Culture Representation: Taking place from September 2024 to October 2024, in England, the United States, and Ibiza, the comedy/drama film “The Moment” features a predominantly white cast of characters (with a few Asians, black people and Latin people) representing the working-class, middle-class and wealthy.
Culture Clash: In this mockumentary, British pop star Charli XCX gets stressed-out while preparing for an upcoming concert tour, and she gets caught in the middle of an escalating feud between her creative director and the director hired to film a concert documentary during the tour.
Culture Audience: “The Moment” will appeal primarily to people who are fans of Charli XCX and celebrity mockumentaries that are very shallow and aren’t very funny.
Charli XCX and Alexander Skarsgård in “The Moment” (Photo courtesy of A24)
“The Moment” is not funny enough to be a creatively successful mockumentary, and it’s not edgy enough to be a satirical film about ‘brat’ pop singer/party girl Charli XCX. It’s just a series of awkward conversations and some diva meltdowns. And in this mishandled movie about a pop star preparing for a concert tour, there is disappointingly not much footage of her actually singing. However, you’ll hear a lot of whining from the pop star and people in her sycophantic entourage.
Directed by Aidan Zamiri, “The Moment” is Zamiri’s feature-film directorial debut. His previous directing experience has mostly been as a music video director, with credits that include music videos for Charli XCX, Billie Eilish and FKA Twigs. Zamiri co-wrote “The Moment” with Bertie Brandes, based on a idea from Charli XCX. Zamiri’s music video background shows in the movie’s quick-cut editing and glossy-meets-gritty cinematography that’s common in modern music videos. “The Moment” had its world premiere at the 2026 Sundance Film Festival.
There’s really not much of a plot in “The Moment,” which is as shallow as almost every one of the characters in the movie. British pop star Charli XCX plays a version of herself in the movie, which takes place from September to October 2024, in various places, such as England, the United States, and Ibiza. “The Moment” was actually filmed in London, Mexico City, New York City, and the California city of Palm Springs.
In “The Moment,” Charli XCX is shown preparing for an upcoming world tour by rehearsing in East London’s Dagenham area. She’s worried that the success of her 2024 album “Brat” (her sixth studio album) might have pigeonholed her into a “brat” image that could become outdated—especially since the popularity of the album was fueled by the phrase “Brat Summer,” which is associated with Charli XCX’s image and attitude of unapologetic hedonism. Still, Charli XCX knows this Brat Summer persona is what her fans want at the moment, so she’s willing to ride this Brat Summer wave until the end of the tour.
Even though “The Moment” is intended for adult audiences, there’s barely any hedonism in the movie at all, which makes Charli XCX’s “brat” image and all the fuss about it look like phony and cynical marketing to fool the masses. There are a few quick mentions of cocaine in the movie. And actress Rachel Sennott (playing a version of herself) shows up for a few minutes in a backstage scene and accepts a small tray with lines of cocaine mixed with an unnamed substance.
But the movie doesn’t actually show anyone doing drugs. There are only suggestive hints of drug use. There’s no sex in the movie. And the closest thing that the movie has to rock’n’roll are a few of the songs on “The Moment” soundtrack, such as The Verve’s 1997 hit “Bitter Sweet Symphony.” There’s quite a bit of cursing in the movie, but it’s so tame compared to all the things “The Moment” could’ve shown about how decadent celebrities really live.
Instead, the entire plot of “The Moment” consists of Charli complaining about self-absorbed pop star problems that really aren’t very important, considering all the real problems in the world. The big “joke” in the movie is how she gets caught in the middle of an escalating feud between her creative director/longtime friend Celeste Moreau Collins (played by Hailey Benton Gates) and a pretentious film/music video director named Johannes Godwin (played by Alexander Skarsgård), who was hired by Charli’s record company (Atlantic Records) to direct a concert documentary about this upcoming tour. Amazon has inked a deal to show this documentary on Amazon’s Prime Video service.
Celeste and Johannes are equally stubborn in how they want to do things. Celeste wants to stick to the original plans for Charli’s stage show. Johannes wants to try new ideas. One of these new ideas is to have Charli perform at least one song in a giant cigarette lighter painted in the same lime-green shade of the “Brat” album and to have a real flame on top of this giant ciagrette lighter. Johannes gets his way with this idea, but Celeste hates his idea to have audience members hold lights that can throb in time to the music being performed on stage.
In the middle of this turmoil of bickering between Celeste and Johannes, Charli has a shouting tantrum while she’s in the back of a car with her spineless manager Tim Potts (played by Jamie Demetriou), who is the very definition of a “yes person.” Charli announces during her outburst that she wants to take a few days off to vacation in Ibiza because she needs the time to “reset” and get her thoughts together. Charli abruptly leaves for this vacation and throws the tour rehearsal schedule into chaos.
Charli XCX’s acting performance isn’t terrible in the movie, and she does have a certain amount of screen presence. However, she’s not really challenging herself as an actress when she plays a watered-down version of herself in her first starring role in a movie. The best mockumentaries hit very close to reality. “The Moment” just has too much airbrushing of reality to be entertaining.
One of the great things about a classic music mockumentary, such as 1984’s “This Is Spinal Tap,” is how the featured supporting characters are just as memorable as the main characters. Skarsgård as Johannes is the only cast member in “The Moment” who understands the mockumentary assignment. Skarsgård makes Johannes very memorable because of how irritating and controlling Johannes can be while Johannes pretends to be friendly to everyone. Johannes is also about 10 to 15 years older than most of the people in Charli’s social circle and Charli’s core fan base, so his way of trying to look “cool” to younger people is amusing because there are many showbiz people in real life who are a lot like Johannes.
All the other supporting characters in “The Moment” are as bland as bland can be. Charli’s personal assistant Ana de Courcey (played by Trew Mullen) seems to have a closer relationship with Ana’s phone and a clipboard than with Charli. Tammy Pitman (played by Rosanna Arquette) is a generic no-nonsense Atlantic Records executive based out of the company’s New York City headquarters. Lloyd Randall (played by Isaac Powell) is Charli’s social media manager, who is stereotypically neurotic. Molly Jean Bush (played by Kate Berlant) is Charli’s makeup artist and is barely in the movie. The same goes for Mel Ottenberg, who plays a version of himself as Charli’s stylist.
“The Moment” has a not-funny-at-all subplot about Atlantic Records doing a deal with Stirling Bank (a fictional United Kingdom banking corporation) to make Brat credit/debit cards. The credit/debit cards are supposed to be marketed to Charli’s loyal fan base of young people who are queer. Charli asks an obvious question to the executives that no one can answer: How is a banking company supposed to know customers’ sexualities when customers apply for a bank card?
There are too many missed opportunities where “The Moment” could’ve had some hilariously dark comedy, but this gutless movie just doesn’t take the leap. A perfect example of a joke that’s intended to be funny but ends up fizzling out is when Charli goes to Ibiza and gets a spa facial at the hotel where she’s staying. Her aesthetician is a haughty woman named Maria (played by Arielle Dombasle), who insists to Charli that Charli has damaged skin because Charli is unhappy on the inside. Charli vehemently disagrees and leaves the spa in a huff.
And to add to the movie’s rampant shallowness, reality TV star/beauty-product influencer Kylie Jenner depicts a version of herself and shares headline billing for this movie. Jenner’s screen time in “The Moment” consists of less than two minutes, in a superficial conversation that she has with Charli. Other celebrities who make even quicker appearances in the movie include actor/comedian Bowen Yang, his “Las Culturistas” podcast co-host Matt Rogers, and actress Julia Fox, who also portray versions of themselves.
The character of Charli in this movie prides herself on having an image of being a diva in control. But what’s really on display in “The Moment” is an insecure celebrity who runs away or lets other people make decisions instead of skillfully confronting issues and being in charge of solving her own problems. The way she ultimately handles the Celeste/Johannes feud is more “passive girl” than “boss lady.”
Whether or not “The Moment” is a reflection of what Charli XCX has experienced in real life, the movie makes it painfully obvious that the version of Charli in this movie is surrounded by people who probably wouldn’t give her the time of day if they weren’t making money from her and/or if she weren’t famous. There is no mention of Charli having any family members or real friends. (People on her payroll are not her real friends.) Maybe if she had more real friends, they would’ve advised her not to be in such a boring and empty movie that makes her pop star life look like more talk than action.
A24 released “The Moment” in select U.S. cinemas on January 30, 2026, with an expansion to more U.S. cinemas on February 6, 2026.
Culture Representation: Taking place in an unnamed medieval fantasy world, the fantasy comedy/drama film “100 Nights of Hero” (based on the graphic novel “The 100 Nights of Hero”) features a predominantly white cast of characters (with a few black people, Latin people and Asians) representing the working-class, middle-class and wealthy.
Culture Clash: After refusing to have sex with his newlywed wife, her husband makes a bet with a close friend that the friend won’t be able to seduce the wife, who goes through a journey of self-discovery with help from her storytelling maid.
Culture Audience: “100 Nights of Hero” will appeal primarily to people who are fans of the movie’s headliners, the novel on which the movie is based, and unusual movies about gender roles, feminist ideology, and sexual seduction through mind games.
Nicholas Galitzine and Maika Monroe in “100 Nights of Hero” (Photo by Matthew Towers/Independent Film Company)
The dark comedy fantasy “100 Nights of Hero” is a quirky adaptation of Isabel Greenberg’s novel. The movie (about a virginal bride at the center of a sexual competition) is sometimes disjointed, but it’s an intriguing rebuke of misogynistic oppression. The film’s pacing is occasionally dull, but if viewers are still interested in watching the movie about 30 minutes into this 91-minute film, then the movie will keep viewers guessing how the movie is going to end. There’s a big part of the movie’s conclusion that is obvious and telegraphed about halfway through the film, but the rest might be surprising to some viewers.
Written and directed by Julia Jackman, “100 Nights of Hero” had its world premiere at the 2025 Venice International Film Festival and later screened at the 2025 BFI London Film Festival. The movie is based on Greenberg’s 2016 graphic novel “The 100 Nights of Hero,” which has been described as a “feminist fairy tale.” The story takes place in a fictional medieval fantasy world where almost everyone has British accents. “100 Nights of Hero” was filmed on location in the Knebworth area of England.
The movie has intermittent voiceover narration from a narrator (voiced by Felicity Jones) who remains unseen. Jones (who is an executive producer of “100 Nights of Hero”) also has a small acting role as a character named Moon, who’s in the movie for only about five minutes. The first third of “100 Nights of Hero” is when the movie is at its most rushed and jumbled. The movie hits its stride by the middle of the story.
“100 Nights of Hero” begins by showing the wedding of a woman named Agnes (played by Markella Kavenagh) to an unnamed man (played by Cory Peterson) whom Agnes does not want to marry. It’s an arranged marriage in this patriarchal society, where women are not allowed to be educated beyond learning how to speak and doing things such as cooking, cleaning and other duties that will please men. In this society, a woman’s greatest purpose is to marry and become a mother. Male heirs are considered more important than female heirs. There are many societies today that still teach these attitudes.
The movie’s narrator explains how this “100 Nights of Hero” world came into existence. A teenage girl named Kiddo (played by Safia Oakley-Green) created the world, but her domineering father Birdman (played by Richard E. Grant) demanded that the world would have a population of many people made into his image. Birdman literally looks like someone wearing a bird costume, so expect to see many anonymous “bird people” in the movie. Unbeknownst to the guests at Agnes’ wedding, Agnes was already pregnant with a daughter named Hero. The narrator says that Hero “will change the world.”
The movie then fast-forwards to 27 years later to a scene taking place at a castle owned by a wealthy lord named Jerome (played by Amir El-Masry), a newlywed who lives there with his virtuous wife Cherry (played by Maika Monroe), who is still a virgin in the beginning of the movie. Jerome and Cherry are having a meeting at a large dining table with Birdman and several other men in the community.
Birdman is upset that Cherry still hasn’t become pregnant after six months of marriage to Jerome. Cherry, who is polite and soft-spoken, is considered Birdman’s “ideal” type of wife. Birdman personally chose Jerome to marry Cherry in this arranged marriage because Jerome promised that Cherry would be able to produce a male heir. Birdman ominously tells Jerome that he has 101 nights to impregnant Cherry, or else Jerome “will not see the next spring” (Jerome will be killed.) “Now, hurry up and conceive,” Birdman tells Jerome and Cherry in his dismissal comment.
A montage of flashbacks show that ever since the wedding night of Jerome and Cherry, Jerome has come up with excuses to delay having sex with Cherry. Is he impotent? Is he not sexually attracted to Cherry? Is ne not sexually attracted to any women? The movie leaves it up to interpretation and never reveals why Jerome is avoiding having sex. Jerome is not overtly cruel to Cherry, but he does treat her like an obligation who has made him bored. Cherry is confused but does not complain, like a dutiful wife.
Cherry has an isolated existence. She has all the material things that most people would want. But she has never experienced romantic and passionate love. Her best friend (and only friend) is her maid Hero (played by Emma Corrin), who is very loyal to Cherry. Hero is also very observant and intelligent and knows a lot more than she reveals to most people.
One day, Jerome is visited by a restless and cocky friend named Manfred (played by Nicholas Galitzine), who is a recent widower. Jerome listens as Manfred complains about how Manfred’s deceased wife had been cheating on Manfred before she died. Manfred, who seems to be relieved that his wife dead, is ready to jump back into the playboy bachelor lifestyle that he had before he got married.
Manfred says with some envy that Jerome is very lucky to have a beautiful and doting wife such as Cherry. Jerome lies to Manfred by saying that he and Cherry have a passionate sex life. Jerome has an upcoming business trip and asks Manfred to look after Cherry while Jerome is away. Manfred asks Jerome out loud why he would leave his wife alone with Manfred. “Because I trust you,” Jerome replies.
This leads to Jerome bragging that Cherry would never cheat on him. Manfred, who thinks he’s an expert at seduction, has a hard time believing it. To prove it, Jerome makes a bet with Manfred: Jerome will leave the castle for 100 nights instead of the original plan for Jerome to only be away for only a few nights. And if Manfred can sexually seduce Cherry before Jerome returns to the castle, then Manfred can have the castle. Jerome and Manfred agree to this secret bet.
Jerome tells Cherry that he will be going away on a business trip for a few days, knowing full well that he will be gone for 100 nights. Sometime during his absence, Jerome tells her that he will be away much longer than he expected. While Jerome is away, Manfred schemes up various ways to try to seduce Cherry and gradually develops romantic feelings for her.
Hero sees right through Manfred and becomes a “third wheel” in his seduction manipulation. Hero is often nearby when Manfred would rather be alone with Cherry. Hero begins telling a long story to Cherry and Manfred to keep them entertained. This story becomes a “movie within a movie” in “100 Nights of Hero.”
The story is essentially about three strong-willed sisters, whose unnamed sea captain father (played by Jeff Mirza) wants all of daughters to become wives and mothers. The three daughters are Rosa (played by Charli XCX), Caterina (played by Olivia D’Lima) and Mina (played by Kerena Jagpal), with Rosa being the most independent minded of the three. One of the three sisters marries a merchant (played by Tom Stourton) while the sisters hide a big secret that could get them persecuted and executed as witches.
The “movie within a movie” aspects of “100 Nights of Hero” are hit and miss. On the one hand, the story of the three sisters has a certain level of suspense because Hero’s storytelling is constantly being interrupted, so she has to continue the story at other times. On the other hand, these interruptions are often clumsily handled in the movie.
The film also an awkward way handling the timeline for the Hero/Cherry/Manfred part of the story. There are few scenes where Manfred and/or Cherry have lost track of how many days have passed. What they think is a time period of only a few weeks turns out to be several weeks. It’s just the movie’s not-so-clever way of speeding up the timeline.
The most entertaining performances in “100 Nights of Hero” come from Corrin and Galitzine because Hero and Manfred develop an unspoken rivalry for Cherry’s attention and affection. There’s a lively and comedic spark to how Corrin and Galitzine perform in these roles that should keep viewers curious to see what will happen when Manfred tries to be sneaky about his seduction and finds it difficult because Hero always seems to be watching.
The real battle of wits isn’t between Manfred and Cherry. It isn’t between Manfred and Jerome. It’s between Manfred and Hero. (Corrin, Galitzine and Monroe all have executive producer credits for “100 Nights of Hero.”)
Monroe is adequate in her role as Cherry, but she’s the only principal character in “100 Nights of Hero” who has an American accent, which makes Monroe look miscast in a movie that’s supposed to take place in an era that existed centuries before the United States was formed. Grant is barely in the movie; his screen time is less than 10 minutes. And when he’s on screen, he’s behind a bird mask.
Charli XCX, who is best known as a music artist, makes her feature-film acting debut in “100 Nights of Hero,” which features some of her original songs, including “Everything Is Romantic.” Charli XCX’s acting is passably good, but Rosa doesn’t do much in the movie except pout and talk to her family members. In other words, it’s not a difficult role.
The narrative occasionally stalls and gets muddled in “100 Nights of Hero,” but the movie’s cinematography, production design and costume design are visually striking. The costume design is slightly reminiscent of some the wardrobe in “The Handmaid’s Tale” and “Poor Things,” but there’s enough originality in Susie Coulthard’s “100 Nights of Hero” costume design for it to leave a distinct impression.
There’s some brief comic relief in the characters of three security guards (in armor suits) named John (played by Jordan Wallace), David (played by Michael Keough) and Sam (played by Jordan Coluson), who are in the background but occasional bumble and stumble when they see something unexpected. For a movie where sexual seduction is a big part of the story, “100 Nights of Hero” plays it very safe because there are actually no explicit sex scenes or nudity in the film. “100 Nights of Hero” can be considered a love story that isn’t so much about who ends up with whom but about the power of confidently being and loving who you are.
Indepedent Film Company released “100 Nights of Hero” in U.S. cinemas on December 5, 2025.
Beyoncé is the top nominee at the 65th annual Grammy Awards in Los Angeles on February 5, 2023 (Photo by Francis Specker/CBS)
The following is a press release from the Recording Academy:
Topping the list of nominees for the 67th Annual GRAMMY Awards® are Beyoncé (11), Charli XCX (7), Billie Eilish (7), Kendrick Lamar (7), Post Malone (7), Sabrina Carpenter (6), Chappell Roan (6), and Taylor Swift (6). As the only peer-voted music award, the GRAMMY Awards® are selected by the Recording Academy®’s voting membership body of music makers, who represent all genres and creative disciplines, including recording artists, songwriters, composers, producers, mixers, and engineers. The nominees were announced via a livestream event on live.GRAMMY.com and YouTube.
“Today we celebrate the amazing creative achievements of our music community,” said Harvey Mason Jr., CEO of the Recording Academy. “It was an incredible year in music and these nominations reflect the work of a voting body that is more representative of the music community than ever before. The GRAMMY® became music’s most coveted award precisely because the recognition comes from one’s peers, and I’m so grateful for the Academy’s 13,000 voting members who take the time to evaluate all the amazing music, cast their votes, and honor their peers. Congratulations to all the nominees.”
This year’s eligibility period includes recordings released between Sept. 16, 2023 – Aug. 30, 2024. The final round of GRAMMY voting, which will determine GRAMMY recipients, will take place Dec. 12, 2024 – Jan. 3, 2025. The 67th Annual GRAMMY Awards will return to Los Angeles’ Crypto.com Arena on Sun, Feb. 2, 2025, and will broadcast live on the CBS Television Network and stream live and on-demand on Paramount+ at 8-11:30 p.m. ET/5-8:30 p.m. PT. Prior to the Telecast, the GRAMMY Awards Premiere Ceremony® will be held at the Peacock Theater at 12:30 p.m. PT and will be streamed live on live.GRAMMY.com and the Recording Academy’s YouTube channel. The 67th Annual GRAMMY Awards will again be produced by Fulwell 73 Productions for the Recording Academy. Ben Winston, Raj Kapoor and Jesse Collins are executive producers.
Award to the Artist(s), Album Producer(s), Recording Engineer(s), and/or Mixer(s), and Mastering Engineer(s) if other than the artist.
NOMINEES:
“Now and Then”– The Beatles
Giles Martin & Paul McCartney, producers; Geoff Emerick, Steve Genewick, Jon Jacobs, Greg McAllister, Steve Orchard, Keith Smith, Mark ‘Spike’ Stent & Bruce Sugar, engineers/mixers; Miles Showell, mastering engineer
“TEXAS HOLD ‘EM” – Beyoncé
Beyoncé, Nate Ferraro, Killah B & Raphael Saadiq, producers; Hotae Alexander Jang, Alex Nibley & Stuart White, engineers/mixers; Colin Leonard, mastering engineer
Sean Momberger, Mustard & Sounwave, producers; Ray Charles Brown Jr. & Johnathan Turner, engineers/mixers; Nicolas de Porcel, mastering engineer
“Good Luck, Babe!” – Chappell Roan
Dan Nigro, producer; Mitch McCarthy & Dan Nigro, engineers/mixers; Randy Merrill, mastering engineer
“Fortnight” – Taylor Swift Featuring Post Malone
Jack Antonoff, Louis Bell & Taylor Swift, producers; Louis Bell, Bryce Bordone, Serban Ghenea, Sean Hutchinson, Oli Jacobs, Michael Riddleberger & Laura Sisk, engineers/mixers; Randy Merrill, mastering engineer
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.)
New Blue Sun – André 3000
André 3000 & Carlos Niño, producers; André 3000, Carlos Niño & Ken Oriole, engineers/mixers; André 3000, Surya Botofasina, Nate Mercereau & Carlos Niño, songwriters; Andy Kravitz, mastering engineer
COWBOY CARTER – Beyoncé
Beyoncé, Terius “The-Dream” Gesteelde-Diamant & Dave Hamelin, producers; Matheus Braz, Brandon Harding, Hotae Alexander Jang, Dani Pampuri & Stuart White, engineers/mixers; Ryan Beatty, Beyoncé, Camaron Ochs, Terius “The-Dream” Gesteelde-Diamant, Dave Hamelin, S. Carter & Raphael Saadiq, songwriters; Colin Leonard, mastering engineer
Short n’ Sweet – Sabrina Carpenter
Jack Antonoff, Julian Bunetta, Ian Kirkpatrick & John Ryan, producers; Bryce Bordone, Julian Bunetta, Serban Ghenea, Jeff Gunnell, Oli Jacobs, Manny Marroquin, John Ryan & Laura Sisk, engineers/mixers; Amy Allen, Jack Antonoff, Julian Bunetta, Sabrina Carpenter, Ian Kirkpatrick, Julia Michaels & John Ryan, songwriters; Nathan Dantzler & Ruairi O’Flaherty, mastering engineers
BRAT – Charli xcx
Charli xcx, Cirkut & A. G. Cook, producers; A. G. Cook, Tom Norris & Geoff Swan, engineers/mixers; Charlotte Aitchison, Henry Walter, Alexander Guy Cook, Finn Keane & Jonathan Christopher Shave, songwriters; Idania Valencia, mastering engineer
Djesse Vol. 4 – Jacob Collier
Jacob Collier, producer; Ben Bloomberg, Jacob Collier & Paul Pouwer, engineers/mixers; Jacob Collier, songwriter; Chris Allgood & Emily Lazar, mastering engineers
Chappell Roan The Rise And Fall Of A Midwest Princess – Chappell Roan
Daniel Nigro, producer; Mitch McCarthy & Daniel Nigro, engineers/mixers; Daniel Nigro & Kayleigh Rose Amstutz, songwriters; Randy Merrill, mastering engineer
THE TORTURED POETS DEPARTMENT – Taylor Swift
Jack Antonoff, Aaron Dessner & Taylor Swift, producers; Zem Audu, Bella Blasko, Bryce Bordone, Serban Ghenea, David Hart, Mikey Freedom Hart, Sean Hutchinson, Oli Jacobs, Jonathan Low, Michael Riddleberger, Christopher Rowe, Laura Sisk & Evan Smith, engineers/mixers; Jack Antonoff, Aaron Dessner & Taylor Swift, songwriters; Randy Merrill, mastering engineer
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.
“A Bar Song (Tipsy)” — Sean Cook, Jerrel Jones, Joe Kent, Chibueze Collins Obinna, Nevin Sastry & Mark Williams, songwriters (Shaboozey)
“BIRDS OF A FEATHER” — Billie Eilish O’Connell & Finneas O’Connell, songwriters (Billie Eilish)
“Die With A Smile” — Dernst Emile II, James Fauntleroy, Lady Gaga, Bruno Mars & Andrew Watt, songwriters (Lady Gaga & Bruno Mars)
“Fortnight” — Jack Antonoff, Austin Post & Taylor Swift, songwriters (Taylor Swift Featuring Post Malone)
“Good Luck, Babe!” — Kayleigh Rose Amstutz, Daniel Nigro & Justin Tranter, songwriters (Chappell Roan)
“Not Like Us” — Kendrick Lamar, songwriter (Kendrick Lamar)
“TEXAS HOLD ‘EM” — Brian Bates, Beyoncé, Elizabeth Lowell Boland, Megan Bülow, Nate Ferraro & Raphael Saadiq, songwriters (Beyoncé)
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.
For new vocal or instrumental solo, duo/group or collaborative rock recordings.
“Now and Then” — The Beatles
“Beautiful People (Stay High)” — The Black Keys
“The American Dream Is Killing Me” — Green Day
“Gift Horse” — IDLES
“Dark Matter” — Pearl Jam
“Broken Man” — St. Vincent
Field 2: Rock, Metal & Alternative Music
CATEGORY 15
Best Metal Performance
For new vocal or instrumental solo, duo/group or collaborative metal recordings.
“Mea Culpa (Ah! Ça ira!)” — Gojira, Marina Viotti & Victor Le Masne
“Crown of Horns” — Judas Priest
“Suffocate” — Knocked Loose Featuring Poppy
“Screaming Suicide” — Metallica
“Cellar Door” — Spiritbox
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.
“Beautiful People (Stay High)” — Dan Auerbach, Patrick Carney, Beck Hansen & Daniel Nakamura, songwriters (The Black Keys)
“Dark Matter” — Jeff Ament, Matt Cameron, Stone Gossard, Mike McCready, Eddie Vedder & Andrew Watt, songwriters (Pearl Jam)
“Dilemma” — Billie Joe Armstrong, Tré Cool & Mike Dirnt, songwriters (Green Day)
“Gift Horse” — Jon Beavis, Mark Bowen, Adam Devonshire, Lee Kiernan & Joe Talbot, songwriters (IDLES)
CATEGORY 17
Best Rock Album
For albums containing greater than 75% playing time of new rock, hard rock or metal recordings.
Happiness Bastards — The Black Crowes
Romance — Fontaines D.C.
Saviors — Green Day
TANGK — IDLES
Dark Matter — Pearl Jam
Hackney Diamonds — The Rolling Stones
No Name — Jack White
CATEGORY 18
Best Alternative Music Performance
For new vocal or instrumental solo, duo/group or collaborative Alternative music recordings.
“Neon Pill” — Cage The Elephant
“Song Of The Lake” — Nick Cave & The Bad Seeds
“Starburster” — Fontaines D.C.
“BYE BYE” — Kim Gordon
“Flea” — St. Vincent
CATEGORY 19
Best Alternative Music Album
Vocal or Instrumental.
Wild God — Nick Cave & The Bad Seeds
Charm — Clairo
The Collective — Kim Gordon
What Now — Brittany Howard
All Born Screaming — St. Vincent
Field 3: R&B, Rap & Spoken Word Poetry
CATEGORY 20
Best R&B Performance
For new vocal or instrumental R&B recordings.
“Guidance” — Jhené Aiko
“Residuals” — Chris Brown
“Here We Go (Uh Oh)” — Coco Jones
“Made For Me (Live On BET)” — Muni Long
“Saturn” — SZA
CATEGORY 21
Best Traditional R&B Performance
For new vocal or instrumental traditional R&B recordings.
“Wet” — Marsha Ambrosius
“Can I Have This Groove” — Kenyon Dixon
“No Lie” — Lalah Hathaway Featuring Michael McDonald
“Make Me Forget” — Muni Long
“That’s You” — Lucky Daye
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.
“After Hours” — Diovanna Frazier, Alex Goldblatt, Kehlani Parrish, Khris Riddick-Tynes & Daniel Upchurch, songwriters (Kehlani)
“Burning” — Ronald Banful & Temilade Openiyi, songwriters (Tems)
“Here We Go (Uh Oh)” — Sara Diamond, Sydney Floyd, Marisela Jackson, Courtney Jones, Carl McCormick & Kelvin Wooten, songwriters (Coco Jones)
“Ruined Me” — Jeff Gitelman, Priscilla Renea & Kevin Theodore, songwriters (Muni Long)
“Saturn” — Rob Bisel, Carter Lang, Solána Rowe, Jared Solomon & Scott Zhang, songwriters (SZA)
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.
For albums containing greater than 75% playing time of new R&B recordings.
11:11 (Deluxe) — Chris Brown
VANTABLACK — Lalah Hathaway
Revenge — Muni Long
Algorithm — Lucky Daye
COMING HOME — Usher
CATEGORY 25
Best Rap Performance
For a Rap performance. Singles or Tracks only.
“Enough (Miami)” — Cardi B
“When The Sun Shines Again” — Common & Pete Rock Featuring Posdnuos
“NISSAN ALTIMA” — Doechii
“Houdini” — Eminem
“Like That” — Future & Metro Boomin Featuring Kendrick Lamar
“Yeah Glo!” — GloRilla
“Not Like Us” — Kendrick Lamar
CATEGORY 26
Best Melodic Rap Performance
For a solo or collaborative performance containing both elements of R&B melodies and Rap.
“KEHLANI” — Jordan Adetunji Featuring Kehlani
“SPAGHETTII” — Beyoncé Featuring Linda Martell & Shaboozey
“We Still Don’t Trust You” — Future & Metro Boomin Featuring The Weeknd
“Big Mama” — Latto
“3” — Rapsody Featuring Erykah Badu
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.
“Carnival” — Jordan Carter, Raul Cubina, Grant Dickinson, Samuel Lindley, Nasir Pemberton, Dimitri Roger, Ty Dolla $ign, Kanye West & Mark Carl Stolinski Williams, songwriters (¥$ (Kanye West & Ty Dolla $Ign) Featuring Rich The Kid & Playboi Carti)
For albums containing greater than 75% playing time of new instrumental jazz recordings.
Owl Song — Ambrose Akinmusire Featuring Bill Frisell & Herlin Riley
Beyond This Place — Kenny Barron Featuring Kiyoshi Kitagawa, Johnathan Blake, Immanuel Wilkins & Steve Nelson
Phoenix Reimagined (Live) — Lakecia Benjamin
Remembrance — Chick Corea & Béla Fleck
Solo Game — Sullivan Fortner
CATEGORY 33
Best Large Jazz Ensemble Album
For albums containing greater than 75% playing time of new large ensemble jazz recordings.
Returning To Forever — John Beasley & Frankfurt Radio Big Band
And So It Goes — The Clayton-Hamilton Jazz Orchestra
Walk A Mile In My Shoe — Orrin Evans & The Captain Black Big Band
Bianca Reimagined: Music for Paws and Persistence — Dan Pugach Big Band
Golden City — Miguel Zenón
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.
Spain Forever Again — Michel Camilo & Tomatito
Cubop Lives! — Zaccai Curtis
COLLAB — Hamilton de Holanda & Gonzalo Rubalcaba
Time And Again — Eliane Elias
El Trio: Live in Italy — Horacio ‘El Negro’ Hernández, John Beasley & José Gola
Cuba And Beyond — Chucho Valdés & Royal Quartet
As I Travel — Donald Vega Featuring Lewis Nash, John Patitucci & Luisito Quintero
CATEGORY 35
Best Alternative Jazz Album
For vocal or instrumental albums containing greater than 75% playing time of new Alternative jazz recordings.
Night Reign — Arooj Aftab
New Blue Sun — André 3000
Code Derivation — Robert Glasper
Foreverland — Keyon Harrold
No More Water: The Gospel Of James Baldwin — Meshell Ndegeocello
CATEGORY 36
Best Traditional Pop Vocal Album
For albums containing greater than 75% playing time of new traditional pop recordings.
À Fleur De Peau — Cyrille Aimée
Visions — Norah Jones
Good Together — Lake Street Dive
Impossible Dream — Aaron Lazar
Christmas Wish — Gregory Porter
CATEGORY 37
Best Contemporary Instrumental Album
For albums containing greater than 75% playing time of new contemporary instrumental recordings.
Plot Armor — Taylor Eigsti
Rhapsody In Blue — Béla Fleck
Orchestras (Live) — Bill Frisell Featuring Alexander Hanson, Brussels Philharmonic, Rudy Royston & Thomas Morgan
Mark — Mark Guiliana
Speak To Me — Julian Lage
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.
Hell’s Kitchen — Shoshana Bean, Brandon Victor Dixon, Kecia Lewis & Meleah Joi Moon, principal vocalists; Adam Blackstone, Alicia Keys & Tom Kitt, producers (Alicia Keys, composer & lyricist) (Original Broadway Cast)
Merrily We Roll Along — Jonathan Groff, Lindsay Mendez & Daniel Radcliffe, principal vocalists; David Caddick, Joel Fram, Maria Friedman & David Lai, producers (Stephen Sondheim, composer & lyricist) (New Broadway Cast)
The Notebook — John Clancy, Carmel Dean, Kurt Deutsch, Derik Lee, Kevin McCollum & Ingrid Michaelson, producers; Ingrid Michaelson, composer & lyricist (Original Broadway Cast)
The Outsiders — Joshua Boone, Brent Comer, Brody Grant & Sky Lakota-Lynch, principal vocalists; Zach Chance, Jonathan Clay, Matt Hinkley, Justin Levine & Lawrence Manchester, producers; Zach Chance, Jonathan Clay & Justin Levine, composers/lyricists (Original Broadway Cast)
Suffs — Andrea Grody, Dean Sharenow & Shaina Taub, producers; Shaina Taub, composer & lyricist (Original Broadway Cast)
The Wiz — Wayne Brady, Deborah Cox, Nichelle Lewis & Avery Wilson, principal vocalists; Joseph Joubert, Allen René Louis & Lawrence Manchester, producers (Charlie Smalls, composer & lyricist) (2024 Broadway Cast Recording)
Field 5: Country & American Roots Music
CATEGORY 39
Best Country Solo Performance
For new vocal or instrumental solo country recordings.
“16 CARRIAGES” — Beyoncé
“I Am Not Okay” — Jelly Roll
“The Architect” — Kacey Musgraves
“A Bar Song (Tipsy)” — Shaboozey
“It Takes A Woman” — Chris Stapleton
CATEGORY 40
Best Country Duo/Group Performance
For new vocal or instrumental duo/group or collaborative country recordings.
“Cowboys Cry Too” — Kelsea Ballerini With Noah Kahan
“II MOST WANTED” — Beyoncé Featuring Miley Cyrus
“Break Mine” — Brothers Osborne
“Bigger Houses” — Dan + Shay
“I Had Some Help” — Post Malone Featuring Morgan Wallen
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.
“A Bar Song (Tipsy)” — Sean Cook, Jerrel Jones, Joe Kent, Chibueze Collins Obinna, Nevin Sastry & Mark Williams, songwriters (Shaboozey)
“I Am Not Okay” — Casey Brown, Jason DeFord, Ashley Gorley & Taylor Phillips, songwriters (Jelly Roll)
“I Had Some Help” — Louis Bell, Ashley Gorley, Hoskins, Austin Post, Ernest Smith, Ryan Vojtesak, Morgan Wallen & Chandler Paul Walters, songwriters (Post Malone Featuring Morgan Wallen)
“TEXAS HOLD ‘EM” — Brian Bates, Beyoncé, Elizabeth Lowell Boland, Megan Bülow, Nate Ferraro & Raphael Saadiq, songwriters (Beyoncé)
CATEGORY 42
Best Country Album
For albums containing greater than 75% playing time of new country recordings.
COWBOY CARTER — Beyoncé
F-1 Trillion — Post Malone
Deeper Well — Kacey Musgraves
Higher — Chris Stapleton
Whirlwind — Lainey Wilson
CATEGORY 43
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).
“Blame It On Eve” — Shemekia Copeland
“Nothing In Rambling” — The Fabulous Thunderbirds Featuring Bonnie Raitt, Keb’ Mo’, Taj Mahal & Mick Fleetwood
“Lighthouse” — Sierra Ferrell
“The Ballad Of Sally Anne” — Rhiannon Giddens
CATEGORY 44
Best Americana Performance
For new vocal or instrumental Americana performance. Award to the artist(s).
“YA YA” — Beyoncé
“Subtitles” — Madison Cunningham
“Don’t Do Me Good” — Madi Diaz Featuring Kacey Musgraves
“American Dreaming” — Sierra Ferrell
“Runaway Train” — Sarah Jarosz
“Empty Trainload Of Sky” — Gillian Welch & David Rawlings
CATEGORY 45
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.
“Ahead Of The Game” — Mark Knopfler, songwriter (Mark Knopfler)
“All In Good Time” — Sam Beam, songwriter (Iron & Wine Featuring Fiona Apple)
“All My Friends” — Aoife O’Donovan, songwriter (Aoife O’Donovan)
“Blame It On Eve” — John Hahn & Will Kimbrough, songwriters (Shemekia Copeland)
CATEGORY 46
Best Americana Album
For albums containing greater than 75% playing time of new vocal or instrumental Americana recordings.
The Other Side — T Bone Burnett
$10 Cowboy — Charley Crockett
Trail Of Flowers — Sierra Ferrell
Polaroid Lovers — Sarah Jarosz
No One Gets Out Alive — Maggie Rose
Tigers Blood — Waxahatchee
CATEGORY 47
Best Bluegrass Album
For albums containing greater than 75% playing time of new vocal or instrumental bluegrass recordings.
I Built A World — Bronwyn Keith-Hynes
Songs of Love and Life — The Del McCoury Band
No Fear — Sister Sadie
Live Vol. 1 — Billy Strings
Earl Jam — Tony Trischka
Dan Tyminski: Live From The Ryman — Dan Tyminski
CATEGORY 48
Best Traditional Blues Album
For albums containing greater than 75% playing time of new vocal or instrumental traditional blues recordings.
Hill Country Love — Cedric Burnside
Struck Down — The Fabulous Thunderbirds
One Guitar Woman — Sue Foley
Sam’s Place — Little Feat
Swingin’ Live at The Church in Tulsa — The Taj Mahal Sextet
CATEGORY 49
Best Contemporary Blues Album
For albums containing greater than 75% playing time of new vocal or instrumental contemporary blues recordings.
Blues Deluxe Vol. 2 — Joe Bonamassa
Blame It On Eve — Shemekia Copeland
Friendlytown — Steve Cropper & The Midnight Hour
Mileage — Ruthie Foster
The Fury — Antonio Vergara
CATEGORY 50
Best Folk Album
For albums containing greater than 75% playing time of new vocal or instrumental folk recordings.
American Patchwork Quartet — American Patchwork Quartet
Weird Faith — Madi Diaz
Bright Future — Adrianne Lenker
All My Friends — Aoife O’Donovan
Woodland — Gillian Welch & David Rawlings
CATEGORY 51
Best Regional Roots Music Album
For albums containing greater than 75% playing time of new vocal or instrumental regional roots music recordings.
25 Back To My Roots — Sean Ardoin And Kreole Rock And Soul
Live At The 2024 New Orleans Jazz & Heritage Festival — Big Chief Monk Boudreaux & The Golden Eagles Featuring J’Wan Boudreaux
Live At The 2024 New Orleans Jazz & Heritage Festival — New Breed Brass Band Featuring Trombone Shorty
Kuini — Kalani Pe’a
Stories From The Battlefield — The Rumble Featuring Chief Joseph Boudreaux Jr.
Field 6: Gospel & Contemporary Christian Music
CATEGORY 52
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.
“Church Doors” — Yolanda Adams; Sir William James Baptist & Donald Lawrence, songwriters
“Yesterday” — Melvin Crispell III
“Hold On (Live)” — Ricky Dillard
“Holy Hands” — DOE; Jesse Paul Barrera, Jeffrey Castro Bernat, Dominique Jones, Timothy Ferguson, Kelby Shavon Johnson, Jr., Jonathan McReynolds, Rickey Slikk Muzik Offord & Juan Winans, songwriters
“One Hallelujah” — Tasha Cobbs Leonard, Erica Campbell & Israel Houghton Featuring Jonathan McReynolds & Jekalyn Carr; G. Morris Coleman, Israel Houghton, Kenneth Leonard, Jr., Tasha Cobbs Leonard & Naomi Raine, songwriters
CATEGORY 53
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).
“Praise” — Elevation Worship Featuring Brandon Lake, Chris Brown & Chandler Moore; Pat Barrett, Chris Brown, Cody Carnes, Steven Furtick, Brandon Lake & Chandler Moore, songwriters
“Firm Foundation (He Won’t)” — Honor & Glory Featuring Disciple
“In The Name Of Jesus” — JWLKRS Worship & Maverick City Music Featuring Chandler Moore; Austin Armstrong, Ran Jackson, Chandler Moore, Sajan Nauriyal, Ella Schnacky, Noah Schnacky & Ilya Toshinskiy, songwriters
“In The Room” — Maverick City Music, Naomi Raine & Chandler Moore Featuring Tasha Cobbs Leonard; G. Morris Coleman, Tasha Cobbs Leonard & Naomi Raine, songwriters
“That’s My King” — CeCe Winans; Taylor Agan, Kellie Gamble, Llyod Nicks & Jess Russ, songwriters
CATEGORY 54
Best Gospel Album
For albums containing greater than 75% playing time of newly recorded, vocal, traditional or contemporary/R&B gospel music recordings.
Covered Vol. 1 — Melvin Crispell III
Choirmaster II (Live) — Ricky Dillard
Father’s Day — Kirk Franklin
Still Karen — Karen Clark Sheard
More Than This — CeCe Winans
CATEGORY 55
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.
Heart Of A Human — DOE
When Wind Meets Fire — Elevation Worship
Child Of God — Forrest Frank
Coat Of Many Colors — Brandon Lake
The Maverick Way Complete — Maverick City Music, Naomi Raine & Chandler Moore
CATEGORY 56
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.
The Gospel Sessions, Vol 2 — Authentic Unlimited
The Gospel According To Mark — Mark D. Conklin
Rhapsody — The Harlem Gospel Travelers
Church — Cory Henry
Loving You — The Nelons
Field 7: Latin, Global, Reggae & New Age, Ambient, or Chant
CATEGORY 57
Best Latin Pop Album
For albums containing greater than 75% playing time of new Latin pop recordings.
Funk Generation — Anitta
El Viaje — Luis Fonsi
GARCÍA — Kany García
Las Mujeres Ya No Lloran — Shakira
ORQUÍDEAS — Kali Uchis
CATEGORY 58
Best Música Urbana Album
For albums containing greater than 75% playing time of new Música Urbana recordings.
nadie sabe lo que va a pasar mañana — Bad Bunny
Rayo — J Balvin
FERXXOCALIPSIS — Feid
LAS LETRAS YA NO IMPORTAN — Residente
att. — Young Miko
CATEGORY 59
Best Latin Rock or Alternative Album
For albums containing greater than 75% playing time of new Latin rock or alternative recordings.
Compita del Destino — El David Aguilar
Pa’ Tu Cuerpa — Cimafunk
Autopoiética — Mon Laferte
GRASA — NATHY PELUSO
¿Quién trae las cornetas? — Rawayana
CATEGORY 60
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.
Diamantes — Chiquis
Boca Chueca, Vol. 1 — Carín León
ÉXODO — Peso Pluma
De Lejitos — Jessi Uribe
CATEGORY 61
Best Tropical Latin Album
For albums containing greater than 75% playing time of new tropical Latin recordings.
MUEVENSE — Marc Anthony
Bailar — Sheila E.
Radio Güira — Juan Luis Guerra 4.40
Alma, Corazón y Salsa (Live at Gran Teatro Nacional) — Tony Succar, Mimy Succar
Vacilón Santiaguero — Kiki Valera
CATEGORY 62
Best Global Music Performance
For new vocal or instrumental Global music recordings.
“Raat Ki Rani” — Arooj Aftab
“A Rock Somewhere” — Jacob Collier Featuring Anoushka Shankar & Varijashree Venugopal
Chapter II: How Dark It Is Before Dawn — Anoushka Shankar
Warriors Of Light — Radhika Vekaria
Field 8: Children’s, Comedy, Audio Books, Visual Media & Music Video/Film
CATEGORY 67
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.
Brillo, Brillo! — Lucky Diaz And The Family Jam Band
Creciendo — Lucy Kalantari & The Jazz Cats
My Favorite Dream — John Legend
Solid Rock Revival — Rock For Children
World Wide Playdate — Divinity Roxx and Divi Roxx Kids
CATEGORY 68
Best Comedy Album
For albums containing greater than 75% playing time of new recordings.
Armageddon — Ricky Gervais
The Dreamer — Dave Chappelle
The Prisoner — Jim Gaffigan
Someday You’ll Die — Nikki Glaser
Where Was I — Trevor Noah
CATEGORY 69
Best Audio Book, Narration, and Storytelling Recording
For an album that is spoken word in format.
All You Need Is Love: The Beatles in Their Own Words (Various Artists) — Guy Oldfield, producer
…And Your Ass Will Follow — George Clinton
Behind the Seams: My Life in Rhinestones — Dolly Parton
Last Sundays in Plains: A Centennial Celebration — Jimmy Carter
My Name Is Barbra — Barbra Streisand
CATEGORY 70
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. Award also goes to appropriately credited music supervisor(s).
The Color Purple — (Various Artists)
Deadpool & Wolverine — (Various Artists)
Maestro: Music By Leonard Bernstein — London Symphony Orchestra, Yannick Nézet-Séguin, Bradley Cooper
Saltburn — (Various Artists)
Twisters: The Album — (Various Artists)
CATEGORY 71
Best Score Soundtrack For Visual Media (Includes Film And Television)
Award to Composer(s) for an original score created specifically for a current motion picture, television show, or series.
Shōgun — Nick Chuba, Atticus Ross & Leopold Ross, composers
CATEGORY 72
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 — Pinar Toprak, composer
God of War Ragnarök: Valhalla — Bear McCreary, composer
Marvel’s Spider-Man 2 — John Paesano, composer
Star Wars Outlaws — Wilbert Roget, II, composer
Wizardry: Proving Grounds of the Mad Overlord — Winifred Phillips, composer
CATEGORY 73
Best Song Written For Visual Media
A Songwriter(s) award. For a song (melody & lyrics) written specifically for a motion picture, television, video game or other visual media. Singles or Tracks only.
Ain’t No Love In Oklahoma [From “Twisters: The Album”] — Jessi Alexander, Luke Combs & Jonathan Singleton, songwriters (Luke Combs)
Better Place [From “TROLLS Band Together”] — Amy Allen, Shellback & Justin Timberlake, songwriters (*NSYNC & Justin Timberlake)
Can’t Catch Me Now [From “The Hunger Games: The Ballad of Songbirds & Snakes”] — Daniel Nigro & Olivia Rodrigo, songwriters (Olivia Rodrigo)
It Never Went Away [From “American Symphony”] — Jon Batiste & Dan Wilson, songwriters (Jon Batiste)
Love Will Survive [From “The Tattooist of Auschwitz”] — Walter Afanasieff, Charlie Midnight, Kara Talve & Hans Zimmer, songwriters (Barbra Streisand)
CATEGORY 74
Best Music Video
Award to the artist, video director, and video producer.
“Tailor Swif” — A$AP Rocky
Vania Heymann & Gal Muggia, video directors
“360” — Charli xcx
Aidan Zamiri, video director; Jami Arceo & Evan Thicke, video producers
“Houdini” — Eminem
Rich Lee, video director; Kathy Angstadt, Lisa Arianna & Justin Diener, video producers
“Not Like Us” — Kendrick Lamar
Dave Free & Kendrick Lamar, video directors; Jack Begert, Sam Canter & Jamie Rabineau, video producers
“Fortnight” — Taylor Swift Featuring Post Malone
Taylor Swift, video director; Jil Hardin, video producer
CATEGORY 75
Best Music Film
For concert/performance films or music documentaries. Award to the artist, video director, and video producer.
“American Symphony” — Jon Batiste
Matthew Heineman, video director; Lauren Domino, Matthew Heineman & Joedan Okun, video producers
“June” — (June Carter Cash)
Kristen Vaurio, video director; Josh Matas, Sarah Olson, Jason Owen, Mary Robertson & Kristen Vaurio, video producers
“Kings From Queens” — Run DMC
Kirk Fraser, video director; William H. Masterson III, video producer
“Stevie Van Zandt: Disciple” — Steven Van Zandt
Bill Teck, video director; Robert Cotto, David Fisher & Bill Teck, video producers
“The Greatest Night in Pop” — (Various Artists)
Bao Nguyen, video director; Bruce Eskowitz, George Hencken, Larry Klein, Julia Nottingham, Lionel Richie & Harriet Sternberg, video producers
Field 9: Package, Notes & Historical
CATEGORY 76
Best Recording Package
For the best artistic package of an album.
The Avett Brothers — Jonny Black & Giorgia Sage, art directors (The Avett Brothers)
Baker Hotel — Sarah Dodds & Shauna Dodds, art directors (William Clark Green)
BRAT — Brent David Freaney & Imogene Strauss, art directors (Charli xcx)
F-1 Trillion — Archie Lee Coates IV, Jeffrey Franklin, Blossom Liu, Kylie McMahon & Ana Cecilia Thompson Motta, art directors (Post Malone)
Hounds Of Love The Baskerville Edition — Kate Bush & Albert McIntosh, art directors (Kate Bush)
Jug Band Millionaire — Andrew Wong & Julie Yeh, art directors (The Muddy Basin Ramblers)
Pregnancy, Breakdown, And Disease — Lee Pei-Tzu, art director (iWhoiWhoo)
CATEGORY 77
Best Boxed Or Special Limited Edition Package
For the best package of a special edition album.
Half Living Things — Patrick Galvin, art director (Alpha Wolf)
Hounds Of Love The Boxes Of Lost At Sea — Kate Bush & Albert McIntosh, art directors (Kate Bush)
In Utero — Doug Cunningham & Jason Noto, art directors (Nirvana)
Mind Games — Simon Hilton & Sean Ono Lennon, art directors (John Lennon)
Unsuk Chin — Takahiro Kurashima & Marek Polewski, art directors (Unsuk Chin & Berliner Philharmoniker)
We Blame Chicago — Rebeka Arce & Farbod Kokabi, art directors (90 Day Men)
CATEGORY 78
Best Album Notes
Award to the album notes writer.
After Midnight — Tim Brooks, album notes writer (Ford Dabney’s Syncopated Orchestras)
The Carnegie Hall Concert — Lauren Du Graf, album notes writer (Alice Coltrane)
Centennial — Ricky Riccardi, album notes writer (King Oliver’s Creole Jazz Band & Various Artists)
John Culshaw — The Art Of The Producer – The Early Years 1948-55 — Dominic Fyfe, album notes writer (John Culshaw)
SONtrack Original De La Película “Al Son De Beno” — Josh Kun, album notes writer (Various Artists)
CATEGORY 79
Best Historical Album
For historical albums containing reissues or compilations. Award to compilation producers and mastering engineers.
Centennial — Meagan Hennessey & Richard Martin, compilation producers; Richard Martin, mastering engineer (King Oliver’s Creole Jazz Band And Various Artists)
Diamonds And Pearls: Super Deluxe Edition — Charles F. Spicer, Jr. & Duane Tudahl, compilation producers; Brad Blackwood & Bernie Grundman, mastering engineers (Prince & The New Power Generation)
Paul Robeson – Voice of Freedom: His Complete Columbia, RCA, HMV, and Victor Recordings — Tom Laskey & Robert Russ, compilation producers; Nancy Conforti & Andreas K. Meyer, mastering engineers (Paul Robeson)
Pepito y Paquito — Pepe De Lucía & Javier Doria, compilation producers; Jesús Bola, mastering engineer (Pepe De Lucía And Paco De Lucía)
The Sound Of Music (Original Soundtrack Recording – Super Deluxe Edition) — Mike Matessino & Mark Piro, compilation producers; Steve Genewick & Mike Matessino, mastering engineers (Rodgers & Hammerstein & Julie Andrews)
CATEGORY 80
Best Engineered Album, Non-Classical
An Engineer’s Award. (Artists’ names appear in parentheses.)
Algorithm — Dernst Emile II, Michael B. Hunter, Stephan Johnson, Rachel Keen, John Kercy, Charles Moniz & Todd Robinson, engineers; Colin Leonard, mastering engineer (Lucky Daye)
Cyan Blue — Jack Emblem, Jack Rochon & Charlotte Day Wilson, engineers; Chris Gehringer, mastering engineer (Charlotte Day Wilson)
Deeper Well — Craig Alvin, Shawn Everett, Mai Leisz, Todd Lombardo, John Rooney, Konrad Snyder & Daniel Tashian, engineers; Greg Calbi, mastering engineer (Kacey Musgraves)
empathogen — Beatriz Artola, Zach Brown, Oscar Cornejo, Chris Greatti & Mitch McCarthy, engineers; Joe La Porta, mastering engineer (WILLOW)
i/o — Tchad Blake, Oli Jacobs, Katie May & Dom Shaw, engineers; Matt Colton, mastering engineer (Peter Gabriel)
Short n’ Sweet — Bryce Bordone, Julian Bunetta, Serban Ghenea, Jeff Gunnell, Oli Jacobs, Ian Kirkpatrick, Jack Manning, Manny Marroquin, John Ryan & Laura Sisk, engineers; Nathan Dantzler & Ruairi O’Flaherty, mastering engineers (Sabrina Carpenter)
CATEGORY 81
Best Engineered Album, Classical
An Engineer’s Award. (Artists’ names appear in parentheses.)
Adams: Girls Of The Golden West — Alexander Lipay & Dmitriy Lipay, engineers; Alexander Lipay & Dmitriy Lipay, mastering engineers (John Adams, Daniela Mack, Ryan McKinny, Paul Appleby, Hye Jung Lee, Elliot Madore, Julia Bullock, Davóne Tines, Los Angeles Philharmonic & Los Angeles Master Chorale)
Andres: The Blind Banister — Silas Brown, Doron Schachter & Michael Schwartz, engineers; Matt Colton, mastering engineer (Andrew Cyr, Inbal Segev & Metropolis Ensemble)
Bruckner: Symphony No. 7; Bates: Resurrexit — Mark Donahue & John Newton, engineers; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)
Clear Voices In The Dark — Daniel Shores, engineer; Daniel Shores, mastering engineer (Matthew Guard & Skylark Vocal Ensemble)
Ortiz: Revolución Diamantina — Alexander Lipay & Dmitriy Lipay, engineers; Alexander Lipay & Dmitriy Lipay, mastering engineers (Gustavo Dudamel, María Dueñas, Los Angeles Philharmonic & Los Angeles Master Chorale)
CATEGORY 82
Producer Of The Year, Classical
A Producer’s Award. (Artist names appear in parentheses.) (S) stands for Single, (T) stands for Track, and (A) stands for Album.
Adams: Girls Of The Golden West (John Adams, Daniela Mack, Ryan McKinny, Paul Appleby, Hye Jung Lee, Elliot Madore, Julia Bullock, Davóne Tines, Los Angeles
Philharmonic & Los Angeles Master Chorale) (A)
Messiaen: Des Canyons Aux Étoiles… (Ludovic Morlot & Seattle Symphony) (A)
Ortiz: Revolución Diamantina (Gustavo Dudamel, Gabriela Ortiz, María Dueñas, Los Angeles Philharmonic, Los Angeles Master Chorale) (A)
Elaine Martone
Bartók: String Quartet No.3; Suite From ‘The Miraculous Mandarin‘ (Franz Welser-Möst & The Cleveland Orchestra) (A)
Dvořák: Symphony No. 9, ‘From The New World’; American Suite (Nathalie Stutzmann & Atlanta Symphony Orchestra) (A)
Radiance Untethered – The Choral Music Of John Wykoff (Cameron F. Labarr & Missouri State University Chorale) (A)
Field 10: Production, Engineering, Composition & Arrangement
CATEGORY 83
Best Immersive Audio Album
For albums in any genre that provide a new immersive audio experience. Award to the immersive mix engineer, immersive mastering engineer, and immersive producer (if applicable).
Genius Loves Company — Michael Romanowski, Eric Schilling & Herbert Waltl, immersive mix engineers; Michael Romanowski, immersive mastering engineer; John Burk, immersive producer (Ray Charles With Various Artists)
A Composer’s Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.
“At Last” — Shelton G. Berg, composer (Shelly Berg)
“Communion” — Christopher Zuar, composer (Christopher Zuar Orchestra)
“I Swear, I Really Wanted To Make A “Rap” Album But This Is Literally The Way The Wind Blew Me This Time” — André 3000, Surya Botofasina, Nate Mercereau & Carlos Niño, composers (André 3000)
“Remembrance” — Chick Corea, composer (Chick Corea & Béla Fleck)
“Strands” — Pascal Le Boeuf, composer (Akropolis Reed Quintet, Pascal Le Boeuf & Christian Euman)CATEGORY 85
Best Arrangement, Instrumental or A Cappella
An Arranger’s Award. (Artist names appear in parentheses.) Singles or Tracks only.
“Baby Elephant Walk – Encore” — Michael League, arranger (Snarky Puppy)
“Bridge Over Troubled Water” — Jacob Collier, Tori Kelly & John Legend, arrangers (Jacob Collier Featuring John Legend & Tori Kelly)
“Rhapsody In Blue(Grass)” — Béla Fleck & Ferde Grofé, arrangers (Béla Fleck Featuring Michael Cleveland, Sierra Hull, Justin Moses, Mark Schatz & Bryan Sutton)
“Rose Without The Thorns” — Erin Bentlage, Alexander Lloyd Blake, Scott Hoying, A.J. Sealy & Amanda Taylor, arrangers (Scott Hoying Featuring säje & Tonality)
“Stravinsky: The Firebird” — Esa-Pekka Salonen, conductor (San Francisco Symphony)
CATEGORY 88
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.
“Adams: Girls Of The Golden West” — John Adams, conductor; Paul Appleby, Julia Bullock, Hye Jung Lee, Daniela Mack, Elliot Madore, Ryan McKinny & Davóne Tines; Dmitriy Lipay, producer (Los Angeles Philharmonic; Los Angeles Master Chorale)
“Catán: Florencia En El Amazonas” — Yannick Nézet-Séguin, conductor; Mario Chang, Michael Chioldi, Greer Grimsley, Nancy Fabiola Herrera, Mattia Olivieri, Ailyn Pérez & Gabriella Reyes; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
“Moravec: The Shining” — Gerard Schwarz, conductor; Tristan Hallett, Kelly Kaduce & Edward Parks; Blanton Alspaugh, producer (Kansas City Symphony; Lyric Opera Of Kansas City Chorus)
“Puts: The Hours” — Yannick Nézet-Séguin, conductor; Joyce DiDonato, Renée Fleming & Kelli O’Hara; David Frost, producer (Metropolitan Opera Orchestra; Metropolitan Opera Chorus)
“Saariaho: Adriana Mater” — Esa-Pekka Salonen, conductor; Fleur Barron, Axelle Fanyo, Nicholas Phan & Christopher Purves; Jason O’Connell, producer (San Francisco Symphony; San Francisco Symphony Chorus; Timo Kurkikangas)
CATEGORY 89
Best Choral Performance
Award to the conductor, and to the choral director and/or chorus master where applicable and to the choral organization/ensemble.
“Clear Voices In The Dark” — Matthew Guard, conductor (Carrie Cheron, Nathan Hodgson, Helen Karloski & Clare McNamara; Skylark Vocal Ensemble)
“A Dream So Bright: Choral Music Of Jake Runestad” — Eric Holtan, conductor (Jeffrey Biegel; True Concord Orchestra; True Concord Voices)
“Handel: Israel in Egypt” — Jeannette Sorrell, conductor (Margaret Carpenter Haigh, Daniel Moody, Molly Netter, Jacob Perry & Edward Vogel; Apollo’s Fire; Apollo’s Singers)
“Ochre” — Donald Nally, conductor (The Crossing)
“Sheehan: Akathist” — Elaine Kelly, conductor; Melissa Attebury, Stephen Sands & Benedict Sheehan, chorus masters (Elizabeth Bates, Paul D’Arcy, Tynan Davis, Aine Hakamatsuka, Steven Hrycelak, Helen Karloski, Enrico Lagasca, Edmund Milly, Fotina Naumenko, Neil Netherly, Timothy Parsons, Stephen Sands, Miriam Sheehan & Pamela Terry; Novus NY; Artefact Ensemble, The Choir Of Trinity Wall Street, Downtown Voices & Trinity Youth Chorus)
CATEGORY 90
Best Chamber Music/Small Ensemble Performance
Award to the ensemble and conductor if applicable.
“Adams, J.L.: Waves & Particles” — JACK Quartet
“Beethoven For Three: Symphony No. 4 and Op. 97, ‘Archduke'” — Yo-Yo Ma, Leonidas Kavakos & Emanuel Ax
“Rectangles and Circumstance” — Caroline Shaw & Sō Percussion
CATEGORY 91
Best Classical Instrumental Solo
Award to the instrumental soloist(s) and to the conductor when applicable.
“Akiho: Longing” — Andy Akiho
“Bach: Goldberg Variations” — Víkingur Ólafsson
“Eastman: The Holy Presence Of Joan D’Arc” — Seth Parker Woods; Christopher Rountree, conductor (Wild Up)
“Entourer” — Mak Grgić (Ensemble Dissonance)
“Perry: Concerto For Violin & Orchestra” — Curtis Stewart; James Blachly, conductor (Experiential Orchestra)
CATEGORY 92
Best Classical Solo Vocal Album
Award to vocalist(s), collaborative artist(s) (e.g., pianists, conductors), producer(s), and recording engineers/mixers with greater than 50% playing time of new material.
Beyond The Years – Unpublished Songs Of Florence Price — Karen Slack, soloist; Michelle Cann, pianist
A Change Is Gonna Come — Nicholas Phan, soloist; Palaver Strings, ensembles
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.
Akiho: BeLonging — Andy Akiho & Imani Winds; Andy Akiho, Sean Dixon & Mark Dover, producers
American Counterpoints — Curtis Stewart; James Blachly, conductor; Blanton Alspaugh, producer
Foss: Symphony No. 1; Renaissance Concerto; Three American Pieces; Ode — JoAnn Falletta, conductor; Bernd Gottinger, producer
Mythologies II — Sangeeta Kaur, Omar Najmi, Hilá Plitmann, Robert Thies & Danaë Xanthe Vlasse; Michael Shapiro, conductor; Jeff Atmajian, Emilio D. Miler, Hai Nguyen, Robert Thies, Danaë Xanthe Vlasse & Kitt Wakeley, producers
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.
Casarrubios: Seven For Solo Cello — Andrea Casarrubios, composer (Andrea Casarrubios)
Lang: Composition As Explanation — David Lang, composer (Eighth Blackbird)
Ortiz: Revolución Diamantina — Gabriela Ortiz, composer (Gustavo Dudamel, Los Angeles Philharmonic & Los Angeles Master Chorale)
Saariaho: Adriana Mater — Kaija Saariaho, composer (Esa-Pekka Salonen, Fleur Barron, Nicholas Phan, Christopher Purves, Axelle Fanyo, San Francisco Symphony Chorus & Orchestra)
