News
Page: 4
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.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
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.
Trending on Billboard
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+.
HipHopWired Featured Video
Source: The Washington Post / Getty / Mark Zuckerberg
Mark Zuckerberg is one of the many big tech CEOs who decided to kiss Donald Trump’s ring following his unfortunate presidential election win. Now, he’s defending his decision to suck up Trump.
Per the New York Times, the Meta chief defended his embrace of Orange Mussolini and his lame administration, loosening restrictions on online speech and ending diversity, equity, and inclusion directives during a wide-ranging question-and-answer meeting with Meta employees.
“I want to be clear, after the last several years, we now have an opportunity to have a productive partnership with the United States government,” Zuckerberg said to employees in a video obtained and shared by the New York Times. “We’re going to take that.”
Zuck said it’s “fundamental” that his company cooperates with governments worldwide while criticizing the previous administration.
“The government can sort of be actively opposing you, trying to get in the way and add a lot of friction, or can be actively trying to help you break down barriers to help you,” he explained. “It’s the right thing to do.”
Mark Zuckerberg Claims Meta Has A “Good Track Record” Regarding DEI
When talking about the Meta getting rid of its DEI teams, Zuckerberg claimed it was a sign of the current times we are now in, where DEI is under attack from the White House and Republican officials and being used as an excuse when things like the recent American Airlines flight crash happen.
“We’re in the middle of a pretty rapidly changing policy and regulatory landscape that views any policy that might advantage any one group of people over another as something that is unlawful,” he said. “Because of that, we and every other institution out there are going to need to adjust.”
In the same breath, Zuckerberg said he believes Meta has a “good track record” regarding diversity and having a diverse workforce.
Meta Employees We’re Not Feeling The Meeting
As expected, the meeting did not go well with some employees, specifically those upset at the format changes. In previous years, employees were allowed to vote on what questions would be asked of Zuckerberg, but that was not the case for this meeting.
A side chat room that allowed employees to provide live commentary during the meeting was also gone.
According to the tech CEO, the changes were intentional because of an increasing number of leaks.
“I think there are a bunch of things that are value-destroying that I’m not going to talk about,” he said, referring to the types of questions that have become public. “Maybe it’s the nature of running a company of this scale. But it’s a little bit of a bummer.”
According to the New York Times, following the meeting, the company sent employees an internal memo warning them they would be terminated if they spoke to the media.
Meta sounds like it is no longer a fun workplace and is an extension of the Trump White House.
Perhaps the most asked question in the Arabic music landscape in 2024 was, “What’s the story with Al Shami?” Those who hadn’t tracked his rise over the past four years suddenly found themselves caught in the whirlwind of his explosive success last year, marked by hit releases, smashed records, electrifying live shows and a trove of awards. As the industry watched Al Shami’s YouTube channel soar to a billion views with just five tracks, the spotlight intensified, and his rapid ascent became a case study of unprecedented success, closely watched by both his peers and experienced artists.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Billboard Arabia first took notice of the young star in the summer of 2023, leading to an in-depth interview at the start of 2024. In the time between, Al Shami’s rise accelerated, with record-breaking numbers and artistic milestones keeping us engaged week after week. At just 22, he became one of the year’s most talked-about artists.
Trending on Billboard
Al Shami
Patrick Mechekany/Billboard Arabia
Al Shami’s Milestones in 2024
He topped the Billboard Arabia Hot 100 after releasing the summer hit “Wein,” making our headline that week “Al Shami did it and became the youngest artist to top the charts.” His songs never left the top five in both of Billboard Arabia’s main charts, Hot 100 and Top 100 Artists, throughout the year and he remained at the top of the Top 50 Levantine Songs chart most weeks. At the end of the year, he walked away from the Billboard Arabia Music Awards with four trophies: Top Levantine Song and Top Indie Arab Song for his track “Sabra,” Best Levantine Artist, and Artist of the Year – Levantine Dialect, making him one of the most celebrated artists of the evening alongside superstar Sherine Abdel Wahab.
Alongside these pivotal achievements, 2024 marked a major milestone for Al Shami as he took the stage for the first time, officially launching his live performance career. While this might seem routine for seasoned musicians, it represents a significant shift in today’s evolving music landscape. It underscores the contrast between certain Gen Z artists—who rise to fame through platforms like TikTok and streaming services—and earlier generations, who built their careers through more traditional methods. For artists like Al Shami, performing live and connecting with an audience is a defining moment, revealing whether their art, creative process and collaboration with their teams can successfully transition into the realm of live music or remain confined to digital streams and online success.
This remarkable shift in Al Shami’s career journey saw him move from preparing for his debut concerts in Beirut, as he shared in our first interview, to completing a global tour that extended beyond the Arab world to Europe, America and Canada. Along the way, we witnessed his incredible growth, including a memorable joint concert in Dubai with Levantine music legend George Wassouf. During our conversation with Al Shami, we played a clip from his previous interview and asked for his thoughts. Al-Shami reflected, “Today, after roughly 12 months, I’ve done 30 or more concerts around the world, and so many wild things have happened. When I was singing in Dubai at the Global Village, I was standing in front of almost 35,000 people trying to see the end of this crowd, thinking about how a year ago I was scared of my first concert! What’s happening?” He continued: “Sometimes I don’t know if anyone notices, but while I’m singing I freeze… thinking about how this year has been insane. After performing ‘Ya Leil W Yal Ein,’ I think about how I don’t want to be just a one-hit artist, but how I want my music to be an identity and a genre in itself.”
Future Collabs With Music Icons
Even though his 2023 release, “Ya Leil W Yal Ein,” wasn’t his first song, it was the one that officially put Al Shami on the map. Before that, he was simply experimenting with friends, blending rap and pop in tracks he uploaded to YouTube. He steadily built a fanbase within his generation through TikTok, staying connected by frequently going live, sharing his music and opening up about his dreams. Today, he commands a devoted fan army, much like global pop and K-pop icons in recent years. His rise exemplifies how the new generation of artists are rewriting the rules of success—leveraging social media to cultivate a following before stepping into the traditional industry spotlight.
Al Shami
Patrick Mechekany/Billboard Arabia
As with any new artistic phenomenon, there are voices of criticism alongside those of celebration and support. In Al Shami’s case, however, the scales seem to tip more toward appreciation. Many established artists have praised his journey, while some have taken it a step further by collaborating with him. Just weeks ago, we saw Al Shami in the studio with Melhem Zein, recording a new duet written and composed by Al Shami himself. This collaboration marks a significant moment for both artists. Melhem Zein, one of the standout voices of the Millennial generation and among the top talents from the Levant in the past two decades, chose to embrace the new wave of artists instead of competing with them or pushing them aside. Al Shami reflected on this collaboration, saying, “He was open to the kind of music I create and even encouraged me to write and compose something for us. That’s a bold move on his part because he comes from a different background.” For Al Shami, this was a meaningful acknowledgement from a great artist that what he presents is indeed “art.”
Al Shami hinted at the possibility of collaborating on a new duet with superstar Tamer Hosny, sparking excitement after a photo of the two surfaced following a private family gathering and some intriguing conversations. If this collaboration comes to life, it will be a dream come true for countless young fans across Egypt and the Levant. Nearly two decades before Al Shami’s rise, Tamer Hosny was the ultimate youth icon, seamlessly blending music and cinema, earning him the title “Star of the Generation” from his devoted audience. Al-Shami shared his thoughts on the meeting, saying, “I never show up in the media with people I don’t genuinely like. For me, I have to admire them, listen to their music, and feel a real connection to say that I am excited to meet them and work together, whether it is through writing or composing for them. And surely Tamer Hosny is one of the people I love,” he continued, explaining that he has been a fan of Tamer since the start of his fame and used to hang his picture on the wardrobe in his childhood home.
Between our first and second interviews with Al-Shami, the conversation evolved significantly. In our initial discussion, he shared his journey as a young man who fled Syria for Turkey, turning to the internet—especially TikTok—in search of his passion. Once he found it, he pursued professionalism step by step.
For this cover interview, however, we spoke with a confident star at the peak of his career, navigating a future filled with tours, awards and new artistic milestones—all while striving to maintain his mental well-being and balance. Yet, through it all, Al-Shami remained calm and humble, calling Billboard Arabia his “family.” His gratitude was evident as he reflected on the support from our platform and the media, acknowledging how Billboard Arabia’s charts and weekly data not only amplified his music and journey but also played a pivotal role in shaping his success and securing his well-deserved accolades.
With a lineup of 27 legendary acts across two venues to raise money for wildfire victims and rebuilding efforts, Thursday night’s FireAid benefit concert was poised to be an epic night. But what transpired at the Kia Forum and Intuit Dome in Inglewood, California, turned out to be even more historic than anyone could have […]
In our new “The Stars Behind the Stars” franchise, Billboard Latin and Billboard Español editors share stories that have yet to be told, directly from those who aren’t often in front of the spotlight. Think “todo lo que no se ve detrás de cámaras,” or “everything that happens behind the scenes.” These unsung heroes are essential to an artist’s team and its foundation. Today, we highlight Marlene Maseda, a Miami-based music publicist whose agency Fusion 4 Media celebrates 10 years this month.
Explore
See latest videos, charts and news
See latest videos, charts and news
In the early 2000s, Marlene Maseda was one of the first publicists to work the reggaetón genre, when she was independently hired by the Machete Music label to represent its roster of artists — which included Don Omar, Hector El Father, Magnate y Valentino, Glory, and Luny Tunes, among others.
Trending on Billboard
“I was pretty much the first publicist who worked in the urban market,” she tells Billboard. “I had it tough, because at the time, none of the media outlets wanted to support urban music. They didn’t understand it. However, I was the first publicist putting these artists on popular shows like Sabado Gigante and Despierta America.”
Today, she’s the founder and COO of Fusion 4 Media, a publicity and marketing agency based in Miami, Fla. that’s celebrating 10 years since its launch this month. Her current roster includes Ivy Queen, Baby Rasta y Gringo, Pimpinela, J Alvarez, Paloma San Basilio and former Grupo Mania member Oscarito.
As a Cuban-American-Lebanese businesswoman, she also takes a lot of credit for supporting and helping shape the Cuban music scene in Miami. Most notably is her former client Osmani García, whom she worked with for almost 10 years. García, known as one of the pioneers of Cubaton (or Cuban reggaetón), gained international success via Pitbull’s “El Taxi” in collaboration with Sensato and Lil Jon. The song peaked No. 13 on the Hot Latin Songs chart in 2015.
But prior to working as a publicist, Maseda, 51, worked at concert venues such as the James L. Knight Center, where she booked shows for Tina Turner, Sting, Whitney Houston and Stevie Wonder. In her early 20s, she landed her “dream job” at Sony Discos, where she worked closely with music executives Alba “Albita” Eagan and Jorge Pino. And for eight years, she ventured into television, as part of the booking and production team of Alexis Valdes’ Esta Noche Tonight show.
“It hasn’t been easy, it’s not a walk in the park, but it’s worth it,” she says of her career today. Below, learn more about this month’s “Star Behind the Stars,” our first of 2025.
Ivy Queen and Marlene Maseda
Courtesy Photo
After so many years working in touring, record labels, and television, what made you want to branch out to build your own PR agency?
I feel that I had a good reputation and that people liked me. I had gained a lot of contacts and built many relationships when I worked on the Alexis Valdes show. It was the No. 1 show in the industry at the time. We had the biggest artists go to the show, but at the same time, I wanted to be on the other side of that — I wanted to be the one who takes the artists to these shows and sees their dreams come true. I felt that it was the moment. There wasn’t a certain time, but it was a feeling. I felt that I was ready, and I’m glad that I took the chance. It’s been 10 years of maintaining myself and proving that I could do it. It hasn’t been a walk in the park, but it’s worth it.
You’ve worked with notable artists such as Ivy Queen, Justin Quiles, El Tri, and Pimpinela, but you’re also known for representing a lot of the artists in the Cubaton and Reparto music scene.
We [Fusion 4 Media] were the first ones who started working with Cuban artists, because a lot of people didn’t want to get involved with their genre. Divan, Osmani, Los Van Van, Chacal y Yakarte — and then it became a trend. I feel that I take chances and it pays off. Look at the movement today. Now I’m working with Bebeshito, one of the hottest Cuban acts right now, who’s doing amazing things.
Do you face any challenges as a publicist for Cuban stars? And what change would you like to see in the movement?
Yes! Cuban artists are very misunderstood. They come from a country that’s oppressed. They don’t have access as we do to social media. They have a different mentality. In Cuba, you can be the No. 1 artist, but when you come to Miami, you’re one in a million. It’s a culture shock. I feel that someone needs to open the doors and give them a chance.
There’s definitely a market for it. I’ve never seen the craziness as I do with Bebeshito at his shows. The Cuban community sees it, he’s made an impact. The media is very powerful, and with the media support of these Cuban artists, a lot of great things can happen and a lot of doors will open for them. That’s what we need more of, the media’s respect.
What would you say is your proudest career moment until now?
Taking these Cuban artists to television networks like Telemundo and Univision for the first time. I’m making their dream come true. Another proud moment was securing Osmani Garcia a spot to sing at Times Square in New York City during New Year’s Eve in 2023. He was on live television on Telemundo, performing right when the ball dropped. That was a huge moment for me, because I’ve worked his career since he came to Miami — and to see someone who’s worked hard and perform at an international stage was incredible for me.
Looking back at your career in the Latin music industry, what do you owe your success to?
I had the best mentors. I had the people that I needed to have by my side to help me excel in this career. They saw something special in me, they invested their time in me. The most important thing is taking advice from the people you admire and who you know want to see you grow. I’m so proud that as a woman in the industry, I did everything with my own merit. Everybody is different and has their own way of getting things done, but from day one, I knew that I’m intelligent, focused, and wanted to leave a mark.
Marlene Maseda
Courtesy Photo
The 2025 Grammys are nearly here! With a record number of LGBTQ+ nominees at Sunday’s show, take some time to get ahead of next year’s ceremony with these new tracks from your favorite queer artists. Billboard Pride is proud to present the latest edition of Queer Jams of the Week, our roundup of some of the best new music releases from LGBTQ+ artists.
Explore
See latest videos, charts and news
See latest videos, charts and news
From Sasami’s excellent collaboration with Clairo to Julien Baker and Torres’ new ballad, check out just a few of our favorite releases from this week below:
Trending on Billboard
Sasami ft. Clairo, “In Love With a Memory”
The best collaborations are the ones that put two artists together and push both of them to create a new sound within the context of a single song. That’s exactly what Sasami and Clairo accomplish on “In Love With a Memory,” the gorgeous new track off the former’s forthcoming album Blood on the Silver Screen. From the jump, the vibe of “Memory” is immediately pared down from the moody electropop Sasami has become known for, while also providing a jolt of energy to Clairo’s softer offerings. The result is a reflective mid-tempo pop track that sees both artists expertly blending their vocals to make a cinematic portrait of a relationship at its end.
Julien Baker & Torres, “Sylvia”
Speaking of successful collaborations, Julien Baker and Torres are back with yet another excellent example of their combined power. Where “Sugar in the Tank” felt like something of a thesis statement for their forthcoming country album, “Sylvia” leans into the pair’s respective singer-songwriter roots, as they sing an ode to Torres’ canine companion. Still sticking to their folksy, rooted sound, Baker and Torres manage to create something both nostalgic and fresh with this beautiful ballad.
Cat Burns, “Girls!”
Sometimes, you just have to say exactly what it is you’re singing about in the title of a song. UK pop artist Cat Burns has already made plenty of waves for her frank songwriting and buttery vocals, but “Girls!” adds even more dimensions to the singer’s artistry. This bubbly new track sees Burns sharing her admiration for all things female — including “different energies,” the spectrum of “masc and femininity” — all while letting her sound explode into a burst of funky guitars and cascading synths on the delirious post-chorus.
Skaiwater, “Pop”
For anyone looking for a pseudo-pop rap alternative to Travis Scott this week, may we humbly recommend this delectable new single from Skaiwater. “Pop” feels like a distillation of all the facets that have make the rising artist a critical darling into one 3 minute package. Disjointed beats manage to sync up perfectly with their digitized voice, as the rapper narrates the tale of a relationship that just cannot possibly work out. Skaiwater makes “Pop” sound like a stream-of-consciousness confession happening in real time, but just one listen tells you that their attention to every detail of their sound is what makes a record like this so deeply fascinating.
Miya Folick, “Fist”
Penting up emotions tends to lead to an explosion down the line. “Fist,” the latest track off Miya Folick’s upcoming album Erotica Veronica, takes that idea and translates it as literally as possible into music. Starting out with a simple acoustic guitar and soft vocals, Folick lets her partner know that all is not what it seems from the opening line: “I’ve been cooking dinner/ Hoping you’ll forgive me for not wanting to swallow you.” As the intesity builds, so does the instrumentation — guitars are plugged in, drums are added and eventually, there are no more words to describe how Folick is feeling. Only a guttural scream in the song’s last 90 seconds can encapsulate the whirlwind of emotion from this cathartic banger.
Maddie Zahm, “Sheets”
Maddie Zahm is ready to burn it all down on her latest single. A fiery bassline and small chorus of backup singers bring some weight to “Sheets,” but no production elements can evoke as strong an image as Zahm’s growling voice as she confronts her ex about how quickly they’ve moved on. The party is over and Zahm is ready to say it exactly how it is, bringing a “f–k around and find out” attitude we’ve yet to see from her. If you ever hurt someone bad enough to get them to write the phrase “did you tell her how you’ll kiss her ’til a new b–ch has you on your knees,” maybe take a moment to reflect on your choices.
Dreamer Isioma, “Did You Ever Care” / “Dead End”
Nigerian-American singer-songwriter Dreamer Isioma has always been interested in creating an aesthetic that no one has ever seen before with their performance. They’ve never been more successful at that feat than on their pair of new singles “Did You Ever Care” and “Dead End.” Swinging wildly between gothic pop and angsty rock, Isioma spends two songs painting a portrait of unrequited obsession followed by painful realization, all rendered through the prism of their otherworldly voice. If you haven’t managed to board the Dreamer Isioma hype train, now is an ideal time for you to get on board.
Charlie Houston, Big After I Die
Want to get in on the groud floor with a very talented new artist? Looking for good songwriting and killer production? Need something silly to cut some of the darker parts of being alive right now? Charlie Houston checks all of those boxes and then some on her debut album Big After I Die. Over the course of 9 songs, the singer-songwriter tackles everything from love that almost makes you scared of yourself (“Lighter”) to a love for organizational charts (“Slut for Excel”), Houston brings a lifetime of observations and idiosyncrasies into this winking LP, and it’s well worth every single one of its 30 minutes.
Check out all of our picks below on Billboard’s Queer Jams of the Week playlist:
Billboard Unfiltered closes out January with another jam-packed episode talking all things Grammy Award predictions, Snoop Dogg’s inauguration performance backlash response, DJ Akademiks’ Twitch ban and more.
Explore
Explore
See latest videos, charts and news
See latest videos, charts and news
Snoop Dogg was criticized by many fans for his involvement with the D.C. Crypto Ball following Donald Trump’s inauguration earlier this month and he brushed off the haters. “For all the hate I’m going to answer with love, I love too much,” he said. “Get your life right, stop worrying about mine.”
Trending on Billboard
On the public relations side, senior charts & data analyst Trevor Anderson believes Snoop took a major hit. “I don’t know if Snoop needed to do this,” he said. “You know who your fan base is… I don’t think Snoop needs a bag that bad. He was just getting paid a gazillion to be on the Olympics coverage.”
Staff writer Kyle Denis wasn’t surprised at Snoop’s decision to be involved with the Crypto Ball, but did call it “disappointing.”
“Knowing what his previous stance was… To see him go back on that was disappointing,” Denis added. “If the bag seems to be over where 47 is, that’s where people are going to go… I understand Trump pardoned ‘Harry O’ — Death Row co-founder — but you don’t gotta lick the boot 24/7.”
DJ Akademiks was reportedly banned from Twitch following a conversation with a 15-year-old streamer where he made inappropriate comments that were taken as grooming and subsequently went viral on X and IG.
Ak responded to the Twitch ban and promised to make it right while going off on other streamers such as Plaqueboymax, who condemned his comments. “I never need to be on Kai, Max, Adin’s stream,” he said. “I don’t need to be on anybody’s stream. I got my own thing going on.”
Deputy editorial director Damien Scott believes Akademiks has very little to fear with his platform moving forward. “Number one, he’s built this audience that doesn’t care what we consider to be moral norms,” he said. “Brands are gonna be tough for him. Even on YouTube, I’m sure his reach is going to be limited… He doesn’t really need a platform, he can go off and do something on his own and a good chunk of the audience will follow him there.”
Kendrick Lamar leads all rappers with seven nominations and many believe he’ll be taking home plenty of hardware on Sunday (Feb. 3) at the 2025 Grammy Awards, which kicks off a busy month as he’ll be heading to the Super Bowl the following week.
“I think the brother is going to take home five,” deputy director of R&B/hip-hop Carl Lamarre said of Lamar.
Scott thinks Doechii’s Alligator Bites Never Heal is going to win best rap album. “I’m shocked at how well it’s been received,” he said. “It’s a good pick. It comes from a house that is known for producing super high-quality.”
While “Not Like Us” is favored to win best rap performance, Denis could see GloRilla’s “Yeah Glo!” pulling off the upset. “She got that momentum. That song is a hit, it’s a banger,” he said. “The only way I see [Kendrick] losing is if he splits enough votes between ‘Not Like Us’ and ‘Like That.’”
Find all of the crew’s Grammy predictions plus more much in the episode below.
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.
Explore
See latest videos, charts and news
See latest videos, charts and news
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.
Trending on Billboard
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.
HipHopWired Featured Video
Source: Prince Williams / Getty
YFN Lucci has officially been released from jail after spending nearly four years behind bars, and the first photos of his reunion with his family are truly heartwarming. The Atlanta rapper, best known for hits like “Key to the Streets,” “Wet,” and “Everyday We Lit,” has been incarcerated since 2021, facing serious RICO charges tied to alleged gang involvement. His release marks a significant moment in his life, as he finally reunites with loved ones who’ve supported him throughout his legal battle.
In the emotional photos, Lucci is seen embracing his family, with tears of joy and relief on both sides. It’s clear that the weight of the past few years has taken its toll, but this reunion signifies a new chapter for the rapper. His fans have been eagerly awaiting this moment, hoping for Lucci’s return to music and a brighter future.
JUST IN: New photos show the moment YFN LUCCI reunited w/his loved ones.
.@wsbtv https://t.co/6FvoZqYdY5 pic.twitter.com/QCHSpQqrCi
— Michael Seiden (@SeidenWSBTV) January 31, 2025
https://platform.twitter.com/widgets.js
During his time in jail, Lucci’s career was put on pause, but his influence in the rap game remains undeniable. With tracks that defined the streets and resonated deeply with fans, his catalog continues to be celebrated. Now, as he’s reunited with his family, the focus shifts to what’s next for YFN Lucci. Will he return to the studio and reclaim his place in the industry, or will he take a different path moving forward? Time will tell, but for now, the moment of freedom and family is everything.
Lucci has always been known for putting on a show, and one of his most memorable performances came at Hot 107.9’s Birthday Bash ATL. His high-energy set that night left an unforgettable mark on fans, proving that when it comes to commanding a stage, he’s in a league of his own. Fans are undoubtedly hoping for more electrifying performances like that in the near future as he continues his journey post-incarceration.
Focus Wales has shared the next wave of its lineup for 2025, with an additional 104 acts added to the bill.
The festival, which takes place across multiple venues in Wrexham, north Wales, will return in May (8-10) with support from the Arts Council of Wales, the Welsh Government and PRS Foundation’s Talent Development Network.
The event will bring together talent from the U.K., Europe, Asia, Australia and North America.
Among the new names announced include French synth-pop band eat-girls, Seoul’s Hynopsis Therapy and Brussels jazz collective Tukan. View the lineup in full below.
In partnership with APRA and the British Council NZ, meanwhile, three New Zealand artists will be featured in a special Māori reception and showcase: Jordyn With a Why, MĀ and MOHI.
Trending on Billboard
The additions join previously announced acts like Irish rockers Sprints, the Mercury Prize-nominated Nova Twins, Welsh songwriter Gruff Rhys and rapper Lemfreck, the recipient of the 2024 Welsh Music Prize.
Tickets for Focus Wales 2025 are on sale now. Festival passes begin at £80 ($99), or those working in the music industry can acquire delegate passes for £160 ($198). Day tickets are also available for purchase.
Earlier this month, Focus Wales held a showcase at ESNS in Groningen, the Netherlands, featuring Welsh bands CVC and The Family Battenburg. Speaking to Billboard UK, Focus Wales co-founder and booker Andy Jones explained that the festival’s presence at ESNS “ensures that Focus Wales and, more broadly, Wales as a music market, is part of the wider conversation with the European music community.”
In 2024, Focus Wales played host to performances from Spiritualized, The Mysterines and Antony Szmierek, among others. For more information, visit the festival’s official website.