2021 In Review: 8 Trends That Defined Pop – grammy.com

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Taylor Swift
Photo: Will Heath/NBC/NBCU Photo Bank via Getty Images
It seems there’s never a dull moment in pop music. But in 2021, the genre’s rising stars and longtime greats all came out swinging, always giving fans something to be excited about.
Taylor Swift and her unofficial protege, Olivia Rodrigo, made for two of the biggest stories of the year: Swift began releasing her rerecorded albums, and Rodrigo had the world listening after she dropped her global phenomenon “driver’s license.”
Pop expanded its palette this year, too, with K-pop experiencing its biggest year yet and Nigeria proving that its Afropop stars have some serious promise.
On top of all of that, fans finally received some of pop’s most-anticipated albums in 2021, making for a year that was truly monumental and memorable. Take a look at eight of the genre’s most prominent trends below.
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From the moment 2021 began, there was no denying it was going to be the year of Olivia Rodrigo. With the runaway chart and streaming successes of her two biggest hits so far — the teenage heartbreak ballad “driver’s license” and the angsty, Paramore-sampling “good 4 u,” which both debuted atop the Billboard Hot 100 — the 18-year-old was at the helm of young stars who weren’t afraid to get raw and real in 2021.
A sense of vulnerability was the through-line of pop’s new wave this year, and it clearly resonated. In addition to Rodrigo’s triumphs, Australian breakout The Kid LAROI landed a Top 10 hit with the gut-wrenching acoustic track “Without You” as well as a Hot 100 and pop radio No. 1 with the Justin Bieber-assisted bop “Stay.” And if the honest lyrics of his hit singles aren’t enough indication, just look at the title of its parent album: F— Love.
Tate McRae, another 18-year-old, also hit a sweet spot with her peers with her anti-sympathetic breakup song, “you broke me first.” The song has amassed more than one billion streams worldwide, also reaching No. 1 on pop radio.
Of course, Gen Z first got in their feelings thanks to Billie Eilish, and she continued to carry her torch in 2021 with the release of her second album, Happier Than Ever. Though the album’s jazz-influenced, downtempo nature was a departure from the trap-led sound of her debut, When We All Fall Asleep, Where Do We Go?, it lyrically stayed right in line with the trenchant honesty that made her a star — and, seemingly, opened the floodgates for her teen successors.
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Nearly two years after Taylor Swift announced that she’d be re-recording her first six albums in order to regain artistic and financial control, the first two albums arrived in 2021. And boy, did Swifties have a field day.
The country starlet turned pop superstar knew exactly what her loyal legion of followers would want, releasing remakes of fan favorites Fearless and Red this year. Upon the April release of Fearless (Taylor’s Version), the album had the biggest opening day for an album on Spotify in 2021, garnering 50 million global streams on its first day and subsequently debuting atop the Billboard 200.
Yet, it was Red (Taylor’s Version) that became a phenomenon, becoming the most-streamed album in a day from a female artist on Spotify with nearly 91 million global first-day streams (breaking the record she previously set with 2020’s Folklore). The album’s immediate draw owed partial thanks to a 10-minute version of her beloved power ballad “All Too Well,” which took on a life of its own. Along with becoming a short film that Swift debuted in New York City and earning the singer her eighth No. 1 hit on the Billboard Hot 100, it also blew up the Twittersphere with scathing (yet amusing) tweets about the song’s supposed subject, actor Jake Gyllenhaal.
Among Red (Taylor’s Version)‘s many other feats, the 10-minute, 13-second version of “All Too Well” also became the longest song to top the Hot 100. With four re-records still left to release, who knows what kind of records Swift will break next?
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While 2021 wasn’t necessarily a breakout year for Doja Cat or Normani, it was the year that both stars came into their own — and, ultimately, reinvented the pop star ideal.
After teasing her pop sensibility with her 2020 smash “Say So,” Doja Cat struck pop gold again with the SZA-featuring “Kiss Me More.” The disco-tinged hit was just one of the many A-list collaborations on Doja’s hailed album Planet Her, which has accumulated more than 3 billion streams since its June release and debuted at No. 2 on the Billboard 200.
On the opposite end, Normani — who got her start in pop girl group Fifth Harmony and saw her first two solo hits (2018’s “Love Lies” and 2019’s “Dancing With a Stranger”) take over pop radio — reminded listeners of her versatility in 2021. Following an empowered team-up with Megan Thee Stallion for the Birds of Prey soundtrack, Normani recruited Cardi B to help bring out her R&B side on the sexy slow jam “Wild Side,” which earned the 25-year-old singer her first hit on Billboard’s Hot R&B/Hip-Hop Songs chart (in the top 5, no less).
Two artists who did have breakout years were Beyoncé protegee Chloë and German singer/songwriter Zoe Wees. Chloë, one half of R&B duo Chloe x Halle, released her debut solo single “Have Mercy” to critical acclaim, putting on showstopping performances of the song at the MTV Video Music Awards and the American Music Awards. Wees closed out the AMAs with a powerful rendition of her poignant song, “Girls Like Us,” the follow-up to her viral hit “Control.”
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As acceptance becomes more prominent within mainstream music, stars are latching on to the new era of being open about however they identify.
Though Lil Nas X came out as gay in 2019, his sonic proclamation came in controversial form with “Montero (Call Me By Your Name).” The video for the flamenco-dripped track — whose title references the 2017 gay romance film Call Me By Your Name — depicted biblical and Satanic scenes in racy fashion. Despite resulting in backlash from religious groups, the song and video’s bold statement served as an impactful one for the LGBTQ+ community — as Lil Nas put it himself, pushing for “more acceptance, more open-mindedness amongst humanity as a whole.”
Demi Lovato (who announced they are non-binary in May) featured a song about their sexual fluidity on their seventh album, Dancing With the Devil, released in April. The wavy “The Kind of Lover I Am” declares “Doesn’t matter, you’re a woman or a man/ That’s the kind of lover I am” on its rolling chorus.
Bringing back one of pop’s first sexual fluidity anthems, Fletcher interpolated Katy Perry‘s “I Kissed A Girl” for her own single “Girls Girls Girls,” which marked “the freedom and the celebration I’ve been craving my whole life,” she said in a press release. One month later, she teamed up with Hayley Kiyoko (who has been dubbed “Lesbian Jesus” by her fans) for “Cherry,” a flirty sapphic jam.
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Thanks to the likes of BTS and BLACKPINK — and now countless other groups — K-pop has made its way into the U.S. pop market in a major way in recent years. As it has continued to boom, more and more artists are releasing songs that are completely in English — and the genre is arguably bigger than ever.
Less than a year after BTS first dabbled in English-language singles with 2020’s smash “Dynamite,” they delivered the biggest hit of their career with the smooth sensation “Butter.” The song debuted at No. 1 on the Billboard Hot 100, where it stayed for 10 non-consecutive weeks — a streak initially broken up by their third English-language hit, “Permission to Dance.”
BLACKPINK saw two of its members go solo in 2021, Lisa and Rosé, who each issued English-language singles of their own. Lisa’s “Money” and Rosé’s “On The Ground” both landed on the Hot 100, respectively garnering more than 375 million and 255 million YouTube views alone.
Several other acts released notable English-language tracks, with SEVENTEEN and TWICE each putting out their first: “2 MINUS 1” features SEVENTEEN members Joshua and Vernon, and “The Feels” became TWICE’s first top 20 hit on the Billboard Global 200, where it reached No. 12.
Read More: 5 K-Pop Songwriters & Producers Who Defined 2021: SUMIN, Teddy Park, ADORA, RM & SUGA
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South Korea isn’t the only far-flung country having a moment. In fact, Nigeria is arguably one of the most fruitful geographical founts of music — particularly thanks to the recent Afropop explosion.
Wizkid — who first saw global success with his Drake collaboration, “One Dance,” in 2016 — earned his first Billboard Hot 100 hit as a lead artist with the R&B-tinged single “Essence.” The song features fellow Nigerian singer Tems, making history as the first Nigerian song to break the Hot 100 top 10. The sultry track caught the attention of Justin Bieber, who hopped on a remix and declared it the “song of the summer.”
Bieber also enlisted Nigerian star Burna Boy for his widely praised LP, Justice, one of the singer/rapper’s many pop-driven appearances in 2021, including Sia, Jon Bellion and John Legend
Two other rising Nigerian acts, Joeboy and Fireboy DML, saw their Afropop takes resonate this year, too. Joeboy’s “Alcohol” inspired a viral TikTok craze, and the success of Fireboy’s “Peru” landed a remix with Ed Sheeran in December.
Elsewhere, Latin still proves to have a profound impact in the pop world. Puerto Rican newcomer Rauw Alejandro’s irresistibly catchy “Todo De Ti” made its way to mainstream radio, as did Maluma‘s global hit “Hawái,” the latter thanks to a remix with The Weeknd. And Pop queens Christina Aguilera and Selena Gomez also honored their Latin roots: Aguilera dropped two singles, “Pas Mis Muchachas” and “Somos Nada”; Gomez released her first Spanish-language project, Revelación.
In the streaming world, Bad Bunny — Spotify’s most-streamed artist for the second year in a row — and BTS (No. 3 on Spotify’s year-end tally) proved that Latin and K-pop are equal contenders to pop powerhouses like Taylor Swift and Bieber, who were No. 2 and 5, respectively.
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Sure, every year sees star-studded collaborations. But with artists having unprecedented downtime in 2020 and into 2021, some iconic pairings were born.
Ariana Grande and The Weeknd — no strangers to working together — scored their first Hot 100 No. 1 with a remix of The Weeknd’s “Save Your Tears.” Another Grande collaborator, Lizzo, teamed up with Cardi B for her latest single, “Rumors.”
One of the most unexpected (and brilliant) partnerships came from Bruno Mars and Anderson .Paak, who joined forces for the ’70s funk-inspired duo Silk Sonic. The pair dropped their silky debut single, “Leave the Door Open,” just one week after announcing their joint project in February, and unveiled An Evening With Silk Sonic in November.
Veterans recruited some of pop’s newer voices, too. Australian icon Kylie Minogue dueted with British electropop star Years & Years on “A Second to Midnight,” a track from her reissue album, Disco: Guest List Edition. She also featured Dua Lipa on the album on a song titled “Real Groove.”
Lipa co-starred with another legend, Elton John, on the chart-topping (and “Rocket Man”-sampling) hit “Cold Heart (PNAU Remix).” The single was part of John’s jam-packed collaborative album, The Lockdown Sessions, which also featured Charlie Puth, Stevie Nicks and Stevie Wonder, among many others.
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Silk Sonic appeased those eagerly waiting for Bruno Mars to follow up his 2016 Album Of The Year-winning LP, 24K Magic, as the duo’s material featured plenty of signature Bruno power hooks and slinky melodies. But those still longing for a solo Bruno Mars record may have at least been satisfied by the other 2021 arrivals.
Six years in the making, Adele’s 30 finally landed in November — and, unsurprisingly, became the top-selling album of the year in just its first three days. The LP has now sold more than 1 million copies, and spawned the singer’s fifth Hot 100 No. 1 with the poignant lead single, “Easy on Me.” Beyond accolades, 30 sees Adele at her most vulnerable — as she’s said herself, it centers around her divorce from entrepreneur Simon Konecki — which resulted in her most raw and powerful work yet.
Considering Ed Sheeran’s extensive touring schedule that had the singer/songwriter on the road until the end of August 2019, it was almost hard to believe it had been four years since his last album. Surely some Sheerios felt the agony, but it was worth the wait: =, Sheeran’s fourth studio album, offered 14 new tracks that expand on the star’s signature talents, from heartfelt falsetto to boot-stomping melodies.
In what felt like the day that may never come, Kanye West delivered his tenth album, Donda, in August. The project had seen multiple postponements since its originally scheduled release of July 2020, but perhaps that’s because the final product has a whopping 27 songs. While the album leans more into West’s hip-hop roots, its impressive roster of guest stars — from The Weeknd to Watch the Throne cohort JAY-Z — offered any kind of Kanye fan something to enjoy.
After such a whirlwind year, one big question stands out as we enter 2022: what’s next?
2021 In Review: 8 Trends That Defined Latin Music

Taylor Swift
Photo: Axelle/Bauer-Griffin/FilmMagic
The 2018 Teen Choice Awards announced many of their nominees on June 13, putting an array of America’s most beloved entertainers up for popular voting that is now open and sure to be extremely viral.

For some quick tastes from the top categories, Choice Female Artist nominees are Camila Cabello, Cardi B, Ariana Grande, Dua Lipa, Demi Lovato, and Taylor Swift. This year’s Choice Male Artists include Drake, Niall Horan, Bruno Mars, Shawn Mendes, Ed Sheeran, and Louis Tomlinson. Those are great selections to choose from.
Voting is open either online via TeenChoice.com or by Twitter hashtag, one per Tweet by pairing a name with #ChoiceMaleArtist or #ChoiceFemaleArtist. The limit on enthusiasm is 10 votes per day, per category, for each platform user ID, a wrinkle some multiplatform fans are likely to use effectively. Among other things, for the musical artists, this really is a chance for their fan bases to show their love.

Get ready to move those thumbs — voting is officially OPEN for the 2018 #TeenChoice Awards! Submit your vote by tweeting with the category hashtag the name/handle of your choice, or head here: https://t.co/vqru7XJP9J pic.twitter.com/OwC0bx0kWh
— Teen Choice Awards (@TeenChoiceFOX) June 13, 2018
The competition in each category is interesting, for example Choice Latin Artist nominated J Balvin, Becky G, CNCO, Daddy Yankee, Luis Fonsi, and Maluma. J Balvin is super fresh, Becky G has many teens who identify with her, and Daddy Yankee and Luis Fonsi had last summer’s biggest hit.
So the viral chase is on for fans to vote their Teen Choice Awards favorites up the ranks. On August 12 the winners will be announced live on Fox.
Catching Up On Music News Powered By The Recording Academy Just Got Easier. Have A Google Home Device? “Talk To GRAMMYs”
You’ve seen the official 59th GRAMMY nominations list, but do you really know the nominees? In case you’re not sure, we’ve dissected the categories to bring you 59 must-know factoids about this year’s nominations class. While these facts won’t help you predict the winners, they’re certain to impress your friends at your GRAMMY viewing party. Read all 59 facts below and be sure to follow your favorite artists on Music’s Biggest Night.
 
Beyoncé received nine GRAMMY nominations this year, more than any other artist. She now has 62 career nominations, extending her lead as the most-nominated female artist in GRAMMY history.
Lukas Graham‘s “7 Years” is nominated for Record Of The Year. The Danish group is just the second group or duo from continental Europe to receive a nomination in this category. The first was Daft Punk. The French duo won three years ago for “Get Lucky” (featuring Pharrell Williams and Nile Rodgers).
Rihanna received her third Record Of The Year nomination for “Work” (featuring Drake). All three of these nominations are for collaborations. Rihanna was previously nominated for “Umbrella” (featuring Jay Z) and Eminem‘s “Love The Way You Lie” (on which she was featured).
Beyoncé landed her fifth Record Of The Year nomination with “Formation.” (This counts “Say My Name,” which she recorded as a member of Destiny’s Child.) This puts her in a tie with Barbra Streisand as the woman with the most career nominations in this category.
Adele‘s 25 is nominated for Album Of The Year. The singer’s previous album, 21, won in this category five years ago. This is the first time an artist’s follow-up to an Album Of The Year winner has been nominated in this category since Bob Dylan’s Love And Theft (the follow-up to Time Out Of Mind) was a 2001 nominee.
Canadians Justin Bieber and Drake are among the nominees for Album Of The Year for Purpose and Views, respectively. Bieber, from London, Ontario, and Drake, from Toronto, are each vying to become the first Canadian solo artist in 20 years to win the category. Celine Dion won for Falling Into You for 1996.
Kendrick Lamar and The Weeknd, who were nominated for Album Of The Year last year for their albums To Pimp A Butterfly and Beauty Behind The Madness, respectively, are nominated in the same category this year as featured artists on Beyoncé’s Lemonade.
Sturgill Simpson‘s A Sailor’s Guide To Earth is nominated for both Album Of The Year and Best Country Album. Simpson produced his album. It’s the first entirely self-produced album to receive an Album Of The Year nomination since 2014, when two such albums — Beck’s Morning Phase and Pharrell Williams’ Girl — were nominated.
Hello,” which Adele co-wrote with Greg Kurstin, is nominated for Song Of The Year. A different song with the same title, by Lionel Richie, was nominated in this category 32 years ago. This marks the first time in GRAMMY history that two different songs with the same title have been nominated in this category.
Mike Posner’s “I Took A Pill In Ibiza” is nominated for Song Of The Year. Posner wrote the song. It’s vying to become the first song written by a single songwriter to win in this category since Amy Winehouse’s “Rehab” (2007).
Ed Sheeran is looking to become the first songwriter in GRAMMY history to win Song Of The Year two years in a row. Sheeran won in this category last year for “Thinking Out Loud” (which he co-wrote with Amy Wadge). He’s nominated this year for “Love Yourself” (which he co-wrote with Justin Bieber and Benjamin Levin aka Benny Blanco).
Kelsea Ballerini and Maren Morris are both nominated for Best New Artist. This marks the first time in GRAMMY history that two country artists have received nominations in this category in the same year.
The Chainsmokers are only the second electronic dance music artist to receive a Best New Artist nomination. Skrillex, a 2011 nominee, was the first.
Chance The Rapper is nominated for Best New Artist. The rapper, 23, wasn’t even born in 1989 when Tone Loc became the first rap artist to receive a nomination in this category.
Anderson .Paak is nominated for both Best New Artist and Best Urban Contemporary Album for Malibu. He is the first artist to be nominated for both of these awards in the same year since Frank Ocean four years ago. (Ocean’s Channel Orange won Best Urban Contemporary Album.)
Bob Dylan is nominated for Best Traditional Pop Vocal Album for the second year in a row. The rock legend is nominated for Fallen Angels. Dylan is the fourth GRAMMY nominee to have won a Nobel Prize. The other three are Jimmy Carter, Barack Obama and Toni Morrison.
Willie Nelson received his third nomination in the Best Traditional Pop Vocal Album category. The country legend is nominated for Summertime: Willie Nelson Sings Gershwin. Nelson was previously nominated for Moonlight Becomes You (1994) and American Classic (2009).
Barbra Streisand could win her first GRAMMY in 30 years. The star is nominated for Best Traditional Pop Vocal Album for Encore: Movie Partners Sing Broadway. Her most recent GRAMMY win was for her first Broadway collection, The Broadway Album, which won for Best Pop Vocal Performance, Female (1986).
For the first time in 11 years, female solo artists take four of the five nominations for Best Pop Vocal Album. Adele, Ariana Grande, Demi Lovato, and Sia are nominated alongside Justin Bieber.
Herb Alpert is among the nominees for Best Contemporary Instrumental Album for Human Nature. (The title track is the John Bettis/Steve Porcaro song made famous by Michael Jackson.) Alpert received his first GRAMMY nominations (and awards) for 1965 for his work with the Tijuana Brass. 
Jack White, who is nominated for three GRAMMYs this year, will be honored for his contributions “behind the glass” at the Producers & Engineers Wing’s annual GRAMMY Week celebration on Feb. 8, 2017. White is nominated for Album Of The Year as one of the featured artists and producers on Beyoncé’s Lemonade; Best Rock Performance for “Don’t Hurt Yourself” with Beyoncé (her first nomination in a Rock Field); and Best American Roots Song for “City Lights.”
Two of this year’s nominees for Best Rock Performance were recorded live on television programs. Alabama Shakes‘ “Joe” was recorded for the PBS series “Austin City Limits.” Disturbed’s version of Simon & Garfunkel’s “The Sound Of Silence” was recorded on TBS’ “Conan.”
The title track from Megadeth‘s album, Dystopia, is among the nominees for Best Metal Performance. This is the band’s 12th nomination in this category (including nominations in the discontinued Best Hard Rock/Metal Performance category). The band is seeking to win their first GRAMMY.
Iggy Pop earned his first nomination since 1988: Best Alternative Music Album for Post Pop Depression. In 2016 Pop appeared at the GRAMMY Museum at L.A. Live for a wide-ranging talk with Josh Homme as part of the Museum’s A Conversation With series.
Radiohead are vying to become the first four-time winner for Best Alternative Music Album. The band is nominated for A Moon Shaped Pool. Radiohead won in this category for OK Computer (1997), Kid A (2000) and In Rainbows (2008). Radiohead are currently tied with the White Stripes as the only three-time winners in the category.
Solange‘s “Cranes In The Sky” is nominated for Best R&B Performance, marking her first career nomination. Solange’s older sister, Beyoncé, has won nine of her 20 GRAMMYs to date in R&B performance categories.
Rihanna is vying to become the first repeat winner in the Best Urban Contemporary Album category (which dates to 2012). Her album Anti is nominated this year. Unapologetic won three years ago.
The Throne aka Jay Z and Kanye West are nominated for Best Rap Performance with Drake for “Pop Style.” If they win, it would be their eighth collaboration to score a GRAMMY. Their previous wins together are “Swagga Like Us,” “Run This Town” (which won two GRAMMYs), “Otis,” “N****s In Paris” (which won two GRAMMYs), and “Church In The Wild.”
Drake‘s “Hotline Bling” is nominated for Best Rap/Sung Performance. The category was formerly known as Best Rap/Sung Collaboration. The change was made to expand the category beyond collaborations between rappers and vocalists to include recordings by a solo artist who blurs the lines between rapping and singing. Drake is the first beneficiary of that change.
De La Soul‘s Best Rap Album-nominated And The Anonymous Nobody, which they crowdfunded via Kickstarter, is looking to become the first crowdfunded album to win the category. De La Soul were first nominated for a 1989 GRAMMY for Best Rap Performance.
Kanye West‘s The Life Of Pablo is nominated for Best Rap Album. West is a four-time winner in this category. Only Eminem has received more awards (six) in the category.
Three pop or rock artists are nominated for Best Country Duo/Group Performance. Elle King is nominated as a featured artist on Dierks Bentley‘s “Different For Girls.” P!nk is nominated as Kenny Chesney‘s duet partner on “Setting The World On Fire.” Pentatonix are nominated for their rendition of Dolly Parton’s “Jolene,” which features Parton.
Dolly Parton is nominated with Pentatonix for Best Country Duo/Group Performance for “Jolene.” A master of collaborations, this is Parton’s 18th GRAMMY nomination for recordings in conjunction with other artists. Collaborators over the years have included Norah Jones, Linda Ronstadt and Emmylou Harris, and Kenny Rogers.
Loretta Lynn is among the nominees for Best Country Album for Full Circle. She won in this category 12 years ago with Van Lear Rose. If she wins again, she’ll become the first female solo artist to win in this category twice. Lynn, 84, received her first GRAMMY nomination 50 years ago for “Don’t Come Home A Drinkin’.”
Hillary Lindsey and Lori McKenna, who collaborated (along with Liz Rose) on “Girl Crush,” last year’s winner for Best Country Song, are competing against each other in the category this year. Lindsey is nominated for co-writing the Keith Urban hit “Blue Ain’t Your Color.” McKenna is nominated for writing the Tim McGraw hit “Humble And Kind.” If either woman wins this year, she would become the first songwriter to win back-to-back awards in this category since Robert John “Mutt” Lange and Shania Twain won for “You’re Still The One” (1998) and “Come On Over” (1999).
With her two nominations for Best Gospel Performance/Song and Best Gospel Album, Shirley Caesar is looking to add to her 11 career GRAMMYs, which is the highest total for a female gospel artist. Caesar is among the 2017 recipients of The Recording Academy’s Lifetime Achievement Award.
Kirk Franklin could become the first artist to win twice in the Best Gospel Album category (which dates to 2011). Franklin won the 2011 award for Hello Fear. He is nominated this year for Losing My Religion.
Hillary Scott, who has won seven GRAMMYs as a member of Lady Antebellum, is nominated for two awards for a family project (Hillary Scott & The Scott Family). Love Remains is nominated for Best Contemporary Christian Music Album. “Thy Will,” a track from the album, is nominated for Best Contemporary Christian Music Performance/Song.
Joey+Rory‘s Hymns is among the nominees for Best Roots Gospel Album. The duo received their first career nomination last year for Best Country Duo/Group Performance. Joey Martin Feek, the female half of this married couple, died on March 4, 2016.
Vince Gill‘s “Kid Sister” is nominated for Best American Roots Song. Gill has won two of his 20 GRAMMY Awards to date for songwriting. “I Still Believe In You” (1992) and “Go Rest High On That Mountain” (1995) were both voted Best Country Song.
Stax Records veteran William Bell, whose R&B hits date to 1966, is nominated for two GRAMMYs. This Is Where I Live is nominated for Best Americana Album. “The Three Of Me,” a track from the album, is nominated for Best Traditional R&B Performance. Bell wouldn’t be the first R&B veteran to win for Best Americana Album. Mavis Staples took the 2010 award for You Are Not Alone.
Judy Collins is nominated for Best Folk Album for Silver Skies Blue, a collaboration with Ari Hest. Collins received her first GRAMMY nomination 53 years ago for her album, Judy Collins #3. It was nominated for Best Folk Recording.
Ziggy Marley is vying to win his seventh GRAMMY in the Best Reggae Album category for his album Ziggy Marley. Marley won his first three awards in the category for albums on which he fronted Ziggy Marley And The Melody Makers.
Anoushka Shankar is among the nominees for Best World Music Album for Land Of Gold. Shankar’s late father, Ravi Shankar, won twice in this category, for Full Circle: Carnegie Hall 2000 (2001) and The Living Room Sessions (2012). This is Anoushka Shankar’s sixth nomination in this category (counting one in the discontinued Best Contemporary World Music Album category).
Punk-rock poet Patti Smith is nominated for Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling) for the second year in a row. She is nominated this year for M Train. She was nominated last year for Blood On Snow. This would be Smith’s first GRAMMY win.
Three of the five nominees for Best Comedy Album — Margaret Cho‘s American Myth, Tig Notaro‘s Boyish Girl Interrupted and Amy Schumer‘s Live At The Apollo — are by female performers. This is the first time that female performers have accounted for three of the nominees in the history of this category (which goes back to 1958, the first year of the GRAMMY Awards).
The Original West End Cast Album from Kinky Boots is nominated for Best Musical Theater Album. The Broadway cast album from the show won in this category three years ago. Kinky Boots is vying to become the fourth show to win twice in this category (with two different recordings of the score). The first three were Gypsy, West Side Story and Les Misérables.
The Original Broadway Cast album to Bright Star is among the finalists for Best Musical Theater Album. Steve Martin and Edie Brickell collaborated on the score. The two musicians won a GRAMMY three years ago for Best American Roots Song for “Love Has Come For You.”
The soundtrack to Amy, a film about the late Amy Winehouse, is nominated for Best Compilation Soundtrack For Visual Media. The film itself won a GRAMMY last year for Best Music Film. A win this year would mark the first time a film and its companion soundtrack each won in their category.
The soundtrack to the hit film Straight Outta Compton is a nominee for Best Compilation Soundtrack For Visual Media. The nomination comes in the same year that N.W.A’s landmark 1988 album of the same name is inducted into the GRAMMY Hall Of Fame.
Vinyl: The Essentials Season 1, featuring music from the HBO series, is nominated for Best Compilation Soundtrack For Visual Media. It’s vying to become the second TV soundtrack to win in this category, following Boardwalk Empire, Volume 1, which won five years ago. Boardwalk Empire was also a HBO series.
John Williams, one of the top winners in GRAMMY history, received his 66th career GRAMMY nomination for Best Score Soundtrack For Visual Media for Star Wars: The Force Awakens. Williams has now received nominations for six of the seven Star Wars films he has scored. (The lone film in the franchise he did not receive a nod for was 2002’s Star Wars: Episode II — Attack Of The Clones.)
Both Stranger Things Volume 1 and Stranger Things Volume 2 — composed by Kyle Dixon & Michael Stein — are nominated for Best Score Soundtrack For Visual Media. This is the first time in the category’s history two albums from the same TV series have been nominated.
The Revenant, composed by Alva Noto & Ryuichi Sakamoto, is nominated for Best Score Soundtrack For Visual Media. Sakamoto won in this category 28 years ago for The Last Emperor, which he composed with Cong Su and David Byrne.
Two songs from the film Suicide Squad are nominated for Best Song Written For Visual Media. They are “Heathens” (Tyler Joseph, songwriter) and “Purple Lamborghini” (Shamann Cooke, Skrillex & Rick Ross, songwriters). Last year, two songs from Fifty Shades Of Grey were nominated in this category.
Max Martin is nominated for Producer Of The Year, Non-Classical. The Swedish hit-maker won in this category two years ago. If he wins again this year, he’ll become the first producer to win twice in the space of three years since Rick Rubin, who won the 2006 and 2008 awards.
Judith Sherman could win Producer Of The Year, Classical for the third year in a row. To date, only one producer has won this award three years running. Robert Woods won for 1987, 1988 and 1989.
The Beatles: Eight Days A Week The Touring Years is vying for Best Music Film. It would be the third Beatles-related film to win in this category (or its predecessor category, Best Music Video, Long Form). The Beatles Anthology won the 1996 award. The Beatles Love—All Together Now won the 2009 award.
Current nominees Herb Alpert, Blind Boys Of Alabama, David Bowie, Bob Dylan, Kris Kristofferson, Loretta Lynn, Ennio Morricone, Willie Nelson, Dolly Parton, and Barbra Streisand have been previously honored by The Recording Academy with Special Merit Awards. (Lifetime Achievement Award: Blind Boys Of Alabama, Bowie, Dylan, Kristofferson, Lynn, Nelson, Parton, and Streisand.; Trustees Award: Alpert and Morricone).
The 59th GRAMMY Awards will take place Sunday, Feb. 12, 2017, live from Staples Center in Los Angeles and broadcast on the CBS Television Network from 8–11:30 pm ET/5–8:30 pm PT. Follow Recording Academy/GRAMMYs on FacebookTwitter and Instagram and use #GRAMMYs to join the conversation.
What were the songs that defined your 2021, a year where the world tentatively felt its way back to normalcy? Were they Olivia Rodrigo’s bedroom-floor ruminations? Billie Eilish‘s hushed revelations? Lil Nas X‘s colorful odes to LGBTQ+ romance? Silk Sonic’s gilded funk-soul throwbacks?
Well, all those artists are up for Song Of The Year at the 2022 GRAMMYs Awards show — as are Ed Sheeran (“Bad Habits”), Alicia Keys feat. Brandi Carlile (“A Beautiful Noise”), Olivia Rodrigo (“drivers license”), H.E.R. (“Fight for You”), Billie Eilish (“Happier Than Ever”), Doja Cat feat. SZA (“Kiss Me More”), Silk Sonic (“Leave The Door Open”), Lil Nas X (“MONTERO [Call Me By Your Name]”), Justin Bieber feat. Daniel Caesar and Giveon (“Peaches”) and Brandi Carlile (“Right On Time”).
While the 2022 GRAMMYs Awards show will offer all the esteemed categories viewers have come to expect, there’s truly no category like Song Of The Year. It’s a testament to artists who have mastered how to pack personality, punch and poetry into just a few minutes.
These are artists who best leveraged their outlets to shepherd us through uncertain times, find joy in the small things and weave the sounds, rhythms and melodies that drive our days and nights. Ahead of the ceremony on Jan. 31, 2022, here are the nominees for Song Of The Year.

Don’t let the title of “Bad Habits” — or Sheeran’s Dracula-fanged visage in its video — tell you otherwise. The four-time GRAMMY winner’s slinky lead single from his new album, =, is a guilt-free pleasure.
And the tune’s sheer pop patina belies a surprising fact: Sheeran didn’t initially hear “Bad Habits” as the single.
“My single was scheduled to come out in June, and I was like, ‘I don’t know if the world needs a depressing sad, slow acoustic song when it’s all opening up,'” he told James Corden on The Late Late Show in 2021. “So, I was in the studio and we created this song and it’s just fun, I think.”
That’s an understatement when it comes to its firepower — “Bad Habits” is a sly, hooky delight.
Read More: Fall 2021 Album Guide: From Taylor Swift to ENHYPEN to NBA Youngboy, 10 Upcoming Releases To Listen To As The Seasons Change

There’s no lever of democracy like the power to vote — so why do roughly half of those eligible in America choose not to do so?
The answer is complicated and manifold, but that didn’t stop Keys and Carlile — plus a consortium of other powerful female songwriters, from Brandy Clark to Lori McKenna to Linda Perry — from doing something about it ahead of the 2020 presidential election. Together, they concocted the impactful “A Beautiful Noise,” a gentle-yet-firm song of urging to get regular folks to use their oft-neglected democratic powers.
Sure, one person’s vote might be a drop in the ocean, Keys acknowledges in the song. But together, the electorate is like an unstoppable deluge.
“When you’re all alone, it’s a quiet breeze,” she sings. “But when you band together, it’s a choir of thunder and rain.”
Take A Look Back: For The Record: Inside Alicia Keys’ Masterpiece Songs in A Minor At 20

The lovelorn ballad that leveled the internet proved to only be the beginning for Rodrigo. Her 2021 album Sour uses it as a diving-board into a multitude of styles.
Still, it arguably remains her signature song. Why? Because it’s possible no other songwriter has captured this very specific locus on the map of heartache.
“drivers license” is about spending your entire relationship ideating the point where you can drive to your beau’s pad — only for him to move on right at the moment of truth.
The gut punch? “Guess you didn’t mean what you wrote in that song about me,” Rodrigo sings in the chorus. “‘Cause you said forever, now I drive alone past your street.”

If the global racial reckoning in 2020 was like the cauterization of a wound, H.E.R.’s “Fight for You” is like those first spasms of pain — good, necessary, authentic pain.
From Gabi Wilson’s first, wordless aria to the spectral chorale that carries it to the end, the song feels like a Pandora’s box of psychological nightmares, finally exorcised into the ether.
“Their guns don’t play fair/All we got is a prayer,” she sings over a rhythm-and-blues backing that wouldn’t sound out of place on a Marvin Gaye or Donny Hathaway record. “It was all in their plans/Wash the blood from your hands.”
Musically, it shows Silk Sonic weren’t the only vanguards for horn-fueled soul in 2021: H.E.R.’s contribution to Judas and the Black Messiah feels like a throwback in the most vivid, meaningful way.
Take A Look Back: H.E.R. Wins Song Of The Year For “I Can’t Breathe” | 2021 GRAMMY Awards Show

Let’s set lyrics aside for a second and talk about pure sound: is there another pop phenom doing more with less than Eilish?
The title track to 2021’s Happier Than Ever is little more than guitar, voice and some subtle, spacey ambience from her brother and co-conspirator FINNEAS.
As for the words themselves, they’re economical and beautiful: “When I’m away from you/ I’m happier than ever,” she croons in the chorus. “Wish I could explain it better/ I wish it wasn’t true.”
But then, the production tilts from dreamland into realism, and the words shift with the vibe: the object of her heartache is careening drunk while behind the wheel. Eilish, too, swerves from philosophical to flat-out vindictive. And as the song explodes into punishingly noisy and bitcrushed dimensions worthy of a Microphones track, it all crescendos with five words: “Just f***ing leave me alone!”
Read More: Billie Eilish’s Road To Happier Than Ever: How The Superstar Continues To Break Pop’s Status Quo
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Put yourself in this character’s shoes. A fetching spaceman — played by Grey’s Anatomy actor Alex Landi — winds up in a far-flung galaxy populated by (you guessed it) Doja Cat and SZA.
Just as things get steamy, it’s revealed that he’s unconscious in a tube of liquid, his consciousness plugged into a video-game netherworld. In other words, he’s a plaything.
Such is the girl-power message of the duo’s “Kiss Me More,” where sex and love and flirtation are on their own terms. But the sentiment wouldn’t mean much without a high-thread-count pop song to match, and every second of the hooky track delivers.
“I feel like me and SZA are similar in the way that we both grew up with spiritual backgrounds, but she was perfect for this song,” Doja — who grew up in Alice Coltrane‘s ashram — told Capital XTRA Breakfast at the time. “She was in my heart when I wrote this.”
Read More: From Meme Queen To Popstar: Revisiting Doja Cat’s Inevitable Breakout

Take it from a writer who combs through hundreds of hyperbolic pitches about the Next Big Thing per day — it’s nice to finally get some truth in advertising.
“We’re making music to make women feel good and make people dance, and that’s it,” Anderson .Paak, who is one half of the R&B/soul duo Silk Sonic with Bruno Mars, recently told Rolling Stone. “It’s not gonna make people sad.”
This frank evaluation of what Silk Sonic does may not seem particularly deep at first blush, but this simplicity is a feature, not a bug.
On a musical level, Mars and .Paak are making far more than feel-good party music. Even YouTube music dissector Rick Beato was blown away by the sophisticated, jazzy chords they brought back to the airwaves decades after AOR classics like Steely Dan‘s Aja.
Silk Sonic finally dropped their debut full-length, An Evening With Silk Sonic, after months of living with the funky, soulful, glittery highlight “Leave the Door Open.”
Even with all these other tunes to enjoy, it remains the gravitational center of the release — and a reminder that Beato-friendly music is hurtling back into the zeitgeist.
Read More: The 64th GRAMMY Awards: Everything You Need To Know About The 2022 GRAMMYs Awards Show & Nominations

On 2019’s smash “Old Town Road,” we met Lil Nas X: a TikTok star with a boy-next-door grin even as he participated in a subversive, age-old cultural fusion of Black and white culture.
But in 2021, with the hat and spurs and Billy Ray Cyrus in the rearview, we met Montero.
That’s the real name of the born Montero Lamar Hill, and the name of his long-awaited debut album. And on the titular single “MONTERO (Call Me By Your Name),” his Blackness and gayness — and musical intrepidity — are on fearless display.
“I feel like we’ve come to a time in music where everything is nice and nothing is really cutting-edge or starting conversations any more,” Lil Nas X recently told Time about its delightfully racy video. “I want to be part of a conversation that actually applies to my situation and so many people that I know.”
“MONTERO (Call Me By Your Name)” hasn’t just started a conversation — it set the course for the rest of this American original’s career.
Take A Look Back: Lil Nas X, BTS & Billy Ray Cyrus Enter The “Old Town Road” Multiverse At The 2020 GRAMMYs

Fifty-five years after the Beach Boys wished that females the nation round could be “California Girls,” Bieber sang in no uncertain terms about what the various regions of the USA could do for him.
“I got my peaches out in Georgia/ I get my weed from California,” he sings in “Peaches,” his single from 2021’s Justice. “I took my chick up to the North/ I get my light right from the source.”
It’s pretty obvious that Biebs is paying tribute to his wife, Hailey — and his collaborators also shout out long-lasting, long-suffering relationships.
While Daniel Caesar proclaims “There’s no time, I wanna make more time / And give you my whole life,” Giveon croons, “Your kisses taste the sweetest with mine/ And I’ll be right here with you ’til the end of time.”
For anyone ready and willing to settle down with one’s main squeeze, that’s a sentiment one can vibe with.
Take A Look Back: The GRAMMY Oral History: Justin Bieber’s Purpose
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As a member of the Highwomen amid a contemporary wave of confessional, thoughtful Americana singer/songwriters (see also: Margo PriceJason IsbellJulien Baker, et al) Carlile knows her way around a lyric that acts as a knife-twist.
“Right on Time,” the crestfallen lead-off track from her 2021 album In These Silent Days, is full of them. “I never held my breath for quite this long,” she sings near the end. “And I don’t take it back / I did what I had to do.”
To hear Carlile tell it, she wrote “Right on Time” to attempt to best her last signature song, “The  Joke” (which also received a SOTY nod in 2018). “It was a once-in-a-lifetime song,” she told Spin in 2021. “I wanted to hit that mark of drama again.” And when this tune came spilling from her pen?
“[I] felt like the pressure was off in terms of getting my heart to come out of my mouth,” she recalled. And she need not worry whether she measured up to her last zenith: “Right on Time” is a classy, timeless triumph.
2022 GRAMMYs Awards Show: Complete Nominations List

The GRAMMY for Album Of The Year is one of the most prestigious and coveted awards a musician can receive. At the 2022 GRAMMYs Awards show, officially known as the 64th GRAMMY Awards, there will be some heady competition for the title.
For the 2022 GRAMMYs, Jon Batiste‘s WE ARETony Bennett‘s and Lady Gaga‘s Love for SaleJustin BieberJustice (Triple Chucks Deluxe)Doja Cat‘s Planet Her (Deluxe)Billie Eilish‘s Happier Than EverH.E.R.‘s Back of My MindLil Nas X‘s MonteroOlivia Rodrigo‘s SourTaylor Swift‘s Evermore and Kanye West‘s Donda have been nominated for Album Of The Year.
Who will take home the golden gramophone in this most vaunted of categories? Will it be Bennett, who just gave the world his farewell gift? Lil Nas X, who metamorphosed from novelty act to a full-fledged, out-and-proud pop star? Perhaps Olivia Rodrigo, who synthesized pop-punk, emo and indie pop like few before her? Or any of the other luminaries on the list?
Ahead of the 2022 GRAMMYs ceremony on Jan. 31, here’s a rundown of the Album Of The Year nominees.
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The Stay Human bandleader works in a multitude of formats, from film soundtracks to American Symphony, an upcoming large-scale work at Carnegie Hall.
“I’m involved in so many different types of things that so much of my life is balancing the amount of things I have going on and maintaining artistic integrity and keeping my values intact,” he told GRAMMY.com in 2021. “It’s hard to even encapsulate in one presentation of a thought.”
But as a plain old album artist, he’s as inventive and luminous as ever — as attests his genre-straddling 2021 album WE ARE — which features other rootsy, GRAMMY-honored greats like PJ MortonTrombone Shorty and the Hot 8 Brass Band.
Tracks like “FREEDOM,” “TELL THE TRUTH” and the title track show that this unique American talent may be kaleidoscopic in his pursuits, but he’s able to hone his multifarious talents to a fine point.
Read More: Jon Batiste Talks New Album We Are, His Brain-Breaking Itinerary & Achieving “Freedom” From Genre

After more than seven decades in the game, Bennett is hanging up his mic: the vocal jazz titan (and Frank Sinatra’s BFF) recently retired at 95 due to his worsening Alzheimer’s.
Before he did, though, the 18-time GRAMMY winner signed off with this classy program of well-worn Cole Porterstandards with Lady Gaga — herself a 12-time GRAMMY winner. 
“There’s a lot about him that I miss because he’s not the old Tony anymore,” Bennett’s wife, Susan Benedetto, recently expressed in light of his diagnosis. “But when he sings, he’s the old Tony.”
Indeed, Love for Sale is the work of an American icon not fading away, but going out on top — and Gaga’s inspired counterpoint is a fundamental reason it works so well.
Take A Look Back: For The Record: The Liberating Joy Of Lady Gaga’s Born This Way At 10

The cherubic teenybopper turned mature artist made a quantum leap with his 2020 album Changes. And if its follow-up is any indicator, that momentum shows no signs of slowing.
Justice, which arrived in the spring of 2021, is where the two-time GRAMMY winner and 14-time nominee got rangier than ever and trumpeted his personal values loudest. No longer was he projecting a bad-boy image or a redemption arc, but simply being an artist.
On tracks like “As I Am,” “Hold On” and “Peaches,” Bieber came to the table with a clear message to the world — both personal and apropos to the wild world where he grew up in public.
Take A Look Back: The GRAMMY Oral History: Justin Bieber’s Purpose

As pop trajectories go, Doja Cat has had one of the oddest in recent memory — the TikTok wunderkind undulating in a cow costume has now perforated the highest echelon of the music industry. But the mind-blowing success of Planet Her shows her zenith is still ahead of her.
With a little help from collaborators Young ThugAriana Grandethe WeekndJ.I.D. and SZA, she cooks up an assemblage of pop pleasures, like “Payday,” “Need to Know” and “Kiss Me More.” With “Mooo!” in the rearview and a massive debut album under her belt, the world is Doja Cat’s oyster.
Read More: From Meme Queen To Popstar: Revisiting Doja Cat’s Inevitable Breakout
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It was anyone’s guess where Eilish (and her talented brother FINNEAS) could have gone after When We All Fall Asleep, Where Do We Go?, but the seven-time GRAMMY winner went deeper than any of us could have imagined.
With a dyed-blonde Billie on the cover and gems like “My Future,” “Your Power” and the title track in the grooves, Happier Than Ever is a masterclass in candor, restraint and elegance.
Happier Than Ever arguably crescendos with the interlude “Not My Responsibility,” where Eilish has a few words for online vultures who judge her appearance — a musical mirror to the IDGAF approach she’s taken in this new era, kicking off with her viral Vogue cover story in May.
“Do my shoulders provoke you? Does my chest?/ Am I my stomach? My hips?” she asks in the track, in just above a whisper. “The body I was born with / Is it not what you wanted?”
Read More: Billie Eilish’s Road To Happier Than Ever: How The Superstar Continues To Break Pop’s Status Quo

As the traditional template of a Prince-style triple threat goes, H.E.R. has the whole package. Gabriella Sarmiento Wilson is an equally talented singer, songwriter and multi-instrumentalist. Now, the four-time GRAMMY winner is out with her bold and revealing debut album (but third Album of the Year contender overall), Back of My Mind.
“I often say things that I think we’re afraid to say,” Wilson told MTV News in 2021. “I sing the things that are sometimes hard to articulate, the things that sit in the back of our minds that we don’t pay much attention to.” 
She’s a smashing success at this spiritual work — personal-yet-universal tunes like “We Made It,” “Bloody Waters” and “Hold On” express the hard emotions we’re collectively feeling.
Take A Look Back: H.E.R. Wins Song Of The Year For “I Can’t Breathe” | 2021 GRAMMY Awards Show

Some thought Lil Nas X had peaked with his Trent Reznor– and Atticus Ross-assisted “Old Town Road” and its various remixes — that his legacy would forever be hung on a single tune, “Mambo No. 5” or “Incense and Peppermints” style.
Of course, that’s not what happened: The proudly gay and Black rapper, singer and songwriter let his critics eat crow with his debut album, Montero.
Colorful and heartfelt highlights like “Montero (Call Me By Your Name),” “Industry Baby” and “Thats What I Want” demonstrate that Lil Nas X has a multiplicity of roads ahead of him — all which lead straight into the heart of pop’s future.
Take A Look Back: Lil Nas X, BTS & Billy Ray Cyrus Enter The “Old Town Road” Multiverse At The 2020 GRAMMYs

“Driver’s License” would be enough for any artist to hang their hat on, but it was only the beginning for Rodrigo. As it turns out, all the various subgenres of the iPod generation — indie pop, pop-punk, emo — are grist for the mill.
Her debut album, Sour, is a freewheeling, emotionally rending trip through all those styles and more, the work of an artist who arrived fully-formed just shy of her 18th birthday.
Rodrigo’s myriad of influences aside — Paramore and Billie Eilish are just two of the artists swimming around her consciousness — there’s no mistaking her for anyone else. And that has a lot to do with her music’s depth of emotional information.
“I hope people know that deep down, all that I do is write songs and talk about how I feel, and that’s the most important thing to me,” Rodrigo told Teen Vogue in 2021. “Everything else, I think, is not so important.”
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We’re so deep into the Taylor’s Version era — and punch-drunk from the 10-minute version of “All Too Well” — that it’s worth reminding ourselves just how paradigm-shifting Folklore and Evermore were back in 2020. 
First, Swift ripped up the rulebook with Folklore, establishing her cottagecore aesthetic and deepening her storytelling acumen. Then she leaned into both even more — with a little help from go-to collaborators Aaron Dessner and Jack Antonoff.
“To put it plainly, we just couldn’t stop writing songs,” Swift said in a social media post. “To try and put it more poetically, it feels like we were standing on the edge of the folklorian woods and had a choice: to turn and go back or to travel further into the forest of this music.”
Jewels like “Willow,” “No Body, No Crime” (feat. Haim) and “Coney Island” (feat. the National)” show that Evermore doesn’t suffer from sequelitis one iota — it’s an equal and parallel force to its revelatory predecessor.
Read More: Taylor Swift’s Road To Folklore: How The Superstar Evolved From ‘Diaristic’ Country Tunes To Her Most Progressive Music Yet
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We only get one of these artists per generation — it was John Lennon, then Kurt Cobain, and now Kanye West.
Now that the compounding controversiestabloid dramaon-and-off Drake beef and parade of album delaysare behind us, Donda reveals itself for what it is. Ye’s latest is a messy, sprawling, experimental ode to grief and God from a Govinda-like searcher.
Follow the trajectory of these songs and you get a more-or-less clean arc from pure bluster (“I’m pulled over and I got priors!” from “Jail”) to a plea for divine redemption (“Come and purify me, come and sanctify me/ You the air that I breathe, the ultra-ultralight beam,” from “Come to Life.”)
Take it all as a whole with the staggering, shocking performance-art events, and one message shines brightly through the smoke and mirrors: we can’t do this on our own.
2022 GRAMMYs Awards Show: Complete Nominations List​

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Taylor SwiftPhoto: Will Heath/NBC/NBCU Photo Bank via Getty ImagesIt seems there’s never a dull moment in pop music. But in 2021, the genre’s rising stars and longtime greats all came out swinging, always giving fans something to be excited about.Taylor Swift and her unofficial protege, Olivia Rodrigo, made for two of the biggest stories of the…

Taylor SwiftPhoto: Will Heath/NBC/NBCU Photo Bank via Getty ImagesIt seems there’s never a dull moment in pop music. But in 2021, the genre’s rising stars and longtime greats all came out swinging, always giving fans something to be excited about.Taylor Swift and her unofficial protege, Olivia Rodrigo, made for two of the biggest stories of the…

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