alexander Guy Cook, Finn Keane & Jonathan Christopher Shave, songwriters; Idania Valencia, mastering engineer
Djesse Vol. 4, Jacob CollierJacob Collier, producer; Ben Bloomberg, Jacob Collier & Paul Pouwer, engineers/mixers; Jacob Collier, songwriter; Chris Allgood & Emily Lazar, mastering engineers
HIT ME HARD AND SOFT, Billie EilishBillie Eilish & FINNEAS, producers; Thom Beemer, Jon Castelli, Billie Eilish, FINNEAS, Aron Forbes, Brad Lauchert & Chaz Sexton, engineers/mixers; Billie Eilish O’Connell & FINNEAS, songwriters; Dale Becker, mastering engineer
The Rise and Fall of a Midwest Princess, Chappell RoanDaniel Nigro, producer; Mitch McCarthy & Daniel Nigro, engineers/mixers; Daniel Nigro & Kayleigh Rose Amstutz, songwriters; Randy Merrill, mastering engineer
THE TORTURED POETS DEPARTMENT, Taylor SwiftJack Antonoff, Aaron Dessner & Taylor Swift, producers; Zem Audu, Bella Blasko, Bryce Bordone, Serban Ghenea, David Hart, Mikey Freedom Hart, Sean Hutchinson, Oli Jacobs, Jonathan Low, Michael Riddleberger, Christopher Rowe, Laura Sisk & Evan Smith, engineers/mixers; Jack Antonoff, Aaron Dessner & Taylor Swift, songwriters; Randy Merrill, mastering engineer
Song of the Year
“A Bar Song (Tipsy),” Sean Cook, Collins Obinna Chibueze & Nevin Sastry, songwriters (Shaboozey)
“BIRDS OF A FEATHER,” Billie Eilish O’Connell & FINNEAS, songwriters (Billie Eilish)
“Die With a Smile,” Dernst Emile II, James Fauntleroy, Lady Gaga, Bruno Mars & Andrew Watt, songwriters (Lady Gaga & Bruno Mars)
“Fortnight,” Jack Antonoff, Austin Post & Taylor Swift, songwriters (Taylor Swift feat. Post Malone)
“Good Luck, Babe!,” Kayleigh Rose Amstutz, Daniel Nigro & Justin Tranter, songwriters (Chappell Roan)
“Not Like Us,” Kendrick Lamar, songwriter (Kendrick Lamar)
“Please Please Please,” Amy Allen, Jack Antonoff & Sabrina Carpenter, songwriters (Sabrina Carpenter)
“TEXAS HOLD ‘EM,” Brian Bates, Beyoncé, Atia Boggs, Elizabeth Lowell Boland, Megan Bülow, Nate Ferraro & Raphael Saadiq, songwriters (Beyoncé)
Best New Artist
Benson Boone
Sabrina Carpenter
Doechii
Khruangbin
RAYE
Chappell Roan
Shaboozey
Teddy Swims
Producer of the Year, Non-Classical
Alissia• “Bugs” (Jamila Woods)• “Don’t Matter” (Rae Khalil)• “Honey” (BJ the Chicago Kid feat. Chlöe)• “Irreplaceable (Interlude)” (Rae Khalil)• “Is It Worth It” (Rae Khalil)• “Love Takeover” (Lion Babe)• “Spend the Night” (BJ the Chicago Kid, Coco Jones)
Dernst “D’Mile” Emile II• Algorithm (Lucky Daye)• “Bar Song” (Koe Wetzel)• “Die With a Smile” (Lady Gaga, Bruno Mars)• “HERicane” (Lucky Daye)• “I Love U” (Usher)• “One of Them Ones” (Usher)• “Power of Two” (From Star Wars: The Acolyte) (Victoria Monét)• “That’s You” (Lucky Daye)
Ian Fitchuk• “AMEN” (Beyoncé)• Angel Face (Stephen Sanchez)• Deeper Well (Kacey Musgraves)• Don’t Forget Me (Maggie Rogers)• “Lemon” (Still Woozy)• “Oh, Gemini” (Role Model)• “Peaceful Place” (Leon Bridges)• “Redemption Song” (Bob Marley: One Love – Music Inspired By The Film) (Leon Bridges)• “Three Little Birds” (Bob Marley: One Love – Music Inspired By The Film) (Kacey Musgraves)
Mustard• Faith of a Mustard Seed (Mustard)• “Not Like Us” (Kendrick Lamar)• “Parking Lot” (Mustard & Travis Scott)
Daniel Nigro• “Can’t Catch Me Now” (From The Hunger Games: The Ballad of Songbirds & Snakes) (Olivia Rodrigo)• The Rise and Fall of a Midwest Princess (Chappell Roan)• “girl i’ve always been” (Olivia Rodrigo)• “Good Luck, Babe!” (Chappell Roan)• “so American” (Olivia Rodrigo)• “stranger” (Olivia Rodrigo)
Songwriter of the Year, Non-Classical
Jessi Alexander• “Ain’t No Love in Oklahoma” (Luke Combs)• “All I Ever Do Is Leave” (Luke Combs)• “Chevrolet” (Dustin Lynch feat. Jelly Roll)• “Make Me a Mop” (Cody Johnson)• “Never Left Me (Megan Moroney)• “No Caller ID” (Megan Moroney)• “Noah” (Megan Moroney)• “Remember Him That Way” (Luke Combs)• “Roulette on the Heart” (Conner Smith & Hailey Whitters)
Amy Allen• “Chrome Cowgirl” (Leon Bridges)• “Espresso” (Sabrina Carpenter)• “High Road” (Koe Wetzel & Jessie Murph)• “Please Please Please” (Sabrina Carpenter)• “run for the hills” (Tate McRae)• “scared of my guitar” (Olivia Rodrigo)• “Selfish” (Justin Timberlake)• “Sweet Dreams” (Koe Wetzel)• “Taste” (Sabrina Carpenter)
Edgar Barrera• “Atención” (Ivan Cornejo)• “(Entre Paréntesis)” (Shakira & Grupo Frontera)• “It Was Always You (Siempre Fuiste Tú)” (Carin Leon & Leon Bridges)• “No Se Vale” (Camilo)• “The One (Pero No Como Yo)” (Carin Leon & Kane Brown)• “Por El Contrario” (Becky G With Ángela Aguilar, Leonardo Aguilar)• “Si Antes Te Hubiera Conocido” (Karol G)• “Sincere” (Khalid)• “Tommy & Pamela” (Peso Pluma & Kenia Os)
Jessie Jo Dillon• “Am I Okay? ” (Megan Moroney)• “Go To Hell” (Post Malone)• “Heaven By Noon” (Megan Moroney)• “Lies Lies Lies” (Morgan Wallen)• “Messed Up As Me” (Keith Urban)• “Never Left Me” (Megan Moroney)• “No Caller ID” (Megan Moroney)• “Sorry Mom” (Kelsea Ballerini)• “Two Hearts” (Post Malone)
RAYE• “Ask & You Shall Receive” (Rita Ora)• “Because I Love You” (Halle)• “Dear Ben, Pt II” (Jennifer Lopez)• “Genesis. ” (RAYE)• “Mother Nature” (RAYE & Hans Zimmer)• “Paralyzed” (Lucky Daye feat. RAYE)• “RIIVERDANCE” (Beyoncé)• “You’re Hired” (NEIKED feat. Ayra Starr)
Best Pop Solo Performance
“BODYGUARD,” Beyoncé
“Espresso,” Sabrina Carpenter
“Apple,” Charli xcx
“BIRDS OF A FEATHER,” Billie Eilish
“Good Luck, Babe!,” Chappell Roan
Best Pop Duo/Group Performance
“us.,” Gracie Abrams feat. Taylor Swift
“LEVII’S JEANS,” Beyoncé feat. Post Malone
“Guess,” Charli xcx & Billie Eilish
“the boy is mine,” Ariana Grande, Brandy & Monica
“Die With a Smile,” Lady Gaga & Bruno Mars
Best Pop Vocal Album
Short n’ Sweet, Sabrina Carpenter
HIT ME HARD AND SOFT, Billie Eilish
eternal sunshine, Ariana Grande
The Rise and Fall of a Midwest Princess, Chappell Roan
THE TORTURED POETS DEPARTMENT, Taylor Swift
Best Dance/Electronic Recording
“She’s Gone, Dance On,” DisclosureGuy Lawrence & Howard Lawrence, producers; Guy Lawrence, mixer
“Loved,” Four TetKieran Hebden, producer; Kieran Hebden, mixer
“leavemealone,” Fred Again.. & Baby KeemBoo, Fred Again.., Alex Gibson, Kieran Hebden, LOOSE, Skrillex & Sid Stone, producers; Fred Again.. & Jay Reynolds, mixers
“Neverender,” Justice & Tame ImpalaGaspard Augé & Xavier De Rosnay, producers; Gaspard Augé, Xavier De Rosnay, Damien Quintard & Vincent Taurelle, mixers
“Witchy,” KAYTRANADA feat. Childish GambinoLauren D’Elia & KAYTRANADA, producers; Neal H Pogue, mixer
Best Dance Pop Recording
“Make You Mine,” Madison BeerMadison Beer & Leroy Clampitt, producers; Mitch McCarthy, mixer
“Von Dutch,” Charli xcxFinn Keane, producer; Tom Norris, mixer
“L’AMOUR DE MA VIE [OVER NOW EXTENDED EDIT],” Billie EilishBillie Eilish & FINNEAS, producers; Jon Castelli & Aron Forbes, mixers
“yes, and?,” Ariana GrandeAriana Grande, ILYA & Max Martin, producers; Serban Ghenea, mixer
“Got Me Started,” Troye SivanStyalz Fuego & Ian Kirkpatrick, producers; Alex Ghenea, mixer
Best Dance/Electronic Album
BRAT, Charli xcx
Three, Four Tet
Hyperdrama, Justice
Timeless, KAYTRANADA
Telos, Zedd
Best Remixed Recording
“Alter Ego – KAYTRANADA Remix,” KAYTRANADA, remixer (Doechii feat. JT)
“A Bar Song (Tipsy) [Remix],” David Guetta, remixer (Shaboozey & David Guetta)
“Espresso (Mark Ronson x FNZ Working Late Remix),” FNZ & Mark Ronson, remixers (Sabrina Carpenter)
“Jah Sees Them – Amapiano Remix,” Alexx Antaeus, Footsteps & MrMyish, remixers (Julian Marley & Antaeus)
“Von Dutch,” A.G. Cook, remixer (Charli xcx & A.G. Cook Featuring Addison Rae)
Best Rock Performance
“Now and Then,” The Beatles
“Beautiful People (Stay High),” The Black Keys
“The American Dream Is Killing Me,” Green Day
“Gift Horse,” IDLES
“Dark Matter,” Pearl Jam
“Broken Man,” St. Vincent
Best Metal Performance
“Mea Culpa (Ah! Ça ira!),” Gojira, Marina Viotti & Victor Le Masne
“Crown of Horns,” Judas Priest
“Suffocate,” Knocked Loose feat. Poppy
“Screaming Suicide,” Metallica
“Cellar Door,” Spiritbox
Best Rock Song
“Beautiful People (Stay High),” Dan Auerbach, Patrick Carney, Beck Hansen & Daniel Nakamura, songwriters (The Black Keys)
“Broken Man,” Annie Clark, songwriter (St. Vincent)
“Dark Matter,” Jeff Ament, Matt Cameron, Stone Gossard, Mike McCready, Eddie Vedder & Andrew Watt, songwriters (Pearl Jam)
“Dilemma,” Billie Joe Armstrong, Mike Dirnt & Tré Cool, songwriters (Green Day)
“Gift Horse,” Jon Beavis, Mark Bowen, Adam Devonshire, Lee Kiernan & Joe Talbot, songwriters (IDLES)
Best Rock Album
Happiness Bastards, The Black Crowes
Romance, Fontaines D.C.
Saviors, Green Day
TANGK, IDLES
Dark Matter, Pearl Jam
Hackney Diamonds, The Rolling Stones
No Name, Jack White
Best Alternative Music Performance
“Neon Pill,” Cage the Elephant
“Song of the Lake,” Nick Cave & The Bad Seeds
“Starburster,” Fontaines D.C.
“BYE BYE,” Kim Gordon
“Flea,” St. Vincent
Best Alternative Music Album
Wild God, Nick Cave & The Bad Seeds
Charm, Clairo
The Collective, Kim Gordon
What Now, Brittany Howard
All Born Screaming, St. Vincent
Best R&B Performance
“Guidance,” Jhené Aiko
“Residuals,” Chris Brown
“Here We Go (Uh Oh),” Coco Jones
“Made for Me (Live on BET),” Muni Long
“Saturn,” SZA
Best Traditional R&B Performance
“Wet,” Marsha Ambrosius
“Can I Have This Groove,” Kenyon Dixon
“No Lie,” Lalah Hathaway feat. Michael McDonald
“Make Me Forget,” Muni Long
“That’s You,” Lucky Daye
Best R&B Song
“After Hours,” Diovanna Frazier, Alex Goldblatt, Kehlani Parrish, Khris Riddick-Tynes & Daniel Upchurch, songwriters (Kehlani)
“Burning,” Ronald Banful & Temilade Openiyi, songwriters (Tems)
“Here We Go (Uh Oh),” Sara Diamond, Sydney Floyd, Marisela Jackson, Courtney Jones, Carl McCormick & Kelvin Wooten, songwriters (Coco Jones)
“Ruined Me,” Jeff Gitelman, Kareen Lomax, Priscilla Renea & Kevin Theodore, songwriters (Muni Long)
“Saturn,” Rob Bisel, Cian Ducrot, Carter Lang, Solána Rowe, Jared Solomon & Scott Zhang, songwriters (SZA)
Best Progressive R&B Album
So Glad to Know You, Avery*Sunshine
En Route, Durand Bernarr
Bando Stone and The New World, Childish Gambino
Crash, Kehlani
Why Lawd?, NxWorries (Anderson .Paak & Knxwledge)
Best R&B Album
11:11 (Deluxe), Chris Brown
Vantablack, Lalah Hathaway
Revenge, Muni Long
Algorithm, Lucky Daye
Coming Home, Usher
Best Rap Performance
“Enough (Miami),” Cardi B
“When the Sun Shines Again,” Common & Pete Rock feat. Posdnuos
“NISSAN ALTIMA,” Doechii
“Houdini,” Eminem
“Like That,” Future & Metro Boomin feat. Kendrick Lamar
“Yeah Glo!,” GloRilla
“Not Like Us,” Kendrick Lamar
Best Melodic Rap Performance
“KEHLANI,” Jordan Adetunji feat. Kehlani
“SPAGHETTII,” Beyoncé feat. Linda Martell & Shaboozey
“We Still Don’t Trust You,” Future & Metro Boomin feat. The Weeknd
“Big Mama,” Latto
“3:AM,” Rapsody feat. Erykah Badu
Best Rap Song
“Asteroids,” Marlanna Evans, songwriter (Rapsody feat. Hit-Boy)
“Carnival,” Jordan Carter, Raul Cubina, Grant Dickinson, Samuel Lindley, Nasir Pemberton, Dimitri Roger, Ty Dolla $ign, Kanye West & Mark Carl Stolinski Williams, songwriters (¥$ (Kanye West & Ty Dolla $Ign) feat. Rich the Kid & Playboi Carti)
“Like That,” Kendrick Lamar Duckworth, Kobe “BbyKobe” Hood, Leland Wayne & Nayvadius Wilburn, songwriters (Future & Metro Boomin feat. Kendrick Lamar)
“Not Like Us,” Kendrick Lamar, songwriter (Kendrick Lamar)
“Yeah Glo!,” Ronnie Jackson, Jaucquez Lowe, Timothy McKibbins, Kevin Andre Price, Julius Rivera III & Gloria Woods, songwriters (GloRilla)
Best Rap Album
Might Delete Later, J. Cole
The Auditorium, Vol. 1, Common & Pete Rock
Alligator Bites Never Heal, Doechii
The Death of Slim Shady (Coup De Grâce), Eminem
We Don’t Trust You, Future & Metro Boomin
Best Spoken Word Poetry Album
CIVIL WRITES: The South Got Something to Say, Queen Sheba
cOncrete & wHiskey Act II Part 1: A Bourbon 30 Series, Omari Hardwick
Good M.U.S.I.C. Universe Sonic Sinema: Episode 1 In The Beginning Was The Word, Malik Yusef
The Heart, The Mind, The Soul, Tank and the Bangas
The Seven Number Ones, Mad Skillz
Best Jazz Performance
“Walk With Me, Lord (SOUND | SPIRIT),” The Baylor Project
“Phoenix Reimagined (Live),” Lakecia Benjamin feat. Randy Brecker, Jeff “Tain” Watts & John Scofield
“Juno,” Chick Corea & Béla Fleck
“Twinkle Twinkle Little Me,” Samara Joy feat. Sullivan Fortner
“Little Fears,: Dan Pugach Big Band feat. Nicole Zuraitis & Troy Roberts
Best Jazz Vocal Album
Journey in Black, Christie Dashiell
Wildflowers Vol. 1, Kurt Elling & Sullivan Fortner
A Joyful Holiday, Samara Joy
Milton + Esperanza, Milton Nascimento & esperanza spalding
My Ideal, Catherine Russell & Sean Mason
Best Jazz Instrumental Album
Owl Song, Ambrose Akinmusire feat. Bill Frisell & Herlin Riley
Beyond This Place, Kenny Barron feat. Kiyoshi Kitagawa, Johnathan Blake, Immanuel Wilkins & Steve Nelson
Phoenix Reimagined (Live), Lakecia Benjamin
Remembrance, Chick Corea & Béla Fleck
Solo Game, Sullivan Fortner
Best Large Jazz Ensemble Album
Returning to Forever, John Beasley & Frankfurt Radio Big Band
And So It Goes, The Clayton-Hamilton Jazz Orchestra
Walk a Mile in My Shoe, Orrin Evans & The Captain Black Big Band
Bianca Reimagined: Music for Paws and Persistence, Dan Pugach Big Band
Golden City, Miguel Zenón
Best Latin Jazz Album
Spain Forever Again, Michel Camilo & Tomatito
Cubop Lives!, Luques Curtis, Zaccai Curtis, Willie Martinez, Camilo Molina & Reinaldo de Jesus
COLLAB, Hamilton de Holanda & Gonzalo Rubalcaba
Time and Again, Eliane Elias
El Trio: Live in Italy, Horacio ‘El Negro’ Hernández, John Beasley & José Gola
Cuba and Beyond, Chucho Valdés & Royal Quartet
As I Travel, Donald Vega feat. Lewis Nash, John Patitucci & Luisito Quintero
Best Alternative Jazz Album
Night Reign, Arooj Aftab
New Blue Sun, André 3000
Code Derivation, Robert Glasper
Foreverland, Keyon Harrold
No More Water: The Gospel of James Baldwin, Meshell Ndegeocello
Best Traditional Pop Vocal Album
À Fleur De Peau, Cyrille Aimée
Visions, Norah Jones
Good Together, Lake Street Dive
Impossible Dream, Aaron Lazar
Christmas Wish, Gregory Porter
Best Contemporary Instrumental Album
Plot Armor, Taylor Eigsti
Rhapsody in Blue, Béla Fleck
Orchestras (Live), Bill Frisell feat. Alexander Hanson, Brussels Philharmonic, Rudy Royston & Thomas Morgan
Mark, Mark Guiliana
Speak to Me, Julian Lage
Best Musical Theater Album
Hell’s KitchenShoshana Bean, Brandon Victor Dixon, Kecia Lewis & Maleah Joi Moon, principal vocalists; Adam Blackstone, Alicia Keys & Tom Kitt, producers (Alicia Keys, composer & lyricist) (Original Broadway Cast)
Merrily We Roll AlongJonathan Groff, Lindsay Mendez & Daniel Radcliffe, principal vocalists; David Caddick, Joel Fram, Maria Friedman & David Lai, producers (Stephen Sondheim, composer & lyricist) (New Broadway Cast)
The NotebookJohn Clancy, Carmel Dean, Kurt Deutsch, Derik Lee, Kevin McCollum & Ingrid Michaelson, producers; Ingrid Michaelson, composer & lyricist (Original Broadway Cast)
The OutsidersJoshua Boone, Brent Comer, Brody Grant & Sky Lakota-Lynch, principal vocalists; Zach Chance, Jonathan Clay, Matt Hinkley, Justin Levine & Lawrence Manchester, producers; Zach Chance, Jonathan Clay & Justin Levine, composers/lyricists (Original Broadway Cast) SuffsAndrea Grody, Dean Sharenow & Shaina Taub, producers; Shaina Taub, composer & lyricist (Original Broadway Cast)
The WizWayne Brady, Deborah Cox, Nichelle Lewis & Avery Wilson, principal vocalists; Joseph Joubert, Allen René Louis & Lawrence Manchester, producers (Charlie Smalls, composer & lyricist) (2024 Broadway Cast Recording)
Best Country Solo Performance
“16 CARRIAGES,” Beyoncé
“I Am Not Okay,” Jelly Roll
“The Architect,” Kacey Musgraves
“A Bar Song (Tipsy),” Shaboozey
“It Takes a Woman,” Chris Stapleton
Best Country Duo/Group Performance
“Cowboys Cry Too,” Kelsea Ballerini with Noah Kahan
“II MOST WANTED,” Beyoncé feat. Miley Cyrus
“Break Mine,” Brothers Osborne
“Bigger Houses,” Dan + Shay
“I Had Some Help,” Post Malone feat. Morgan Wallen
Best Country Song
“The Architect,” Shane McAnally, Kacey Musgraves & Josh Osborne, songwriters (Kacey Musgraves)
“A Bar Song (Tipsy),” Sean Cook, Collins Obinna Chibueze & Nevin Sastry, songwriters (Shaboozey)
“I Am Not Okay,” Casey Brown, Jason DeFord, Ashley Gorley & Taylor Phillips, songwriters (Jelly Roll)
“I Had Some Help,” Louis Bell, Ashley Gorley, Hoskins, Austin Post, Ernest Smith, Ryan Vojtesak, Morgan Wallen & Chandler Paul Walters, songwriters (Post Malone feat. Morgan Wallen)
“TEXAS HOLD ‘EM,” Brian Bates, Beyoncé, Atia Boggs, Elizabeth Lowell Boland, Megan Bülow, Nate Ferraro & Raphael Saadiq, songwriters (Beyoncé)
Best Country Album
COWBOY CARTER, Beyoncé
F-1 Trillion, Post Malone
Deeper Well, Kacey Musgraves
Higher, Chris Stapleton
Whirlwind, Lainey Wilson
Best American Roots Performance
“Blame It on Eve,” Shemekia Copeland
“Nothing in Rambling,” The Fabulous Thunderbirds feat. Bonnie Raitt, Keb’ Mo’, Taj Mahal & Mick Fleetwood
“Lighthouse,” Sierra Ferrell
“The Ballad of Sally Anne,” Rhiannon Giddens
Best Americana Performance
“YA YA,” Beyoncé
“Subtitles,” Madison Cunningham
“Don’t Do Me Good,” Madi Diaz feat. Kacey Musgraves
“American Dreaming,” Sierra Ferrell
“Runaway Train,” Sarah Jarosz
“Empty Trainload of Sky,” Gillian Welch & David Rawlings
Best American Roots Song
“Ahead of the Game,” Mark Knopfler, songwriter (Mark Knopfler)
“All in Good Time,” Sam Beam, songwriter (Iron & Wine feat. Fiona Apple)
“All My Friends,” Aoife O’Donovan, songwriter (Aoife O’Donovan)
“American Dreaming,” Sierra Ferrell & Melody Walker, songwriters (Sierra Ferrell)
“Blame It on Eve,” John Hahn & Will Kimbrough, songwriters (Shemekia Copeland)
Best Americana Album
The Other Side, T Bone Burnett
$10 Cowboy, Charley Crockett
Trail of Flowers, Sierra Ferrell
Polaroid Lovers, Sarah Jarosz
No One Gets Out Alive, Maggie Rose
Tigers Blood, Waxahatchee
Best Bluegrass Album
I Built a World, Bronwyn Keith-Hynes
Songs of Love and Life, The Del McCoury Band
No Fear, Sister Sadie
Live Vol. 1, Billy Strings
Earl Jam, Tony Trischka
Dan Tyminski: Live From The Ryman, Dan Tyminski
Best Traditional Blues Album
Hill Country Love, Cedric Burnside
Struck Down, The Fabulous Thunderbirds
One Guitar Woman, Sue Foley
Sam’s Place, Little Feat
Swingin’ Live at the Church in Tulsa, The Taj Mahal Sextet
Best Contemporary Blues Album
Blues Deluxe Vol. 2, Joe Bonamassa
Blame It on Eve, Shemekia Copeland
Friendlytown, Steve Cropper & The Midnight Hour
Mileage, Ruthie Foster
The Fury, Antonio Vergara
Best Folk Album
American Patchwork Quartet, American Patchwork Quartet
Weird Faith, Madi Diaz
Bright Future, Adrianne Lenker
All My Friends, Aoife O’Donovan
Woodland, Gillian Welch & David Rawlings
Best Regional Roots Music Album
25 Back to My Roots, Sean Ardoin And Kreole Rock And Soul
Live at the 2024 New Orleans Jazz & Heritage Festival, Big Chief Monk Boudreaux & The Golden Eagles feat. J’Wan Boudreaux
Live at the 2024 New Orleans Jazz & Heritage Festival, New Breed Brass Band feat. Trombone Shorty
Kuini, Kalani Pe’a
Stories From the Battlefield, The Rumble feat. Chief Joseph Boudreaux Jr.
Best Gospel Performance/Song
“Church Doors,” Yolanda Adams; Donald Lawrence & Sir William James Baptist, songwriters
“Yesterday,” Melvin Crispell III
“Hold On (Live),” Ricky Dillard
“Holy Hands,” DOE; Jesse Paul Barrera, Jeffrey Castro Bernat, Dominique Jones, Timothy Ferguson, Kelby Shavon Johnson, Jr., Jonathan McReynolds, Rickey Slikk Muzik Offord & Juan Winans, songwriters
“One Hallelujah,” Tasha Cobbs Leonard, Erica Campbell & Israel Houghton Featuring Jonathan McReynolds & Jekalyn Carr; G. Morris Coleman, Israel Houghton, Kenneth Leonard, Jr., Tasha Cobbs Leonard & Naomi Raine, songwriters
Best Contemporary Christian Music Performance/Song
“Holy Forever (Live),” Bethel Music, Jenn Johnson Featuring CeCe Winans
“Praise,” Elevation Worship feat. Brandon Lake, Chris Brown & Chandler Moore; Pat Barrett, Chris Brown, Cody Carnes, Steven Furtick, Brandon Lake & Chandler Moore, songwriters
“Firm Foundation (He Won’t),” Honor & Glory feat. Disciple
“In the Name of Jesus,” JWLKRS Worship & Maverick City Music feat. Chandler Moore; Austin Armstrong, Ran Jackson, Chandler Moore, Sajan Nauriyal, Ella Schnacky, Noah Schnacky & Ilya Toshinskiy, songwriters
“In the Room,” Maverick City Music, Naomi Raine & Chandler Moore feat. Tasha Cobbs Leonard; G. Morris Coleman, Tasha Cobbs Leonard & Naomi Raine, songwriters
“That’s My King,” CeCe Winans; Taylor Agan, Kellie Gamble, Lloyd Nicks & Jess Russ, songwriters
Best Gospel Album
Covered Vol. 1, Melvin Crispell III
Choirmaster II (Live), Ricky Dillard
Father’s Day, Kirk Franklin
Still Karen, Karen Clark Sheard
More Than This, CeCe Winans
Best Contemporary Christian Music Album
Heart of a Human, DOE
When Wind Meets Fire, Elevation Worship
Child of God, Forrest Frank
Coat of Many Colors, Brandon Lake
The Maverick Way Complete, Maverick City Music, Naomi Raine & Chandler Moore
Best Roots Gospel Album
The Gospel Sessions, Vol 2, Authentic Unlimited
The Gospel According to Mark, Mark D. Conklin
Rhapsody, The Harlem Gospel Travelers
Church, Cory Henry
Loving You, The Nelons
Best Latin Pop Album
Funk Generation, Anitta
El Viaje, Luis Fonsi
GARCÍA, Kany García
Las Mujeres Ya No Lloran, Shakira
ORQUÍDEAS, Kali Uchis
Best Música Urbana Album
nadie sabe lo que va a pasar mañana, Bad Bunny
Rayo, J Balvin
FERXXOCALIPSIS, Feid
LAS LETRAS YA NO IMPORTAN, Residente
att., Young Miko
Best Latin Rock or Alternative Album
Compita del Destino, El David Aguilar
Pa’ Tu Cuerpa, Cimafunk
Autopoiética, Mon Laferte
GRASA, NATHY PELUSO
¿Quién trae las cornetas?, Rawayana
Best Música Mexicana Album (Including Tejano)
Diamantes, Chiquis
Boca Chueca, Vol. 1, Carín León
ÉXODO, Peso Pluma
De Lejitos, Jessi Uribe
Best Tropical Latin Album
MUEVENSE, Marc Anthony
Bailar, Sheila E.
Radio Güira, Juan Luis Guerra 4.40
Alma, Corazón y Salsa (Live at Gran Teatro Nacional), Tony Succar, Mimy Succar
Vacilón Santiaguero, Kiki Valera
Best Global Music Performance
“Raat Ki Rani,” Arooj Aftab
“A Rock Somewhere,” Jacob Collier feat. Anoushka Shankar & Varijashree Venugopal
“Rise,” Rocky Dawuni
“Bemba Colorá,” Sheila E. feat. Gloria Estefan & Mimy Succar
“Sunlight to My Soul,” Angélique Kidjo Featuring Soweto Gospel Choir
“Kashira,” Masa Takumi feat. Ron Korb, Noshir Mody & Dale Edward Chung
Best African Music Performance
“Tomorrow,” Yemi Alade
“MMS,” Asake & Wizkid
“Sensational,” Chris Brown feat. Davido & Lojay
“Higher,” Burna Boy
“Love Me JeJe,” Tems
Best Global Music Album
Alkebulan II, Matt B feat. Royal Philharmonic Orchestra
Paisajes, Ciro Hurtado
Heis, Rema
Historias De Un Flamenco, Antonio Rey
Born in the Wild, Tems
Best Reggae Album
Take It Easy, Collie Buddz
Party With Me, Vybz Kartel
Never Gets Late Here, Shenseea
Bob Marley: One Love – Music Inspired By The Film (Deluxe), Various Artists
Evolution, The Wailers
Best New Age, Ambient, or Chant Album
Break of Dawn, Ricky Kej
Triveni, Wouter Kellerman, Eru Matsumoto & Chandrika Tandon
Opus, Ryuichi Sakamoto
Chapter II: How Dark It Is Before Dawn, Anoushka Shankar
Warriors of Light, Radhika Vekaria
Best Children’s Music Album
Brillo, Brillo!, Lucky Diaz and The Family Jam Band
Creciendo, Lucy Kalantari & The Jazz Cats
My Favorite Dream, John Legend
Solid Rock Revival, Rock for Children
World Wide Playdate, Divinity Roxx and Divi Roxx Kids
Best Comedy Album
Armageddon, Ricky Gervais
The Dreamer, Dave Chappelle
The Prisoner, Jim Gaffigan
Someday You’ll Die, Nikki Glaser
Where Was I, Trevor Noah
Best Audio Book, Narration, and Storytelling Recording
All You Need Is Love: The Beatles In Their Own Words (Various Artists), Guy Oldfield, producer
…And Your Ass Will Follow, George Clinton
Behind the Seams: My Life in Rhinestones, Dolly Parton
Last Sundays in Plains: A Centennial Celebration, Jimmy Carter
My Name Is Barbra, Barbra Streisand
Best Compilation Soundtrack for Visual Media
The Color Purple, Nick Baxter, Blitz Bazawule & Stephen Bray, compilation producers; Jordan Carroll and Morgan Rhodes, music supervisors (Various Artists)
Deadpool & Wolverine, Dave Jordan, Shawn Levy & Ryan Reynolds, compilation producers; Dave Jordan, music supervisor (Various Artists)
Maestro: Music by Leonard Bernstein, Bradley Cooper & Yannick Nézet-Séguin (London Symphony Orchestra); Bradley Cooper, Yannick Nézet-Séguin & Jason Ruder, compilation producers; Steven Gizicki, music supervisor
Saltburn, Emerald Fennell, compilation producer; Kirsten Lane, music supervisor (Various Artists)
Twisters: The Album, Ian Cripps, Brandon Davis, Joe Khoury & Kevin Weaver, compilation producers; Mike Knobloch & Rachel Levy, music supervisors (Various Artists)
Best Score Soundtrack for Visual Media (Includes Film and Television)
American Fiction, Laura Karpman, composer
Challengers, Trent Reznor & Atticus Ross, composers
The Color Purple, Kris Bowers, composer
Dune: Part Two, Hans Zimmer, composer
Shōgun, Nick Chuba, Atticus Ross & Leopold Ross, composers
Best Score Soundtrack for Video Games and Other Interactive Media
Avatar: Frontiers of Pandora, Pinar Toprak, composer
God of War Ragnarök: Valhalla, Bear McCreary, composer
Marvel’s Spider-Man 2, John Paesano, composer
Star Wars Outlaws, Wilbert Roget, II, composer
Wizardry: Proving Grounds of the Mad Overlord, Winifred Phillips, composer
Best Song Written for Visual Media
“Ain’t No Love in Oklahoma” (From Twisters: The Album)Jessi Alexander, Luke Combs & Jonathan Singleton, songwriters (Luke Combs)
“Better Place” (From TROLLS Band Together)Amy Allen, Shellback & Justin Timberlake, songwriters (*NSYNC & Justin Timberlake)
“Can’t Catch Me Now” (From The Hunger Games: The Ballad of Songbirds & Snakes)Daniel Nigro & Olivia Rodrigo, songwriters (Olivia Rodrigo)
“It Never Went Away” (From American Symphony)Jon Batiste & Dan Wilson, songwriters (Jon Batiste)
“Love Will Survive” (From The Tattooist of Auschwitz)Walter Afanasieff, Charlie Midnight, Kara Talve & Hans Zimmer, songwriters (Barbra Streisand)
Best Music Video
“Tailor Swif,” A$AP RockyVania Heymann & Gal Muggia, video directors; Natan Schottenfels, video producer
“360,” Charli xcxAidan Zamiri, video director; Jami Arceo & Evan Thicke, video producers
“Houdini,” EminemRich Lee, video director; Kathy Angstadt, Lisa Arianna & Justin Diener, video producers
“Not Like Us,” Kendrick LamarDave Free & Kendrick Lamar, video directors; Jack Begert, Cornell Brown, Sam Canter, Jared Heinke, Jamie Rabineau & Anthony Saleh, video producers
“Fortnight,” Taylor Swift feat. Post MaloneTaylor Swift, video director; Jil Hardin, video producer
Best Music Film
American Symphony, Jon BatisteMatthew Heineman, video director; Lauren Domino, Matthew Heineman & Joedan Okun, video producers
June (June Carter Cash)Kristen Vaurio, video director; Dan Goodman, Brian Hunt, Josh Matas, Sarah Olson, Jason Owen, Mary Robertson & Kristen Vaurio, video producers
Kings From Queens, Run-DMCKirk Fraser, video director; William H. Masterson III, video producer
Stevie Van Zandt: Disciple, Steven Van ZandtBill Teck, video director; Robert Cotto, David Fisher & Bill Teck, video producers
The Greatest Night in Pop (Various Artists)Bao Nguyen, video director; Bruce Eskowitz, George Hencken, Larry Klein, Julia Nottingham, Lionel Richie & Harriet Sternberg, video producers
Best Recording Package
The Avett Brothers, Scott Avett, Jonny Black & Giorgia Sage, art directors (The Avett Brothers)
Baker Hotel, Sarah Dodds & Shauna Dodds, art directors (William Clark Green)
BRAT, Charli XCX, Brent David Freaney & Imogene Strauss, art directors (Charli xcx)
F-1 Trillion, Archie Lee Coates IV, Jeffrey Franklin, Bobby Greenleaf, Blossom Liu, Kylie McMahon, Ana Cecilia Thompson Motta & Austin Post, art directors (Post Malone)
Hounds of Love The Baskerville Edition, Kate Bush & Albert McIntosh, art directors (Kate Bush)
Jug Band Millionaire, Andrew Wong & Julie Yeh, art directors (The Muddy Basin Ramblers)
Pregnancy, Breakdown, and Disease, Lee Pei-Tzu, art director (iWhoiWhoo)
Best Boxed or Special Limited Edition Package
Half Living Things, Nick Azinas & Mike Hicks, art directors (Alpha Wolf)
Hounds of Love The Boxes of Lost at Sea, Kate Bush & Albert McIntosh, art directors (Kate Bush)
In Utero, Doug Cunningham & Jason Noto, art directors (Nirvana)
Mind Games, Simon Hilton & Sean Ono Lennon, art directors (John Lennon)
Unsuk Chin, Takahiro Kurashima & Marek Polewski, art directors (Unsuk Chin & Berliner Philharmoniker)
We Blame Chicago, Rebeka Arce & Farbod Kokabi, art directors (90 Day Men)
Best Album Notes
After Midnight, Tim Brooks, album notes writer (Ford Dabney’s Syncopated Orchestras)
The Carnegie Hall Concert, Lauren Du Graf, album notes writer (Alice Coltrane)
Centennial, Ricky Riccardi, album notes writer (King Oliver’s Creole Jazz Band & Various Artists)
John Culshaw – The Art Of The Producer – The Early Years 1948-55, Dominic Fyfe, album notes writer (John Culshaw)
SONtrack Original De La Película “Al Son De Beno,” Josh Kun, album notes writer (Various Artists)
Best Historical Album
CentennialMeagan Hennessey & Richard Martin, compilation producers; Richard Martin, mastering engineer; Richard Martin, restoration engineer (King Oliver’s Creole Jazz Band and Various Artists)
Diamonds and Pearls: Super Deluxe EditionL. Londell McMillan, Charles F. Spicer, Jr. & Duane Tudahl, compilation producers; Brad Blackwood & Bernie Grundman, mastering engineers; Chris James, restoration engineer (Prince & The New Power Generation)
Paul Robeson – Voice of Freedom: His Complete Columbia, RCA, HMV, and Victor RecordingsTom Laskey, Shana L. Redmond, Susan Robeson & Robert Russ, compilation producers; Nancy Conforti & Andreas K. Meyer, mastering engineers (Paul Robeson)
Pepito y PaquitoPepe De Lucía & Javier Doria, compilation producers; Jesús Bola, mastering engineer; Jesús Bola, restoration engineer (Pepe De Lucía And Paco De Lucía)
The Sound of Music (Original Soundtrack Recording – Super Deluxe Edition)Mike Matessino & Mark Piro, compilation producers; Steve Genewick & Mike Matessino, mastering engineers; Mike Matessino, restoration engineer (Rodgers & Hammerstein & Julie Andrews)
Best Engineered Album, Non-Classical
AlgorithmDernst Emile II, Michael B. Hunter, Jordan Johnson, Stefan Johnson, Rachel Keen, John Kercy, Charles Moniz & Todd Robinson, engineers; Colin Leonard, mastering engineer (Lucky Daye)
Cyan BlueJack Emblem, Jack Rochon & Charlotte Day Wilson, engineers; Chris Gehringer, mastering engineer (Charlotte Day Wilson)
Deeper WellCraig Alvin, Shawn Everett, Mai Leisz, Todd Lombardo, John Rooney, Konrad Snyder & Daniel Tashian, engineers; Greg Calbi, mastering engineer (Kacey Musgraves)
EmpathogenBeatriz Artola, Zach Brown, Oscar Cornejo, Chris Greatti, Mitch McCarthy, Adam Schoeller & Willow Smith, engineers; Joe LaPorta, mastering engineer (WILLOW)
i/oTchad Blake, Oli Jacobs, Katie May, Dom Shaw & Mark “Spike” Stent, engineers; Matt Colton, mastering engineer (Peter Gabriel)
Short n’ SweetJack Antonoff, Bryce Bordone, Julian Bunetta, Serban Ghenea, Jeff Gunnell, Oli Jacobs, Ian Kirkpatrick, Jack Manning, Manny Marroquin, John Ryan & Laura Sisk, engineers; Nathan Dantzler & Ruairi O’Flaherty, mastering engineers (Sabrina Carpenter)
Best Engineered Album, Classical
Adams: Girls of the Golden WestAlexander Lipay & Dmitriy Lipay, engineers; Alexander Lipay & Dmitriy Lipay, mastering engineers (John Adams, Daniela Mack, Ryan McKinny, Paul Appleby, Hye Jung Lee, Elliot Madore, Julia Bullock, Davóne Tines, Los Angeles Philharmonic & Los Angeles Master Chorale)
Andres: The Blind BanisterSilas Brown, Doron Schachter & Michael Schwartz, engineers; Matt Colton, mastering engineer (Andrew Cyr, Inbal Segev & Metropolis Ensemble)
Bruckner: Symphony No. 7; Bates: ResurrexitMark Donahue & John Newton, engineers; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)
Clear Voices in the DarkDaniel Shores, engineer; Daniel Shores, mastering engineer (Matthew Guard & Skylark Vocal Ensemble)
Ortiz: Revolución DiamantinaAlexander Lipay & Dmitriy Lipay, engineers; Alexander Lipay & Dmitriy Lipay, mastering engineers (Gustavo Dudamel, María Dueñas, Los Angeles Philharmonic & Los Angeles Master Chorale)
Producer of the Year, Classical
Erica Brenner• Biber: Mystery Sonatas (Alan Choo, Jeannette Sorrell & Apollo’s Fire)• Handel: Israel in Egypt (Jeannette Sorrell, Apollo’s Singers & Apollo’s Fire)• Mozart: Piano Sonatas, Vols. 5 & 6 (Orli Shaham)• Songs for a Friend – A Tribute to Trumpeter Ryan Anthony (Various Artists)• Sonic Alchemy (YuEun Kim, Mina Gajić & Coleman Itzkoff)
Christoph Franke• Beethoven: The Complete Symphonies (Antonello Manacorda & Kammerakademie Potsdam)• Beethoven: Violin Sonatas Nos. 1, 5, 6 & 10 (Dénes Várjon & Antje Weithaas)• Brahms, Viotti & Dvořák: Orchestral Works (Tanja Tetzlaff, Christian Tetzlaff, Paavo Järvi & Deutsches Symphonie-Orchester Berlin)• Mozart: Sinigaglia (Noah Bendix-Balgley)• Rachmaninoff: Symphony No. 2 (Kirill Petrenko & Berliner Philharmoniker)• The Vienna Recital (Yuja Wang)
Morten Lindberg• Mor (Karen Haugom Olsen & Nidaros Domkor)• Pax (Nina T. Karlsen, Ensemble 96 & Current Saxophone Quartet)• Sommerro: Borders (Nick Davies & Trondheim Symphony Orchestra)
Dmitriy Lipay• Adams: Girls of the Golden West (John Adams, Daniela Mack, Ryan McKinny, Paul Appleby, Hye Jung Lee, Elliot Madore, Julia Bullock, Davóne Tines, Los Angeles Philharmonic & Los Angeles Master Chorale)• Messiaen: Des Canyons Aux Étoiles… (Ludovic Morlot & Seattle Symphony)• Ortiz: Revolución Diamantina (Gustavo Dudamel, Gabriela Ortiz, María Dueñas, Los Angeles Philharmonic, Los Angeles Master Chorale)
Elaine Martone• Bartók: String Quartet No.3; Suite From ‘The Miraculous Mandarin’ (Franz Welser-Möst & The Cleveland Orchestra)• The Book of Spells (Merian Ensemble)• Bruckner: Symphony No. 4 (Franz Welser-Möst & The Cleveland Orchestra)• Divine Mischief (Julian Bliss, J. Eric Wilson & Baylor University Wind Ensemble)• Joy! (John Morris Russell & Cincinnati Pops)• Prokofiev: Symphony No. 6 (Franz Welser-Möst & The Cleveland Orchestra)• Schubert: The Complete Impromptus (Gerardo Teissonnière)• Stranger at Home (Shachar Israel)• Tchaikovsky: Symphony No. 4 (Franz Welser-Möst & The Cleveland Orchestra)
Dirk Sobotka• American Dreams (Louis Langrée & Cincinnati Symphony)• Bruckner: Symphony No. 7; Bates: Resurrexit (Manfred Honeck & Pittsburgh Symphony Orchestra)• Dvořák: Symphony No. 9, ‘From The New World’; American Suite (Nathalie Stutzmann & Atlanta Symphony Orchestra)• Radiance Untethered – The Choral Music of John Wykoff (Cameron F. Labarr & Missouri State University Chorale)
Best Immersive Audio Album
AvalonBob Clearmountain, immersive mix engineer; John Webber, immersive mastering engineer; Rhett Davies & Bryan Ferry, immersive producers (Roxy Music)
Genius Loves CompanyMichael Romanowski, Eric Schilling & Herbert Waltl, immersive mix engineers; Michael Romanowski, immersive mastering engineer; John Burk, immersive producer (Ray Charles With Various Artists)
Henning Sommerro: BordersMorten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Morten Lindberg, immersive producer (Trondheim Symphony Orchestra)
i/o (In-Side Mix)Hans-Martin Buff, immersive mix engineer; Peter Gabriel, immersive producer (Peter Gabriel)
PaxMorten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Morten Lindberg, immersive producer (Ensemble 96 & Current Saxophone Quartet)
Best Instrumental Composition
“At Last,” Shelton G. Berg, composer (Shelly Berg)
“Communion,” Christopher Zuar, composer (Christopher Zuar Orchestra)
“I Swear, I Really Wanted to Make a “Rap” Album But This Is Literally The Way The Wind Blew Me This Time,” André 3000, Surya Botofasina, Nate Mercereau & Carlos Niño, composers (André 3000)
“Remembrance,” Chick Corea, composer (Chick Corea & Béla Fleck)
“Strands,” Pascal Le Boeuf, composer (Akropolis Reed Quintet, Pascal Le Boeuf & Christian Euman)
Best Arrangement, Instrumental or A Cappella
“Baby Elephant Walk – Encore,” Michael League, arranger (Snarky Puppy)
“Bridge Over Troubled Water,” Jacob Collier, Tori Kelly & John Legend, arrangers (Jacob Collier Featuring John Legend & Tori Kelly)
“Rhapsody in Blue(Grass),” Béla Fleck, arranger (Béla Fleck Featuring Michael Cleveland, Sierra Hull, Justin Moses, Mark Schatz & Bryan Sutton)
“Rose Without the Thorns,” Erin Bentlage, Alexander Lloyd Blake, Scott Hoying, A.J. Sealy & Amanda Taylor, arrangers (Scott Hoying Featuring säje & Tonality)
“Silent Night,” Erin Bentlage, Sara Gazarek, Johnaye Kendrick & Amanda Taylor, arrangers (säje)
Best Arrangement, Instruments and Vocals
“Alma,” Erin Bentlage, Sara Gazarek, Johanye Kendrick & Amanda Taylor, arrangers (säje Featuring Regina Carter)
“Always Come Back,” Matt Jones, John Legend & Sufjan Stevens, arrangers (John Legend)
“b i g f e e l i n g s,” Chris Greatti, Zach Tenorio & Willow, arrangers (WILLOW)
“Last Surprise (From Persona 5),” Charlie Rosen & Jake Silverman, arrangers (The 8-Bit Big Band Featuring Jonah Nilsson & Button Masher)
“The Sound of Silence,” Cody Fry, arranger (Cody Fry feat. Sleeping at Last)
Best Orchestral Performance
“Adams: City Noir, Fearful Symmetries & Lola Montez Does the Spider Dance”Marin Alsop, conductor (ORF Vienna Radio Symphony Orchestra)
“Kodály: Háry János Suite; Summer Evening & Symphony In C Major”JoAnn Falletta, conductor (Buffalo Philharmonic Orchestra)
“Ortiz: Revolución Diamantina”Gustavo Dudamel, conductor (Los Angeles Philharmonic)
“Sibelius: Karelia Suite, Rakastava, & Lemminkäinen”Susanna Mälkki, conductor (Helsinki Philharmonic Orchestra)
“Stravinsky: The Firebird”Esa-Pekka Salonen, conductor (San Francisco Symphony)
Best Opera Recording
“Adams: Girls of the Golden West”John Adams, conductor; Paul Appleby, Julia Bullock, Hye Jung Lee, Daniela Mack, Elliot Madore, Ryan McKinny & Davóne Tines; Dmitriy Lipay, producer (Los Angeles Philharmonic; Los Angeles Master Chorale)
“Catán: Florencia En El Amazonas”Yannick Nézet-Séguin, conductor; Mario Chang, Michael Chioldi, Greer Grimsley, Nancy Fabiola Herrera, Mattia Olivieri, Ailyn Pérez & Gabriella Reyes; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
“Moravec: The Shining”Gerard Schwarz, conductor; Tristan Hallett, Kelly Kaduce & Edward Parks; Blanton Alspaugh, producer (Kansas City Symphony; Lyric Opera Of Kansas City Chorus)
“Puts: The Hours”Yannick Nézet-Séguin, conductor; Joyce DiDonato, Renée Fleming & Kelli O’Hara; David Frost, producer (Metropolitan Opera Orchestra; Metropolitan Opera Chorus)
“Saariaho: Adriana Mater”Esa-Pekka Salonen, conductor; Fleur Barron, Axelle Fanyo, Nicholas Phan & Christopher Purves; Jason O’Connell, producer (San Francisco Symphony; San Francisco Symphony Chorus; Timo Kurkikangas)
Best Choral Performance
“Clear Voices in the Dark”Matthew Guard, conductor (Carrie Cheron, Nathan Hodgson, Helen Karloski & Clare McNamara; Skylark Vocal Ensemble)
“A Dream So Bright – Choral Music of Jake Runestad”Eric Holtan, conductor (Jeffrey Biegel; True Concord Orchestra; True Concord Voices)
“Handel: Israel In Egypt”Jeannette Sorrell, conductor (Margaret Carpenter Haigh, Daniel Moody, Molly Netter, Jacob Perry & Edward Vogel; Apollo’s Fire; Apollo’s Singers)
“Ochre”Donald Nally, conductor (The Crossing)
“Sheehan: Akathist”Elaine Kelly, conductor; Melissa Attebury, Stephen Sands & Benedict Sheehan, chorus masters (Elizabeth Bates, Paul D’Arcy, Tynan Davis, Aine Hakamatsuka, Steven Hrycelak, Helen Karloski, Enrico Lagasca, Edmund Milly, Fotina Naumenko, Neil Netherly, Timothy Parsons, Stephen Sands, Miriam Sheehan & Pamela Terry; Novus NY; Artefact Ensemble, The Choir of Trinity Wall Street, Downtown Voices & Trinity Youth Chorus)
Best Chamber Music/Small Ensemble Performance
“Adams, J.L.: Waves & Particles,” JACK Quartet
“Beethoven for Three: Symphony No. 4 And Op. 97, ‘Archduke,’” Yo-Yo Ma, Leonidas Kavakos & Emanuel Ax
“Cerrone: Beaufort Scales,” Beth Willer, Christopher Cerrone & Lorelei Ensemble
“Home,” Miró Quartet
“Rectangles and Circumstance,” Caroline Shaw & Sō Percussion
Best Classical Instrumental Solo
“Akiho: Longing,” Andy Akiho
“Bach: Goldberg Variations,” Víkingur Ólafsson
“Eastman: The Holy Presence of Joan D’Arc,” Seth Parker Woods, conductor
“Entourer,” Mak Grgić (Ensemble Dissonance)
“Perry: Concerto for Violin & Orchestra,” Curtis Stewart; James Blachly, conductor (Experiential Orchestra)
Beyond the Years – Unpublished Songs of Florence Price, Karen Slack, soloist; Michelle Cann, pianist
Best Classical Solo Vocal Album
A Change Is Gonna Come, Nicholas Phan, soloist; Palaver Strings, ensembles
Bespoke Songs, Fotina Naumenko, soloist; Marika Bournaki, pianist (Nadège Foofat; Julietta Curenton, Colin Davin, Mark Edwards, Nadia Pessoa, Timothy Roberts, Ryan Romine, Akemi Takayama, Karlyn Viña, Garrick Zoeter & Julian Schwarz)
Show Me the Way, Will Liverman, soloist; Jonathan King, pianist
Wagner: Wesendonck Lieder, Joyce DiDonato, soloist; Maxim Emelyanychev, conductor (Il Pomo d’Oro)
Best Classical Compendium
Akiho: BeLongingAndy Akiho & Imani Winds; Andy Akiho, Sean Dixon & Mark Dover, producers
American CounterpointsCurtis Stewart; James Blachly, conductor; Blanton Alspaugh, producer
Foss: Symphony No. 1; Renaissance Concerto; Three American Pieces; OdeJoAnn Falletta, conductor; Bernd Gottinger, producer
Mythologies IISangeeta Kaur, Omar Najmi, Hilá Plitmann, Robert Thies & Danaë Xanthe Vlasse; Michael Shapiro, conductor; Jeff Atmajian, Emilio D. Miler, Hai Nguyen, Robert Thies, Danaë Xanthe Vlasse & Kitt Wakeley, producers
Ortiz: Revolución DiamantinaGustavo Dudamel, conductor; Dmitriy Lipay, producer
Best Contemporary Classical Composition
“Casarrubios: Seven for Solo Cello”Andrea Casarrubios, composer (Andrea Casarrubios)
“Coleman: Revelry”Valerie Coleman, composer (Decoda)
“Lang: Composition as Explanation”David Lang, composer (Eighth Blackbird)
“Ortiz: Revolución Diamantina”Gabriela Ortiz, composer (Gustavo Dudamel, Los Angeles Philharmonic & Los Angeles Master Chorale)
“Saariaho: Adriana Mater”Kaija Saariaho, composer; Amin Maalouf, librettist (Esa-Pekka Salonen, Fleur Barron, Nicholas Phan, Christopher Purves, Axelle Fanyo, San Francisco Symphony Chorus & Orchestra)
Is Ye finally looking to move past his troubled history with Taylor Swift?
On Sunday (Feb. 2), just hours before the 67th annual Grammy Awards, the rapper and fashion mogul — formerly known as Kanye West — raised eyebrows regarding his relationship with the pop superstar, posting a cryptic message on his Instagram Story to reveal that he was now following only one person on the platform: Swift.
“1 following,” Ye, 47, posted to his 20.6 million followers, sharing a screenshot of his Instagram page. The next post showed Swift, 35, as the lone person he follows.
As of Saturday night, Ye had unfollowed everyone — including his wife, Bianca Censori — except for Swift, according to TMZ.
Trending on Billboard
In addition to Swift, Ye also posted about his recent Grammy nomination for “Carnival,” his collaboration with Ty Dolla $ign, which is nominated for best rap song at this year’s ceremony. The track, also featuring Rich the Kid and Playboi Carti, hit No. 1 on the Billboard Hot 100 chart last March.
“Thank you to the Grammies for nominating Carnival,” Ye wrote on IG alongside a photo of a Grammy trophy. The image tagged the likes of Swift, Ty Dolla $ign, Playboi Carti, Rich the Kid and the Recording Academy.
It’s still unclear whether Ye will attend the ceremony, which is set to air live from the Crypto.com Arena in Los Angeles. Swift and Beyoncé, both of whom are nominated for album of the year, are expected to be there. Bey leads the nominations with 11, while Swift has six, including her nod for The Tortured Poets Department, alongside Beyoncé’s Cowboy Carter.
Ye and Swift’s relationship has been one of the most notorious feuds in the music industry. It all began in 2009 when Ye interrupted Swift’s VMA acceptance speech to declare that Beyoncé deserved the best female video award instead. Though the two eventually reconciled, their tension reignited when Ye claimed in his 2016 track “Famous” that the incident helped launch Swift’s career.
When Swift slammed Ye for the song, he claimed that he got the “Karma” singer’s blessing on a phone call before its release, which she denied. After that, his then-wife Kim Kardashian posted an edited recording of their conversation to portray Swift as a liar, something the latter spoke about as recently as last year.
“You have a fully manufactured frame job, in an illegally recorded phone call, which Kim Kardashian edited and then put out to say to everyone that I was a liar,” she told TIME in her Person of the Year cover story in December 2023. “That took me down psychologically to a place I’ve never been before. I moved to a foreign country. I didn’t leave a rental house for a year. I was afraid to get on phone calls. I pushed away most people in my life because I didn’t trust anyone anymore. I went down really, really hard.”
Check out the complete timeline of Ye and Swift’s relationship here.
Following a feel-good performance from Post Malone who sang “Sunflower,” which he called “my only good song,” Sir Lucian Grainge introduced the 2025 Industry Icon, Jody Gerson – but not before acknowledging the tragedy Los Angeles has just endured. “The wildfires this past month have inflicted enormous levels of suffering and loss upon way too many people, including many of our colleagues and artists and songwriters. Let’s take this moment to remind ourselves that, as a community, we must remain united in our resolve to help bring relief to those who have been affected…But even as we begin to recover from this tragedy, we must not fail to celebrate those things in life that deserve celebration. They provide the inspiration for the better future we envision and will build together…So, tonight, it is my privilege, and, indeed, it is my great pleasure, to introduce and celebrate Jody Gerson, a true industry icon who rightly deserves celebration.”
And after sharing just some of her career highlights across the past three decades — during which she’s championed artists including Adele, Bad Bunny, Justin Bieber Billie Eilish, Kendrick Lamar and more — Gerson herself took to the stage to reflect and rejoice in her many successes, starting with the first time she successfully snuck into this exact party years ago. “When I finally did receive my first official invite to attend, it was a big moment in my career,” she recalled.” I remember it well; It was the year Alicia Keys released her debut album, Songs in A Minor, and, Clive, I was so happy to share in its success with you.” She then shouted out the work she and Keys continue to do together through their foundation, She Is the Music, which increases the number of women working in the music business.
Gerson went on to share that when Harvey Mason Jr. called with the news of her honor, she was “stunned.” She thought back to being a “precocious little girl” who would hang at her father and grandfather’s New Jersey club where everyone from Sinatra to Diana Ross and the Supremes would perform. “I spent a lot of time at the club, often backstage, watching the artists and musicians before they went on stage. I studied them…I saw how my dad dealt with them. I watched everything, missed nothing, and definitely saw more than I should have. After all, it was the 70s…Even at that young age, I knew that I wanted a career in the music business.”
“But I want my impact to reach beyond the boundaries of the music business,” she continued, sharing that she recently joined the board of the non-profit Project Healthy Minds, which makes mental health services more easily accessible. She noted that in conjunction with material losses from the wildfires, “there is an unprecedented toll on the mental health of many who live here. We are anxious. Many of us are depressed and traumatized and we feel out of control. What is happening in Los Angeles now is reflective of what is going on in our country as a whole. We have a mental health crisis that must be dealt with…But by normalizing the pursuit of mental health care, we should applaud iconic artists like Billie Eilish, Selena Gomez, Demi Lovato, Chappel Roan and so many more who have helped to lessen the stigma surrounding mental health care and made it ok for many to seek help for the first time.”
Despite all the good Gerson has done for the music community and beyond, she concluded by saying her greatest joy is being a mom. “My mom always said that I could have it all, and I do: An incredible career and a wonderful family.” (Her daughter was later heard saying, “I’m so proud of you.”)
But before stepping off stage, Gerson brought the focus back to the evening’s main mission: to help a hurting community heal. “Music can brighten even our darkest days, and we surely need artists to bring light into the world,” she said. “Now, more than ever.”
We all know that Prince was a musical genius, but at the Recording Academy’s Special Merit Awards on Saturday (Feb. 1), Jimmy Jam, formerly of The Time, told of other keys to Prince’s success – he was willing to outwork anybody and he could be something of a taskmaster. “He had the best work ethic of anybody I ever met,” Jam said flatly.
Jam recalled workshopping The Time’s 1982 hit “777-9311” (which Prince co-wrote with Morris Day). Prince kept giving Jam notes, pushing him to improve various aspects of the performance and choreography. Some might have chafed at all the notes, but Jam took Prince’s tutoring the right way. “What that lesson taught me was that he saw me as better than I saw myself.” Jam added that he has tried to pass that on. “I want to enlighten other people to their greatness.”
Prince was one of seven artists to receive lifetime achievement awards at this year’s ceremony, which was held at its usual home, the Wilshire Ebell Theater in Los Angeles. Lifetime achievement awards also went to The Clash, Frankie Valli, Frankie Beverly, Dr. Bobby Jones, Taj Mahal and Roxanne Shante. The trustees award recipients were Erroll Garner, Glyn Johns and Tania León. Dr. Leo Beranek was the Technical Grammy Award honoree.
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Several people spoke in the Prince tribute – Prince’s niece Rihanna Nelson (accompanied by her daughter and her twin sons, who wore tuxes with tennis shoes); Jam and Jerome Benton of The Time; Andre Cymone and Bobby Z. of Prince’s backing bands; Prince’s longtime manager/attorney L. Londell McMillan, and Charles F. Spicer Jr., a partner in managing Prince’s legacy.
“He was an advocate for artist rights,” McMillan said. “He didn’t put ‘Slave’ on his face just for fun. He wanted to take a stand.”
Bobby Z. said he met Prince when he was 19. “He was one of the most gifted human beings that ever lived; the greatest entertainer that ever lived,” a line that received applause from the audience.
Several awards were presented posthumously. R&B singer Beverly died in September; Prince and Dr. Beranek both died in 2016; Joe Strummer of The Clash died in 2002; and Garner, the composer of the pop standard “Misty,” died in 1977. The Recording Academy has presented trustees awards since 1967 (classical conductor George Solti and his producer John Culshaw were the first recipients). It’s remarkable that it took the academy 48 years to get around to Garner.
Most of the special merit award recipients every year are advanced in age. This year, four are in their 80s. Valli is 90.
Producer/engineer Glyn Johns, 82, joked about that in his acceptance speech. “Having been notified of this award in November, my main objective has to remain alive until today. Well, I made it!,” he said.
Valli made note of how long it took the Recording Academy to get around to him. Valli has never won a Grammy, on his own or in the Four Seasons, which landed their first three No. 1 hits on the Billboard Hot 100 in 1962-63. “This has been an incredible evening,” he said. “I don’t know what took so long, but that’s the way it goes.”
Chuck D of Public Enemy (which received a lifetime achievement award in 2020) accepted for The Clash. The rapper marveled at the breadth of talent being honored on the night, singling out jazz pianist Error Garner, rock producer/engineer Glyn Johns and rapper Roxanne Shante. He read an acceptance speech from the surviving members of The Clash, which concluded with their thanks to Chuck D for accepting the award for them. “As you heard our voice, we also heard yours,” a nice example of cross-genre respect.
Shante’s 1985 R&B hit “Roxanne’s Revenge,” an answer record to UTFO’s “Roxanne, Roxanne,” was described as the first rap diss track. Shante is 55, making her the youngest of this year’s honorees. Shante said when she learned of her award, she finally felt she had made it. She said when an artist enters the business, they want three things – a record that gets on the Billboard charts, to get paid for it, and to win a Grammy. Now, she said, she has realized all three goals. Shante also paid her respects to Biz Markie, the “Just a Friend” hitmaker who died in 2021 at age 57. “I lost my hip-hop brother,” she said.
Taj Mahal was accompanied by two of his daughters as he accepted his award. He suggested that his path in music may have been pre-ordained. His parents met at a Chick Webb/Ella Fitzgerald concert at the Savoy Ballroom in Harlem in 1937.
Most of the awards were accepted by the recipients, or family members, in the case of the recipients who have died. The award to Frankie Beverly was accepted by his son, Anthony Beverly, and by Ronald “Roame” Lowry, a longtime member of Beverly’s group, Maze. Lowry said that the group’s classic “Before I Let Go” is “the most danceable song about breaking up.”
The award to acoustics expert Dr. Leo Beranek, the Technical Grammy Award honoree, was accepted by his son, Tom Haynes. “My dad accomplished many things, working until he was 87 on concert halls in Japan,” he said. Beranek died in 2016 at age 102.
The academy also presented its music educator of the year award to Adrian L. Maclin of Cordova High School outside Memphis, Tenn., who said when he was a boy his dream was to become an artist and win a Grammy. His path segued into music education and now he has won a Grammy by turning other kids onto music.
The final presentation of the night was the Harry Belafonte Best Song for Social Change Award. This was the third year the award has been presented; the first since it was named in honor of the late singer, actor and activist, whose daughters Gina and Shari Belafonte were present. The award originated as a Special Merit Award but was recategorized as a CEO’s Merit Award.
Iman Jordan, who won for his song “Deliver,” noted that “Nina Simone said that art should reflect the times – and I wasn’t hearing much of that.” He co-wrote the winning song with his father, Roy Gartrell, along with Ariel Loh and Tam Jones.
Many have said that the Special Merit Award ceremony is warmer and more congenial than the following night’s Grammys. But one thing is missing. There are video packages before every presentation, but not a note of live music. If nothing else, the music educator award could include a performance by some of his/her prized pupils, and the winner of the Song for Social Change award could be performed.
Several of this year’s recipients had already received major honors. Prince was inducted into the Rock & Roll Hall of Fame in 2004, received a lifetime achievement award at the BET Awards in 2010, and was honored by the Songwriters Hall of Fame in July 2024 (he had been voted in while he was alive, but scheduling the presentation proved difficult).
Valli was voted into the Rock & Roll Hall of Fame (as a member of the Four Seasons) in 1990, followed by The Clash in 2003 and producer Glyn Johns in 2012. Maze featuring Frankie Beverly received a lifetime achievement award at the BET Awards in 2012. León received a Kennedy Center Honor in 2022.
Lifetime Achievement Awards are presented to performers who have made creative contributions of outstanding artistic significance to the field of recording.
Trustees Awards are presented to individuals who have made significant contributions, other than performance, to the field of recording.
Technical Grammy Awards are presented to individuals, companies, organizations or institutions who have made contributions of outstanding technical significance to the recording field.
André 3000, who’s nominated for album of the year at the 2025 Grammy Awards, will not be in attendance at Sunday’s (Feb. 2) ceremony in Los Angeles.
“Unfortunately, I’m not able to attend the GRAMMYs tomorrow but some of the New Blue Sun musicians, friends and supporters will be in attendance,” he wrote in an Instagram post on Saturday (Feb. 1), not giving the reason for his absence.
André’s instrumental album New Blue Sun competes with Beyoncé’s Cowboy Carter, Sabrina Carpenter’s Short n’ Sweet, Charli XCX’s Brat, Jacob Collier’s Djesse Vol. 4, Billie Eilish’s Hit Me Hard and Soft, Chappell Roan’s The Rise and Fall of a Midwest Princess and Taylor Swift’s The Tortured Poets Department at this year’s awards show. Album of the year is one of the most anticipated honors to be handed out at the Grammys.
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New Blue Sun is also up for the Grammy for best alternative jazz album, and the Outkast member’s “I Swear, I Really Wanted to Make a ‘Rap’ Album But This Is Literally The Way The Wind Blew Me This Time” is nominated for best instrumental composition.
In his statement on Saturday, André added, “Our album was conceived and recorded in Los Angeles with the spirit of openness and creative collaboration. We hope that the rebound of Los Angeles is swift and renewing.”
“Congrats to all the musicians and collaborators being acknowledged,” he said. “Keep playing.”
In November, he commented on his nominations during an interview, saying, “I’m just happy to get paid attention to. The awards are nice because you know at that point more people get to listen and pay attention to what you’re doing, so more than anything, that’s what I love about it.” He also noted he’ll be working on new music in 2025.
The 2025 Grammys will be broadcast live on Feb. 2 from the Crypto.com Arena in Los Angeles, starting at 8 p.m. ET/5 p.m. PT. Trevor Noah hosts the 67th annual ceremony.
See his announcement in its entirety below.
The Recording Academy announced on its social media channels Friday (Jan. 31) that Lady Gaga & Bruno Mars and Shaboozey are performing on the 2025 Grammy Awards, set for Sunday. Gaga and Mars will “perform a special tribute to the city of Los Angeles and those affected by the wildfires” that devastated parts of the city in January.
The academy usually holds one or two big names until the last minute to build up buzz and excitement. These artists certainly qualify. Gaga & Mars’ swoon-worthy ballad “Die With a Smile” has been No. 1 on the Billboard Hot 100 for the past four weeks. Shaboozey’s “A Bar Song (Tipsy)” logged 19 weeks at No 1 on that chart last year, tying the all-time record in the chart’s 68-year history.
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With Shaboozey being added to the lineup, seven of the eight nominees for best new artist will be performing on the telecast: Benson Boone, Chappell Roan, Doechii, RAYE, Sabrina Carpenter, Shaboozey and Teddy Swims. (The eighth best new artist nominees, Khruangbin, have not been announced as performers.)
Shaboozey is nominated for five Grammys, including record of the year. Gaga & Mars are nominated for two, including song of the year. The Gaga/Mars smash was released Aug. 16, 2024, just two weeks before the end of the Grammy eligibility year. If it had more time to fully blossom before Grammy balloting was under way, it might well have also received a coveted record of the year nod.
Live from Crypto.com Arena in L.A. and hosted by Trevor Noah, Music’s Biggest Night will be broadcast live on Sunday (Feb. 2) at 8 p.m. ET/5 p.m. PT on CBS. The show will also be available to stream live and on demand on Paramount+.
This year’s telecast will carry an added sense of purpose: raising funds to support L.A. wildfire relief efforts and honoring the bravery and dedication of first responders.
A series of special performances will highlight the show, including a salute to the life and legacy of Grammy legend Quincy Jones, tributes to the spirit of Los Angeles, and the annual In Memoriam segment.
This is the fifth consecutive year that Noah has hosted the show. He will become the first comedian to host the Grammys five times. He’s also a Grammy nominee for best comedy album for Where Was I. If he wins, he’ll become just the second Grammy host to win on a night that he or she hosted. Kenny Rogers was the first, in 1980.
The 67th Annual Grammy Awards will be produced by Fulwell 73 Productions for the Recording Academy for the fourth consecutive year. Ben Winston, Raj Kapoor and Jesse Collins are executive producers.
This year’s Premiere Ceremony, where the vast majority of Grammys are presented, will stream live at 3:30 p.m. ET/12:30 p.m. PT on the Recording Academy’s YouTube channel and on the Grammy website. The show will be held at Peacock Theater in the LA Live complex in Los Angeles (which also encompasses Crypto.com Arena). Justin Tranter, a Grammy nominee for song of the year for co-writing Chappell Roan’s “Good Luck, Babe,” is set to host the Premiere Ceremony for the second year in a row.
Kelsea Ballerini believes there’s room for everyone in the country world. While visiting SiriusXM’s Fierce: Women in Music, the “Peter Pan” star shared her support for Beyoncé, who shifted into the country music space with her Billboard 200-topping album Cowboy Carter and faced unnecessary controversy for her decision to do so. The project is nominated for […]
After years of linking up with the South’s buzziest rappers and crafting Billboard Hot 100 hits — like “Peaches & Eggplants” (No. 33), with longtime collaborator Young Nudy — ATL-bred producer Coupe added a very special accolade to his collection: his very first Grammy-nominated production.
At the 67th Annual Grammy Awards – which will be held on Feb. 2 at Crypto.com Arena in Los Angeles, and also serve as a fundraiser for those impacted by the devastating January fires – Latto’s “Big Mama,” which Coupe co-produced alongside Oz and Masterpiece, is nominated for best melodic rap performance. Should Billboard’s No. 5 Hottest Female Rapper of 2024 take home the trophy, Coupe will receive a winner’s certificate.
Half come-hither rap ballad and half high-octane trap banger, “Big Mama” served as the third single from Latto’s Sugar Honey Iced Tea album. The track reached No. 92 on the Hot 100 and No. 23 on Hot R&B/Hip-Hop Songs. Buoyed by celebrated performances at WHTA (Hot 107.9) Birthday Bash and the 2024 BET Awards, “Big Mama” helped its parent album hit No. 15 on the Billboard 200 and No. 1 on Rap Albums, making Latto the first solo female rapper from ATL to ever top that ranking. In addition to “Big Mama,” Coupe also produced “Brokey” and “S/O to Me” from Sugar Honey Iced Tea.
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“Big Mama” will have to take down “Spaghettii” (Beyoncé, Shaboozey & Linda Martell), “3:AM” (Rapsody & Erykah Badu), “Kehlani” (Jordan Adetunji & Kehlani) and “We Still Don’t Trust You” (Future, Metro Boomin & The Weeknd) to take home the trophy, but the Recording Academy’s is still an incredible stamp for one of hip-hop’s most exciting producers.
Outside of his work with Latto in 2024, Coupe also contributed tracks to hit albums from 21 Savage (American Dream) and GloRilla (Glorious). For the former, he produced the Summer Walker-assisted “Prove It,” which spent two weeks atop Rhythmic Airplay.
With just days to go before Music’s Biggest Night, Coupe took a brief pause from working on a “Detroit R&B love record” for Real Boston Richey to speak with Billboard and reflect on working on his first Grammy-nominated song.
“I’m probably gonna miss the Grammys [because] I got some family stuff going on, but I definitely will be coming soon,” he promises. “It means even more to me, because [music is] something that my dad wanted to do. He’s kind of living his dream through me. [“Big Mama” taking] the Grammy home would be next level.”
Tell me about the first time you linked with Latto in the studio.
We had been trying to get together for a while, but our schedules weren’t aligning. But we finally got together at Doppler Studios, and I played her the beat for 21 Savage’s “Prove It” in our first session. She actually recorded something to that beat in the same vein as “Prove It.” We worked on a couple of other records too. The vibe was great, we told each other how much we were fans of each other. We just clicked instantly.
How did “Big Mama” come together?
When the first version of the track was made, it was still a two-part beat. She had the first part of it from Oz, and then the second part was from another producer. She had only recorded the first half of the song, and she had an idea of what she wanted based on what she and [producer] Go Grizzly did. She called me and was like, “I like this first part, but I’m not vibing to the second beat.” Her and Pooh Beatz, who was helping me out with the record, were like, “Bro, we need some Coupe stuff for the second part! We need something turnt to switch it up.”
They needed the beat that day. We had a session at 8 p.m., they called me at like 6 p.m. and I made the beat in 5-10 minutes. I headed to the studio early and that’s how we got the full beat to the song; Oz and Kid Masterpiece did the first portion, and I did the second. We put them together and they matched perfectly, and then we finished the song.
What went through your head the moment you heard the final track?
We were like, “This is the one for sure.” She had been working on the album for two years, and I came in a year into [the process]. She was like, “I need some lit vibes; let me know what I’m missing.” [“Big Mama”] has a mellow tone to it, but also a turn-up tone; I felt like that’s what was missing from the whole [Sugar Honey Iced Tea] album [at that point].
And I haven’t heard many girls do beat switches either. The males in hip-hop really love to do that, so to have a female rapper actually rap two different styles on one song felt groundbreaking to me.
When was the first time you saw her perform the song live?
The first time I saw her perform the song live was at [WHTA (Hot 107.9)] Birthday Bash – and that was before the song was officially out. That’s a big thing now in hip-hop, to have things leak or tease them early. She also performed it at the BET Awards and got a lot of positive comments. Those kinds of reactions let me know that the music is connecting.
Where were you when you found out about the nomination?
I was actually at my house with my family. I’m not gonna lie, it took me by surprise. I didn’t know what to do! It’s my first [Grammy-nominated] song and it’s a big thing, so I showed my kids, like, “Your daddy’s [song is] nominated for a Grammy!” They didn’t even know what it was because they’re so young. [Laughs.]
The Grammys mean everything to me. It’s like winning the championship ring. You work your whole life from [childhood] making music, and you build yourself up to this point where the highest honor you can get is the Grammy. There’s nothing greater than it. When you win that, that’s like winning the championship. To even be nominated is like going to the playoffs or the finals. We gotta win these finals!
How much of an influence was your father on your musical journey?
I’ve been doing music all my life. I played drums in church from 5-6 [years old], up until I was like 10 or 11, then I started playing piano and organ. My dad taught me all of that; he’s been playing since his younger days. As soon as I was born, they threw me on an instrument and was like, “You need to play.” And I’ve been doing it since birth. I used to sing in the choir too. As far as producing, I started doing that in 2014-15. But my dad was pivotal to it all; he loved the ‘70s and Earth, Wind & Fire and Rick James. That’s why ‘70s is my favorite type of music now.
What’s one ‘70s song that you’ve always wanted to sample?
“Reasons” by Earth, Wind & Fire.
You also worked on albums by 21 Savage and GloRilla last year. How do you adapt your sound for different artists while maintaining your artistic integrity?
As producers, our job is to serve the artist. I just try to stay true to the artist’s sound while implementing my sound. Every artist has a direction that they want to go in for their projects, so I try to fill that void they’re missing. But I still keep my integrity; I have weird drum patterns, my hi-hats are loud, my kicks hit hard!
GloRilla is from Memphis, for example. Three 6 Mafia loves Isaac Hayes, so that’s why I sampled “Ike’s Mood I” on “Let Her Cook.” That’s a traditional Memphis sound. 21 Savage loves R&B, so I wanted to sample Faith Evans’ “You Are My Joy,” which is one of the best R&B interludes ever to me. I use whatever tools they give me and then expound on them with my sound.
What was it like hearing “Prove It” on the radio for the first time?
Man, I loved it. It’s funny because I was in the car with a girl at the time. When it came on, she was like, “Ain’t this your song?” [Laughs.] It was definitely a moment for me. “Prove It” was one of those songs that, as soon as they sent it to me, I was like, “This is definitely going to be a radio record.” And once we got Summer Walker on it, it was a go.
Who’s left on your bucket list of collaborators?
Definitely SZA. She’s at the top of the list; I love her voice and her sound and the way her music reminds me of how I feel about Faith Evans back in the day. Of course, the GOATs Kendrick [Lamar] and Drake. André 3000 is definitely on that list too. I would love to do just one record with him. “Life of the Party” is a classic record to me, and I know he wasn’t even trying. He just needs to have fun and let it flow. Out of the older generation: he and Project Pat for sure.
What you got cooking up for 2025?
Me and [Young] Nudy are about to lock back in; we took a little hiatus to work on other things for the last two years. Might be a project between me and him, so I’m excited about that.
Me and JT just locked in for like two or three days and, I’m not going to lie, we made some crazy records. Her and Latto, female-wise, I love them. They’re so talented.
Who do you think will win best rap album? Who do you think should win?
That’s a hard question, because usually any time Eminem is in a “best rap” category, he wins. But I definitely think that Metro and Future should win, because they shifted culture last year. I’m always about that. Kendrick’s “Like That” verse shifted the whole culture, and the album itself is so good – especially with them not working together for so long.
Speaking of Kendrick, do you think he can pull off a win in record or song of the year (or both!) for “Not Like Us?”
For sure. Kendrick is a groundbreaking artist. He’s definitely going to win both of those — more than likely.
Along with the awards handed out throughout the night, the Grammy Awards always deliver star-studded performances — and this year is no different.
The 2025 Grammy performers announced so far include Benson Boone, Billie Eilish, Charli XCX, Chappell Roan, Cynthia Erivo, Doechii, Stevie Wonder, Coldplay’s Chris Martin, Lainey Wilson, Herbie Hancock, Brittany Howard, Brad Paisley, Teddy Swims, Janelle Monáe, John Legend, Sheryl Crow, St. Vincent, Jacob Collier, Raye, Sabrina Carpenter and Shakira.
Six of the performers — Boone, Roan, Doechii, Raye, Carpenter and Swims — are all nominated for best new artist. The other two nominees, Shaboozey and Khruangbin, have not been announced as performers.
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Additionally, there will be a salute to the late Grammy legend Quincy Jones, who died in November at age 91, as well as tributes to the city of Los Angeles and the annual In Memoriam performance.
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Let us know by voting here and below. The 2025 Grammy Awards, which will be hosted by Trevor Noah are set to return to Los Angeles’ Crypto.com Arena on Sunday, Feb. 2. The show, which will help to raise funds for those who were affected by the Los Angeles wildfires, will broadcast live at 8 p.m. ET/5 p.m. PT on CBS and will be available to stream live and on demand via Paramount+.
If you haven’t noticed, this year’s lineup of major Grammy contenders is unspeakably loaded: The biggest names in music, from the long-dominant superstars to the quick-rising new faces to the most compelling comeback artists in recent memory, will have a presence at the 67th annual Grammy Awards, which will be held on Sunday night (Feb. 2) at Crypto Arena in Los Angeles. Sure, there are a few left-of-center nominees in the Big Four general categories (album of the year, record of the year, song of the year and best new artist), but the large majority of the bolded names will sound familiar — and they’ll all be competing for the same hardware.
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A handful of artists not only stand to collect the top prizes come Grammy night, but to dominate the narrative around the ceremony, owning the chatter that follows in the hours and days once all the stars shuffle out of the arena. And while some artists could win multiple Big Four awards but not the album of the year trophy — like Kendrick Lamar, who could win both record of the year and song of the year with “Not Like Us” — only six artists (all women!) have a chance to win the top prize, album of the year, as well as at least one other Big Four award. In doing so, they would take hold of the headlines post-ceremony, and claim Grammy night as their own.
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With that in mind, here are the 6 artists who could dominate the narrative of the 2025 Grammys, the awards they would need to win in order to do so, and what those dominant performances would mean, big-picture.
Billie Eilish
What She’d Need To Win: Album of the year for Hit Me Hard and Soft, plus record of the year and/or song of the year for “Birds of a Feather”
What It Would Signify: An awards-show force continuing her unstoppable pace. Five years after becoming the second artist in Grammys history to sweep the Big Four categories, Eilish is back as a contender in album of the year, record of the year and song of the year; if anyone doubted her staying power following her dominance of the 2020 ceremony, Eilish has put those concerns to bed by earning multiple Big Four nods in four of the last five years, as well as follow-up wins in record of the year (for “Everything I Wanted” in 2021) and song of the year (for “What Was I Made For?” last year). Of course, it’s not just the Recording Academy that has lavished praise upon the pop superstar — Eilish owns multiple Academy Awards for Best Original Song, a 23-year-old with more Oscars to her name than Leonardo DiCaprio or Al Pacino.
Eilish could keep up her astonishing success rate on Sunday night thanks to “Birds of a Feather” — one of the biggest mainstream hits of her career, still squarely in the top 10 of the current Hot 100 more than eight months into its chart run — and Hit Me Hard and Soft, another acclaimed full-length that made her three-for-three with album of the year nominations. We witnessed a scorching-hot run like this in the 2010s from Adele, who took home a pair of album of the year trophies in 2012 and 2017, respectively. If Eilish takes home the top prize on Sunday night, she will have basically replicated that run for a new decade.
Taylor Swift
What She’d Need To Win: Album of the year for The Tortured Poets Department, plus record of the year and/or song of the year for “Fortnight” (featuring Post Malone)
What It Would Signify: History books being quickly rewritten. Thanks to her 2024 album of the year for Midnights, Swift already owns the all-time record for most wins in the category, with four (she previously won for Fearless, 1989 and Folklore). That total could stand for exactly one year if Swift once again emerges victorious in the category, this time for The Tortured Poets Department — which she happened to announce on the Grammys stage last year, and proceeded to give Swift the biggest first-week debut of her career last April.
However, album of the year might not be the most meaningful category at this year’s ceremony for Swift, who is up for six awards. The superstar also owns the record for career nominations in song of the year, with eight — but has yet to take home the award. “Fortnight,” her TTPD chart-topper with Post Malone, could change that on Sunday night, achieving what songs like “You Belong With Me,” “Lover” and “All Too Well (10 Minute Version)” could not. So regardless of what happens in album of the year, Swifties could be very pleased with the outcome of Grammy night, then turn their attentions toward rooting like hell for Kansas City in the Super Bowl next Sunday.
Charli XCX
What She’d Need to Win: Album of the year for Brat, plus record of the year for “360”
What It Would Signify: A dramatic Grammys comeback narrative that somehow allows us to compare Charli XCX to… Santana! Prior to 1999’s Supernatural album, Carlos Santana had existed outside of the mainstream and top 40 radio for several years, but mega-smashes like “Smooth” and “Maria Maria” returned him to the Billboard charts and eventually resulted in an album of the year win in 2000. A quarter-century later, Charli — who was nominated for record of the year as the guest on Iggy Azalea’s No. 1 smash “Fancy” in 2015, then didn’t show up in the Big Four for years, in spite of consistent output — has a chance to similarly dominate Grammy night with Brat, an album that transformed the British pop star from cult hero to arena headliner.
Brat earned Charli both the best reviews of her career and the most success of any of her albums, a triumphant (and expertly marketed) project that served as the new highlight of for longtime fans and an introduction to a new generation of listeners. This campaign has already been a whirlwind success for Charli, and any wins across her seven nominations would be gravy. But the moment could be the exclamation point on an unexpected mainstream return if Charli emerges from Grammy night as the biggest winner and paints the ceremony Brat-green.
Chappell Roan
What She’d Need to Win: Album of the year for The Rise and Fall of a Midwest Princess, plus record of the year and/or song of the year for “Good Luck, Babe!,” or best new artist
What It Would Signify: The rare first-album co-sign by the Recording Academy. In the 21st century, only two debuts have walked away with the album of the year trophy: Come Away With Me by Norah Jones in 2003, and When We All Fall Asleep, Where Do We Go?, by current album of the year competitor Billie Eilish, in 2020. That list could grow this weekend if The Rise and Fall of a Midwest Princess, Chappell Roan’s spectacular pop debut, takes home the top prize — an unthinkable outcome 16 months ago, when the album was released to little fanfare in September 2023. With Roan gaining steam while opening for Olivia Rodrigo’s 2024 tour, then scoring the first top 10 hit of her career with the non-album single “Good Luck, Babe!” however, the album became a late-blooming chart smash, and the singer-songwriter earned nominations in all of the Big Four categories.
Midwest Princess winning album of the year would certainly be a cool outcome, akin to the Recording Academy giving Eilish the Big Four clean sweep five years ago; both Eilish and Roan crafted debut albums that challenged pop norms, and promoted them with outspoken, singular identities that were embraced by younger listeners. Even if Roan wins album of the year but misses the Big Four sweep, any general category victory would be a clear sign that the Academy views her as pop’s future, and deserves to be acknowledged immediately.
Sabrina Carpenter
What She’d Need to Win: Album of the year for Short n’ Sweet, plus record of the year for “Espresso,” song of the year for “Please Please Please,” or best new artist
What It Would Signify: The completion of a breathtaking rise to the A-list. A year ago, Sabrina Carpenter was a veteran recording artist beloved by pop diehards but still searching for a true crossover hit. Now, she’s had three top 10 smashes on the Hot 100 — “Espresso,” her spring breakthrough up for record of the year; “Please Please Please,” the summer chart-topper up for song of the year; and “Taste,” the fall radio mainstay — as well as a No. 1 album with Short n’ Sweet, an arena headlining tour, a Hollywood romance, and enough brand deals to keep her in regular rotation on most commercial breaks.
A major night at the Grammys would be the cherry on top of a whirlwind year for Carpenter, who released five full-lengths prior to Short n’ Sweet but never came close to this level of awards recognition. Like Roan, she is a presence in all of the Big Four categories; unlike Roan, she has different singles nominated in record of the year and song of the year, a testament to her power as a hit-maker in 2024. Carpenter is going to be a mainstream presence for a very long time whatever happens on Grammy night, but multiple general category wins would nudge a remarkable upward trajectory even higher.
Beyoncé
What She’d Need to Win: Album of the year for Cowboy Carter, plus record of the year and/or song of the year for “Texas Hold ’Em”
What It Would Signify: Queen Bey checking off the one remaining box. Beyoncé currently owns the records for most Grammy nominations and most Grammy wins, but famously has not been able to take home the album of the year prize, despite four previous nods for her solo albums. Cowboy Carter, her chart-topping foray into country and Americana, was not the most critically lavished or commercially successful project of Bey’s career, but its conceptual boldness and sky-high execution helped Beyoncé earn the most nominations of any artist at the 2025 Grammys, with 11.
Some could view Cowboy Carter becoming the project to finally give Beyoncé an album of the year trophy as a lifetime-achievement win for a relatively lesser work; others could claim that Cowboy Carter is the most audacious album that Bey has ever released, and that she pulled off the genre-hop masterfully. Regardless, a win would allow the BeyHive to finally exhale, after years and multiple ceremonies of their favorite superstar going home without the top award. And while No. 1 hit “Texas Hold ’Em” winning record of the year or song of the year would signify a nice victory, all eyes will be on the album prize.