Grammys 2022

Nas’ First-Ever Solo Grammys Performance Included ‘I Can,’ ‘One Mic,’ ‘Made You Look’ And ‘Rare’

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It may sound hard to believe, but Nas has never performed solo at the Grammys, despite being something of a fixture in its Best Rap Album category. Of course, he only recently won that award for the Hit-Boy joint album King’s Disease, so maybe the Grammys overlooking the rap elder statesman could also be considered a tradition — until now. Thanks to the Grammys’ ongoing initiative to actually honor hip-hop, Nas has now broken both streaks. He made up for the last 20 years in his 2022 Grammy performance, playing a medley of his hits including “I Can,” “One Mic,” “Made You Look,” and new song “Rare,” further cementing Nas’ status as the Grammys’ new golden child — even if he is closer to 50 now.

In the past few years, Nas and Hit-Boy have proven to be a winning team. In 2021, they won the Best Rap Album Grammy for their first collaborative project, King’s Disease — Nas’ first-ever win in the category in his 30-year career. Their follow-up, King’s Disease II, is also nominated for Best Rap Album this year. Finally, in December of 2021, the duo collaborated once again to make Magic — no pun intended — their third joint album to date. They have both stated that they plan to release a third installment of the King’s Disease series, as well. Given how things have been going on that front, don’t be surprised if that one gets nominated for a Best Rap Album Grammy too.

Watch Nas’ 2022 Grammys performance of “I Can,” “One Mic,” “Made You Look,” and “Rare” above.

Olivia Rodrigo Lands The 2022 Grammy Award For Best New Artist

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Each year, there’s a new round of artists who make an impact, big or small, on the music industry. In that group, a select few are chosen to be recognized in the Best New Artist category at the Grammys every year. Winners in this category over the last few years have come from an array of genres. In 2017, Chance The Rapper took the award while pop singer Alessia Cara did so the following year. The award was given to Dua Lipa and Billie Eilish in 2019 and 2020 respectively, and last year, Megan Thee Stallion was graced with the Best New Artist award.

This year, that honor has been given to Olivia Rodrigo. Fresh off her awesome performance of “Drivers License,” she was selected over the other Best New Artist nominees which were Arooj Aftab, Jimmie Allen, Baby Keem, Finneas, Glass Animals, Japanese Breakfast, The Kid Laroi, Arlo Parks, and Saweetie.

Over the past twelve months, many of the artists in this year’s Best New Artist category had highlight moments that certainly helped to boost their careers. Arlo Parks’ Collapsed In Sunbeams, which is also nominated for Best Alternative Music Album, won the Mercury Prize, which is awarded for the best album released in the United Kingdom by a British or Irish act. Olivia Rodrigo scored her first No. 1 album with Sour after tearing up the singles chart with “Drivers License.” The Kid Laroi also delivered a chart-topping album and single with F*ck Love and “Stay” with Justin Bieber. Lastly, Japanese Breakfast won the 2021 Uproxx Critics Poll thanks to their third album Jubilee, which is also nominated in this year’s Best Alternative Music Album category.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

Anderson .Paak Narrowly Avoided A Wardrobe Malfunction As Silk Sonic Accepted Their Grammy Award

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30 minutes into the 2022 Grammy Awards, nothing so show-stopping as Will Smith’s slap has afflicted the show as yet — but Silk Sonic nearly became the talk of the show for all the wrong reasons as they accepted their award for Song Of The Year for “Leave The Door Open.” For a quick moment during their acceptance speech — which was mostly handled by producer/songwriter Dernst “D’Mile” Emile II, who dedicated the award to his recently deceased mother — the microphone cut off as Anderson .Paak turned his back on the cameras.

As it turns out, he had a decent enough reason for swearing on live TV: The fly on his 1970’s-inspired bellbottom pants was down, almost giving the world a glimpse of what .Paak is packing. Fortunately, he was able to keep everything aside from the curse words contained, keeping the Grammys from accumulating the number of FCC complaints that the Oscars got.

Anderson and his musical partner Bruno Mars got to celebrate winning Song Of The Year just minutes after performing their casino-themed cut “777” — appropriate, as the Grammys were held in Vegas this year. Incidentally, they performed the Song Of The Year for the first time at last year’s awards after mounting a campaign to lobby the show for the opportunity to play. They’re still nominated for Record Of The Year, Best R&B Performance, and Best R&B Song.

Lil Nas X Taunts His Critics Performing ‘Montero’ And ‘Industry Baby’ With Jack Harlow At The 2022 Grammys

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Lil Nas X’s hit song “Industry Baby” has clearly become an industry favorite; he and guest rapper Jack Harlow graced the stage at the Grammys to once again perform their No. 1 hit as part of a stirring medley of tracks including “Montero (Call Me By Your Name)” and “Dead Right Now.” They previously shook up the world with their colorful rendition of “Industry Baby” at the 2021 VMAs. Nas changed costumes numerous times as news clips of pearl-clutching newscasters played behind him.

Nas and Jack’s juggernaut collaboration is nominated for Best Melodic Rap Performance, while Nas himself has also accumulated an impressive collection of nominations for his debut album Montero. Not only is Montero nominated for Album Of The Year, but the project’s lead single “Montero (Call Me By Your Name)” is also nominated for Record Of The Year, Song Of The Year, and Best Music Video.

That last nomination must certainly rankle Nas’ detractors, who immediately decried the video for its controversial concept. In the video, Nas descends to a plane resembling classic depictions of hell and gives a demonic ruler a lap dance before committing regicide and ascending the throne himself. However, those criticisms couldn’t stop “Call Me By Your Name” from becoming Nas’ second No. 1 record, receiving a Platinum RIAA certification just one month after its release, or receiving three Grammy nominations. Meanwhile, its follow-up, “Industry Baby,” achieved similar success, reaching No. 1 on the Hot 100 two months after its release and receiving the Best Melodic Rap Performance nomination.

Watch Lil Nas X and Jack Harlow’s 2022 Grammys performance of TK above.

J Balvin And Maria Becerra Brought The Heat To The Grammys With Their Performance Of ‘Qué Más Pues?’

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J Balvin is on top of the world right now. Just last week, he released two tracks with Ed Sheeran in the thumping “Sigue” and the emotive “Forever My Love,” definitely bringing out the best in Sheeran’s sneaky good Spanish. And while Balvin didn’t win the lone award he was nominated for at the 64th Annual Grammys, he didn’t let that stop him from lighting the Grammys stage on fire. Balvin and Argentine urbano singer Maria Becerra performed their hit, “Qué Más Pues” at the Grammys, before Balvin unleashed another surprise on the audience.

Wrapped in a scarlet red coat, J Balvin opened the tune facing Becerra his confident foil, in a devious dance. She was radiant in her black alligator leather flowy pants, matching top, and elbow-length gloves. For the uninitiated, Becerra is one of the brightest stars in Urbano music and besides being featured on “Qué Más Pues,” she is also set to appear on Camilla Cabello’s upcomoing album, Familía. “Qué Más Pues, is off of J Balvin’s 2021 album, Jose, which was up for the Best Música Urbana Album award, but ultimately lost to Bad Bunny’s El Último Tour Del Mundo.

As the song came to a close, Balvin and his aqua hair with a red heart dyed onto the back of his head, stepped to a second stage and performed his EDM-reggaeton crossover “In Da Getto,” produced by Skrillex. He was accompanied by a full-on army of seated pop-lock dancers and it was as wonderfully over-the-top as you’d expect at the Grammys.

Silk Sonic’s ‘Leave The Door Open’ Wins Song Of The Year At The 2022 Grammys

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When it comes to which of the Grammy Awards is the most prestigious one, there are arguments to be made, but Song Of The Year is always part of the conversation, as it’s one of the ceremony’s four major awards. Well, now a new song has cemented its place in music history: Winning this year’s Grammy for Song Of The Year is Silk Sonic’s “Leave The Door Open.”

Also nominated for the award were Ed Sheeran’s “Bad Habits,” Alicia Keys and Brandi Carlile’s “A Beautiful Noise,” Olivia Rodrigo’s “Drivers License,” HER’s “Fight For You,” Billie Eilish’s “Happier Than Ever,” Doja Cat’s “Kiss Me More” Feat. SZA, Silk Sonic’s “Leave The Door Open,” Lil Nas X’s “Montero (Call Me By Your Name),” Justin Bieber’s “Peaches” Feat. Daniel Caesar and Giveon, Brandi Carlile’s “Right On Time.”

Silk Sonic has a good amount of nominations this year, as aside from Song Of The Year, they’re also up for Record Of The Year, Best R&B Performance, and Best R&B Song, all also for “Leave The Door Open.”

Find the full list of this year’s Grammy nominees and winners here.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

Silk Sonic Hit The Jackpot With Their ‘777’ Grammys Performance

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Well, it looks like Anderson .Paak and Bruno Mars’ 2021 campaign to perform at the Grammys as Silk Sonic paid off — again. After sending a politely worded open letter to the Grammys, they performed their massive hit song “Leave The Door Open” at the 2021 ceremony for the first time ever. They must have made a great impression because the Grammys tapped them to perform this year too, this time opening the Las Vegas-based ceremony with their thematically appropriate song “777,” throwing in a little reference to Soho’s “Hot Music (Jazz Music)” as a breakdown.

“Leave The Door Open” is also nominated for Record Of The Year, Song Of The Year, Best R&B Performance, and Best R&B Song. Its surprise success in 2020 paved the way for Silk Sonic to release a slew of similarly beloved singles like “Skate,” “Smokin’ Out The Window,” and “After Last Night” ahead of the release of their debut album, An Evening With Silk Sonic. The album’s warm reception likewise led to even greater opportunities for the boys including a Las Vegas residency and a placement in the popular video game Fortnite.

Watch Silk Sonic’s 2022 Grammys performance of “777” above.

Silk Sonic is a Warner Music artist. Uproxx is an independent subsidiary of Warner Music Group.

The Full List Of 2022 Grammy Award Winners

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After a delay that pushed it two months back from its traditional date, the 2022 Grammy Awards are finally underway. For this year’s award show, Jon Batiste leads the way with 11 nominations, which is the second-most for an artist in a single year. After him, Justin Bieber, HER, and Doja Cat follow suit with eight nominations while Olivia Rodrigo and Billie Eilish trail not too far behind with seven nominations.

Some artists will go home with multiple awards, others with one win, and the remaining bunch may leave empty-handed. Nonetheless, it’s a night to celebrate the best in music. With that, check out our full list of winners, updated throughout the night as more decisions are announced.

Record Of The Year

ABBA — “I Still Have Faith In You”
Jon Batiste — “Freedom”
Tony Bennett and Lady Gaga — “I Get A Kick Out Of You”
Justin Bieber — “Peaches” Feat. Daniel Caesar and Giveon
Brandi Carlile — “Right On Time”
Doja Cat — “Kiss Me More” Feat. SZA
Billie Eilish — “Happier Than Ever”
Lil Nas X — “Montero (Call Me By Your Name)”
Olivia Rodrigo — “Drivers License”
Silk Sonic — “Leave The Door Open”

Album Of The Year

Jon Batiste — We Are
Tony Bennett and Lady Gaga — Love For Sale
Justin Bieber — Justice (Triple Chucks Deluxe)
Doja Cat — Planet Her (Deluxe)
Billie Eilish — Happier Than Ever
HER — Back Of My Mind
Lil Nas X — Montero
Olivia Rodrigo — Sour
Taylor Swift — Evermore
Kanye West — Donda

Song Of The Year

Ed Sheeran — “Bad Habits”
Alicia Keys and Brandi Carlile — “A Beautiful Noise”
Olivia Rodrigo — “Drivers License”
HER — “Fight For You”
Billie Eilish — “Happier Than Ever”
Doja Cat — “Kiss Me More” Feat. SZA
Silk Sonic — “Leave The Door Open”
Lil Nas X — “Montero (Call Me By Your Name)”
Justin Bieber — “Peaches” Feat. Daniel Caesar and Giveon
Brandi Carlile — “Right On Time”

Best New Artist

Arooj Aftab
Jimmie Allen
Baby Keem
Finneas
Glass Animals
Japanese Breakfast
The Kid Laroi
Arlo Parks
Olivia Rodrigo
Saweetie

Best Pop Solo Performance

Justin Bieber — “Anyone”
Brandi Carlile — “Right on Time”
Billie Eilish — “Happier Than Ever”
Ariana Grande — “Positions”
Olivia Rodrigo — “Drivers License”

Best Pop Duo/Group Performance

Tony Bennett and Lady Gaga — “I Get A Kick Out Of You”
Justin Bieber and Benny Blanco — “Lonely”
BTS — “Butter”
Coldplay — “Higher Power”
Doja Cat — “Kiss Me More” Feat. SZA

Best Traditional Pop Vocal Album

Tony Bennett and Lady Gaga — Love For Sale
Norah Jones — ‘Til We Meet Again (Live)
Tori Kelly — A Tori Kelly Christmas
Ledisi — Ledisi Sings Nina
Willie Nelson — That’s Life
Dolly Parton — A Holly Dolly Christmas

Best Pop Vocal Album

Justin Bieber — Justice (Triple Chucks Deluxe)
Doja Cat — Planet Her (Deluxe)
Billie Eilish — Happier Than Ever
Ariana Grande — Positions
Olivia Rodrigo — Sour

Best Dance/Electronic Recording

Afrojack and David Guetta — “Hero”
Ólafur Arnalds — “Loom” Feat. Bonobo
James Blake — “Before”
Bonobo and Totally Enormous Extinct Dinosaurs — “Heartbreak”
Caribou — “You Can Do It”
Rüfüs Du Sol — “Alive”
Tiësto — “The Business”

Best Dance/Electronic Music Album

Black Coffee — Subconsciously
Illenium — Fallen Embers
Major Lazer — Music Is The Weapon (Reloaded)
Marshmello — Shockwave
Sylvan Esso — Free Love
Ten City — Judgement

Best Alternative Music Album

Fleet Foxes — “Shore”
Halsey — “If I Can’t Have Love, I Want Power”
Japanese Breakfast — “Jubilee”
Arlo Parks — “Collapsed In Sunbeams”
St. Vincent — “Daddy’s Home”

Best Contemporary Instrumental Album

Randy Brecker And Eric Marienthal — “Double Dealin’”
Rachel Eckroth — “The Garden”
Taylor Eigsti — “Tree Falls”
Steve Gadd Band — “At Blue Note Tokyo”
Mark Lettieri — “Deep: The Baritone Sessions, Vol. 2”

Best Rock Performance

AC/DC — “Shot in the Dark”
Black Pumas — “Know You Better (Live From Capitol Studio A)”
Chris Cornell — “Nothing Compares 2 U”
Deftones — “Ohms”
Foo Fighters — “Making a Fire”

Best Metal Performance

Deftones — “Genesis”
Dream Theater — “The Alien”
Gojira — “Amazonia”
Mastodon — “Pushing the Tides”
Rob Zombie — “The Triumph of King Freak (A Crypt of Preservation and Superstition)”

Best Rock Song

Weezer — “All My Favorite Songs”
Kings Of Leon — “The Bandit”
Mmmoth Wvh — “Distance”
Paul McCartney — “Find My Way”
Foo Fighters — “Waiting on a War”

Best Rock Album

AC/DC — “Power Up”
Black Pumas — “Capitol Cuts – Live From Studio A”
Chris Cornell — “No One Sings Like You Anymore Vol. 1”
Foo Fighters — “Medicine at Midnight”
Paul McCartney — “McCartney III”

Best R&B Performance

“Lost You,” Snoh Aalegra
“Peaches,” Justin Bieber featuring Daniel Caesar and Giveon
“Damage,” H.E.R.
“Leave the Door Open,” Silk Sonic
“Pick Up Your Feelings,” Jazmine Sullivan

Best Traditional R&B Performance

Jon Batiste — “I Need You”
BJ The Chicago Kid, PJ Morton and Kenyon Dixon — “Bring It on Home to Me” Feat. Charlie Bereal
Leon Bridges — “Born Again” Feat. Robert Glasper
HER — “Fight for You”
Lucky Daye — “How Much Can a Heart Take” Feat Yebba

Best R&B Song

HER — “Damage”
SZA — “Good Days”
Giveon — “Heartbreak Anniversary”
Silk Sonic– “Leave the Door Open”
Jazmine Sullivan — “Pick Up Your Feelings”

Best Progressive R&B Album

Eric Bellinger — New Light
Cory Henry — Something to Say
Hiatus Kaiyote — Mood Valiant
Lucky Daye — Table for Two
Terrace Martin, Robert Glasper, 9th Wonder and Kamasi Washington — Dinner Party: Dessert
Masego — Studying Abroad: Extended Stay

Best R&B Album

Snoh Aalegra — Temporary Highs in the Violet Skies
Jon Batiste — We Are
Leon Bridges — Gold-Diggers Sound
HER — Back of My Mind
Jazmine Sullivan — Heaux Tales

Best Rap Performance

Baby Keem — “Family Ties” Feat. Kendrick Lamar
Cardi B — “Up”
J. Cole — “My Life” Feat. 21 Savage and Morray
Drake — “Way 2 Sexy” Feat. Future and Young Thug
Megan Thee Stallion — “Thot Sh*t”

Best Melodic Rap Performance

J. Cole — “Pride Is The Devil” Feat. Lil Baby
Doja Cat — “Need To Know”
Lil Nas X — “Industry Baby” Feat. Jack Harlow
Tyler The Creator — “Wusyaname” Feat. YoungBoy Never Broke Again and Ty Dolla Sign
Kanye West — “Hurricane” Feat. The Weeknd and Lil Baby

Best Rap Song

DMX — “Bath Salts” Feat. Jay-Z and Nas
Saweetie — “Best Friend” Feat. Doja Cat
Baby Keem — “Family Ties” Feat. Kendrick Lamar
Kanye West — “Jail” Feat. Jay-Z
J. Cole — “My Life” Feat. 21 Savage and Morray

Best New Age Album

Will Ackerman, Jeff Oster and Tom Eaton — Brothers
Stewart Copeland and Ricky Kej — Divine Tides
Wouter Kellerman and David Arkenstone — Pangaea
Opium Moon — Night + Day
Laura Sullivan — Pieces Of Forever

Best Rap Album

“The Off-Season,” J. Cole
“Certified Lover Boy,” Drake
“King’s Disease II,” Nas
“Call Me If You Get Lost,” Tyler, the Creator
“Donda,” Kanye West

Best Country Solo Performance

“Forever After All,” Luke Combs
“Remember Her Name,” Mickey Guyton
“All I Do Is Drive,” Jason Isbell
“Camera Roll,” Kacey Musgraves
“You Should Probably Leave,” Chris Stapleton

Best Country Duo/Group Performance

“If I Didn’t Love You,” Jason Aldean and Carrie Underwood
“Younger Me,” Brothers Osborne
“Glad You Exist,” Dan + Shay
“Chasing After You,” Ryan Hurd and Maren Morris
“Drunk (And I Don’t Wanna Go Home),” Elle King and Miranda Lambert

Best Country Song

“Better Than We Found It,” Jessie Jo Dillon, Maren Morris, Jimmy Robbins and Laura Veltz, songwriters (Maren Morris)
“Camera Roll,” Ian Fitchuk, Kacey Musgraves and Daniel Tashian, songwriters (Kacey Musgraves)
“Cold,” Dave Cobb, J.T. Cure, Derek Mixon and Chris Stapleton, songwriters (Chris Stapleton)
“Country Again,” Zach Crowell, Ashley Gorley and Thomas Rhett, songwriters (Thomas Rhett)
“Fancy Like,” Cameron Bartolini, Walker Hayes, Josh Jenkins and Shane Stevens, songwriters (Walker Hayes)
“Remember Her Name,” Mickey Guyton, Blake Hubbard, Jarrod Ingram and Parker Welling, songwriters (Mickey Guyton)

Best Country Album

“Skeletons,” Brothers Osborne
“Remember Her Name,” Mickey Guyton
“The Marfa Tapes,” Miranda Lambert, Jon Randall and Jack Ingram
“The Ballad of Dood & Juanita,” Sturgill Simpson
“Starting Over,” Chris Stapleton

Best New Age Album

“Brothers,” Will Ackerman, Jeff Oster and Tom Eaton
“Divine Tides,” Stewart Copeland and Ricky Kej
“Pangaea,” Wouter Kellerman and David Arkenstone
“Night + Day,” Opium Moon
“Pieces of Forever,” Laura Sullivan

Best Improvised Jazz Solo

“Sackodougou,” Christian Scott aTunde Adjuah, soloist
“Kick Those Feet,” Kenny Barron, soloist
“Bigger Than Us,” Jon Batiste, soloist
“Absence,” Terence Blanchard, soloist
“Humpty Dumpty (Set 2),” Chick Corea, soloist

Best Jazz Vocal Album

“Generations,” The Baylor Project
“Superblue,” Kurt Elling and Charlie Hunter
“Time Traveler,” Nnenna Freelon
“Flor,” Gretchen Parlato
“Songwrights Apothecary Lab,” Esperanza Spalding

Best Jazz Instrumental Album

“Jazz Selections: Music From and Inspired by Soul,” Jon Batiste
“Absence,” Terence Blanchard featuring the E Collective and the Turtle Island Quartet
“Skyline,” Ron Carter, Jack DeJohnette and Gonzalo Rubalcaba
“Akoustic Band Live,” Chick Corea, John Patitucci and Dave Weckl
“Side-Eye NYC (V1.IV),” Pat Metheny

Best Large Jazz Ensemble Album

“Live at Birdland!,” The Count Basie Orchestra directed by Scotty Barnhart
“Dear Love,” Jazzmeia Horn and her Noble Force
“For Jimmy, Wes AND Oliver,” Christian McBride Big Band
“Swirling,” Sun Ra Arkestra
“Jackets XL,” Yellowjackets + WDR Big Band

Best Latin Jazz Album

“Mirror Mirror,” Eliane Elias With Chick Corea and Chucho Valdés
“The South Bronx Story,” Carlos Henriquez
“Virtual Birdland,” Arturo O’Farrill & the Afro Latin Jazz Orchestra
“Transparency,” Dafnis Prieto Sextet
“El Arte Del Bolero,” Miguel Zenón and Luis Perdomo

Best Gospel Performance/Song

“Voice of God,” Dante Bowe featuring Steffany Gretzinger and Chandler Moore; Dante Bowe, Tywan Mack, Jeff Schneeweis and Mitch Wong, songwriters
“Joyful,” Dante Bowe; Dante Bowe and Ben Schofield, songwriters
“Help,” Anthony Brown & Group Therapy; Anthony Brown and Darryl Woodson, songwriters
“Never Lost,” CeCe Winans
“Wait on You,” Elevation Worship and Maverick City Music; Dante Bowe, Chris Brown, Steven Furtick, Tiffany Hudson, Brandon Lake and Chandler Moore, songwriters

Best Contemporary Christian Music Performance/Song

“We Win,” Kirk Franklin and Lil Baby; Kirk Franklin, Dominique Jones, Cynthia Nunn and Justin Smith, songwriters
“Hold Us Together (Hope Mix),” H.E.R. and Tauren Wells; Josiah Bassey, Dernst Emile and H.E.R., songwriters
“Man of Your Word,” Chandler Moore and KJ Scriven; Jonathan Jay, Nathan Jess and Chandler Moore, songwriters
“Believe For It,” CeCe Winans; Dwan Hill, Kyle Lee, CeCe Winans and Mitch Wong, songwriters
“Jireh,” Elevation Worship and Maverick City Music featuring Chandler Moore and Naomi Raine; Chris Brown, Steven Furtick, Chandler Moore and Naomi Raine, songwriters

Best Gospel Album

“Changing Your Story,” Jekalyn Carr
“Royalty: Live at the Ryman,” Tasha Cobbs Leonard
“Jubilee: Juneteenth Edition,” Maverick City Music
“Jonny X Mali: Live in LA,” Jonathan McReynolds and Mali Music
“Believe for It,” CeCe Winans
Best Contemporary Christian Music Album
“No Stranger,” Natalie Grant
“Feels Like Home Vol. 2,” Israel and New Breed
“The Blessing (Live),” Kari Jobe
“Citizen of Heaven (Live),” Tauren Wells
“Old Church Basement,” Elevation Worship and Maverick City Music

Best Roots Gospel Album

“Alone With My Faith,” Harry Connick, Jr.
“That’s Gospel, Brother,” Gaither Vocal Band
“Keeping On,” Ernie Haase and Signature Sound
“Songs For the Times,” The Isaacs
“My Savior,” Carrie Underwood

Best Latin Pop Album

“Vértigo,” Pablo Alborán
“Mis Amores,” Paula Arenas
“Hecho a la Antigua,” Ricardo Arjona
“Mis Manos,” Camilo
“Mendó,” Alex Cuba
“Revelación,” Selena Gomez

Best Música Urbana Album

“Afrodisíaco,” Rauw Alejandro
“El Último Tour Del Mundo,” Bad Bunny
“Jose,” J Balvin
“KG0516,” KAROL G
“Sin Miedo (Del Amor y Otros Demonios),” Kali Uchis
Best Latin Rock or Alternative Album
“Deja,” Bomba Estéreo
“Mira Lo Que Me Hiciste Hacer (Deluxe Edition),” Diamante Eléctrico
“Origen,” Juanes
“Calambre,” Nathy Peluso
“El Madrileño,” C. Tangana
“Sonidos de Karmática Resonancia,” Zoé

Best Regional Mexican Music Album (Including Tejano)

“Antología de la Musica Ranchera, Vol. 2,” Aida Cuevas
“A Mis 80’s,” Vicente Fernández
“Seis,” Mon Laferte
“Un Canto por México, Vol. II,” Natalia Lafourcade
“Ayayay! (Súper Deluxe),” Christian Nodal

Best Tropical Latin Album

“Salswing!,” Rubén Blades y Roberto Delgado & Orquesta
“En Cuarentena,” El Gran Combo De Puerto Rico
“Sin Salsa No Hay Paraíso,” Aymée Nuviola
“Colegas,” Gilberto Santa Rosa
“Live in Peru,” Tony Succar

Best American Roots Performance

“Cry,” Jon Batiste
“Love and Regret,” Billy Strings
“I Wish I Knew How It Would Feel to Be Free,” The Blind Boys of Alabama and Béla Fleck
“Same Devil,” Brandy Clark featuring Brandi Carlile
“Nightflyer,” Allison Russell
Best American Roots Song
“Avalon,” Rhiannon Giddens, Justin Robinson and Francesco Turrisi, songwriters (Rhiannon Giddens with Francesco Turrisi)
“Call Me a Fool,” Valerie June, songwriter (Valerie June featuring Carla Thomas)
“Cry,” Jon Batiste and Steve McEwan, songwriters (Jon Batiste)
“Diamond Studded Shoes,” Dan Auerbach, Natalie Hemby, Aaron Lee Tasjan and Yola, songwriters (Yola)
“Nightflyer,” Jeremy Lindsay and Allison Russell, songwriters (Allison Russell)

Best Americana Album

“Downhill From Everywhere,” Jackson Browne
“Leftover Feelings,” John Hiatt with the Jerry Douglas Band
“Native Sons,” Los Lobos
“Outside Child,” Allison Russell
“Stand For Myself,” Yola

Best Bluegrass Album

“Renewal,” Billy Strings
“My Bluegrass Heart,” Béla Fleck
“A Tribute To Bill Monroe,” The Infamous Stringdusters
“Cuttin’ Grass – Vol. 1 (Butcher Shoppe Sessions),” Sturgill Simpson
“Music Is What I See,” Rhonda Vincent

Best Traditional Blues Album

“100 Years of Blues,” Elvin Bishop and Charlie Musselwhite
“Traveler’s Blues,” Blues Traveler
“I Be Trying,” Cedric Burnside
“Be Ready When I Call You,” Guy Davis
“Take Me Back,” Kim Wilson

Best Contemporary Blues Album

“Delta Kream,” The Black Keys featuring Eric Deaton and Kenny Brown
“Royal Tea,” Joe Bonamassa
“Uncivil War,” Shemekia Copeland
“Fire It Up,” Steve Cropper
“662,” Christone “Kingfish” Ingram

Best Folk Album

“One Night Lonely [Live],” Mary Chapin Carpenter
“Long Violent History,” Tyler Childers
“Wednesday (Extended Edition),” Madison Cunningham
“They’re Calling Me Home,” Rhiannon Giddens with Francesco Turrisi
“Blue Heron Suite,” Sarah Jarosz

Best Regional Roots Music Album

“Live in New Orleans!,” Sean Ardoin and Kreole Rock and Soul
“Bloodstains & Teardrops,” Big Chief Monk Boudreaux
“My People,” Cha Wa
“Corey Ledet Zydeco,” Corey Ledet Zydeco
“Kau Ka Pe’a,” Kalani Pe’a

Best Reggae Album

“Pamoja,” Etana
“Positive Vibration,” Gramps Morgan
“Live N Livin,” Sean Paul
“Royal,” Jesse Royal
“Beauty in the Silence,” Soja
“10,” Spice

Best Engineered Album, Non-Classical

Cinema — Josh Conway, Marvin Figueroa, Josh Gudwin, Neal H Pogue and Ethan Shumaker, engineers; Joe LaPorta, mastering engineer (The Marías)
Dawn — Thomas Brenneck, Zach Brown, Elton “L10MixedIt” Chueng, Riccardo Damian, Tom Elmhirst, Jens Jungkurth, Todd Monfalcone, John Rooney and Smino, engineers; Randy Merrill, mastering engineer (Yebba)
Hey What — BJ Burton, engineer; BJ Burton, mastering engineer (Low)
Love For Sale — Dae Bennett, Josh Coleman and Billy Cumella, engineers; Greg Calbi and Steve Fallone, mastering engineers (Tony Bennett and Lady Gaga)

Producer Of The Year, Non-Classical

Jack Antonoff
Rogét Chahayed
Mike Elizondo
Hit-Boy
Ricky Reed

Best Remixed Recording

“Back to Life” (Booker T Kings of Soul Satta Dub); Booker T, remixer (Soul II Soul)
“Born for Greatness” (Cymek Remix); Spencer Bastin, remixer (Papa Roach); track from: “Greatest Hits Vol. 2 The Better Noise Years”
“Constant Craving” (Fashionably Late Remix); Tracy Young, remixer (K.D. Lang)
“Inside Out” (3SCAPE DRM REMIX); 3SCAPE DRM, remixer (Zedd and Griff)
“Met Him Last Night (Dave Audé Remix); Dave Audé, remixer (Demi Lovato and Ariana Grande)
“Passenger” (Mike Shinoda Remix); Mike Shinoda, remixer (Deftones); track from: “White Pony” (20th Anniversary Deluxe Edition)
“Talks” (Mura Masa Remix); Alexander Crossan, remixer (PVA)

Best Global Music Performance

“Mohabbat,” Arooj Aftab
“Do Yourself,” Angelique Kidjo and Burna Boy
“Pà Pá Pà,” Femi Kuti
“Blewu,” Yo-Yo Ma and Angelique Kidjo
“Essence,” Wizkid featuring Tems

Best Global Music Album

“Voice Of Bunbon, Vol. 1,” Rocky Dawuni
“East West Players Presents: Daniel Ho and Friends Live in Concert,” Daniel Ho and Friends
“Mother Nature,” Angelique Kidjo
“Legacy +,” Femi Kuti and Made Kuti
“Made In Lagos: Deluxe Edition,” Wizkid

Best Children’s Music Album

“Actívate,” 123 Andrés
“All One Tribe,” 1 Tribe Collective
“Black to the Future,” Pierce Freelon
“A Colorful World,” Falu
“Crayon Kids,” Lucky Diaz and the Family Jam Band

Best Spoken Word Album

“Aftermath,” Levar Burton
“Carry On: Reflections for a New Generation From John Lewis,” Don Cheadle
“Catching Dreams: Live at Fort Knox Chicago,” J. Ivy
“8:46,” Dave Chappelle and Amir Sulaiman
“A Promised Land,” Barack Obama

Best Comedy Album

“The Comedy Vaccine,” Lavell Crawford
“Evolution,” Chelsea Handler
“Sincerely Louis C.K.,” Louis C.K.
“Thanks For Risking Your Life,” Lewis Black
“The Greatest Average American,” Nate Bargatze
“Zero ___ Given,” Kevin Hart

Best Musical Theater Album

“Andrew Lloyd Webber’s Cinderella,” Andrew Lloyd Webber, Nick Lloyd Webber and Greg Wells, producers; Andrew Lloyd Webber and David Zippel, composers/lyricists (Original Album Cast)
“Burt Bacharach and Steven Sater’s Some Lovers,” Burt Bacharach, Michael Croiter, Ben Hartman and Steven Sater, Producers; Burt Bacharach, composer; Steven Sater, lyricist (World Premiere Cast)
“Girl From The North Country,” Simon Hale, Conor Mcpherson and Dean Sharenow, Producers (Bob Dylan, composer and lyricist) (Original Broadway Cast)
“Les Misérables: The Staged Concert (The Sensational 2020 Live Recording),” Cameron Mackintosh, Lee Mccutcheon and Stephenmetcalfe, producers (Claude-Michel Schönberg, composer; Alain Boublil, John Caird, Herbert Kretzmer, Jean-Marc Natel and Trevor Nunn, lyricists) (The 2020 Les Misérables Staged Concert Company)
“Stephen Schwartz’s Snapshots,” Daniel C. Levine, Michael J Moritz Jr, Bryan Perri and Stephen Schwartz, producers (Stephen Schwartz, composer and lyricist) (World Premiere Cast)
“The Unofficial Bridgerton Musical,” Emily Bear, producer; Abigail Barlow and Emily Bear, composers/lyricists (Barlow & Bear)

Best Compilation Soundtrack for Visual Media

“Cruella,” (Various Artists)
“Dear Evan Hansen,” (Various Artists)
“In The Heights,” (Various Artists)
“One Night In Miami…,” (Various Artists)
“Respect,” Jennifer Hudson
“Schmigadoon! Episode 1,” (Various Artists)
“The United States vs. Billie Holiday,” Andra Day

Best Score Soundtrack for Visual Media

“Bridgerton,” Kris Bowers, composer
“Dune,” Hans Zimmer, composer
“The Mandalorian: Season 2 – Vol. 2 (Chapters 13-16),” Ludwig Göransson, composer
“The Queen’s Gambit,” Carlos Rafael Rivera, composer
“Soul,” Jon Batiste, Trent Reznor and Atticus Ross, composers

Best Song Written For Visual Media

“Agatha All Along [From Wandavision: Episode 7],” Kristen Anderson-Lopez and Robert Lopez, songwriters (Kristen Anderson-Lopez and Robert Lopez featuring Kathryn Hahn, Eric Bradley, Greg Whipple, Jasper Randall and Gerald White)
“All Eyes On Me [From Inside],” Bo Burnham, songwriter (Bo Burnham)
“All I Know So Far [From Pink: All I Know So Far],” Alecia Moore, Benj Pasek and Justin Paul, songwriters (Pink)
“Fight For You [From Judas and the Black Messiah],” Dernst Emile Ii, H.E.R. and Tiara Thomas, songwriters (H.E.R.)
“Here I Am (Singing My Way Home) [From Respect],” Jamie Hartman, Jennifer Hudson and Carole King, songwriters (Jennifer Hudson)
“Speak Now [From One Night in Miami…],” Sam Ashworth and Leslie Odom, Jr., Songwriters (Leslie Odom, Jr.)

Best Immersive Audio Album

“Alicia,” George Massenburg and Eric Schilling, immersive mix engineers; Michael Romanowski, immersive mastering engineer; Ann Mincieli, immersive producer (Alicia Keys)
“Clique,” Jim Anderson and Ulrike Schwarz, immersive mix engineers; Bob Ludwig, immersive mastering engineer; Jim Anderson, immersive producer (Patricia Barber)
“Fine Line,” Greg Penny, immersive mix engineer; Greg Penny, immersive mastering engineer; Greg Penny, immersive producer (Harry Styles)
“The Future Bites,” Jake Fields and Steven Wilson, immersive mix engineers; Bob Ludwig, immersive mastering engineer; Steven Wilson, immersive producer (Steven Wilson)
“Stille Grender,” Morten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Morten Lindberg, immersive producer (Anne Karin Sundal-Ask and Det Norske Jentekor)

Best Immersive Audio Album (for 63rd Grammy Awards)

“Bolstad: Tomba Sonora,” Morten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Morten Lindberg, immersive producer (Stemmeklang)
“Dear Future Self (Dolby Atmos Mixes),” Fritz Hilpert, immersive mix engineer; Jason Banks, Fritz Hilpert and David Ziegler, immersive mastering engineers; Tom Ammerman, Arno Kammermeier and Walter Merziger, immersive producers (Booka Shade)
“Fryd,” Morten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Morten Lindberg, immersive producer (Tove Ramlo-Ystad and Cantus)
“Mutt Slang Ii – A Wake of Sorrows Engulfed in Rage,” Elliot Scheiner, immersive mix engineer; Darcy Proper, immersive mastering engineer; Alain Mallet and Elliot Scheiner, immersive producers (Alain Mallet)
“Soundtrack of the American Soldier,” Leslie Ann Jones, immersive mix engineer; Michael Romanowski, immersive mastering engineer; Dan Merceruio, immersive producer (Jim R. Keene and the United States Army Field Band)

Best Engineered Album, Classical

“Archetypes,” Jonathan Lackey, Bill Maylone and Dan Nichols, engineers; Bill Maylone, mastering engineer (Sérgio Assad, Clarice Assad and Third Coast Percussion)
“Beethoven: Cello Sonatas – Hope Amid Tears,” Richard King, engineer (Yo-Yo Ma and Emanuel Ax)
“Beethoven: Symphony No. 9,” Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck, Mendelssohn Choir of Pittsburgh and Pittsburgh Symphony Orchestra)
“Chanticleer Sings Christmas,” Leslie Ann Jones, engineer (Chanticleer)
“Mahler: Symphony No. 8, ‘Symphony Of A Thousand,’” Alexander Lipay and Dmitriy Lipay, engineers; Alexander Lipay and Dmitriy Lipay, mastering engineers (Gustavo Dudamel, Fernando Malvar-Ruiz, Luke McEndarfer, Robert Istad, Grant Gershon, Los Angeles Children’s Chorus, Los Angeles Master Chorale, National Children’s Chorus, Pacific Chorale and Los Angeles Philharmonic)

Producer of the Year, Classical

Blanton Alspaugh
Steven Epstein
David Frost
Elaine Martone
Judith Sherman

Best Orchestral Performance

“Adams: My Father Knew Charles Ives; Harmonielehre,” Giancarlo Guerrero, conductor (Nashville Symphony Orchestra)
“Beethoven: Symphony No. 9,” Manfred Honeck, conductor (Mendelssohn Choir of Pittsburgh and Pittsburgh Symphony Orchestra)
“Muhly: Throughline,” Nico Muhly, conductor (San Francisco Symphony)
“Price: Symphonies Nos. 1 & 3,” Yannick Nézet-Séguin, conductor (Philadelphia Orchestra)
“Strauss: Also Sprach Zarathustra; Scriabin: The Poem of Ecstasy,” Thomas Dausgaard, conductor (Seattle Symphony Orchestra)

Best Opera Recording

“Bartók: Bluebeard’s Castle,” Susanna Mälkki, conductor; Mika Kares and Szilvia Giancarlo Guerrero, conductor (Nashville Symphony Orchestra)
“Glass: Akhnaten,” Karen Kamensek, conductor; J’Nai Bridges, Anthony Roth Costanzo, Zachary James and Dísella Lárusdóttir; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)
“Janáček: Cunning Little Vixen,”” Simon Rattle, conductor; Sophia Burgos, Lucy Crowe, Gerald Finley, Peter Hoare, Anna Lapkovskaja, Paulina Malefane, Jan Martinik and Hanno Müller-Brachmann; Andrew Cornall, producer (London Symphony Orchestra; London Symphony Chorus and LSO Discovery Voices)
“Little: Soldier Songs,” Corrado Rovaris, conductor; Johnathan McCullough; James Darrah and John Toia, producers (The Opera Philadelphia Orchestra)
“Poulenc: Dialogues Des Carmélites,” Yannick Nézet-Séguin, conductor; Karen Cargill, Isabel Leonard, Karita Mattila, Erin Morley and Adrianne Pieczonka; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)

Best Choral Performance

“It’s a Long Way,” Matthew Guard, conductor (Jonas Budris, Carrie Cheron, Fiona Gillespie, Nathan Hodgson, Helen Karloski, Enrico Lagasca, Megan Roth, Alissa Ruth Suver and Dana Whiteside; Skylark Vocal Ensemble)
“Mahler: Symphony No. 8, ‘Symphony of a Thousand,’” Gustavo Dudamel, conductor; Grant Gershon, Robert Istad, Fernando Malvar-Ruiz and Luke McEndarfer, chorus masters (Leah Crocetto, Mihoko Fujimura, Ryan McKinny, Erin Morley, Tamara Mumford, Simon O’Neill, Morris Robinson and Tamara Wilson; Los Angeles Philharmonic; Los Angeles Children’s Chorus, Los Angeles Master Chorale, National Children’s Chorus and Pacific Chorale)
“Rising w/ the Crossing,” Donald Nally, conductor (International Contemporary Ensemble and Quicksilver; The Crossing)
“Schnittke: Choir Concerto; Three Sacred Hymns; Pärt: Seven Magnificat-Antiphons,” Kaspars Putnins, conductor; Heli Jürgenson, chorus master (Estonian Philharmonic Chamber Choir)
“Sheehan: Liturgy of Saint John Chrysostom,” Benedict Sheehan, conductor (Michael Hawes, Timothy Parsons and Jason Thoms; The Saint Tikhon Choir)
“The Singing Guitar,” Craig Hella Johnson, conductor (Estelí Gomez; Austin Guitar Quartet, Douglas Harvey, Los Angeles Guitar Quartet and Texas Guitar Quartet; Conspirare)

Best Chamber Music/Small Ensemble Performance

“Adams, John Luther: Lines Made By Walking,” JACK Quartet
“Akiho: Seven Pillars,” Sandbox Percussion
“Archetypes,” Sérgio Assad, Clarice Assad and Third Coast Percussion
“Beethoven: Cello Sonatas – Hope Amid Tears,” Yo-Yo Ma and Emanuel Ax
“Bruits,” Imani Winds

Best Classical Instrumental Solo

“Alone Together,” Jennifer Koh
“An American Mosaic,” Simone Dinnerstein
“Bach: Sonatas and Partitas,” Augustin Hadelich
“Beethoven and Brahms: Violin Concertos,” Gil Shaham; Eric Jacobsen, conductor (The Knights)
“Mak Bach,” Mak Grgić
“Of Power,” Curtis Stewart

Best Classical Solo Vocal Album

“Confessions,” Laura Strickling; Joy Schreier, pianist
“Dreams of a New Day – Songs by Black Composers,” Will Liverman; Paul Sánchez, pianist
“Mythologies,” Sangeeta Kaur and Hila Plitmann (Virginie D’Avezac De Castera, Lili Haydn, Wouter Kellerman, Nadeem Majdalany, Eru Matsumoto and Emilio D. Miler)
“Schubert: Winterreise,” Joyce DiDonato; Yannick Nézet-Séguin, pianist
“Unexpected Shadows,” Jamie Barton; Jake Heggie, pianist (Matt Haimovitz)

Best Classical Compendium

“American Originals – A New World, A New Canon,” Agave and Reginald L. Mobley. Geoffrey Silver, producer.
“Berg: Violin Concerto; Seven Early Songs and Three Pieces for Orchestra,” Michael Tilson Thomas, conductor; Jack Vad, producer.
“Cerrone: The Arching Path,” Timo Andres and Ian Rosenbaum. Mike Tierney, producer.
“Plays,” Chick Corea. Chick Corea and Birnie Kirsh, producers.
“Women Warriors – The Voices of Change,” Amy Andersson, conductor; Amy Andersson, Mark Mattson and Lolita Ritmanis, producers.

Best Contemporary Classical Composition

“Akiho: Seven Pillars,” Andy Akiho, composer. (Sandbox Percussion)
“Andriessen: The Only One,” Louis Andriessen, composer. (Esa-Pekka Salonen, Nora Fischer & Los Angeles Philharmonic)
“Assad, Clarice and Sérgio, Connors, Dillon, Martin and Skidmore: Archetypes,” Clarice Assad, Sérgio Assad, Sean Connors, Robert Dillon, Peter Martin and David Skidmore, composers. (Sérgio Assad, Clarice Assad and Third Coast Percussion)
“Batiste: Movement 11,” Jon Batiste, composer (Jon Batiste)
“Shaw: Narrow Sea,” Caroline Shaw, composer (Dawn Upshaw, Gilbert Kalish and Sō Percussion)

Best Instrumental Composition

“Beautiful is Black,” Brandee Younger, composer (Brandee Younger)
“Cat and Mouse,” Tom Nazziola, composer (Tom Nazziola)
“Concerto for Orchestra: Finale,” Vince Mendoza, composer (Vince Mendoza and Czech National Symphony Orchestra featuring Antonio Sánchez and Derrick Hodge)
“Dreaming In Lions: Dreaming In Lions,” Arturo O’farrill, composer (Arturo O’farrill and the Afro Latin Jazz Ensemble)
“Eberhard,” Lyle Mays, composer (Lyle Mays)

Best Arrangement, Instrumental or A Cappella

“Chopsticks,” Bill O’Connell, arranger (Richard Baratta)
“For The Love Of A Princess (From ‘Braveheart’),” Robin Smith, Arranger (Hauser, London Symphony Orchestra and Robin Smith)
“Infinite Love,” Emile Mosseri, Arranger (Emile Mosseri)
“Meta Knight’s Revenge (From ‘Kirby Superstar’),” Charlie Rosen and Jake Silverman, arrangers (The 8-Bit Big Band featuring Button Masher)
“The Struggle Within,” Gabriela Quintero and Rodrigo Sanchez, arrangers (Rodrigo Y Gabriela)

Best Arrangement, Instruments and Vocals

“The Bottom Line,” Ólafur Arnalds, Arranger (Ólafur Arnalds and Josin)
“A Change is Gonna Come,” Tehillah Alphonso, Arranger (Tonality and Alexander Lloyd Blake)
“The Christmas Song (Chestnuts Roasting on an Open Fire),” Jacob Collier, Arranger (Jacob Collier)
“Eleanor Rigby,” Cody Fry, Arranger (Cody Fry)
“To The Edge Of Longing (Edit Version),” Vince Mendoza, Arranger (Vince Mendoza, Czech National Symphony Orchestra and Julia Bullock)

Best Recording Package

“American Jackpot / American Girls,” Sarah Dodds and Shauna Dodds, Art Directors (Reckless Kelly)
“Carnage,” Nick Cave and Tom Hingston, Art Directors (Nick Cave and Warren Ellis)
“Pakelang,” Li Jheng Han and Yu, Wei, Art Directors (2nd Generation Falangao Singing Group and the Chairman Crossover Big Band)
“Serpentine Prison,” Dayle Doyle, Art Director (Matt Berninger)
“Zeta,” Xiao Qing Yang, Art Director (Soul Of Ears)

Best Boxed or Special Limited Edition Package

“All Things Must Pass: 50th Anniversary Edition,” Darren Evans, Dhani Harrison and Olivia Harrison, art directors (George Harrison)
“Color Theory,” Lordess Foudre and Christopher Leckie, art directors (Soccer Mommy)
“The Future Bites (Limited Edition Box Set),” Simon Moore, art director (Steven Wilson)
“77-81,” Dan Calderwood and Jon King, art directors (Gang of Four)
“Swimming in Circles,” Ramón Coronado and Marshall Rake, art directors (Mac Miller)

Best Album Notes

“Beethoven: The Last Three Sonatas,” Ann-Katrin Zimmermann, album notes writer (Sunwook Kim)
“The Complete Louis Armstrong Columbia and RCA Victor Studio Sessions 1946-1966,” Ricky Riccardi, album notes writer (Louis Armstrong)
“Creation Never Sleeps, Creation Never Dies: The Willie Dunn Anthology,” Kevin Howes, album notes writer (Willie Dunn)
“Etching the Voice: Emile Berliner and the First Commercial Gramophone Discs, 1889-1895,” David Giovannoni, Richard Martin and Stephan Puille, album notes writers (Various Artists)
“The King of Gospel Music: The Life and Music of Reverend James Cleveland,” Robert Marovich, album notes writer (Various Artists)

Best Historical Album

“Beyond the Music: Her Complete RCA Victor Recordings,” Robert Russ, compilation producer; Nancy Conforti, Andreas K. Meyer and Jennifer Nulsen, mastering engineers (Marian Anderson)
“Etching the Voice: Emile Berliner and the First Commercial Gramophone Discs, 1889-1895,” Meagan Hennessey and Richard Martin, compilation producers; Richard Martin, mastering engineer (Various Artists)
“Excavated Shellac: An Alternate History of the World’s Music,” April Ledbetter, Steven Lance Ledbetter and Jonathan Ward, compilation producers; Michael Graves, mastering engineer (Various Artists)
“Joni Mitchell Archives, Vol. 1: The Early Years (1963-1967),” Patrick Milligan and Joni Mitchell, compilation producers; Bernie Grundman, mastering engineer (Joni Mitchell)
“Sign O’ the Times (Super Deluxe Edition),” Trevor Guy, Michael Howe and Kirk Johnson, compilation producers; Bernie Grundman, mastering engineer (Prince)

Best Music Video

“Shot in the Dark,” (AC/DC); David Mallet, video director; Dione Orrom, video producer.
“Freedom,” (Jon Batiste); Alan Ferguson, video director; Alex P. Willson, video producer.
“I Get a Kick Out of You,” (Tony Bennett and Lady Gaga); Jennifer Lebeau, video director; Danny Bennett, Bobby Campbell and Jennifer Lebeau, video producers.
“Peaches,” (Justin Bieber featuring Daniel Caesar and Giveon); Collin Tilley, video director.
“Happier Than Ever,” (Billie Eilish); Billie Eilish, video director; Michelle An, Chelsea Dodson and David Moore, video producers.
“Montero (Call Me By Your Name),” (Lil Nas X); Lil Nas X and Tanu Muino, video directors; Frank Borin, Ivanna Borin, Marco De Molina and Saul Levitz, video producers.
“Good 4 U,” (Olivia Rodrigo); Petra Collins, video director; Christiana Divona, Marissa Ramirez and Tiffany Suh, video producers.

Best Music Film

“Inside,” (Bo Burnham); Bo Burnham, video director; Josh Senior, video producer.
“David Byrne’s American Utopia,” (David Byrne); Spike Lee, video director; David Byrne and Spike Lee, video producers.
“Happier Than Ever: A Love Letter to Los Angeles,” (Billie Eilish); Patrick Osborne and Robert Rodriguez, video directors.
“Music, Money, Madness … Jimi Hendrix in Maui,” (Jimi Hendrix); John McDermott, video director; Janie Hendrix, John McDermott and George Scott, video producers.
“Summer of Soul,” (Various Artists); Ahmir “Questlove” Thompson, video director; David Dinerstein, Robert Fyvolent and Joseph Patel, video producers.

Some artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.

SZA And Kanye West Collaborator Nascent Talks His Four 2022 Grammy Nominations

by
Nascent Grammys
Via The Artist

“This sh*t took a little too long,” Nascent says with a laugh.

The Chicago-bred, Mexican-American producer has navigated a long road prior to notching the four Grammy nominations (Best Melodic Rap Performance, Best Rap Album, Best R&B Song, and Album Of The Year) he now lays claim to. Being fully independent is a major point of pride for “The Tallest Mexican” as he has earned his way into some huge credits and gained knowledge along the way that he commits to passing along to other producers. Nascent got his start at 18 years old, traveling to New York City on a whim to connect with DJ Kay Slay, ultimately to no avail. However, he made the most of his trip by walking to Madison Square Garden to the G-Unit office and got two placements with 50 Cent on “Redrum” and “Strong Enough.” These achievements pushed him to drop out of community college, fully commit to his craft, and now the work speaks for itself.

Prior to the SZA “Good Days” and Kanye West “Hurricane” placements, Nascent’s most notable work was helping to break Brent Faiyaz, contributing to the now RIAA platinum-certified “Trust,” gold-certified “Clouded,” and “Been Away,” among other Faiyaz records. He has also worked with Lil Wayne, Ty Dolla Sign, Kiana Lede, Offset, Elle Varner, and many more. Despite collaborating with these major names, the 33-year old has mostly played the shadows but is now ready to fully break out, especially having turned down a million-dollar publishing deal after the success of “Good Days.”

Though he advocates for independence, Nascent understands that’s not an easy thing for everyone to stick to. He even admits himself that had he been offered a publishing deal upon his first placements with 50 Cent, 20-year-old Nascent likely would have taken it. Now, he can look back and revel in his self-belief as he has the potential to walk out of the upcoming Grammys with four awards; something he believed should have happened a year prior if F*ck The World was submitted.

We spoke on New Year’s Eve, with tequila and Tecate in hand, about manifesting this moment in his life through tweets, how “Good Days” and “Hurricane” came together, his plans for the Grammys, independence, and what is next in his production career.

Describe the feeling of being Grammy-nominated in four words.

Holy sh*t, is this real? Nah that’s five words. Shocked, grateful, recognized, and alreadyknewthatsh*twasgonnahappen. I’ve been talking about this sh*t for years. So many years I thought we were close because of Brent or others projects I’ve been a part of. We’re continually doing things outside of what the norm is, but I knew “Good Days” had to be nominated. “Hurricane” came out of nowhere and I wasn’t too sure because I don’t know how them people feel about Kanye. I don’t think he cares. That’s where I got the most nominations. It felt good to get here.

Did you know the songs you’re nominated for were submitted?

I assumed. It wasn’t smart to assume but I figured they had to submit for this sh*t. I had no knowledge of it prior though.

Where were you when you found out you were nominated?

I was home in Chicago with my family when nominations came out. In Humboldt Park, a neighborhood I spent a lot of time in when I was broke. I was doing what I’m doing now, but I was broke thinking I was doing sh*t. I had a long way to go. It was symbolic in that aspect, being back home with family in that environment where up the street I used to crash at my ex-girlfriend’s crib when I wasn’t couch surfing in Los Angeles. It was a perfect way for me to get the first one.

How did the “Hurricane” placement come together?

I went home to work with Chance The Rapper on “Good Ass Job” in 2018. We were at CRD Studio; Chance had the whole main level booked and Kanye was upstairs. I saw ‘Ye in the bathroom and was awestruck. “F*ck, that’s Kanye, bro.” We’re in Chicago and that’s Kanye. If you make beats, you studied him. You’re influenced by him in some way, but being from the crib and doing the sh*t he did, chopping samples up as he started, it means even more. I overheard someone say Boogz was upstairs and I was like “Oh sh*t, my boy Boogz.” He’s a Chicago legend and I’m happy for him because he’s getting his flowers. He’s a wizard and one of Kanye’s closest friends. I texted Boogz and he said “Man, come up you good!” I gave Boogz hella ideas that day. “Hurricane” was an idea I started and he went and did what he did. There were two ideas I kept hearing when I would walk around the rooms. I heard Kanye rapping to “Hurricane” and I was like “Damn, that’s crazy.” I knew my position and my role. I didn’t get ahead of myself. I trusted who I was working with. Some producers are reluctant to give up control and follow someone else’s lead, but dealing with Boogz, he’s someone of high character and he got it done.

When did you hear the final version?

I heard a leak on YouTube, but just with Lil Baby at first. I knew it was out of here once I heard The Weeknd on it. It sounded different from the original, but it is what it is. I figured it was going to go crazy though. I didn’t think it was going to come out. It was from over three years ago, and on top of that, Kanye does what he wants. It was interesting to see the process.

Did you get to make any of the listening sessions?

No, but I watched at the crib.

Talk about now three-time platinum “Good Days” and how it felt to make that alongside people you consider family.

That was a special one for me. I made it with my friends. Working on the SZA record was more in-house and it felt like more of my signature along with LosHendrix. It felt more personal. I was able to do the beat and add little details Los and I do. “Good Days” was done around 2018 but it feels like more of a timeless classic. It doesn’t have a date on it.

What was cooler — “Good Days” being Grammy-nominated or put on Barack Obama’s Summer 2021 playlist?

Ah, that’s hard bro! Shoutout to Barry but the Grammys for sure! That’s tight though man. It’s cool because the Grammy situation, we don’t do this for that. Some of our favorite records we’ve worked on haven’t even been nominated, but they’re still great and impacted music in many ways. The Grammys is our championship. It’s our way of telling people we got something. It’s cap when people say they don’t give a f*ck; they do give a f*ck. A little recognition, who doesn’t want that?

In your 2010 interview with ThisIs50, you mentioned wanting to work with Jazmine Sullivan. How does it feel seeing her get her recognition?

I love it. It’s going to be her year. Jazmine Sullivan is a legend, she’s a GOAT. That’s tight as f*ck she got nominated. It’s about time. It’s about being patient. I still want to work with her because we would make some sh*t. I’m gonna put it out there in the universe and manifest it. She’s on my list.

Describe how it feels to have reached this point, all things considered.

All that playing yourself down to make other people comfortable is over with. It’s a dub. You don’t know what people have to do to get through what they go through. You can still be confident and not be an asshole. I’m gonna talk my sh*t a little bit because it’s been a long journey.

You’ve tweeted in the past about your Grammy outfit. Take me through the night, what you plan to wear, what bottle you’re popping if you win, and what Mexican dish you’ll have.

I’m going to be in some clean, sleek ass Saint Laurent or Tom Ford. There’s going to be a statement or something on my outfit. I think it’s important if I’m there and take some pictures, it’s got to say something and mean something. Shake the tree up a little. I’m probably gonna pop a bottle of champagne, Ace of Spades or some Mezcal tequila. I might go out that night. As for my meal, some rice and beans. My mom makes these great fried chicken taquitos with guacamole. We’ve got to go all out, bro. A lot of times the narrative is the good guys don’t win. F*ck that. We’re doing it how we want to do it–our way, independently. Unfortunately, you’ve got to eat more sh*t and be patient but you can get there. When you do it like that, nobody can tell you sh*t.

What would you tell the nine-year-old kid who wanted to be a pilot?

I always wanted to fly planes up until I turned 11 or 12 and bought Stillmatic, which changed my life. I would tell nine-year-old me that everything you’re feeling, you’re right. Knowing you’re going to do something, you’re right. There isn’t a thing I would change. Do everything you did. I would wait as long as I had to wait because it’s more rewarding. It happens just as it’s supposed to happen, especially when you move with character and integrity.

You’ve spoken in the past about going to Mexico and exposing people to music, production, and information. What’s the scope of that vision now?

I want to do it in Mexico and Chicago, too. I want to make it for everybody. I do it now in the way I do business with collaborators. A lot of times I’ll be in sessions working with people and try to read the room to see if I can talk about it with them. They may not want to hear it or they may be doing the opposite of what I’m doing, so I don’t want to add insult to injury preaching independence when they’re signed to a f*cked up deal. Often times I’ll be telling producers about standard stuff that I already know on the business side, but they don’t because of information gatekeepers or simply being given the wrong information. It’s so important to give the game because it’s free and the game don’t lie. It’s not like I’m giving you the DaVinci Code, I’m giving some basic sh*t. It’s f*cked up. The way I do my business is fair and I only want credit for what I do.

What’s next for you?

I’m working on an album with BJ The Chicago Kid and another project with Orion Sun. I’ve got a couple of placements on Brent’s next album and hopefully, we can get him on my album, too. I plan to drop my second album by the end of next year.

Some of the artists covered here are Warner Music artists. Uproxx is an independent subsidiary of Warner Music Group.