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Sep 21, 2023

Graphic: The Recording Academy

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Read the complete list of winners and nominees across all 91 categories at the 2023 GRAMMYs here.

That’s a wrap for the 2023 GRAMMYs!

Full of groundbreaking performances and history-making GRAMMY wins, the 2023 GRAMMYs, officially known as the 65th GRAMMY Awards, was one of the biggest nights in music history — ever.

Below is the complete list of the winners and nominees for the 2023 GRAMMYs.

Head to live.GRAMMY.com all year long to watch all the GRAMMY performances, acceptance speeches, the GRAMMY Live From The Red Carpet livestream special, the full Premiere Ceremony livestream, and even more exclusive, never-before-seen content from the 2023 GRAMMYs.

1. Record Of The Year

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

Don't Shut Me DownABBA Benny Andersson, producer; Benny Andersson & Bernard Löhr, engineers/mixers; Björn Engelmann, mastering engineer

Easy On MeAdeleGreg Kurstin, producer; Julian Burg, Tom Elmhirst & Greg Kurstin, engineers/mixers; Randy Merrill, mastering engineer

BREAK MY SOULBeyoncéBeyoncé, Terius "The-Dream" Gesteelde-Diamant, Jens Christian Isaksen & Christopher "Tricky" Stewart, producers; Brandon Harding, Chris McLaughlin & Stuart White, engineers/mixers; Colin Leonard, mastering engineer

Good Morning GorgeousMary J. BligeD’Mile & H.E.R., producers; Bryce Bordone, Serban Ghenea & Pat Kelly, engineers/mixers

You And Me On The RockBrandi Carlile Featuring LuciusDave Cobb & Shooter Jennings, producers; Brandon Bell, Tom Elmhirst & Michael Harris, engineers/mixers; Pete Lyman, mastering engineer

WomanDoja CatCrate Classics, Linden Jay, Aynzli Jones & Yeti Beats, producers; Jesse Ray Ernster & Rian Lewis, Tyler Sheppard & Kalani Thompson, engineers/mixers; Mike Bozzi, mastering engineer

Bad HabitSteve LacySteve Lacy, producer; Neal Pogue & Karl Wingate, engineers/mixers; Mike Bozzi, mastering engineer

The Heart Part 5Kendrick LamarBeach Noise, producer; Beach Noise, Rob Bisel, Ray Charles Brown Jr., James Hunt, Johnny Kosich, Matt Schaeffer & Johnathan Turner, engineers/mixers; Emerson Mancini, mastering engineer

About Damn Time - WINNERLizzoRicky Reed & Blake Slatkin, producers; Patrick Kehrier, Bill Malina & Manny Marroquin, engineers/mixers; Emerson Mancini, mastering engineer

As It WasHarry StylesTyler Johnson & Kid Harpoon, producers; Jeremy Hatcher & Spike Stent, engineers/mixers; Randy Merrill, mastering engineer

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).

VoyageABBABenny Andersson, producer; Benny Andersson & Bernard Löhr, engineers/mixers; Benny Andersson & Björn Ulvaeus, songwriters; Björn Engelmann, mastering engineer

30AdeleShawn Everett, Ludwig Göransson, Inflo, Tobias Jesso, Jr., Greg Kurstin, Max Martin, Joey Pecoraro & Shellback, producers; Julian Burg, Steve Churchyard, Tom Elmhirst, Shawn Everett, Serban Ghenea, John Hanes, Sam Holland, Michael Ilbert, Inflo, Greg Kurstin, Riley Mackin & Lasse Mårtén, engineers/mixers; Adele Adkins, Ludwig Göransson, Dean Josiah Cover, Tobias Jesso, Jr., Greg Kurstin, Max Martin & Shellback, songwriters; Randy Merrill, mastering engineer

Un Verano Sin TiBad BunnyRauw Alejandro, Bomba Estéreo, Buscabulla, Chencho Corleone, Jhay Cortez, Tony Dize & The Marías, featured artists; Bass Charity, BYRD, De La Cruz, Demy & Clipz, Elikai, Hassi, HAZE, Albert Hype, La Paciencia, Cheo Legendary, Richi Lopez, MAG, MagicEnElBeat, Masis, MICK, Jesus Alberto Molina, Mora, Jota Rosa, SCOTT, Subelo Neo, TAINY & ZULIA, producers; Josh Gudwin & Roberto Rosado, engineers/mixers; Raul Alejandro Ocasio Ruiz, Kamil Assad, Jorge Miguel Cardoso Augusto, Benito Antonio Martinez Ocasio, Raquel Berrios, Julian Quiles Betancourt, Leutrim Beqiri, Harry Alexis Ramos Cabrera, Joshua Conway, Mick Coogan, Orlando Javier Valle Vega, Jesus Nieves Cortes, Jose Cruz, Misael De La Cruz, Luis Del Valle, Scott Dittrich, Tony Feliciano Rivera, Feliciano Ponce Ecar, Kaled Elikai Cordova, Etienne Gagnon, Jason Garcia, Juan Diego Linares Gonzalez, Egbert Rosa, Nicolas Jara, Roberto Rosado, Jose Raphael Arce Rodriguez, Ritchie Lopez, Marco Daniel Borrero, Joaquin Calderon Bravo, Steve Martinez-Funes, Marcos Masis, Michael Masis, Adrian McKinnon, Alberto Carlos Melendez, Jesus Alberto Molina, Freddy Montalvo, Gabriel Mora, Hector Pagan, Darwin Cordale Quinn, Joel Hernandez Rodriguez, Abner Jose Cordero Boria, Joselly Rosario, Elena Rose, Liliana Margarita Saumet, Luzian Gregor Tuetsch, Harissis Tsakmaklis & Maria Zardoya, songwriters; Colin Leonard, mastering engineer

RENAISSANCEBeyoncéBeam, Grace Jones & Tems, featured artists; Jameil Aossey, Bah, Beam, Syd, Beyoncé, Bloodpop, Boi-1da, Cadenza, Al Cres, Mike Dean, Kelman Duran, Harry Edwards, Terius "The-Dream" Gesteelde-Diamant, Ivor Guest, Guiltybeatz, Hit-Boy, Honey Dijon, Jens Christian Isaksen, Leven Kali, Lil Ju, MeLo-X, No I.D., NovaWav, Chris Penny, P2J, Rissi, Raphael Saadiq, Neenyo, Skrillex, Luke Solomon, S1A0, Christopher "Tricky" Stewart, Jahaan Sweet, Sevn Thomas, Sol Was & Stuart White, producers; Matheus Braz, Chi Coney, Russell Graham, Guiltybeatz, Brandon Harding, Hotae Alexander Jang, Chris McLaughlin, Delroy "Phatta" Pottinger, Andrea Roberts, Steve Rusch, Jabbar Stevens & Stuart White, engineers/mixers; Denisia "@Blu June" Andrews, Jameil Aossey, Tyshane Thompson, Sydney Bennett, Beyoncé, Michael Tucker, Atia Boggs p/k/a Ink, Matthew Samuels, Dustin Bowie, Oliver Rodigan, Nija Charles, Sabrina Claudio, Solomon Fagenson Cole, Brittany "@Chi_Coney" Coney, Alexander Guy Cook, Lavar Coppin, Almando Cresso, Mike Dean, Saliou Diagne, Darius Dixson, Jocelyn Donald, Jordan Douglas, Aubrey Drake Graham, Kelman Duran, Terius "The-Dream" Gesteelde-Diamant, Dave Giles II, Derrick Carrington Gray, Nick Green, Larry Griffin Jr, Ronald Banful, Dave Hamelin, Aviel Calev Hirschfield, Chauncey Hollis, Jr., Honey Redmond, Ariowa Irosogie, S. Carter, Leven Kali, Ricky Lawson, David Debrandon Brown, Tizita Makuria, Julian Martrel Mason, Daniel Memmi, Cherdericka Nichols, Ernest "No I.D." Wilson, Danielle Balbuena, Patrick Paige II, Christopher Lawrence Penny, Michael Pollack, Richard Isong, Derek Renfroe, Morten Ristorp, Nile Rodgers, Raphael Saadiq, Sean Seaton, Skrillex, Corece Smith, Luke Francis Matthew Solomon, Jabbar Stevens, Christopher A. Stewart, Jahaan Sweet, Temilade Openiyi, Rupert Thomas, Jr. & Jesse Wilson, songwriters; Colin Leonard, mastering engineer

Good Morning Gorgeous (Deluxe)Mary J. BligeDave East, DJ Khaled, Fabolous, Fivio Foreign, Griselda, H.E.R., Jadakiss, Moneybagg Yo, Ne-Yo, Anderson .Paak, Remy Ma & Usher, featured artists; Alissia, Tarik Azzouz, Bengineer, Blacka Din Me, Rogét Chahayed, Cool & Dre, Ben Billions, DJ Cassidy, DJ Khaled, Wonda, Bongo Bytheway, D’Mile, H.E.R., Hostile Beatz, Eric Hudson, London On Da Track, Leon Michels, Nova Wav, Anderson.Paak, Sl!Mwav, Streetrunner, Swizz Beatz & J White Did It, producers; Derek Ali, Ben Chang, Luis Bordeaux, Bryce Bordone, Lauren D’Elia, Chris Galland, Serban Ghenea, Akeel Henry, Jaycen Joshua, Pat Kelly, Jhair Lazo, Shamele Mackie, Manny Marroquin, Dave Medrano, Ari Morris, Parks, Juan Peña, Ben Sedano, Kev Spencer, Julio Ulloa & Jodie Grayson Williams, engineers/mixers; Alissia Beneviste, Denisia "Blu June" Andrews, Archer, Bianca Atterberry, Tarik Azzouz, Shawn Hibbler, Mary J. Blige, David Brewster, Shawn Butler, Rogét Chahayed, Ant Clemons, Brittany "Chi" Coney, Demond "Conway The Machine" Price, Benjamin Diehl, DJ Cassidy, Khaled Khaled, Jocelyn Donald, Jerry Duplessis, Uforo Ebong, Dernst Emile II, John Jackson, Gabriella Wilson, Charles A. Hinshaw, Jamie Hurton, Eric Hudson, Jason Phillips, London Holmes, David Brown, Andre "Dre" Christopher Lyon, Leon Michels, Shaffer Smith, Brandon Anderson, Jeremie "Benny The Butcher" Pennick, Reminisce Mackie, Jerome Monroe, Jr., Nicholas Warwar, Kasseem Dean, Deforrest Taylor, Tiara Thomas, Marcello "Cool" Valenzano, Alvin "Westside Gunn" Worthy, Anthony Jermaine White & Leon Youngblood, songwriters

In These Silent DaysBrandi CarlileLucius, featured artist; Dave Cobb & Shooter Jennings, producers; Brandon Bell, Dave Cobb, Tom Elmhirst, Michael Harris & Shooter Jennings, engineers/mixers; Brandi Carlile, Dave Cobb, Phil Hanseroth & Tim Hanseroth, songwriters; Pete Lyman, mastering engineer

Music Of The SpheresColdplayBTS, Jacob Collier, Selena Gomez & We Are KING, featured artists; Jacob Collier, Daniel Green, Oscar Holter, Jon Hopkins, Max Martin, Metro Boomin, Kang Hyo-Won, Bill Rahko, Bart Schoudel, Rik Simpson, Paris Strother & We Are KING, producers; Guy Berryman, Jonny Buckland, Will Champion, Jacob Collier, The Dream Team, Duncan Fuller, Serban Ghenea, Daniel Green, John Hanes, Jon Hopkins, Michael Ilbert, Max Martin, Bill Rahko, Bart Schoudel, Rik Simpson & Paris Strother, engineers/mixers; Guy Berryman, Jonny Buckland, Denise Carite, Will Champion, Jacob Collier, Derek Dixie, Sam Falson, Stephen Fry, Daniel Green, Oscar Holter, Jon Hopkins, Jung Ho-Seok, Chris Martin, Max Martin, John Metcalfe, Leland Tyler Wayne, Bill Rahko, Kim Nam-Joon, Jesse Rogg, Davide Rossi, Rik Simpson, Amber Strother, Paris Strother, Min Yoon-Gi, Federico Vindver & Olivia Waithe, songwriters; Randy Merrill, mastering engineer

Mr. Morale & The Big SteppersKendrick LamarBaby Keem, Blxst, Sam Dew, Ghostface Killah, Beth Gibbons, Kodak Black, Tanna Leone, Taylour Paige, Amanda Reifer, Sampha & Summer Walker, featured artists; The Alchemist, Baby Keem, Craig Balmoris, Beach Noise, Bekon, Boi-1da, Cardo, Dahi, DJ Khalil, The Donuts, FNZ, Frano, Sergiu Gherman, Emile Haynie, J.LBS, Johnny Juliano, Mario Luciano, Tyler Reese, OKLAMA, Rascal, Sounwave, Jahaan Sweet, Tae Beast, Duval Timothy & Pharrell Williams, producers; Derek Ali, Matt Anthony, Beach Noise, Rob Bisel, David Bishop, Troy Bourgeois, Andrew Boyd, Ray Charles Brown Jr., Derek Garcia, Chad Gordon, James Hunt, Johnny Kosich, Mike Larson, Manny Marroquin, Erwing Olivares, Raymond J Scavo III, Matt Schaeffer, Cyrus Taghipour, Johnathan Turner & Joe Visciano, engineers/mixers; Khalil Abdul-Rahman, Hykeem Carter, Craig Balmoris, Beach Noise, Daniel Tannenbaum, Daniel Tannenbaum, Stephen Lee Bruner, Matthew Burdette, Isaac John De Boni, Sam Dew, Anthony Dixon, Victor Ekpo, Sergiu Gherman, Dennis Coles, Beth Gibbons, Frano Huett, Stuart Johnson, Bill K. Kapri, Jake Kosich, Johnny Kosich, Daniel Krieger, Kendrick Lamar, Ronald LaTour, Mario Luciano, Daniel Alan Maman, Timothy Maxey, Tyler Mehlenbacher, Michael John Mulé, D. Natche, OKLAMA, Jason Pounds, Rascal, Amanda Reifer, Matthew Samuels, Avante Santana, Matt Schaeffer, Sampha Sisay, Mark Spears, Homer Steinweiss, Jahaan Akil Sweet, Donte Lamar Perkins, Duval Timothy, Summer Walker & Pharrell Williams, songwriters; Emerson Mancini, mastering engineer

SpecialLizzoBenny Blanco, Daoud, Omer Fedi, Kid Harpoon, Ian Kirkpatrick, Max Martin, Nate Mercereau, The Monsters & Strangerz, Phoelix, Ricky Reed, Mark Ronson, ILYA, Blake Slatkin & Pop Wansel, producers; Benny Blanco, Jeff Chestek, Jacob Ferguson, Serban Ghenea, Jeremy Hatcher, Andrew Hey, Sam Holland, Stefan Johnson, Jens Jungkurth, Patrick Kehrier, Ian Kirkpatrick, Damien Lewis, Bill Malina, Manny Marroquin, Ricky Reed & ILYA, engineers/mixers; Amy Allen, Jonathan Bellion, Benjamin Levin, Thomas Brenneck, Daoud Anthony, Omer Fedi, Kid Harpoon, Jordan K Johnson, Stefan Johnson, Ian Kirkpatrick, Savan Kotecha, Melissa Jefferson, Max Martin, Nate Mercereau, Leon Michels, Nick Movshon, Michael Neil, Michael Pollack, Eric Frederic, Mark Ronson, Ilya Salmanzadeh, Blake Slatkin, Peter Svensson, Theron Makiel Thomas, Andrew Wansel & Emily Warren, songwriters; Emerson Mancini, mastering engineer

Harry's House - WINNERHarry StylesTyler Johnson, Kid Harpoon & Sammy Witte, producers; Jeremy Hatcher, Oli Jacobs, Nick Lobel, Spike Stent & Sammy Witte, engineers/mixers; Amy Allen, Tobias Jesso, Jr., Tyler Johnson, Kid Harpoon, Mitch Rowland, Harry Styles & Sammy Witte, songwriters; Randy Merrill, mastering engineer

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.

abcdefuSara Davis, GAYLE & Dave Pittenger, songwriters (GAYLE)

About Damn TimeMelissa “Lizzo” Jefferson, Eric Frederic, Blake Slatkin & Theron Makiel Thomas, songwriters (Lizzo)

All Too Well (10 Minute Version) (The Short Film)Liz Rose & Taylor Swift, songwriters (Taylor Swift)

As It WasTyler Johnson, Kid Harpoon & Harry Styles, songwriters (Harry Styles)

Bad HabitMatthew Castellanos, Britanny Fousheé, Diana Gordon, John Carroll Kirby & Steve Lacy, songwriters (Steve Lacy)

BREAK MY SOULBeyoncé, S. Carter, Terius "The-Dream" Gesteelde-Diamant & Christopher A. Stewart, songwriters (Beyoncé)

Easy On MeAdele Adkins & Greg Kurstin, songwriters (Adele)

GOD DIDTarik Azzouz, E. Blackmon, Khaled Khaled, F. LeBlanc, Shawn Carter, John Stephens, Dwayne Carter, William Roberts & Nicholas Warwar, songwriters (DJ Khaled Featuring Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy)

The Heart Part 5Jake Kosich, Johnny Kosich, Kendrick Lamar & Matt Schaeffer, songwriters (Kendrick Lamar)

Just Like That - WINNERBonnie Raitt, songwriter (Bonnie Raitt)

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.

Anitta

Omar Apollo

DOMi & JD Beck

Muni Long

Samara Joy - WINNER

Latto

Måneskin

Tobe Nwigwe

Molly Tuttle

Wet Leg

5. Best Pop Solo Performance

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

Easy On Me - WINNERAdele

Moscow MuleBad Bunny

WomanDoja Cat

Bad HabitSteve Lacy

About Damn TimeLizzo

As It WasHarry Styles

6. Best Pop Duo/Group Performance

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

Don't Shut Me DownABBA

Bam BamCamila Cabello Featuring Ed Sheeran

My UniverseColdplay & BTS

I Like You (A Happier Song)Post Malone & Doja Cat

Unholy - WINNERSam Smith & Kim Petras

7. Best Traditional Pop Vocal Album

For albums containing greater than 50% playing time of new traditional pop recordings.

Higher - WINNERMichael Bublé

When Christmas Comes Around...Kelly Clarkson

I Dream Of Christmas (Extended)Norah Jones

EvergreenPentatonix

Thank YouDiana Ross

8. Best Pop Vocal Album

For albums containing greater than 50% playing time of new pop vocal recordings.

VoyageABBA

30Adele

Music Of The SpheresColdplay

SpecialLizzo

Harry's House - WINNERHarry Styles

9. Best Dance/Electronic Recording

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

BREAK MY SOUL - WINNERBeyoncéBeyoncé, Terius "The-Dream" Gesteelde-Diamant, Jens Christian Isaksen & Christopher "Tricky" Stewart, producers; Stuart White, mixer

RosewoodBonoboSimon Green, producer; Simon Green, mixer

Don't Forget My LoveDiplo & MiguelDiplo & Maximilian Jaeger, producers; Luca Pretolesi, mixer

I'm Good (Blue)David Guetta & Bebe RexhaDavid Guetta & Timofey Reznikov, producers; Serban Ghenea, mixer

IntimidatedKAYTRANADA Featuring H.E.R.H.E.R. & KAYTRANADA, producers; KAYTRANADA, mixer

On My KneesRÜFÜS DU SOLJason Evigan & RÜFÜS DU SOL, producers; Cassian Stewart-Kasimba, mixer

10. Best Dance/Electronic Music Album

For vocal or instrumental albums. Albums only.

Renaissance - WINNERBeyoncé

FragmentsBonobo

DiploDiplo

The Last GoodbyeODESZA

SurrenderRÜFÜS DU SOL

11. Best Contemporary Instrumental Album

For albums containing greater than 50% or more playing time of instrumental material. For albums containing greater than 75% playing time of new recordings.

Between Dreaming And JoyJeff Coffin

Not TightDOMi & JD Beck

BloozGrant Geissman

Jacob's LadderBrad Mehldau

Empire Central - WINNERSnarky Puppy

12. Best Rock Performance

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

So Happy It HurtsBryan Adams

Old ManBeck

Wild ChildThe Black Keys

Broken Horses - WINNERBrandi Carlile

Crawl!Idles

Patient Number 9Ozzy Osbourne Featuring Jeff Beck

HolidayTurnstile

13. Best Metal Performance

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

Call Me Little SunshineGhost

We'll Be BackMegadeth

Kill Or Be KilledMuse

Degradation Rules - WINNEROzzy Osbourne Featuring Tony Iommi

BlackoutTurnstile

14. 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.

Black SummerFlea, John Frusciante, Anthony Kiedis & Chad Smith, songwriters (Red Hot Chili Peppers)

BlackoutBrady Ebert, Daniel Fang, Franz Lyons, Pat McCrory & Brendan Yates, songwriters (Turnstile)

Broken Horses - WINNERBrandi Carlile, Phil Hanseroth & Tim Hanseroth, songwriters (Brandi Carlile)

Harmonia's DreamRobbie Bennett & Adam Granduciel, songwriters (The War On Drugs)

Patient Number 9John Osbourne, Chad Smith, Ali Tamposi, Robert Trujillo & Andrew Wotman, songwriters (Ozzy Osbourne Featuring Jeff Beck)

15. Best Rock Album

For albums containing greater than 50% playing time of new rock, hard rock or metal recordings.

Dropout BoogieThe Black Keys

The Boy Named IfElvis Costello & The Imposters

CrawlerIdles

Mainstream SelloutMachine Gun Kelly

Patient Number 9 - WINNEROzzy Osbourne

Lucifer On The SofaSpoon

16. Best Alternative Music Performance

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

There'd Better Be A MirrorballArctic Monkeys

CertaintyBig Thief

KingFlorence + The Machine

Chaise Longue - WINNERWet Leg

Spitting Off The Edge Of The WorldYeah Yeah Yeahs Featuring Perfume Genius

17. Best Alternative Music Album

Vocal or Instrumental.

WEArcade Fire

Dragon New Warm Mountain I Believe In YouBig Thief

FossoraBjörk

Wet Leg - WINNERWet Leg

Cool It DownYeah Yeah Yeahs

18. Best R&B Performance

For new vocal or instrumental R&B recordings.

VIRGO’S GROOVEBeyoncé

Here With MeMary J. Blige Featuring Anderson .Paak

Hrs & Hrs - WINNERMuni Long

OverLucky Daye

Hurt Me So GoodJazmine Sullivan

19. Best Traditional R&B Performance

For new vocal or instrumental traditional R&B recordings.

Do 4 LoveSnoh Aalegra

Keeps On Fallin'Babyface Featuring Ella Mai

PLASTIC OFF THE SOFA - WINNERBeyoncé

'Round MidnightAdam Blackstone Featuring Jazmine Sullivan

Good Morning GorgeousMary J. Blige

20. 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.

CUFF IT - WINNERDenisia "Blu June" Andrews, Beyoncé, Brittany "Chi" Coney, Terius "The-Dream" Gesteelde-Diamant, Morten Ristorp, Nile Rodgers & Raphael Saadiq, songwriters (Beyoncé)

Good Morning GorgeousMary J. Blige, David Brown, Dernst Emile II, Gabriella Wilson & Tiara Thomas, songwriters (Mary J. Blige)

Hrs & HrsDylan Graham, Priscilla Renea, Thaddis "Kuk" Harrell, Brandon John-Baptiste, Isaac Wriston, Hamadi Zaabi, & Justin Nathaniel Zim, songwriters (Muni Long)

Hurt Me So GoodAkeel Henry, Michael Holmes, Luca Mauti, Jazmine Sullivan & Elliott Trent, songwriters (Jazmine Sullivan)

Please Don't Walk AwayPJ Morton, songwriter (PJ Morton)

21. Best Progressive R&B Album

For albums containing greater than 50% playing time of newly recorded progressive vocal tracks derivative of R&B.

Operation FunkCory Henry

Gemini Rights - WINNERSteve Lacy

DronesTerrace Martin

StarfruitMoonchild

Red BalloonTank And The Bangas

22. Best R&B Album

For albums containing greater than 50% playing time of new R&B recordings.

Good Morning Gorgeous (Deluxe)Mary J. Blige

Breezy (Deluxe)Chris Brown

Black Radio III - WINNERRobert Glasper

CandydripLucky Daye

Watch The SunPJ Morton

23. Best Rap Performance

For a Rap performance. Singles or Tracks only.

GOD DIDDJ Khaled Featuring Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy

VegasDoja Cat

pushin PGunna & Future Featuring Young Thug

F.N.F. (Let's Go)Hitkidd & GloRilla

The Heart Part 5 - WINNERKendrick Lamar

24. Best Melodic Rap Performance

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

BEAUTIFULDJ Khaled Featuring Future & SZA

WAIT FOR U - WINNERFuture Featuring Drake & Tems

First ClassJack Harlow

Die HardKendrick Lamar Featuring Blxst & Amanda Reifer

Big Energy (Live)Latto

25. 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.

Churchill DownsTahrence Brown, Ryan Bakalarczyk, Matthew Samuels, Aubrey Graham, Alex Ernewein & Jack Harlow, songwriters (Jack Harlow Featuring Drake)

GOD DIDTarik Azzouz, E. Blackmon, Khaled Khaled, F. LeBlanc, Shawn Carter, John Stephens, Dwayne Carter, William Roberts & Nicholas Warwar, songwriters (DJ Khaled Featuring Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy)

The Heart Part 5 - WINNERJake Kosich, Johnny Kosich, Kendrick Lamar & Matt Schaeffer, songwriters (Kendrick Lamar)

pushin PLucas Depante, Nayvadius Wilburn, Sergio Kitchens, Wesley Tyler Glass & Jeffery Lamar Williams, songwriters (Gunna & Future Featuring Young Thug)

WAIT FOR UTejiri Akpoghene, Floyd E. Bentley III, Jacob Canady, Isaac De Boni, Aubrey Graham, Israel Ayomide Fowobaje, Nayvadius Wilburn, Michael Mule, Oluwatoroti Oke & Temilade Openiyi, songwriters (Future Featuring Drake & Tems)

26. Best Rap Album

For albums containing greater than 50% playing time of new rap recordings.

GOD DIDDJ Khaled

I Never Liked YouFuture

Come Home The Kids Miss YouJack Harlow

Mr. Morale & The Big Steppers - WINNERKendrick Lamar

It's Almost DryPusha T

27. Best Country Solo Performance

For new vocal or instrumental solo country recordings.

HeartfirstKelsea Ballerini

Something In The OrangeZach Bryan

In His ArmsMiranda Lambert

Circles Around This TownMaren Morris

Live Forever - WINNERWillie Nelson

28. Best Country Duo/Group Performance

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

Wishful DrinkingIngrid Andress & Sam Hunt

Midnight Rider's PrayerBrothers Osborne

Outrunnin' Your MemoryLuke Combs & Miranda Lambert

Does He Love You - RevisitedReba McEntire & Dolly Parton

Never Wanted To Be That Girl - WINNERCarly Pearce & Ashley McBryde

Going Where The Lonely GoRobert Plant & Alison Krauss

29. 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.

Circles Around This TownRyan Hurd, Julia Michaels, Maren Morris & Jimmy Robbins, songwriters (Maren Morris)

Doin' ThisLuke Combs, Drew Parker & Robert Williford, songwriters (Luke Combs)

I Bet You Think About Me (Taylor's Version) (From The Vault)Lori McKenna & Taylor Swift, songwriters (Taylor Swift Featuring Chris Stapleton)

If I Was A CowboyJesse Frasure & Miranda Lambert, songwriters (Miranda Lambert)

I'll Love You Till The Day I DieRodney Crowell & Chris Stapleton, songwriters (Willie Nelson)

'Til You Can't - WINNERMatt Rogers & Ben Stennis, songwriters (Cody Johnson)

30. Best Country Album

For albums containing greater than 50% playing time of new country recordings.

Growin' UpLuke Combs

PalominoMiranda Lambert

Ashley McBryde Presents: LindevilleAshley McBryde

Humble QuestMaren Morris

A Beautiful Time - WINNERWillie Nelson

31. Best New Age, Ambient, or Chant Album

For albums containing greater than 50% playing time of new vocal or instrumental New Age, ambient, or chant recordings

Positano SongsWill Ackerman

JoyPaul Avgerinos

Mantra AmericanaMadi Das & Dave Stringer With Bhakti Without Borders

The PassengerCheryl B. Engelhardt

Mystic Mirror - WINNERWhite Sun

32. Best Improvised Jazz Solo

For an instrumental jazz solo performance. Two equal performers on one recording may be eligible as one entry. If the soloist listed appears on a recording billed to another artist, the latter's name is in parenthesis for identification. Singles or Tracks only.)

Rounds (Live)Ambrose Akinmusire, soloist

Keep Holding OnGerald Albright, soloist

FallingMelissa Aldana, soloist

Call Of The DrumMarcus Baylor, soloist

Cherokee/KokoJohn Beasley, soloist

Endangered Species - WINNERWayne Shorter & Leo Genovese, soloist

33. Best Jazz Vocal Album

For albums containing greater than 50% playing time of new vocal jazz recordings.

The Evening : Live At APPARATUSThe Baylor Project

Linger Awhile - WINNERSamara Joy

Fade To BlackCarmen Lundy

FiftyThe Manhattan Transfer With The WDR Funkhausorchester

Ghost SongCécile McLorin Salvant

34. Best Jazz Instrumental Album

For albums containing greater than 50% playing time of new instrumental jazz recordings.

New Standards Vol. 1 - WINNERTerri Lyne Carrington, Kris Davis, Linda May Han Oh, Nicholas Payton & Matthew Stevens

Live In ItalyPeter Erskine Trio

LongGoneJoshua Redman, Brad Mehldau, Christian McBride, And Brian Blade

Live At The Detroit Jazz FestivalWayne Shorter, Terri Lyne Carrington, Leo Genovese & esperanza spalding

Parallel MotionYellowjackets

35. Best Large Jazz Ensemble Album

For albums containing greater than 50% playing time of new ensemble jazz recordings.

Bird LivesJohn Beasley, Magnus Lindgren & SWR Big Band

Remembering Bob FreedmanRon Carter & The Jazzaar Festival Big Band Directed By Christian Jacob

Generation Gap Jazz Orchestra - WINNERSteven Feifke, Bijon Watson, Generation Gap Jazz Orchestra

Center StageSteve Gadd, Eddie Gomez, Ronnie Cuber & WDR Big Band Conducted By Michael Abene

Architecture Of StormsRemy Le Boeuf's Assembly Of Shadows

36. Best Latin Jazz Album

For vocal or instrumental albums containing greater than 50% 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.

Fandango At The Wall In New York - WINNERArturo O'Farrill & The Afro Latin Jazz Orchestra Featuring The Congra Patria Son Jarocho Collective

CrisálidaDanilo Pérez Featuring The Global Messengers

If You WillFlora Purim

Rhythm & SoulArturo Sandoval

Música De Las AméricasMiguel Zenón

37. 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.

PositiveErica Campbell; Erica Campbell, Warryn Campbell & Juan Winans, songwriters

When I PrayDOE; Dominique Jones & Dewitt Jones, songwriters

Kingdom - WINNERMaverick City Music & Kirk Franklin; Kirk Franklin, Jonathan Jay, Chandler Moore & Jacob Poole, songwriters

The Better BenedictionPJ Morton Featuring Zacardi Cortez, Gene Moore, Samoht, Tim Rogers & Darrel Walls; PJ Morton, songwriter

Get UpTye Tribbett; Brandon Jones, Christopher Michael Stevens, Thaddaeus Tribbett & Tye Tribbett, songwriters

38. 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.)

God Really Loves Us (Radio Version)Crowder Featuring Dante Bowe and Maverick City Music; Dante Bowe, David Crowder, Ben Glover & Jeff Sojka, songwriters

So GoodDOE; Chuck Butler, Dominique Jones & Ethan Hulse, songwriters

For God Is With Usfor KING & COUNTRY & Hillary Scott; Josh Kerr, Jordan Reynolds, Joel Smallbone & Luke Smallbone, songwriters

Fear Is Not My Future - WINNERMaverick City Music & Kirk Franklin; Kirk Franklin, Nicole Hannel, Jonathan Jay, Brandon Lake & Hannah Shackelford, songwriters

Holy ForeverChris Tomlin; Jason Ingram, Brian Johnson, Jenn Johnson, Chris Tomlin & Phil Wickham, songwriters

Hymn Of Heaven (Radio Version)Phil Wickham; Chris Davenport, Bill Johnson, Brian Johnson & Phil Wickham, songwriters

39. Best Gospel Album

For albums containing greater than 50% playing time of newly recorded, vocal, traditional or contemporary/R&B gospel music recordings.

Die To LiveMaranda Curtis

Breakthrough: The Exodus (Live)Ricky Dillard

ClarityDOE

Kingdom Book One Deluxe - WINNERMaverick City Music & Kirk Franklin

All Things NewTye Tribbett

40. Best Contemporary Christian Music Album

For albums containing greater than 50% playing time of newly recorded, vocal, contemporary Christian music, including pop, rap/hip hop, Latin, or rock recordings.

LionElevation Worship

Breathe - WINNERMaverick City Music

Life After DeathTobyMac

AlwaysChris Tomlin

My JesusAnne Wilson

41. Best Roots Gospel Album

For albums containing greater than 50% playing time of newly recorded, vocal, traditional/roots gospel music, including country, Southern gospel, bluegrass, and Americana recordings.

Let's Just Praise The LordGaither Vocal Band

Confessio - Irish American RootsKeith & Kristyn Getty

The Willie Nelson FamilyWillie Nelson

2:22Karen Peck & New River

The Urban Hymnal - WINNERTennessee State University Marching Band

42. Best Latin Pop Album

For albums containing greater than 50% playing time of new Latin pop recordings.

AGUILERAChristina Aguilera

Pasieros - WINNERRubén Blades & Boca Livre

De Adentro Pa AfueraCamilo

VIAJANTEFonseca

Dharma +Sebastián Yatra

43. Best Música Urbana Album

For albums containing greater than 50% playing time of new Música Urbana recordings.

TRAP CAKE, VOL. 2Rauw Alejandro

Un Verano Sin Ti - WINNERBad Bunny

LEGENDADDYDaddy Yankee

La 167Farruko

The Love & Sex TapeMaluma

44. Best Latin Rock or Alternative Album

For albums containing greater than 50% playing time of new Latin rock or alternative recordings.

El AlimentoCimafunk

Tinta y TiempoJorge Drexler

1940 CarmenMon Laferte

AlegoríaGaby Moreno

Los Años SalvajesFito Paez

MOTOMAMI - WINNERRosalía

45. Best Regional Mexican Music Album (Including Tejano)

For albums containing greater than 50% playing time of new regional Mexican (banda, norteño, corridos, gruperos, mariachi, ranchera and Tejano) recordings.

Abeja ReinaChiquis

Un Canto por México - El Musical - WINNERNatalia Lafourcade

La Reunión (Deluxe)Los Tigres Del Norte

EP #1 ForajidoChristian Nodal

Qué Ganas de Verte (Deluxe)Marco Antonio Solís

46. Best Tropical Latin Album

For albums containing greater than 50% playing time of new tropical Latin recordings.

Pa'lla Voy - WINNERMarc Anthony

Quiero Verte FelizLa Santa Cecilia

Lado A Lado BVíctor Manuelle

LegendarioTito Nieves

Imágenes LatinasSpanish Harlem Orchestra

Cumbiana IICarlos Vives

47. 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).

Someday It'll All Make Sense (Bluegrass Version)Bill Anderson Featuring Dolly Parton

Life According To RaechelMadison Cunningham

Oh BettyFantastic Negrito

Stompin' Ground - WINNERAaron Neville With The Dirty Dozen Brass Band

Prodigal DaughterAoife O'Donovan & Allison Russell

48. Best Americana Performance

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

Silver Moon [A Tribute To Michael Nesmith]Eric Alexandrakis

There You Go AgainAsleep At The Wheel Featuring Lyle Lovett

The MessageBlind Boys Of Alabama Featuring Black Violin

You And Me On The RockBrandi Carlile Featuring Lucius

Made Up Mind - WINNERBonnie Raitt

49. 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.

Bright StarAnaïs Mitchell, songwriter (Anaïs Mitchell)

ForeverSheryl Crow & Jeff Trott, songwriters (Sheryl Crow)

High And LonesomeT Bone Burnett & Robert Plant, songwriters (Robert Plant & Alison Krauss)

Just Like That - WINNERBonnie Raitt, songwriter (Bonnie Raitt)

Prodigal DaughterTim O’Brien & Aoife O'Donovan, songwriters (Aoife O'Donovan & Allison Russell)

You And Me On The RockBrandi Carlile, Phil Hanseroth & Tim Hanseroth, songwriters (Brandi Carlile Featuring Lucius)

50. Best Americana Album

For albums containing greater than 50% playing time of new vocal or instrumental Americana recordings.

In These Silent Days - WINNERBrandi Carlile

Things Happen That WayDr. John

Good To Be...Keb' Mo'

Raise The RoofRobert Plant & Alison Krauss

Just Like That...Bonnie Raitt

51. Best Bluegrass Album

For albums containing greater than 50% playing time of new vocal or instrumental bluegrass recordings.

Toward The FrayThe Infamous Stringdusters

Almost ProudThe Del McCoury Band

Calling You From My MountainPeter Rowan

Crooked Tree - WINNERMolly Tuttle & Golden Highway

Get Yourself OutsideYonder Mountain String Band

52. Best Traditional Blues Album

For albums containing greater than 50% playing time of new vocal or instrumental traditional blues recordings.

Heavy Load BluesGov't Mule

The Blues Don’t LieBuddy Guy

Get On Board - WINNERTaj Mahal & Ry Cooder

The Sun Is Shining DownJohn Mayall

Mississippi SonCharlie Musselwhite

53. Best Contemporary Blues Album

For albums containing greater than 50% playing time of new vocal or instrumental contemporary blues recordings.

Done Come Too FarShemekia Copeland

CrownEric Gales

Bloodline MaintenanceBen Harper

Set SailNorth Mississippi Allstars

Brother Johnny - WINNEREdgar Winter

54. Best Folk Album

For albums containing greater than 50% playing time of new vocal or instrumental folk recordings.

SpellboundJudy Collins

Revealer - WINNERMadison Cunningham

The Light At The End Of The LineJanis Ian

Age Of ApathyAoife O'Donovan

Hell On Church StreetPunch Brothers

55. Best Regional Roots Music Album

For albums containing greater than 50% playing time of new vocal or instrumental regional roots music recordings.

Full CircleSean Ardoin And Kreole Rock And Soul Featuring LSU Golden Band From Tigerland

Natalie NoelaniNatalie Ai Kamauu

Halau Hula Keali'i O Nalani - Live At The Getty CenterHalau Hula Keali'i O Nalani

Lucky ManNathan & The Zydeco Cha Chas

Live At The 2022 New Orleans Jazz & Heritage Festival - WINNERRanky Tanky

56. Best Reggae Album

For albums containing greater than 50% playing time of new reggae recordings.

The Kalling - WINNERKabaka Pyramid

GiftedKoffee

ScorchaSean Paul

Third Time's The CharmProtoje

Com Fly Wid MiShaggy

57. Best Global Music Performance

For new vocal or instrumental Global music recordings.

Udhero NaArooj Aftab Featuring Anoushka Shankar

Gimme LoveMatt B Featuring Eddy Kenzo

Last LastBurna Boy

Neva Bow DownRocky Dawuni Featuring Blvk H3ro

Bayethe - WINNERWouter Kellerman, Zakes Bantwini & Nomcebo Zikode

58. Best Global Music Album

For albums containing greater than 50% playing time of new vocal or instrumental Global Music recordings.

ShuruaatBerklee Indian Ensemble

Love, DaminiBurna Boy

Queen Of ShebaAngélique Kidjo & Ibrahim Maalouf

Between Us... (Live)Anoushka Shankar, Metropole Orkest & Jules Buckley Featuring Manu Delago

Sakura - WINNERMasa Takumi

59. Best Children's Music Album

For albums containing greater than 50% playing time of new musical or spoken word recordings that are created and intended specifically for children.

Into The Little Blue HouseWendy And DB

Los FabulososLucky Diaz And The Family Jam Band

The Movement - WINNERAlphabet Rockers

Ready Set Go!Divinity Roxx

Space CadetJustin Roberts

60. Best Audio Book, Narration, and Storytelling Recording

Act Like You Got Some SenseJamie Foxx

All About Me!: My Remarkable Life In Show Business By Mel BrooksMel Brooks

Aristotle And Dante Dive Into The Waters Of The WorldLin-Manuel Miranda

Finding Me - WINNERViola Davis

Music Is HistoryQuestlove

61. Best Spoken Word Poetry Album

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

Black Men Are PreciousEthelbert Miller

Call Us What We Carry: PoemsAmanda Gorman

Hiding In Plain ViewMalcolm-Jamal Warner

The Poet Who Sat By The Door - WINNERJ. Ivy

You Will Be Someone's Ancestor. Act Accordingly.Amir Sulaiman

62. Best Comedy Album

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

The Closer - WINNERDave Chappelle

Comedy MonsterJim Gaffigan

A Little Brains, A Little TalentRandy Rainbow

SorryLouis CK

We All ScreamPatton Oswalt

63. Best Musical Theater Album

For albums containing greater 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.

Caroline, Or ChangeJohn Cariani, Sharon D Clarke, Caissie Levy & Samantha Williams, principal vocalists; Van Dean, Nigel Lilley, Lawrence Manchester, Elliot Scheiner & Jeanine Tesori, producers; Jeanine Tesori, composer; Tony Kushner, lyricist (New Broadway Cast)

Into The Woods (2022 Broadway Cast Recording) - WINNERSara Bareilles, Brian d'Arcy James, Patina Miller & Phillipa Soo, principal vocalists; Rob Berman & Sean Patrick Flahaven, producers (Stephen Sondheim, composer & lyricist) (2022 Broadway Cast)

MJ The MusicalMyles Frost & Tavon Olds-Sample, principal vocalists; David Holcenberg, Derik Lee & Jason Michael Webb, producers (Original Broadway Cast)

Mr. Saturday NightShoshana Bean, Billy Crystal, Randy Graff & David Paymer, principal vocalists; Jason Robert Brown, Sean Patrick Flahaven & Jeffrey Lesser, producers; Jason Robert Brown, composer; Amanda Green, lyricist (Original Broadway Cast)

Six: Live On Opening NightJoe Beighton, Tom Curran, Sam Featherstone, Paul Gatehouse, Toby Marlow & Lucy Moss, producers; Toby Marlow & Lucy Moss, composers/lyricists (Original Broadway Cast)

A Strange LoopJaquel Spivey, principal vocalist; Michael Croiter, Michael R. Jackson, Charlie Rosen & Rona Siddiqui, producers; Michael R. Jackson, composer & lyricist (Original Broadway Cast)

64. Best Compilation Soundtrack For Visual Media

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

ELVIS(Various Artists)Dave Cobb, Baz Luhrmann, Jamieson Shaw & Elliott Wheeler, compilation producers; Anton Monsted, music supervisor

Encanto - WINNER(Various Artists)Mike Elizondo, Tom MacDougall & Lin-Manuel Miranda, compilation producers

Stranger Things: Soundtrack from the Netflix Series, Season 4 (Vol 2)(Various Artists)Matt Duffer & Ross Duffer, compilation producers; Nora Felder, music supervisor

Top Gun: MaverickLorne Balfe, Harold Faltermeyer, Lady Gaga & Hans Zimmer, compilation producers

West Side Story(Various Artists)David Newman, Matt Sullivan & Jeanine Tesori, compilation producers

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

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

The BatmanMichael Giacchino, composer

Encanto - WINNERGermaine Franco, composer

No Time To DieHans Zimmer, composer

The Power Of The DogJonny Greenwood, composer

Succession: Season 3Nicholas Britell, composer

66. 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.

Aliens: Fireteam EliteAustin Wintory, composer

Assassin's Creed Valhalla: Dawn Of Ragnarok - WINNERStephanie Economou, composer

Call Of Duty®: VanguardBear McCreary, composer

Marvel's Guardians Of The GalaxyRichard Jacques, composer

Old WorldChristopher Tin, composer

67. Best Song Written For Visual Media

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

Be Alive [From King Richard]Beyoncé & Darius Scott Dixson, songwriters (Beyoncé)

Carolina [From Where The Crawdads Sing]Taylor Swift, songwriter (Taylor Swift)

Hold My Hand [From Top Gun: Maverick]Bloodpop® & Stefani Germanotta, songwriters (Lady Gaga)

Keep Rising (The Woman King) [From The Woman King]Angelique Kidjo, Jeremy Lutito & Jessy Wilson, songwriters (Jessy Wilson Featuring Angelique Kidjo)

Nobody Like U [From Turning Red]Billie Eilish & Finneas O'Connell, songwriters (4*Town, Jordan Fisher, Finneas O'Connell, Josh Levi, Topher Ngo, Grayson Villanueva)

We Don't Talk About Bruno [From Encanto] - WINNERLin-Manuel Miranda, songwriter (Carolina Gaitán - La Gaita, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz & Encanto - Cast)

68. Best Instrumental Composition

A Composer's Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.

African TalesPaquito D'Rivera, composer (Tasha Warren & Dave Eggar)

El País InvisibleMiguel Zenón, composer (Miguel Zenón, José Antonio Zayas Cabán, Ryan Smith & Casey Rafn)

Fronteras (Borders) Suite: Al-Musafir BluesDanilo Pérez, composer (Danilo Pérez Featuring The Global Messengers)

Refuge - WINNERGeoffrey Keezer, composer (Geoffrey Keezer)

SnapshotsPascal Le Boeuf, composer (Tasha Warren & Dave Eggar)

69. Best Arrangement, Instrumental or A Cappella

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

As Days Go By (An Arrangement Of The Family Matters Theme Song)Armand Hutton, arranger (Armand Hutton Featuring Terrell Hunt & Just 6)

How Deep Is Your LoveMatt Cusson, arranger (Kings Return)

Main Titles (Doctor Strange In The Multiverse Of Madness)Danny Elfman, arranger (Danny Elfman)

Minnesota, WIRemy Le Boeuf, arranger (Remy Le Boeuf)

Scrapple From The Apple - WINNERJohn Beasley, arranger (Magnus Lindgren, John Beasley & The SWR Big Band Featuring Martin Auer)

70. Best Arrangement, Instruments and Vocals

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

Let It HappenLouis Cole, arranger (Louis Cole)

Never Gonna Be AloneJacob Collier, arranger (Jacob Collier Featuring Lizzy McAlpine & John Mayer)

Optimistic Voices / No Love DyingSullivan Fortner, arranger (Cécile McLorin Salvant)

Songbird (Orchestral Version) - WINNERVince Mendoza, arranger (Christine McVie)

2 + 2 = 5 (Arr. Nathan Schram)Nathan Schram & Becca Stevens, arrangers (Becca Stevens & Attacca Quartet)

71. Best Recording Package

Beginningless Beginning - WINNERChun-Tien Hsiao & Qing-Yang Xiao, art directors (Tamsui-Kavalan Chinese Orchestra)

DiversWilliam Stichter, art director (Soporus)

Everything Was BeautifulMark Farrow & Jason Pierce, art directors (Spiritualized)

TelosMing Liu, art director (Fann)

VoyeuristJoel Cook, Brandon Rike & Nate Utesch, art directors (Underoath)

72. Best Boxed Or Special Limited Edition Package

Artists Inspired By Music: Interscope ReimaginedJosh Abraham, Steve Berman, Jimmy Iovine, John Janick & Jason Sangerman, art directors (Various Artists)

Big MessBerit Gwendolyn Gilma, art director (Danny Elfman)

Black Pumas (Collector's Edition Box Set)Jenna Krackenberger & Anna McCaleb, art directors (Black Pumas)

BookJohn Flansburgh, Brian Karlsson, John Linnell & Paul Sahre, art directors (They Might Be Giants)

In And Out Of The Garden: Madison Square Garden ’81 ’82 ’83 - WINNERLisa Glines, Doran Tyson & Dave Van Patten, art directors (The Grateful Dead)

73. Best Album Notes

The American Clavé RecordingsFernando González, album notes writer (Astor Piazzolla)

Andy Irvine & Paul BradyGareth Murphy, album notes writer (Andy Irvine & Paul Brady)

Harry Partch, 1942John Schneider, album notes writer (Harry Partch)

Life's Work: A RetrospectiveTed Olson, album notes writer (Doc Watson)

Yankee Hotel Foxtrot (20th Anniversary Super Deluxe Edition) - WINNERBob Mehr, album notes writer (Wilco)

74. Best Historical Album

Against The Odds: 1974-1982Tommy Manzi, Steve Rosenthal & Ken Shipley, compilation producers; Michael Graves, mastering engineer; Tom Camuso, restoration engineer (Blondie)

The Goldberg Variations - The Complete Unreleased 1981 Studio SessionsRobert Russ, compilation producer; Martin Kistner, mastering engineer (Glenn Gould)

Life’s Work: A RetrospectiveScott Billington, Ted Olson & Mason Williams, compilation producers; Paul Blakemore, mastering engineer (Doc Watson)

To Whom It May Concern...Jonathan Sklute, compilation producer; Kevin Marques Moo, mastering engineer; Lucas MacFadden, Restoration Engineer (Freestyle Fellowship)

Yankee Hotel Foxtrot (20th Anniversary Super Deluxe Edition) - WINNERCheryl Pawelski & Jeff Tweedy, compilation producers; Bob Ludwig, mastering engineer (Wilco)

75. Songwriter of the Year, Non-Classical

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

Amy Allen

For My Friends (King Princess) (S)

The Hardest Part (Alexander23) (S)

If We Were A Party (Alexander23) (S)

If You Love Me (Lizzo) (T)

Magic Wand (Alexander23) (T)

Matilda (Harry Styles) (T)

Move Me (Charli XCX) (T)

Too Bad (King Princess) (S)

Vicious (Sabrina Carpenter) (S)

Nija Charles

Cozy (Beyoncé) (T)

Ex For A Reason (Summer Walker With JT From City Girls) (T)

Good Love (City Girls Featuring Usher) (S)

Iykyk (Lil Durk Featuring Ella Mai & A Boogie Wit Da Hoodie) (T)

Lobby (Anitta & Missy Elliott) (S)

Ride For You (Meek Mill Featuring Kehlani) (T)

Sweetest Pie (Megan Thee Stallion & Dua Lipa) (S)

Tangerine (Kehlani) (T)

Throw It Away (Summer Walker) (T)

Tobias Jesso Jr. - WINNER

Boyfriends (Harry Styles) (T)

Can I Get It (Adele) (T)

Careless (FKA Twigs Featuring Daniel Caesar) (T)

C'mon Baby Cry (Orville Peck) (T)

Dotted Lines (King Princess) (T)

Let You Go (Diplo & TSHA) (S)

No Good Reason (Omar Apollo) (T)

Thank You Song (FKA Twigs) (T)

To Be Loved (Adele) (T)

The-Dream

Break My Soul (Beyoncé) (S)

Church Girl (Beyoncé) (T)

Energy (Beyoncé) (T)

I'm That Girl (Beyoncé) (T)

Mercedes (Brent Faiyaz) (S)

Rock N Roll (Pusha T Featuring Kanye West and Kid Cudi) (T)

Rolling Stone (Brent Faiyaz) (T)

Summer Renaissance (Beyoncé) (T)

Thique (Beyoncé) (T)

Laura Veltz

Background Music (Maren Morris) (T)

Feed (Demi Lovato) (T)

Humble Quest (Maren Morris) (T)

Pain (Ingrid Andress) (T)

29 (Demi Lovato) (T)

76. Best Engineered Album, Non-Classical

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

AdolescenceYonatan (Yoni) Ayal, Maxwell Byrne, Patrick Liney, Tim Nelson, George Nicholas, Jock Nowell-Usticke, Aidan Peterson, Pierre Luc Rioux, Ike Schultz, Ryan Schwabe & Rutger Van Woudenberg, engineers; Ryan Schwabe, mastering engineer (Baynk)

Black Radio IIIDaniel Farris, Tiffany Gouché, Qmillion, Musiq Soulchild, Reginald Nicholas, Q-Tip, Amir Sulaiman, Michael Law Thomas & Jon Zacks, engineers; Chris Athens, mastering engineer (Robert Glasper)

Chloë and the Next 20th CenturyDave Cerminara & Jonathan Wilson, engineers; Adam Ayan, mastering engineer (Father John Misty)

Harry's House - WINNERJeremy Hatcher, Oli Jacobs, Nick Lobel, Mark "Spike" Stent & Sammy Witte, engineers; Randy Merrill, mastering engineer (Harry Styles)

Wet LegJon McMullen, Joshua Mobaraki, Alan Moulder & Alexis Smith, engineers; Matt Colton, mastering engineer (Wet Leg)

77. Producer Of The Year, Non-Classical

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

Jack Antonoff - WINNER

All Too Well (10 Minute Version) (Taylor’s Version) (From The Vault) (Taylor Swift) (T)

Dance Fever (Florence + The Machine) (A)

I Still Believe (Diana Ross) (T)

Minions: The Rise Of Gru (Various Artists) (A)

Part Of The Band (The 1975) (S)

Dan Auerbach

Dropout Boogie (The Black Keys) (A)

El Bueno Y El Malo (Hermanos Gutiérrez) (T)

Nightmare Daydream (The Velveteers) (A)

Rich White Honky Blues (Hank Williams Jr.) (A)

Something Borrowed, Something New: A Tribute To John Anderson (Various Artists) (A)

Strange Time To Be Alive (Early James) (A)

Sweet Unknown (Ceramic Animal) (A)

Tres Hermanos (Hermanos Gutiérrez) (T)

Young Blood (Marcus King) (A)

Boi-1da

Chronicles (Cordae Featuring H.E.R. & Lil Durk) (T)

Churchill Downs (Jack Harlow Featuring Drake) (T)

Heated (Beyoncé) (T)

Mafia (Travis Scott) (S)

N95 (Kendrick Lamar) (T)

Nail Tech (Jack Harlow) (T)

Not Another Love Song (Ella Mai) (T)

Scarred (Giveon) (T)

Silent Hill (Kendrick Lamar Featuring Kodak Black) (T)

Dahi

Buttons (Steve Lacy) (T)

Count Me Out (Kendrick Lamar) (T)

Die Hard (Kendrick Lamar) (T)

DJ Quik (Vince Staples) (T)

Father Time (Kendrick Lamar Featuring Sampha) (T)

Give You The World (Steve Lacy) (T)

Mercury (Steve Lacy) (T)

Mirror (Kendrick Lamar) (T)

Rich Spirit (Kendrick Lamar) (T)

Dernst "D'mile" Emile II

Candydrip (Lucky Daye) (A)

An Evening With Silk Sonic (Bruno Mars, Anderson .Paak And Silk Sonic) (A)

Good Morning Gorgeous (Mary J. Blige) (S)

Sometimes I Feel Like A Motherless Child (Jazmine Sullivan) (S)

78. Best Remixed Recording

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

About Damn Time (Purple Disco Machine Remix) - WINNERPurple Disco Machine, remixer (Lizzo)

BREAK MY SOUL (Terry Hunter Remix)Terry Hunter, remixer (Beyoncé)

Easy Lover (Four Tet Remix)Four Tet, remixer (Ellie Goulding)

Slow Song (Paul Woolford Remix)Paul Woolford, remixer (The Knocks & Dragonette)

Too Late Now (Soulwax Remix)Soulwax, remixers (Wet Leg)

79. Best Immersive Audio Album

For vocal or instrumental albums in any genre. Must be commercially released on DVD-Audio, DVD-Video, SACD, Blu-Ray, or burned download-only/streaming-only copies and must provide a new immersive mix of four or more channels. Award to the immersive mix engineer, immersive producer (if any) and immersive mastering engineer (if any).

AGUILERAJaycen Joshua & Mike Seaberg, immersive mix engineers; Jaycen Joshua & Mike Seaberg, immersive mastering engineers (Christina Aguilera)

Divine Tides - WINNEREric Schilling, immersive mix engineer; Stewart Copeland, Ricky Kej & Herbert Waltl, immersive producers (Stewart Copeland & Ricky Kej)

Memories...Do Not OpenMike Piacentini, immersive mix engineer; Mike Piacentini, immersive mastering engineer; Adam Alpert, Alex Pall, Jordan Stilwell & Andrew Taggart, immersive producers (The Chainsmokers)

Picturing The Invisible - Focus 1Jim Anderson, immersive mix engineer; Morten Lindberg & Ulrike Schwarz, immersive mastering engineers; Jane Ira Bloom & Ulrike Schwarz, immersive producers (Jane Ira Bloom)

Tuvayhun — Beatitudes For A Wounded WorldMorten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Morten Lindberg, immersive producer (Nidarosdomens Jentekor & Trondheimsolistene)

80. Best Engineered Album, Classical

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

Bates: Philharmonia Fantastique - The Making Of The Orchestra - WINNERShawn Murphy, Charlie Post & Gary Rydstrom, engineers; Michael Romanowski, mastering engineer (Edwin Outwater & Chicago Symphony Orchestra)

Beethoven: Symphony No. 6; Stucky: Silent SpringMark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)

PerspectivesMark Alletag, Jonathan Lackey, Bill Maylone & Dan Nichols, engineers; Joe Lambert, mastering engineer (Third Coast Percussion)

Tuvayhun - Beatitudes For A Wounded WorldMorten Lindberg, engineer; Morten Lindberg, mastering engineer (Anita Brevik, Nidarosdomens Jentekor & Trondheimsolistene)

Williams: Violin Concerto No. 2 & Selected Film ThemesBernhard Güttler, Shawn Murphy & Nick Squire, engineers; Christoph Stickel, mastering engineer (Anne-Sophie Mutter, John Williams & Boston Symphony Orchestra)

81. Producer Of The Year, Classical

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

Jonathan Allen

Aspire (Seunghee Lee, JP Jofre, Enrico Fagone & London Symphony Orchestra) (A)

Cooper: Continuum (Jessica Cottis, Adjoah Andoh, Clio Gould & The Oculus Ensemble) (A)

Muse (Sheku Kanneh-Mason & Isata Kanneh-Mason) (A)

Origins (Lucie Horsch) (A)

Saudade (Plinio Fernandes) (A)

Schubert: Winterreise (Benjamin Appl) (A)

Secret Love Letters (Lisa Batiashvili, Yannik Nézet-Séguin & Philadelphia Orchestra) (A)

Song (Sheku Kanneh-Mason) (A)

Christoph Franke

Brahms & Berg: Violin Concertos (Christian Tetzlaff, Robin Ticciati & Deutsches Symphonie-Orchester Berlin) (A)

John Williams - The Berlin Concert (John Williams & Berliner Philharmoniker) (A)

Mendelssohn: Piano Concertos (Lars Vogt & Orchestre De Chambre De Paris) (A)

Mozart: Complete Piano Sonatas (Elisabeth Leonskaja) (A)

Mozart Y Mambo: Cuban Dances (Sarah Willis, José Antonio Méndez Padrón & Havana Lyceum Orchestra) (A)

James Ginsburg

As We Are (Julian Velasco) (A)

Avant L'Orage - French String Trios (Black Oak Ensemble) (A)

Gems From Armenia (Aznavoorian Duo) (A)

Stephenson: Symphony No. 3, 'Visions' (Vladimir Kulenovic & Lake Forest Symphony) (A)

Trios From Contemporary Chicago (Lincoln Trio) (A)

When There Are No Words - Revolutionary Works For Oboe And Piano (Alex Klein & Phillip Bush) (A)

Elaine Martone

Beethoven: The Last Sonatas (Gerardo Teissonnière) (A)

Big Things (Icarus Quartet) (A)

Perspectives (Third Coast Percussion) (A)

Schnittke: Concerto For Piano And Strings; Prokofiev: Symphony No. 2 (Yefim Bronfman, Franz Welser-Möst & The Cleveland Orchestra) (A)

Strauss: Three Tone Poems (Franz Welser-Möst & The Cleveland Orchestra) (A)

Upon Further Reflection (John Wilson) (A)

Judith Sherman - WINNER

Akiho: Oculus (Various Artists) (A)

Bach, C.P.E.: Sonatas & Rondos (Marc-André Hamelin) (A)

Bolcom: The Complete Rags (Marc-André Hamelin) (A)

Felix & Fanny Mendelssohn: String Quartets (Takács Quartet) (A)

Huang Ruo’s A Dust In Time (Del Sol Quartet)

It Feels Like (Eunbi Kim) (A)

León: Teclas De Mi Piano (Adam Kent) (A)

Violin Odyssey (Itamar Zorman & Ieva Jokubaviciute) (A)

Works By Florence Price, Jessie Montgomery, Valerie Coleman (Michael Repper & New York Youth Symphony) (A)

82. Best Orchestral Performance

Award to the Conductor and to the Orchestra.

Adams, John Luther: Sila - The Breath Of The WorldDoug Perkins, conductor (The Crossing, JACK Quartet, Musicians Of The University Of Michigan Department Of Chamber Music & University Of Michigan Percussion Ensemble)

Dvořák: Symphonies Nos. 7-9Gustavo Dudamel, conductor (Los Angeles Philharmonic)

Eastman: Stay On ItChristopher Rountree, conductor (Wild Up)

John Williams - The Berlin ConcertJohn Williams, conductor (Berliner Philharmoniker)

Works By Florence Price, Jessie Montgomery, Valerie Coleman - WINNERMichael Repper, conductor (New York Youth Symphony)

83. 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.

Aucoin: EurydiceYannick Nézet-Séguin, conductor; Barry Banks, Nathan Berg, Joshua Hopkins, Erin Morley & Jakub Józef Orliński; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)

Blanchard: Fire Shut Up In My Bones - WINNERYannick Nézet-Séguin, conductor; Angel Blue, Will Liverman, Latonia Moore & Walter Russell III; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)

Davis: X - The Life And Times Of Malcolm XGil Rose, conductor; Joshua Conyers, Ronnita Miller, Whitney Morrison, Victor Robertson & Davóne Tines; Gil Rose, producer (Boston Modern Orchestra Project; Odyssey Opera Chorus)

84. Best Choral Performance

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

Bach: St. John PassionJohn Eliot Gardiner, conductor (English Baroque Soloists; Monteverdi Choir)

Born - WINNERDonald Nally, conductor (Dominic German, Maren Montalbano, Rebecca Myers & James Reese; The Crossing)

Verdi: Requiem - The Met Remembers 9/11Yannick Nézet-Séguin, conductor; Donald Palumbo, chorus master (Michelle DeYoung, Eric Owens, Ailyn Pérez & Matthew Polenzani; The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)

85. Best Chamber Music/Small Ensemble Performance

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

Beethoven: Complete String Quartets, Volume 2 - The Middle QuartetsDover Quartet

Musical RemembrancesNeave Trio

PerspectivesThird Coast Percussion

Shaw: Evergreen - WINNERAttacca Quartet

What Is AmericanPUBLIQuartet

86. Best Classical Instrumental Solo

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

Abels: Isolation VariationHilary Hahn

Bach: The Art Of LifeDaniil Trifonov

Beethoven: Diabelli VariationsMitsuko Uchida

Letters For The Future - WINNERTime For Three; Xian Zhang, conductor (The Philadelphia Orchestra)

A Night In Upper Town - The Music Of Zoran KrajacicMak Grgić

87. Best Classical Solo Vocal Album

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

EdenJoyce DiDonato, soloist; Maxim Emelyanychev, conductor (Il Pomo D’Oro)

How Do I Find YouSasha Cooke, soloist; Kirill Kuzmin, pianist

Okpebholo: Lord, How Come Me Here?Will Liverman, soloist; Paul Sánchez, pianist (J’Nai Bridges & Caen Thomason-Redus)

Stranger - Works For Tenor By Nico MuhlyNicholas Phan, soloist (Eric Jacobsen; Brooklyn Rider & The Knights; Reginald Mobley)

Voice Of Nature - The Anthropocene - WINNERRenée Fleming, soloist; Yannick Nézet-Séguin, pianist

88. Best Classical Compendium

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

An Adoption Story - WINNERStarr Parodi & Kitt Wakeley; Jeff Fair, Starr Parodi & Kitt Wakeley, producers

AspireJP Jofre & Seunghee Lee; Enrico Fagone, conductor; Jonathan Allen, producer

A Concert For UkraineYannick Nézet-Séguin, conductor; David Frost, producer

The Lost BirdsVoces8; Barnaby Smith & Christopher Tin, conductors; Sean Patrick Flahaven & Christopher Tin, producers

89. Best Contemporary Classical Composition

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

Akiho: Ligneous SuiteAndy Akiho, composer (Ian Rosenbaum & Dover Quartet)

Bermel: IntonationsDerek Bermel, composer (Jack Quartet)

Gubaidulina: The Wrath Of GodSofia Gubaidulina, composer (Andris Nelsons & Gewandhausorchester)

Puts: Contact - WINNERKevin Puts, composer (Xian Zhang, Time for Three & The Philadelphia Orchestra)

Simon: Requiem For The EnslavedCarlos Simon, composer; Marco Pavé, librettist (Carlos Simon, MK Zulu, Marco Pavé & Hub New Music)

90. Best Music Video

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

Easy On MeAdeleXavier Dolan, video director; Xavier Dolan, Nancy Grant & Jannie McInnes, video producers

Yet To ComeBTSYong Seok Choi, video director; Tiffany Suh, video producer

WomanDoja CatChild., video director; Missy Galanida, Sam Houston, Michelle Larkin & Isaac Rice, video producers

The Heart Part 5Kendrick LamarDave Free & Kendrick Lamar, video directors; Jason Baum & Jamie Rabineau, video producers

As It WasHarry StylesTanu Muino, video director; Frank Borin, Ivanna Borin, Fred Bonham Carter, Alexa Haywood & Bryan Younce, video producers

All Too Well: The Short Film - WINNERTaylor SwiftTaylor Swift, video director; Saul Germaine, video producer

91. Best Music Film

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

Adele One Night OnlyAdelePaul Dugdale, video director

Our WorldJustin BieberMichael D. Ratner, video director; Kfir Goldberg, Andy Mininger, Scott Ratner & Michael D. Ratner, video producers

Billie Eilish Live At The O2Billie EilishSam Wrench, video director; Michelle An, Tom Colbourne, Chelsea Dodson & Billie Eilish, video producers

Motomami (Rosalía Tiktok Live Performance)RosalíaFerrán Echegaray, Rosalía Vila Tobella & Stillz, video directors; Karen Saurí Marchán & Christy Alcaraz Moyer; video producers

Jazz Fest: A New Orleans Story - WINNER(Various Artists)Frank Marshall & Ryan Suffern, video directors; Frank Marshall, Sean Stuart & Ryan Suffern, video producers

BARNNeil Young & Crazy HorseDaryl Hannah, video director; Gary Ward, video producer

10 Must-See Moments From The 2023 GRAMMYs: Beyoncé Makes History, Hip-Hop Receives An Epic Tribute, Bad Bunny Brings The Puerto Rican Heat

The 2023 GRAMMYs, officially known as the 65th GRAMMY Awards, returns to Los Angeles' Crypto.com Arena on Sunday, Feb. 5, 2023, 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.

The eligibility period for the 65th GRAMMY Awards is Friday, Oct. 1, 2021 – Friday, Sept. 30, 2022. All eligible awards entries must be released within this timeframe.

The Recording Academy and GRAMMY.com do not endorse any particular artist, submission or nominee over another. The results of the GRAMMY Awards, including winners and nominees, are solely dependent on the Recording Academy’s Voting Membership.

Photo: Kevin Mazur/Getty Images for the Recording Academy

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In an awards show crossover to remember, the 2023 GRAMMYs telecast has been nominated in three prestigious categories at the 2023 Emmy Awards.

An Emmy for the GRAMMYs? It's happened before, and it could happen again.

The 2023 Emmys nominations list has been revealed, and Music's Biggest Night is well represented.

The 2023 GRAMMYs have been nominated for Emmy Awards in the Outstanding Production Design For A Variety Special, Outstanding Lighting Design/Lighting Direction For A Variety Special and Outstanding Sound Mixing For A Variety Series Or Special categories.

In the first category, the 2023 GRAMMYs compete with "The Oscars," "Encanto At The Hollywood Bowl," "Carol Burnett: 90 Years Of Laughter + Love," and "The Apple Music Super Bowl LVII Halftime Show Starring Rihanna."

The second category also contains "Encanto At The Hollywood Bowl," as well as "2022 Rock And Roll Hall Of Fame Induction Ceremony," "75th Annual Tony Awards," and "The Weeknd Live At SoFi Stadium."

Also nominated in the third category are "Bono & The Edge: A Sort Of Homecoming With Dave Letterman," "Elton John Live: Farewell From Dodger Stadium," "Saturday Night Live • Co-Hosts: Steve Martin & Martin Short," and "Taylor Hawkins Tribute Concert."

Check out the complete list here, and watch this space to see if the GRAMMYs will take home the world's most prestigious TV award!

2023 GRAMMY Nominations: See The Complete Winners & Nominees List

Photo: Alberto E. Rodriguez/Getty Images for The Recording Academy

interview

"I felt the weight of what it meant," the man behind the curtain of massive songs by Adele, Harry Styles, Marcus Mumford and more says about his win in the brand-new GRAMMY category.

Tobias Jesso Jr. wanted to know how to write a hit song, so he read How to Write a Hit Song. Not that he needed to figure out how to break into the mainstream: he had already written a tune with Sia and Adele that cracked the Billboard Hot 100. But in an effort to take his young career seriously — that of writing behind the curtain for the stars — he cracked open the book at a café.Just then, a voice: "What the hell are you doing?" He glanced up. It was Sia."She was like, 'Why are you reading that?' and I was like, 'I honestly don't know,'" Jesso remembers with a laugh. "I think I just put the book away from that point on and was like, OK, I don't need the books. And I just felt like there's been a different one of those lessons at every step of the way where I'm just like, Man, I think this is what I got to do, and then I just figure it out."

Since that exchange, Jesso has written with a litany of contemporary stars: John Legend, Shawn Mendes, Pink, Haim, Harry Styles — the list goes on. (As per the latter, he co-wrote "Boyfriends" on Harry's House, which was crowned Album Of The Year at the 2023 GRAMMYs.)

And at said ceremony, he received a historic honor — the first-ever golden gramophone for Songwriter Of The Year. As Evan Bogart, Chair of the Songwriters & Composers Wing, recently toldput it to GRAMMY.com: "We're looking for which songwriters have demonstrated, first and foremost, that they're considered a songwriter first by the music community. We want to recognize the professional, hardworking songwriters who do this for a living."

Read More: Why The New Songwriter Of The Year GRAMMY Category Matters For The Music Industry And Creator Community

Clearly, Jesso fits the mold, and possesses technical chops worthy of How to Write a Hit Song. But his realization — that he can literally throw out the rulebook — speaks volumes as to his flexible, collaborator-first and fun-first process.

"I get into a room and I really want to enjoy the people, and the songs will come if we're all just being honest," he tells GRAMMY.com. "If you take a few days or weeks to get to know somebody, all of a sudden, your songs are deeper."

And while working his interpersonal and collaborative magic, he keeps his ears and imagination open — a momentary trifle can become the heart of a song. It happened with Cautious Clay's "Whoa," which came from messing with some, well, whoas.

"It was a little silly at first," says Jesso,the songwriter whose first output was "inappropriate" high-school joke songs. "But now it wasn't silly anymore."

GRAMMY.com sat down with Jesso about his creative beginnings, the experience of working alongside pop titans, and how his inaugural GRAMMY win for Songwriter Of The Year happened during the happiest, most creatively fruitful period of his burgeoning career.

This interview has been edited for clarity.

How did it feel to take home the golden gramophone — the first ever in this category?

It felt tremendous. It felt amazing. It's such an honor to have received it, and I felt the weight of what it meant. I get really stage frightened, and so I kept telling myself there's no way I was going to win, just so I wouldn't be nervous or anything like that.

But weirdly, when I did win, I was very not nervous. I don't know how to put it, but it was the opposite of what I thought I would feel. I don't know if I've never been awarded something so prestigious. My elementary school did a piece on me after I won the GRAMMY, and it was sort of largely a "We didn't see any talent at all" kind of thing.

So, I'd say "tremendous" would be probably the one word I would feel most aptly describes it. I'm just really, really proud of the category and its creation, and super lucky to have been a part of it at all. Especially in the year that it comes out. I was baffled that I was nominated.

I had already felt like that rush of whoa, this amazing thing happened when I was nominated. And then winning was the next level of completely beyond what I could have ever expected.

How does the win help chart the next stage of your career?

As a songwriter, your job is to serve the artist. Your job is to serve the artist — the person who the song's for. And I think because of that, most songwriters have a very serve mentality, which generally doesn't work out well on the business side of things for you.

I think if you took all the producers in the world and took all the songwriters in the world and tried to look at which ones are more business savvy, I'd say nine times out of 10, it's probably the producers.

I think a lot of people — artists or songwriters among them — have imposter syndrome, feeling like they don't really know whether they belong there or they're just lucky or they have what it takes for the next one, even. If they know they had a good run or whatever, they're always going back to the well and praying that there's something in there.

And I think this GRAMMY is almost like having a symbol of a really good run — a really good, fertile time of creativity or something. TI think the way I see it is sort of a symbol of this period of time where I had a lot of ideas, and worked really hard, and managed to somehow win this thing, which is, for me, is huge. It means a lot.

For the songwriting community to have the award to look forward to, to have this symbol of Hey, you can be creative as a songwriter and just be a songwriter who doesn't sing and doesn't produce, and [the fact] you can get this prestigious symbol of your gifts that the world will now recognize — I think that's a wonderful thing for songwriters to have.

Take me back to the beginning of your career writing songs, either for yourself or others. The first time you really embraced this magical act of creation.

I was such a lazy songwriter for so many years because I always loved writing songs, writing songs with my friends in high school and stuff like that. But I never really wanted to play an instrument, and I never really wanted to sing them myself.

I think probably back in high school, in 1998 or '99, it was because they were joke songs. So I probably didn't want to sing them because they were inappropriate or something. I always wanted to. The beginning for me was definitely a sort of moment of hearing Tracy Chapman when I was like, Oh, this is what I'm going to do. Not be Tracy Chapman, but write songs.

From there I was really lazy and I just tried to do as little as possible, but I had this sort of confidence that I was somehow good at it. So, I would sometimes have my friends who played guitar or my friends who played piano, or whoever was around, do the music part for me, and I could just kind of pipe in and direct where I felt like my skillset was.

I started writing on piano for the first time when I was 27. That was a big moment for me where I was. I feel like I finally figured it out. It took me a long time: I still don't know how to play the piano, but I know I'm going to figure this out now.

I made a lot of mistakes along the way with bands and with albums or whatever. Things that just didn't exactly go the way [I planned them]; my gut was eventually telling me it just wasn't right. And then, when I started playing piano, it just finally all felt right, and I didn't think too much about it. I just sort of started doing it.

During that time, I unfortunately had to sing to get my album out, which was sort of a means to an end. But as soon as I was able to, I ducked away from that and started writing. Then I just had a new job. I was like I got promoted or something.

As you honed your ability and developed your craft, how did you follow that chain of connections to be able to write for who you've written for?

It's funny because Adele was the first person I worked with — [but] not in a professional way where managers and stuff like that are involved, and it's not just a friend of mine from high school or something. She was sort of my blueprint for how those things went.

I couldn't have gotten any luckier than with Adele, because her blueprint for how to do a writing session is the most pure in the game. There's nothing to hide behind. There's no producer in the room. She came to my friend's grandparents' where there are no mics; there's no studio equipment at all. There's a piano. And she just goes, "Great, let's write a song."

I don't know that that even exists much anymore. There's not even a microphone to capture what's going on, let alone one of the biggest players in the entire world doing it — just showing up, being like, "Let's write a song." And there's nothing to record her. I thought that was really cool. I'm like, "That's how I write songs. I just sit in front of a piano and just do what I think I like." And she was like, "And me too."

So, that's how we got along real great off the bat. And then from there, I would say it was just the most epic amount of failures and trial and error to figure out what the hell I was doing in every different session. I mean, I was treading water at times, and I felt like I was smoking crack sometimes, because I was so creative in a certain scenario I didn't expect to be creative in or something like that.

I think it's just this kind of learning process. There are a lot of people who are typically geared towards one style of writing. You're the country guy or you're the pop guy, or you're the ballad guy. And I could see that I was getting typecast. I was starting to get typecast, especially early on in my career because ballads, that's just the tempo that's naturally within me. It's sort of my soul tempo to just slow things down. I can write much easier in that tempo. I'll always sort of naturally progress there.

But I wanted to push the limits of that, and I wanted to figure out a way to get out of that typecast. And so I tried as quickly as I could to pick people who would be like, "Please don't play a ballad."

And when I started doing that, it was, again, trial and error. I think Niall [Horan of One Direction] was the first person I worked with who was in the pop world, and he was very much an acoustic singer. So I think that I was going into that session thinking I wanted to do upbeat pop. So I don't know — you get in the door and then you just try to acclimate yourself to the environment and help out as much as you can.

I think that's the best way to put it, because you never know what you're going to be doing. You never know what the artist is going to want from you or not want from you. A lot of the job is just figuring all that stuff out and then trying to just have fun while you're doing it. I think it's just that good energy, good attitude, and good people tend to sort of gravitate together.

How would you characterize the state of your artistic journey at this point?

I would say it feels the richest, in the sense that I'm the happiest I've been working.

I've found my rhythm — my perfect work-life balance kind of thing — so I can spend time with my son. And I think because of all of the time I've spent writing songs and how many songs come out, which is not a lot compared to how much you spend writing, you kind of learn that the relationships you make in the room are really the things that you really take out of it. It can be a lot more than, "I'm just a songwriter here to serve this artist" or whatever.

Lately, probably because of all the time I've spent doing it, I get into a room and I really want to enjoy the people. And the songs will come if we're all just being honest. We all know why we're here. We don't need that pressure in the room, and we don't need the A&R sitting in the room. We can get a song, but let's just be honest and really enjoy each other's company for a while.

And I think once that starts happening, it's way, way more fruitful in the long run. Because if you take a few days or weeks to get to know somebody, all of a sudden, your songs are deeper.

As a songwriter, your job is to point out metaphors or parallels — and things that could spark some interest in an artist's mind. And the better you get to know somebody, the more amazing the writing process can be.

That's been happening a lot in my recent sessions with Dua [Lipa] and Harry, another just amazing person. He is a great guy, but we haven't done that much writing together, but we know each other mostly through Kid Harpoon — Tom [Hull], who's the best.

I'm getting to know the people, and that's the most important part for me — I'm working with the people I want to work with. That's my journey now. I'll always work with new people, but I don't need to work with people I don't really vibe with or listen to. That's not really my interest anymore, especially if I'm in it for the right reasons. I'd say it's just more intentional, and I'm being more honest.

When you walk into a room to write with somebody, what are the first steps, or operating principles?

My operating principle is: Do I want to get to know this person, and do they want to get to know me at all, or do they just want to write a song and not want to open up?

If it's somebody who seems very open to talk, that's usually a good sign. And if not, then you just do what they want. You start writing a song and that's fine too. Sometimes there's great, catchy stuff. It's not always the deepest stuff.

Maybe they're the ones writing the lyrics, so maybe it is. But my operating principle is kind of, if I'm having a good time and everyone's having a good time, we're doing something good. We're not writing a bad song. We're just not. If we were writing a bad song in this room of professionals, we wouldn't be having a good time.

And when you're having a good time, good ideas do come. Even if they are silly at first and they're more openly accepted, and everything in the room is flowing better when those channels of enjoyment are sort of open, and everyone's laughing and having fun and dancing and being silly, that's how you get creative.

I don't know of many songwriters who are just dead serious. I've maybe met a couple. So I think my operating principle is to have a good time. That's going to be the funnest day, no matter what. It's probably going to be a better song for it if you're having fun and you like the people and they like you, and everything's going well.

Why is it crucial that the Recording Academy honor not only public-facing creators, but those behind the curtain?

I won't speak for myself as much as just the amazing people who I've worked with. You can't understand what kind of work has to go into a song. It's so funny, because it's a three-minute thing that sounds like most people can do it in an hour or something, but some of these things take months of work to get right.

I think it's really important to acknowledge everyone involved in each of the processes, because to give credit to just producers and artists, and then it's like, "Yeah, but the storytellers aren't even in the room," is like the congratulating a director and an actor, and then being like, the writer is s—. It's like, what? The movie wouldn't exist without them!

That just wouldn't happen. So, it feels like the right thing. I'm a bit overwhelmed and still a bit in disbelief, but it's snowing in LA, so miracles do happen.

What would you tell a young songwriter who wants to roll up their sleeves and do this?

I would say just be a good person and keep learning. Everyone's not perfect at the start. But if I had to give one piece of advice that was super, super important to me, is the good guys are winning in the end sometimes.

Like I said, the friendships and the artists, you don't want to come in being a d—. And I don't mean that strictly for men. I just mean whoever's coming in, you want to be a nice person. I think there's a lot of good people, and there's a lot of bad people too. You find your crew — energy finds energy.

Meet Stephanie Economou, The First-Ever GRAMMY Winner For Best Score Soundtrack For Video Games And Other Interactive Media

Photo courtesy of the artist

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After racking up 10 GRAMMY Awards and worldwide acclaim, McFerrin said this when the National Endowment for the Arts inducted him into its 2020 Jazz Masters class: “My pursuit of music has always been about freedom and joy.”

Whenever Bobby McFerrin sings, freedom reigns. It twists and shouts; caresses and soothes; howls and coruscates.

After racking up 10 GRAMMY Awards and worldwide acclaim, McFerrin said this when the National Endowment for the Arts inducted him into its 2020 Jazz Masters class: “My pursuit of music has always been about freedom and joy.”

The son of two incredible singers, Sara Cooper (a former vocal professor at Fullerton College) and Robert McFerrin (an operatic baritone who was the first Black American man to sing at New York City’s Metropolitan Opera), McFerrin seemed destined to become a star. He sang in church choirs while growing up in Los Angeles. He studied music at California State University at Sacramento and Cerritos College in Norwalk, California. Afterward, he played piano and organ with the Ice Follies and in pop bands. And in 1980, he toured with the iconic jazz singer, Jon Hendricks.

McFerrin was 31 years old when he released his debut LP in 1982. But his artistry sounded fresh and fully developed. He contorted his four-octave voice in an array of colors, textures and improvisational shapes, liberating the role of a jazz singer.

McFerrin’s reputation as an ingenious and fearless virtuoso grew. His 1984 sophomore LP, The Voice, marked the first time a jazz singer recorded an entire album without any accompaniment or overdubbing. In addition to showcasing marvelous interpretations of songs by James Brown and Billy Strayhorn, it also revealed McFerrin to be an engaging composer through such infectious songs as “The Jump,” and “I’m My Own Walkman.”

A year later, his guest appearance on “Another Night In Tunisia” from the Manhattan Transfer’s LP, Vocalese, earned McFerrin his first two GRAMMY Awards. The following year, he won a GRAMMY for Best Jazz Vocal Performance, Male for his stunning rendition of “Round Midnight,” featuring pianist Herbie Hancock from the movie soundtrack, Round Midnight. His collaboration with Hancock also garnered McFerrin another GRAMMY win in 1987 for Best Jazz Vocal Performance, Male for “What Is This Thing Called Love?” from the LP, The Other Side Of Round Midnight.

For all of McFerrin’s exhilarating virtuosity, he imbues it with vast emotional range, especially humor. He can infuse his improvisations with the madcap kinetic energy of a Tom and Jerry cartoon chase scene, then pull the amorous heartstrings with a tender ballad.

Of course, the lyrics that McFerrin became most famous for are from his sanguine 1988 hit, “Don’t Worry Be Happy,” which catapulted him into superstardom. The song won three

GRAMMY Awards — Song Of The Year, Record Of The Year and Best Pop Vocal Performance, Male.

That enormous success didn’t impede McFerrin’s flair for adventure. He brought a quixotic spark to his records and projects that broke the conventions of jazz singing. He collaborated with classical music heavyweights such as cellist Yo-Yo Ma, pianist W.A. Mathieu and the St. Paul Chamber Orchestra; he has created elaborate vocal choirs such as 2010’s VOCAbuLarieS with composer Roger Treece; and delved deep into the Negro spiritual canon on his enthralling 2013 album, spirityoual.

Nearly 40 years after winning his first GRAMMY, McFerrin’s continued boundless musicality is a true embodiment of artistic freedom.

Here's What Happened At The Recording Academy's 2023 Special Merit Awards Ceremony Honoring Heart, Nirvana, Nile Rodgers, The Supremes & More

Photo courtesy of the artist

interview

In a victory for the video game music community, Stephanie Economou took home the first-ever GRAMMY in that brand-new category for her soundtrack to 'Assassin's Creed Valhalla: Dawn of Ragnarök.'

Stephanie Economou was so certain she wouldn't win a GRAMMY, that she sat near the back of the auditorium.

The video game soundtrack composer was nominated for the inaugural Best Score Soundtrack For Video Games And Other Interactive Media award for her score to "Assassin's Creed Valhalla: Dawn of Ragnarök" — a lavish expansion of the latest entry in Ubisoft's series of historically inspired action role-playing games.

"I was up against titans in the video game composing industry, so I was just happy to be nominated and happy to be there," Economou tells GRAMMY.com. But despite the heavy competition — Austin Wintory for "Aliens: Fireteam Elite," Bear McCreary for "Call of Duty Vanguard," other industry juggernauts — the golden gramophone was hers.

From rows and rows deep, Economou dashed to the stage feeling more than a little conflicted. "I was experiencing a lot of impostor syndrome," she says. "I'm still pretty new to this, and I was like, Did I earn this? Do I deserve this?"

It was Wintory, who Economou characterizes as "very, very, very well-known," who set her self-doubting mind at ease: "It's absurd to even question why you're here," he told her, from her recollection. "The music is great, and what you represent is something important."

The soundtrack to "Assassin's Creed Valhalla: Dawn of Ragnarök" isn't just high-quality; it's immersive, evocative and boundary-pushing. Taking cues from neofolk, Nordic folk and black metal, Economou employed a diverse palette of instruments — synthesizers, lap harp, viola da gamba, et al — to make the open-world RPG evermore captivating and transportive.

Economou opened up to GRAMMY.com about her creative journey through the worlds of film and TV, the manifold inspirations behind the "Dawn of Ragnarök" score, and her hope that this new GRAMMY Award will grant the video game music community the esteem it deserves.

This interview has been edited for clarity.

I imagine there's a degree of aristocracy in the video game scoring community, as there is in many subcultures. If so, was there a feeling upon receiving this GRAMMY that it's giving way a tad?

Yeah, I think there was. Truly, whoever won this category, it was going to be a huge celebration, because it's such a win to even have the validation from the Recording Academy to have video games as their own thing. So, regardless of who won, it was always going to be somebody who I think has earned a level of respect in the industry.

But I do think there is something to be said potentially for the fact that: yes, I am younger, and I am slightly newer to games. Maybe that balance is shifting where people are connecting with creators who are coming at this with a different lens and have something slightly different to say.

I just think that as a composer, I represent something different from what much of this industry can be — which is not better or worse, it’s just another perspective. And sometimes people can be attracted to what that diversity can bring.

Tell me about your early inspirations and what drew you to this medium.

I grew up playing violin and piano, and I pursued in college specifically concert music. So, I didn't score my first short film until I was in college at New England Conservatory, which is a music-only school.

There was just something there that clicked with me. I loved the collaborative process, working with a filmmaker who was really challenging me to try things out of my comfort zone. I grew up loving a lot of music. I grew up loving orchestral music because it's what I was playing in school. Most of all, I grew up loving classic rock, and just the rock genre — punk, metal, things like that. So, I have a lot of different, very, very eclectic influences, which I think is what made it so exciting to write music that felt genuine to me.

But I thought that film music and scoring for media in particular offered this really rare opportunity to potentially harness all of those influences that I loved from growing up — just putting them in a blender and seeing what comes out.

Depending on the project you’re working on, too — you could be working on a period drama where you have to study baroque music, or you could be working on an Assassin’s Creed game and someone says they want to do a black metal score. That’s pretty much exactly what happened. So, I love the challenge that’s built into this work.

Stephanie Economou. Photo courtesy of the artist.

Tell me how your career ramped up to "Assassin's Creed Valhalla: Dawn of Ragnarök." What games did you work on prior to this title?

I mainly just worked in film and TV. Video games are still a pretty new thing for me.

But when I moved out to LA to start working in the industry, I got pretty lucky and ended up working for a composer named Harry Gregson-Williams, who is very well-known and respected. He composed for Shrek and Chicken Run and The Equalizer and Mulan, and had a bunch of huge, really different films.

So, I cut my teeth with him for six years and was writing on his scores and just being a part of his team, and that's pretty much where I learned everything. I got my credits writing additional music on his projects.

And when I went out on my own, I was looking to get offered a Netflix TV series called "Jupiter's Legacy," which I think was a big catalyst for making an imprint with Netflix in particular, and with other people who really enjoyed that show.

From there, I've been doing lots of different work — documentary work, feature films, animations, a lot of different stuff. I instantly forget every single project I've ever done when anybody asks me this question, but there are lots of things that were propelled forward.

And then, Ubisoft called and said they were looking for a composer they hadn't worked with before — someone who didn't necessarily have game experience — and they asked someone to demo for this DLC [downloadable content] for "Assassin's Creed Valhalla" called "The Siege of Paris." That was my first intro to video game music.

So, I demoed for that, I got that job, and then the following expansion was "Dawn of Ragnarök," so they asked me if I could do that one.

What are some of the specific procedures involved in scoring a video game? What mental space do you need to occupy to write music for games as opposed to the other mediums you've worked in?

In film and TV, those stories are fixed. So, even though they might be editing throughout the time you're writing the music, they're still linear. Video games are nonlinear and interactive with the player, so the music is very alive. It's almost communicating with the player as they're going through the story.

When you're composing the music for something like that, you're kind of designing it as well. So, you need to have an awareness of: OK, even though this track is three minutes long, the player could be in this space for an hour.

Or they could happen upon a danger or tension area, and you need to design layers on top of a base layer that could be triggered at any moment, that can give them that rush or feeling of uneasiness. And then you could have a fight break out, and it's all sort of modular building blocks.

But the biggest challenge that comes with something like that where there are so many moving parts musically, is that you still need to make sure that it's not just the same thing looping over and over again.

The music needs to have shape and a theme, and it can have harmony and modulate, and each of the layers can play with the rudiments of tempo. You can play with double time and half time and triplets and subdivisions that can play into that intensity, but in a very carefully designed way.

So, there are a lot of levels of awareness that need to go into composing something that is interactive and nonlinear, which I think is a really fun challenge. But coming into games and being newer to it, there was a steeper learning curve.

I think that's the challenge with it — making a piece feel really musical and gripping, but being able to do all of those very specific technical things at the same time.

How would you characterize your personal stamp on whatever score you create?

I'm truly bad at recognizing what I think my signature is, because I think it's ever-evolving. But I do think that I try to bring an edge, or something a little bit risk-taking, into all of the music that I make.

I really don't like the idea of writing the same cue more than once, even though sometimes that's what we have to do for the job. I really like the idea that not one of my scores sounds like another one. That's not specific, but process-wise, I get excited by projects that can allow me to do something I haven't done before.

I feel like the space of video games is especially encouraging for taking those kinds of risks, and working with Ubisoft, that's definitely what they were doing. At every turn, they were like, Push it further, get more experimental, get less expected. And I love that. I love playing with the expectation of the listener and redefining what people consider to be game music.

Tell me more about how you incorporated the building blocks of black metal in the "Assassin's Creed Valhalla" score — grainy production, tremolo picking, a symphonic sweep.

The black-metal thing came as a suggestion from one of the game developers very, very early in the process. I love metal music, but I had never studied the black-metal subgenre in particular. So, I looked into that stuff.

My first protocol was finding musicians who were really well-versed in that. I found this band called Wilderun; Wayne Ingram is the lead guitarist. He was one of the biggest collaborators on this project, and he introduced me to Heilung and Wolves in the Throne Room and all these amazing black-metal and neo-folk bands.

"Assassin's Creed Valhalla" also has this Nordic folk influence, which is something I wanted to tie into "Dawn of Ragnarok." There's actually a lot of musical overlap, I would say, between Nordic folk and black-metal. Even if it's coming from a rustic, primitive way, it's very cinematic. You can have these symphonic sorts of influences with distorted guitars and really punchy drums and blast beats and growly vocals and stuff.

So, it all ends up tying together, but getting the right temperature for each of the stylistic influences was a challenge. So, dialing in that black metal and some of those performances from the soloist… it wasn't hard, but it was definitely something that I had to pay very close attention to [in order] to make sure that I was really nailing it.

It was super fun. I never thought I was going to be able to write a black-metal influenced score, but the best part of it was being able to collaborate with these musicians. It was just a really amazing, fruitful experience.

Tell me about your other collaborators on this soundtrack.

Ari Mason is another one of the soloists. She was a vocalist and played viola da gamba on the score too. She put off this really fresh Nordic folk, neofolk energy to the whole score, which was really amazing.

I got a tagelharpa, which was really, really difficult to play, but cool to just gather. I tend to collect instruments based on the project that I'm working on. So, I recorded on that and experimented with a lap harp, which was really fun, and then recorded with a bunch of different string instruments.

And then, we put some synths in there, because, as you probably know too, black metal and neofolk, it's very uniquely ambient and textural as well, So even though there can be these big black-metal moments, there's a lot of heavily curated ambience and textural stuff going on in there too.

That's the most fun stuff for me. That's something that I feel like lives in most of my music, regardless of the style.

Prior to your black-metal immersion, what are some other formative influences that made their way into your work?

So, I grew up listening to System of a Down, and Toxicity is probably still one of my favorite albums of all time. I listen to it [chuckles] a lot. I do feel like there were some times when it was tipping more into System of a Down, and Ubisoft was like, "I think we're departing a little too far from black metal!"

Pink Floyd is probably my favorite band of all time, and Animals is my favorite album. There's things in that music where I can look back at my own music and say, "Oh wow, there's something in there that does remind me a bit of Animals," or a bit of this, a bit of that. I used to listen to Blink-182 and stuff from my childhood that brings me a lot of joy still. And then newer stuff like Patrick Watson and Father John Misty.

I try to just listen to new music whenever I can — which, truth be told, I struggled with for a long time, because working in music and doing music all day, sometimes you just feel really inundated and don't want to listen to anything else.

So, I sort of struggled with that for a while. But now, every morning, I come into the studio and go on YouTube and just listen to different things that I have never heard of before, and I think that's a really inspiring way to start the day.

Stephanie Economou. Photo: Claus Morgenstern

With this GRAMMY in hand, where do you want to creatively venture next?

I would just love to keep working with these amazing creators in the video game space and keep doing more film and TV projects. I always strive to work with storytellers who are saying something different and being innovative, and people who are going to want music that opens a different dimension for the viewer and the audience.

I do feel like games are the most direct way into that world for listeners. I think it's all art, really.

Can you talk about the subculture of video game scorers, positive or negative? What would you do to change it if you could?

I think we've all read about how some of these video game companies can be very toxic working environments, and in particular for women. I have to say that my experience as a woman composer in the video game music space is that I have only been supported by these game companies, and it's been a really lovely, encouraging space to make music. Then, I would say the video game composing community is really great too.

I really appreciate this community of composers. We're all just putting our heads down and doing the work. But ultimately, I think that the amount of diverse voices in video games is a bigger population as compared to film and TV. I think game companies are more apt to hire women composers, and video game composers are super-accepting and a generally diverse group of people.

I'm really lucky to be here, and I've only felt support from my fellow artists in this world. So, I would say all good stuff, but maybe ask me in 10 years and I'll have some more stories.

With the initiation of this GRAMMY category, do you feel like the video game music world might get more of the respect that it deserves?

I'd f—ing hope so, man. It's so crazy that it did take this long to recognize video game music on its own.

There are some people I talk to who aren't really even gamers or don't really understand how exciting the video game medium is. They're like, "Oh, wow, it's really a sign of the times that video game music is being recognized." It's like, we've been here for decades.

I think it's well overdue, especially because gamers really, really listen to this music. I grew up gaming and I still do now, and there's something about hearing those scores that I grew up with from these games; it elicits this very visceral memory. It sets you in a place and time and it's a very deep-seated thing.

I love film soundtracks too, but I don't get that same overwhelming thrill when I listen to the music for a film soundtrack as I do for a game soundtrack. If I hear the theme for "Halo," it's like I'm overcome, and I think there's something to be said for that.

I think people who live in these narratives in video games really want to listen to the music again and re-experience the excitement of that story just by listening to the soundtrack alone. It defines this little slice of time that they enjoyed this game and fought through it. It's just a really special experience.

So, I think it's well-timed that game music is recognized, because it really does offer this emotionally connecting experience for the audience.

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