grammys

History was made in more than one way at Sunday night’s 68th Grammy Awards.

Bad Bunny’s “Debí Tirar Más Fotos” won album of the year — the first Spanish-language LP to take the Recording Academy’s highest honor. Kendrick Lamar and SZA’s “Luther” was named record of the year, making Lamar the winningest rapper in Grammy history (and just the fourth artist to go back-to-back for the record prize). Then there were Billie Eilish and her brother, Finneas O’Connell, who took song of the year with “Wildflower”; they’re now the only songwriters with three wins in that prestigious category.

To go by demographics, the ceremony clearly embodied the diversity gains the academy has been saying proudly are happening among its 15,000 voting members. But if new kinds of faces are becoming Grammy darlings, the music they’re being recognized for still upholds many of the academy’s old values. A night for making history was also a night for reveling in it.

Take “Luther,” a soulful hip-hop slow jam built on a prominent sample of Luther Vandross and Cheryl Lynn’s 1982 rendition of a love song Marvin Gaye and Tammi Terrell recorded in the late 1960s — an intricate piece of lineage-making meant to bridge multiple generations.

Olivia Dean performs.

(Myung J. Chun / Los Angeles Times)

“First and foremost, let’s give a shout-out to the late, great Luther Vandross,” the producer Sounwave said as he, Lamar, SZA and the song’s other creators accepted their award at Crypto.com Arena. (Before they made it onstage, Cher misread the card identifying “Luther” as record of the year and said that Vandross himself had won.) Lamar added, “This is what music is about,” and expressed his gratitude for being allowed “the privilege” to use Vandross’ music as long as he and SZA promised the singer’s estate not to curse on their record.

You can hear a similar reverence for those who came before in Olivia Dean, the 26-year-old British singer named best new artist on the strength of her hit “The Art of Loving” LP, which looks back to the gleaming pop-soul of Diana Ross and Whitney Houston.

Even Bad Bunny, the Puerto Rican rapper and singer who became a superstar at the bleeding edge of reggaeton and Latin trap, achieved his Grammy breakthrough with something of a throwback move: “Debí Tirar Más Fotos” is an exactingly arranged tribute to his native island, with elements of Puerto Rican folk styles such as bomba and plena and more hand-played instrumentation than he utilized for 2022’s sleek “Un Verano Sin Ti,” which scored a Grammy nomination for album of the year but lost to “Harry’s House” by Harry Styles (who, as it happens, presented the album prize Sunday).

Part of Bad Bunny’s success this year can be attributed to the fact that he’s a far bigger celebrity than he was three years ago; indeed, his Grammy triumph impressively sets up the halftime performance he’ll give this coming weekend at Super Bowl LX. But not unlike Beyoncé’s rootsy “Cowboy Carter,” which finally brought her a win for album of the year in 2025 after a number of outrage-inducing defeats, “Debí Tirar Más Fotos” is also primo Grammy bait: a work steeped in tradition from a natural innovator.

SZA backstage.

(Allen J. Schaben / Los Angeles Times)

For years, the Grammys’ rearview gaze used to bum me out — and, to be honest, as lovely as Eilish’s “Wildflower” is, her song of the year win with the tender acoustic ballad felt like a failure of imagination among voters I wish had recognized the hurtling exuberance of “Golden,” from Netflix’s “KPop Demon Hunters.” (“Golden” did take the prize for song written for visual media, which made it the first K-pop tune to win a Grammy.)

Yet something about Sunday’s ceremony made it hard to get too worked up about all the historicizing. Perhaps it was how plainly yet passionately many artists used their time onstage to speak about the issues pressing on us right now. “Before I say thanks to God, I’m gonna say: ICE out,” Bad Bunny told the crowd as he accepted an award for música urbana album. “We’re not savage, we’re not animals, we’re not aliens. We are humans, and we are Americans.”

Lady Gaga on the red carpet.

(Christina House/Los Angeles Times)

Eilish said, “No one is illegal on stolen land.” Dean pointed out that she’s the granddaughter of an immigrant and that “those people deserve to be celebrated.”

I was also moved by how personal so much of the music felt — a cry of imperfection like Lola Young’s “Messy,” for instance, which she performed by herself on piano and which won pop solo performance in an upset over the likes of Lady Gaga and Sabrina Carpenter. “I don’t know what I’m gonna say because I don’t have any speech prepared,” she yelled into the microphone as she received her trophy. “Obviously, I don’t — it’s messy, do you know what I mean?”

Weirdly for a show with yesterday so heavily on its mind, a tribute to the late R&B trailblazers Roberta Flack and D’Angelo was a disappointment, with Lauryn Hill as bandleader moving way too quickly (in way too short an allotted time) through songs that require real space to unfurl.

That’s what Justin Bieber had for the evening’s most striking performance: a slow and radically stripped-down rendition of his song “Yukon” that he sang wearing only boxer shorts and socks, accompanying himself with a scratchy electric guitar riff he fed through a looping station.

“Yukon” is from Bieber’s impressive “Swag” album, which he released last year after a lengthy stretch in the pop-star wilderness; it’s an LP, kind of like “Messy,” about learning to forgive yourself for your flaws, and here he sang “Yukon” like a guy who’d figured out — maybe a guy figuring out — how to build a life outside the punishing expectations of celebrity. The music had the past in it, of course, but didn’t feel constrained by it.

Justin Bieber performs.

(Myung J. Chun / Los Angeles Times)

BRITISH superstar Harry Styles is heading to Hollywood.

On Sunday night the As It Was singer returned to the Grammys to present Album of the Year – keeping a low profile by skipping the red carpet and ceremony.

And now The Sun can reveal Harry Styles, 31, is on the brink of announcing a huge residency in California as part of his upcoming Together, Together tour.

Sources have confirmed that Harry has committed to a run of shows in Los Angeles in Spring 2027.

He is currently weighing up which venue to call home after being met with two huge offers.

The management team of The Intuit Dome and The Kia Forum both have sent him big money deals.

The Sun understands a staggering 30 dates are on the table to match his upcoming run of shows in New York.

He will play 30 nights at the iconic Madison Square from August 26 – he only announced US shows. 

Harry played a 15 night run at The Forum in late 2022 and early 2023 with Love On Tour.

Meanwhile, The Intuit, home to the LA Clippers, is the most technologically advanced LA gig spot with lights in seats and a cutting edge audio system. 

A source said: “Harry is heading to Hollywood.

“He is definitely playing LA on this tour. He has mind set on a residency in early 2027.

“The question is which venue would work for him.  He has been offered The Forum and The Intuit Dome and it’s his choice which he prefers.

“The Forum gigs were some of his most free, fun and exhilarating shows on his last tour. 

“He was relaxed throughout the run and really touched by how the fans reacted to him.

“A 20 to 30 night run would be an instant sell out. He could probably play double that amount.

“Interestingly the team which booked these venues are the same people because both have the same ownership.”

The insider added: “The LA leg will be announced as part of an expansion of his tour.”

Last week Harry announced his Together, Together Tour – which included six nights at Wembley Stadium supported by Shania Twain.

The Sun were the first to reveal how that number was set to double to 12 shows.

It means he now holds the title of the act who has played the venue the most times on a single tour.

Coldplay previously held the record with ten nights at the North London venue as part of their Music of the Sphere’s Tour.

Feb. 2 (UPI) — President Donald Trump has threatened to sue Trevor Noah over a joke the comedian made while hosting Sunday night’s Grammy Awards.

“It looks like I’ll be sending my lawyers to sue this poor, pathetic, talentless dope of an M.C., and suing him for plenty$,” Trump said Sunday night in a statement on his Truth Social media platform.

Trump frequently pursues lawsuits against critics and media organizations over comments he says damaged his reputation, drawing criticism from opponents who accuse him of trying to silence dissent.

Noah, a South African comedian who has hosted the Grammy Awards since 2021, attracted the ire of the American president with a joke about Trump’s relationship with the convicted sex offender and disgraced financier Jeffrey Epstein.

After awarding singer Billie Eilish the song of the year award, Noah remarked: “That is a Grammy every artist wants — almost as much as Trump wants Greenland, which makes sense, I mean, because Epstein’s island is gone he needs a new one to hang out with Bill Clinton.”

There is no verified evidence that either president visited Epstein’s Little Saint James Island, which has been linked to sex crimes committed by Epstein against minors.

“Noah said, INCORRECTLY about me, that Donald Trump and Bill Clinton spent time on Epstein Island. WRONG!!!” Trump said in his statement.

“I can’t speak for Bill, but I have never been to Epstein Island, nor anywhere close, and until tonight’s false and defamatory statement, have never been accused of being there, not even by the Fake News Media.”

Trump and Epstein, who died in jail by apparent suicide in 2019 while awaiting trial for sex-trafficking charges, were friends dating back to the 1980s. The American president said in July that they had a falling out in the early 2000s after Epstein “stole” spa staff from his Mar-a-Lago resort including Epstein accuser Virginia Giuffre, who died by suicide in April.

On Friday, the Justice Department released millions of pages from its investigation into Epstein. Included in the documents were unverified claims and allegations submitted to the FBI that mention Trump in connection with alleged sex crimes involving minors.

Trump has denied wrongdoing. Justice Department Deputy Attorney General Todd Blanche told CNN’s State of the Union on Sunday that allegations included in the documents against Trump and others were “very quickly determined to not be credible.”

At this year’s Grammy ceremony, the Recording Academy called on artists Post Malone, Lauryn Hill and Reba McEntire to honor the musicians who died last year.

The annual In Memoriam segment paid tribute to artists including Roberta Flack, D’Angelo and Ozzy Osbourne. From heavy punk numbers to jazzy R&B ballads and solemn country-infused performances, the academy celebrated those who have shaped music, whether the artistry or the business.

It started off with a candlelit tribute from McEntire, Brandy Clark and Lukas Nelson. The trio performed McEntire’s “Trailblazer.” McEntire lost her late stepson, talent manager Brandon Blackstock, last year. As the performance continued, images of people like Connie Francis, Roy Ayers, Joe Ely and Ace Frehley appeared on the screen behind.

Then Post Malone, backed by Andrew Watt, Slash, Duff McKagan and Chad Smith — all artists who worked with Osbourne over the past few years — covered Black Sabbath’s “War Pigs,” complete with bursts of fire and endless guitar riffs. The camera continued to pan over to teary-eyed Kelly and Sharon Osbourne, daughter and wife of the Black Sabbath frontman, who attended the ceremony.

Then, it was Hill’s turn to pay tribute to late R&B pioneer D’Angelo. Behind dark shades and covered in diamonds, the singer started off by saying, “Make time for the people you love while you can.”

The singer was backed by a massive band and started to sing her own track “Nothing Even Matters.” She was soon joined by musicians Lucky Daye, Leon Thomas and Jon Batiste. As they continued to blend the sounds of “Brown Sugar” and “Devil’s Pie,” the giant ensemble shifted gears to pay tribute to Flack.

Throughout the remainder of the segment, Hill acted as a conductor, calling on each musician to sing their parts. They were soon joined by Chaka Khan and John Legend, who sang “Where Is the Love?” By the end of the performance, the setlist came back to the Fugees’ “Killing Me Softly With His Song.” The entire stadium erupted in applause, got on their feet and started to dance along with everyone on stage.

In between the live performance, the academy also showed video tributes for Brian Wilson of the Beach Boys, Bob Weir of the Grateful Dead and Sly Stone.

Song Of The Year

Billie Eilish – Wildflower

Record Of The Year

Kendrick Lamar feat SZA – Luther

Album Of The Year

Bad Bunny – Debí Tirar Más Fotos

Best New Artist

Olivia Dean

Best pop vocal album

Lady Gaga – Mayhem

Best pop solo performance

Lola Young – Messy

Best pop duo/group performance

Cynthia Erivo & Ariana Grande – Defying Gravity

Best dance/electronic recording

Tame Impala – End Of Summer

Best dance/electronic album

FKA Twigs – Eusexua

Best dance/pop recording

Lady Gaga – Abracadabra

Best traditional pop vocal album

Laufey – A Matter Of Time

Best Latin pop album

Natalia Lafourcade – Cancionera

Best música urbana album

Bad Bunny – DeBÍ TiRAR MáS FOToS

Best rock performance

Yungblud ft Nuno Bettencourt, Frank Bello, Adam Wakeman, II – Changes (Live From Villa Park) Back To The Beginning

Best rock song

Nine Inch Nails – As Alive As You Need Me To Be

Best rock album

Turnstile – Never Enough

Best alternative music album

The Cure – Songs Of A Lost World

Best alternative music performance

The Cure – Alone

Best metal performance

Turnstile – Birds

Best rap performance

Clipse, Pusha T & Malice feat Kendrick Lamar & Pharrell Williams – Chains & Whips

Best melodic rap performance

Kendrick Lamar with SZA – Luther

Best rap song

Kendrick Lamar feat Lefty Gunplay – TV Off

Best rap album

Kendrick Lamar – GNX

Best country solo performance

Chris Stapleton – Bad As I Used To Be

Best country duo/group performance

Shaboozey & Jelly Roll – Amen

Best country song

Tyler Childers – Bitin’ List

Best contemporary country album

Jelly Roll – Beautifully Broken

Best R&B performance

Kehlani – Folded

Best R&B song

Kehlani – Folded

Best R&B album

Leon Thomas – Mutt

Best African music performance

Tyla – Push 2 Start

Producer of the Year, Non-Classical

Cirkut (Lady Gaga, Rosé, Jade)

Songwriter of the Year, Non-Classical

Amy Allen (Rosé, Jennie, Sabrina Carpenter)

Best Comedy Album

Nate Bargatze – Your Friend, Nate Bargatze

Best compilation soundtrack for visual media

Sinners – Various artists

Best score soundtrack for visual media (includes film and televison)

Ludwig Göransson – Sinners

Best score soundtrack for video games and other interactive media

Austin Wintory – Sword of the Sea

Best song written for visual media

Huntr/x – Golden (From K-Pop Demon Hunters)

Best audiobook narration

Dalai Lama – Meditations: The Reflections Of His Holiness The Dalai Lama

Best music video

Doechii – Anxiety

Best Music Film

John Williams – Music by John Williams

Best Jazz Vocal Album

Samara Joy – Portrait

Best Jazz Instrumental Album

Sullivan Fortner feat Peter Washington and Marcus Gilmore – Southern Nights

Best Alternative Jazz Album

Nate Smith – Live-Action

Best Jazz Performance

Chich Corea, Christian McBride and Brian Blade – Windows

Best Musical Theatre Album

Buena Vista Social Club

Best Opera Recording

Heggie: Intelligence – Kwame Ryan, conductor (Houston Grand Opera; Gene Scheer)

Best Orchestral Performance

Messiaen: Turangalila-Symphonie-Andris Nelsons, conductor (Boston Symphony Orchestra)

In speech after speech, this year’s Grammy-winning artists returned to one message—ICE is a menace that must be stopped.

After dramatic, violent escalations in federal raids on immigrant communities and their supporters in Minneapolis and across the country, Americans have been shocked into despair and action. Many artists up for top Grammys have been vocal about their opposition to these raids, but at Sunday’s Grammys, the topic was front and center for many winners in their speeches.

“I want to dedicate this to all the people who had to leave their home, their country, to follow their dreams,” Bad Bunny said in his mostly-Spanish acceptance speech for the Grammys top prize, Album of the Year.

Earlier in the night, he joked with host Trevor Noah about Puerto Rico not being a great place for Noah should flee to, the island still being an American territory and all. But Bad Bunny made his point clearly even before taking home his biggest prize yet. “Ice out,” he said. “If we fight, we have to do it with love.”

With a Super Bowl halftime show coming next week, he’ll take the stage as the most important musician on earth right now, an urgent message brought to the heart of the most aggressively American live event.

As musicians around the country and the globe use their platforms to organize and speak out against the ICE raids, many acts wore pins on the red carpet Sunday—from Joni Mitchell and Carole King to Olivia Rodrigo, Brandi Carlile and Justin and Hailey Bieber.

Yet it was striking just how many artists used the acceptance speeches to decry the agency’s actions under President Trump.

Billie Eilish, an upset winner with brother Finneas for song for “Wildflower,” was even more direct. “No one is illegal on stolen land,” she said. “It’s hard to know what to say and what to do, but we need to keep fighting and speaking up and protesting. Our voices really do matter.” Then came a long, bleeped moment on the CBS broadcast—presumably something urgently profane directed at a similar target.

That sentiment spanned genres and cultures. New artist winner, the U.K. R&B singer Olivia Dean, acknowledged the gifts of being “the granddaughter of an immigrant. I’m a product of bravery and I think these people deserve to be celebrated.”

“Immigrants built this country, literally,” said country star Shaboozey, a descendant of Nigerian immigrant parents, winning for country duo/group performance. “This is also for those who came to this country in search of better opportunity to be part of a nation that promised freedom for all and equal opportunity to everyone willing to work for it. Thank you for bringing your culture your music, your stories and your traditions here.”

Kehlani, a winner for R&B song and performance, said that “Together, we’re stronger in numbers to speak out against all the injustice going on in the world right now. I hope everyone is inspired to come together as a community of artists ad speak out against what’s going on.”

” F— Ice,” Kehlani added, walking off the stage.

Recording Academy chief Harvey Mason Jr. also used his speech to underscore the “uncertainty and real trauma,” of the environment in America now. “It can be easy to feel overwhelmed, even helpless in challenging times. But music never stands still,” he said. “When we’re exhausted, music restores us. When were grieving, music sits with us.”

Alongside the night’s words of warning and rage, singer SZA offered what amounted to reassurance in her speech after winning record for “Luther,” her Hot 100-dominating collaboration with Kendrick Lamar.

“Please don’t fall into despair,” she said. “I know algorithms tell us it’s so scary and all is lost. But we can go on, we need each other. We’re not governed by the government, we’re governed by God.”

GRAMMYS viewers were left in stitches after Lola Young accidentally said the F-word in their acceptance speech.

The British singer, who brought Bad Bunny and other Grammy Awards attendees to tears with her Best New Artist performance, won for Best Pop Solo Performance for their hit single Messy.

Lola, 25, took the stage to accept the award and deliver her speech to a packed audience of her peers, including Justin and Hailey Bieber, Jelly Roll, Chappell Roan, and more.

Many fans believed the musician, who goes by they/them pronouns, would win Best New Artist, but they were edged out by Olivia Dean, who accepted the award from The Subway singer.

It quickly became clear to Grammy Awards viewers that Lola – who performed early in the show due to a change in format – hadn’t expected to win, and did not prepare a speech.

They went off the cuff, and in her nervousness and excitement they let the F-word slip.

STRIPPED DOWN

Justin Bieber performs in UNDERWEAR for first Grammys performance in 4 years

KLUM’S BUM

Heidi Klum bares all with mold-style dress showing off body at Grammys

CBS’ censors, typically on a delay to prevent these mishaps, bleeped her too early and missed the actual curse word.

“I don’t know what to say. Thank you so much,” Lola began, smiling while holding her statue.

The bleeping began as they continued speaking, cutting off just as they said, “f**king.”

They immediately began waving her hands, apologizing profusely.

“Sorry! Sorry! Sorry!” they yelled into the camera.

In Trevor Noah’s final opening monologue at the Grammys, the joke that got the loudest laugh in the room was directed at Nicki Minaj’s MAGA alliance.

After six consecutive years of hosting the Grammys, the comedian is stepping down from the emcee role. Last year, Noah’s monologue was focused on the resilience of Los Angeles and paid tribute to the victims of the Palisades and Eaton fires. This year, he poked fun at attending celebrities and commented on the country’s political climate.

When he addressed the fact that Nicki Minaj was not in attendance, the audience applauded in response. He joked that “she is still at the White House with Donald Trump discussing very important issues: ‘Actually, Nicki, I have the biggest ass, I have it. Everybody’s saying it, Nicki, I know they say it’s you, but it’s me. WAP, WAP, WAP. Look at it, baby,’” Noah said in his best Trump impression.

Last week, Minaj appeared at a U.S. Treasury event, where she stood on stage with President Trump and said, “I am probably the president’s No. 1 fan, and that’s not going to change.”

While detailing what the night ahead entails, Noah compared this year’s Grammys to the 1999 ceremony.

“The last time Lauryn Hill performed at the Grammys was in 1999,” said Noah. “Back in 1999 the president had a sex scandal, people thought computers were about to destroy the world and Diddy was arrested. Boy, how times have changed.”

Noah also poked fun at Jelly Roll, asking if he was able to unlock fellow face-tatted singer Teddy Swims’ phone. He also mentioned that the arena stuffed with A-listers felt somewhat like billionaire Jeff Bezos’ wedding, “but with way more Black people.”

In addition to it being Noah’s final hosting gig, this year’s ceremony is also the last to air on CBS, its home network since 1973. After tonight, it kicks off a 10-year run with Disney. The Grammys will air on ABC, Hulu and Disney+ beginning in 2027.

One way to honor your 93-year-old host: by calling him a “f— gangster” who’ll “slit your throat for a hit record.”

That’s how Monte Lipman big-upped Clive Davis on Saturday night at the Beverly Hilton, where Davis had convened an invite-only crowd of celebrities and music-industry insiders for his annual night-before-the-Grammys gala. Lipman, who runs Republic Records, was there to receive the Recording Academy’s Industry Icon award along with his brother and business partner, Avery; clearly, the commendation had gotten him feeling all warm and fuzzy about the record-biz machers who paved his way.

An incomplete list of stars in the Hilton’s ballroom for Saturday’s soiree: Joni Mitchell, Nancy Pelosi, Stevie Wonder, Colman Domingo, Frankie Valli, Martha Stewart, Lana Del Rey, Karol G, Brandi Carlile, Bill Maher, Teyana Taylor, Gladys Knight, Bryan Cox, Jeff Goldblum, Max Martin and — speaking of record-biz machers — Motown founder Berry Gordy, who at 96 had to have been the only person at the party with more experience on him than Davis.

Jennifer Hudson performs.

(Kayla Bartkowski / Los Angeles Times)

At least a few of these luminaries had come, no doubt, to see the Lipmans pick up their prize; among the many, many successes they’ve racked up in recent years include blockbusters by Taylor Swift, Morgan Wallen, Sabrina Carpenter, Chappell Roan, Post Malone and the lovable cartoon assassins of “KPop Demon Hunters.”

But mostly folks had come to schmooze and to take in the entertainment Davis had arranged.

As always, the show featured a blend of beloved old-timers and ascendant youngsters, including three of the nominees for the Grammys’ best new artist award: Sombr, pouting extravagantly through a pretend-sleazy “12 to 12”; Olivia Dean, downright luminous as a horn section added some swing to “Man I Need”; and Alex Warren, who’s beginning to look like he may never want to sing “Ordinary” again.

Sombr spins Olivia Dean during his performance.

(Kayla Bartkowski / Los Angeles Times)

Clipse and John Legend performed “The Birds Don’t Sing,” from the rap duo’s “Let God Sort Em Out,” which is up for album of the year at Sunday’s Grammys ceremony. The women of “KPop Demon Hunters’” Huntr/x turned up to sing “Golden,” which is nominated for song of the year.

MGK and Jelly Roll tag-teamed an homage to the late Ozzy Osbourne, while Jennifer Hudson saluted the late Roberta Flack; her typically virtuosic rendition of “The First Time Ever I Saw Your Face” brought the room to as close to quiet as it got all night.

Pusha T of Clipse, left, and John Legend perform.

(Kayla Bartkowski / Los Angeles Times)

There were also tributes to two living legends: Bernie Taupin and Art Garfunkel. For the former, Darren Criss sang “Bennie and the Jets” — just one of the classics Taupin co-wrote with Elton John — then brought out Laufey for a surprisingly frisky take on John and Kiki Dee’s disco-era “Don’t Go Breaking My Heart.” (Free idea: Somebody cast Criss and Laufey in a reboot of “Grease.”)

To honor Garfunkel, the country duo Dan + Shay performed “Mrs. Robinson” before throwing to the 84-year-old himself, who sauntered onstage in a tuxedo and Phillies ball cap, sat down on a stool and — after having read a bit of poetry scrawled on the back on an envelope — closed the show with a touching if slightly wobbly journey across “Bridge Over Troubled Water.”

Behold more pictures from Saturday’s event:

Art Garfunkel performs.

(Kayla Bartkowski / Los Angeles Times)

Clive Davis, left, addresses the crowd.

(Kayla Bartkowski / Los Angeles Times)

Karol G on the red carpet.

(Kayla Bartkowski / Los Angeles Times)

Adam Lambert on the red carpet.

(Kayla Bartkowski / Los Angeles Times)

Darren Criss, left, and Laufey perform.

(Kayla Bartkowski / Los Angeles Times)

Jelly Roll, left, and Bunnie Xo on the red carpet.

(Kayla Bartkowski / Los Angeles Times)

Monte Lipman, left, and Avery Lipman on the red carpet.

(Kayla Bartkowski / Los Angeles Times)

Olivia Dean performs.

(Kayla Bartkowski / Los Angeles Times)

From the Versace dress that led to the creation of Google Images to the Swarovski-encrusted jumpsuit that repopularized androgynous menswear on the red carpet, the Grammy Awards show is synonymous with iconic fashion. Bold and daring looks often push the envelope.

Music’s biggest night returns to Crypto.com Arena on Sunday and will bring with it the edgiest fashion of the season. Lady Gaga, Sabrina Carpenter, Billie Eilish, SZA, Doechii, Chappell Roan, Addison Rae, Miley Cyrus, Cardi B, Katseye and Huntr/x are among the nominees sure to turn heads while Bad Bunny, Kendrick Lamar, Justin Bieber, Bruno Mars and Tyler, the Creator are some of the men who will bring their A game.

Here’s the best fashion from the 2026 Grammys, captured by The Times’ photo team.

READ MORE: Winners list | Full coverage

FKA Twigs

FKA Twigs stuns on the red carpet before her first-ever Grammy win.

(Christina House / Los Angeles Times)

Lola Young

Best new artist nominee Lola Young attends the Grammys for the first time.

(Christina House / Los Angeles Times)

Kehlani

Kehlani is among the musicians wearing an ICE OUT pin on the Grammys red carpet.

(Christina House / Los Angeles Times)

Gesaffelstein

French DJ Gesaffelstein wears his signature mask.

(Christina House / Los Angeles Times)

Joni Mitchell

The legendary Joni Mitchell has arrived.

(Christina House / Los Angeles Times)

Yungblud and Sharon Osbourne

Yungblud and Sharon Osbourne get animated on the red carpet. Ozzy Osbourne, who died last year, was a mentor to the British rocker.

(Christina House / Los Angeles Times)

Keltie Knight

E! News’ Keltie Knight wows in a high-slit gown.

(Christina House / Los Angeles Times)

As it turns out, ‘80s pop star Kate Bush and fictional girl group Huntr/x from “KPop Demon Hunters” have a lot in common.

Over the last several years, Netflix has positioned itself as one of the few video streaming services focused on making an impact in the music industry.

From the surprise revival of older songs like Bush’s “Running Up That Hill” and Metallica’s “Master of Puppets” in shows like “Stranger Things,” to streaming the most originally produced music documentaries, there’s no doubt Netflix’s audience is musically in tune.

Last summer Netflix hit another level with the overwhelming success of “KPop Demon Hunters.” The animated movie, featuring fictional K-pop idols who fight the forces of evil, has become the most streamed Netflix movie with more than 480 million views since its release in June. But its success wasn’t limited to the viewership.

The soundtrack, full of punchy K-pop melodies and inescapable earworms, is the first to top the Billboard charts since 2022, when Disney’s “Encanto” created a similar frenzy. Huntr/x is also up for five Grammys at the awards ceremony Sunday.

The breakout single, “Golden,” which spent eight weeks at No. 1 on the Billboard Hot 100, is nominated for song of the year, the first time a Netflix production has been nominated in one of the Grammys’ big four categories.

Music and movies always have enjoyed a symbiotic relationship. Think of classic tunes like “Over the Rainbow” in “The Wizard of Oz” and “My Heart Will Go On” in “Titanic” that became generational hits.

Now, Netflix and other global streaming platforms have taken the synergy to another level, creating new opportunities for recording artists to showcase their music.

“All of a sudden, people are discovering music they didn’t know before,” said Ian Eisendrath, the “KPop Demon Hunters” music supervisor. “I think that people got hooked on the film, which hooked them on the soundtrack, which led to the discovery of other music.”

Eisendrath said the movie, produced by Culver City-based Sony Pictures Animation, was not expected to be “a slam dunk commercial success. It was a risk.”

Though geared toward children, the movie drew a vast audience of all ages.

“It hit all kinds of angles, the music, the story, the characters, the visuals — [Netflix] was very interested in a film that would have wide-ranging appeal to all the quadrants of movie watchers,” Eisendrath said.

In the streaming era, music supervisors like Eisendrath play an increasingly important role in the success of projects like “KPop Demon Hunters,” said Robert Fink, the chair of music industry programs at UCLA’s Herb Alpert School of Music.

He said over the last 10 years, the role has become about more than just finding a song to match a scene.

“They nurture artists in the way that record labels used to do,” Fink said. “They have artists that nobody knows about, or can get some people to write songs for [the project], which might then become a way that those artists and those songs become successful in the industry.”

The singing voices behind Huntr/x aren’t those of the lead actors. They belong to rising musicians Ejae, Audrey Nuna and Rei Ami. Ejae has written songs for major K-pop groups like Twice, Le Sserafim and Red Velvet, while Nuna and Ami have experience as solo artists.

Though they weren’t a group before the film, they have since performed together on the “The Tonight Show Starring Jimmy Fallon,” “Saturday Night Live” and in the Macy’s Thanksgiving Day Parade.

The soundtrack earned global appeal, with more than two thirds of its streams originating from outside the U.S., according to data from entertainment industry analytics firm Luminate. “Golden” scored a record 20 weeks at No. 1 on the Billboard Global charts. The popularity of the movie and its music helped boost music consumption on a global scale.

“KPop Demon Hunters” already is faring well this awards season: It won two Golden Globes and received two Oscar nominations for best animated feature and original song.

Justin Kamps, the music supervisor on “Bridgerton,” noticed a similar trend when new seasons of the Regency-era romance series drop. The period piece is famous for playing quaint orchestral covers of contemporary pop artists such as Billie Eilish, Pitbull and BTS. Its latest season is set to feature covers of Third Eye Blind, Coldplay and Usher.

According to Spotify, both the Vitamin String Quartet, the group behind the covers, and the original artists’ songs, like Eilish’s “Happier Than Ever” and BTS’ “Dynamite,” experienced spikes in listening after the show’s release.

“Music and streaming has grown together. It’s great for artists, because the moment that a song is featured in a project, it could be an incredible boost to their streaming numbers and get them discovered,” Kamps said.

Perhaps one of the most memorable examples of this dynamic happened in 2022, when “Stranger Things” featured Bush’s “Running Up That Hill.” Overnight, everything changed for both Bush and Netflix.

Nora Felder, the show’s music supervisor, called the moment “the perfect storm.”

“It exploded through the stratosphere. We didn’t expect that. We were focused on looking for something that told the narrative. It felt like it had been bigger than ever before,” Felder said.

“Running Up That Hill” received roughly 22,000 daily streams on average before it was featured in the show, according to Luminate. Following its star turn, the song it peaked at 5.1 million streams in a single day — nearly 40 years after its release. It entered the Billboard Hot 100 for the first time and hit 1 billion streams in 2022. The track then spawned viral trends on TikTok and pulled the ‘80s star into contemporary pop culture.

Throughout its five-season rollout, “Stranger Things” continued to influence what viewers were listening to. Felder said the draw of its soundtrack is a mix of nostalgia for older viewers who might have grown up in the ‘80s (the era in which the show is set) and an introduction to a new sonic world for younger listeners. According to Luminate, 28% of Gen Z discovers music through series that are exclusive to streaming.

When Felder works with other studios, she said music can feel like a “last consideration” or like “there wasn’t enough money being put in the music budget.” But with Netflix, music seems to be a priority, as she’s been able to license tracks from David Bowie and Fleetwood Mac and two Prince songs (which played in the “Stranger Things” series finale).

“Netflix is very careful, and for some projects, music is more of a main character than others,” Felder said. “I do feel like Netflix especially has been very careful to try and apply the budget accordingly and take a look at projects and [realize] that music could really be an added force.”

Netflix’s musicality will be put to the test during Sunday’s Grammys broadcast, as the girls of Huntr/x face off with Lady Gaga, Sabrina Carpenter, Kendrick Lamar and SZA, as well as Bad Bunny, Bruno Mars and Rosé. The Grammys will air live from the Crypto.com Arena on CBS and Paramount+.

This year’s Grammy Awards are sure to be defined by historic firsts and lasts.

Music’s biggest night returns to L.A.’s Crypto.com Arena on Sunday, broadcast live on CBS and streaming on Paramount+ starting at 5 p.m. Pacific. After more than half a century on CBS, the awards show will move to Disney outlets in 2027. Trevor Noah will also be hosting for the sixth and final time.

Bad Bunny, Sabrina Carpenter, Doechii, Billie Eilish, Lady Gaga, Kendrick Lamar With SZA, Chappell Roan and the duo of Rosé and Bruno Mars vie for the coveted record of the year, while Bad Bunny, Justin Bieber, Carpenter, Clipse, Pusha T and Malice, Lady Gaga, Lamar, Leon Thomas and Tyler, the Creator compete in the album of the year category.

Lamar leads nominations with nine, followed by Lady Gaga and producers Cirkut and Jack Antonoff, each of whom has seven. Bad Bunny, Carpenter, Thomas and recording engineer Serban Ghenea are tied with six.

Record of the year

“DtMF” — Bad Bunny
“Manchild” — Sabrina Carpenter
“Anxiety” — Doechii
“Wildflower” — Billie Eilish
“Abracadabra” — Lady Gaga
“Luther” — Kendrick Lamar With SZA
“The Subway” — Chappell Roan
“Apt.” — Rosé, Bruno Mars

Album of the year

“Debí Tirar Más Fotos” — Bad Bunny
“Swag” — Justin Bieber
“Man’s Best Friend” — Sabrina Carpenter
“Let God Sort Em Out” — Clipse, Pusha T and Malice
“Mayhem” — Lady Gaga
“GNX” — Kendrick Lamar
“Mutt” — Leon Thomas
“Chromakopia” — Tyler, the Creator

Song of the year

“Abracadabra” — Lady Gaga, Henry Walter and Andrew Watt, songwriters (Lady Gaga)
“Anxiety” — Jaylah Hickmon, songwriter (Doechii)
“Apt.” — Amy Allen, Christopher Brody Brown, Rogét Chahayed, Omer Fedi, Philip Lawrence, Bruno Mars, Chae Young Park, Theron Thomas and Henry Walter, songwriters (Rosé, Bruno Mars)
“DtMF” — Marco Daniel Borrero, Scott Dittrich, Benjamin Falik, Benito Antonio Martínez Ocasio, Hugo René Sención Sanabria, Tyler Thomas Spry and Roberto José Rosado Torres, songwriters (Bad Bunny)
“Golden [From “KPop Demon Hunters”]” — Ejae and Mark Sonnenblick, songwriters (Huntr/x: Ejae, Audrey Nuna and Rei Ami)
“Luther” — Jack Antonoff, Roshwita Larisha Bacha, Matthew Bernard, Scott Bridgeway, Sam Dew, Ink, Kendrick Lamar, Solána Rowe, Mark Anthony Spears and Kamasi Washington, songwriters (Kendrick Lamar With SZA)
“Manchild” — Amy Allen, Jack Antonoff and Sabrina Carpenter, songwriters (Sabrina Carpenter)
“Wildflower” — Billie Eilish O’Connell and Finneas O’Connell, songwriters (Billie Eilish)

Best new artist

Olivia Dean
Katseye
The Marías
Addison Rae
Sombr
Leon Thomas
Alex Warren
Lola Young

Producer of the year, nonclassical

Dan Auerbach
Cirkut
Dijon
Blake Mills
Sounwave

Songwriter of the year, nonclassical

Amy Allen
Edgar Barrera
Jessie Jo Dillon
Tobias Jesso Jr.
Laura Veltz

Pop solo performance

“Daisies” — Justin Bieber
“Manchild” — Sabrina Carpenter
“Disease” — Lady Gaga
“The Subway” — Chappell Roan
“Messy” — Lola Young

Pop duo/group performance

“Defying Gravity” — Cynthia Erivo and Ariana Grande
“Golden [From “KPop Demon Hunters”]” — Huntr/x: Ejae, Audrey Nuna and Rei Ami
“Gabriela” — Katseye
“Apt.” — Rosé, Bruno Mars
“30 for 30” — SZA With Kendrick Lamar

Pop vocal album

“Swag” — Justin Bieber
“Man’s Best Friend” — Sabrina Carpenter
“Something Beautiful” — Miley Cyrus
“Mayhem” — Lady Gaga
“I’ve Tried Everything but Therapy (Part 2)” — Teddy Swims

Dance/electronic recording

“No Cap” — Disclosure and Anderson .Paak
“Victory Lap” — Fred Again.., Skepta and Plaqueboymax
“Space Invader” — Kaytranada
“Voltage” — Skrillex
“End of Summer” — Tame Impala

Dance pop recording

“Bluest Flame” — Selena Gomez and Benny Blanco
“Abracadabra” — Lady Gaga
“Midnight Sun” — Zara Larsson
“Just Keep Watching (From “F1 The Movie”)” — Tate McRae
“Illegal” — PinkPantheress

Dance/electronic album

“Eusexua” — FKA twigs
“Ten Days” — Fred Again..
“Fancy That” — PinkPantheress
“Inhale / Exhale” — Rüfüs Du Sol
“F— U Skrillex You Think Ur Andy Warhol but Ur Not!! <3” — Skrillex

Remixed recording

“Abracadabra (Gesaffelstein Remix)” — Gesaffelstein, remixer (Lady Gaga and Gesaffelstein)
“Don’t Forget About Us” — Kaytranada, remixer (Mariah Carey and Kaytranada)
“A Dreams a Dream – Ron Trent Remix” — Ron Trent, remixer (Soul II Soul)
“Galvanize” — Chris Lake, remixer (The Chemical Brothers and Chris Lake)
“Golden – David Guetta Rem/x” — David Guetta, remixer (Huntr/x: Ejae, Audrey Nuna and Rei Ami)

Rock performance

“U Should Not Be Doing That” — Amyl and the Sniffers
“The Emptiness Machine” — Linkin Park
“Never Enough” — Turnstile
“Mirtazapine” — Hayley Williams
“Changes (Live From Villa Park) Back to the Beginning” — Yungblud Featuring Nuno Bettencourt, Frank Bello, Adam Wakeman and II

“Night Terror” — Dream Theater
“Lachryma” — Ghost
“Emergence” — Sleep Token
“Soft Spine” — Spiritbox
“Birds” — Turnstile

Rock song

“As Alive as You Need Me to Be” — Trent Reznor and Atticus Ross, songwriters (Nine Inch Nails)
“Caramel” — Vessel1 and Vessel2, songwriters (Sleep Token)
“Glum” — Daniel James and Hayley Williams, songwriters (Hayley Williams)
“Never Enough” — Daniel Fang, Franz Lyons, Pat McCrory, Meg Mills and Brendan Yates, songwriters (Turnstile)
“Zombie” — Dominic Harrison and Matt Schwartz, songwriters (Yungblud)

Rock album

“Private Music” — Deftones
“I Quit” — Haim
“From Zero” — Linkin Park
“Never Enough” — Turnstile
“Idols” — Yungblud

Alternative music performance

“Everything Is Peaceful Love” — Bon Iver
“Alone” — The Cure
“Seein’ Stars” — Turnstile
“Mangetout” — Wet Leg
“Parachute” — Hayley Williams

Alternative music album

“Sable, Fable” — Bon Iver
“Songs of a Lost World” — The Cure
“Don’t Tap the Glass” — Tyler, the Creator
“Moisturizer” — Wet Leg
“Ego Death at a Bachelorette Party” — Hayley Williams

R&B performance

“Yukon” — Justin Bieber
“It Depends” — Chris Brown Featuring Bryson Tiller
“Folded” — Kehlani
“Mutt (Live From NPR’s Tiny Desk)” — Leon Thomas
“Heart of a Woman” — Summer Walker

Traditional R&B performance

“Here We Are” — Durand Bernarr
“Uptown” — Lalah Hathaway
“Love You Too” — Ledisi
“Crybaby” — SZA
“Vibes Don’t Lie” — Leon Thomas

R&B song

“Folded” — Darius Dixson, Andre Harris, Kehlani Parrish, Donovan Knight, Don Mills, Khris Riddick-Tynes and Dawit Kamal Wilson, songwriters (Kehlani)
“Heart of a Woman” — David Bishop and Summer Walker, songwriters (Summer Walker)
“It Depends” — Nico Baran, Chris Brown, Ant Clemons, Ephrem Lopez Jr., Ryan Press, Bryson Tiller, Elliott Trent and Dewain Whitmore Jr., songwriters (Chris Brown Featuring Bryson Tiller)
“Overqualified” — James John Abrahart Jr. and Durand Bernarr, songwriters (Durand Bernarr)
“Yes It Is” — Jariuce Banks, Lazaro Andres Camejo, Mike Hector, Peter Lee Johnson, Rodney Jones Jr., Ali Prawl and Leon Thomas, songwriters (Leon Thomas)

Progressive R&B album

“Bloom” — Durand Bernarr
“Adjust Brightness” — Bilal
“Love on Digital” — Destin Conrad
“Access All Areas” — Flo
“Come as You Are” — Terrace Martin and Kenyon Dixon

R&B album

“Beloved” — Giveon
“Why Not More?” — Coco Jones
“The Crown” — Ledisi
“Escape Room” — Teyana Taylor
“Mutt” — Leon Thomas

Rap performance

“Outside” — Cardi B
“Chains & Whips” — Clipse, Pusha T and Malice Featuring Kendrick Lamar and Pharrell Williams
“Anxiety” — Doechii
“TV Off” — Kendrick Lamar Featuring Lefty Gunplay
“Darling, I” — Tyler, the Creator Featuring Teezo Touchdown

Melodic rap performance

“Proud of Me” — Fridayy Featuring Meek Mill
“Wholeheartedly” — JID Featuring Ty Dolla Sign and 6Lack
“Luther” — Kendrick Lamar With SZA
“WeMaj” — Terrace Martin and Kenyon Dixon Featuring Rapsody
“Somebody Loves Me” — PartyNextDoor and Drake

Rap song

“Anxiety” — Jaylah Hickmon, songwriter (Doechii)
“The Birds Don’t Sing” — Gene Elliott Thornton Jr., Terrence Thornton, Pharrell Williams and Stevie Wonder, songwriters (Clipse, Pusha T and Malice Featuring John Legend and Voices of Fire)
“Sticky” — Aaron Bolton, Dudley Alexander Duverne, Gloria Woods, Dwayne Carter Jr., Janae Wherry, Tyler Okonma and Rex Zamor, songwriters (Tyler, the Creator Featuring Glorilla, Sexyy Red and Lil Wayne)
“TGIF” — Lucas Alegria, Dillon Brophy, Yakki Davis, Gloria Woods, Jess Jackson, Ronnie Jackson, Mario Mims and Jorge M. Taveras, songwriters (Glorilla)
“TV Off” — Jack Antonoff, Larry Jayy, Kendrick Lamar, Dijon McFarlane, Sean Momberger, Mark Anthony Spears and Kamasi Washington, songwriters (Kendrick Lamar Featuring Lefty Gunplay)

Rap album

“Let God Sort Em Out” — Clipse, Pusha T and Malice
“Glorious” — GloRilla
“God Does Like Ugly” — JID
“GNX” — Kendrick Lamar
“Chromakopia” — Tyler, the Creator

Spoken word poetry album

“A Hurricane in Heels: Healed People Don’t Act Like That (Partially Recorded Live @City Winery & Other Places)” — Queen Sheba
“Black Shaman” — Marc Marcel
“Pages” — Omari Hardwick and Anthony Hamilton
“Saul Williams Meets Carlos Niño & Friends at Treepeople” — Saul Williams, Carlos Niño and Friends
“Words For Days Vol. 1” — Mad Skillz

Jazz performance

“Noble Rise” — Lakecia Benjamin Featuring Immanuel Wilkins and Mark Whitfield
“Windows – Live” — Chick Corea, Christian McBride and Brian Blade
“Peace of Mind / Dreams Come True” — Samara Joy
“Four” — Michael Mayo
“All Stars Lead to You – Live” — Nicole Zuraitis, Dan Pugach, Tom Scott, Idan Morim, Keyon Harrold and Rachel Eckroth

Jazz vocal album

“Elemental” — Dee Dee Bridgewater and Bill Charlap
“We Insist 2025!” — Terri Lyne Carrington and Christie Dashiell
“Portrait” — Samara Joy
“Fly” — Michael Mayo
“Live at Vic’s Las Vegas” — Nicole Zuraitis, Dan Pugach, Tom Scott, Idan Morim, Keyon Harrold and Rachel Eckroth

Jazz instrumental album

“Trilogy 3 (Live)” — Chick Corea, Christian McBride and Brian Blade
“Southern Nights” — Sullivan Fortner Featuring Peter Washington and Marcus Gilmore
“Belonging” — Branford Marsalis Quartet
“Spirit Fall” — John Patitucci Featuring Chris Potter and Brian Blade
“Fasten Up” — Yellowjackets

Large jazz ensemble album

“Orchestrator Emulator” — The 8-Bit Big Band
“Without Further Ado, Vol 1” — Christian McBride Big Band
“Lumen” — Danilo Pérez and Bohuslän Big Band
“Basie Rocks!” — Deborah Silver and the Count Basie Orchestra
“Lights on a Satellite” — Sun Ra Arkestra
“Some Days Are Better: The Lost Scores” — Kenny Wheeler Legacy Featuring the Royal Academy of Music Jazz Orchestra and Frost Jazz Orchestra

Latin jazz album

“La Fleur de Cayenne” — Paquito D’Rivera and Madrid-New York Connection Band
“The Original Influencers: Dizzy, Chano & Chico” — Arturo O’Farrill and the Afro Latin Jazz Orchestra Featuring Pedrito Martinez, Daymé Arocena, Jon Faddis, Donald Harrison and Melvis Santa
“Mundoagua – Celebrating Carla Bley” — Arturo O’Farrill and the Afro Latin Jazz Orchestra
“A Tribute to Benny Moré and Nat King Cole” — Gonzalo Rubalcaba, Yainer Horta and Joey Calveiro
“Vanguardia Subterránea: Live at the Village Vanguard” — Miguel Zenón Quartet

Alternative jazz album

“Honey From a Winter Stone” — Ambrose Akinmusire
“Keys to the City Volume One” — Robert Glasper
“Ride Into the Sun” — Brad Mehldau
“Live-Action” — Nate Smith
“Blues Blood” — Immanuel Wilkins

Traditional pop vocal album

“Wintersongs” — Laila Biali
“The Gift of Love” — Jennifer Hudson
“Who Believes in Angels?” — Elton John and Brandi Carlile
“Harlequin” — Lady Gaga
“A Matter of Time” — Laufey
“The Secret of Life: Partners, Volume 2” — Barbra Streisand

Contemporary instrumental album

“Brightside” — Arkai
“Ones & Twos” — Gerald Clayton
“Beatrio” — Béla Fleck, Edmar Castañeda, Antonio Sánchez
“Just Us” — Bob James and Dave Koz
“Shayan” — Charu Suri

Musical theater album

“Buena Vista Social Club” — Marco Paguia, Dean Sharenow and David Yazbek, producers (Original Broadway Cast)
“Death Becomes Her” — Taurean Everett, Megan Hilty, Josh Lamon, Christopher Sieber, Jennifer Simard and Michelle Williams, principal vocalists; Noel Carey, Sean Patrick Flahaven, Julia Mattison and Scott M. Riesett, producers; Noel Carey and Julia Mattison, composers/lyricists (Original Broadway Cast)
“Gypsy” — Danny Burstein, Kevin Csolak, Audra McDonald, Jordan Tyson and Joy Woods, principal vocalists; David Caddick, Andy Einhorn, David Lai and George C. Wolfe, producers (Jule Styne, composer; Stephen Sondheim, lyricist) (2024 Broadway Cast)
“Just in Time” — Emily Bergl, Jonathan Groff, Erika Henningsen, Gracie Lawrence and Michele Pawk, principal vocalists; Derik Lee, Andrew Resnick and Bill Sherman, producers (Bobby Darin, composer and lyricist) (Original Broadway Cast)
“Maybe Happy Ending” — Marcus Choi, Darren Criss, Dez Duron and Helen J. Shen, principal vocalists; Deborah Abramson, Will Aronson, Ian Kagey and Hue Park, producers; Hue Park, lyricist; Will Aronson, composer and lyricist (Original Broadway Cast)

Country solo performance

“Nose on the Grindstone” — Tyler Childers
“Good News” — Shaboozey
“Bad as I Used to Be [From “F1 The Movie”]” — Chris Stapleton
“I Never Lie” — Zach Top
“Somewhere Over Laredo” — Lainey Wilson

Country duo/group performance

“A Song to Sing” — Miranda Lambert and Chris Stapleton
“Trailblazer” — Reba McEntire, Miranda Lambert and Lainey Wilson
“Love Me Like You Used to Do” — Margo Price and Tyler Childers
“Amen” — Shaboozey and Jelly Roll
“Honky Tonk Hall of Fame” — George Strait and Chris Stapleton

Country song

“Bitin’ List” — Tyler Childers, songwriter (Tyler Childers)
“Good News” — Michael Ross Pollack, Sam Elliot Roman and Jacob Torrey, songwriters (Shaboozey)
“I Never Lie” — Carson Chamberlain, Tim Nichols and Zach Top, songwriters (Zach Top)
“Somewhere Over Laredo” — Andy Albert, Trannie Anderson, Dallas Wilson and Lainey Wilson, songwriters (Lainey Wilson)
“A Song to Sing” — Jenee Fleenor, Jesse Frasure, Miranda Lambert and Chris Stapleton, songwriters (Miranda Lambert and Chris Stapleton)

Traditional country album

“Dollar a Day” — Charley Crockett
“American Romance” — Lukas Nelson
“Oh What a Beautiful World” — Willie Nelson
“Hard Headed Woman” — Margo Price
“Ain’t in It for My Health” — Zach Top

Contemporary country album

“Patterns” — Kelsea Ballerini
“Snipe Hunter” — Tyler Childers
“Evangeline vs. the Machine” — Eric Church
“Beautifully Broken” — Jelly Roll
“Postcards From Texas” — Miranda Lambert

American roots performance

“Lonely Avenue” — Jon Batiste Featuring Randy Newman
“Ancient Light” — I’m With Her
“Crimson and Clay” — Jason Isbell
“Richmond on the James” — Alison Krauss & Union Station
“Beautiful Strangers” — Mavis Staples

Americana performance

“Boom” — Sierra Hull
“Poison in My Well” — Maggie Rose and Grace Potter
“Godspeed” — Mavis Staples
“That’s Gonna Leave a Mark” — Molly Tuttle
“Horses” — Jesse Welles

American roots song

“Ancient Light” —Sarah Jarosz, Aoife O’Donovan and Sara Watkins, songwriters (I’m With Her)
“Big Money” —Jon Batiste, Mike Elizondo and Steve McEwan, songwriters (Jon Batiste)
“Foxes in the Snow” — Jason Isbell, songwriter (Jason Isbell)
“Middle” — Jesse Welles, songwriter (Jesse Welles)
“Spitfire” — Sierra Hull, songwriter (Sierra Hull)

Americana album

“Big Money” — Jon Batiste
“Bloom” — Larkin Poe
“Last Leaf on the Tree” — Willie Nelson
“So Long Little Miss Sunshine” — Molly Tuttle
“Middle” — Jesse Welles

Bluegrass album

“Carter & Cleveland” — Michael Cleveland and Jason Carter
“A Tip Toe High Wire” — Sierra Hull
“Arcadia” — Alison Krauss & Union Station
“Outrun” — The Steeldrivers
“Highway Prayers” — Billy Strings

Traditional blues album

“Ain’t Done With the Blues” — Buddy Guy
“Room on the Porch” — Taj Mahal and Keb’ Mo’
“One Hour Mama: The Blues of Victoria Spivey” — Maria Muldaur
“Look Out Highway” — Charlie Musselwhite
“Young Fashioned Ways” — Kenny Wayne Shepherd and Bobby Rush

Contemporary blues album

“Breakthrough” — Joe Bonamassa
“Paper Doll” — Samantha Fish
“A Tribute to LJK” — Eric Gales
“Preacher Kids” — Robert Randolph
“Family” — Southern Avenue

Folk album

“What Did the Blackbird Say to the Crow” — Rhiannon Giddens and Justin Robinson
“Crown of Roses” — Patty Griffin
“Wild and Clear and Blue” — I’m With Her
“Foxes in the Snow” — Jason Isbell
“Under the Powerlines (April 24 – September 24)” — Jesse Welles

Regional roots music album

“Live at Vaughan’s” — Corey Henry and the Treme Funktet
“For Fat Man” — Preservation Brass and Preservation Hall Jazz Band
“Church of New Orleans” — Kyle Roussel
“Second Line Sunday” — Trombone Shorty and New Breed Brass Band
“A Tribute to the King of Zydeco” — (Various Artists)

Gospel performance/song

“Do It Again” — Kirk Franklin; Kirk Franklin, songwriter
“Church” — Tasha Cobbs Leonard, John Legend; Anthony S. Brown, Brunes Charles, Annatoria Chitapa, Kenneth Leonard Jr., Tasha Cobbs Leonard and Jonas Myrin, songwriters
“Still (Live)” — Jonathan McReynolds and Jamal Roberts; Britney Delagraentiss, Jonathan McReynolds, David Lamar Outing III, Orlando Joel Palmer and Terrell Demetrius Wilson, songwriters
“Amen” — Pastor Mike Jr.; Adia Andrews, Michael McClure Jr., David Lamar Outing II and Terrell Anthony Pettus, songwriters
“Come Jesus Come” — Cece Winans Featuring Shirley Caesar

Contemporary Christian music performance/song

“I Know a Name” — Elevation Worship, Chris Brown, Brandon Lake; Hank Bentley, Steven Furtick, Brandon Lake and Jacob Sooter, songwriters
“Your Way’s Better” — Forrest Frank; Forrest Frank and Pera, songwriters
“Hard Fought Hallelujah” — Brandon Lake With Jelly Roll; Chris Brown, Steven Furtick, Benjamin William Hastings, Jason Bradley Deford and Brandon Lake, songwriters
“Headphones” — Lecrae, Killer Mike, T.I.; Tyshane Thompson, Bongo ByTheWay, Michael Render, Lecrae Moore, William Roderick Miller and Clifford Harris, songwriters
“Amazing” — Darrel Walls, PJ Morton; PJ Morton and Darrel Walls, songwriters

Gospel album

“Sunny Days” — Yolanda Adams
“Tasha” — Tasha Cobbs Leonard
“Live Breathe Fight” — Tamela Mann
“Only on the Road (Live)” — Tye Tribbett
“Heart of Mine” — Darrel Walls, PJ Morton

Contemporary Christian music album

“Child of God II” — Forrest Frank
“Coritos Vol. 1” — Israel & New Breed
“King Of Hearts” — Brandon Lake
“Reconstruction” — Lecrae
“Let the Church Sing” — Tauren Wells

Roots gospel album

“I Will Not Be Moved (Live)” — The Brooklyn Tabernacle Choir
“Then Came the Morning” — Gaither Vocal Band
“Praise & Worship: More Than a Hollow Hallelujah” — The Isaacs
“Good Answers” — Karen Peck & New River
“Back to My Roots” — Candi Staton

Latin pop album

“Cosa Nuestra” — Rauw Alejandro
“Bogotá (Deluxe)” — Andrés Cepeda
“Tropicoqueta” — Karol G
“Cancionera” — Natalia Lafourcade
“¿Y ahora qué?” — Alejandro Sanz

Música urbana album

“Debí Tirar Más Fotos” — Bad Bunny
“Mixteip” — J Balvin
“Ferxxo Vol X: Sagrado” — Feid
“Naiki” — Nicki Nicole
“EUB Deluxe” — Trueno
“Sinfónico (En Vivo)” — Yandel

Latin rock or alternative album

“Genes Rebeldes” — Aterciopelados
“Astropical” — Bomba Estéreo, Rawayana and Astropical
“Papota” — Ca7riel and Paco Amoroso
“Algorhythm” — Los Wizzards
“Novela” — Fito Paez

Música Mexicana album (including Tejano)

“Mala Mía” — Fuerza Regida, Grupo Frontera
“Y Lo Que Viene” — Grupo Frontera
“Sin Rodeos” — Paola Jara
“Palabra De To’s (Seca)” — Carín León
“Bobby Pulido & Friends Una Tuya Y Una Mía – Por La Puerta Grande (En Vivo)” — Bobby Pulido

Tropical Latin album

“Fotografías” — Rubén Blades, Roberto Delgado and Orquesta
“Raíces” — Gloria Estefan
“Clásicos 1.0” — Grupo Niche
“Bingo” — Alain Pérez
“Debut y Segunda Tanda, Vol. 2” — Gilberto Santa Rosa

Global music performance

“EoO” — Bad Bunny
“Cantando en el Camino” — Ciro Hurtado
“Jerusalema” — Angélique Kidjo
“Inmigrante Y Que?” — Yeisy Rojas
“Shrini’s Dream (Live)” — Shakti
“Daybreak” — Anoushka Shankar Featuring Alam Khan and Sarathy Korwar

African music performance

“Love” — Burna Boy
“With You” — Davido Featuring Omah Lay
“Hope & Love” — Eddy Kenzo and Mehran Matin
“Gimme Dat” — Ayra Starr Featuring Wizkid
“Push 2 Start” — Tyla

Global music album

“Sounds of Kumbha” — Siddhant Bhatia
“No Sign of Weakness” — Burna Boy
“Eclairer le monde – Light the World” — Youssou N’Dour
“Mind Explosion (50th Anniversary Tour Live)” — Shakti
“Chapter III: We Return to Light” — Anoushka Shankar Featuring Alam Khan and Sarathy Korwar
“Caetano e Bethânia Ao Vivo” — Caetano Veloso and Maria Bethânia

Reggae album

“Treasure Self Love” — Lila Iké
“Heart & Soul” — Vybz Kartel
“Blxxd & Fyah” — Keznamdi
“From Within” — Mortimer
“No Place Like Home” — Jesse Royal

New age, ambient or chant album

“Kuruvinda” — Kirsten Agresta-Copely
“According to the Moon” — Cheryl B. Engelhardt, GEM and Dallas String Quartet
“Into the Forest” — Jahnavi Harrison
“Nomadica” — Carla Patullo Featuring the Scorchio Quartet and Tonality
“The Colors in My Mind” — Chris Redding

Children’s music album

“Ageless: 100 Years Young” — Joanie Leeds and Joya
“Buddy’s Magic Tree House” — Mega Ran
“Harmony” — Fyütch and Aura V
“Herstory” — Flor Bromley
“The Music of Tori and the Muses” — Tori Amos

Comedy album

“Drop Dead Years” — Bill Burr
“Postmortem” — Sarah Silverman
“Single Lady” — Ali Wong
“What Had Happened Was…” — Jamie Foxx
“Your Friend, Nate Bargatze” — Nate Bargatze

Audio book, narration and storytelling recording

“Elvis, Rocky & Me: The Carol Connors Story” — Kathy Garver
“Into the Uncut Grass” — Trevor Noah
“Lovely One: A Memoir” — Ketanji Brown Jackson
“Meditations: The Reflections of His Holiness the Dalai Lama” — Dalai Lama
“You Know It’s True: The Real Story of Milli Vanilli” — Fab Morvan

“A Complete Unknown” — Timothée Chalamet
“F1 The Album” — (Various Artists)
“KPop Demon Hunters” — (Various Artists)
“Sinners” — (Various Artists)
“Wicked” — (Various Artists)

“How to Train Your Dragon” — John Powell, composer
“Severance: Season 2” — Theodore Shapiro, composer
“Sinners” — Ludwig Göransson, composer
“Wicked” — John Powell and Stephen Schwartz, composers
“The Wild Robot” — Kris Bowers, composer

“Avatar: Frontiers of Pandora – Secrets of the Spires” — Pinar Toprak, composer
“Helldivers 2” — Wilbert Roget, II, composer
“Indiana Jones and the Great Circle” — Gordy Haab, composer
“Star Wars Outlaws: Wild Card & a Pirate’s Fortune” — Cody Matthew Johnson and Wilbert Roget, II, composers
“Sword of the Sea” — Austin Wintory, composer

“As Alive as You Need Me to Be [From “Tron: Ares”]” — Trent Reznor and Atticus Ross, songwriters (Nine Inch Nails)
“Golden [From “KPop Demon Hunters”]” — Ejae and Mark Sonnenblick, songwriters (Huntr/x: Ejae, Audrey Nuna and Rei Ami)
“I Lied to You [From “Sinners”]” — Ludwig Göransson and Raphael Saadiq, songwriters (Miles Caton)
“Never Too Late [From “Elton John: Never Too Late”]” — Brandi Carlile, Elton John, Bernie Taupin and Andrew Watt, songwriters (Elton John, Brandi Carlile)
“Pale, Pale Moon [From “Sinners”]” — Ludwig Göransson and Brittany Howard, songwriters (Jayme Lawson)
“Sinners [From “Sinners”]” — Leonard Denisenko, Rodarius Green, Travis Harrington, Tarkan Kozluklu, Kyris Mingo and Darius Povilinus, songwriters (Rod Wave)

Music video

“Young Lion” — Sade; Sophie Muller, video director; Sade and Aaron Taylor Dean, video producers
“Manchild” — Sabrina Carpenter; Vania Heymann and Gal Muggia, video directors; Aiden Magarian, Nathan Scherrer and Natan Schottenfels, video producers
“So Be It” — Clipse; Hannan Hussain, video director; Daniel Order, video producer
“Anxiety” — Doechii; James Mackel, video director; Pablo Feldman, Jolene Mendes and Sophia Sabella, video producers
“Love” — OK Go; Aaron Duffy, Miguel Espada and Damian Kulash Jr., video directors; Petra Ahmann, video producer

Music film

“Devo” — Devo; Chris Smith, video director; Danny Gabai, Anita Greenspan, Chris Holmes and Chris Smith, video producers
“Live at the Royal Albert Hall” — Raye; Paul Dugdale, video director; Stefan Demetriou and Amy James, video producers
“Relentless” — Diane Warren; Bess Kargman, video director; Peggy Drexler, Michele Farinola and Kat Nguyen, video producers
“Music by John Williams” — John Williams; Laurent Bouzereau, video director; Sara Bernstein, Laurent Bouzereau, Justin Falvey, Darryl Frank, Brian Grazer, Ron Howard, Meredith Kaulfers, Kathleen Kennedy, Frank Marshall, Steven Spielberg and Justin Wilkes, video producers
“Piece by Piece” — Pharrell Williams; Morgan Neville, video director; Morgan Neville, Caitrin Rogers, Mimi Valdes and Pharrell Williams, video producers

Recording package

“And the Adjacent Possible” — Hà Trinh Quoc Bao, Damian Kulash Jr., Claudio Ripol, Wombi Rose and Yuri Suzuki, art directors (OK Go)
“Balloonerism” — Bráulio Amado and Alim Smith, art directors (Mac Miller)
“Danse Macabre: De Luxe” — Rory McCartney, art director (Duran Duran)
“Loud Is As” — Farbod Kokabi and Emily Sneddon, art directors (Tsunami)
“Sequoia” — Tim Breen and Ken Shipley, art directors (Various Artists)
“The Spins (Picture Disc Vinyl)” — Miller McCormick, art director (Mac Miller)
“Tracks II: The Lost Albums” — Meghan Foley and Michelle Holme, art directors (Bruce Springsteen)

Album cover

“Chromakopia” — Shaun Llewellyn and Luis “Panch” Perez, art directors (Tyler, the Creator)
“The Crux” — William Wesley II, art director (Djo)
“Debí Tirar Más Fotos” — Benito Antonio Martinez Ocasio, art director (Bad Bunny)
“Glory” — Cody Critcheloe and Andrew J.S., art directors (Perfume Genius)
“Moisturizer” — Hester Chambers, Ellis Durand, Henry Holmes, Matt de Jong, Jamie-James Medina, Joshua Mobaraki and Rhian Teasdale, art directors (Wet Leg)

Album notes

“Adios, Farewell, Goodbye, Good Luck, So Long: On Stage 1964-1974” — Scott B. Bomar, album notes writer (Buck Owens and His Buckaroos)
“After the Last Sky” — Adam Shatz, album notes writer (Anouar Brahem, Anja Lechner, Django Bates and Dave Holland)
“Árabe” — Amanda Ekery, album notes writer (Amanda Ekery)
“The First Family: Live at Winchester Cathedral 1967” — Alec Palao, album notes writer (Sly & the Family Stone)
“A Ghost Is Born (20th Anniversary Deluxe Edition)” — Bob Mehr, album notes writer (Wilco)
“Miles ‘55: The Prestige Recordings” — Ashley Kahn, album notes writer (Miles Davis)

Historical album

“Joni Mitchell Archives – Volume 4: The Asylum Years (1976-1980)” — Patrick Milligan and Joni Mitchell, compilation producers; Bernie Grundman, mastering engineer (Joni Mitchell)
“The Making of Five Leaves Left” — Cally Callomon and Johnny Chandler, compilation producers; Simon Heyworth and John Wood, mastering engineers (Nick Drake)
“Roots Rocking Zimbabwe – The Modern Sound of Harare’ Townships 1975-1980 (Analog Africa No.41)” — Samy Ben Redjeb, compilation producer; Michael Graves, mastering engineer (Various Artists)
“Super Disco Pirata – De Tepito Para El Mundo 1965-1980 (Analog Africa No. 39)” — Samy Ben Redjeb, compilation producer; Michael Graves, mastering engineer (Various Artists)
“You Can’t Hip a Square: The Doc Pomus Songwriting Demos” — Will Bratton, Sharyn Felder and Cheryl Pawelski, compilation producers; Michael Graves, mastering engineer (Doc Pomus)

Best engineered album, nonclassical

“All Things Light” — Jesse Brock, Jon Castelli, Tyler Johnson, Nick Lobel, Simon Maartensson, Lawrence “Boo” Mitchell, Anders Mouridsen, Ryan Nasci, Ernesto Olivera-Lapier, Ethan Schneiderman and Owen Stoutt, engineers; Dale Becker, mastering engineer (Cam)
“Arcadia” — Neal Cappellino and Gary Paczosa, engineers; Brad Blackwood, mastering engineer (Alison Krauss & Union Station)
“For Melancholy Brunettes (& Sad Women)” — Joseph Lorge, Blake Mills and Sebastian Reunert, engineers; Patricia Sullivan, mastering engineer (Japanese Breakfast)
“That Wasn’t a Dream” — Joseph Lorge and Blake Mills, engineers; Patricia Sullivan, mastering engineer (Pino Palladino, Blake Mills)

Best engineered album, classical

“Cerrone: Don’t Look Down” — Mike Tierney, engineer; Alan Silverman, mastering engineer (Sandbox Percussion)
“Eastman: Symphony No. 2; Tchaikovsky: Symphony No. 2” — Gintas Norvila, engineer; Jennifer Nulsen, mastering engineer (Franz Welser-Möst and the Cleveland Orchestra)
“Shostakovich: Lady Macbeth of the Mtsensk District” Shawn Murphy & Nick Squire, engineers; Tim Martyn, mastering engineer (Andris Nelsons, Kristine Opolais, Günther Groissböck, Peter Hoare, Brenden Gunnell and Boston Symphony Orchestra)
“Standard Stoppages” — Sean Connors, Robert Dillon, Peter Martin, Bill Maylone, Judith Sherman and David Skidmore, engineers; Joe Lambert, mastering engineer (Third Coast Percussion)
“Yule” — Morten Lindberg, engineer; Morten Lindberg, mastering engineer (Trio Mediaeval)

Producer of the year, classical

Blanton Alspaugh
Sergei Kvitko
Morten Lindberg
Dmitriy Lipay
Elaine Martone

Immersive audio album

“All American F—boy” — Andrew Law, immersive mix engineer (Duckwrth)
“Immersed” — Justin Gray, immersive mix engineer; Michael Romanowski, immersive mastering engineer; Justin Gray, Drew Jurecka and Morten Lindberg, immersive producers (Justin Gray)
“An Immersive Tribute to Astor Piazzolla (Live)” — Andrés Mayo and Martín Muscatello, immersive mix engineers; Andrés Mayo and Martín Muscatello, immersive producers (Various Artists)
“Tearjerkers” — Hans-Martin Buff, immersive mix engineer; Hans-Martin Buff, immersive producer (Tearjerkers)
“Yule” — Morten Lindberg, immersive mix engineer; Morten Lindberg, immersive mastering engineer; Arve Henriksen and Morten Lindberg, immersive producers (Trio Mediaeval)

Instrumental composition

“First Snow” — Remy Le Boeuf, composer (Nordkraft Big Band, Remy Le Boeuf and Danielle Wertz)
“Live Life This Day: Movement I” — Miho Hazama, composer (Miho Hazama, Danish Radio Big Band and Danish National Symphony Orchestra)
“Lord, That’s a Long Way” — Sierra Hull, composer (Sierra Hull)
“Opening” — Zain Effendi, composer (Zain Effendi)
“Train to Emerald City” — John Powell and Stephen Schwartz, composers (John Powell and Stephen Schwartz)
“Why You Here / Before the Sun Went Down” — Ludwig Göransson, composer (Ludwig Göransson Featuring Miles Caton)

Arrangement, instrumental or a cappella

“Be Okay” — Cynthia Erivo, arranger (Cynthia Erivo)
“A Child Is Born” — Remy Le Boeuf, arranger (Nordkraft Big Band and Remy Le Boeuf)
“Fight On” — Andy Clausen, Addison Maye-Saxon, Riley Mulherkar and Chloe Rowlands, arrangers (The Westerlies)
“Super Mario Praise Break” — Bryan Carter, Charlie Rosen and Matthew Whitaker, arrangers (The 8-Bit Big Band)

Arrangement, instruments and vocals

“Big Fish” — Erin Bentlage, Sara Gazarek, Johnaye Kendrick, Nate Smith and Amanda Taylor, arrangers (Nate Smith Featuring Säje)
“How Did She Look?” — Nelson Riddle, arranger (Seth MacFarlane)
“Keep an Eye on Summer” — Jacob Collier, arranger (Jacob Collier)
“Something in the Water (Acoustic-Ish)” — Clyde Lawrence, Gracie Lawrence and Linus Lawrence, arrangers (Lawrence)
“What a Wonderful World” — Cody Fry, arranger (Cody Fry)

Orchestral performance

“Coleridge-Taylor: Toussaint L’Ouverture; Ballade Op. 4; Suites From ’24 Negro Melodies’” — Michael Repper, conductor (National Philharmonic)
“Messiaen: Turangalîla-Symphonie” — Andris Nelsons, conductor (Boston Symphony Orchestra)
“Ravel: Boléro, M. 81” — Gustavo Dudamel, conductor (Simón Bolívar Symphony Orchestra Of Venezuela)
“Still & Bonds” — Yannick Nézet-Séguin, conductor (The Philadelphia Orchestra)
“Stravinsky: Symphony in Three Movements” — Esa-Pekka Salonen, conductor (San Francisco Symphony)

Opera recording

“Heggie: Intelligence” — Kwamé Ryan, conductor; Jamie Barton, J’Nai Bridges and Janai Brugger; Blanton Alspaugh, producer (Houston Grand Opera; Gene Scheer)
“Huang Ruo: An American Soldier” — Carolyn Kuan, conductor; Hannah Cho, Alex DeSocio, Nina Yoshida Nelsen and Brian Vu; Adam Abeshouse, Silas Brown and Doron Schachter, producers (American Composers Orchestra; David Henry Hwang)
“Kouyoumdjian: Adoration” — Alan Pierson, conductor; Miriam Khalil, Marc Kudisch, David Adam Moore, Omar Najmi, Naomi Louisa O’Connell and Karim Sulayman; Mary Kouyoumdjian, producer (Silvana Quartet; The Choir of Trinity Wall Street)
“O’Halloran: Trade & Mary Motorhead” — Elaine Kelly, conductor; Oisín Ó Dálaigh and John Molloy; Alex Dowling and Emma O’Halloran, producers (Irish National Opera Orchestra; Mark O’Halloran)
“Tesori: Grounded” — Yannick Nézet-Séguin, conductor; Ben Bliss, Emily D’Angelo, Greer Grimsley and Kyle Miller; David Frost, producer (the Metropolitan Opera Orchestra; the Metropolitan Opera Chorus; George Brant)

Choral performance

“Advena – Liturgies for a Broken World” — Craig Hella Johnson, conductor (Simon Barrad, Emily Yocum Black and Michael Hawes; Conspirare)
“Childs: In the Arms of the Beloved” — Grant Gershon, conductor (Billy Childs, Dan Chmlellnskl, Christian Euman, Larry Koonse, Lyris Quartet, Anne Akiko Meyers, Carol Robbins and Luciana Souza; Los Angeles Master Chorale)
“Lang: Poor Hymnal” — Donald Nally, conductor (Steven Bradshaw, Michael Hawes, Lauren Kelly, Rebecca Siler and Elisa Sutherland; the Crossing)
“Ortiz: Yanga” — Gustavo Dudamel, conductor; Grant Gershon, chorus master (Los Angeles Philharmonic and Tambuco Percussion Ensemble; Los Angeles Master Chorale)
“Requiem of Light” — Steven Fox, conductor; Emily Drennan and Patti Drennan, chorus masters (Brian Giebler and Sangeeta Kaur; the Clarion Choir)

Chamber music/small ensemble performance

“Dennehy: Land Of Winter” — Alan Pierson and Alarm Will Sound
“La Mer – French Piano Trios” — Neave Trio
“Lullabies for the Brokenhearted” Lili Haydn and Paul Cantelon
“Slavic Sessions” — Mak Grgić and Mateusz Kowalski
“Standard Stoppages” — Third Coast Percussion

Classical instrumental solo

“Coleridge-Taylor: 3 Selections From ’24 Negro Melodies’” — Curtis Stewart; Michael Repper, conductor (National Philharmonic)
“Hope Orchestrated” — Mary Dawood Catlin; Jesús David Medina and Raniero Palm, conductors (Venezuela Strings Recording Ensemble)
“Inheritances” — Adam Tendler
“Price: Piano Concerto in One Movement in D Minor” — Han Chen; John Jeter, conductor (Malmö Opera Orchestra)
“Shostakovich: The Cello Concertos” — Yo-Yo Ma; Andris Nelsons, conductor (Boston Symphony Orchestra)
“Shostakovich: The Piano Concertos; Solo Works” — Yuja Wang; Andris Nelsons, conductor (Boston Symphony Orchestra)

Classical solo vocal album

“Alike – My Mother’s Dream” — Allison Charney, soloist; Benjamin Loeb, conductor (National Symphonia Orchestra)
“Black Pierrot” — Sidney Outlaw, soloist; Warren Jones, pianist
“In This Short Life” — Devony Smith, soloist; Danny Zelibor, pianist; Michael Nicolas, accompanist
“Kurtág: Kafka Fragments” — Susan Narucki, soloist; Curtis Macomber, accompanist
“Schubert Beatles” — Theo Hoffman, soloist; Steven Blier, pianist (Rupert Boyd, Julia Bullock, Alex Levine, Andrew Owens, Rubén Rengel and Sam Weber)
“Telemann: Ino – Opera Arias for Soprano” — Amanda Forsythe, soloist; Robert Mealy, Paul O’Dette and Stephen Stubbs, conductors (Boston Early Music Festival Orchestra)

Classical compendium

“Cerrone: Don’t Look Down” — Sandbox Percussion; Jonathan Allen, Victor Caccese, Christopher Cerrone, Ian Rosenbaum, Terry Sweeney and Mike Tierney, producers
“The Dunbar/Moore Sessions, Vol. II” — Will Liverman; Jonathan Estabrooks, producer
“Ortiz: Yanga” — Gustavo Dudamel, conductor; Dmitriy Lipay, producer
“Seven Seasons” — Janai Brugger, Isolde Fair, MB Gordy and Starr Parodi; Nicholas Dodd, conductor; Jeff Fair, Starr Parodi and Kitt Wakeley, producers
“Tombeaux” — Christina Sandsengen; Shaun Drew and Christina Sandsengen, producers

Contemporary classical composition

“Cerrone: Don’t Look Down” — Christopher Cerrone, composer (Conor Hanick and Sandbox Percussion)
“Dennehy: Land of Winter” — Donnacha Dennehy, composer (Alan Pierson and Alarm Will Sound)
“León: Raíces (Origins)” — Tania León, composer (Edward Gardner and London Philharmonic Orchestra)
“Okpebholo: Songs in Flight” — Shawn E. Okpebholo, composer (Will Liverman, Paul Sánchez and Various Artists)
“Ortiz: Dzonot” — Gabriela Ortiz, composer (Alisa Weilerstein, Gustavo Dudamel and Los Angeles Philharmonic)

TRIPLE Grammy nominee Yungblud has blasted the Brits for being “out of touch” after he was snubbed by his home country’s music awards.

The Doncaster rocker is up for Best Rock Performance category for his powerful rendition of Changes at the late Ozzy Osbourne’s Back To The Beginning concert last summer.

And he will wear the necklace given to him by his Black Sabbath idol, who died last year, at tonight’s ceremony in LA, where he is also up for two other Grammys.

Yet despite accolades Stateside, and two UK No1 albums last year, he says it feels “weird” to be a notable omission at this month’s Brits.

He told me: “I just think with the Brits, there’s something more corporate afoot. I feel like I’ve not kissed the babies in my own country that I should — I’ve done it my way.

“And I think someone’s pissed off at me for that. The beautiful thing about the Grammys is it’s voted for by your peers — musicians and artists.

OLIVIA’S HEARTBREAK

Olivia Attwood opens up on split admitting ‘I cry myself to sleep’

IN FROM THE COLD

Hollywood A-lister back filming again in UK after 3 years in wilderness

“The Brits, you can tell it’s been done in a boardroom by a committee that’s out of touch. That’s a lot of the British music industry.

“But I’m vibing, man — I’m at the Grammys!”

And Yungblud — real name Dominic Harrison — vows to the keep celebrations rock ’n’ roll — having VOMMED from partying so hard during a pre-Grammys night out with Sharon Osbourne and Lewis Capaldi.

He and Lewis “had a mad one”.

Yungblud said: “We had an accidentally brilliant night. I threw up!

“Everyone’s full of s***. Me and Lewis always find each other at a party, to talk about something half-normal.

“There’s so many parties  . . . you end up going for two minutes, and everyone looks shell-shocked.

“So we end up throwing our own. We had such a good night. Sharon came out. Lewis came out.”

Yungblud jokes he is “clearing room in my suitcase” for potential Grammy trophies, though any wins would be bittersweet without Ozzy.

He said: “It’s wild when you love someone. You idolise someone.

“And then you get to know them, then you perform this song to honour them and it gets Grammy-nominated.

“It’s weird to comprehend.”

YUNGBLUD is throwing his own “riot” of a Grammys afterparty at Sunset Strip’s Rainbow Bar and Grill – famed for hosting wild bashes with the likes of Led Zeppelin and Motley Crue.

He says: “It will be a f***ing free-for-all, with pizza and beer, doing bumps of caviar.”

The rocker, who stripped naked on a yacht in Sydney, Australia, while touring last year, insists: “I’m not really sick. I’m usually alright. I’ll probably end up naked – but I won’t be sick.”

STARS DRESSED TO FRILL

SOME of the biggest names in music gathered in LA to let their hair down for some pre-Grammys partying on Friday.

Singer Kesha bloomed in giant flowers at the 2026 MusiCares Person of the Year gala, while Cara Delevingne showed off new brunette locks at the Warner soiree.

Addison Rae gave a raunchy performance in just her undies at Spotify’s 2026 Best New Artist Party, where she was joined by nominated Brit Olivia Dean in a checked blue floor-length gown.

Meanwhile, Swedish siren Zara Larsson wore hot pink for the Epic Records and Hennessy bash.

I’m glad it was warmer in Cali than it was on this side of the pond . . . 

NATHAN’S EYE ON BALL

NATHAN EVANS hopes to score Scotland’s official World Cup anthem – and will be joining the Tartan Army in the US.

The Wellerman singer and band Saint Phnx are also in discussions about cheering the lads on during training sessions, after Ed Sheeran performed for the England team during the 2024 Euros.

One of the ideas is to rework their track Home with lyrics cheering on the Scots squad, and Nathan would love it to become the official supporters’ tune this summer.

He said: “We’ve got something cooking that hopefully we can pull off. And if we do, it’ll be something massive.”

AITCH’S AMBER NIGHT

RAPPER Aitch wooed a stunning podcaster nearly 15 years his senior – just weeks before stealing the nation’s hearts on I’m A Celebrity.

I’m told the 26-year-old locked lips with Francesca Amber, 40, at the Pride of Britain Awards in London last October, after the pair hit it off at the free bar.

Aitch was seen cracking jokes with the blonde, who believes in “manifesting” the life you want.

An onlooker said: “Aitch is a bit younger, but didn’t lack confidence. They were having a right giggle and, by the end of the evening, they were kissing in front of everyone. They exchanged numbers.”

Single mum-of-three Francesca has told listeners she dreams of going on E4 dating show Celebs Go Dating. I hope this helps manifest it for her . . . 

TEDDY IS READY TO RAYA

VOCAL powerhouse Teddy Swims is looking for love online after sadly splitting from his baby momma.

The Bad Dreams singer broke up with singer Raiche Wright late last year.

But now Teddy – who last year released the final part of his album series I’ve Tried Everything But Therapy – is putting his best foot forward and getting himself out there with a profile on A-list dating app Raya.

The singer – born Jaten Dimsdale – posted a series of snaps showing off his tattoos and dapper style, advertising the fact he is based in Sherman Oaks, California.

He, fittingly, uses his own music to illustrate his profile.

Happy swiping . . . 

IT MUTT BE LOVE FOR DUA

THE City of Love is the only place for Dua Lipa and fiancé Callum Turner as they put on a smoochy display.

The smitten singer and actor were snapped holding hands while walking Callum’s beloved Labrador-Rottweiler mix Golo in Paris.

An onlooker said: “They were completely loved up and kept kissing, it was very sweet.

“Golo the pooch is like their child and travels with them everywhere.”

Speaking several years ago, Callum confessed that his beloved pet helped to keep him grounded.

He said: “I have a dog, yeah. He keeps me very humble.

“You know, picking up his poo every day keeps you humble.”

That’ll certainly do the trick . . . 

OZZY SINGS TO MY KID

I’M A Celebrity star Jack Osbourne has revealed his late dad Ozzy is singing lullabies from beyond the grave.

Jack’s three-year-old daughter Maple has told him that the Black Sabbath rocker visits her when she’s tucked up in bed and sings to her.

Jack said: “My youngest daughter has been having a lot of ‘interactions’, shall we say. She’s three – she keeps saying, ‘He sings to me at night.’ I’m like, ‘That’s awesome, what’s he singing to you?’

“I don’t make a big deal about it. I’m supportive of it, I’m instantly like, they’re kids, they have imaginations and stuff.

“But she’s saying things and I’m like, ‘How do you know that? We haven’t been saying things – where does that come from?’”

Speaking on the Howie Mandel podcast, Jack added: “For her, the more she brings it up, it’s becoming a thing and I think that it’s not just her imagination.”

Hopefully he’s not Paranoid . . . 

RUSH ON FOR PERFECT 10

BOYBAND mania is set to hit London today as December 10 arrive to meet their fans.

I’m told police are on standby amid fears the signing event could turn into a riot, after 6,000 fans of the group, above – assembled by Simon Cowell – put their names down to attend.

An insider said: “There are concerns that over-excited kids will still rock up – even though only a tiny fraction will actually be allowed to get inside.

“Organisers swear they’ve got it all under control and are working closely with the Old Bill, promising a safe and sensible do.”

It’s like the One Direction days all over again . . . 

Pop artist Kii Arens made a name for himself in music over the years, creating concert posters for bands and vocalists such as Radiohead, Elton John, Dolly Parton, the Weeknd, Sonic Youth, Tame Impala, Diana Ross and more.

That work is taking center stage at Arens’ new downtown Los Angeles gallery, FAB LA, in a show titled “And the Winner Is.” Curated by Arens and featuring poster art of Grammy winners, the exhibition is set to open Friday, two days before the 2026 Grammys descend on the city, and just in time to welcome plenty of visiting celebrity faces to the gallery’s third-ever event.

A glittering party scene is part of every exhibition Arens hosts, dating back to his previous gallery, LA-LA Land, which he opened two decades ago on Santa Monica Boulevard in Hollywood and ran until its lease came up last year.

FAB LA officially launched in October with “XO, LA: A Love Letter to Los Angeles,” an exhibition that reflected the eclectic voices and existential challenges that define L.A. culture with paintings, illustrations and mixed media works by Shepard Fairey, Corita Kent, Anthony Ausgang, Ashley Dreyfus, Paul Frank and others.

Pop artist Kii Arens lays on his desk in his new gallery, FAB LA, inside the historic Fine Arts Building on 7th Street in downtown Los Angeles. Posters from his new show, “And the Winner Is,” feature images of Grammy winners just in time for the big awards show.

(Genaro Molina / Los Angeles Times)

The flamboyant “Mick Rock’s Rocky Horror Art Show” followed in December. The exhibition was among the last events marking the famous cult film’s 50th anniversary, and featured Rock’s famous photographs alongside pieces by pop star designer Michael Schmidt and digital portraitist Plasticgod. As with previous events at LA-LA Land, the opening attracted rockers, drag queens and club world cognoscenti.

DJs Sean Patrick (Simon Says) and Chris Holmes (Paul McCartney’s touring DJ, and creative collaborator with Cosm) manned the decks, and “RuPaul’s Drag Race All Stars” winner and podcaster, Alaska Thunderf—, performed as Tim Curry’s Dr. Frank-N-Furter, dancing and prancing around the grand environs.

There are galleries all over Los Angeles, but few can be described as works of art unto themselves. FAB LA is that and more.

Its majestic headquarters are housed inside downtown’s historic Fine Arts Building — a breathtaking palace-like structure with a 100-year history of craftsmanship and creativity.

Located near the intersection of 7th and Flower streets, the landmark building was featured in the 2009 film “(500) Days of Summer,” a hidden gem overshadowed in recent years by hectic street life, chain food spots and bustling business energy. Used primarily as an office building, its ornate design, carvings and sculptures — including a ground floor fountain with frolicking bronze youths — hadn’t invited much public attention or appreciation.

Pop artist Kii Arens catches some air in front of the historic Fine Arts Building where he has opened his new gallery, FAB LA. The building was designated a Historic-Cultural Monument in 1974 and restored in 1983.

(Genaro Molina / Los Angeles Times)

That changed late last year when Arens took over the first two floors.

“Historically, artists lived and worked inside this building,” he said during a recent opening. “This idea really resonated with me.”

Originally from St. Paul, Minn., Arens moved to L.A. in 2004 and promptly opened LA-LA Land. The Hollywood showroom debuted on election night 2004 with a group exhibition called “Happy War,” featuring anti-war works and Fairey as DJ. Wild and kitschy shows followed with opening fetes dedicated to colorful subjects including Andy Warhol, circus clowns, and Canadian television creators and puppeteers Sid and Marty Krofft.

In addition to creating art and DJing, Arens is also a musician, and his eclectic music projects reflect his nostalgic proclivities. They include a rock outfit called FLIPP, which he describes as, “the Sex Pistols meets the Spice Girls,” as well as a pop-duo called Jinx, and solo work that counts 4 Non Blondes’ Linda Perry as a collaborator.

Arens is a largely self-taught visual artist. His work has always leaned toward entertainment figures and musical subject matter, which led to major commissions for album covers and tour poster art — some of which will be featured in the upcoming exhibition at FAB LA.

Poster prints of Elton John, left, and Jim Morrison, by Pop artist Kii Arens are part of his latest show, “And the Winner Is,” which features poster art of Grammy winners and is on display in Aren’s new gallery, FAB LA, which opened late last year.

(Genaro Molina / Los Angeles Times)

When LA-LA Land’s lease expired, Arens sought a new place that would embrace his experimental energy. He also wanted a unique backdrop for showcasing imagery that “treats pop culture as a shared memory for all to take in,” he said. “Something worthy of being preserved, not just consumed.”

The Fine Arts Building’s longtime real estate representative, Gibran Begum, was looking for the same thing. Preservation was part of the conversation when the two connected, but both were also focused on revitalization and augmenting the structure’s old-world charms with something fresh and modern. The goal was to once again bring art lovers to the neighborhood.

A cohesive arts event had been lacking in the area since the monthly Downtown Los Angeles Art Walk scaled down in the face of traffic and permit issues, and more recently COVID closures. The event recently resumed, and though it’s much smaller Arens said he has high hopes for its growth, and for FAB LA’s place in its future.

As does Begum, who calls the Fine Arts Building “a rare and special space.”

“The second you enter, you’re somewhere else, it’s almost like walking into something in Florence, Italy,” Begum said. “We were looking for someone to help rejuvenate and reenergize it and who understood the culture of it.”

Pop artist Kii Arens strikes a pose inside the historic Fine Arts Building where he has opened his new gallery, FAB LA. The building was designed in the Romanesque revival style by architects Albert R. Walker and Percy A. Eisen, who also created the Beverly Wilshire Hotel in Beverly Hills.

(Genaro Molina / Los Angeles Times)

Designed in the Romanesque revival style by revered architects Albert R. Walker and Percy A. Eisen, who also created the nearby Oviatt Building as well as the Beverly Wilshire Hotel in Beverly Hills, the building’s exterior is embellished with dramatic columns and arches. Its interior features gargoyles, griffins and other mystical figures by sculptor Burt W. Johnson, as well as hand-crafted tiles by Ernest Batchelder and murals by Anthony B. Heinsbergen. A vintage elevator ferries guests between floors.

The opulent building opened on Dec. 8, 1926, attracting an estimated crowd of 27,000, and was named a Historic-Cultural Monument in 1974.

Though various artists have shown in the building over its 100-year history, FAB’s vibrant vision, focused on the intersection of design and fine art media, feels like the right fit for the current moment.

“I almost feel like the ghosts of some of the artists are looking down at me and smiling, knowing that what they loved is happening here again,” Arens said.

This includes immersive gatherings, which are a big part of Arens’ plans for FAB. “We’ll have movie premieres, live music events, poetry and I definitely want to have fashion,” Arens said. “The room would make a great runway!”

Charity is also part of the picture.

“And the Winner Is,” serves as a fundraiser for Oxfam, which works to relieve global poverty. Arens said he’s been hosting charity events for the group for the last five years — always right around the Grammys.

“We’ll have a bunch of amazing vinyl records donated by Rhino, and we’ll have clothing donated from famous musicians. Matt Pinfield is DJing and so is Jeffrey Ross,” Arens said.

A poster of Liza Minnelli by Pop artist Kii Arens is part of his latest show, “And the Winner Is” which features poster art of Grammy winners and opens over Grammy weekend.

(Genaro Molina / Los Angeles Times)

The exhibition, which closes March 8, will feature some of what Arens calls his “greatest hits,” including an ebullient Liza Minnelli portrait, and other significant prints such as a black-light poster design of Dolly Parton, and a Van Halen print representing Eddie Van Halen’s famed red-, black- and white-splattered “Frankenstein” guitar design on a notebook.

“I’m into simplifying images until they become familiar, immediate and emotional,” Arens said of his work. “I like to strip images down to what people recognize instantly. The feeling comes first, then I’m focused on evoking optimism, color and joy.”

Up next: A show in April in association with the animation studio Titmouse and dedicated to the art of animation.

“In this moment where everything feels disposable, I want to make something that is solid, something you stand in front of, not scroll past,” Arens said.