Updated Thursday, Nov. 14, 2024, to reflect the nominations at the 2025 GRAMMYs, officially known as the 67th GRAMMY Awards.

With a total of 86 categories celebrating the best of pop, rock, R&B, jazz, rap, Latin, classical, Musical Theater, and more, thousands of music creators have been recognized by the GRAMMYs since its inception in 1957.

The prestige of one GRAMMY win can catapult an artist's career to the next level, but there are some who have amassed more than 10, 20 and even 30 career GRAMMY wins. Ever wonder who these elite GRAMMY winners are? Look no further. We've compiled a list of the top GRAMMY winners of all time.

Beyoncé, 32

Beyoncé made history at the 2023 GRAMMYs by becoming the artist with the most GRAMMY wins — ever — when she won the GRAMMY for Best Dance/Electronic Music Album for her 2022 album, Renaissance. Beyoncé counts 32 total GRAMMY wins to date. With the 2025 GRAMMY nominations, Beyoncé made GRAMMY history again: Counting 11 GRAMMY nominations at the 2025 GRAMMYs, she's now also the most-nominated artist in GRAMMY history.

Georg Solti, 31

The late conductor Georg Solti holds the record for the most GRAMMY wins in the Classical Field. Solti's last win was for Best Opera Recording for Wagner: Die Meistersinger Von Nurnberg from 1997.

Quincy Jones, 28

Quincy Jones' GRAMMY career as an artist/arranger/producer spans more than 10 Fields, from Children's to Jazz, Pop, Rap, R&B, and more. He is also one of only 15 artists to receive the GRAMMY Legend Award.

Alison Krauss, 27

Alison Krauss holds the distinction as the woman artist with the most GRAMMY Awards in the Country Field. Krauss shares 14 of her wins with her backing band of nearly 30 years, Union Station.

Chick Corea, 27

Musician/composer Chick Corea is currently the artist with the most jazz GRAMMY wins, counting 27 GRAMMY Awards as a solo artist. Corea's Latin jazz piano stylings, compositions and arrangements have also earned him four Latin GRAMMY Awards.

John Williams, 26

John Williams has cashed in on cinema soundtrack classics such as Jaws, Star Wars and Schindler's List for a place among the GRAMMY elite. Of his 26 GRAMMY wins, Williams has earned 12 in the Music For Visual Media Field and six for his work on the Star Wars franchise. His most recent win came at the 60th GRAMMYs for Best Arrangement, Instrumental Or A Cappella for "Escapades For Alto Saxophone And Orchestra from Catch Me If You Can.

Pierre Boulez, 26

Pierre Boulez earned his GRAMMYs primarily conducting the work of renowned 20th century composers such as Bela Bartók, Alban Berg and Claude Debussy. Boulez received the Recording Academy's Lifetime Achievement Award in 2015.

Vladimir Horowitz, 25

The late virtuoso pianist/composer Vladimir Horowitz earned GRAMMYs in every decade from the 1960s to the 1990s. He was also awarded a Recording Academy Lifetime Achievement Award in 1990 and has five recordings in the GRAMMY Hall Of Fame.

Stevie Wonder, 25

No stranger to the GRAMMY stage, Stevie Wonder is the only artist in GRAMMY history to win five or more awards on three separate nights. His career and GRAMMY history were celebrated on the television special "Stevie Wonder: Songs In The Key Of Life — An All-Star GRAMMY Salute" in 2015.

David Frost, 25

A giant in the Classical Field, renowned producer David Frost has won the coveted Classical Producer Of The Year GRAMMY seven times. He's also won four GRAMMYs each in the Best Classical Engineered Recording and Best Opera Recording categories over the years. Most recently, he took home three GRAMMYs at the 2024 GRAMMYs: Best Opera Recording, Best Engineered Album Classical, and Best Classical Instrumental Solo.

Jay-Z, 24

Tied with Kanye West for the most GRAMMY wins by a rap artist, Jay-Z has wins in each of the four Rap Field categories. Hova's blueprint for GRAMMY success includes collaborations with other artists such as Beyoncé ("Drunk In Love"), Rihanna ("Umbrella") and Justin Timberlake ("Holy Grail").

Kanye West, 24

Kanye West is neck-and-neck with Jay Z for top GRAMMY-winning rap artist, but he has often competed against himself. For example, he had two nominations (and a win) each for Best Rap Performance and Best Rap Song for 2012, Best Rap Album for 2011, and Best Rap Song and Best Pop Performance By A Duo Or Group for 2007.

U2, 22

Led by frontman Bono, U2 hold the record for most GRAMMY wins by a rock act. Their most recent wins came in 2005, including Album Of The Year for How To Dismantle An Atomic Bomb.

Vince Gill, 22

Singer/songwriter Vince Gill has earned 20 of his GRAMMY wins in the Country Field, the most of any artist. He earned his first GRAMMY outside of the Country Field in 2017 for Best American Roots Song for writing the Time Jumpers' "Kid Sister." He also holds the distinction of garnering the most GRAMMYs in the 1990s (14), winning one or more GRAMMYs in every year of the decade.

Serban Ghenea, 21

A leading mix engineer, Serban Ghenea is a 21-time GRAMMY winner and three-time Latin GRAMMY winner. Throughout his extensive career, he’s mixed some of the biggest songs from legendary artists across a vast array of genres, including songs by Michael Jackson, Janet Jackson, Beyoncé, Justin Timberlake, Usher, Bjork, Faith Hill, Carrie Underwood, Beck, and many others. As of January 2024, Ghenea has mixed over 225 No. 1 singles and albums, including hits for Taylor Swift, Bruno Mars, Kelly Clarkson, Katy Perry, Ke$ha, Britney Spears, Black Eyes Peas, and many more.

Henry Mancini, 20

The composer behind TV and film themes such as "Peter Gunn" and "The Pink Panther Theme," the late Henry Mancini made early GRAMMY history with a then-record five wins in one night for 1961. Mancini's popular "Moon River" and later "Days Of Wine And Roses" each won both Record and Song Of The Year.

Pat Metheny, 20

Pat Metheny is all that jazz. The guitarist earned his first GRAMMY for Best Jazz Fusion Performance, Vocal Or Instrumental for Offramp for 1982. He has earned GRAMMYs in four consecutive decades since, most recently in 2012 as the Pat Metheny Unity Band for Unity Band for Best Jazz Instrumental Album.

Al Schmitt, 20

Working on projects by artists Ray Charles, Natalie Cole, Chick Corea, and Paul McCartney, among others, Al Schmitt won his 20 GRAMMYs as an engineer/mixer. Schmitt has also earned two Latin GRAMMYs and he received the Recording Academy Trustees Award in 2006.

Bruce Springsteen, 20

In addition to GRAMMY wins in every decade from the '80s through '00s, Bruce Springsteen has seen his albums Born To Run and Born In The U.S.A. inducted into the GRAMMY Hall Of Fame. In 2013 the quintessential rocker was honored as the MusiCares Person of the Year.

Tony Bennett, 19

An artist who truly seems to get better with age, Tony Bennett has won nine of his 18 career GRAMMYs since 2002. Including his 2015 win with Bill Charlap for The Silver Lining: The Songs Of Jerome Kern, Bennett has earned Best Traditional Pop Vocal Album honors 13 times, the most in the category's history.

Yo-Yo Ma, 19

Cellist Yo-Yo Ma has strung together 18 GRAMMY wins, earning his first in 1984 for Bach: The Unaccompanied Cello Suites. Since then he's won GRAMMYs in the Folk and World Music Fields, the latter of which came for 2016 for the Best World Music Album-winning project with his Silk Road Ensemble, Sing Me Home.

Aretha Franklin, 18

Aretha Franklin reigns as the queen of R&B. She has 18 GRAMMY wins to date, five recordings in the GRAMMY Hall Of Fame, a Recording Academy Lifetime Achievement Award (1994) and a GRAMMY Legend Award (1991).

Paul McCartney, 18

Winning Best New Artist with the Beatles for 1964, Paul McCartney has gone on to earn 18 career GRAMMYs as an artist, composer and arranger. While most of McCartney's GRAMMY history lies in pop and rock, he earned two 58th GRAMMY nominations for Best Rap Song and Best Rap Performance for Kanye West's "All Day" with Theophilus London and Allan Kingdom.

Jimmy Sturr, 18

Out of the 25 GRAMMYs ever awarded for polka, Jimmy Sturr earned 18 of them, including 13 wins for Best Polka Album. He will likely remain the highest GRAMMY-winning polka artist in history (given the discontinuation of the category), and was "Born To Polka."

Believe it or not, it's already that time of year again: the 2025 GRAMMY nominations have been revealed.

After a year that saw a pop renaissance and continued dominance by women across genres, the 2025 GRAMMY nominees followed suit. Beyoncé is this year's most-nominated artist, adding 11 more to her GRAMMY resumé (more on that later). Pop's newest reigning queens, Sabrina Carpenter and Chappell Roan, solidified their thrones; they each celebrate six nominations, and are the only two artists nominated for Record Of The Year, Album Of The Year, Song Of The Year, and Best New Artist. 

In fact, six of the eight leading nominees are women. Female artists dominate both the Record Of The Year and Album Of The Year Categories, as well as over a dozen other Categories Best Pop Vocal Album, Best R&B Performance and Best Latin Pop Album.

But that's just one exciting aspect of this year's nominations. As you dive into the full 2025 GRAMMYs nominee list, take a look at some of the most notable feats and firsts from the 2025 GRAMMY nominations — and be sure to tune into Music's Biggest Night on Sunday, Feb. 2, 2025!

Beyoncé Adds To Her GRAMMY Legacy

With 11 nominations, Beyoncé isn't just the most-nominated artist at the 2025 GRAMMYs — she's now the most-nominated artist in GRAMMY history. The 11 new nods bring her total to a whopping 99 nominations!

Queen Bey is already the artist with the most GRAMMY wins of all time with 32, a record she achieved upon her album RENAISSANCE winning Best Dance/Electronic Music Album at the 2023 GRAMMYs. 

Artists Are Nominated In Fields/Categories For The First Time

Along with a new GRAMMY record, Beyoncé also adds a new GRAMMY Field to her repertoire. She received her first nominations in the Country & American Roots Music Field, and five at that: Best Country Solo Performance ("16 CARRIAGES"), Best Country Duo/Group Performance ("II MOST WANTED" Featuring Miley Cyrus), Best Country Song ("TEXAS HOLD 'EM"), Best Country Album (COWBOY CARTER), and Best Americana Performance ("YA YA").

Post Malone also tallied the first Country & American Roots Music Field nominations of his career, earning nods for Best Country Duo/Group Performance and Best Country Song for his Morgan Wallen duet, "I Had Some Help," and Best Country Album for F-1 Trillion.

One of Malone's many F-1 Trillion collaborators, Luke Combs, notched his first nomination in the Best Song Written For Visual Media Category for his chart-topping Twisters anthem "Ain't No Love In Oklahoma."

Meanwhile, R&B titans Alicia Keys and John Legend both celebrate nominations in new Categories as well. Keys is nominated in the Best Musical Theater Album Category for the first time (Hell's Kitchen), and Legend received his first nods for Best Children's Music Album (My Favorite Dream) and Best Arrangement, Instrumental or A Cappella ("Bridge Over Troubled Water" by Jacob Collier featuring Legend & Tori Kelly).

Charli xcx Continues Her Brat Summer

Pop's longtime cool girl Charli xcx also adds several new Categories to her GRAMMY nomination tally, but her reason to celebrate is a little bigger than that: they're her first nominations as a solo artist.

Charli xcx's previous two GRAMMY nominations came in 2015, and they were for her Iggy Azalea collaboration, "Fancy." Perhaps to fans' surprise, her own work had never received a nod — but brat changed that immensely.

One of the most-nominated artists with seven, Charli xcx earned her first nominations in the Album Of The Year (brat), Best Pop Solo Performance ("Apple"), Best Pop Dance Recording ("Von Dutch"), Best Dance/Electronic Album (brat), and Best Music Video ("360") Categories. She's also nominated in the same two Categories in which "Fancy" were 10 years ago: Record Of The Year ("360") and Best Pop Duo/Group Performance ("Guess" Featuring Billie Eilish).

Album Of The Year Marks Notable Firsts

Three of Charli xcx's fellow Album Of The Year nominees reach milestones with their respective nominations. Taylor Swift received her seventh Album Of The Year nomination thanks to THE TORTURED POETS DEPARTMENT, becoming the first woman artist to receive seven nominations in the Category. 

Billie Eilish notches her third Album Of The Year nomination in a row with HIT ME HARD AND SOFT, making her the first artist to have their first three albums nominated in the Category.

Jack Antonoff also achieved a back-to-back AOTY feat, as it's the second year in a row that he has been nominated for his work with two separate artists in the Category. His latest Album Of The Year nods are for Swift's THE TORTURED POETS DEPARTMENT and Sabrina Carpenter's Short n' Sweet. (Fittingly, Swift was one of the two artists last year too, as Antonoff was nominated for AOTY for his work on Midnights as well as Lana Del Rey's Did You Know That There's a Tunnel Under Ocean Blvd.)

Veteran Acts Earn Nods For The First Time In A Long Time

Several artists and creators celebrate their first GRAMMY nominations this year, including big-name stars like Sabrina Carpenter, Doechii, Carin Léon, Chappell Roan, Shaboozey, and Morgan Wallen. What's more, 32 of those first-time nominees have two or more nominations.

But while the Recording Academy is always excited to honor new nominees — check back to GRAMMY.com in January for the annual Meet The First-Time GRAMMY Nominee series — one of the most interesting stories of the 2025 GRAMMYs centers on those who received nominations for the first time in over a decade.

Perhaps the most unexpected names to see on the list are the Beatles. The Fab Four are nominated for the first time in 28 years thanks to "Now And Then," what Paul McCartney has dubbed "the final Beatles record." The song earned nods for Record Of The Year and Best Rock Performance, which brings their career nominations count to 25; prior to the 2025 GRAMMYs, the Beatles have won seven GRAMMYs.

The longest time between nominations this year goes to the Black Crowes, who received their first nod in 34 years for Happiness Bastards, their first album in 14 years. They earned their first Best Rock Album nomination, as they'd only ever been nominated once previously, for Best New Artist in 1991.

Interestingly, the Rock, Metal & Alternative Music Field spawned a few long-awaited nominations for veteran acts. Kim Gordon of Sonic Youth fame scored the first nominations of her career with her second solo album, The Collective, which is up for Best Alternative Music Album, and its lead single, "BYE BYE" is up for Best Alternative Music Performance.

Pearl Jam celebrated their first nominations since 2011 with their 12th studio album, Dark Matter, which received a nod for Best Rock Album as well as Best Rock Song and Best Rock Performance for its title track.

They're in company with their fellow '90s punk rock gods Green Day, who earned nods in all three Categories thanks to their latest album, Saviors. Marking Green Day's first nominations since 2014, Saviors is up for Best Rock Album, while singles "The American Dream Is Killing Me" and "Dilemma" are up for Best Rock Performance and Best Rock Song, respectively.

Elsewhere, Usher earned his first nomination for his own work in 10 years with a Best R&B Album nod for Coming Home, and Eminem earned his first nod for Best Rap Album (a Category he's won six times) in 10 years with The Death of Slim Shady (Coup de Grâce).

Collaborations helped Erykah Badu, Michael McDonald and Monica snag their first nominations in more than a decade, too. Badu's team-up with Rapsody, "3:AM," earned a nod for Best Melodic Rap Performance, the singer's first nomination in the Category and first overall since 2009. McDonald tallied his first nomination since 2004 thanks to his Lalah Hathaway duet, "No Lie," which is nominated for Best Traditional R&B Performance.

Monica received her first nomination since 2011, which also marked a full-circle moment. Her collab with Ariana Grande and Brandy, "The Boy Is Mine," earned a nod for Best Pop Duo/Group Performance — 26 years after her duet with Brandy of the same name won a GRAMMY for Best R&B Performance By A Duo Or Group With Vocal.

Will any legends go home with more golden gramophones? Will Beyoncé further her victory lap? Will there be several first-time winners? Tune into CBS on Feb. 5, 2025 to find out!

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.

The Record Of The Year Category honors some of the year's biggest recordings — and at the 2025 GRAMMYs, the nominees are hits by a mix of newcomers and superstars.

Throughout the past year, Billie Eilish, Sabrina Carpenter, Charli xcx, and Chappell Roan proved why they're at the top of pop's current class. The Beatles and Kendrick Lamar both cemented their respective legacies, while Beyoncé and Taylor Swift continue to challenge their own musical boundaries.

With a range of unforgettable music moments, there's no telling who will take home the golden gramophone for Record Of The Year — which is awarded to the artist and the producer(s), recording engineer(s) and/or mixer(s) and mastering engineer(s) — at the 67th Annual GRAMMY Awards. But one thing is for sure: the eight nominees make for quite an exciting contest.

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

It can take years for an artist to work on their masterpiece. In the Beatles' case, the journey of "Now And Then" took 45 years. John Lennon originally wrote the demo in the late '70s. It's a mournful, piano-backed confession: "I know it's true/ It's all because of you/ And if I make it through/ It's all because of you."

The song remained unfinished long after Lennon's tragic 1980 passing, but — in a powerful act of love — his bandmates completed it for him. Paul McCartney enlisted Giles Martin (the son of Beatles' former producer and longtime collaborator George Martin) as the song's co-producer, using Lennon's original 1977 demo, George Harrison's guitar melodies from the 1995 Anthology sessions, and Ringo Starr's drumming and backing vocals from 2022. "Now And Then," which marked the Beatles' 35th top 10 single on the Billboard Hot 100, is a tearful close to the band's legacy. 

"Obviously, it hasn't been, but it sounds like John's written it for Paul now, in a very emotional way," Martin told Rolling Stone. "It's a bittersweet song, which is very John. But with a combination of happiness and regret." 

McCartney never gave up on the song, which is a testament that true friendship never dies.

Beyoncé — "TEXAS HOLD 'EM"

After shimmying underneath a disco ball for 2022's GRAMMY-winning RENAISSANCE, Beyoncé wanted to keep the dance party going on 2024's COWBOY CARTER — except this time around, she traded Studio 54 for a honky-tonk. But "TEXAS HOLD 'EM," the album's joint lead single alongside "16 CARRIAGES," is much more than an instructional hoedown.

The 32-time GRAMMY winning icon has long incorporated African American history in her music, and "TEXAS HOLD 'EM" is no different. The single, like many tunes on COWBOY CARTER, is rooted in liberation. Country music is the backbone of America, but its roots in Black culture are often hidden. With "TEXAS HOLD 'EM," Beyoncé lifts the veil off the genre's true history by celebrating both her Houston heritage and the Black country artists that paved the way for her.

The song's message is clear, but it's balanced by playful melodies, Beyoncé's signature stacked harmonies and a plucking banjo (played by Rhiannon Giddens, an advocate for the reclamation of country music instruments by Black musicians). While Beyoncé is no stranger to chart-topping hits ("TEXAS HOLD 'EM" is her ninth solo No. 1 single on the Hot 100), she made history as the first Black woman to score a No. 1 on Billboard's Hot Country Songs chart.

Sabrina Carpenter does whimsy so well. Chalk it up to her Disney Channel roots, but the singer's innate ability to craft an earworm is why she's skyrocketed as one of the biggest pop stars of the new generation. "Espresso," the lead single from 2024's Short n' Sweet album and unofficial song of the summer, encapsulates Carpenter's irresistible charm.

"The song is kind of about seeing femininity as your superpower, and embracing the confidence of being that b—," she told Vogue in April. 

That confidence is found all throughout "Espresso," from her cooing vocals to her cheeky songwriting ("I can't relate to desperation/ My give-a-f—s are on vacation"). Topped off by an irresistibly catchy, undulating chorus, "Espresso" helped Carpenter reach several career milestones that kickstarted a year full of them — including her first GRAMMY nominations.

Charli xcx has long been one of the coolest girls in pop, and her sixth album brat cemented that fact. On "360," the album's second single, the British star not only acknowledges her own cool factor, but of those around her. Produced by longtime collaborator A. G. Cook, the song trades in the producer's signature exaggerated hyperpop sonics for more minimalistic synths that complement Charli's auto-tuned vocals.

"I went my own way and I made it/ I'm your favorite reference, baby," Charli xcx exclaims on the cocky opening line before comparing herself to friends like model/musician Gabbriette and actress Julia Fox. "360" is a cheeky reflection of the ever-growing digital era, giving fellow internet "It" girls an anthem for the ages.

Billie Eilish — "BIRDS OF A FEATHER"

The beauty of Billie Eilish's artistry is in her vulnerability. For the nine-time GRAMMY winner's third album HIT ME HARD AND SOFT, she pushed herself into her deeper territories with the assistance of her brother and go-to collaborator FINNEAS.

Second single "BIRDS OF A FEATHER" best exemplifies the album title's meaning in both its tenderness and desperation. It was initially intended to be a traditional love song, but given the siblings' unorthodox track record, they couldn't resist making it slightly untraditional: "I want you to stay/ 'Til I'm in the grave/ 'Til I rot away, dead and buried/ 'Til I'm in the casket you carry," Eilish sings on the opening verse in her signature whisper. 

Even with the juxtaposing lyrics, the song's airy production and wistfully gauzy synths still make for a beautiful, adoring statement piece. And the heartfelt sentiment paired with Eilish's breathy vocals quickly made "BIRDS OF A FEATHER" the biggest hit from HIT ME HARD AND SOFT, already garnering nearly 1.5 billion Spotify streams as of press time.

Branding Kendrick Lamar's "Not Like Us" as merely a diss track would be doing it a disservice. The 17-time GRAMMY winner's tune is not just a rap song, but a cultural phenomenon. A seething finale to his (very public) feud with Drake, "Not Like Us" is a triumphant win for both Lamar and rap music as a whole.

Atop a buzzing sample of Monk Higgins' 1968 "I Believe to My Soul" cover, Lamar delivers slick wordplay and calls out Drake's presumed cultural appropriation of Southern rap: "You run to Atlanta when you need a few dollars/ No, you not a colleague, you a f—in' colonizer."

Following its release, the song took on a life on its own: tennis icon Serena Williams (Drake's alleged former lover) crip walked to the track at the 2024 ESPY Awards, Megan Thee Stallion and Janet Jackson incorporated it into their concerts, and many national sports leagues used it in their game broadcasts.

Drama aside, "Not Like Us" — which also scored a Song Of The Year nomination — is a celebration of West Coast hip-hop. Lamar, a proud Compton native, enlisted Los Angeles-born DJ Mustard to produce the track. The chopped-up sample is inspired by Oakland's "hyphy" rap subgenre, while Lamar exaggerates his already-animated cadence, paying homage to late Los Angeles rapper Drakeo the Ruler. While "Not Like Us" is a targeted diss, it's also a reminder of California's historical impact on rap — and Lamar's place within that legacy.

Chappell Roan grabbed the world's attention with her bombastic interpretation of baroque pop and her knack for highlighting queer romance. "Good Luck, Babe!," April's breakout hit following her 2023 debut LP, The Rise and Fall of a Midwest Princess, ushered in a new chapter.

The song discusses compulsory heterosexuality, as Roan sings about a woman she's dating who tries to deny her feelings for Roan: "You can kiss a hundred boys in bars/ Shoot another shot, try to stop the feeling." 

"I knew exactly what I wanted. I wrote it in three minutes," Chappell Roan told Rolling Stone of the song's creation, which she co-wrote alongside Daniel Nigro and Justin Tranter. "I felt so much anger. I was so upset. It all came out and I didn't add anything when I wrote it all done. It was a perfect storm."

The anger definitely explodes on "Good Luck, Babe!," with Roan channeling '80s divas like Kate Bush and George Michael. The singer's goal was to make a "big anthemic pop song," and "Good Luck, Babe!" soared beyond all expectations.

Taylor Swift Feat. Post Malone — "Fortnight"

Despite nailing a formula that has made her one of the biggest pop stars of all time, Taylor Swift is still willing to take risks.

"Fortnight," from the 14-time GRAMMY winner's The Tortured Poets Department, serves as both the LP's first single and opening track. The chart-topping smash introduces the album's moodier tones, telling the story of a woman in an unhappy marriage who is now the neighbor to her ex-lover and his new wife. 

Atop '80s-inspired electropop synths courtesy of longtime collaborator and co-producer Jack Antonoff, the lyrics are unexpectedly dismal for Swift: "I took the miracle move-on drug, the effects were temporary/ And I love you, it's ruining my life." Featured artist Post Malone then sweeps in with his melancholic harmonies, giving more emotional weight to Swift's brilliant storytelling.

Lyrics have a unique way of validating and soundtracking our real-world experiences. Perhaps this year, a celebratory drink called for Shaboozey's "A Bar Song (Tipsy)" on repeat. Or maybe you professed your love with a playlist containing Billie Eilish's "BIRDS OF A FEATHER," and Lady Gaga & Bruno Mars' "Die with a Smile."

It's those small but significant moments that showcase the power of songwriting — and what makes GRAMMY's Song Of The Year award so necessary. In the 2025 SOTY nominee list, you'll find the above hits, plus Taylor Swift's "Fortnight" (feat. Post Malone), Chappell Roan's "Good Luck, Babe," Kendrick Lamar's "Not Like Us," Sabrina Carpenter's "Please Please Please" and Beyoncé's "TEXAS HOLD ‘EM."

Ahead of the 2025 GRAMMYs, take a deeper look into all the tracks that made the nominee list for Song Of The Year. Be sure to check out the full 2025 GRAMMYs nominations list ahead of Music's Biggest Night on Sunday, Feb. 2, 2025.

Shaboozey — "A Bar Song (Tipsy)"

Songwriters: Sean Cook, Jerrel Jones, Joe Kent, Nevin Sastry, Chibueze Collins Obinna & Mark Williams

Before this year, Shaboozey was just another rising artist ready to make a name for himself. With the April release of "A Bar Song (Tipsy)," he blossomed into the most prolific country musician of 2024, coinciding with his 10th anniversary in the music industry.

By July, the J-Kwon interpolation simultaneously hit No. 1 on the Hot 100 and the Hot Country Songs charts, making him the first Black man to conquer a feat. On Oct. 29, it broke the record for the longest-running No. 1 hit, previously set by "Old Town Road (feat. Billy Ray Cyrus)" by Lil Nas X.

Billie Eilish — "BIRDS OF A FEATHER"

Songwriters: Billie Eilish O’Connell & Finneas O’Connell

Most know Billie Eilish for her "sad girl" anthems, scaling topics of body dysmorphia, cruel exes and the relentless dissection of her life under the public eye. But on "BIRDS OF A FEATHER," a single from 2024's HIT ME HARD AND SOFT, the 22-year-old songbird unveils a softer, sweeter side of herself over a twinkling synth. The track details an unwavering connection.

"I don't know what I'm cryin' for/ I don't think I could love you more," she muses in the song's pre-chorus. "Might not be long, but baby, I/ Don't wanna say goodbye."

As Finneas O'Connell, Eilish's brother and longtime collaborator, explained on their American Express "Story of My Song" segment, "There's a lot of songs about dying for somebody and loving them until they die, and I thought it was really fun to lean in."

Songwriters: Dernst Emile II, James Fauntleroy, Lady Gaga, Bruno Mars & Andrew Watt

Put two musical legends together, and you get a masterpiece. For Lady Gaga and Bruno Mars, that piece of artwork is "Die with a Smile," a grandiose ballad about not taking your relationships for granted. It's reminiscent of the sultry duets of the 1960s, such as Sonny & Cher's "I Got You Babe" or Frank & Nancy Sinatra's "Somethin' Stupid."

The unexpected collaboration unfolded while Gaga finished her upcoming album in Malibu. "After a long day, he asked me to come to his studio to hear something he was working on [...] We stayed up all night and finished writing and recording the song," Gaga said in a press release.

As Gaga mentions in her announcement post, the song is a treat for Little Monsters "while you wait for LG7." But if the rest of the project is anything like "Die with a Smile," it's already looking like a hit.

Taylor Swift — "Fortnight" Feat. Post Malone

Songwriters: Jack Antonoff, Austin Post & Taylor Swift

Taylor Swift has become increasingly transparent in her artistry through whimsical lyrical metaphors and cinematic music videos. "Fortnight," the opening track of The Tortured Poets Department, is no exception as Swift likens a crumbling relationship to the failure of the American dream. In its sepia-toned visual, she's an asylum escapee taking the "Forget Him" pill, washing away their million-paged saga.

"'Fortnight' is a song that exhibits a lot of the common themes that run throughout this album. One of which being fatalism — longing, pining away, lost dreams," Swift told Amazon Music. "And 'I love you, it's ruining my life,' these are very hyperbolic, dramatic things to say. But it's that kind of album."

Swift first announced Tortured Poets during her acceptance speech for Best Pop Vocal Album (Midnights) at the 2024 GRAMMYs. At the 67th GRAMMY Awards, Swift will again vie for a chance to win Song Of The Year — her eighth nomination in the Category.

Songwriters: Daniel Nigro, Kayleigh Rose Amstutz & Justin Tranter

Chappell Roan might have written "Good Luck, Babe!" in three minutes, but this breakthrough single has left the impact of a lifetime as the singer's debut on the Billboard Hot 100.

The cathartic indie rock track wishes a hopeless flame well after denying their queer identity: "When you wake up next to him in the middle of the night/ With your head in your hands, you're nothing more than this wife/ And when you think about me, all of those years ago/ You're standing face to face with, 'I told you so.'"

"I think throughout the year, I'm like, "What can I get away with?" Because right now it's pretty tame for what it is like to be a gay artist," Roan told GRAMMY.com in March. "But I just want to push it to see how far can I go — with the most controversial outfits or things to rile people up. I'm not really afraid to do that."

Songwriters: Kendrick Lamar

Kendrick Lamar and Drake have been throwing shots at each other for the past decade, but it wasn't until Drake's claims of being the best of the "Big Three" rappers (including him, Lamar and J. Cole) in 2023 that the battle climaxed. 

The next six months saw back-and-forth diss tracks, such as Lamar's "Euphoria" and "Meet the Grahams." In a sweeping moment in May, Lamar reigned superior with "Not Like Us," poking fun at Drake's OVO brand alongside accusations of pedophilia and disingenuous relationship with other artists.

Upon its release, "Not Like Us" debuted at No. 1 on the Billboard Hot 100 and might be Lamar's first gramophone in the Song Of The Year category. 

Sabrina Carpenter — "Please Please Please"

Songwriters: Amy Allen, Jack Antonoff & Sabrina Carpenter

If "Espresso" hadn't already catapulted Sabrina Carpenter as one of the biggest stars of 2024, "Please Please Please" solidifies her status as one of the music industry's key players.

In typical Sabrina fashion, this '70s-inspired tune features witty and playful lyricism, with the Short n' Sweet singer begging her new lover to stay faithful and true: "And please, please, please/ Don't bring me to tears when I just did my makeup so nice/ Heartbreak is one thing, my ego's another/ I beg you, don't embarrass me, motherf—."

The single, co-written with Jack Antonoff, also marks Sabrina's first No. 1 track on the Billboard Hot 100, sitting comfortably above "Espresso's" No. 2 placement.

Beyoncé — "TEXAS HOLD ‘EM"

Songwriters: Brian Bates, Beyoncé, Elizabeth Lowell Boland, Megan Bülow, Nate Ferraro & Raphael Saadiq

After more than two decades as a solo artist, Beyoncé's latest era has been defined by risk-taking experimentation. The first installment of her trilogy project, RENAISSANCE, revived house. Her latest addition, COWBOY CARTER, invites listeners to throw on their Western boots in her first full-length venture into country music, led by "TEXAS HOLD 'EM."

Aside from its addictive twangy instrumentation and chant-worthy lyrics ("This ain't Texas, ain't no hold 'em"), the COWBOY CARTER lead confirms Beyoncé's artistic range while simultaneously encouraging much-needed conversations about the diversity of the country genre. An ambitious venture, indeed, but one that paid off, making Queen Bey the first Black woman to top Billboard's Hot Country Songs chart and earning her a spot on this year's Song Of The Year nominee list.