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The Recording Academy is gearing up for Music Advocacy Day, its new name for District Advocate Day, which is set for Oct. 1 with Mark Ronson as this year’s Music Advocacy Day Artist Ambassador. A letter with Ronson’s signature was emailed Thursday (Sept. 5) to the Recording Academy’s 22,000 members, including voting, professional and GRAMMY U student members, urging them to join him in this nationwide rally.
“The music industry is changing faster than ever, and with those changes come challenges—whether it’s navigating the impact of artificial intelligence or tackling the issues surrounding live event ticketing,” Ronson wrote. “But these challenges are also our opportunities to shape the future of music.

“Music Advocacy Day is your unique opportunity as an Academy member to share your perspective on policies to prevent the misuse of A.I., protect your voice and likeness, and stop predatory ticketing practices to ensure we creators are getting equitably paid.”

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Ronson was in Washington, D.C., on May 1 for the Academy’s Grammys on the Hill Advocacy Day, at which time he and Recording Academy CEO Harvey Mason, Jr. met with Senate Majority Leader Chuck Schumer (D-N.Y.), among others.

“I saw firsthand the impact of sharing our stories with the people who represent us,” Ronson wrote in this letter. “Those conversations helped lead to meaningful outcomes on Capitol Hill, including the passage of the TICKET Act in the House, and the introduction of the NO FAKES Act in the Senate. Now, on Music Advocacy Day, we can build on the progress we’ve made and speak with our Congressional leaders at home in our local communities to ensure they hear our concerns.”

Recording Academy members can sign up for Music Advocacy Day by checking their inboxes for registration information or reaching out to their local chapter. But they don’t have much time to act. Registration closes on Friday (Sept. 6). The Academy notes that non-members can also participate by reaching out to their legislators through the Academy’s music advocacy action page.

Key issues that members of the Academy will address with legislators in their hometowns this year include:

Artificial Intelligence: Advocating for the Nurture Originals, Foster Art, and Keep Entertainment Safe (NO FAKES) Act, which is designed to protect Americans from fraudulent AI replicas.

Live Event Ticketing Reform: Advocating for the Fans First Act, legislation that safeguards artists and consumers from deceptive practices, provides transparency and restores integrity to the ticketing marketplace.

This year marks the 10th anniversary of Music Advocacy Day, which the Academy calls the largest grassroots advocacy movement for music. On last year’s Music Advocacy Day, more than 1,700 Academy members engaged in nearly 100 meetings with lawmakers, according to the Academy.

Music Advocacy Day has helped achieve several legislative victories. Efforts from previous years have led to the enactment of the Music Modernization Act, which reformed music licensing for the streaming era, and the Save Our Stages Act, which provided needed financial support to music venues affected by the COVID-19 pandemic. Additionally, advocacy efforts contributed to the passage of the CASE Act and the Better Online Ticket Sales (BOTS) Act, further protecting music creators and consumers alike.

Ronson, 49, has won eight Grammys, including two awards for record of the year — one as producer of Amy Winehouse’s “Rehab” and the other as artist and co-producer of his own megahit “Uptown Funk!,” featuring Bruno Mars. He also won an Oscar for co-writing the Lady Gaga/Bradley Cooper hit “Shallow” from A Star Is Born.

Here’s the complete text of Ronson’s letter to Recording Academy members:

“If there’s one thing I’ve learned from my years in the studio, it’s that music has the power to move mountains. It’s more than just beats and lyrics; it’s the heartbeat of our culture. That’s why I’m reaching out to you today about something that’s close to my heart.

October 1st marks Music Advocacy Day, a day where we, as creators and members of the Recording Academy, come together across the country to make sure our voices are heard. The music industry is changing faster than ever, and with those changes come challenges—whether it’s navigating the impact of artificial intelligence or tackling the issues surrounding live event ticketing. But these challenges are also our opportunities to shape the future of music.

In this time of industry transformation, I am honored to serve as this year’s Music Advocacy Day Artist Ambassador and work alongside you to inspire a positive impact on our community. Earlier this year, I had the chance to speak with lawmakers in Washington, D.C. during GRAMMYs on the Hill, and I saw firsthand the impact of sharing our stories with the people who represent us. Those conversations helped lead to meaningful outcomes on Capitol Hill, including the passage of the TICKET Act in the House, and the introduction of the NO FAKES Act in the Senate. Now, on Music Advocacy Day, we can build on the progress we’ve made and speak with our Congressional leaders at home in our local communities to ensure they hear our concerns.

Music Advocacy Day is your unique opportunity as an Academy member to share your perspective on policies to prevent the misuse of A.I., protect your voice and likeness, and stop predatory ticketing practices to ensure we creators are getting equitably paid. On this day, you’re representing the millions of artists and producers – your peers – that need safeguards and protection. The Recording Academy will be with you every step of the way to provide resources and guidance.

I know how busy life gets, but this is a moment where our voices can truly make a difference. If you haven’t signed up for Music Advocacy Day yet, I urge you to do so. We’re a community of innovators and pioneers, and together, we can protect human creativity for generations to come.

Looking forward to championing the cause with you,

Mark Ronson”

There are just two more days for current voting and professional members of the Recording Academy to enter recordings for the 67th annual Grammy Awards. The submission window closes Friday (Aug. 30) at 6 p.m. PT.
The entry process has changed in recent years. There used to be no limit to the number of entries members could make. Some members took advantage of that liberal policy and submitted a large number of entries, causing the entry list to bloat. The Academy now allows each voting or professional member just five “courtesy entries” before charges apply.

Furthermore, in an effort to get procrastinators to make their entries in timely fashion, those entry fees escalate the closer we get to the eligibility cut-off. The charge for members was $40 per entry from July 17-July 31 (what the Academy calls “early bird pricing”) and $75 per entry from Aug. 1-Aug. 22 (standard pricing). In this final week, it is $125 per entry (final deadline pricing). (In all cases, these are the charges for entries beyond the five courtesy entries.)

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In its rules, the Academy notes: “There will be no refunds for any entries once submitted to the Recording Academy, including those entries found to be ineligible.”

Media companies may also enter entries, but they don’t get five courtesy entries. And their charges were higher for the first two submission submission periods – $65 through July 31 and $95 through Aug. 22. The final deadline pricing charge for media companies is the same as for members – $125 through Aug. 30.

The Recording Academy defines a media company as “a legitimate business entity whose core business function is to create, aggregate and promote audio and/or video content for multiple artists for commercial purposes, and must have product in national U.S. commercial distribution on our approved streaming platforms within the current eligibility period. It cannot just be an imprint in name only for the artist.” Media companies pay an annual $180 registration fee.

It is the submitter’s responsibility to provide streaming links or physical product in some cases. “Without streaming links or commercially released product (if applicable), your entries cannot be screened or verified, which can result in disqualification,” the Academy notes.

Physical product must be submitted for consideration in five craft categories – best recording package, best boxed or limited edition package, best immersive audio album, best album notes and best historical album. Rules note “If you made entries in craft categories that require physical product, you will receive a separate email detailing the product required and further shipping instructions. Include a copy of the packing list with shipped product. Send in as soon as possible but no later than Sept. 6.”

No physical product is necessary in six other craft categories – best engineered album, non-classical; best engineered album, classical; best immersive audio album; best instrumental composition; best arrangement, instrumental or acapella; and best arrangement, instruments and vocals.

The Academy notes “Prior to the first round of voting [which opens on Oct. 4], we will be sending each submitter an email showing final category placement of their entries.”

The eligibility period for the 67th Grammy Awards is Sept. 16, 2023 – Aug. 30, 2024. First-round voting runs from Oct. 4 through Oct. 15. Nominees will be announced on Nov. 8. Final-round voting runs from Dec. 12 through Jan. 3, 2025. The Grammys will be presented on Feb. 2, 2025 at Crypto.com Arena in Los Angeles.

The Recording Academy has issued an emailed call to action for its voting members on Monday (Aug. 5) to submit smartphone videos in which they answer such questions including, “Why do you take the time to vote in the Grammy Awards each year?” The academy will then combine excerpts from the submitted clips to create […]

Recording Academy CEO Harvey Mason Jr. sent a letter via email on Friday (July 26) to the Academy’s 12,000 voting members urging them to take their job as voting members seriously. The Subject Line: “Vote with Purpose This Grammy Season.”
“The trajectory of people’s careers and lives are altered by your choices,” Mason wrote in the letter obtained by Billboard. “As such, you owe it to your peers to vote intentionally, deliberately, with pride and with purpose.”

Mason added a personal aside to bring the point home. “Last Grammy season, I heard a Grammy voter say they hadn’t taken a specific artist seriously since a performance they saw more than 10 years ago. I was shocked and disturbed by that. There is no place in our organization for such bias, grudge-holding, or careless voting. It’s about the current year and the quality of the work, period!

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“There should be no other rationale for voting. If you are taking into account an artist’s older work, or their reputation, or race, or gender, what label they are on, who their manager is, how many friends participated in the project, or anything else like that, you’re not doing your job.”

Mason also implored Grammy voting members to start thinking about their choices now. “I hope that you begin prioritizing your responsibility now, and not wait until Grammy season is here.” The first-round voting period runs from Oct. 4-15. Final-round voting extends from Dec. 12 to Jan. 3, 2025.

Mason is wise to advise members to start thinking about their picks now. The Grammy entry list is long. This year, there will be 94 categories (same as last year). Many categories have large numbers of entries. On last year’s entry list, there were 615 candidates for record of the year, 476 for album of the year, 642 for song of the year and 405 for best new artist. To conscientiously wade through such long lists and thoughtfully make your selections would take hours. That is one reason that “brand name” artists – long-time Grammy favorites – often lead the nominations year after year. Mason is trying to get members to break that habit of just checking off names of artists who are top-of-mind.

On the line “The trajectory of people’s careers and lives are altered by your choices,” Mason linked to this Grammy.com post from May 1, which includes a section titled “What Is the True Value of a Grammy?” It gives more than a dozen examples of artists whose careers were boosted by Grammy wins.

The Academy’s tally of 12,000+ voting members doesn’t include the 3,000+ potential new voting members that it has invited as part of this year’s new member class. (It has also invited 900 professional (non-voting) members, for a total of 3,900+ new members.)

Here is Mason’s letter to voting members, in full:

Dear Grammy voters,

Normally you don’t hear from me about Grammy voting until our ballot is live but this year is different. I want to make sure you understand how critically important it is for you to vote, and to vote with intention and integrity.

We all know the Grammy is music’s most coveted award because it is an honor that comes from one’s peers. It’s not a popularity contest. The nominees and winners are not chosen by the critics, fans, or the staff of the Academy. They are chosen by you—the 12,000+ music creators who are the voting members of the Recording Academy.

You are the Grammy electorate. Your votes are tallied by Deloitte, and then announced publicly, celebrated, and recorded by history as the very best in music for that year. The trajectory of people’s careers and lives are altered by your choices. As such, you owe it to your peers to vote intentionally, deliberately, with pride and with purpose.

Last Grammy season, I heard a Grammy voter say they hadn’t taken a specific artist seriously since a performance they saw more than 10 years ago. I was shocked and disturbed by that. There is no place in our organization for such bias, grudge-holding, or careless voting. It’s about the current year and the quality of the work, period!

There should be no other rationale for voting. If you are taking into account an artist’s older work, or their reputation, or race, or gender, what label they are on, who their manager is, how many friends participated in the project, or anything else like that, you’re not doing your job. I know most of you already do but please, just listen to the music, and evaluate it! You are the reason the Grammy Award is so special.

Music is a force for good in the world. It changes moods, opens hearts and minds and unites the world. It moves us to act. And the Grammy is the way to honor the people who work so hard to make it. Next February, all across the globe, the people who make music and all the people who love music will be watching to see who the Grammy voters have chosen to honor. All eyes will be on you, on us.

I hope you view your vote as important. I hope that you begin prioritizing your responsibility now, and not wait until Grammy season is here. I hope that you evaluate the music carefully, and prepare yourself to vote with care and purpose, and that you encourage your fellow voting members to do the same. Your peers in music are counting on you.

Respectfully yours,

Harvey

Will Beyoncé finally win album of the year at the 2025 Grammy Awards? Queen Bey has gone 0-4 in the category (as a lead artist), which has been a source of frustration for many in the BeyHive — and also those in her inner circle. Accepting an honorary award at the 2024 ceremony, Jay-Z confronted the issue head-on. “I don’t want to embarrass this young lady, but she has more Grammys than everyone and never won album of the year, so even by your own metrics, that doesn’t work.”
Jay-Z’s remark suggests that Bey’s fate in the category will be the most-watched moment at the 67th annual Grammys, which will be presented Feb. 2 at Crypto.com Arena in Los Angeles. Nominations will be announced Nov. 8. Here are Billboard’s best bets for nods in the top four categories.

It’s likely that solo women will take seven of the eight slots here. That’s comparable to the 2024 Grammys, where solo women took six of the eight slots and an all-woman group, boygenius, took a seventh. Jon Batiste was the only male artist to be nominated at this year’s ceremony. Chris Stapleton may have the best chance of repping men next year. Nominees for album and record of the year must have been released during the eligibility period (Sept. 16, 2023-Aug. 30, 2024).

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Beyoncé, Cowboy Carter

This is Bey’s eighth solo studio album and would be her fifth to be nominated in this category following I Am…Sasha Fierce, Beyoncé, Lemonade and Renaissance. She would be the first Black artist to be nominated for a country album since Ray Charles for Modern Sounds in Country and Western Music (though none of the singles from that trailblazing 1962 album appeared on Hot Country Songs). Billboard 200 peak: No. 1 (two weeks).

Sabrina Carpenter, Short N’ Sweet

Carpenter’s sixth studio album is due Aug. 23, one week before the end of the eligibility period. The album was co-produced by Jack Antonoff and Julian Bunetta. Antonoff has received eight album of the year nods — four with Taylor Swift, two with Lana Del Rey and one each with Lorde and his own pop trio, fun. He has also won producer of the year, non-classical the last three years running.

Billie Eilish, Hit Me Hard and Soft

Eilish’s third album features 10 tracks, two songwriters (Eilish and FINNEAS), one producer (FINNEAS) and no featured artists. That may appeal to traditionalists in the Recording Academy’s voting membership who are put off by this era’s collaboration-heavy approach. Eilish won in this category five years ago for When We All Fall Asleep, Where Do We Go? and was nominated three years ago for Happier Than Ever. Billboard 200 peak: No. 2.

Ariana Grande, Eternal Sunshine

This is Grande’s seventh studio album and would be her second to be nominated in this category. She was nominated five years ago for Thank U, Next. Swedish hit-makers Max Martin and ILYA, who were nominated as producers of Thank U, Next, are also among the producers of this album. Billboard 200 peak: No. 1 (two weeks).

Chappell Roan, The Rise and Fall of a Midwest Princess

The singer’s debut album arrived Sept. 22, 2023, one week after the start of the eligibility period. This is vying to become the first debut album by a woman pop artist to receive an album of the year nod since Olivia Rodrigo’s SOUR in 2022. Daniel Nigro, who has been nominated twice in this category for work with Rodrigo, co-produced the album with Ryan Linvill and Mike Wise. Billboard 200 peak: No. 5.

Chris Stapleton, Higher

This is Stapleton’s fifth studio album and would be his second to be nominated in the category. Traveller was nominated nine years ago. Stapleton is vying to become the first male country solo artist to land two nominations in this category. “White Horse,” the lead single from Higher, won two Grammys in February. Higher won album of the year at the Academy of Country Music Awards on May 16. Billboard 200 peak: No. 3.

Taylor Swift, The Tortured Poets Department

This would be Swift’s seventh nod in the category, which would allow her to stand alone as the woman artist with the most album of the year nods. She currently shares that distinction with Barbra Streisand, with six nods each. Swift co-produced the album with Jack Antonoff, Aaron Dessner and Patrik Berger. Billboard 200 peak: No. 1 (12 weeks so far).

Tyla, Tyla

The South African singer’s “Water” won the inaugural Grammy presented for best African music performance. It was the lead single from her self-titled debut album, which was released during the current eligibility period. Tyla features guest appearances from stars such as Tems, Gunna, Becky G and Travis Scott. Tyla won two BET Awards on June 30 — best new artist and best international act. Billboard 200 peak: No. 24.

Within Reach: Zach Bryan, The Great American Bar Scene; Charli xcx, brat; Doja Cat, Scarlet; Future & Metro Boomin, We Don’t Trust You; Post Malone, F-1 Trillion (due Aug. 16); Kacey Musgraves, Deeper Well; 21 Savage, American Dream; Kali Uchis, Orquídeas; Usher, Coming Home; Lainey Wilson, Whirlwind (due Aug. 23).

From left: Sabrina Carpenter, Benson Boone, Kendrick Lamar and Hozier.

Illustration by Eleanor Shakespeare; Jo Hale/Redferns; Dennis Leupold; Timothy Norris/Getty Images; Barry McCall

Beyoncé already holds the record for most career nominations in this category. Her total of eight includes an early record with Destiny’s Child and collaborations with Jay-Z and Megan Thee Stallion. Will she extend her lead this year? And could two Black artists — Bey and Shaboozey — be nominated for country hits in the same year? Teddy Swims’ “Lose Control,” a No. 1 hit on the Billboard Hot 100, was entered last year and thus is ineligible.

Beyoncé, “Texas Hold ’Em”

Two years ago, Beyoncé pulled ahead of Frank Sinatra for the most nominations in this category. This would give her a record-extending ninth nod. The big question: Will it compete for best solo performance honors in pop or country? “Texas Hold ’Em” wouldn’t be the first poker-themed hit to land a record of the year nod. Kenny Rogers’ “The Gambler” was nominated at the awards in 1980. Hot 100 peak: No. 1 (two weeks).

Benson Boone, “Beautiful Things”

This song is constructed like Billie Eilish’s “Happier Than Ever,” which was nominated for record and song of the year three years ago. It starts out soft and builds in intensity to a rock-inflected finish. This was Boone’s third Hot 100 entry, but his first to climb above No. 82. Hot 100 peak: No. 2.

Sabrina Carpenter, “Espresso”

Carpenter’s camp has to decide which hit to enter — “Espresso,” which topped Billboard’s staff list of The 50 Best Songs of 2024 (So Far), or “Please Please Please,” which was Carpenter’s first No. 1 on the Hot 100. The former is one of the catchiest singles of recent years; the latter, an offbeat, country-shaded follow-up. They’ll probably go with “Espresso,” but either would be a strong nominee. Hot 100 peak: No. 3.

Billie Eilish, “Lunch”

This would be Eilish’s fifth nod in this category. She won for “bad guy” and “Everything I Wanted” and was nominated for “Happier Than Ever” and “What Was I Made For?” Eilish’s brother, FINNEAS, produced all of these records. Nominations will be announced five weeks before Eilish turns 23. No one else has ever amassed five nods in this category at such a young age. Hot 100 peak: No. 5.

Ariana Grande, “We Can’t Be Friends (Wait for Your Love)”

This record could give Grande a second nod in this category. She was nominated five years ago for the Rodgers & Hammerstein-interpolating “7 Rings.” Grande produced this track with Swedish pop masterminds Max Martin and ILYA, who were among the producers of “7 Rings.” Hot 100 peak: No. 1 (one week).

Hozier, “Too Sweet”

Hozier got some Grammy love nine years ago when his breakthrough smash, “Take Me to Church,” was nominated for song of the year. He came roaring back this year with this impeccably produced record. Hozier is vying to become the fourth Irish artist to be nominated for record of the year, following Gilbert O’Sullivan, U2 and Sinéad O’Connor. Hot 100 peak: No. 1 (one week).

Kendrick Lamar, “Not Like Us”

This scathing dis track is from Lamar’s bitter and highly public feud with Drake. This would be Lamar’s fourth nod in this category following “HUMBLE.” (2018); “All the Stars,” a collaboration with SZA (2019); and “The Heart Part 5” (2023). If this is nominated, Lamar will tie Jay-Z for the most record of the year nods by a rapper. Hot 100 peak: No. 1 (two weeks).

Chappell Roan, “Good Luck, Babe!”

This song, Roan’s first Hot 100 hit, was produced by Daniel Nigro, who has been nominated in this category for his work on two Olivia Rodrigo hits. Nigro has received eight Grammy nods, all for work with Rodrigo. He won best pop vocal album as the producer of her debut album, SOUR. Hot 100 peak: No. 10.

Within Reach: Doja Cat, “Agora Hills”; Jack Harlow, “Lovin on Me”; Future, Metro Boomin & Kendrick Lamar, “Like That”; Muni Long, “Made for Me”; Post Malone featuring Morgan Wallen, “I Had Some Help”; Tommy Richman, “Million Dollar Baby”; Shaboozey, “A Bar Song (Tipsy)”; Taylor Swift featuring Post Malone, “Fortnight”; 21 Savage, “Redrum”; SZA, “Saturn.”

From left: FINNEAS, Amy Allen, Jack Antonoff, ILYA and Dan Nigro.

Illustration by Eleanor Shakespeare; Robin L. Marshall/Getty Images; David O’Donohue; Jason Koerner/Getty Images; Anna Sky; Alberto E. Rodriguez/WireImage

Last year, five of the eight nominees for record of the year were also nominated for song of the year. The year before that, six of the 10 nominees for record of the year also received song of the year nods. This year, seven of the eight record of the year nominees could double up. Taylor Swift has amassed seven nominations in this category, more than any other songwriter, but she has yet to win. Will this finally be her year?

“Beautiful Things”Songwriters: Benson Boone, Jack LaFrantz, Evan Blair

This song touches on themes that have long been attractive to Grammy voters — gratitude for life’s blessings and awareness of how quickly in life fortunes can change. Other philosophical songs that have been nominated here in recent years include “Live Like You Were Dying,” “Bless the Broken Road,” “7 Years” and “God’s Plan.” In addition to co-writing “Beautiful Things,” Blair produced Boone’s single.

“Espresso”Songwriters: Sabrina Carpenter, Amy Allen, Julian Bunetta, Steph Jones

This confection may seem a little light for a song of the year nod, but the irresistible tune has been inescapable in recent months. Even Adele was caught up in the hooky line “I’m working late/’Cause I’m a singer,” praising the song during her Las Vegas residency. (And being light didn’t prevent Bruno Mars’ “That’s What I Like” from winning in 2019.) Allen was nominated for the inaugural songwriter of the year, non-classical award two years ago.

“Fortnight”Songwriters: Taylor Swift, Post Malone, Jack Antonoff

All three writers are past nominees in this category: Swift has been nominated a record seven times, Antonoff four times and Post Malone once. Alternatively, Swift could enter “Is It Over Now? (Taylor’s Version),” which she also co-wrote with Antonoff. Both songs topped the Hot 100, for two and one weeks, respectively.

“Good Luck, Babe!”Songwriters: Chappell Roan, Justin Tranter, Daniel Nigro

Tranter and Nigro are past nominees in this category — Tranter for co-writing Julia Michaels’ “Issues,” Nigro for co-writing Olivia Rodrigo’s “drivers license” and “Vampire.” “Good Luck, Babe!” is about a woman parting ways with a woman who is denying her true sexual orientation. The next song on the list is about a woman accepting and embracing her own.

“Lunch”Songwriters: Billie ­Eilish, FINNEAS

The siblings have been nominated four times in this category, winning twice. If they win again, they’ll become the first three-time winners in the history of the category. They won most recently this year with “What Was I Made For?” They have another very pretty ballad (“Birds of a Feather”) that they could enter here instead, but “Lunch” feels like the more likely option.

“Not Like Us”Songwriter: Kendrick Lamar

As with record of the year, this would be Lamar’s fourth nod in this category following “Alright” (2016), “All the Stars” (2019) and “The Heart Part 5” (2023). And, as with record of the year, if this is nominated, Lamar will tie Jay-Z for the most song of the year nods for a rapper.

“Texas Hold ’Em”Songwriters: Beyoncé, Brian Bates, Nathan Ferraro, Raphael Saadiq, Elizabeth Lowell Boland, Megan Bülow

This would be Beyoncé’s sixth nomination in the category. That would put her in a tie with Paul McCartney and Lionel Richie for second place on the list of all-time nominees in this category. Swift leads with seven nods. Saadiq has been nominated for best R&B song five times, winning twice, but this would be his first song of the year nod.

“We Can’t Be Friends (Wait for Your Love)”Songwriters: Ariana Grande, Max Martin, ILYA

This would be the first nomination in this category for Grande and ILYA and the fifth for Martin, following nods for Backstreet Boys’ “I Want It That Way,” Katy Perry’s “Roar” and Taylor Swift’s “Shake It Off” and “Blank Space.” Martin, a Swede, and U2, from Ireland, are the only songwriters who hail from somewhere other than America or England to amass four or more nods in this category.

Within Reach: “Agora Hills” (artist: Doja Cat); “A Bar Song (Tipsy)” (Shaboozey); “Deeper Well” (Kacey Musgraves); “I Had Some Help” (Post Malone featuring Morgan Wallen); “Made for Me” (Muni Long); “Obsessed” (Olivia Rodrigo); “Pink Skies” (Zach Bryan); “Redrum” (21 Savage); “Saturn” (SZA); “Too Sweet” (Hozier).

Clockwise from top: Chappell Roan, Shaboozey, Sexyy Red, Teddy Swims and Megan Moroney.

Illustration by Eleanor Shakespeare; Ryan Clemens; Daniel Prakopcyk; Chris Allmeid; CeCe Dawson; Aaron Marsh

According to the rules, “This category recognizes an artist whose eligibility-year release(s) achieved a breakthrough into the public consciousness.” Artists with previous Grammy nominations are generally not allowed, nor are artists who have previously been entered in the category three times (whether or not they were nominated). That latter rule disqualifies Tate McRae. The last seven winners in this category have been solo women, which tied the record established in 1997-2003. If another solo woman wins next year, a new record will be set.

Benson Boone

Boone, 22, is the youngest of this year’s likely best new artist nominees. He is vying to become the first male artist to win in this category since Chance the Rapper in 2017. Boone could also become the second winner in this category with that surname. Debby Boone won in 1978.

Sabrina Carpenter

Short N’ Sweet is Carpenter’s sixth studio album, so how can she be considered new? Prior to this eligibility year, she had never climbed higher than No. 48 on the Hot 100. The Grammys aren’t charts-based, but they do think in terms of “public consciousness” and achieving “prominence.” Carpenter, 25, is vying to become the second winner in this category with that surname. Karen and Richard Carpenter won in 1971.

Megan Moroney

Moroney, 26, was passed over for a best new artist nod two years ago, when “Tennessee Orange” became a top 30 hit on the Hot 100. But she has continued to build. Moroney was nominated for the Country Music Association’s new artist of the year prize last year and won the Academy of Country Music’s new female artist of the year honor (on her second try) in May. Her second album, Am I Okay?, arrived July 12.

Chappell Roan

Atlantic Records dropped Roan, born Kayleigh Rose Amstutz, following the release of a 2017 EP, School Nights. Her smash debut album was released through Island Records last September. Roan, 26, supported Olivia Rodrigo (who won in this category in 2022) on two major tours. She also opened for Vance Joy and Ben Platt, among others, and performed at Coachella in April.

Sexyy Red

The rapper, 26, reached the top 20 on the Billboard 200 with her third mixtape, In Sexyy We Trust. The tape spawned the top 20 Hot 100 hit “Get It Sexyy.” Sexyy Red was nominated in five categories, including best new artist, at the 2024 BET Awards, but was shut out.

Shaboozey

Shaboozey, 29, is at the forefront of bringing more diversity to the world of country music. His third album, Where I’ve Been, Isn’t Where I’m Going, reached No. 5 on the Billboard 200. Its smash single, “A Bar Song (Tipsy),” has made it to No. 1 on the Hot 100. Shaboozey is also featured on two tracks on Beyoncé’s Cowboy Carter.

Teddy Swims

Swims’ debut studio album, I’ve Tried Everything but Therapy (Part 1), reached the top 20 on the Billboard 200. “Lose Control,” the smash single from the album, topped the Hot 100. Before becoming a headliner, Swims opened for Zac Brown Band, which won in this category in 2010, and Greta Van Fleet, which was nominated in 2019. Swims, 31, is the oldest of this year’s likely best new artist nominees.

Within Reach: The Beaches; Dasha; Djo; 4Batz; Knox; October London; Tommy Richman; Nate Smith; Brittney Spencer; Tigirlily Gold

This story will appear in the July 20, 2024, issue of Billboard.

The Recording Academy has extended membership invitations to more than 3,900 music professionals spanning diverse backgrounds, genres and disciplines, underscoring the academy’s commitment to inclusivity and representation. This year’s 2024 class of invitees is 45% women, 57% people of color and 47% under the age of 40.
“There’s no better way to kick off Grammy season than by inviting thousands of diverse and talented music creators and professionals to join our Recording Academy family,” Harvey Mason jr., CEO of the Recording Academy, said in a statement. “Our members are the heart of the Academy, driving our mission to make lasting, positive impacts on the music community and shape music history. We are hopeful that all 3,900+ invitees join us in serving, celebrating and championing the voices of music creators year-round.”

Among this year’s invitees are Teddy Swims, whose first Hot 100 single, “Lose Control,” reached No. 1 in March; Tanner Adell, who is featured on Beyoncé’s Billboard 200-topping Cowboy Carter; as well as Ashnikko, Grupo Frontera, 310babii, Flavour, Flyana Boss, GAWD, girl in red, Jay Wheeler, Kaash Paige, Raja Kumari, Charm La’Donna, Al Sherrod, Xavier Omär, Sech, Leon Thomas and two group members: Ronnie Winter of The Red Jumpsuit Apparatus and Frank Iero of L.S. Dunes and My Chemical Romance. (Here’s a link to a page of quotes, supplied by the Recording Academy, from these invitees.)

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Invitations must be formally accepted by July 31 for recipients to become Recording Academy members and participate in the online entry process for the upcoming Grammy Awards.

The academy has invited thousands of new voting members in recent years in a bid to diversify its membership. Last year, it invited 2,800 new voting members. In 2022, it invited more than 2,000 new voting members – as well as more than 600 professional, non-voting members.

The academy announced its invitations for the new member class one day after the Academy of Motion Picture Arts & Sciences announced its own invited class of 487 individuals. That means the Recording Academy invited slightly more than eight times as many people to join its ranks as the film academy did.

A comprehensive report on the Recording Academy’s 2024 new member class, along with a detailed breakdown of the overall membership demographics and crafts, will be released later this year following the deadline for 2024 invitees to join the academy.

Last year’s breakdown of the 2023 new member class was released on Nov. 30, 2023. A record-breaking 2,400-plus diverse music creators were part of last year’s class, with the academy reporting that 50% of the new class were people of color, 46% were under the age of 40 and 37% were women.

The Recording Academy’s membership model is community-driven and peer-reviewed to create a more diverse and engaged membership base.

The academy also revealed on Nov. 30 that, since implementing the new member model in 2019, membership among people of color has jumped significantly, from 24% to 38%, and that the percentage of women members has also increased, albeit at a slower rate, from 26% to 30%. The academy further noted that it was 98% of the way to reaching its goal of adding 2,500 women voting members by 2025 and is set to achieve that milestone a year ahead of schedule, in 2024.

The Recording Academy offers three types of membership: voting membership for music creators, professional membership for music business professionals and GRAMMY U for those aspiring to a career in the music industry. (GRAMMY U follows a distinct application process.)

Each year, interested musicians and professionals must apply for membership by March 1. Their submissions are reviewed in the spring by a peer review panel comprised of existing Recording Academy members active in the music industry. If approved, candidates are invited to join the Recording Academy.

Recording Academy voting members — artists, songwriters, producers, engineers and others active in the music industry — are eligible to vote for the annual Grammy Awards. In addition, members can submit product for Grammy Awards consideration, propose amendments to Grammy Awards rules, run for a Recording Academy board position or committee, vote in chapter elections, support fellow musicians through advocacy efforts and MusiCares, and engage with the academy’s Producers & Engineers Wing, Songwriters & Composers Wing, Black Music Collective and more.

The first-round voting period for the 67th Grammy Awards opens on Oct. 4 and closes on Oct. 15. The telecast is set for Feb. 2, 2025, at Crypto.com Arena in Los Angeles.

For the first time in four years, the Recording Academy didn’t add to its list of categories for the 67th annual Grammy Awards, set for Feb. 2, 2005. There will be 94 categories for the second year in a row. There were 84 categories as recently as the Grammy telecast in 2021, but the number jumped to 86 in 2022, 91 in 2023 and 94 in 2024.

There were 28 categories in 1959, the first year of the awards. There were 47 (exactly one-half of the current total) in 1975. The number reached its all-time high (to date, anyway) of 110 categories in 2008 and 2009.

The academy also announced amendments that were passed at the semiannual board of trustees meeting. The meetings were held from May 22-24 in Laguna Niguel, Calif. All updates go into effect immediately.

The Recording Academy’s awards and nominations committee, comprised of academy voting members, meets annually to review proposals to update awards categories, procedures and eligibility guidelines. Their recommendations are ratified by the academy’s trustees.

The 67th annual Grammy Awards are set to take place Sunday, Feb. 2, 2025 at Crypto.com Arena in Los Angeles. Crypto, formerly known as Staples Center, has hosted all but four Grammy telecasts since 2000.

First-round voting, to determine the nominations, will be conducted from Oct. 4 to Oct. 15. Nominations will be announced on Friday, Nov. 8. Final-round voting to determine the winners will be conducted from Dec. 12 through Jan. 3, 2025. As is the academy’s usual practice, voting will conclude nearly a full month before the results are announced on the show.

The 67th annual Grammy Awards will broadcast live on CBS, the Grammys’ home network since 1973, and stream live and on demand on Paramount+.

Here are this year’s amendments to its 75-page Rules and Guidelines handbook. The first two rules are general; the remainder apply to specific categories.

General

The Recording Academy is extending its efforts to support music creators on a global scale. The Academy has agreements with Ministries of Culture and key stakeholders across the Middle East and Africa to collaborate on a framework to bolster the Academy’s presence and services in these rapidly growing music regions, the organization announced Tuesday (June 11).
“This is exciting because music is one of humanity’s greatest natural resources,” Harvey Mason jr., CEO of the Recording Academy, said in a statement. “It is critical that the people who dedicate themselves to creating music have support, resources and opportunities, no matter where they are from.”

This global expansion marks a significant shift from the Recording Academy’s original charter. The organization was founded in 1957 as the National Academy of Recording Arts & Sciences.

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The Academy is working with the Ministries of Culture in Kenya, Kingdom of Saudi Arabia (KSA) and Nigeria, the Department of Culture and Tourism in Abu Dhabi for the United Arab Emirates (UAE), the Rwanda Development Board (RDB), and the Ministry of Sports, Arts and Culture in South Africa. Additionally, MOUs (memoranda of understanding) have been signed with Ghana and the Ivory Coast.

For the past two years, Academy leaders have traveled throughout these regions, participating in listening sessions, receiving high-level briefings, tours and demonstrations, and obtaining insight directly from both governmental ministries and music creators.

The Academy intends to publish a series of reports highlighting its research and insights into these music markets.

“The Recording Academy is dedicated to supporting music creators around the world,” Panos A. Panay, Recording Academy president, said in a statement. “Our expansion efforts into these fast-growing regions reflect our commitment to fostering a truly global music community, where creators at every stage of their careers and from every corner of the world have the resources and support they need to thrive.”

(Panay was born Panayiotis Andreas Panayiotou in Cyprus, which may be a further sign of the Academy’s increasing global reach. Before joining the Academy, Panay was senior vp of global strategy & innovation at Berklee College of Music.)

The Academy characterizes this exploration into the Middle East and Africa as only the first phase of plans to support music creators abroad. It comes in the same year that the Academy celebrates the 25th anniversary of the Latin Grammy Awards, and seven months after the Latin Grammys were held outside of the United States (in Seville, Spain) for the first time. Last year, the Recording Academy also partnered with the U.S. State Department on an initiative to promote peace through music.

Through these newly-announced collaborations, the Academy looks to explore several key initiatives, including:

Championing music creators at all levels, providing them with a platform and advocacy.

Empowering creators through enhanced training. Through its online learning platform, GRAMMY GO, the Academy will look to provide educational programs and resources specifically tailored to the needs of music creators in these regions.

Producing original content that celebrates the rich musical heritage and dynamic emerging scenes of Africa and the Middle East.

Enhancing support for existing and future members. The Academy argues that cross-cultural learning will benefit all music creators.

Advocating for strong Intellectual Property (IP) legislation and protections for music creators.

Fueling the music economy by collaborating with partners to develop and strengthen the creative economy in Africa and the Middle East.

The Recording Academy supplied quotes from four of its members:

John Legend, a 12-time Grammy winner and a former trustee of the Recording Academy, said: “I’m excited to see the Recording Academy taking these meaningful steps to globalize our mission and reach.  Music knows no borders. It’s global and transcends cultural, political and language barriers. I’m so glad that the Recording Academy, the leading organization serving music creators, is evolving to be a more global organization.”

Angélique Kidjo, a five-time Grammy winner and a current trustee of the Recording Academy, said: “The Recording Academy is accelerating its efforts to serve music people everywhere, and Africa is ready with open arms. We are a continent of music and young, passionate music makers. I’m proud to see the Academy forming partnerships with Nigeria, Kenya, Rwanda, South Africa, and no doubt, more to come!”

Davido, a three-time Grammy nominee, said: “As an African musician, I’m excited about the Recording Academy’s expansion into Africa and the Middle East. It acknowledges our vibrant talent and the global influence of African music. This initiative offers a platform for creators, elevating our cultural expressions and uniting us through music.”

Kat Graham, actress/singer (The Vampire Diaries, the upcoming Michael Jackson biopic Michael) and a former trustee of the Recording Academy, said: “As a Goodwill Ambassador for the UN Refugee Agency, I’ve seen firsthand how interconnected our world is. I applaud the Recording Academy for expanding its activities to Africa and the Middle East, two of the fastest-growing regions. This visionary move will amplify the role music can play as a force for good in the world while showcasing diverse voices and fostering cultural unity on a global scale.”

Nineteen people have been elected or re-elected to the Recording Academy’s 42-member board of trustees, including Taylor Hanson, a member of the brother trio Hanson, which topped the Billboard Hot 100 in 1997 with “MMMBop”; Sara Gazarek, who won her first Grammy on Feb. 4 for helping to arrange a new version of the classic “In the Wee Small Hours of the Morning”; and publishing veteran Mike Knobloch, president of music and publishing at NBCUniversal. Their terms took effect on Saturday (June 1).
“I’m honored to welcome this amazing group of creatives to our board of trustees,” Harvey Mason jr., CEO of the Recording Academy, said in a statement. “Our board’s expertise and dedication to helping music people everywhere has been essential to all we have achieved at the Academy. However, the work never stops, and I look forward to working alongside our new and current trustees on ways we can continue to provide guidance for our music community.”

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Of the 42 trustees that serve on the national board, 30 are elected by the chapter board of governors (15 each year) and eight are elected directly by voting and professional members of the Academy (four each year). The remaining four seats are comprised of the national trustee officers, who are elected by the board of trustees once every two years. The current national trustee officers, who are all currently midterm, are Tammy Hurt (chair), Dr. Chelsey Green (vice chair), Gebre Waddell (secretary/treasurer) and Christine Albert (chair emeritus).

“Welcoming our newly elected trustees is always such an exciting time at the Academy,” Hurt said in a statement. “With new ideas to contribute to our board and the eagerness to helping change music, I have no doubt that together this year’s board of trustees will continue our commitment to fostering a diverse and representative music industry.”

The 2024-25 board includes six Grammy winners, including two who just won prizes at the 66th annual Grammy Awards on Feb. 4. Those newly-minted winners are J. Ivy, who won best spoken word poetry album for the second year in a row for The Light Inside, and Gazarek, who won best arrangement, instruments and vocals for the aforementioned new version of “In the Wee Small Hours of the Morning” by säje featuring Jacob Collier.

The four other Grammy winners on the current board are Angélique Kidjo, who won her fifth Grammy two years ago, for best global music album for Mother Nature; songwriter Jonathan Yip, who won two Grammys six years ago for co-writing the Bruno Mars smash “That’s What I Like”; Ledisi, who won best traditional R&B performance three years ago for “Anything for You”; and Cheche Alara, who won best Latin pop album five years ago for Sincera.

Three members of the current board of trustees served on the Recording Academy’s all-important television committee for the 66th Grammy Awards: Alara, Hurt and Knobloch.

All positions on the board of trustees are subject to two, two-year term limits.

These newly elected or re-elected trustees joined the Academy’s midterm trustees to uphold the Academy’s mission, which the Academy says is “to serve and represent the music community at-large through its commitment to promote diversity, equity and inclusion, fight for creators’ rights, protect music people in need, preserve music’s history, and invest in its future.”

You can find the full list of the Academy’s board of trustees, chapter officers and bylaws here.

The full list of the Academy’s board of trustees is shown below. An asterisk signifies that they were elected or re-elected this year.

Cheche Alara*

Christine Albert

Marcella Araica

Julio Bagué    

Nikisha Bailey*         

Larry Batiste  

Marcus Baylor

Jennifer Blakeman*   

Evan Bogart   

Torae Carr*    

Dani Deahl*   

Maria Egan*  

Fletcher Foster*         

Anna Frick     

EJ Gaines*     

Kennard Garrett         

Sara Gazarek*

Tracy Gershon

Dr. Chelsey Green

Dave Gross*  

Jennifer Hanson

Taylor Hanson*

Justin “Henny” Henderson*

Tammy Hurt   

J. Ivy  

Terry Jones*   

Angelique Kidjo

Mike Knobloch*        

Ledisi 

Eric Lilavois   

Susan Marshall           

Riggs Morales

Donn Thompson Morelli “Donn T”  

Ms. Meka Nism*       

Ashley Shabankareh*

Ken Shepherd*          

Jessica Thompson*

Gebre Waddell

Paul Wall        

Wayna

Tamara Wellons*

Jonathan Yip

When the Recording Academy put the Grammy Hall of Fame on hiatus for one year, they said they were rethinking the entire process. They weren’t kidding. The first fruits of the retooling will be seen on Tuesday (May 21) when the inaugural Grammy Hall of Fame Induction Gala is held at the Novo Theater at L.A. Live in Los Angeles.
Michael Sticka, president/CEO of the Grammy Museum, says his hope for the induction event is to “build it to ultimately be the Museum’s version of MusiCares’ Person of the Year, to raise money for our programming.”

There are also plans to “build a permanent interactive exhibit to celebrate the Hall of Fame and educate our visitors. That will open early next year.”

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The first five inductions into the Grammy Hall of Fame were announced on the Grammy telecast in March 1974, and the Grammy Museum opened in December 2008, but this is the first time the Museum has partnered with the Recording Academy in a major way to celebrate the Hall of Fame.

“The Hall of Fame and the Museum pretty much go hand-in-hand,” Sticka says. “When we first started talking about what this thing really could be, we talked about how the Hall of Fame should live in the Museum. It makes perfect sense.”

These changes are the result of Sticka’s meeting with Recording Academy CEO Harvey Mason Jr. and Ruby Marchand, the Academy’s chief awards and industry officer, to brainstorm ways to build the Grammy Hall of Fame into a higher-profile entity. “The whole idea was ‘let’s get away from simply doing a press release,’” Sticka says of the upcoming gala.

They also made several major changes in the way the Grammy HOF operates. In recent decades, 25 or more inductees have been inducted each year. Starting this year, there will be just 10. “We wanted to whittle it down to a manageable number. If we had 25-30 recordings, it’s really hard to properly recognize each of them during an event.”

This year’s 10 new inductees bring the total number of recordings in the Grammy Hall of Fame to 1,162.

There will be live performances to honor six of this year’s honorees at Tuesday’s event, and interstitial video presentations for the other four. R&B singer William Bell will perform his own inducted recording, “You Don’t Miss Your Water.” Andra Day will perform a song from Lauryn Hill’s The Miseducation of Lauryn Hill, The War and Treaty will sing Charley Pride’s “Kiss an Angel Good Morning,” Elle King will perform Wanda Jackson’s “Let’s Have a Party” and Hanson will take on the Doobie Brothers’ “What a Fool Believes.”

“We really focused on the tribute performance [format], but William wanted to do [his own song] and we weren’t going to say no to that opportunity,” Sticka says.

This year’s Induction Gala will be produced by Ken Ehrlich, who has amassed nine Primetime Emmy nominations across four decades, along with Chantel Sausedo and Ron Basile. Greg Phillinganes will serve as musical director.

This year’s gala will be filmed but not televised. The plan is to cut together this first induction gala and send it to the Academy’s partners, CBS, which has aired the Grammy telecast every year since 1973, and PBS, which aired the Academy’s Special Merit Awards under the title Grammy Salute to Music Legends for about five years under its Great Performances banner.

“It’s tough to pull off a first-time event,” Sticka says. “There’s no proof-of-concept. [We’re] filming it so we can show what it’s going to look like and show what’s possible and hopefully somebody picks it up in the future to televise.”

Clips from the show will be housed on COLLECTION:live, the Grammy Museum’s streaming site.

A second change in the Grammy Hall of Fame process is that the Academy no longer sets aside a certain number of spots for pre-1950 recordings. The one pre-1950 recording being inducted this year, Kid Ory’s Creole Orchestra’s “Ory’s Creole Trombone” (1922) impressively made the cut without a spot being set aside for very old recordings. Now, the only requirement is that all recordings must be at least 25 years old.

The choices were made by a special member committee of about 20 people who had several Zoom meetings. Sticka says he sat in with the committee but didn’t vote. “There was a lot of conversation around a lot of the recordings,” he reports.

A third change is that the Grammy Hall of Fame will honor a record company each year. Atlantic Records, which was celebrating its 75th anniversary when these discussions got underway, is the first label to be honored. (The label was founded in October 1947 and released its first recordings in January 1948.) Even though the 75th anniversary has passed, it will be honored. 76th anniversary just doesn’t have same ring.

Atlantic doesn’t have any recordings being inducted this year, but it has 38 past Hall of Fame inductions.

As part of the salute to Atlantic, two current Atlantic artists are performing Grammy Hall of Fame classics by legendary Atlantic artists. Shinedown is performing Led Zeppelin’s “Stairway to Heaven.” Ravyn Lenae is singing Roberta Flack’s “Killing Me Softly With His Song.” Atlantic had a great deal of input into their segment. “They know themselves best, so we left it up to them,” Sticka says. “We had a lot of conversations with them.”

Starting this year, all artist(s), producer(s), songwriter(s) and engineer(s) who work on a Grammy Hall of Fame inductee will receive a certificate, provided they worked on 51% or more of the recording and had primary participation in those capacities. No statuettes, though. You have to win a Grammy in competition to get one of those.