Anyone who knows anything about him, knows: Jacob Collier is on another level. The prodigious British musician, composer and arranger extraordinaire has notched tens of millions of YouTube views and four GRAMMYs with his effortless command of the medium of music. And even though, traditionally, transparent geniuses are hard to come by, Collier shares his heart and mind for music quite openly, leading in-depth workshops and Logic session breakdowns of his songs and his process. Yet, in speaking with him – even for all of the gobsmacking talent and insanely cool theory wizardry – his dominant trait manages to be his reverence for human instincts.

"The thing about when I make music," Collier told GRAMMY.com, "is that a lot of the decisions that may feel quite technical are basically based in feelings. It's based in an emotional decision."

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Most recently, Collier has been channeling those decisions into an epic quadruple album, releasing its latest puzzle piece, Djesse Vol. 3, just last month complete with top-notch features from the likes of Tori Kelly, Kiana Ledé, Tank And The Bangas, Daniel Caesar, Jessie Reyez, T-Pain and more. The album shows off not only Collier's approachable, but his remarkable vision for what music can do and how it can connect people across the world, even during a pandemic. Feeling all of this from an artist who just turned 26 years old last month produces a hope we need more than ever right now.

We tapped into Collier's fascinating world, catching him over the phone from his increasingly famous music room in his home in North London to talk about Djesse Vol. 3 and its stunning collaborations, what he's learned during lockdown, his process of sharing his abundant musical knowledge and even what he does to unwind. Enjoy...

A quadruple album is an ambitious undertaking, and I read somewhere you said you're treating it like a big puzzle. How does Djesse Vol. 3 fit into that puzzle for you?

So this whole quadruple album thing was something I dreamed up about three years ago, two or three years ago now, I suppose. The goal was how can I build bridges between all these different musical faculties that I've been listening to and loving for all these years, and get them all to make sense within each other's contexts? I've been an avid listener of all these different kinds of music for so long. I was brought up on Bartok meets Beck meets the Beatles. And then you've got Björk, and you've got Joni Mitchell and you've got Stevie Wonder and Prince and Earth, Wind & Fire. All these styles and different languages and different parts of the world and different histories converged for me as a teenager.

I just became fascinated with the idea of making it all make sense with each other, so combining different elements. I made this album, I suppose, about five years ago called In My Room, which is my first album. I made it in this room I'm currently in, in my home in North London. And that was really the first time I'd ever written songs. It was good fun.

After that album came out and I toured it about, and I really wanted to do something a little more epic. I set about this four album process delegating my musical ideas as they came out into these different rooms, different boxes. So Djesse Vol. 1 is the birth of the whole thing, the gestation of the sound world. And it's very large. It's a big, expensive work. There's an orchestra present, they are choirs present, the acoustic space taken to great heights, that was the space. And I collaborated with the incredible called the Metropole Orchestra on that record. Djesse Vol. 2 is still acoustic, it's still in the real acoustic sounds world, but it's a much smaller space. So more about songwriting and folk music, world music, a little bit of jazz thrown in, and some music from Portugal, music from Mali, Africa, all sorts of things. So that was a smaller acoustic space.

And Djesse Vol. 3 was always the one I was most excited about because it enabled me the space to explore a lot of the negative space type sounds, sounds made in the digital sphere, electronic stuff, which I suppose lends itself to hip-hop and R&B, and you've got soul music in there, and you've got funky music in there. And pop as well. I always wanted to explore those things.

And the fun thing for me was bringing the aesthetics that I've have been creating and I've been fascinated by for the last 20 years and trying to invent these sounds that I loved listening to in my own terms. And then Djesse Vol. 4 it's going to be the culmination of all these different ingredients thus far.

There are so many great collaborations on Djesse Vol. 3. Does your ability to be so self-sufficient and play every instrument yourself help you when you work with someone?

Well, it's a blessing and a curse because on the one hand, when you've done things yourself for a long time I think it's easier to fall into your own habits and to come into any situation with a preconceived notion of how you'd like it to go and how you'd imagine it could go. In my brain... For example, walking into the room with Tori Kelly, it's like, well, I could go many directions with a voice like Tori's, because Tori's voice is like this kind of music acrobatic machine. It can do so many wonderful things, emotive things.

And so in some ways that stuff is not helpful baggage because it just gets in the way of the present moment. And so with Tori, it was one of the first times really in my musical life where I walked into a room, and I discarded all of my previous ideas. I didn't have a song that I'd written for her. I didn't have an idea, a framework for something I wanted her to be a part of. We walked into them cold and we just started jamming. And so that process to me has proven to be really quite fantastic. And actually, sometimes more effective than when I walk into a room feeling like this is the entire song, can you just sing the melody? Which also can work quite well.

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I think for me, it's always about trying to make room for somebody else's musical intelligence and not let my own experience of creating stuff just get in the way, because everyone has their own standpoint. And I think the thing I'm most interested in with all these different collaborators is that some of their standpoints are crazily different from mine. Someone like Jesse Reyez or T-Pain, both of whom are on a song on Djesse Vol. 3 called "Count the People." They come from really different times, different generations of music making. And they have very different reaches in terms of who listens to their music and have very different experiences. And they have totally different voices, but for me I was pretty excited by the idea that these two different musical entities could exist within the same breath.

And same goes, for example, on Djesse Vol. 2. There's a song where Steve Vai, the rock guitarist, is playing in harmony with Kathryn Tickell, who's a Northumbrian pipes player from the North of England, and some of the language is quite similar. I love finding these ways of joining these flavors together. So the Daniel Caesar song was another example where I hadn't planned too much of it and we walked into the room, and Daniel's very natural process of coming up with words, lyrics just fell right into the pocket of this groove that I've been working on. We ran with it and that felt really cool.

Wow. What strikes me about your approach to all this is your awareness. You're not short on talent or ideas, but your awareness is really the missing link. In this last six months, where we've all been on lockdown, can you tell us a couple of things that you've discovered or maybe even rediscovered about yourself musically?

Yeah. I think it goes without saying this is a time where a lot of people have gone back to square one or even pre square one. And it's like, "what is a square?" [laughs] And for me, I was so busy with touring and I was so busy with just scampering around the world, doing mad stuff. And if I wasn't touring I was trying to finish something or directing a music video or editing a music video, or trying to keep up with the social stuff or whatever. There's all these different elements. I think when a lot of these things slowed down, the cool thing was we had to take stock of what the hell is going on and actually what's important.

A lot of people that I spoke to, friends and musicians, I think realized that a lot of the stuff that feels really important is not important. And one of those things maybe is rushing and doing things fast and things having to be done now. And if it's not done now, it's going to be too late. It's always urgent. I really think urgency a massive construct. And I think it's been really nice in the last, couple of weeks since Djesse Vol. 3 has come out to remember that actually it's nice to not rush stuff. I finished Djesse Vol. 3 by the end of March, I was ready to go with my 10-week tour, which got thrown out the window when the pandemic hit. And I then spent four months making the album just so much better than it would have been otherwise. It's so much deeper and so much more sonically satisfying.

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I'm really grateful for the time, but honestly, I haven't really stopped in quarantine because I've been challenging myself to all these different kinds of things. I mean I've been teaching master classes from home. I performed on TED. I did a Tiny Desk from home. I made a video for Jimmy Kimmel Live. I made a video for Jools Holland in the UK. I made a video for Stephen Colbert. And on top of that, I was mixing my album and producing that. I was directing the videos and I was editing the videos and all this stuff too.

I think for me, it's been a really interesting period of time. Without being able to actually be with people, how do you get stuff done that's collaborative at all? And one fun solution I found is best explained through a song on Djesse Vol. 3 called "In Too Deep," which featured Kiana Ledé. I actually mailed Kiana a mic and I installed this program called Source Connect on her computer, which meant that I could move her mouse around on her laptop. So far as to install Logic Pro. I taught her how to put the mic in and stuff, and she was super brilliant at that. She sang her tracks and I could hear what she was singing in real time, and printed the tracks into her computer. And then I sent those tracks to myself at the Dropbox here. I continued mixing my song.

That was a really amazing moment where you think actually collaboration is completely enabled by the tech that is existing, but you have to be courageous enough to follow these things through and to be determined to find solutions to things that might feel weird. I think I've enjoyed being a bit of a problem solver in the last six months or so.

You mentioned the workshops. There's so much of what many people would call genius in your process, but there's also so much transparency. Can you talk about what the process means to you versus the result?

Yeah, it's funny because finishing stuff was something I was really bad at. For the whole of my teenage years I was really bad at finishing things. I wanted to get good at it. So the best way to get good at it was just to practice it. So I practiced finishing stuff. The four-album project was like, this is going to make me shed finishing stuff. I'm going to have to get good at this because otherwise I'm going to suck. The fun thing I think for me is learning how to step away from your ideas when you can. But the last year, or four or five months or so, I rediscovered the joys of going right to the very deepest corners of your process having officially finished the song. It's like, how do you get the song to spring off the page, as it were, and feel alive?

A lot of the purpose of doing that is, for me, even more interesting than what some of it ends up sounding like… And also, I love explaining it because I think by explaining it to others, I explain it to myself, and I've realized the connections that maybe I don't realize just by sitting and doing it all day long.

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I fell in love with that process a couple of years ago. And I've since really enjoyed just taking apart my Logic session. So I did one for this track called "All I Need," and I did one for "Sleeping On My Dreams." And in the past I did one for "Moon River," which was the arrangement that won a GRAMMY, I guess earlier this year, which is weird that things are still in this year. Also, "All Night Long."

It was fun just to think about, how do I present this as something that people can maybe understand at a broken down level? The thing about when I make music and how it feels to me is that a lot of the decisions that may feel quite technical are basically based in feelings, it's based in an emotional decision. I want gravity to come here or I want it to feel like you're twisting here, or deepening here, or some unconscious awareness that a breath will lead to another breath, or whatever. And these things I think, they're fun to take apart and think about in active terms.

Can you give us any clue on maybe what's to come for Djesse Vol. 4?

Djesse Vol. 4 is something I've almost deliberately not planned too much. But one thing I will say for sure is that I think it's going to be very centralized around the human voice. It's my favorite instrument of all instruments, my voice. I started as a singer, really. I started singing all the instruments before I could even play instruments, like the piano or the bass or the guitar. I was singing all those parts. I want to come back to my roots in that way. I want to do that, but obviously with human voice there's so many directions you can go.

One idea I have for the album, that is if I can go on tour within the next two years so I really hope I can, is to begin to use some of my audiences as instruments even more than I have been. In the last year or so I've been... When I was on the road last year I really enjoyed the concept of the audience singing harmony. I would split my audience into three or four or five parts and get them singing these notes, and we'd improvise these chords. So up and down arrows spontaneously dictates it to different parts of the room and it would be this ever changing chords, omnichords. It really inspired me to think about the voices.

I think maybe somewhere between the audiences of my live shows and the choirs that I love so much around the world and have built relationships with, and also some of my favorite musicians and artists in the world, who I guess I can't reveal too much of right now, but there was some extraordinary singers, vocalists, and people who I've been in touch with for a long, long time who are going to be involved in Djesse Vol. 4. I think it's really a celebration of all these different languages. Because for me, I think at this point with Vol. 1, 2 and 3, I've covered a fair few genres, but I think that it's about bringing it home to where it all started for me, which is the voice, and is the voices of the world.

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And I think it's such an important time for people to use their voices in so many ways, right? As people and politics in the world and musically, I think a lot of people feel like their voice sometimes is not important, or that it's difficult to use their voice or raise their voice in certain situations. But I think for me it's like the keys to the castle. If you're able to sing, if you're able to speak, and you're able to be honest within that space, it feels like a really good starting point for the whole world of expression. And to me, I think if there's one thing Djesse Vol. 4, it's definitely intended to be, right now, it's to celebrate that, celebrate the voices that make us human.

That's beautiful, Jacob. It's high concept, but it's also rooted in basic human connection... I know that it's a tough time to be planning a tour, but maybe you could tell us a little bit about what you have in mind for the next time you hit the road?

Yeah, so this is a whole new idea that I was talking to this amazing company called Lyte about recently. We've unveiled this thing, which is kind of a new concept, but it makes sense to me. The idea is, I'm saying I'm going to go to these 91 cities, minimum of 91 cities, at some point in the coming years, and fans can RSVP to these gigs. They can basically reserve their place on the wait list for tickets. So no venue are announced, there's no dates announced because nobody knows when it's going even to be possible, but the moment that things are possible the gigs will go on sale and the people who've reserved tickets will get their tickets.

The coolest thing to me as an artist is that, that means whenever I do go on tour that the fans can dictate the sizes of the venues that we play, which is actually a foreign concept, because normally as a musician, you say, "Oh, I'm going to go play a gig out at the Wiltern and I just hope it sells out. But it might not. Or maybe it will be way too small and there'll be way more people, but we all got to squeeze it in. And it's difficult to move other gigs around on the tour because they're all confirm." So the cool thing now is that however many tickets we reserved in these markets over the next year or so, even if we're not on the road, we can still be planning and thinking and building relationships with venues and thinking how does it make sense to route this and stuff? So, yeah, obviously the exciting thing is the people can go on jacobcollier.com and they can reserve tickets to those gigs, even though we don't know when they're going to happen, there's still something that I can look forward to.

Definitely. Ok, last question. What are some of your interests outside of music?

Good question. Right before you called for this interview I was really deep on YouTube watching videos about Fourier transform and quantum mechanics, which actually is not something I'd normally do just to chill out. I like going deep on some of the concepts that make up our universe. That makes me happy and quite excited. And on a completely different axis, I also enjoy a good game of badminton.

Where Songwriting Meets Innovation: Cliff Goldmacher Puts His Work & Wisdom Into Words

Sharing an album with the world is an artist’s way of immortalizing a fragment of their life. Though virality can propel music to the mainstream, releasing an album is a profound accomplishment that can have a deep and laying impact. Albums are more than an encapsulation of a musician’s lived and learned experiences: they’re a way to cherish them forever.

The Recording Academy is proud to present the 2025 GRAMMYs nominees for Album Of The Year, honoring both artistic and technical skill of the highest degree in music. The Category is notably dominated by women this season, while several entries see established artists tapping into new genres and sonic arenas. 

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

André 3000 — 'New Blue Sun'

André 3000 might be best known for his role in Outkast, but recently, the Atlanta rapper has been busy carving out a new reputation as André the flutist.

In the years following Outkast’s split in 2007, André 3000 has been spotted wandering everywhere from LAX to Japan with his flute in tow. Now, the opening track of his first-ever solo album amusingly calls out his genre switch: "I Swear, I Really Wanted to Make a ‘Rap’ Album but This Is Literally the Way the Wind Blew Me This Time."

To record improvisations that eventually birthed New Blue Sun, the flutist worked with producer Carlos Niño, keyboardist Surya Botofasina, and guitarist Nate Mercereau to craft a surreal, textured soundscape. Throughout, André 3000 plays the contrabass flute, Maya flute, wood and bamboo flutes, and more wind instruments — harmoniously uniting to create the artist’s first release in over 17 years.

Composed of eight tracks with bizarre, lengthy titles, the lyricless New Blue Sun is labeled as new-age and experimental jazz. It’s fairly shocking that André 3000 is not a trained musician, given the project’s brilliance; led primarily by rhythm, and using his instincts developed from rapping, the expert flutist embeds New Blue Sun with an organic authenticity. The album feels limitlessly atmospheric, dipping into an ambience that teeters between peaceful and precarious.

With Big Boi in the ‘90s, André 3000 undoubtedly helped shape hip-hop, pushing the genre forward with creative integrations of funk, jazz, rock, and gospel. In 2024, he continues to break rules as he champions alternative jazz — all with his flute by his side.

When Beyoncé’s first country song came out in 2016, people questioned if the icon belonged on the country radio — despite the indisputable impact of Black artists on the genre. Eight years later, the genre-bending diva is still drowning out the noise by switching on her very own radio station: COWBOY CARTER’s KNTRY Radio Texas, that is.

The fantasy station is one of the many visionary elements of COWBOY CARTER, an album that honors the cultural contributions of Black artists to American country music. The eighth studio project is Act II of her album trilogy; while the first installment RENAISSANCE (2022) focused on futuristic escapism, COWBOY CARTER looks to the past. It pays vibrant tribute to the Black community’s roots in country music, offering a glorious reimagination of Americana.

Not just championing but also reinventing Southern subgenres, COWBOY CARTER is yet another example of Beyoncé’s revolutionary versatility. From horseshoe steps to boot stomps to Beyoncé’s fingernails as percussion, the album unites bluegrass, zydeco, folk, R&B, and more to craft a majestic testament to Beyoncé’s boundless artistry.

Boasting 27 tracks and five years in the making, the Texas-born legend’s album includes features from Dolly Parton, Willie Nelson, Linda Martell, Miley Cyrus, Post Malone, Shaboozey, Tanner Adell, Tiera Kennedy, Reyna Roberts, and Brittney Spencer, embracing country legends as well as making space for up-and-coming Black artists on the scene.

While Beyoncé has yet to take home GRAMMY Gold for Album Of The Year, she remains the artist with the most GRAMMY wins of all time. After all, this isn’t her first rodeo.

"Oh, I leave quite an impression," Sabrina Carpenter croons on Short n’ Sweet, with a nonchalance that’s virtually intoxicating. While the 25-year-old indeed stands at just five feet tall, it’s evident the actress-turned-songstress has enough talent to fill a stadium.

Glowing with lighthearted, honest-to-goodness genius, Short n’ Sweet is the cherry on top of Carpenter’s already extensive discography. Her sixth studio album spawned a trinity of 2024 hits: "Espresso," "Please Please Please" and "Taste." With this remarkable trio, Carpenter became the first artist since the Beatles to chart their first three top five US hits in the same week. Short n’ Sweet's success was boosted by her Coachella debut earlier in the year, and furthered during her first arena tour.

On her delightful summer hit "Espresso," Carpenter explicitly mentions that her "twisted humor" is what makes her lovable, which might remind older fans of her 2022 single "Nonsense." The pop track went viral for its raunchy, often silly outros that Carpenter lovingly tailored to each city she toured in — and on Short n’ Sweet, she taps into her risqué wit much more fully, rocketing her album to another level of memorable.

Undoubtedly, it’s Carpenter’s bright confidence that makes space for her playful pen game on Short n’ Sweet. With her signature plucky yet composed soprano, she balances her soulful ardor with her deadpan humor expertly, allowing her to explore the nuances of romance in new and clever ways — all while maintaining her infectious charisma that earned her her first GRAMMY nominations this year.

Charli xcx knows how to throw a party, and on June 7, 2024, she turned the world into her own nightclub. BRAT, her sixth studio album, gloriously splattered the globe a garish green, with hits like "360," "Apple," and "Von Dutch" soundtracking the summer.

Ten years after scoring her first GRAMMY nominations for "Fancy" with Iggy Azalea, the British queen of "brat summer" continues to crank out bangers about chandelier swinging and driving in the fast lane. Working with producers A.G. Cook, EASYFUN, Cirkut, her fiancé George Daniel, and other longtime collaborators, Charli conjured her own genre: a chic, club-ready pop blend of electroclash and hyperpop.

Though the self-proclaimed 365 party girl sings about dancing until dawn and sipping one too many aperol spritzes, BRAT is also Charli’s most vulnerable album, her long nails gingerly peeling back the sticky layers of fame and womanhood. BRAT makes blunt confessions about jealousy, questioning motherhood, grief, and intergenerational trauma. Brilliantly, she’s dauntless and exposed all at once — and still bumpin’ that at the club.

Her popular co-headlining SWEAT Tour with GRAMMY-nominated collaborator Troye Sivan vroom-vroomed BRAT to arenas across the U.S. Charli xcx might have had her shades on while performing, but make no mistake: she has nothing to hide.

When people think of contemporary jazz, rollercoaster might not be the first word that comes to mind — but Jacob Collier is nothing if not ambitious. As the climax of his four-album project dating back to 2018, Djesse Vol. 4 triumphs as an odyssey through genre.

What makes Collier such a prolific musician is his refusal to distill abundance. He sees the beauty in anything and everything, and Djesse Vol. 4 brings his perspective to life. The project not only centers but celebrates the human voice; in fact, about 150,000 voices feature on Djesse Vol. 4 — many from his own concert audiences that he transformed into improvised choirs. 

Collier has won multiple GRAMMY Awards for Best Arrangement, Instruments and Vocals, and Djesse Vol. 4 continues to showcase his mastery of sound via genre diversity. The nominated album is modern and sprawling, from the serenity of his audience-choirs to howling of heavy metal. Djesse Vol. 4 is thought-provoking, engrossing, and oftentimes surprising; who else would have aespa and Chris Martin on the same track?

Collier is the first British artist to win a GRAMMY for each of his first four albums, and Djesse Vol. 4 already boasts a GRAMMY-nominated track on it (2022’s "Never Gonna Be Alone," featuring Lizzy McAlpine and John Mayer, which was later announced as the album’s first single). Collier was previously nominated for Album Of The Year for Djesse Vol. 3 and also received a nod at the 2023 GRAMMYs in the same Category for Coldplay’s nominated Music of the Spheres.

Djesse Vol. 4 has redefined Collier’s perspective on life, and in a way, Collier’s album is more than a reflection: it’s an open invitation.

Billie Eilish had a fear of water as a child, yet to capture the album cover for HIT ME HARD AND SOFT, she spent six brutal hours on-and-off submerged underwater with a weight on her shoulders. "A lot of my artwork is painful physically in a lot of ways, and I love it," the 22-year-old told Rolling Stone. "Oh, my God, I live for it."

Eilish delves beneath the surface in more ways than one on HIT ME HARD AND SOFT. As rippling, immersive alt-pop, the album swims through similar topics covered in her first two studio albums, including coping with fame, body image, and post-breakup grief. Yet Eilish is no longer the proudly self-proclaimed "bad guy"; instead she doesn’t tether herself to a persona.

In this way, HIT ME HARD AND SOFT holds dear a newfound, striking level of maturity. Eilish is incontestably true to herself, and lyrically, the album feels especially unbridled and attentive. With its title a paradoxical demand, HIT ME HARD AND SOFT powerfully represents the impossible struggle between intensity and tenderness — both in love and in life.

Though the album cascades as an emotional torrent, it’s as cohesive as it is potent. It’s (unsurprisingly) produced by her brother and day-one collaborator, FINNEAS, whose minimalistic but nevertheless hard-hitting soundscape gives bedroom pop a makeover. Eilish’s third Album Of The Year nomination shows that, once again, she isn’t treading water; she’s plunging straight into the deep end.

In the prismatic world of pop, Chappell Roan knows how to rotate through every color in the rainbow. A kaleidoscope of wistful yet intense romance, Roan’s The Rise and Fall of a Midwest Princess churns with the unabashed authenticity that only true superstars can craft — and on a debut album, nonetheless.

Although Roan’s career began 10 years ago on YouTube, the Missouri-born singer skyrocketed to fame in the last year following spectacular festival performances and an opening slot on Olivia Rodrigo’s Guts World Tour. Her 2020 single "Pink Pony Club" pushed the singer toward a massive 2024 breakthrough, the song an open proclamation of queer joy (amid understanding her evolving relationship with religion).

Inspired by drag queens, Roan’s aesthetic is breathtakingly campy and sparkly — much like her striking debut album. Championing female and queer freedom, The Rise And Fall gushes with yearning in a way that’s both carefree and confessional. From the hungry, heart-shattering "Casual" to the kinky pleasure of "Red Wine Supernova," each track showcases Roan’s sharp dynamism.

The Rise And Fall bursts with radiant '80s-inspired and 2000s synthpop from GRAMMY-winning producer Dan Nigro, all of which only highlights her dynamism. Beyond her vocal flips and cutting lyricism meant for laughing and/or crying, what’s special about Roan’s album is its defiance. Chappell Roan is the definition of unapologetic, and The Rise And Fall is all the evidence anyone needs.

Before it was even released, The Tortured Poets Department had already made GRAMMY history: during her acceptance speech for the 2024 GRAMMY Award for Best Pop Vocal Album, Taylor Swift surprised audiences by announcing the album’s upcoming release. And just one year later, Swift is making history yet again with her seventh Album Of The Year nomination.

Serving as a creative "lifeline" for Swift during the Eras Tour, working on The Tortured Poets Department reminded the star of how integral songwriting is to her wellbeing. Consequently, the 16-track album (plus an additional 15 tracks in an expanded version of the labrum) unveiled some of her most diaristic songwriting yet. Swift's meandering lyrics stand out as particularly candid, dramatic, and whimsical — though it’s far from the first time the prolific songwriter has used or referenced poetry in her work.

For a return to her folksy synthpop sound, Swift turned to her close friends Jack Antonoff and Aaron Dessner, who most recently helped produce her GRAMMY-winning album Midnights among other projects. Showcasing Swift’s collaborative brilliance, The Tortured Poets Department also features Post Malone on the hauntingly atmospheric opener "Fortnight" and a stirring "Florida!!!" verse from Florence + the Machine.

As the Eras Tour comes to a close (unless, of course, she has another surprise up her sleeve) on Dec. 8 in Vancouver, The Tortured Poets Department’s nomination is one of the many recent reminders of Swift’s staggering legacy. Swift is the first and only person to have won Album Of The Year four times, and The Tortured Poets Department could score her a legendary fifth win — further solidifying her as a breaker of records and rules.

From Miley Cyrus winning her first GRAMMY to Billy Joel’s comeback performance after 30 years, the 2024 GRAMMYs were filled with a range of special moments at Crypto.com Arena.

Backstage at the Recording Academy’s media center and press room, GRAMMY U spoke with several GRAMMY winners just as they stepped off the stage. Each spoke about the vital role of collaboration in the studio, and the role they played in their GRAMMY-winning Categories. 

Read on for insights from Jack Antonoff (Album Of The Year and Producer Of The Year, Non-Classical), Laufey (Best Traditional Pop Vocal Album), Jacob Collier (Best Arrangement, Instruments and Vocals), Natalia Lafourcade (Best Latin Rock or Alternative Album ), and Brandy Clark (Best Americana Performance).

Jack Antonoff Can Truly Fly Free With A Collaborator

The 10-time GRAMMY winner took home several golden gramophones on Feb. 4, including the prestigious Album Of The Year for Taylor Swift’s Midnights as well as Producer Of The Year, Non-Classical for the third consecutive year. 

Antonoff told GRAMMY.com that, as a producer, collaboration is simply "everything."

"The visual I have is a balloon. When it's your words, lyrics, and your life, you have to be able to fly free without being scared of drifting away," Antonoff continues. "I see the producer holding that string, and I know both ends." 

When he’s not creating hits for other artists, Antonoff delves into his own artistry as the founder and lead singer of indie rock band Bleachers, known for their hit single "I Wanna Get Better."

"When I’m making the Bleachers records, I’ll have these crazy thoughts and then [producer] Patrik Berger will ground me in it. I think it’s really about trust," Antonoff reflects.

Laufey Won In The Same Category As Many Idols

Laufey first wowed audiences with a live performance of her hit song "From the Start" at the 66th GRAMMY Awards Premiere Ceremony. Later in the day, the 24-year-old won her first GRAMMY on Sunday in the Category of Traditional Pop Vocal Album for Bewitched. 

"This category means so much to me, so many of my inspirations and idols have won in this category before," she tells GRAMMY.com. 

Read more: With 'Bewitched,' Icelandic Singer Laufey Is Leaving Jazz Neophytes Spellbound

Laufey transcends the boundaries of genre, blending jazz and pop into her original music. With 18 million likes on TikTok and 3 million monthly listeners on Spotify, the Icelandic singer/songwriter effused awe an gratitude. 

"It feels so cool to make the kind of music I make today and still get recognized for it," she shares. 

Jacob Collier Shared His Imnprovisiation Techniques

Collier won his sixth GRAMMY Award this year, taking home the golden gramophone for Best Arrangement, Instruments and Vocals for his feature on "In the Wee Small Hours of the Morning" by vocal supergroup Säje. The first-time GRAMMY-winning vocal group is composed of Sara Gazarek, Amanda Taylor, Johnaye Kendrick, and Erin Bentlage. 

The multi-instrumentalist provided insight into the making of "In the Wee Hours of the Morning," revealing that this collaboration began with an improvisation Collier created around the song, which was later decorated with Säje’s harmonies. 

"The best types of collaborations reveal parts of oneself that you wouldn’t otherwise have access to, and I think the amazing thing about [Säje] is that the four [of them] brought colors out of me that were new," Collier says. 

"I feel so lucky to have been clothed by these four voices, it feels really wonderful," he says. 

Natalia Lafourcade Realized Her Own Importance

Known for infusing a variety of Latin genres with elements of folk, jazz, and alternative music, Natalia Lafourcade picked up her fourth GRAMMY win for Best Latin Rock or Alternative Album with De Todas Las Flores.

"It took seven years for me to realize I need to write my own music again," Lafourcade says. "This album has [helped me realize] the importance of my inner garden, my creative universe." 

Read more: Catching Up With Natalia Lafourcade: How Togetherness, Improvisation & The Element Of Surprise Led To Her Most Exquisite Album

The Mexican singer/songwriter also served as a presenter at the Premiere Ceremony, presenting in Categories such as Best Music Video and Best Song Written for Visual Media. Previously, Lafourcade won for Best Latin Rock or Alternative Album at the 58th GRAMMY Awards for Hasta La Raíz, and discussed the importance of reclaiming her sound in this category. 

"Having the producers, musicians, and my beautiful team has been an incredible experience. It means a lot," she says. 

Brandy Clark Loved Working With Brandi Carlile

After 17 nominations, Brandy Clark landed her first GRAMMY win in the category of Americana Performance. At the Premiere Ceremony, Clark performed a solo acoustic rendition of "Dear Insecurity," which features 10-time GRAMMY winner Brandi Carlile. 

Previous nominations for the Washington native include Best Country Song and Best Country Solo Performance. 

"The work I did with Brandi Carlile was really important for me. Seventeen nominations, first GRAMMY win — I’m mind blown," Clark says.

Clark's collaboration with Carlile is a key part of her support system, and she continues to push the boundaries of artistic expression — especially when it comes to her love for country music.

10 Must-See Moments From The 2024 GRAMMYs

As Halloween approaches, this New Music Friday offers a potion of nostalgia, emotions and fresh sounds.

From RIIZE — K-pop's rising stars, who are mesmerizing listeners with their pop hit "Talk Saxy" — to Norah Jones & Dave Grohl uniting for an unexpected collaboration with "Razor," many different genres are being represented today.

Keeping old times alive, Taylor Swift released her highly-anticipated Taylor’s Version of 1989, and Duck Sauce is bringing back their 2011 "Barbra Streisand" sound with their new dance single, "LALALA."

Listen to these seven new tracks and albums that will gear you up for spooky season 2023.

RIIZE - "Talk Saxy"

K-pop’s rising stars, RIIZE, are making a vibrant musical return with their new single, "Talk Saxy," a hypnotic dance track that adds a level of depth to their sound even including a catchy saxophone riff. The lyrics focus on attraction to a stranger, and wanting to get their attention.

"Talk to me exactly what you feel / Hide nothing, show me all and everything / It’s okay, let your heart do what it wants / Get it straight to the point / Talk Saxy," RIIZE croons on the chorus.

This track follows their debut single "Get a Guitar," which launched their announcement that they’d signed with RCA Records. RIIZE is the first boy band group to hail from SM Entertainment since Kpop group NCT. RIIZE members, Shotaro and Sungchan, are notably from NCT, and departed from the K-pop group this year.

Norah Jones & Dave Grohl, "Razor"

Dave Grohl, the frontman of Foo Fighters, graced jazz-pop singer Norah Jones’ podcast with special musical performances, including a cover of "Razor," a rare gem from the Foo Fighters 2005 In Your Honor album.

The track features a calm beat with a tranquil melody and guitar strings and piano, blending their strengths seamlessly. This track follows their collaboration on the In Your Honor track "'Virginia Moon."

During this podcast, Jones announced the release of a Black Friday Exclusive LP Record dropping on Nov. 24. Featuring a collection of podcast episodes with fellow musicians, this looks to be a real treat for fans of Jones and/or her estimable guests.

Jacob Collier feat. Michael McDonald and Lawrence - "Wherever I Go"

Jazz musician Jacob Collier has dropped the song "Wherever I Go," a look into his forthcoming album, Djesse Vol. 4. A track inspired by idols from his childhood including the Doobie Brothers, Stevie Wonder and more, he’s made a standout collaboration with Michael McDonald and Lawrence to craft a memorable record.

The two-minute track, which includes a strong bassline and soulful vocals, paints an illustration of loneliness from their lover.

The four-part journey of Djesse has gained him five GRAMMY awards and 11 nominations. With Djesse Vol. 4, collaborations such as "Little Blue" with Brandi Carlile to Ty Dolla $ign and Kirk Franklin are showcasing Collier’s versatility and knack for genre syntheses.. He also announced a 2024 North American tour with musicians Kemba and Emily King, celebrating the release of this album.

Mr Eazi - The Evil Genius

Afrobeats sensation Mr. Eazi has unveiled his debut album The Evil Genius. The 16-track record shows Eazi’s ability to blend his rhythms from his hometown Nigeria, with hypnotic grooves from Ghana where he spent most of his years.

The Evil Genius takes listeners through his roots, family, love and loneliness in three acts. His skill in blending different styles of music like Gospel and Ghanian styles, makes him the global phenomenon he is. Eazi chose 13 African artists from eight countries to collaborate on this album, bringing together different parts of Africa.

Enhancing the music album, he has introduced a global art exhibition in Ghana, which features work from young artists across Africa.

Tiësto with Tears for Fears, NIIKO X SWAE, GUDFELLA - "Rule The World (Everybody)"

American DJ & singer Tiësto dropped a fresh new track with Tears For Fears, NIIKO X SWAE and GUDFELLA for a reimagining of the 1985 "Everybody Wants To Rule The World." This heart-racing banger has blended stylistic worlds to imbue a classic song with an even catchier, dance-flavored beat.

NIIKO X SWAE originally released an unofficial remix on Soundcloud, which then went viral on social media.. "Rule The World (Everybody)" could certainly become a new party anthem to put on your ‘Halloweekend’ playlist.

Maria José Llergo - ULTRABELLEZA

Spanish singer María José Llergo released her newest album ULTRABELLEZA, following her 2020 Sanación. The album features songs that transverse between genres like "NOVIX," which features a intricate, Latin rhythm and "Superpoder," a star-studded pop song.

"Flamenco is like the blues," she said in a NY Times interview.  Liergo discusses how she incorporated Flamenco, a Spanish art form, into her album in hopes of keeping her cultural traditions rooted in the lyrics that "tell stories of survival — it’s always been a way for the most oppressed to escape."

Duck Sauce - "LALALA"

The hitmakers behind 2010 classics "Barbra Streisand" and "Big Bad Wolf" are back with another dubsmash single called, "LALALA." This duo has made another infectious dance track, which makes listeners transports them to the wildest party of their dreams. "LALALA" feels reminiscent of their past collaborations together, keeping up the nostalgia theme on this special Friday.

The GRAMMY-nominated producers behind Duck Sauce, Armand Van Helden and A-Trak, have recently joined Defected Records’ D4 D4NCE imprint. Keep checking GRAMMY.com on Fridays for a sampler platter of new sounds!

Global Spin: JINI Is Impatient In Love During This Passionate Performance Of Her Debut Solo Single, "C'mon"

As Halloween approaches, this New Music Friday offers a potion of nostalgia, emotions,  and fresh sounds.

From RIIZE — K-pop's rising stars, who are mesmerizing listeners with their pop hit “Talk Saxy” — to Norah Jones & Dave Grohl uniting for an unexpected collaboration with “Razor,” many different genres are being represented today.

Keeping old times alive, Taylor Swift released her highly-anticipated Taylor’s Version of 1989, and Duck Sauce is bringing back their 2011 “Barbra Streisand” sound with their new dance single, “LALALA.”

Listen to these seven new tracks that will gear you up for spooky season 2023.

RIIZE - “Talk Saxy”

Kpop’s rising stars, RIIZE, are making a vibrant musical return with their new single, “Talk Saxy,” a hypnotic dance track that adds a level of depth to their sound even including a catchy saxophone riff. The lyrics focus on attraction to a stranger, and wanting to get their attention. 

“Talk to me exactly what you feel / Hide nothing, show me all and everything / It’s okay, let your heart do what it wants / Get it straight to the point / Talk Saxy,” RIIZE croons on the chorus. 

This track follows their debut single “Get a Guitar,” which launched their announcement to signing with RCA Records. RIIZE is the first boy band group to hail from SM Entertainment since Kpop group NCT. RIIZE members, Shotaro and Sungchan, are notably from NCT, and departed from the K-pop group this year.

Norah Jones & Dave Grohl, "Razor"

Dave Grohl, the frontman of Foo Fighters, graced jazz-pop singer Norah Jones’ podcast with special musical performances, including a cover of “Razor,” a rare gem from the Foo Fighters 2005 In Your Honor album.

The track features a calm beat with a tranquil melody and guitar strings and piano, blending their strengths seamlessly. This track follows their collaboration on the In Your Honor track “'Virginia Moon.”

During this podcast, Jones announced the release of a Black Friday Exclusive LP Record dropping on Nov. 24. Featuring a collection of podcast episodes with fellow musicians, this looks to be a real treat for fans of Jones and/or her estimable guests.

Jacob Collier feat. Michael McDonald and Lawrence - "Wherever I Go"

Jazz musician Jacob Collier has dropped the song “Wherever I Go,” a look into his forthcoming album, Djesse Vol. 4. A track inspired by idols from his childhood including the Doobie Brothers, Stevie Wonder and more, he’s made a standout collaboration with Michael McDonald and Lawrence to craft a memorable record. 

The two-minute track, which includes a strong bassline and soulful vocals, paints an illustration of loneliness from their lover. 

**The four-part journey of Djesse has gained him five GRAMMY awards and 11 nominations. With Djesse Vol. 4, collaborations such as “Little Blue” with Brandi Carlile to Ty Dolla $ign and Kirk Franklin are showcasing Collier’s versatility and knack for genre syntheses.. He also announced a 2024 North American tour with musicians Kemba and Emily King, celebrating the release of this album.** 

Mr Eazi's - The Evil Genius

Afrobeat sensation Mr. Eazi has unveiled his debut album The Evil Genius. The 16-track record shows Eazi’s ability to blend his rhythms from his hometown Nigeria, with hypnotic grooves from Ghana where he spent most of his years.

The Evil Genius takes listeners through his roots, family, love and loneliness in three acts. His skill in blending different styles of music like Gospel and Ghanian styles, makes him the global phenomenon he is. Eazi chose 13 African artists from eight countries to collaborate on this album, bringing together different parts of Africa.

Enhancing the music album, he has introduced a global art exhibition in Ghana, which features work from young artists across Africa.

Tiësto with Tears for Fears, NIIKO X SWAE, GUDFELLA - "Rule The World (Everybody)"