The Recording Academy, the organization behind the annual GRAMMY Awards, is sharing a series of updates to the annual GRAMMY Awards process for the 2025 GRAMMYs, officially known as the 67th GRAMMY Awards, which take place Sunday, Feb. 2, live at Crypto.com Arena in Los Angeles.

Key updates to the 2025 GRAMMY Awards season include adjustments to eligibility criteria, Category renaming, and submission guidelines updates for some Categories, including the Songwriter Of The Year, Non-Classical Category. All updates go into effect immediately at the 2025 GRAMMYs.

The 2024 amendments were voted on and passed at the Recording Academy's semiannual Board of Trustees meeting. These changes, designed to enhance the integrity and inclusivity of the awards, reflect the Academy's commitment to staying current with the evolving music industry.

Read more: 2025 GRAMMYs To Take Place Sunday, Feb. 2, Live In Los Angeles; GRAMMY Awards Nominations To Be Announced Friday, Nov. 8, 2024

The Recording Academy accepts proposals for changes to the GRAMMY Awards process from members of the music community year-round. The Awards & Nominations Committee, composed of Recording Academy Voting Members from diverse genres and backgrounds, meets annually to review proposals to update Awards Categories, procedures and eligibility guidelines.

For more information about the 2025 GRAMMY Awards season, learn more about the annual GRAMMY Awards process, read our FAQ (Frequently Asked Questions) section, view the official GRAMMY Awards Rules and Guidelines, and visit the GRAMMY Award Update Center for a list of real-time changes to the GRAMMY Awards process.

Read the updates and amendments for the 2025 GRAMMYs in full below:

Eligibility, Criteria & Submission Guidelines Amendments:

• All eligibly-credited Featured Artists with under 50% playtime will now be awarded a Winners' Certificate for all genre album Categories. (Note: Does not apply to Best Musical Theater Album, the General Field or Craft Categories.)

• In the Songwriter Of The Year, Non-Classical Category, the following submission guidelines were amended, allowing for wider representation of the songwriter community:

  • The minimum submission threshold in which a songwriter is credited as a songwriter or co-writer (not a primary or featured artist or producer) was reduced from five to four songs.

  • The additional number of songs a songwriter may enter in which they are also credited as a primary or featured artist, or any other supporting role, increased from four to five.

• The Best Traditional R&B Performance Category criteria was amended to more accurately represent recordings that embody the classic elements of R&B/soul music, distinguishing them from contemporary interpretations of the genre.

• The Best Traditional Pop Vocal Album Category criteria was amended to expand the Category by broadening its scope and welcoming more entries from the Musical Theater community. Additionally, album eligibility criteria was updated to require that albums in this Category must contain more than 75% of newly recorded (previously unreleased) performances.

• The Best Children's Music Album Category criteria was amended to include a requirement that lyrics and English-language translations must be included with entry submissions. Additionally, an intended audience age range for this Category was defined as infant to 12 years old.

GRAMMY Award Category Adjustments:

• The Best Remixed Recording Category has moved from the Production, Engineering, Composition & Arrangement Field into the Pop & Dance/Electronic Field.

• The Category formerly known as Best Pop Dance Recording has been renamed Best Dance Pop Recording.

• The Best Dance/Electronic Music Album Category was renamed to Best Dance/Electronic Album, and the Category criteria was amended to establish that albums must be made up of at least 50% Dance/Electronic recordings to qualify.

• Conjunto music will now be recognized in the Best Regional Roots Music Album Category, rather than the Best Música Mexicana Album (Including Tejano) Category.

• The Best Score Soundtrack for Video Games and Other Interactive Media Category was amended to include a qualification for released material, specifically new DLC (downloaded content in-game) and Seasonal Expansions. The updated qualification establishes that greater than 50% of the music on an otherwise eligible Video Game Soundtrack or Interactive Media Soundtrack must be derived from new episodes or new programming released during the GRAMMY eligibility year for which it is entered.

The Recording Academy Producers & Engineers Wing will honor legendary producer, engineer, mixer, and five-time GRAMMY winner Jimmy Douglass at its annual GRAMMY Week Celebration, which is set to take place Wednesday, Jan. 29, 2025, days ahead of the 2025 GRAMMYs. The celebration, an official GRAMMY Week 2025 event, will be held at The Preserve LA in East Hollywood and will salute Douglass’ extraordinary contributions to the music industry and his enduring impact on modern sound.

In addition to honoring Douglass, the event will also celebrate the year-round work of the Producers & Engineers Wing and its members, who work together to advise the Recording Academy on technical best practices, advocate for the rights of music creators, and shape the future of the recording field.

GRAMMY Week 2025 culminates with the 2025 GRAMMYs, officially known as the 67th Annual GRAMMY Awards, which take place live on Sunday, Feb. 2, at Crypto.com Arena in Los Angeles. The 2025 GRAMMYs will broadcast live on the CBS Television Network and stream live and on-demand on Paramount+ at 8-11:30 p.m. ET/5-8:30 p.m. PT. Prior to the telecast, the 2025 GRAMMY Awards Premiere Ceremony will be held at the Peacock Theater at 12:30 p.m. PT/3:30 p.m. ET and will be streamed live on live.GRAMMY.com and the Recording Academy's YouTube channel.

Learn more about Jimmy Douglass below:

Known as "The Senator," Douglass is a five-time GRAMMY winner and 11-time GRAMMY nominee whose prolific career began in the early '70s at Atlantic Records studios in New York City. Starting as a part-time tape duplicator while still in high school, he quickly rose through the ranks, learning from legendary figures like Tom Dowd, Arif Mardin, Jerry Wexler, and Ahmet Ertegun. He went on to work with major Atlantic Recording artists such as Aretha Franklin, Hall & Oates, Roberta Flack, Donny Hathaway, Foreigner, Led Zeppelin, and AC/DC, among many others. By the 1980s, Douglass expanded his repertoire by taking on production roles; he engineered and produced established artists including The Rolling Stones, Slave, Odyssey, Roxy Music and Gang of Four.

In the early 1990s, Douglass refined his skills by working on jingles and post-production, a period that honed his ability to work efficiently while capturing the essence of each project. This foundation proved pivotal when he began a groundbreaking partnership with Timbaland in 1994, for whom he served the main engineer for more than a decade. Together, they collaborated on classic projects by Aaliyah, Missy Elliott, Jay-Z, and others, shaping the sound of contemporary R&B and hip-hop.

In the 2000s, Douglass continued to innovate. He engineered and mixed more Timbaland-produced projects from artists including Snoop Dogg, Bjork and GRAMMY-winning albums for Justin Timberlake. Among the artists he also mixed are Rob Thomas, Sean Paul, Kanye West, Ludacris, Al Green, John Legend, and Duran Duran.

Renowned for bringing unconventional techniques into the studio and encouraging artists to transcend genre restrictions, he is credited with bringing a raw edge to sound and specifically bringing a heavy funk-bass sound into rock music.

Douglass remains at the forefront of the industry, leveraging his decades of experience to push creative boundaries while inspiring countless artists. His versatility and technical mastery have solidified his status as one of the most respected producers, engineers and mixers in the world.

"Our P&E Wing proudly celebrates GRAMMY Week each year with a special evening that unites producers, engineers and artistic professionals to honor a truly deserving creator," Recording Academy CEO Harvey Mason jr. said in a statement. "This year, we're thrilled to pay tribute to the extraordinary Jimmy Douglass, who has led groundbreaking creative and technical efforts in the recording industry, encouraging artists to transcend genre boundaries and contributing to iconic musical projects that will resonate for generations."

 "Throughout his illustrious career spanning more than four decades, Jimmy's visionary approach to producing, engineering and mixing has shaped some of music's most iconic recordings. Jimmy consistently pushes the boundaries of sound by bringing unconventional techniques into the studio while inspiring countless artists along the way," Maureen Droney, Vice President of the Recording Academy Producers & Engineers Wing, echoed the sentiment in a statement. "On behalf of the Producers & Engineers Wing, we are delighted to dedicate our 2025 event to Jimmy and his amazing career."

This morning, 2025 GRAMMY nominations were announced, sparking a wave of excitement for music fans everywhere!

Right after the big announcement, nominated artists lit up social media with posts of joy and gratitude. The timeline quickly filled with celebration, from first-time Best New Artist nominees Shaboozey and Teddy Swims to shoutouts from hit-makers Alissia, Green Day, and St. Vincent. 

Dive into the social media celebration posts, and catch up on the full list of nominations on the road to the 2025 GRAMMYs on Sunday, Feb. 2, 2025 at Crypto.com Arena in Los Angeles, broadcasting live on the CBS Television Network and streaming live and on demand on Paramount+. 

Best New Artist nominees Shaboozey, Doechii, Sabrina Carpenter, Teddy Swims, and RAYE all shared their heartfelt sentiment after being nominated:

Best Global Music nominee Matt B, nominated with featured performers Royal Philharmonic Orchestra for the album ALKEBULAN II, jumped for joy at hearing news of the nomination.

Brazilian artist Anitta, nominated for Best Latin Pop Album for Funk Generation, felt inspired to get up and groove upon learning of her second career GRAMMY nomination. 

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Hawaiian artist Kalani Pe'a, nominated for Best Regional Roots Music Album for Kuini was moved to unbridled tears from deep gratitude: 

Several more artists took to social to share more reactions to their nominations, including Scott Hoying, Muni Long, Troye Sivan, Cimafunk, Producer Of The Year, Non-Classical nominee Alissia and more:

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The 2025 GRAMMY nominations are here! One of the first categories announced on Nov. 8 was Songwriter Of The Year, Non-Classical, wth Jessi Alexander, Amy Allen, Edgar Barrera, Jessie Jo Dillon and RAYE each scoring a nomination to round out this year's crop of nominees.

Last year, Theron Thomas took home the golden gramophone for his work writing with the likes of Tyla, Chlöe, Lil Durk, Cordae, and more. Last year also marked the award for songwriting being moved to the General Field after being introduced as a new Category in 2023.

This year's nominees represent songwriting excellence across a wide array of genres, using their talents to pen acclaimed and fan-loved songs in the realms of pop, Latin, R&B, Afrobeats, and beyond. They've helped superstars like Beyoncé and Post Malone make their mark on country music, helped introduce a new generation of pop stars into the zeitgeist, and two nominees even pulled double duty by penning hits for their contemporaries on top of releasing their own albums.

Check out the nominees below and read the full 2025 GRAMMYs nominations list ahead of Music's Biggest Night on Sunday, Feb. 2, 2025.

Jessi Alexander

Jessi Alexander began her career in Nashville as a country artist, releasing her major label debut, Honeysuckle Sweet, via Columbia Records in 2005. Since then, she's released two more solo albums — 2014's Down Home and 2020's Decatur County Red — independently while racking up hits as a songwriter.

In 2009, she wrote Miley Cyrus' watershed power ballad "The Climb" with collaborator Jon Mabe, and five years later earned dual nominations for Best Country Song at the 2014 GRAMMYs for penning Lee Brice's "I Drive Your Truck" and Blake Shelton's "Mine Would Be You" — both of which reached the Top 10 on Billboard's Hot Country Songs chart and went No. 1 at country radio.

Throughout 2024, Alexander has been a trusted co-writer for many a country superstar, co-writing Dustin Lynch and Jelly Roll's hit duet "Chevrolet" and working with Luke Combs across multiple projects including his fifth album, Fathers & Sons ("Remember Him That Way," "All I Ever Do Is Leave"). She's also a co-writer on Combs' "Ain't No Love in Oklahoma," the seven-time GRAMMY nominee's contribution to Twisters: The Album that earned Alexander another GRAMMY nomination this year, for Best Song Written For Visual Media. 

What's more, Alexander crossed paths with fellow Songwriter Of The Year nominee Jessie Jo Dillon on Megan Moroney's sophomore album, Am I Okay? The two women wrote multiple tracks together on the studio set, including "No Caller ID," "Noah" and bonus cut "Bless Your Heart."

Amy Allen

Amy Allen's name has been synonymous with top-tier pop music for more than half a decade, ever since she started writing chart-topping hits with Halsey ("Without You"), Selena Gomez ("Back to You") and Harry Styles ("Adore You") at the end of the 2010s.

This year marks Allen's second nomination for Songwriter Of The Year, Non-Classical. The small-town Maine native and Berkelee College of Music graduate was one of the inaugural nominees in the category in 2023 — the same year she took home her first GRAMMY when Styles' Harry's House won Album Of The Year. 

Allen's career as a go-to pop songwriter reached new heights in 2024. She's been a longtime collaborator of Sabrina Carpenter, and helped the doe-eyed pop chanteuse pen every track on her No. 1 (and now GRAMMY-nominated) album Short n' Sweet, including smash singles "Espresso," "Please Please Please" and "Taste." ("Amy is a once-in-a-lifetime writer and friend — it all comes to her very naturally and effortlessly," Carpenter recently gushed to Variety in a May profile of Allen. "She's super versatile: She can wear any hat and yet it still feels authentic. I've learned a lot from her and admire what an incredible collaborator she is.")

In addition to her meteoric partnership with Carpenter, Allen has also played a role in Tate McRae's career as a pop superstar on the rise, penning "run for the hills" as well as last year's breakout hit "greedy." 

Earlier this fall, Allen also released her own self-titled debut solo album, Amy Allen. Her additional nominations at the 2025 GRAMMY Awards include nods for Song Of The Year for "Please, Please, Please," Album Of The Year and Pop Vocal Album for Short n' Sweet, and Best Song Written For Visual Media for *NSYNC's "Better Place" from the animated feature Trolls Band Together.

Edgar Barrera

With this year's nod, Edgar Barrera scores his second consecutive nomination for Songwriter Of The Year, Non-Classical after also being included in last year's pack of nominees. Also known under his moniker Edge, the songwriter remains a tectonic force in Latin music's ever-important place in the mainstream. As of 2023, Barrera has racked up 23 wins at the Latin GRAMMYs and once again leads this year's nominations with nine more nods at the upcoming Nov. 14 ceremony.

In the year since his first nomination in the Category, Barrera has penned Spanish-language hits for Shakira & Grupo Frontera ("(Entre Paréntesis)"), Camilo ("No Se Vale"), Karol G ("Si Antes Te Hubiera Conocido"), Peso Pluma and Kenia Os ("Tommy & Pamela") and more. He's also contributed to multiple crossover duets on Carín León's 2024 album Boca Chueca, Vol. 1 with Kane Brown ("The One (Pero No Como Yo)") and Leon Bridges ("It Was Always You (Siempre Fuiste Tú)," 

This summer, Barrera added R&B to his sizable resume by working with Khalid on the crooner's long-awaited third studio album. The song Barrera co-wrote, "Sincere," ultimately became the LP's title track, with Khalid telling Apple Music's Zane Lowe, "It was a very difficult process in naming this album, because I had to find one name that fully…summed up what I felt in this music.

"And when I thought of the music," Khalid continued, "I thought of it as my most vulnerable in a while… How do I view myself as an artist? What artist do I want to be? And that's what this album is: it's sincere."

Jessie Jo Dillon

Jessie Jo Dillon joins Edgar Barrera as the other songwriter in this year's pack to earn back-to-back nominations for Songwriter of the Year, Non-Classical.

As the daughter of fellow songwriter Dean Dillon, the country progeny has music running through her veins. And much like how her father helped provide the soundtrack of '90s country through his work with George Strait, Toby Keith, Pam Tillis, and Kenny Chesney, the younger Dillon has had a hand in crafting the sound of modern country by penning tracks with Keith Urban ("Messed Up As Me"), Morgan Wallen ("Lies Lies Lies") and Kelsea Ballerini ("Sorry Mom").

This year, she also helped Megan Moroney land her first Top 10 album on the Billboard 200 with the singer's sophomore studio effort Am I Okay? — co-writing the title track and three other songs on the standard version and another on the recently released deluxe edition — and worked with her dad to co-write "Two Hearts," a bonus track on Post Malone's GRAMMY-nominated swerve into country, F-1 Trillion.

RAYE

It's a fairly safe assertion to say that RAYE was already enjoying a banner year before the 2025 GRAMMY nominations were revealed. The British soul singer broke out in 2023 with her debut solo album, My 21st Century Blues, with the independently released LP winning British Album Of The Year at the 2024 BRIT Awards. (RAYE also broke the record for most wins by an artist in a single year by taking home five other awards during the ceremony, including British Artist Of The Year and Song Of The Year for her viral single "Escapism."

However, the artist born Rachel Keen hasn't just focused on her own explosive career — in 2023, she collaborated with Hans Zimmer on sweeping single "Mother Nature" for the popular BBC nature series "Planet Earth 3," narrated by Sir David Attenborough, and translated her talent to the world of Afrobeats by co-writing NEIKED's "You're Hired" featuring Ayra Starr. 

More recently, RAYE has lent her sharp, emotional songcraft to high-profile projects by superstars like Beyoncé ("RIIVERDANCE") and Jennifer Lopez ("Dear Ben, Pt II"), as well as working with the likes of Halle ("Because I Love You") and Rita Ora ("Ask & You Shall Receive"). 

In addition to her nod for Songwriter Of The Year, Non-Classical, RAYE is one of eight rising voices who make up this year's crop of Best New Artist nominees — thereby becoming the first artist in GRAMMYs history to be nominated in both categories. She also earned a third nomination this year for Best Engineered Album, Non-Classical, for her contributions to Lucky Daye's Algorithm.

Few individuals get the opportunity to truly define the sound of a moment the way that producers do. The recent passing of Quincy Jones acts as a reminder: Even though they may not always be onstage or have their name in flashing lights on the marquee, producers’ ability to imprint their unique vision and style across genres, styles, and voices and build a map of what the year sounds like. 

This year's nominees for Producer of the Year, Non-Classical have undoubtedly reached that achievement, delivering beauty and joy across the musical spectrum. There are some names that should be very familiar to GRAMMY viewers. Dernst "D’Mile" Emile II returns to the category for the third year in a row, hoping to build from his Best R&B Album win at the 66th GRAMMY Awards for his work on Victoria Monet's JAGUAR II. Nominated for the second year in a row, Daniel Nigro hopes to take home the golden gramophone for shaping glorious pop indulgence. 

Fans of rap have long known the work of Mustard, but now it would seem that so would anyone who’s walked past a radio. Ian Fitchuk’s resume stretches from country gold to woozy pop delight, and Alissia put a stamp on a lush, disco-tinged brand of R&B. 

Check out the nominees below and read the full 2025 GRAMMYs nominations list ahead of Music's Biggest Night on Sunday, Feb. 2, 2025.  

Alissia

After obsessing over Motown, Parliament Funkadelic, Prince and James Brown as a young person, Alissia took up the bass and started to commit herself fully to a life in music. "I was a big funk-head, ‘70s funk," she told Sweetwater. "I was kind of like a sponge…I was a big nerd and wanted to learn how to arrange for a big band and orchestra." 

Translating that love into actual work with none other than Bootsy Collins, then, must have elevated Alissia into some level of funk heaven. Since then, Alissia has continued to evolve her grooves and style, working with artists ranging from Anderson .Paak and Bruno Mars, to Nile Rodgers and Mary J. Blige. In 2024, that interstellar journey culminated in an impressive swathe of releases in soul, R&B, and funk.

Take, for example, the sublime "Is It Worth It", a slippery groove that elevates Rae Khalil’s smoke-laced voice to obscene extremes. Or "Love Takeover" from R&B duo Lion Babe, a track that could single-handedly transport an entire dancefloor back to the heights of the disco era while retaining a modernist bass flow. 

The Swiss-born, New York-based producer’s soulful niche has also found a match in a pair of Chicago artists. Alissia produced the opening track to Jamila Woods’ Water Made Us, and "Bugs" gives a nostalgic and sensuous tone to the poet/vocalist’s lilting voice. Alissia’s hard-thumping rhythms also lift up BJ the Chicago Kid, giving a new energy to his regal voice. 

Whether DJing, playing bass, or working behind the board, Alissia finds a lithe, effortless cool that’s downright infectious. "To me, what makes a great record is when you did it from your heart. You really felt it, it wasn't forced or anything, it was genuine, you made it with love," she told GRAMMY.com. "Music is feelings. There's no competition. eVerybody has something different to bring to the table."

Watch: Behind The Board: Alissia On Working With Bootsy Collins, Learning From Anderson .Paak & What Makes A Great Record

Dernst "D’Mile" Emile II

With Jack Antonoff out of the running after three wins in a row in this category, Dernst Emile II, a.k.a. R&B/hip-hop producer D’Mile, hopes that he can take his turn at the top. And thanks to some incredible work with a coterie of smooth eccentrics, this could well be his time.

Over the past few years, D’mile has helped usher a lux, live brand of vintage R&B to the fore, resulting in his becoming the first person to net back-to-back Song Of The Year awards for H.E.R.'s "I Can't Breathe" and Silk Sonic's "Leave the Door Open," not to mention recognition for his work with the likes of Victoria Monet and Mary J. Blige.

D’mile’s soulful penchant for fusion brought the best out of a wide variety of artists. From bringing a reeling jig to Koe Wetzel’s "Bar Song" to putting a sepia glow on Lady Gaga and Bruno Mars’ duet "Die With a Smile," this year found D’mile pushing his already expansive boundaries. At the same time, he knew exactly how to pull the best out of styles that hit closer to home, like the Prince-adjacent funk of Usher’s "I Love U" and the swanky throwback "That’s You" from Lucky Daye (an artist with whom D’mile has already had success, gaining gold for his work on 2022’s Best Progressive R&B Album, Table for Two. 

There’s something so natural about a D’mile track — and that seems to be by design. "It’s like when you cook, you got to make the right concoction and make sure the love is in it," he told Vibe. "Can you explain what you just did? No. You just threw stuff in the pot."

The Brooklynite has already notched six GRAMMY wins and an Academy Award, and that’s nothing to sneeze at. But on his third run at Producer Of The Year, Non-Classical, D'Mile is surely ready to finally take the award home. And if this pace continues, there’s no reason to doubt that he could go on his own three-year streak. 

Read more: 5 Essential D'Mile Productions: Silk Sonic, Victoria Monét, & Others

Ian Fitchuk

When Kacey Musgraves took home the GRAMMY Award for Best Country Album in 2019 for Golden Hour, she made sure to bring Ian Fitchuk onto the stage and to give him a shoutout. The Chicago-born, Nashville-based musician co-produced the record and played a variety of instruments across its 13 tracks — helping Musgraves unlock the truest expression of her version of country music to date. 

This year, Fitchuk nabbed a nomination for Producer Of The Year, Non-Classical in part for his work on Musgraves’ latest, the dazzling Deeper Well. Speaking of helping shape unique perspectives on country, Fitchuk’s year also featured a spot on the writing and production team for "Amen" on Beyoncé’s Cowboy Carter. "I had the crazy idea of, ‘What if we got Beyoncé on a song [with Kacey Musgraves]?" he recalled in an interview with Vulture. While that track may never be finished, the process led to Fitchuk getting a call when Queen B was prepping her country record.

Another high-profile hit in Fitchuk's catalog comes via co-write on the ecstatic "Silk Chiffon," the queer anthem from MUNA featuring Phoebe Bridgers, as well as producing the multimillion-streamed "Until I Found You" by Stephen Sanchez. This year’s Pr nomination is powered in part by Fitchuk’s role as producer for the album that spawned that latter hit, a debut that radiates vintage AM glow. Fitchuk's big year also featured work with the likes of Maggie Rogers, Still Woozy, and Role Model, not to mention working with Musgraves and Leon Bridges on their contributions to an album of music inspired by the film Bob Marley: One Love.

That diverse list of artists belies Fitchuk’s greatest strength: a willingness to experiment with country tropes while respecting the genre’s history. "I think ‘What is country music?’ is an exhausting question," he told Vulture. "I’m down to be making all different kinds of versions of whatever anybody thinks country music is. Because I didn’t grow up with it, by me fucking with it in any way, it’s going to be its own thing."

Watch: Kacey Musgraves Wins Best Country Album For 'Golden Hour' | 2019 GRAMMYs

Mustard

When an artist decides to play one of the tracks that you produced not once, not twice, not three times, heck not even four times, but five times in a row at a prominent concert, you know you’ve done something right. R&B hitmaker Mustard has plenty of absolute smash hits in his catalog, but perhaps nothing in that long line matches Kendrick Lamar’s "Not Like Us" in terms of inescapability and being in the absolute epicenter of not just the rap world but the entire pop culture conversation.

A relatively mellow character when it comes to long-tenured hitmakers, Mustard seems to be reveling in the moment. "I never look for validation from anybody in the music industry. But do I feel accomplished? Yeah," he told XXL. "I feel really good about what this did. And I do feel like it should make people respect who I am."

Mustard’s been at the top of the game for more than a decade, as far back as "Rack City" in 2011, the "Mustard on the beat" tag one of those constants on rap radio and favorites of deep cut fans alike. As a producer, he’s hit the charts with everyone from Big Sean, Rihanna and 2 Chainz, to Fergie, Young Jeezy and Tinashe. But Mustard’s got hits of his own as well, like the Roddy Rich-featuring "High Fashion" and "Ballin'", as well as "Pure Water" with Migos.

This year, his nomination of course comes in part thanks to "Not Like Us," but also to his razor-sharp solo record, Faith of a Mustard Seed. The album features Mustard's trademark beats, but stretches out in its click-snap percussion, well-deep bass, twitchy samples, and lux synths. Album highlight "Parking Lot" deserves extra attention, Travis Scott’s rippling AutoTune floating over the top of a glittering hi-hat and particularly rubbery bass line. 

"I've been behind the boards and the beats so long that nobody's ever heard my side of things," Mustard recently told REAL 92.3 radio in Los Angeles. "I owe it to my fans to let you guys know where I've been the last five years, what's been going on in my life." And as bigger and bigger things keep happening, one has to assume that the production will just keep getting bigger as well.

Watch: Where Do You Keep Your GRAMMY? | Mustard

Daniel Nigro

Some of the fans in their native Long Island, New York may have looked at Tall As Lions and seen GRAMMYs in their future. And while their work never reached that height, those fans wouldn’t be wrong, as frontman Daniel Nigro has racked up eight nominations, including a win for Best Pop Vocal Album for his work on Olivia Rodrigo's Sour.

In 2023, Guts proved a worthy successor to that record — and tracks from the deluxe Spilled edition helped power Nigro to his second straight nomination for Producer Of The Year, Non-Classical. The teen pop star is a powerhouse in her own right, but Nigro’s production has helped Rodrigo evolve and find new ways to share her emotionally salient, raw lyrics. 

"To me, there's so much nuance in between what makes a song good — like if it's one little part that makes it special and nurturing that to make it bigger," Nigro told GRAMMY.com earlier this year. "I think that's what I bring to the table; helping these artists see their vision and seeing if we as a group find something special in a song."

Though of course one of the biggest stories of the year is Chappell Roan, the esoteric dark pop genius behind The Rise and Fall of a Midwest Princess — and that record on its own could position Nigro in good standing for a big GRAMMY win. Much akin to Rodrigo’s gold-gathering albums, that record thrives on open-hearted lyrics and massive hooks, with Nigro aiding the live energy.

While for some, the "Pink Pony Club" auteur came out of nowhere, Nigro has been a long-time Roan supporter and collaborator, the two having worked together for more than half a decade. In fact, when Roan was dropped from Atlantic Records, Nigro decided he'd sign her to his own label so that her creative vision could come fully to fruition. "[I feel a] deep sense of fulfillment," he told Fast Company. "I wanted nothing more than for people to listen to Chappell. I’ve been shouting it from a mountain for years — ‘Please listen to this, I promise!’"

Read more: The Genius Of Dan Nigro: The Producer Of The Year Nominee On Olivia Rodrigo's 'GUTS' & Why His Success "Doesn't Feel Real"