GRAMMY-nominated songwriter Justin Tranter, co-writer of Halsey's "Bad At Love" and Justin Bieber's "Sorry," is teaming up with A&R executive Katie Vinten and Warner Bros. Records to form Facet Records, which aims to house the "next generation of superstars,” Warner Bros. has announced.

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“Justin is a true visionary and one of the greatest songwriters in the game, with a remarkable ability to bring the best out of people," Warner Bros. Records Co-Chairman & CEO Aaron Bay-Schuck said in a statement. "Katie is a brilliant A&R person who has been the guiding force behind an incredible roster of chart-topping songwriters, Justin among them.”

Tranter is a highly regarded songwriter and has been widely recognized by the Recording Academy. In 2017, at the 60th GRAMMY Awards, Tranter earned a Song Of The Year GRAMMY nomination for Julia Michael's "Issues."

“I am beyond honored and excited to begin this next chapter with Warner Bros. Records,” Tranter said in statement. “It makes perfect sense to partner with my queen Katie Vinten on this label venture, since we built my songwriting career from the ground up."

Vinten and Tranter have worked with Warner Bros. on artists’ projects, including Selena Gomez, Gwen Stefani and Imagine Dragons. With the continuing collaboration Tranter hopes to "change other people’s lives as well."

Tranter told the GRAMMY Museum's "Required Listening" podcast that as a teen he was inspired by many female songwriters of the ‘90s era, including Courtney Love and Tori Amos.

He also spoke about his close relationship Julia Michaels. "Obviously, me and Julia have written an insane amount of songs together. At that point, when we wrote 'Issues,' we were already really close. To write something as raw and honest and bare your soul as 'Issues,' you kind of really need to know somebody."

READ: Songwriter Justin Tranter: Women Tell Awesome Stories | "Required Listening"

Tranter, an advocate for songwriters and the LGBT community, said he named the label ‘Facet’ "because the most precious stones deserve thought-out, passionate facets to make them really shine."

"Justin is a fierce champion for artists and their songwriting peers, takes risks, dares to be different and fights daily for the causes they believe in, both within and outside the scope of the music business," Bay-Schuck said.

With the new label, Tranter hopes to continue elevating voices.

"Once I got into pop songwriting, I was kind of just ready to help other people tell their stories. … I'm here to facilitate, and structure, and grow, and make things a little more fabulous and a little more urgent," he said.

Song Of The Year Nominations Roundup | 2019 GRAMMY Awards

Sabrina Carpenter is the first to admit that it's taken her a bit of time to find her way to the top of the music industry. She even likens herself to the tortoise in the fable "The Tortoise and the Hare" — even if she didn't want to believe the metaphor growing up.

"Something that my mom always said to me as a little girl that really annoyed me was that I am the tortoise… throughout my life, [I was] being told, 'Sabrina, you're the tortoise, just chill,'" Carpenter recalled while accepting the Variety Hitmakers Rising Artist Award in December 2023. "In moments of frustration and confusion it can feel like a letdown, but it turns out it's actually a very good thing."

It's been a very good thing for Carpenter, indeed. A decade since the release of her debut single, the singer/songwriter isn't just breaking through — she's one of pop's new reigning queens. Over the last year, Carpenter has nabbed her first No. 1 song on the Billboard Hot 100, made a stellar debut at Coachella, and performed on "Saturday Night Live," all the while racking up billions of streams on her music new and old. It's all built excitement for one of the most anticipated pop albums of the summer: Short n' Sweet.

As Carpenter unveils her new album, take a deep dive into her decade-long journey to pop stardom.

Growing up, Carpenter filled the sounds of her family home in Pennsylvania with covers of songs like Adele's "Set Fire To The Rain" and "Picture to Burn" by future Eras Tour companion Taylor Swift (more on that later). After submitting videos for a singing contest spearheaded by Miley Cyrus, Carpenter would get her first taste of success. Placing third, she caught the eye of Hollywood Records, who signed her following the competition.

Simultaneously, Carpenter also began pursuing acting, landing guest spots on series like "Law & Order: Special Victims Unit" in 2011 and joining "The Goodwin Games" in 2012. In 2014, she landed a lead role in the Disney Channel series "Girl Meets World," a spin-off of the beloved '90s series "Boy Meets World," which served as a breakthrough moment for the burgeoning star — and a catalyst for her music career.

Just before the show debuted, Carpenter released her debut single, "Can't Blame A Girl for Trying," the title track to her debut EP that arrived a month later. While the four-track EP was the typical output of a teenage Disney star — bubblegum pop sounds with digestible, family-friendly lyricism — it showed off her youthful timbre and offered themes that would become prevalent later in Carpenter's songwriting: love, heartache, and navigating life.

A year later, she released her debut album, Eyes Wide Open. A mix of pop with folk and country influences — a soundscape that remains on Short n' Sweet — Carpenter's debut showed maturity and growth following Can't Blame A Girl For Trying; songs like "Eyes Wide Open" and "We'll Be the Stars" showed a more introspective side, reflecting on the pressures of being in the spotlight and the journey of finding her identity. Eyes Wide Open also hinted that Carpenter was beginning to hone her songwriting skills, penning four of the 12 tracks.

It would be on her 2016 sophomore album, EVOLution, where Carpenter would find confidence as a songwriter, co-writing all but one song on the 10-track project. In turn, the lyrics reflected her growing sense of self and a new perspective on past themes, like embracing non-romantic forms of love in "All We Have is Love," being there for a struggling friend in "Shadows," and learning to assert boundaries in "Space."

EVOLution transitioned Carpenter out of the teen pop aesthetic into a more sophisticated sound, experimenting with dance-pop and techno sonics. Genre versatility would become a throughline of sorts for Carpenter, and EVOLution foreshadowed the multifaceted musicality that was to come.

After "Girl Meets World" came to an end at the beginning of 2017, Carpenter was ready for reinvention. Much like Britney Spears' Britney and Cyrus' Can't Be Tamed before her, as Carpenter grew into an adult, she felt like she needed to shed the Disney-fied image that has become a rite of passage for teen stars. Thus began the Singular era.

Released in 2018 and 2019, respectively, Singular: Act I and Singular: Act II featured songs that were more risqué and mature in nature. A far cry from her tamer work of the past, the R&B track "Hold Tight" is equal parts sultry and evocative with Carpenter singing, "Wanna keep you in, wanna keep you in right/ Wanna feel your skin, wanna feel it on mine."

As she noted in an interview with Billboard, Singular: Act I  was a natural progression for a girl now in her late teens — even if it was against the squeaky-clean image of her beginnings.

"I was known as a fictional character on television with lines that were written for her with an attitude that was portrayed in a way by other people. So for a lot of people, their first impression of me was as a 13-year-old girl [singing] the kinds of songs that she should be singing," she said. "Then, flash forward to 19, and people are asking why I am not singing about the same things that I did when I was 13, as if that's normal."

One of the more notable Singular tracks is from Act I, "Sue Me." Sneakily disguised as a story about a romantic relationship, the song is Carpenter's response to being sued by her ex music managers: "That's my shape, I made the shadow/ That's my name, don't wear it out though/ Feelin' myself can't be illegal." Its tongue-in-cheek and snarky nature would inevitably embolden Carpenter to continue writing more confessional songs with attitude, whether she's responding to media scrutiny in "because i liked a boy" from 2022's emails i can't send, or warning a suitor to be careful in Short n' Sweet's "Please, Please, Please."

Singular: Act I and Act II further helped demonstrate different facets of Carpenter's musicality, with the former leaning into pop tendencies and the latter embracing an R&B flair. And as her final albums with Hollywood Records, she used Singular: Act I and Act II to indicate that she wasn't going to let any sort of previous perceptions hold her back. Their coming-of-age themes showcased Carpenter as an artist coming into her own — regardless of whether listeners wanted to keep her in the Disney box or not.

While the world was going through a period of change amid the COVID-19 pandemic, so was Carpenter. She signed with Universal Music Group's Island Records in 2021, and soon she would be able to fully introduce the world to who Sabrina Carpenter is as an artist.

As she noted herself to Variety earlier this year, her 2022 LP, emails i can't send, "marked the beginning of a really freeing and artistic time for me." Once again, she co-wrote every song on the album; this time, though, she only had one co-writer for each track, and even wrote two songs solo ("emails i can't send" and "how many things") — proving that she was more assured as a songwriter than ever.

As a result, Carpenter's knack for confessional songwriting is on full display. emails i can't send represents a reflective time capsule of sorts; one that brings the curiosity of her earlier work with the perspective and wisdom of a young adult. Her growing fame meant there was more attention on her personal life, and emails i can't send allowed her to reclaim her narrative and express her side of the story.

Carpenter's candidness struck a chord with listeners, and upon the release of emails i can't send in July 2022, it was clear Carpenter was on a new trajectory. The album debuted at No. 23 on the Billboard 200, which marked her highest entry on the chart to date (as of press time); the 2022 stretch of her Emails I Can't Send Tour sold out in less than a day. And once  "Nonsense" was released as a single that November, her place as a rapidly rising star was solidified.

"Nonsense" was initially written as a means to an end after Carpenter was writing a sad song and had writer's block. Now, the track is the epitome of Carpenter's lyricism, weaving together her wit and humor with an infectious hook. First gaining traction on TikTok because of its catchiness, it's become a beloved part of Carpenter's canon thanks to her inventive and bespoke outros during her live shows. It's since become a tradition for fans to check to see what outro she created for each performance, adding to the fan fervor.

Carpenter further satiated fans' taste for her cheeky lyricism in March 2023, when she released emails i can't send fwd:, the deluxe version of her album, which featured a new track called "Feather." She took the playful, flirting energy of "Nonsense" and infused "Feather" with buoyant, airy production that mimics the feeling of self-liberation after moving on from a relationship. Earning Carpenter her first pop radio No. 1, "Feather" proved that the singer's audacious style was taking hold — and it set the stage for an even bigger 2024.

After her own extensive — and very sold out — tour in support of Emails I Can't Send, Carpenter's rising star status was further confirmed by pop's current queen, Taylor Swift. The singer earned a coveted opening slot on Swift's monumental Eras Tour in Mexico, South America, Australia, and Asia.

Just after her last Eras Tour show in March 2024, Carpenter hinted that her own new era was beginning. "I'm starting to feel like I've outgrown the songs I'm singing," she admitted to Cosmopolitan, "which is always an exciting feeling because I think that means the next chapter is right around the corner."

That chapter began with "Espresso," which dropped a day before her debut Coachella performance. Doubling down on the playful, self-assured vibe of "Nonsense," the song immediately hinted that big things were coming for Carpenter, debuting at No. 7 on the Billboard Hot 100, where it peaked at No. 3.

Upon announcing her sixth album, Short n' Sweet, Carpenter released "Please Please Please." Combining her now-signature playful, carefree lyricism with an airy, disco-tinged sound, "Please Please Please" didn't just present Carpenter as a confident superstar —  it became her first Hot 100-topping smash.

Carpenter has referred to Short n' Sweet as the "hot older sister" of emails i can't send. "It's my second 'big girl' album; it's a companion but it's not the same," she explained to Variety, to whom she also admitted she feels a "sense of separation" from her work prior to emails. "When it comes to having full creative control and being a full-fledged adult, I would consider this a sophomore album."

It's apt, then, that her Short n' Sweet collaborators — including songwriters Julia Michaels, Amy Allen and Steph Jones — are largely the same as the team from emails i can't send. "I've really honed in on the people that I love making music with," she told Rolling Stone in June.

Even more telling of the direction she's heading is her work with one of pop's hottest producers — and Swift's right-hand man — Jack Antonoff, for the first time. At a GRAMMY Museum event with Antonoff himself, Carpenter debuted the country-infused "Slim Pickins," presenting yet another pop style from Short n' Sweet. And as "Slim Pickins," "Espresso" and "Please Please Please" indicate, Carpenter's knack for infectious and edgy lyrics isn't just the throughline across Short n' Sweet — it's become the epitome of both her artistry and her stardom.

Just like her metaphorical friend the tortoise, Carpenter's long but steady journey has clearly paid off. As she's figured out who she is on her own terms, she's manifested the bonafide superstardom she's always imagined.

"I never had the plan B, and it wasn't even a thought in my mind that it wouldn't work out," she told Rolling Stone. "I just always knew it was about not if it would happen but when it would happen."

For Carpenter, every chapter of her artistry has built on the last; she's refused to rest on her laurels and continuously pursued new directions. She's creating work that wholeheartedly reflects her, and growing a loyal fan base because of it. Her next album might be named Short n' Sweet, but her time as a pop superstar will be anything but.

Theron Thomas has won the GRAMMY for Songwriter Of The Year, Non-Classical at the 66th GRAMMY Awards. 

He beat out Edgar Barrera, Jessie Jo Dillon, Shane McAnally, and Justin Tranter, who hosted the 2024 GRAMMYs Premiere Ceremony, for the award. He was nominated for several hip-hop and R&B hits, including "Been Thinking" by Tyla and "All My Life" by Lil Durk featuring J. Cole. 

Thomas, a native of St. Thomas in the U.S. Virgin Islands, was extremely excited to win the award, shouting into the mic "Let’s go!" 

"My father told me when I was nine years old, Theron, you're gonna win a GRAMMY," he said. 

The win marks Thomas’ first GRAMMY win. He was previously nominated for his work on Lizzo’s "About Damn Time" and "Best Friend" by Saweetie. 

Jimmy Jam gave Thomas the trophy during the GRAMMYs Premiere Ceremony. Thomas is the second-ever winner in this category. Tobias Jesso, Jr. won the first-ever GRAMMY for Songwriter Of The Year last year. 

Keep checking this space for more updates from Music’s Biggest Night!

2024 GRAMMY Nominations: See The Full Winners & Nominees List

Julia Michaels landed her first major songwriting gig at just 18 years old. 

Fresh out of school, she’d cold pitched a little company named Walt Disney with a song she thought would suit an upcoming series. That song went on to soundtrack a popular Disney Channel show called "Austin & Ally."

Michaels quickly developed a reputation for her quick work and therapeutic approach to songwriting, and, in her early 20s, was transforming pop music via her confessional and slightly quirky perspective. The L.A.-based artist was soon writing with pop’s A-listers — from Britney Spears to Justin Bieber and Ed Sheeran, producing songs that gave the world insight into the contours of the biggest star’s internal worlds. 

"I'm grateful that I've been able to work with artists that allow the space for vulnerability and for authenticity, and for us to be able to speak openly and honestly about things we're going through," Michaels tells GRAMMY.com.

With a knack for emotional precision and complexity, Michaels has been trusted to transmute icons' revelatory moments into song: post-divorce comeback anthems, breakup bangers, even apologies. You’d be hard-pressed to find a songwriter better able to spin pain into a punchline than Michaels.

It’s one of many reasons Disney tapped her to score Wish, a recently-released mega musical feature that’s been chosen by the Studio to celebrate their 100th anniversary. Her idiosyncratic and confessional style lends a fresh perspective to protagonist Asha, while the songs remain rose-colored, dreamy, heart-lurching and classically Disney.

At age 30, Michaels is the youngest ever songwriter to score an entire Disney feature. But that's not her only major accolade: Michaels has been nominated for three GRAMMY Awards, most recently for Marren Morris' "Circles Around This Town" — which was given the nod for Best Country Song at the 2023 GRAMMYs. At the 60th GRAMMY Awards, Michaels was nominated for Best New Artist.

The phenom spoke with GRAMMY.com about some of the hits that made her one of the industry's most in-demand writers — and led to her biggest gig yet.  

"Sorry" - Justin Bieber (2015)

I had met a producer named Josh Goodwin, and he had asked for us to write some songs and see what we could come up with.  We had written two songs, and one of them I don't think ever saw the light of day. The other was "Sorry." 

"Used To Love You" - Gwen Stefani (2016)

I was asked to do some sessions with Gwen and my friend Justin Tranter. It was my first session with her but not his, so they had already known each other.

I wasn't entirely sure what I was gonna walk into or what she would feel comfortable talking to me about. And she was just so open and so lovely and vulnerable. She had these journal entries; in the midst of all of these thoughts and feelings she’d written down she had said: “I don't know why I cried, but I think it's because I remembered for the first time since I hated you that I used to love you.” She kept on reading from her journal and I stopped her and said "No, no, no, that’s a song." So we wrote it and it was just beautiful, she was very happy with it.

Every session is different, every artist is different, everybody writes differently. So sometimes I'm not sure what role I need to take that day. Gwen was very much in control of her narrative and vision, and what she wanted to talk about, so I just followed her footsteps.

I'm not really one for small talk. I think that's why I am still here. I like to get down to the heart of somebody and I know that takes a lot of trust. I'm grateful that I've been able to work with artists that allow the space for vulnerability and for authenticity, and for us to be able to speak openly and honestly about things we're going through.

I don't really have any qualms with walking in a room and being like, "Okay, but how are you really doing?" Not the L.A. version of how are you doing. Like no, how are you actually doing?

"Slumber Party" feat. Tinashe - Britney Spears (2016)

I met her [Britney] after writing a song that she liked, and then we started writing together. 

That was pretty surreal. I don't really fangirl a lot; I've been in enough rooms with people to know that we all laugh the same and cry the same and bleed the same. But then I remember hearing Britney sing this into the microphone for the first time and I just began melting into the floor, in shock and awe. 

I’d done something like eight songs for the album, and writing with her was so special. She has pop melodies wholly ingrained in who she is, so everything that she's saying just sounds like the perfect pop song. She also had her own narratives and she knew what she wanted to write about. We would literally just pull the microphone up to her face so she could sing melodies and we would write songs according to all the melodies and just go from there.

I remember just writing all the time and trying to find a sound that she felt suited her best. A I knew she wanted to do things that still had some vulnerability, but she's Britney Spears — she wanted to have a really fun pop record also. So we tried to cater to that as much as we could.

"This Wish" (2023)

This was the first song I wrote for Wish and it was the first song to come out for the movie. I was called in 2020 by [Walt Disney Music President] Tom McDougall and he asked me if I would like to try to write a song for a new movie, but didn't tell me that it was for the 100th anniversary of Disney's animation movies. Off of this little sort of blurb that he had sent me, I wrote this song about hope and being courageous, and taking a chance and being brave. I thought that was just such a beautiful message.

If he had told me that it was the 100th anniversary, I probably would have been really stressed out. I'm a Disney fan. I've been a Disney fan since I was a kid; I love Disney songs. And so there was already that added pressure to make something that's going to stand the test of time. But I also think that because I grew up with [Disney] it is probably in my psyche more than I even know. And so I wanted to make a song that felt really classic and really powerful and really beautiful, but also still sounded like something that I would write.

How Ilsey Transformed From Hit Songwriter To Artist On 'From The Valley': "I Have The Freedom To Say What I Want"

It's GRAMMY nominations time! Among the all-genre categories for the 2024 GRAMMYs, songwriters Edgar Barrera, Jessie Jo Dillon, Shane McAnally, Theron Thomas and Justin Tranter round out the second-ever pack of nominees for Songwriter Of The Year, Non-Classical.

After being introduced for the first time in 2023, the Songwriter Of The Year, Non-Classical category was moved to the General Field this year along with Producer Of The Year, Non-Classical. It's a monumental change for the Recording Academy's Awards process, and as Recording Academy CEO Harvey Mason Jr. said, an effort to "stay aligned with the ever-evolving musical landscape."

Tobias Jesso Jr. won last year's inaugural gramophone for Songwriter Of The Year, Non-Classical, and this year's batch of nominees represent excellence in songcraft across all types of genres — from pop and hip-hop to country, K-pop, Broadway and multiple flavors of Latin music. They've worked hand in hand with global superstars like Miley Cyrus, Bad Bunny, Niall Horan, and Jungkook, and also written earworms to help up-and-coming artists like Reneé Rapp, Rels B, Tyla and Megan Moroney introduce themselves to new fans.

Before finding out who will join Tesso Jr. as the category's second-ever winner, get to know more about all five of this year's nominees below.

Edgar Barrera

Edgar Barrera, also known by his moniker Edge, has been a longtime force in Latin music, with a total of 20 Latin GRAMMYs to his name. (Last year, the Miami-based producer even led the pack with the most nominations of the night at 13.) His success has also crossed over to the GRAMMYs, where he's been nominated 17 times since breaking out in 2013; he took home the golden gramophone for Best Tropical Latin Album in 2015 for his work as a producer and recording engineer on Carlos Vives' Más Corazón Profundo.

In the years since, Barrera has become a wildly in-demand songwriter and producer and helped bring subgenres of Latin music into the spotlight, from Karol G's Tejano-leaning "Mi Ex Tenía Razón" to the Spanish hip-hop of Rels B's "yo pr1mero." Of course, the grandest feather in his cap for the year might just be serving as a co-writer on "un x100to," Bad Bunny's foray into regional Mexican music with Grupo Frontera, which shot up the Billboard Hot 100 by landing at No. 5.

In an interview with Apple Music's Zane Lowe, Benito explained why the collab was so important to him. "It's very necessary because the world needed to know more about all culture, the Latin culture — another perspective [that] is not only reggaeton and perreo and urban music," he said. "There are also other very beautiful and very wild genres of Latin music."

Jessie Jo Dillon

One could say Jessie Jo Dillon's songwriting prowess might be hereditary. Her father Dean Dillon, after all, spent his career helping define the sound of '90s country by writing a plethora of songs for George Strait, Toby Keith and Kenny Chesney. The King of Country also gave Jessie Jo her first songwriting credit after she collaborated with her dad on 2009's "The Breath You Take," which was nominated for Best Country Song at the 2011 GRAMMYs.

Fast forward to more than a decade later and the younger Dillon has carried her family legacy into the 2020s, outlining the vast and varied sounds of today's country on songs like Jelly Roll's "Halfway to Hell," Old Dominion's "Memory Lane" and HARDY's "screen." A three-time nominee before the 2024 GRAMMYs (she also received Best Country Song nods for Cole Swindell's "Break Up in the End" in 2019 and Maren Morris' "Better Than We Found It" in 2022), Dillon's work with Brandy Clark helped her earn the Songwriter Of The Year nomination as well as her fourth Best Country Song nom, for Clark's "Buried."

Shane McAnally

Shane McAnally is both a titan and a trailblazer in the world of country music, as an eight-time GRAMMY nominee who is also openly gay. After starting out his career as a solo artist, the Texan transitioned to songwriting and producing full-time after writing "Last Call" by Lee Ann Womack in the summer of 2008 and later collaborating closely with Kacey Musgraves on her 2013 debut album, Same Trailer, Different Park. (His longtime partnership with Musgraves has won McAnally all three of his GRAMMYs, including Best Country Album for Same Trailer Different Park and Best Country Song for both "Merry Go 'Round" and "Space Cowboy.")

McAnally's talents gained wider recognition throughout 2019 and 2020 as audiences watched him mentor aspiring songwriters alongside Ryan Tedder and Ester Dean for two seasons on NBC's "Songland." His 2024 Songwriter Of The Year recognition both come from his continued work in the country world (Sam Hunt's "Walmart," Walker Hayes' "Good With Me") and the ways he's expanded the scope of his writing in pop (Niall Horan's "Never Grow Up"), contemporary Christian (Lauren Daigle's "He's Never Gunna Change") and musical theater (the music and lyrics for Broadway's "Shucked," including Alex Newell's barn-storming standout "Independently Owned").

Theron Thomas

A native of St. Thomas, Theron Thomas got his start writing songs and producing as one-half of R. City with his brother Timothy Thomas. The duo initially signed a deal in 2007 under Akon's KonLive Distribution after meeting the rapper in Atlanta and writing album cut "The Rain" for his 2006 sophomore LP Konvicted. By 2015, they'd landed a top 10 hit of their own, thanks to their single "Locked Away" featuring Adam Levine, and released their debut album, What Dreams Are Made Of. The whole time, Thomas and his brother were also writing for other artists, churning out bangers for the Pussycat Dolls ("When I Grow Up"), Rihanna ("Man Down"), Miley Cyrus ("We Can't Stop") and more.

In the past year, Thomas has brought his own hit-making pen to high-profile hip-hop collabs by Chlöe and Future ("Cheatback"), Ciara and Chris Brown ("How We Roll") and Lil Durk's and J. Cole ("All My Life"). He's also worked with rising stars like Ayla and Sekou and even segued into the world of K-pop by contributing to "Seven," Jungkook's Latto-assisted debut solo single.

"I always say I'm the Chick-fil-A of the music business," Thomas said in an interview with HOT 97 in February. "I'm here to serve and I'm here to bring something to the table."

Justin Tranter

Justin Tranter has been at the forefront of pop circles since the mid-2010s, when he pivoted from fronting NYC rock band Semi Precious Weapons to life as a full-time songwriter. By 2015, he'd been named one of Rolling Stone's "20 Biggest Breakouts" of the year and penned hits for the likes of Justin Bieber ("Sorry"), Selena Gomez ("Hands to Myself"), DNCE ("Cake By the Ocean"), Fifth Harmony ("Like Mariah"), and more.

In 2023 alone, his songwriting chops have helped establish Reneé Rapp as a rising voice to watch on pop-driven tracks like "Pretty Girls" and "Gemini Moon"; given Miley Cyrus a follow-up hit to her global (and now GRAMMY-nominated) smash "Flowers" in the form of the secretly raunchy "River"; and kept Måneskin's raucous party rolling with "Honey! (Are U Coming?)," the lead single off the reissue of their third studio album Rush!, retitled Rush! (Are U Coming?). Like McAnally, Tranter also expanded his resume into musicals by overseeing the original music for Paramount+'s Grease: Rise Of The Pink Ladies.

2024 GRAMMY Nominations: See The Complete Winners & Nominees List