DC

September 25-27

by Eric Xiao

All Things Go didn’t set out to become a movement. Its identity crystallized in 2018, when
Maggie Rogers helped curate an all-female lineup for what was then a small DC blog’s festival,
named years earlier after a Sufjan Stevens song. The pitch was simple: women were
underrepresented across festival lineups, not just at the top. That day sold out its room at Union
Market, an early-career Billie Eilish down the bill. Eight years later that same instinct still drives
the booking, and it returns to Merriweather Post Pavilion September 25–27 for its first full
three-day DC run.

The 2026 bill rewards close attention. Mitski opens Friday, back as a headliner since 2022,
performing with the deliberate, choreographed staging she’s known for. Ethel Cain follows with
the slow-burning, Southern-gothic atmosphere of Preacher’s Daughter; below them, Slayyyter
and Ninajirachi bring the maximalist hyperpop of the moment. Saturday is “The Hayley Williams
Show,” a solo retrospective and her ATG debut, building toward material from Ego Death at a
Bachelorette Party. Sunday turns rockier, with Wolf Alice and Father John Misty, before Brandi
Carlile’s first appearance here and a closing set from Lola Young, returning to the festival after
stepping away last year to focus on her health.

The crowd is half the story. All Things Go has built one of the most genuinely queer, women-
and nonbinary-centered audiences in American festivals, with the singing loud and the dressing
louder. The founders have described a recent edition selling out in thirty minutes, 40,000 left on
the waitlist, someone calling it Coachella for people on antidepressants. It is the rare festival
where the audience photographs as well as the stage.

That is what makes this edition worth covering up close: not only who is booked, but a festival
that grew a stance into five straight sellouts and made its crowd the main event.

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The Hall

Little Rock, AR

June 21, 2026

by Dan Locke

When Demola the Violinist stepped onto the stage at The Hall on Sunday evening, the room was already humming with anticipation. The crowd knew they were in for something special, but few realized they were about to witness a performance that would stretch to nearly three full hours — a marathon of musicianship, storytelling, humor, and crowd‑driven energy that transformed the venue into a living, breathing extension of the artist himself.

“This is my second time playing in Little Rock,” he said early in the night, smiling as if greeting old friends. “And you all are one of the best audiences anywhere.” It was a simple line, but it set the tone for everything that followed. Over the next three hours, Demola delivered a show that felt less like a tour stop and more like a celebration — a gathering of people who understood him, appreciated him, and fueled him.

A Three‑Hour Performance That Never Lost Momentum

Most concerts follow a predictable arc: a strong opening, a middle stretch, and a final push toward the encore. Demola ignored that structure entirely. Instead, he built a performance that rose and fell like a living organism — shifting between high‑energy Afrobeats, soulful ballads, improvisational violin runs, electric‑guitar duels, and intimate storytelling.

What made the nearly three‑hour runtime remarkable was not its length, but its lack of drag. There were no filler moments, no extended breaks, no lulls where the energy dipped. Demola paced the night with the instincts of a seasoned performer who understands how to hold a room, how to give it space, and how to pull it back in with precision.

The show’s length also allowed him to explore multiple facets of his artistry. He wasn’t limited to a tight setlist or a narrow emotional range. Instead, he treated the night as a full portrait — a chance to show the audience everything he is capable of, everything he has learned, and everything he continues to become.

A Performer Who Refuses to Stay on the Stage

One of the defining features of the night was Demola’s refusal to remain anchored to the stage. Early in the show, he stepped off the platform and moved through the main floor, playing with the same clarity and control he brings to his studio recordings. Fans reached out, phones rose into the air, and the room tightened around him as he wove through the crowd.

Later, he did it again — this time with even more intention. “I want to make sure everyone gets this experience,” he said, glancing toward the mezzanine. With that, he climbed the stairs to the second floor, violin in hand, and performed directly for the fans above. The balcony erupted in cheers, grateful for the attention and the gesture.

This wasn’t a stunt. It was a philosophy. Demola believes music should be shared up close, not observed from a distance. In a venue like The Hall — with its open floor, wraparound balcony, and intimate sightlines — his approach felt natural, even necessary. The entire building became his stage, and the audience became part of the performance.

A Global Artist with a Global Story

Between songs, Demola shared pieces of his journey — not as rehearsed monologues, but as genuine reflections. Born in Lagos, Nigeria, he grew up surrounded by the rhythms and cultural textures that would later shape his sound. He spoke about moving to the United States, about the challenges of being a young musician trying to get people to listen, and about the slow, steady process of building a social network before social networks were the engine of modern music careers.

He described performing in school hallways, handing out CDs, messaging strangers, and convincing people one by one to give his music a chance. The crowd listened closely, not just because the story was compelling, but because it was clear that the man onstage had earned every step of his success.

That success has taken him around the world. He has performed on global stages, collaborated with major artists, and — in one of the night’s most surprising revelations — played at the World Cup three times. The audience reacted with a mix of awe and pride.

Then came the moment that drew the loudest reaction of the night. Demola told the crowd he had been invited to perform at the World Cup today — the very same day as the Little Rock show. The offer would have come with a significant paycheck, he admitted, but he turned it down. “My fans are more important than the money,” he said, and the room exploded.

Whether delivered with showman’s timing or heartfelt sincerity — and it felt sincere — the line reinforced the bond he has with his audience.

A Multi‑Instrumentalist with Something to Prove

Though the violin is his signature, Demola made it clear that he is far from a one‑instrument artist. He told the crowd that his twin brother, who usually performs with him, was not present tonight. “So I stole his Washburn Stratocaster,” he joked, holding up the guitar with a mischievous grin.

The audience laughed — and then he proceeded to deliver two electric‑guitar performances that showcased a completely different side of his musicianship.

The first song was smooth and melodic, a warm contrast to the sharp, percussive attack of his violin. The second was a full‑on duel with his lead guitarist, a playful exchange of riffs and licks that escalated into a high‑speed, call‑and‑response showdown. The crowd roared with each volley.

The guitar segment added a welcome dynamic shift to the night. After the emotional weight of his storytelling and the physical energy of his crowd‑walking performances, the electric‑guitar interlude brought a rock‑infused jolt that re‑centered the room and expanded the sonic palette of the show.

A Violinist Who Treats Genre as a Playground

Throughout the night, Demola moved effortlessly between Afrobeats, R&B, pop, soul, and contemporary instrumental music. His arrangements were fluid, blending rhythmic patterns from his Nigerian roots with the melodic sensibilities of American pop and the improvisational flair of jazz.

His Afrobeats‑infused pieces were especially powerful. The violin — an instrument often associated with classical or folk traditions — became a rhythmic engine, dancing over percussive backbeats and syncopated grooves. The crowd responded instinctively, moving with the pulse of the music in a way that felt both celebratory and communal.

In slower moments, his tone softened, revealing a warmth and expressiveness that contrasted beautifully with the high‑energy sections. These quieter passages gave the audience space to breathe, to absorb the emotional undercurrents of the performance, and to appreciate the full range of his technical and interpretive abilities.

A Performer Who Understands the Power of Connection

What set this show apart was not just the music, but the way Demola connected with the audience. He spoke openly, laughed easily, and carried himself with a humility that felt genuine. He thanked the crowd repeatedly, not out of obligation but out of clear appreciation. He made eye contact, responded to shouts from the audience, and treated the room as a partner in the performance rather than a passive observer.

This connection was reinforced by his physical movement through the venue. When he climbed to the second floor, the gesture wasn’t symbolic — it was practical. He wanted the fans upstairs to feel included, and he made sure they were. When he walked through the main floor, he wasn’t performing a stunt — he was breaking down the barrier between artist and audience.

In an era where many performers rely on screens, pyrotechnics, and choreography to create spectacle, Demola created his spectacle through presence, proximity, and authenticity.

A Night That Felt Bigger Than the Room

By the time the final notes faded — nearly three hours after the show began — it was clear that the audience had witnessed something more than a concert. They had experienced a portrait of an artist in full command of his craft, someone who has traveled the world, built a career from the ground up, and still approaches every performance with gratitude and joy.

Demola’s return to Little Rock was a reminder of what live music can be when it is rooted in connection rather than spectacle, in sincerity rather than pretense. It was a night defined by movement, storytelling, virtuosity, and the kind of crowd engagement that transforms a performance into a memory.

For Little Rock, it was a celebration. For Demola, it was a homecoming — not to a place he grew up, but to a place that has embraced him as one of its own.

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By Rob McCune

Touring their 13th album in twice as many years, prog-metal band Between the Buried and Me (BTBAM) is taking fans on a journey through a Blue Nowhere via a cataclysmic caravan of soaring cosmic melodies and subterranean scream-core.

As frontman Tommy Rogers describes it, “Blue Nowhere,” the title track, is a metaphor for a hidden, isolated space, detached from reality. But more than a space, it’s an internal confrontation in a desperate search for equilibrium—that seemingly out-of-reach state of mental, emotional and physical balance.

But for a few hours, BTBAM fans saw it and felt it.

A 10-song set for a show at Cleveland’s The Globe Iron leaned heavily on the new record while dipping into the catalogue with selections from five other LPs. For the encore, BTBAM doubled up on 2012’s “The Parallax II,” with the atmospheric opus “Slight Flight Parliament” and a ripping reprise on “Goodbye to Everything.”

The Raleigh, North Carolina-formed band, which took its name from a lyric in a Counting Crows song (“Ghost Train”), doesn’t “jam,” exactly, but digs deep while thrashing out 15-minute tracks with an unrelenting, almost paranormal, energy.

On this leg of their summer tour, BTBAM is backed by Thank You Scientist, a jazz-fusion-prog-rock sensation out of New Jersey with a brass section; and The World Is a Beautiful Place and I Am No Longer Afraid (TWIABP), a post-hardcore group out of Connecticut with a band name so long, even the acronym is abbreviated.

Warming up the crowd first, TWIABP brought an experimental emo vibe that hit like the “Twister” on keyboardist Katie Dvorak’s t-shirt (a throwback to the 1996 original).

For their set, Thank You Scientist and new lead singer Daimon Alexandrius (who joined the band in 2024 after the exit of Salvatore Marrano) teased a new album (which would be their fourth and first since 2019’s “Terraformer”) with a brand new song, “Fire Eater.” Alexandrius seems right at home on stage, and his boisterous vocal adds range to the band’s eclectic sound. The genre-bending rhythms coming out of this cool-nerd band make more sense considering its origins: formed by a guitar player (Tom Monda), saxophonist (Ellis Jasenovic) and trumpet player (Andrew Dingus) raised on Frank Zappa and The Beatles. Thank a scientist that new music is on the way.

Follow Rob McCune on Instagram (@Every_Thing_After_Photo) and listen to the “Every.Thing.After Podcast” on Spoti

Between the Buried and Me (BTBAM) – Website | Facebook | YouTube | TikTok | Instagram | X |

Sporting a full orchestra of instruments from keys and strings to brass and percussion, the 10-plus-piece ensemble Snarky Puppy doesn’t need a vocalist.

The improvisational, instrumental collective set the vibe early and then rode it like a cowboy on the back of a comet, vibing to tracks that ranged from surrealistic jazz to funky.

Supported by opener Sofia Rei, an Argentinian singer/songwriter, this was truly a celebration of music, with a spectrum of sound represented on the stage. Rei’s bright, soul-stirring set needed no translation, either – though the singer provided some context to a few of the tracks for the non-Spanish-speaking members of the crowd.

For its part, Grammy-winning Snarky Puppy brought dog-with-a-bone playful energy to a set punctuated with favorites from the band’s 11 albums. The global appeal of their music can’t be denied, as Snarky Puppy next heads out on a world tour, starting in Japan and touching all corners of the globe.

Follow Rob McCune on Instagram (@Every_Thing_After_Photo) and listen to the “Every.Thing.After Podcast” on Spotify.

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By Rob McCune

An 8-piece funk rock band of Egyptian mummies is on a tour of concert halls in middle America, and if you’re unfamiliar with them, I promise you do not know what you’re in for at one of their shows.

Bringing, to borrow the voice of Vincent Price, “the funk of 40,000 years and grizzly ghouls from every tomb,” the Mummies have a groove that’s hard to beat. And pity “whosoever shall be found without the soul for getting down.”

Some bands need a gimmick. The Mummies have a hell of one, but as skilled musicians don’t need it. The octet plays guitar, bass, drums, keys, bari and tenor sax, tambourine, trumpet, and more. At some point on the stage there might be six saxophones – including one in each hand of two of the Mummies, being played simultaneously.

And damn, do they jam.

Seemingly every Mummy also has a singing voice that variously makes one wonder if they aren’t in fact the reanimated corpses of great American funk and soul singers like Sam Cooke and James Brown.

That’s one great thing about the Mummy gimmick: anonymity. We don’t really know who’s under all that wrapping. The band members have names like Mummy Cass, Eddie Mummy, K.W. TuT, Spaz, Fingerbang, Dr. Yo, Highlander, H-POD.

Midnight Mummy is the Flavor Flav of the group, eventually wearing a tall fur cap – like those worn by British soldiers standing guard outside Westminster Palace, but with a comically large eyeball in the center of it – and white-frame sunglasses as he raps and jives across the stage.

The show starts with a drum line down the center aisle, a procession led by two Anubi – plural for the ancient Egyptian god with the heads of jackals – and a storm of streamers.

And then, just as you feel like maybe that’s plenty to be surprised over, you start to pay attention to the songs and the lyrics, which feature the flavor of dirty puns and innuendo – and blatantly sexual themes – that men in their 40s now might have found on records hidden in the back of their dad’s closet and stayed up late to sneak a snickering listen.

The set list for this show at The Kent Stage in Kent, Ohio, featured songs with seemingly innocuous titles like “Pants,” but lyrics like “I’m coming in my pants, my shirt, it’s my best suit baby … I’m so excited, I hope that I don’t come too soon.” Yea, you know what they’re talking about. And as if they needed to drive the point home, the song ends with a cannon blast of white streamers into the audience.

You start to see the nice, older couples (who you might’ve spoken with before the show) in a different, shadier light. They’re wearing the merch. Some are really decked out, wearing Egyptian headdresses. They dance in the aisles and squeal in delight at the performance. And you wonder how many of them attended those swinging “key parties” in the Sixties (and maybe still do), and how many have spent some time in nudist camps.

But if you don’t get carried away by such thoughts, and instead let the funk take over, you might find yourself mummified by the night’s end. “And though you fight to stay alive, your body starts to shiver, for no mere mortal can resist …”

Here Come the Mummies have booked tour stops through Illinois, Nebraska, Virginia, West Virginia, Michigan, Ohio, Indiana, Pennsylvania, and even parts of Canada through late October.

Follow Rob McCune on Instagram (@Every_Thing_After_Photo) and listen to the “Every.Thing.After Podcast” on Spotify

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Space

Evanston, IL

Maja Rios

The venue, Space, in Evanston, IL, has been remodeled, since i was last there. They have enlarged with a beautiful, new, large, front bar room, to hang out in, as you enter. The original concert room ,seemed roomier too, with excellent seating and acoustics.
Emmett Cohen Quintet, delivered an excellent tribute concert, “Trane and Miles at 100”, that featured many Miles Davis and John Coltrane tunes, including Miles’ songs, Four, All Blues ,Milstones, and Coltranes’ Mr. P.C.,Impressions, and Giant Steps. Emmett also included a few of his tasty originals.

Emmett Cohen ,pianist and leader, showed showed he was a true virtuoso, his playing reflecting many styles of great bygone pianists, including the late great McCoy Tyner. He is also a great accompanist, to his horn players. Jeremy Pelt, trumpet ,delivered a super slow version of ballads When I Fall in Love and Stardust. Fabulous drummer, Joe Farnsworth, kept excellent time , as well as amazing drum solos on several compositions.
Young saxophonist, Tivon Pennicott, played both ” inside” and “outside” on solos, sounding alot like one of my favorites, Joe Henderson with a pinch of Sonny Rollins too. Bassist, Rueben Rogers, originally from St Thomas, Virgin Islands., kept excellent time and swinging support throughout.
This quintet was one of my favorite bands ever. A great night!

by Dan Locke

There are nights at the White Water Tavern when the room feels less like a venue and more like a living organism — breathing with the crowd, humming with anticipation, and settling into a rhythm all its own. Sweet Megg’s February 19, 2026 performance was one of those nights, the kind that reminds you why the Tavern remains one of the most beloved listening rooms in Arkansas. It wasn’t a night built on spectacle or volume. It was built on personality, musicianship, and the rare ability of an artist to make a room feel like a front‑porch gathering.

Sweet Megg walked onto the stage with guitar in hand, with the kind of unforced confidence that comes from years of touring, experimenting, and refusing to be boxed into a single genre. Her band — a tight, intuitive group that could swing, shuffle, or lay back at a moment’s notice — eased into the first tune with a warm, woody upright bass line and a guitar tone that felt like it had been pulled straight from a 1940s dance hall. Before she even opened her mouth, the sound hinted at what she would later explain outright: she lives in the space between country and jazz, a place she affectionately calls “country swing.”

From the first verse, her voice carried that dual identity. There was a smoky looseness in her phrasing, the kind of jazz sensibility that lets a note linger just a fraction longer than expected. But there was also a clear, rootsy twang — not affected, not retro for retro’s sake, but honest. She sounded like someone who grew up loving Patsy Cline and Billie Holiday in equal measure and never saw a reason to choose between them.

The White Water crowd, a mix of regulars, musicians, and curious newcomers, settled into her sound quickly. It’s the kind of room where people listen — really listen — and Megg rewarded that attention with a set that felt both intimate and playful. She moved through her repertoire with ease, mixing originals with a generous helping of covers. And she didn’t hide from that fact. Midway through the night, she leaned into the mic with a grin and said, “I know I play a lot of covers. I just love them. I love the stories in them. I wish people would cover each other’s songs more often. Back in the day it always seemed like folks were exchanging songs and it seems that tradition is less the case.  I’m trying to do more of that, cover modern day writers. Maybe one day.”
It wasn’t a complaint. It was a confession — honest, self‑aware, and delivered with the kind of charm that made the room laugh with her, not at her. It also framed the rest of the set in a new light. Her covers weren’t filler; they were a map of her influences, a way of showing the audience the musical DNA that shapes her writing.

She dipped into Western swing standards, early jazz tunes, and country classics, but she never played them straight. A familiar melody might suddenly take on a bluesy bend. A jazz standard might pick up a honky‑tonk shuffle. Her band followed her effortlessly, shifting grooves and textures like a flock of birds changing direction mid‑air. It was clear they weren’t just backing her — they were in conversation with her.

Between songs, Megg talked about her musical identity with a kind of shrugging honesty that felt refreshing. “People always ask me what I am,” she said. “Country? Jazz? Americana? I don’t know. I guess I’m a little bit of all of it. Or none of it.” The crowd nodded, not because they needed the explanation, but because they recognized the truth in it. She wasn’t trying to fit into a genre. She was building her own lane.

Her originals were the emotional core of the night. One song — a slow, wistful tune about longing for home while constantly being on the road — quieted the room to a near‑stillness. Her voice softened, the band pulled back, and the Tavern’s famously creaky floorboards seemed to hold their breath. It was one of those moments where you could feel the audience leaning in, not out of politeness, but because they were genuinely moved.

Another original, more upbeat and playful, showcased her storytelling chops. She has a way of writing lyrics that feel conversational but still poetic, grounded in everyday details but lifted by her phrasing. It’s the same blend that defines her voice — country directness with jazz flexibility.

But the covers remained the connective tissue of the night. She treated them not as museum pieces but as living songs, reshaping them with affection and curiosity. A Bob Wills tune might suddenly carry a smoky nightclub vibe. A jazz standard might swing with a country grin. It was genre‑blending without gimmickry — the kind that comes from deep respect rather than novelty.

The White Water Tavern itself played a role in the magic. The room’s intimacy, its worn‑in charm, its history of hosting artists who thrive on authenticity — all of it created a backdrop that made Megg’s set feel like a homecoming, even if she wasn’t from Arkansas. There’s something about that stage that encourages honesty, and Megg embraced it fully.

As the night wound down, she closed with a tune that perfectly encapsulated her musical identity — a swinging, joyful number that let her voice dance across the melody while the band locked into a groove that felt both vintage and fresh. It wasn’t flashy, but it was deeply satisfying, the kind of ending that leaves a room buzzing with warmth.

When she stepped offstage, people didn’t rush to leave. They lingered, talking about her voice, her charm, her genre‑bending style. Some compared her to classic jazz singers. Others heard echoes of old country greats. But most agreed on one thing: she was doing something uniquely her own, and she was doing it with heart.

Looking back, Sweet Megg’s February 19, 2026 performance at the White Water Tavern felt like a snapshot of an artist fully inhabiting her identity — not polished to perfection, but honest, evolving, and deeply connected to the music she loves. It was a night built on sincerity, musicianship, and the rare ability to make a room feel like part of the story.

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Jazz Showcase

Chicago, IL

March 7, 2010

by Dan Locke

Hiromi didn’t just walk onto the Jazz Showcase stage — she hit it like a power surge. One second the room was murmuring over cocktails, the next it felt like someone had plugged the entire South Loop into a live wire. The piano wasn’t an instrument tonight. It was a detonation device, and Hiromi had her finger on the trigger.

From the first downbeat, she played with the kind of velocity that makes you wonder if she’s trying to outrun her own ideas. Her hands blurred. Her hair snapped. Her whole body became a kinetic warning sign. This wasn’t jazz for the polite crowd. This was jazz for people who like their music with scorch marks.

Hiromi attacked the keys like a guitarist raised on stadium rock but trapped inside a Steinway. She built riffs like skyscrapers — fast, reckless, and thrillingly unstable — then tore them down with a single chromatic landslide. Her left hand hammered out bass lines with the authority of a steelworker on overtime, while her right hand flickered like neon refusing to burn out.

Her set moved like a freight train switching tracks at full speed. One moment she was spinning out delicate, crystalline lines; the next she was dropping thunderclaps that rattled the glasses behind the bar. Her trio clung to her like a municipal crew trying to keep up with a runaway power grid.

Even the ballads felt dangerous — like someone whispering secrets next to a live transformer.

Hiromi’s March 7 performance wasn’t a show. It was a controlled explosion. A neon riot. A piano turned weapon. A night where jazz remembered it has teeth.

She left the Jazz Showcase smoking, buzzing, and a little stunned — the way a club should feel after someone rewires the room with nothing but ten fingers and a refusal to behave.

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The 2026 GRAMMYS take place Sunday, Feb. 1, at Crypto.com Arena in Los Angeles, broadcasting live on the CBS Television Network and streaming live and on demand on Paramount+. Watch highlights and exclusive GRAMMYS content from the 2026 GRAMMYS all year long on live.GRAMMY.com.

The Recording Academy has officially released the full list of nominees for the 2026 GRAMMYS, marking the start of this year’s GRAMMY season and setting the stage for Music’s Biggest Night.

The nominees were announced today during a livestream, with artists including Chappell Roan, Doechii, KAROL G, Mumford & Sons, Sabrina Carpenter, Sam Smith, and more presenting all 95 GRAMMY Categories. This year’s nominations span a wide range of artists, genres, and projects — from established acts to first-time nominees — across pop, country, rap, R&B, Latin, global, jazz, and beyond, reflecting a year marked by wide-ranging creativity in music.

Winners will be determined by the Recording Academy’s Voting Members — a peer group composed of music creators, including artists, songwriters, producers, engineers, and more. Their GRAMMY votes decide every GRAMMY nominee and GRAMMY winner revealed on Music’s Biggest Night, reinforcing the GRAMMY Award as music’s only industry-recognized, peer-voted honor.

This year also marks a notable update to the GRAMMY Awards process: The 2026 GRAMMYS will introduce two new GRAMMY Categories — Best Traditional Country Album and Best Album Cover. These additions further the Recording Academy’s commitment to recognizing a broader spectrum of artistic craft and honoring the evolving ways music is created and experienced.

The 2026 GRAMMYS will take place Sunday, Feb. 1, live at Crypto.com Arena in Los Angeles, broadcasting live on the CBS Television Network and streaming live and on demand on Paramount+.

Check out the full list of nominees for the 2026 GRAMMY Awards below.

Record Of The Year

Award to the Artist and to the Producer(s), Recording Engineer(s) and/or Mixer(s) and mastering engineer(s), if other than the artist.

DtMF

Bad Bunny

Scotty Dittrich, Hydra Hitz, La Paciencia, JULiA LEWiS, MAG & Tyler Spry, producers; Antonio Caraballo, Josh Gudwin, Roberto Rosado & Tyler Spry, engineers/mixers; Colin Leonard, mastering engineer

Manchild

Sabrina Carpenter

Jack Antonoff & Sabrina Carpenter, producers; Jack Antonoff, Bryce Bordone, Jozef Caldwell, Serban Ghenea, Sean Hutchinson, Oli Jacobs, Michael Riddleberger & Laura Sisk, engineers/mixers; Ruairi O’Flaherty, mastering engineer

Anxiety

Doechii

Doechii, producer; Jayda Love, engineer/mixer; Nicolas De Porcel, mastering engineer

WILDFLOWER

Billie Eilish

FINNEAS, producer; Jon Castelli, FINNEAS & Aron Forbes, engineers/mixers; Dale Becker, mastering engineer

Abracadabra

Lady Gaga

Cirkut, Lady Gaga & Andrew Watt, producers; Bryce Bordone, Serban Ghenea & Paul LaMalfa, engineers/mixers; Randy Merrill, mastering engineer

luther

Kendrick Lamar With SZA

Jack Antonoff, Bridgeway, M-Tech, roselilah, Sounwave & Kamasi Washington, producers; Jack Antonoff, Ray Charles Brown Jr., Hector Castro, Oli Jacobs, Jack Manning, Sean Matsukawa, Dani Perez, Tony Shepperd, Laura Sisk & Johnathan Turner, engineers/mixers; Ruairi O’Flaherty, mastering engineer

The Subway

Chappell Roan

Daniel Nigro, producer; Chris Kaysch, Mitch McCarthy & Daniel Nigro, engineers/mixers; Randy Merrill, mastering engineer

APT.

ROSÉ, Bruno Mars

Rogét Chahayed, Cirkut, Omer Fedi & Bruno Mars, producers; Serban Ghenea

Category 2

Album Of The Year

Award to Artist(s) and to Featured Artist(s), Songwriter(s) of new material, Producer(s), Recording Engineer(s), Mixer(s) and Mastering Engineer(s) credited with 20% or more playing time of the album.

DeBÍ TiRAR MáS FOToS

Bad Bunny

Big Jay, La Paciencia, MAG & Tainy, producers; Antonio Caraballo, Josh Gudwin, Luis Amed Irizarry & Roberto José Rosado Torres, engineers/mixers; Benito Antonio Ocasio Martinez, Roberto José Rosado Torres, Marco Daniel Borrero, Jay Anthony Nuñez & Marcos Efrain Masis, songwriters; Colin Leonard, mastering engineer

SWAG

Justin Bieber

Eddie Benjamin, Justin Bieber, Daniel Chetrit, Dijon, Carter Lang & Dylan Wiggins, producers; Felix Byrne & Josh Gudwin, engineers/mixers; Eddie Benjamin, Justin Bieber, Daniel Chetrit, Dijon Duenas, Tobias Jesso Jr., Carter Lang, Jackson Lee Morgan & Dylan Wiggins, songwriters; Dale Becker, mastering engineer

Man’s Best Friend

Sabrina Carpenter

Jack Antonoff, Sabrina Carpenter & John Ryan, producers; Zem Adu, Jack Antonoff, Bryce Bordone, Jozef Caldwell, Serban Ghenea, Jeff Gunnell, David Hart, Mikey Freedom Hart, Sean Hutchinson, Oli Jacobs, Jack Manning, Joey Miller, Michael Riddleberger, John Ryan, Laura Sisk & Evan Smith, engineers/mixers; Amy Allen, Jack Antonoff, Sabrina Carpenter & John Ryan, songwriters; Nathan Dantzler & Ruairi O’Flaherty, mastering engineers

Let God Sort Em Out

Clipse, Pusha T & Malice

Pharrell Williams, featured artist; Pharrell Williams, producer; Mike Larson, Manny Marroquin, Rob Ulsh & Pharrell Williams, engineers/mixers; Gene Elliott Thornton Jr., Terrence Thornton & Pharrell Williams, songwriters; Zach Pereyra, mastering engineer

MAYHEM

Lady Gaga

Cirkut, Gesaffelstein, Lady Gaga & Andrew Watt, producers; Bryce Bordone, Serban Ghenea & Paul LaMalfa, engineers/mixers; Henry Walter, Mike Lévy, Lady Gaga, Michael Polansky & Andrew Watt, songwriters; Randy Merrill, mastering engineer

GNX

Kendrick Lamar

Jack Antonoff & Sounwave, producers; Jack Antonoff, Ray Charles Brown Jr., Jozef Caldwell, Oli Jacobs, Jack Manning, Dani Perez, Laura Sisk & Johnathan Turner, engineers/mixers; Jack Antonoff, Ink, Scott Bridgeway, Sam Dew, Kendrick Lamar, Matthew Bernard & Mark Anthony Spears, songwriters; Ruairi O’Flaherty, mastering engineer

MUTT

Leon Thomas

Freaky Rob, Peter Lee Johnson, D. Phelps & Leon Thomas, producers; Jean-Marie Horvat, engineer/mixer; Lazaro Andres Camejo, Freaky Rob, Peter Lee Johnson, D. Phelps & Leon Thomas, songwriters; Dave Kutch, mastering engineer

CHROMAKOPIA

Tyler, The Creator

Tyler, The Creator, producer; NealHPogue, Tyler Okonma & Vic Wainstein, engineers/mixers; Tyler Okonma, songwriter; Mike Bozzi, mastering engineer

Category 3

Song Of The Year

A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.

Abracadabra

Lady Gaga, Henry Walter & Andrew Watt, songwriters (Lady Gaga)

Anxiety

Jaylah Hickmon, songwriter (Doechii)

**APT. **

Amy Allen, Christopher Brody Brown, Rogét Chahayed, Omer Fedi, Philip Lawrence, Bruno Mars, Chae Young Park, Theron Thomas & Henry Walter, songwriters (ROSÉ, Bruno Mars)

DtMF

Marco Daniel Borrero, Scott Dittrich, Benjamin Falik, Benito Antonio Martínez Ocasio, Hugo René Sención Sanabria, Tyler Thomas Spry & Roberto José Rosado Torres, songwriters (Bad Bunny)

**Golden [From “KPop Demon Hunters”]**

EJAE & Mark Sonnenblick, songwriters (HUNTR/X:EJAE, Audrey Nuna, REI AMI)

luther

Jack Antonoff, Roshwita Larisha Bacha, Matthew Bernard, Scott Bridgeway, Sam Dew, Ink, Kendrick Lamar, Solána Rowe, Mark Anthony Spears & Kamasi Washington, songwriters (Kendrick Lamar With SZA)

Manchild

Amy Allen, Jack Antonoff & Sabrina Carpenter, songwriters (Sabrina Carpenter)

WILDFLOWER

Billie Eilish O’Connell & Finneas O’Connell, songwriters (Billie Eilish)

Category 4

Best New Artist

This category recognizes an artist whose eligibility-year release(s) achieved a breakthrough into the public consciousness and notably impacted the musical landscape.

Olivia Dean

KATSEYE

The Marias

Addison Rae

sombr

Leon Thomas

Alex Warren

Lola Young

Category 5

Producer Of The Year, Non-Classical

A Producer’s Award. (Artists names appear in parentheses.)

Dan Auerbach

Elegantly Wasted (Hermanos Gutiérrez Featuring Leon Bridges) (S)

Harsh & Exciting (Moonrisers) (A)

Holy Ghost Party (Robert Finley) (S)

Love Is Cruel (Miles Kane) (S)

Medium Raw (Early James) (A)

A Million Knives (The Velveteers) (A)

No Rain, No Flowers (The Black Keys) (A)

Our Time In The Sun (Jeremie Albino) (A)

Cirkut

Abracadabra (Lady Gaga) (S)

AEOMG (Coco Jones) (T)

APT. (ROSÉ & Bruno Mars) (S)

Big Sleep (The Weeknd Featuring Giorgio Moroder) (T)

Disease (Lady Gaga) (S)

IT girl (JADE) (S)

A Little More (Ed Sheeran) (S)

Mayhem (Lady Gaga) (A)

Red Terror (The Weeknd) (T)

Dijon

Baby (Dijon) (A)

DAISIES (Justin Bieber) (T)

DEVOTION (Justin Bieber & Dijon) (T)

THINGS YOU DO (Justin Bieber) (T)

YUKON (Justin Bieber) (T)

Blake Mills

For Melancholy Brunettes (& sad women) (Japanese Breakfast) (A)

Forever Is A Feeling (Lucy Dacus) (A)

Glory (Perfume Genius) (A)

That Wasn’t A Dream (Pino Palladino And Blake Mills)(A)

Sounwave

GNX (Kendrick Lamar) (A)

Category 6

Songwriter Of The Year, Non-Classical

A Songwriter’s Award. (Artists names appear in parentheses.)

Amy Allen

APT. (ROSÉ & Bruno Mars) (S)

Bad As The Rest (Jessie Murph) (S)

Hail Mary (Shaboozey, Sierra Ferrell) (T)

Handlebars (JENNIE Featuring Dua Lipa) (S)

Just Keep Watching (Tate McRae) (S)

Lost In Translation (Carín León & Kasey Musgraves) (S)

Manchild (Sabrina Carpenter) (S)

Tears (Sabrina Carpenter) (S)

WHY (Jon Bellion Featuring Luke Combs) (S)

Edgar Barrera

Birthday Behavior (BIA, Young Miko) (S)

Coleccionando Heridas (KAROL G, Marco Antonio Solís) (T)

Ese Vato No Te Queda (Carín León, Gabito Ballesteros) (S)

Me Jalo (Fuerza Regida, Grupo Frontera) (T)

Me Retiro (Santana, Grupo Frontera) (S)

Milagros (KAROL G) (S)

Sigueme Besando Asi (Manuel Turizo) (T)

Soltera (Shakira) (S)

Una Noche Contigo (Juanes) (S)

Jessie Jo Dillon

Bless Your Heart (Megan Moroney) (T)

Bottomland (HARDY) (S)

Dreams Don’t Die (Jelly Roll) (S)

First Rodeo (Kelsea Ballerini) (T)

Happen To Me (Russell Dickerson) (S)

Hello S—ty Day (Jake Worthington, Miranda Lambert)(S)

If You Were Mine (Morgan Wallen) (T)

Patterns (Kelsea Ballerini) (T)

To The Men That Love Women After Heartbreak (Kelsea Ballerini) (T)

**Tobias Jesso Jr.**

Another Baby! (Dijon) (T)

Baby! (Dijon) (T)

Daisies (Justin Bieber) (T)

From (Bon Iver) (T)

Go Baby (Justin Bieber) (T)

Golden Burning Sun (Miley Cyrus) (T)

Man I Need (Olivia Dean) (S)

Relationships (HAIM) (S)

Walking Away (Justin Bieber) (T)

Laura Veltz

About You (BigXthaPlug Featuring Tucker Wetmore) (T)

Blue Strips (Jessie Murph) (S)

Grand Bouquet (Maren Morris) (T)

Leave Me Too (Josh Ross) (S)

Parallel Universe (Lauren Spencer Smith) (T)

Someone In This Room (Jessie Murph Featuring Bailey Zimmerman) (T)

Touch Me Like A Gangster (Jessie Murph) (S)

What Tomorrow’s For (Blessing Offor) (T)

You’ll Be OK, Kid – From The Original Documentary “Child Star” (Demi Lovato) (S)

Field 1: Pop & Dance/Electronic

Category 7

Best Pop Solo Performance

For new vocal or instrumental pop recordings. Singles or Tracks only.

DAISIES

Justin Bieber

Manchild

Sabrina Carpenter

Disease

Lady Gaga

The Subway

Chappell Roan

Messy

Lola Young

Category 8

Best Pop Duo/Group Performance

For new vocal or instrumental duo/group or collaborative pop recordings. Singles or Tracks only.

Defying Gravity

Cynthia Erivo & Ariana Grande

**Golden [From “KPop Demon Hunters”]**

HUNTR/X: EJAE, Audrey Nuna, REI AMI

Gabriela

KATSEYE

**APT.**

ROSÉ, Bruno Mars

30 For 30

SZA Featuring Kendrick Lamar

Category 9

Best Pop Vocal Album

For albums containing greater than 75% playing time of new pop vocal recordings.

SWAG

Justin Bieber

Man’s Best Friend

Sabrina Carpenter

Something Beautiful

Miley Cyrus

MAYHEM

Lady Gaga

**I’ve Tried Everything But Therapy (Part 2)**

Teddy Swims

Category 10

Best Dance/Electronic Recording

For solo, duo, group or collaborative performances. Vocal or Instrumental. Singles or tracks only.

No Cap

Disclosure & Anderson .Paak

Disclosure, producer; Guy Lawrence, mixer

Victory Lap

Fred again.., Skepta, & PlaqueBoyMax

Blake Cascoe, Berwyn Du Bois, Fred again.., Darcy Lewis, Dan Mayo & PlaqueBoyMax, producers; Tom Norris, mixer

SPACE INVADER

KAYTRANADA

KAYTRANADA, producer; KAYTRANADA, mixer

VOLTAGE

Skrillex

John Feldmann & Skrillex, producers; Luca Pretolesi, Skrillex & Virtual Riot, mixers

End Of Summer

Tame Impala

Kevin Parker, producer; Kevin Parker, mixer

Category 11

Best Dance Pop Recording

For solo, duo, group or collaborative performances. Vocal or Instrumental. Singles or tracks only.

Bluest Flame

Selena Gomez & benny blanco

benny blanco, Dylan Brady & Cashmere Cat, producers;benny blanco & Cashmere Cat, mixers

Abracadabra

Lady Gaga

Cirkut, Lady Gaga & Andrew Watt, producers; Serban Ghenea, mixer

Midnight Sun

Zara Larsson

Margo XS & MNEK, producers; Tom Norris, mixer

Just Keep Watching (From F1® The Movie)

Tate McRae

Tyler Spry & Ryan Tedder, producers; Manny Marroquin, mixer

Illegal

PinkPantheress

Aksel Arvid & PinkPantheress, producers; Nickie Jon Pabon

Category 12

Best Dance/Electronic Album

For vocal or instrumental albums. Albums only.

EUSEXUA

FKA twigs

Ten Days

Fred again..

Fancy That

PinkPantheress

Inhale / Exhale

RÜFÜS DU SOL

F— U SKRILLEX YOU THINK UR ANDY WARHOL BUT UR NOT!! <3

Skrillex

Category 13

Best Remixed Recording

A Remixer’s Award. (Artists names appear in parentheses for identification.) Singles or Tracks only.

Abracadabra – Gesaffelstein Remix

Gesaffelstein, remixer (Lady Gaga, Gesaffelstein)

Don’t Forget About Us

FKAYTRANADA, remixer (Mariah Carey & KAYTRANADA)

A Dreams A Dream – Ron Trent Remix

Ron Trent, remixer (Soul II Soul)

Galvanize

Chris Lake, remixer (The Chemical Brothers & Chris Lake)

Golden – David Guetta REM/X

David Guetta, remixer (HUNTR/X: EJAE, Audrey Nuna, REI AMI)

Field 2: Rock, Metal & Alternative Music

Category 14

Best Rock Performance

For new vocal or instrumental solo, duo/group or collaborative rock recordings.

U Should Not Be Doing That

Amyl and The Sniffers

The Emptiness Machine

Linkin Park

NEVER ENOUGH

Turnstile

Mirtazapine

Hayley Williams

Changes (Live From Villa Park) Back To The Beginning

YUNGBLUD Featuring Nuno Bettencourt, Frank Bello, Adam Wakeman, II

Category 15

Best Metal Performance

For new vocal or instrumental solo, duo/group or collaborative metal recordings.

Night Terror

Dream Theater

Lachryma

Ghost

Emergence

Sleep Token

Soft Spine

Spiritbox

BIRDS

Turnstile

Category 16

Best Rock Song

A Songwriter(s) Award. Includes Rock, Hard Rock and Metal songs. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.

As Alive As You Need Me To Be

Trent Reznor & Atticus Ross, songwriters (Nine Inch Nails)

Caramel

Vessel1 & Vessel2, songwriters (Sleep Token)

Glum

Daniel James & Hayley Williams, songwriters (Hayley Williams)

NEVER ENOUGH

Daniel Fang, Franz Lyons, Pat McCrory, Meg Mills & Brendan Yates, songwriters (Turnstile)

Zombie

Dominic Harrison & Matt Schwartz, songwriters (YUNGBLUD)

Category 17

Best Rock Album

For albums containing greater than 75% playing time of new rock, hard rock or metal recordings.

private music

Deftones

I quit

HAIM

From Zero

Linkin Park

NEVER ENOUGH

Turnstile

Idols

YUNGBLUD

Category 18

Best Alternative Music Performance

For new vocal or instrumental solo, duo/group or collaborative Alternative music recordings.

Everything Is Peaceful Love

Bon Iver

Alone

The Cure

SEEIN’ STARS

Turnstile

mangetout

Wet Leg

Parachute

Hayley Williams

Category 19

Best Alternative Music Album

Vocal or Instrumental.

SABLE, fABLE

Bon Iver

Songs Of A Lost World

The Cure

DON’T TAP THE GLASS

Tyler, The Creator

moisturizer

Wet Leg

Ego Death At A Bachelorette Party

Hayley Williams

Field 3: R&B, Rap & Spoken Word Poetry

Category 20

Best R&B Performance

For new vocal or instrumental R&B recordings.

YUKON

Justin Bieber

It Depends

Chris Brown Featuring Bryson Tiller

Folded

Kehlani

MUTT — Live From NPR’s Tiny Desk

Leon Thomas

Heart Of A Woman

Summer Walker

Category 21

Best Traditional R&B Performance

For new vocal or instrumental traditional R&B recordings.

Here We Are

Durand Bernarr

UPTOWN

Lalah Hathaway

LOVE YOU TOO

Ledisi

Crybaby

SZA

VIBES DON’T LIE

Leon Thomas

Category 22

Best R&B Song

A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.

Folded

Darius Dixson, Andre Harris, Donovan Knight, Don Mills, Kehlani Parrish, Khris Riddick-Tynes & Dawit Kamal Wilson, songwriters (Kehlani)

Heart Of A Woman

David Bishop & Summer Walker, songwriters (Summer Walker)

It Depends

Nico Baran, Chris Brown, Ant Clemons, Ephrem Lopez Jr., Ryan Press, Bryson Tiller, Elliott Trent & Dewain Whitmore Jr., songwriters (Chris Brown Featuring Bryson Tiller)

Overqualified

James John Abrahart Jr & Durand Bernarr, songwriters (Durand Bernarr)

YES IT IS

Jariuce Banks, Lazaro Andres Camejo, Mike Hector, Peter Lee Johnson, Rodney Jones Jr., Ali Prawl & Leon Thomas, songwriters (Leon Thomas)

Category 23

Best Progressive R&B Album

For albums containing greater than 75% playing time of newly recorded progressive vocal tracks derivative of R&B.

BLOOM

Durand Bernarr

Adjust Brightness

Bilal

LOVE ON DIGITAL

Destin Conrad

Access All Areas

FLO

Come As You Are

Terrace Martin & Kenyon Dixon

Category 24

Best R&B Album

For albums containing greater than 75% playing time of new R&B recordings.

BELOVED

GIVĒON

**Why Not More?**

Coco Jones

The Crown

Ledisi

Escape Room

Teyana Taylor

MUTT

Leon Thomas

Category 25

Best Rap Performance

For a Rap performance. Singles or Tracks only.

Outside

Cardi B

Chains & Whips

Clipse, Pusha T & Malice Featuring Kendrick Lamar & Pharrell Williams

Anxiety

Doechii

tv off

Kendrick Lamar Featuring Lefty Gunplay

Darling, I

Tyler, The Creator Featuring Teezo Touchdown

Category 26

Best Melodic Rap Performance

For a solo or collaborative performance containing both elements of R&B melodies and Rap.

Proud Of Me

Fridayy Featuring Meek Mill

Wholeheartedly

JID Featuring Ty Dolla $ign & 6Lack

luther

Kendrick Lamar With SZA

WeMaj

Terrace Martin & Kenyon Dixon Featuring Rapsody

SOMEBODY LOVES ME

PARTYNEXTDOOR & Drake

Category 27

Best Rap Song

A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.

Anxiety

Jaylah Hickmon, songwriter (Doechii)

The Birds Don’t Sing

Gene Elliott Thornton Jr., Terrence Thornton, Pharrell Williams & Stevie Wonder, songwriters (Clipse, Pusha T & Malice Featuring John Legend & Voices Of Fire)

Sticky

Aaron Bolton, Dwayne Carter, Jr., Dudley Alexander Duverne, Tyler Okonma, Janae Wherry, Gloria Woods & Rex Zamor, songwriters (Tyler, The Creator Featuring GloRilla, Sexyy Red & Lil Wayne)

TGIF

Lucas Alegria, Dillon Brophy, Yakki Davis, Jess Jackson, Ronnie Jackson, Mario Mims, Jorge M. Taveras & Gloria Woods, songwriters (GloRilla)

tv off

Jack Antonoff, Larry Jayy, Kendrick Lamar, Dijon McFarlane, Sean Momberger, Mark Anthony Spears & Kamasi Washington, songwriters (Kendrick Lamar Featuring Lefty Gunplay)

Category 28

Best Rap Album

For albums containing greater than 75% playing time of new rap recordings.

Let God Sort Em Out

Clipse, Pusha T & Malice

GLORIOUS

GloRilla

God Does Like Ugly

JID

GNX

Kendrick Lamar

CHROMAKOPIA

Tyler, The Creator

Category 29

Best Spoken Word Poetry Album

For albums containing greater than 50% playing time of new spoken word poetry recordings.

A Hurricane in Heels: healed people don’t act like that — partially recorded live @City Winery & other places

Queen Sheba

Black Shaman

Marc Marcel

Pages

Omari Hardwick & Anthony Hamilton

Saul Williams Meets Carlos Niño & Friends At Treepeople

Saul Williams, Carlos Niño & Friends

Words For Days Vol. 1

Mad Skillz

Field 4: Jazz, Traditional Pop, Contemporary Instrumental & Musical Theater

Category 30

Best Jazz Performance

For new vocal or instrumental solo, duo/group or collaborative jazz recordings.

Noble Rise

Lakecia Benjamin Featuring Immanuel Wilkins & Mark Whitfield

Windows – Live

Chick Corea, Christian McBride & Brian Blade

Peace Of Mind / Dreams Come True

Samara Joy

Four

Michael Mayo

All Stars Lead To You – Live

Nicole Zuraitis, Dan Pugach, Tom Scott, Idan Morim, Keyon Harrold & Rachel Eckroth

Category 31

Best Jazz Vocal Album

For albums containing greater than 75% playing time of new vocal jazz recordings.

Elemental

Dee Dee Bridgewater & Bill Charlap

**We Insist 2025!**

Terri Lyne Carrington & Christie Dashiell

Portrait

Samara Joy

Fly

Michael Mayo

Live at Vic’s Las Vegas

Nicole Zuraitis, Dan Pugach, Tom Scott, Idan Morim, Keyon Harrold & Rachel Eckroth

Category 32

Best Jazz Instrumental Album

For albums containing greater than 75% playing time of new instrumental jazz recordings.

Trilogy 3 — Live

Chick Corea, Christian McBride & Brian Blade

Southern Nights

Sullivan Fortner Featuring Peter Washington & Marcus Gilmore

Belonging

Branford Marsalis Quartet

Spirit Fall

John Patitucci Featuring Chris Potter & Brian Blade

Fasten Up

Yellowjackets

Category 33

Best Large Jazz Ensemble Album

For albums containing greater than 75% playing time of new large ensemble jazz recordings.

Orchestrator Emulator

The 8-Bit Big Band

Without Further Ado, Vol 1

Christian McBride Big Band

Lumen

Danilo Pérez & Bohuslän Big Band

Basie Rocks

Deborah Silver & The Count Basie Orchestra

Lights on a Satellite

Sun Ra Arkestra

Some Days Are Better: The Lost Scores

Kenny Wheeler Legacy Featuring The Royal Academy of Music Jazz Orchestra & Frost Jazz Orchestra

Category 34

Best Latin Jazz Album

For vocal or instrumental albums containing greater than 75% playing time of newly recorded material. The intent of this category is to recognize recordings that represent the blending of jazz with Latin, Iberian-American, Brazilian, and Argentinian tango music.

La Fleur de Cayenne

Paquito D’Rivera & Madrid-New York Connection Band

The Original Influencers: Dizzy, Chano & Chico Arturo O’Farrill & The Afro Latin Jazz Orchestra

Featuring Pedrito Martinez, Daymé Arocena, Jon Faddis, Donald Harrison & Melvis Santa

Mundoagua – Celebrating Carla Bley

Arturo O’Farrill & The Afro Latin Jazz Orchestra

A Tribute to Benny Moré and Nat King Cole

Gonzalo Rubalcaba, Yainer Horta & Joey Calveiro

Vanguardia Subterránea: Live at The Village Vanguard

Miguel Zenón Quartet

Category 35

Best Alternative Jazz Album

For vocal or instrumental albums containing greater than 75% playing time of new Alternative jazz recordings.

honey from a winter stone

Ambrose Akinmusire

Keys To The City Volume One

Robert Glasper

Ride into the Sun

Brad Mehldau

LIVE-ACTION

Nate Smith

Blues Blood

Immanuel Wilkins

Category 36

Best Traditional Pop Vocal Album

For albums containing greater than 75% playing time of new traditional pop recordings.

Wintersongs

Laila Biali

The Gift Of Love

Jennifer Hudson

**Who Believes In Angels?**

Elton John & Brandi Carlile

Harlequin

Lady Gaga

A Matter Of Time

Laufey

The Secret Of Life: Partners, Volume 2

Barbra Streisand

Category 37

Best Contemporary Instrumental Album

For albums containing greater than 75% playing time of new contemporary instrumental recordings.

Brightside

ARKAI

Ones & Twos

Gerald Clayton

BEATrio

Béla Fleck, Edmar Castañeda, Antonio Sánchez

Just Us

Bob James & Dave Koz

Shayan

Charu Suri

Category 38

Best Musical Theater Album

For albums containing greater than 51% playing time of new recordings. Award to the principal vocalist(s), and the album producer(s) of 50% or more playing time of the album. The lyricist(s) and composer(s) of 50 % or more of a score of a new recording are eligible for an Award if any previous recording of said score has not been nominated in this category.

Buena Vista Social Club

Marco Paguia, Dean Sharenow & David Yazbek, producers (Original Broadway Cast)

Death Becomes Her

Taurean Everett, Megan Hilty, Josh Lamon, Christopher Sieber, Jennifer Simard & Michelle Williams, principal vocalists; Noel Carey, Sean Patrick Flahaven, Julia Mattison & Scott M. Riesett, producers; Noel Carey & Julia Mattison, composers/lyricists (Original Broadway Cast)

Gypsy

Danny Burstein, Kevin Csolak, Audra McDonald, Jordan Tyson & Joy Woods, principal vocalists; David Caddick, Andy Einhorn, David Lai & George C. Wolfe, producers (Jule Styne, composer; Stephen Sondheim, lyricist) (2024 Broadway Cast)

Just In Time

Emily Bergl, Jonathan Groff, Erika Henningsen, Gracie Lawrence & Michele Pawk, principal vocalists; Derik Lee, Andrew Resnick & Bill Sherman, producers (Bobby Darin, composer & lyricist) (Original Broadway Cast)

Maybe Happy Ending

Marcus Choi, Darren Criss, Dez Duron & Helen J Shen, principal vocalists; Deborah Abramson, Will Aronson, Ian Kagey & Hue Park, producers; Hue Park, lyricist; Will Aronson, composer & lyricist (Original Broadway Cast)

Field 5: Country & American Roots Music

Category 39

Best Country Solo Performance

For new vocal or instrumental solo country recordings.

Nose On The Grindstone

Tyler Childers

Good News

Shaboozey

Bad As I Used To Be [From “F1® The Movie”] Chris Stapleton

I Never Lie

Zach Top

Somewhere Over Laredo

Lainey Wilson

Category 40

Best Country Duo/Group Performance

For new vocal or instrumental duo/group or collaborative country recordings.

A Song To Sing

Miranda Lambert And Chris Stapleton

Trailblazer

Reba McEntire, Miranda Lambert, Lainey Wilson

Love Me Like You Used To Do

Margo Price & Tyler Childers

Amen

Shaboozey & Jelly Roll

Honky Tonk Hall Of Fame

George Strait, Chris Stapleton

Category 41

Best Country Song

A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.

Bitin’ List

Tyler Childers, songwriter (Tyler Childers)

Good News

Michael Ross Pollack, Sam Elliot Roman & Jacob Torrey, songwriters (Shaboozey)

I Never Lie

Carson Chamberlain, Tim Nichols & Zach Top, songwriters (Zach Top)

Somewhere Over Laredo

Andy Albert, Trannie Anderson, Dallas Wilson & Lainey Wilson, songwriters (Lainey Wilson)

A Song To Sing

Jenee Fleenor, Jesse Frasure, Miranda Lambert & Chris Stapleton, songwriters (Miranda Lambert And Chris Stapleton)

Category 42

Best Traditional Country Album

For albums containing greater than 75% playing time of new traditional country recordings.

Dollar A Day

Charley Crockett

American Romance

Lukas Nelson

Oh What A Beautiful World

Willie Nelson

Hard Headed Woman

Margo Price

Ain’t In It For My Health

Zach Top

Category 43

Best Contemporary Country Album

For albums containing greater than 75% playing time of new contemporary country recordings.

Patterns

Kelsea Ballerini

Snipe Hunter

Tyler Childers

Evangeline Vs. The Machine

Eric Church

Beautifully Broken

Jelly Roll

Postcards From Texas

Miranda Lambert

Category 44

Best American Roots Performance

For new vocal or instrumental American Roots recordings. This is for performances in the style of any of the subgenres encompassed in the American Roots Music field including bluegrass, blues, folk or regional roots. Award to the artist(s).

LONELY AVENUE

Jon Batiste Featuring Randy Newman

Ancient Light

I’m With Her

Crimson And Clay

Jason Isbell

Richmond On The James

Alison Krauss & Union Station

Beautiful Strangers

Mavis Staples

Category 45

Best Americana Performance

For new vocal or instrumental Americana performance. Award to the artist(s).

Boom

Sierra Hull

Poison In My Well

Maggie Rose & Grace Potter

Godspeed

Mavis Staples

That’s Gonna Leave A Mark

Molly Tuttle

Horses

Jesse Welles

Category 46

Best American Roots Song

A Songwriter(s) Award. Includes Americana, bluegrass, traditional blues, contemporary blues, folk or regional roots songs. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.

Ancient Light

Sarah Jarosz, Aoife O’Donovan & Sara Watkins, songwriters (I’m With Her)

BIG MONEY

Jon Batiste, Mike Elizondo & Steve McEwan, songwriters (Jon Batiste)

Foxes In The Snow

Jason Isbell, songwriter (Jason Isbell)

Middle

Jesse Welles, songwriter (Jesse Welles)

Spitfire

Sierra Hull, songwriter (Sierra Hull)

Category 47

Best Americana Album

For albums containing greater than 75% playing time of new vocal or instrumental Americana recordings.

BIG MONEY

Jon Batiste

Bloom

Larkin Poe

Last Leaf On The Tree

Willie Nelson

So Long Little Miss Sunshine

Molly Tuttle

Middle

Jesse Welles

Category 48

Best Bluegrass Album

For albums containing greater than 75% playing time of new vocal or instrumental bluegrass recordings.

Carter & Cleveland

Michael Cleveland & Jason Carter

A Tip Toe High Wire

Sierra Hull

Arcadia

Alison Krauss & Union Station

Outrun

The Steeldrivers

Highway Prayers

Billy Strings

Category 49

Best Traditional Blues Album

For albums containing greater than 75% playing time of new vocal or instrumental traditional blues recordings.

Ain’t Done With The Blues

Buddy Guy

Room On The Porch

Taj Mahal & Keb’ Mo’

One Hour Mama: The Blues Of Victoria Spivey

Maria Muldaur

Look Out Highway

Charlie Musselwhite

Young Fashioned Ways

Kenny Wayne Shepherd & Bobby Rush

Category 50

Best Contemporary Blues Album

For albums containing greater than 75% playing time of new vocal or instrumental contemporary blues recordings.

Breakthrough

Joe Bonamassa

Paper Doll

Samantha Fish

A Tribute To LJK

Eric Gales

Preacher Kids

Robert Randolph

Family

Southern Avenue

Category 51

Best Folk Album

For albums containing greater than 75% playing time of new vocal or instrumental folk recordings.

What Did The Blackbird Say To The Crow

Rhiannon Giddens & Justin Robinson

Crown Of Roses

Patty Griffin

Wild And Clear And Blue

I’m With Her

Foxes In The Snow

Jason Isbell

Under The Powerlines April 24 – September 24

Jesse Welles

Category 52

Best Regional Roots Music Album

For albums containing greater than 75% playing time of new vocal or instrumental regional roots music recordings.

Live At Vaughan’s

Corey Henry & The Treme Funktet

For Fat Man

Preservation Brass & Preservation Hall Jazz Band

Church Of New Orleans

Kyle Roussel

Second Line Sunday

Trombone Shorty And New Breed Brass Band

A Tribute To The King Of Zydeco

(Various Artists)

Field 6: Gospel & Contemporary Christian Music

Category 53

Best Gospel Performance/Song

This award is given to the artist(s) and songwriter(s) (for new compositions) for the best traditional Christian, roots gospel or contemporary gospel single or track.

Do It Again

Kirk Franklin; Kirk Franklin, songwriter

Church

Tasha Cobbs Leonard, John Legend; Anthony S. Brown, Brunes Charles, Annatoria Chitapa, Kenneth Leonard, Jr., Tasha Cobbs Leonard & Jonas Myrin, songwriters

Still Live

Jonathan McReynolds & Jamal Roberts; Britney Delagraentiss, Jonathan McReynolds, David Lamar Outing III, Orlando Joel Palmer & Terrell Demetrius Wilson, songwriters

Amen

Pastor Mike Jr.; Adia Andrews, Michael McClure Jr., David Lamar Outing II & Terrell Anthony Pettus, songwriters

Come Jesus Come

Cece Winans Featuring Shirley Caesar

Category 54

Best Contemporary Christian Music Performance/Song

This award is given to the artist(s) and songwriter(s) (for new compositions) for the best contemporary Christian music single or track, (including pop, rap/hip-hop, Latin, or rock.)

I Know A Name

Elevation Worship, Chris Brown, Brandon Lake; Hank Bentley, Steven Furtick, Brandon Lake & Jacob Sooter, songwriters

YOUR WAY’S BETTER

Forrest Frank; Forrest Frank & Pera, songwriters

Hard Fought Hallelujah

Brandon Lake With Jelly Roll; Chris Brown, Jason Bradley Deford, Steven Furtick, Benjamin William Hastings & Brandon Lake, songwriters

Headphones

Lecrae, Killer Mike, T.I.; Bongo ByTheWay, Clifford Harris, William Roderick Miller, Lecrae Moore, Michael Render & Tyshane Thompson, songwriters

Amazing

Darrel Walls, PJ Morton; PJ Morton & Darrel Walls,songwriters

Category 55

Best Gospel Album

For albums containing greater than 75% playing time of newly recorded, vocal, traditional or contemporary/R&B gospel music recordings.

Sunny Days

Yolanda Adams

Tasha

Tasha Cobbs Leonard

Live Breathe Fight

Tamela Mann

Only On The Road Live

Tye Tribbett

Heart Of Mine

Darrel Walls, PJ Morton

Category 56

Best Contemporary Christian Music Album

For albums containing greater than 75% playing time of newly recorded, vocal, contemporary Christian music, including pop, rap/hip hop, Latin, or rock recordings.

CHILD OF GOD II

Forrest Frank

Coritos Vol. 1

Israel & New Breed

King Of Hearts

Brandon Lake

Reconstruction

Lecrae

Let The Church Sing

Tauren Wells

Category 57

Best Roots Gospel Album

For albums containing greater than 75% playing time of newly recorded, vocal, traditional/roots gospel music, including country, Southern gospel, bluegrass, and Americana recordings.

I Will Not Be Moved — Live

The Brooklyn Tabernacle Choir

Then Came The Morning

Gaither Vocal Band

Praise & Worship: More Than A Hollow Hallelujah

The Isaacs

Good Answers

Karen Peck & New River

Back To My Roots

Candi Staton

Field 7: Latin, Global, Reggae & New Age, Ambient, or Chant

Category 58

Best Latin Pop Album

For albums containing greater than 75% playing time of new Latin pop recordings.

Cosa Nuestra

Rauw Alejandro

BOGOTÁ DELUXE

Andrés Cepeda

Tropicoqueta

KAROL G

Cancionera

Natalia Lafourcade

**¿Y ahora qué?**

Alejandro Sanz

Category 59

Best Música Urbana Album

For albums containing greater than 75% playing time of new Música Urbana recordings.

DeBÍ TiRAR MáS FOToS

Bad Bunny

Mixteip

J Balvin

FERXXO VOL X: Sagrado

Feid

NAIKI

Nicki Nicole

EUB DELUXE

Trueno

SINFÓNICO — En Vivo

Yandel

Category 60

Best Latin Rock or Alternative Album

For albums containing greater than 75% playing time of new Latin rock or alternative recordings.

Genes Rebeldes

Aterciopelados

ASTROPICAL

Bomba Estéreo, Rawayana, ASTROPICAL

PAPOTA

CA7RIEL & Paco Amoroso

ALGORHYTHM

Los Wizzards

Novela

Fito Paez

Category 61

Best Música Mexicana Album (Including Tejano)

For albums containing greater than 75% playing time of new regional Mexican (banda, norteño, corridos, gruperos, mariachi, ranchera and Tejano) recordings.

MALA MÍA

Fuerza Regida, Grupo Frontera

Y Lo Que Viene

Grupo Frontera

Sin Rodeos

Paola Jara

**Palabra De To’s [Seca]**

Carín León

**Bobby Pulido & Friends Una Tuya Y Una Mía – Por La Puerta Grande [En Vivo]**

Bobby Pulido

Category 62

Best Tropical Latin Album

For albums containing greater than 75% playing time of new tropical Latin recordings.

Fotografías

Rubén Blades, Roberto Delgado & Orquesta

Raíces

Gloria Estefan

Clásicos 1.0

Grupo Niche

Bingo

Alain Pérez

Debut y Segunda Tanda, Vol. 2

Gilberto Santa Rosa

Category 63

Best Global Music Performance

For new vocal or instrumental Global music recordings.

EoO

Bad Bunny

Cantando en el Camino

Ciro Hurtado

JERUSALEMA

Angélique Kidjo

**Inmigrante Y Que?**

Yeisy Rojas

**Shrini’s Dream [Live]**

Shakti

Daybreak

Anoushka Shankar Featuring Alam Khan & Sarathy Korwar

Category 64

Best African Music Performance

Love

Burna Boy

With You

Davido Featuring Omah Lay

Hope & Love

Eddy Kenzo & Mehran Matin

Gimme Dat

Ayra Starr Featuring Wizkid

PUSH 2 START

Tyla

Category 65

Best Global Music Album

For albums containing greater than 75% playing time of new vocal or instrumental Global Music recordings.

Sounds Of Kumbha

Siddhant Bhatia

No Sign of Weakness

Burna Boy

Eclairer le monde – Light the World

Youssou N’Dour

**Mind Explosion [50th Anniversary Tour Live]**

Shakti

Chapter III: We Return To Light

Anoushka Shankar Featuring Alam Khan & Sarathy Korwar

Caetano e Bethânia Ao Vivo

Caetano Veloso And Maria Bethânia

Category 66

Best Reggae Album

For albums containing greater than 75% playing time of new reggae recordings.

Treasure Self Love

Lila Iké

Heart & Soul

Vybz Kartel

BLXXD & FYAH

Keznamdi

From Within

Mortimer

No Place Like Home

Jesse Royal

Category 67

Best New Age, Ambient, or Chant Album

For albums containing greater than 75% playing time of new vocal or instrumental new age recordings.

Kuruvinda

Kirsten Agresta-Copely

According To The Moon

Cheryl B. Engelhardt, GEM, Dallas String Quartet

Into The Forest

Jahnavi Harrison

NOMADICA

Carla Patullo Featuring The Scorchio Quartet & Tonality

The Colors In My Mind

Chris Redding

Field 8: Children’s, Comedy, Audio Books, Visual Media & Music Video/Film

Category 68

Best Children’s Music Album

For albums containing greater than 75% playing time of new musical or spoken word recordings that are created and intended specifically for children.

Ageless: 100 Years Young

Joanie Leeds & Joya

Buddy’s Magic Tree House

Mega Ran

Harmony

FYÜTCH & Aura V

Herstory

Flor Bromley

The Music Of Tori And The Muses

Tori Amos

Category 69

Best Comedy Album

For albums containing greater than 75% playing time of new recordings.

Drop Dead Years

Bill Burr

PostMortem

Sarah Silverman

Single Lady

Ali Wong

What Had Happened Was…

Jamie Foxx

Your Friend, Nate Bargatze

Nate Bargatze

Category 70

Best Audio Book, Narration, and Storytelling Recording

Elvis, Rocky & Me: The Carol Connors Story

Kathy Garver

Into The Uncut Grass

Trevor Noah

Lovely One: A Memoir

Ketanji Brown Jackson

Meditations: The Reflections Of His Holiness The Dalai Lama

Dalai Lama

You Know It’s True: The Real Story Of Milli Vanilli

Fab Morvan

Category 71

Best Compilation Soundtrack For Visual Media

Award to the principal artist(s) and/or ‘in studio’ producer(s) of a majority of the tracks on the album. In the absence of both, award to the one or two individuals proactively responsible for the concept and musical direction of the album and for the selection of artists, songs and producers, as applicable. Award also goes to appropriately credited music supervisor(s).

A Complete Unknown

Timothée Chalamet

F1® The Album

(Various Artists)

KPop Demon Hunters

(Various Artists)

Sinners

(Various Artists)

Wicked

(Various Artists)

Category 72

Best Score Soundtrack For Visual Media (Includes Film And Television)

Award to Composer(s) for an original score created specifically for, or as a companion to, a current legitimate motion picture, television show or series, or other visual media.

How To Train Your Dragon

John Powell, composer

Severance: Season 2

Theodore Shapiro, composer

Sinners

Ludwig Göransson, composer

Wicked

John Powell & Stephen Schwartz, composers

The Wild Robot

Kris Bowers, composer

Category 73

Best Score Soundtrack for Video Games and Other Interactive Media

Award to Composer(s) for an original score created specifically for, or as a companion to, video games and other interactive media.

Avatar: Frontiers of Pandora – Secrets of the Spires

Pinar Toprak, composer

Helldivers 2

Wilbert Roget, II, composer

Indiana Jones And The Great Circle

Gordy Haab, composer

Star Wars Outlaws: Wild Card & A Pirate’s Fortune

Cody Matthew Johnson & Wilbert Roget, II, composers

Sword of the Sea

Austin Wintory, composer

Category 74

Best Song Written For Visual Media

A Songwriter(s) award. For a song (melody & lyrics) written specifically for a motion picture, television, video games or other visual media, and released for the first time during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.

**As Alive As You Need Me To Be — From “TRON: Ares”**

Trent Reznor & Atticus Ross, songwriters (Nine Inch Nails)

**Golden — From “KPop Demon Hunters”**

EJAE & Mark Sonnenblick, songwriters (HUNTR/X: EJAE, Audrey Nuna, REI AMI)

**I Lied to You — From “Sinners”**

Ludwig Göransson & Raphael Saadiq, songwriters (Miles Caton)

**Never Too Late — From “Elton John: Never Too Late”**

Brandi Carlile, Elton John, Bernie Taupin & Andrew Watt, songwriters (Elton John, Brandi Carlile)

**Pale, Pale Moon — From “Sinners”**

Ludwig Göransson & Brittany Howard, songwriters (Jayme Lawson)

**Sinners — From “Sinners”**

Leonard Denisenko, Rodarius Green, Travis Harrington, Tarkan Kozluklu, Kyris Mingo & Darius Povilinus, songwriters (Rod Wave)

Category 75

Best Music Video

Award to the artist, video director, and video producer.

Manchild

Sabrina Carpenter

Vania Heymann & Gal Muggia, video directors; Aiden Magarian, Nathan Scherrer & Natan Schottenfels, video producers

So Be It

Clipse

Hannan Hussain, video director; Daniel Order, video producer

Anxiety

Doechii

James Mackel, video director; Pablo Feldman, Jolene Mendes & Sophia Sabella, video producers

Love

OK Go

Aaron Duffy, Miguel Espada & Damian Kulash Jr., video directors; Petra Ahmann, video producer

Young Lion

Sade

Sophie Muller, video director; Aaron Taylor Dean & Sade, video producers

Category 76

Best Music Film

For concert/performance films or music documentaries. Award to the artist, video director, and video producer.

Devo

Devo

Chris Smith, video director; Danny Gabai, Anita Greenspan, Chris Holmes & Chris Smith, video producers

Live At The Royal Albert Hall

Raye

Paul Dugdale, video director; Stefan Demetriou & Amy James, video producers

Relentless

Diane Warren

Bess Kargman, video director; Peggy Drexler, Michele Farinola & Kat Nguyen, video producers

Music By John Williams

John Williams

Laurent Bouzereau, video director; Sara Bernstein, Laurent Bouzereau, Justin Falvey, Darryl Frank, Brian Grazer, Ron Howard, Meredith Kaulfers, Kathleen Kennedy, Frank Marshall, Steven Spielberg & Justin Wilkes, video producers

Piece By Piece

Pharrell Williams

Morgan Neville, video director; Morgan Neville, Caitrin Rogers, Mimi Valdes & Pharrell Williams, video producers

Field 9: Package, Notes & Historical

Category 77

Best Recording Package

And The Adjacent Possible

Hà Trinh Quoc Bao, Damian Kulash, Jr., Claudio Ripol, Wombi Rose & Yuri Suzuki, art directors (OK Go)

Balloonerism

Bráulio Amado & Alim Smith, art directors (Mac Miller)

Danse Macabre: De Luxe

Rory McCartney, art director (Duran Duran)

Loud Is As

Farbod Kokabi & Emily Sneddon, art directors (Tsunami)

Sequoia

Tim Breen & Ken Shipley, art directors (Various Artists)

The Spins — Picture Disc Vinyl

Miller McCormick, art director (Mac Miller)

Tracks II: The Lost Albums

Meghan Foley & Michelle Holme, art directors (Bruce Springsteen)

Category 78

Best Album Cover

CHROMAKOPIA

Shaun Llewellyn & Luis “Panch” Perez, art directors (Tyler, The Creator)

The Crux

William Wesley II, art director (Djo)

Debí Tirar Más Fotos

Benito Antonio Martinez Ocasio, art director (Bad Bunny)

Glory

Cody Critcheloe & Andrew J.S., art directors (Perfume Genius)

moisturizer

Hester Chambers, Ellis Durand, Henry Holmes, Matt de Jong, Jamie-James Medina, Joshua Mobaraki & Rhian Teasdale, art directors (Wet Leg)

Category 79

Best Album Notes

Adios, Farewell, Goodbye, Good Luck, So Long: On Stage 1964-1974

Scott B. Bomar, album notes writer (Buck Owens And His Buckaroos)

After The Last Sky

Adam Shatz, album notes writer (Anouar Brahem, Anja Lechner, Django Bates, Dave Holland)

Árabe

Amanda Ekery, album notes writer (Amanda Ekery)

The First Family: Live At Winchester Cathedral 1967

Alec Palao, album notes writer (Sly & The Family Stone)

A Ghost Is Born — 20th Anniversary Deluxe Edition

Bob Mehr, album notes writer (Wilco)

Miles ’55: The Prestige Recordings

Ashley Kahn, album notes writer (Miles Davis)

Category 80

Best Historical Album

Joni Mitchell Archives – Volume 4: The Asylum Years — 1976-1980

Patrick Milligan & Joni Mitchell, compilation producers; Bernie Grundman, mastering engineer (Joni Mitchell)

The Making Of Five Leaves Left

Cally Callomon & Johnny Chandler, compilation producers; Simon Heyworth & John Wood, mastering engineers (Nick Drake)

Roots Rocking Zimbabwe – The Modern Sound Of Harare’ Townships 1975-1980 — Analog Africa No.41

Samy Ben Redjeb, compilation producer; Michael Graves, mastering engineer (Various Artists)

Super Disco Pirata – De Tepito Para El Mundo 1965-1980 — Analog Africa No. 39

Samy Ben Redjeb, compilation producer; Michael Graves, mastering engineer (Various Artists)

You Can’t Hip A Square: The Doc Pomus Songwriting Demos

Will Bratton, Sharyn Felder & Cheryl Pawelski, compilation producers; Michael Graves, mastering engineer (Doc Pomus)

Field 10: Production, Engineering, Composition & Arrangement

Category 81

Best Engineered Album, Non-Classical

An Engineer’s Award. (Artists names appear in parentheses.)

All Things Light

Jesse Brock, Jon Castelli, Tyler Johnson, Nick Lobel, Simon Maartensson, Lawrence “Boo” Mitchell, Anders Mouridsen, Ryan Nasci, Ernesto Olivera-Lapier, Ethan Schneiderman & Owen Stoutt, engineers; Dale Becker, mastering engineer (Cam)

Arcadia

Neal Cappellino & Gary Paczosa, engineers; Brad Blackwood, mastering engineer (Alison Krauss & Union Station)

For Melancholy Brunettes & sad women

Joseph Lorge, Blake Mills & Sebastian Reunert, engineers; Patricia Sullivan, mastering engineer (Japanese Breakfast)

That Wasn’t A Dream

Joseph Lorge & Blake Mills, engineers; Patricia Sullivan, mastering engineer (Pino Palladino, Blake Mills)

Category 82

Best Engineered Album, Classical

An Engineer’s Award. (Artist names appear in parentheses.)

Cerrone: Don’t Look Down

Mike Tierney, engineer; Alan Silverman, mastering engineer (Sandbox Percussion)

Eastman: Symphony No. 2; Tchaikovsky: Symphony No. 2

Gintas Norvila, engineer; Jennifer Nulsen, mastering engineer (Franz Welser-Möst & The Cleveland Orchestra)

Shostakovich: Lady Macbeth Of The Mtsensk District

Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons, Kristine Opolais, Günther Groissböck, Peter Hoare, Brenden Gunnell & Boston Symphony Orchestra)

Standard Stoppages

Sean Connors, Robert Dillon, Peter Martin, Bill Maylone, Judith Sherman & David Skidmore, engineers; Joe Lambert, mastering engineer (Third Coast Percussion)

Yule

Morten Lindberg, engineer; Morten Lindberg, mastering engineer (Trio Mediæval)

Category 83

Producer Of The Year, Classical

A Producer’s Award. (Artist names appear in parentheses.)

Blanton Alspaugh

All Is Miracle – The Choral Music Of Kyle Pederson (Timothy J. Campbell & Transept) (A)

Heggie: Intelligence (Kwame Ryan, Janai Brugger, Jamie Barton, J’Nai Bridges & Houston Grand Opera) (A)

Marsalis: Blues Symphony (Jader Bignamini & Detroit Symphony Orchestra) (A)

Massenet: Werther (Robert Spano, Matthew Polenzani, sabel Leonard & Houston Grand Opera) (A)

The Mirage Calls (Charles Bruffy & Kansas City Chorale) (A)

Sheehan: Ukrainian War Requiem (Michael Zaugg, Axios Men’s Ensemble & Pro Coro Canada) (A)

Sun, Moon, Stars, Rain (Christopher Gabbitas & Phoenix Chorale) (A)

Sergei Kvitko

Biedenbender: Enigma; River Of Time (Kevin L. Sedatole & Michigan State University Wind Symphony) (A)

Chiaroscuro (Vedrana Subotic) (A)

Dancing In A Still Life (Tasha Warren) (A)

Excursions (Vuorovesi Trio) (A)

Four Hands. Two Hearts. One Hope. Ukrainian And American Music For Piano Duo (Mykhailo Diordiiev & Anastasiia Larchikova) (A)

Here And Now – Trumpet Music By Virginia Composers (Jason Crafton, Richard Masters, Annie Stevens & Paul Langosch) (A)

Lansky: Touch And Go (Gwendolyn Dease) (A)

Orbiting Garden (William Hobbs) (A)

Would That Loving Were Enough (Haven Trio) (A)

Morten Lindberg

Fred Over Jorden (Peace To The World) (Elisabeth Holte, Kjetil Bjerkestrand & Uranienborg Vokalensemble) (A)

Stjernebru (Anne Karin Sundal-Ask & Det Norske Jentekor) (A)

Yule (Trio Mediæval) (A)

Dmitriy Lipay

Heggie: Before It All Goes Dark (Joseph Mechavich, Megan Marino, Ryan McKinny & Music Of Remembrance Ensemble) (A)

Odyssey (Jorge Glem, Gustavo Dudamel & Simón Bolívar Symphony Orchestra Of Venezuela) (A)

Ortiz: Yanga (Gustavo Dudamel, Alisa Weilerstein & Los Angeles Philharmonic) (A)

Elaine Martone

Berlioz: Symphonie Fantastique (Franz Welser-Möst & The Cleveland Orchestra) (A)

Chopin & Rachmaninoff: Cello Sonatas (Brian Thornton & Spencer Myer) (A)

Dear Mrs. Kennedy (Ryan Townsend Strand) (A)

Eastman: Symphony No. 2; Tchaikovsky: Symphony No. 2 (Franz Welser-Möst & The Cleveland Orchestra) (A)

LeFrak: Romántico (Sharon Isbin, Lopez-Yañez & Orchestra Of St. Luke’s) (A)

Mozart: Piano Concerto No. 27 & Symphony No. 29 (Garrick Ohlsson, Franz Welser-Möst & The Cleveland Orchestrea) (A)

The Poet & The Prodigy (Debra Nagy & Mark Edwards) (A)

Shapes In Collective Space (Tallā Rouge) (A)

Songs Of Orpheus (Kelley O’Connor) (A)

Category 84

Best Immersive Audio Album

For vocal or instrumental albums in any genre. Must be commercially released for physical sale or on an eligible streaming or download service and must provide a new immersive mix of four or more channels. Award to the immersive mix engineer, immersive producer (if any) and immersive mastering engineer (if any).

All American F—boy

Andrew Law, immersive mix engineer (Duckwrth)

Immersed

Justin Gray, immersive mix engineer; Michael Romanowski, immersive mastering engineer; Justin Gray, Drew Jurecka & Morten Lindberg, immersive producers (Justin Gray)

An Immersive Tribute To Astor Piazzolla — Live

Andrés Mayo & Martín Muscatello, immersive mix engineers; Andrés Mayo & Martín Muscatello, immersive producers (Various Artists)

Tearjerkers

Hans-Martin Buff, immersive mix engineer; Hans-Martin Buff, immersive producer (Tearjerkers)

Yule

Morten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Arve Henriksen & Morten Lindberg, immersive producers (Trio Mediæval)

Category 85

Best Instrumental Composition

A Composer’s Award for an original composition (not an adaptation) first released during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only

First Snow

Remy Le Boeuf, composer (Nordkraft Big Band, Remy Le Boeuf & Danielle Wertz)

Live Life This Day: Movement I

Miho Hazama, composer (Miho Hazama, Danish Radio Big Band & Danish National Symphony Orchestra)

Lord, That’s A Long Way

Sierra Hull, composer (Sierra Hull)

Opening

Zain Effendi, composer (Zain Effendi)

Train To Emerald City

John Powell & Stephen Schwartz, composers (John Powell & Stephen Schwartz)

Why You Here / Before The Sun Went Down

Ludwig Göransson, composer (Ludwig Göransson Featuring Miles Caton)

Category 86

Best Arrangement, Instrumental or A Cappella

An Arranger’s Award. (Artist names appear in parentheses.) Singles or Tracks only.

Be Okay

Cynthia Erivo, arranger (Cynthia Erivo)

A Child Is Born

Remy Le Boeuf, arranger (Nordkraft Big Band & Remy Le Boeuf)

Fight On

Andy Clausen, Addison Maye-Saxon, Riley Mulherkar & Chloe Rowlands, arrangers (The Westerlies)

Super Mario Praise Break

Bryan Carter, Charlie Rosen & Matthew Whitaker, arrangers (The 8-Bit Big Band)

Category 87

Best Arrangement, Instruments and Vocals

An Arranger’s Award. (Artist names appear in parentheses.) Singles or Tracks only.

Big Fish

Erin Bentlage, Sara Gazarek, Johnaye Kendrick, Nate Smith & Amanda Taylor, arrangers (Nate Smith Featuring säje)

**How Did She Look?**

Nelson Riddle, arranger (Seth MacFarlane)

Keep An Eye On Summer

Jacob Collier, arranger (Jacob Collier)

Something In The Water — Acoustic-Ish

Clyde Lawrence, Gracie Lawrence & Linus Lawrence, arrangers (Lawrence)

What A Wonderful World

Cody Fry, arranger (Cody Fry)

Field 11: Classical

Category 88

Best Orchestral Performance

Award to the Conductor and to the Orchestra.

**Coleridge-Taylor: Toussaint L’Ouverture, Ballade Op. 4, Suites From ’24 Negro Melodies’**

Michael Repper, conductor (National Philharmonic)

Messiaen: Turangalîla-Symphonie

Andris Nelsons, conductor (Boston Symphony Orchestra)

Ravel: Boléro, M. 81

Gustavo Dudamel, conductor (Simón Bolívar Symphony Orchestra Of Venezuela)

Still & Bonds

Yannick Nézet-Séguin, conductor (The Philadelphia Orchestra)

Stravinsky: Symphony In Three Movements

Esa-Pekka Salonen, conductor (San Francisco Symphony)

Category 89

Best Opera Recording

Award to the Conductor, Album Producer(s) and Principal Soloists, and to the Composer and Librettist (if applicable) of a world premiere Opera recording only.

Heggie: Intelligence

Kwamé Ryan, conductor; Jamie Barton, J’Nai Bridges & Janai Brugger; Blanton Alspaugh, producer (Houston Grand Opera; Gene Scheer)

Huang Ruo: An American Soldier

Carolyn Kuan, conductor; Hannah Cho, Alex DeSocio, Nina Yoshida Nelsen & Brian Vu; Adam Abeshouse, Silas Brown & Doron Schachter, producers (American Composers Orchestra; David Henry Hwang)

Kouyoumdjian: Adoration

Alan Pierson, conductor; Miriam Khalil, Marc Kudisch, David Adam Moore, Omar Najmi, Naomi Louisa O’Connell & Karim Sulayman; Mary Kouyoumdjian, producer (Silvana Quartet; The Choir Of Trinity Wall Street)

O’Halloran: Trade & Mary Motorhead

Elaine Kelly, conductor; Oisín Ó Dálaigh & John Molloy; Alex Dowling & Emma O’Halloran, producers (Irish National Opera Orchestra; Mark O’Halloran)

Tesori: Grounded

Yannick Nézet-Séguin, conductor; Ben Bliss, Emily D’Angelo, Greer Grimsley & Kyle Miller; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus; George Brant)

Category 90

Best Choral Performance

Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble.

Advena – Liturgies For A Broken World

Craig Hella Johnson, conductor (Simon Barrad, Emily Yocum Black & Michael Hawes; Conspirare)

Childs: In The Arms Of The Beloved

Grant Gershon, conductor (Billy Childs, Dan Chmielinski, Christian Euman, Larry Koonse, Lyris Quartet, Anne Akiko Meyers, Carol Robbins & Luciana Souza; Los Angeles Master Chorale)

Lang: Poor Hymnal

Donald Nally, conductor (Steven Bradshaw, Michael Hawes, Lauren Kelly, Rebecca Siler & Elisa Sutherland; The Crossing)

Ortiz: Yanga

Gustavo Dudamel, conductor; Grant Gershon, chorus master (Los Angeles Philharmonic; Los Angeles Master Chorale)

Requiem Of Light

Steven Fox, conductor; Emily Drennan & Patti Drennan, chorus masters (Brian Giebler & Sangeeta Kaur; The Clarion Choir)

Category 91

Best Chamber Music/Small Ensemble Performance

For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.

Dennehy: Land Of Winter

Alan Pierson & Alarm Will Sound

La Mer – French Piano Trios

Neave Trio

Lullabies For The Brokenhearted

Lili Haydn & Paul Cantelon

Slavic Sessions

Yuja Wang; Andris Nelsons, conductor (Boston Symphony Orchestra)

Standard Stoppages

Third Coast Percussion

Category 92

Best Classical Instrumental Solo

Award to the Instrumental Soloist(s) and to the Conductor when applicable.

**Coleridge-Taylor: 3 Selections From ’24 Negro Melodies’**

Curtis Stewart; Michael Repper, conductor (National Philharmonic)

Hope Orchestrated

Mary Dawood Catlin; Jesús David Medina & Raniero Palm, conductors (Venezuela Strings Recording Ensemble)

Inheritances

Adam Tendler

Price: Piano Concerto In One Movement In D Minor

Han Chen; John Jeter, conductor (Malmö Opera Orchestra)

Shostakovich: The Cello Concertos

Yo-Yo Ma; Andris Nelsons, conductor (Boston Symphony Orchestra)

Shostakovich: The Piano Concertos; Solo Works

Yuja Wang; Andris Nelsons, conductor (Boston Symphony Orchestra)

Category 93

Best Classical Solo Vocal Album

Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with greater than 50% playing time of new material.

Alike – My Mother’s Dream

Allison Charney, soloist; Benjamin Loeb, conductor (National Symphonia Orchestra)

Black Pierrot

Sidney Outlaw, soloist; Warren Jones, pianist

In This Short Life

Devony Smith, soloist; Danny Zelibor, pianist; Michael Nicolas, artist

Kurtág: Kafka Fragments

Susan Narucki, soloist; Curtis Macomber, artist

Schubert Beatles

Theo Hoffman, soloist; Steven Blier, pianist (Rupert Boyd, Julia Bullock, Alex Levine, Andrew Owens, Rubén Rengel & Sam Weber)

Telemann: Ino – Opera Arias For Soprano

Amanda Forsythe, soloist; Robert Mealy, Paul O’Dette & Stephen Stubbs, conductors (Boston Early Music Festival Orchestra)

Category 94

Best Classical Compendium

Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 50% playing time of the album, and to the Composer and Librettist (if applicable) with over 50% playing time of a world premiere recording only.

Cerrone: Don’t Look Down

Sandbox Percussion; Jonathan Allen, Victor Caccese, Christopher Cerrone, Ian Rosenbaum, Terry Sweeney & Mike Tierney, producers

The Dunbar/Moore Sessions, Vol. II

Will Liverman; Jonathan Estabrooks, producer

Ortiz: Yanga

Gustavo Dudamel, conductor; Dmitriy Lipay, producer

Seven Seasons

Janai Brugger, Isolde Fair, MB Gordy & Starr Parodi; Nicholas Dodd, conductor; Jeff Fair, Starr Parodi & Kitt Wakeley, producers

Tombeaux

Christina Sandsengen; Shaun Drew & Christina Sandsengen, producers

Category 95

Best Contemporary Classical Composition

A Composer’s Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.

Cerrone: Don’t Look Down

Christopher Cerrone, composer (Conor Hanick & Sandbox Percussion)

Dennehy: Land Of Winter

Donnacha Dennehy, composer (Alan Pierson & Alarm Will Sound)

León: Raíces — Origins

Tania León, composer (Edward Gardner & London Philharmonic Orchestra)

Okpebholo: Songs In Flight

Shawn E. Okpebholo, composer (Will Liverman, Paul Sánchez & Various Artists)

Ortiz: Dzonot

Gabriela Ortiz, composer (Alisa Weilerstein, Gustavo Dudamel & Los Angeles Philharmonic)

Wise men say only fools rush in, and Brit reggae rockers UB40 seem content to let things simmer and saunter, like the smooth sway of MC Gilly G and backing singer Matt Campbell.
That sway is infectious.

In a recent tour stop at Cleveland’s House of Blues, the sway was the way.
Soon not just everyone on the crowded stage – a 10-piece band featuring saxophones, trumpet, guitars, bass, keys, and even a WX7 wind synthesizer take up a lot of space – but everyone in the crowd were swaying along.
A band, perhaps unjustly, most known for putting their own unique sound on other artists’ songs, the set at HOB featured the radio hits “Red Red Wine” (a Neil Diamond cover) and “Can’t Help Falling In love” (an Elvis Presley cover) at the tail end of a 90-minute set, with the latter the show closer in a three-song encore.
But the set also featured covers of songs by Al Green (“Here I Am”), The Jacksons (“Maybe Tomorrow”), The Temptations (“The Way You Do the Things You Do”) and lesser-known artists like The Chi-Lites (“Homely Girl”), Brenton Wood (“Gimme Little Sign”), Eric Donaldson (“Cherry Oh Baby”), The Slickers (“Johnny Too Bad”) and Lord Creator (“Kingston Town”). Mixed in with the 11 covers were six originals across the band’s 21 studio albums since forming in 1980.
New lead singer, 38-year-old Matt Doyle, with the band only since 2022, still seems to be finding his own groove with the band, and doesn’t quite match the energy or tone of original frontman Ali Campbell, who left the band in 2008. But original members Jimmy Brown (drums), Robin Campbell (guitar), Earl Falconer (bass), Norman Lamont Hassan (percussion), as well as more recent joiners Martin Meredith (keys, sax, WX7), Laurence Parry (trumpet, trombone, flugal), Ian Thompson (sax, keyboard, percussion), and Jahred Gordon (keys, guitar, bass, sax) bring an electricity that matches that of the robust light show put on by the stage crew.
And Gilly G, whether he’s singing backup side-stage or taking over lead vocals centerstage, is hard to look away from, really seeming to set much of the tone and tempo of this band’s live performance.
It’s all in the sway, after all, and Gilly G is king of the sway.

Checkout UB 40 and friends bring Red Red Wine to Tucson

Interview with Jimmy Brown of UB40

Rob McCune is Every_Thing_After_Photo on Instagram, where he shares his concert photography and reviews, as well as clips from his “Every.Thing.After” podcast, with interviews with musicians and bands.

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