The road to Music's Biggest Night officially kicks off Dec. 7 when nominations are announced for the 58th GRAMMY Awards. From category No. 1 (Record Of The Year) to category No. 83 (Best Music Film), the full nominations list will be available on GRAMMY.com at 8:30 a.m. ET. 

Who will score nods in the Big Four categories? Which artists will emerge as the leading nominee(s)? How many nominations will they receive? While we can't answer these questions just yet, we invite you to whet your GRAMMY appetite with this brief retrospective on the artists who scored the most nominations for the previous five GRAMMY Awards.

57th GRAMMY Awards

Beyoncé, 6 nominations

Beyoncé's 2013 self-titled album not only dominated the charts, it also dominated 57th GRAMMY Awards nominations. She garnered six nods, which highlighted her talents as a singer/songwriter and producer. Her nominations included Best Urban Contemporary Album and Album Of The Year for Beyoncé. She was also nominated in the Music Video/Film Field for Beyoncé & Jay Z: On The Run Tour (Best Music Film), and she received her first nomination and win in the Surround Sound Field for Beyoncé (Best Surround Sound Album). She won two additional GRAMMYs, Best R&B Performance and Best R&B Song, for "Drunk In Love" with Jay Z. Queen Bey's six GRAMMY nods brought her total number of nominations to 53, extending her lead as the most-nominated female in GRAMMY history.

Sam Smith, 6 nominations

Sam Smith broke through in 2014 with his debut album In The Lonely Hour, making the then 22-year-old anything but lonely at the 57th GRAMMY Awards. With six total nominations, the British newcomer became just the 10th, and second youngest, artist in GRAMMY history to receive nominations in all four of the General Field categories in the same year, including Album Of The Year for In The Lonely Hour. Smith won for Best New Artist and Best Pop Vocal Album. His No. 2 hit "Stay With Me (Darkchild Version)" netted two additional wins, Record Of The Year and Song Of The Year. (The song was also up for Best Pop Solo Performance.) As the top winner at the 57th GRAMMYs, Smith's four wins were arguably the cure for his lonely heart as he pointed out in his Record Of The Year acceptance speech.

Pharrell Williams, 6 nominations

Pharrell Williams proved to be a true Renaissance man in 2014. His six total nominations at the 57th GRAMMYs included recognition for his own work as well as work on albums for other artists. He earned three nominations in the Album Of The Year category: one each as a co-producer on Beyoncé and Ed Sheeran's X, and one for his solo album, Girl, which netted Best Urban Contemporary Album honors. The infectious No. 1 hit "Happy" took home GRAMMYs for Best Music Video and Best Pop Solo Performance. Overall, the year proved to be another lucky one for Williams, who won four GRAMMYs and earned a total of seven nominations at the previous year's GRAMMY Awards.

56th GRAMMY Awards

Jay Z, 9 nominations

Jay Z's blueprint for GRAMMY success was evident at the 56th GRAMMY Awards when he emerged with a leading nine nominations, a majority of which were spawned from his chart-topping album Magna Carta … Holy Grail. Hova's nods spanned four Fields: General, Rap, Pop, and Music Video/Film. He scored two nominations each in two separate categories, Best Music Video and Best Rap/Sung Collaboration. Jay Z ultimately won two awards, Best Rap/Sung Collaboration for "Holy Grail" (which also earned a nod for Best Rap Song) and Best Music Video for "Suit & Tie," both with Justin Timberlake (the latter was also up for Best Pop Duo/Group Performance). A 21-time GRAMMY winner, Jay Z has received multiple GRAMMY nominations for each year this decade — will his streak continue?

55th GRAMMY Awards

Dan Auerbach, 7 nominations

One-half of the duo Black Keys, Dan Auerbach was the leading nominee at the 55th GRAMMY Awards, nabbing seven nods. The Black Keys received nominations for Record Of The Year and Album Of The Year. They also dominated in the Rock Field: Their Top 5 album El Camino and the track "Lonely Boy" earned GRAMMYs for Best Rock Album and Best Rock Song and Best Rock Performance, respectively. As a multitalented singer/songwriter/producer, Auerbach also garnered his first solo nod and win for Producer Of The Year, Non-Classical, and another win as the producer on Dr. John's album, Locked Down, which won Best Blues Album. Auerbach took home five GRAMMYs, pushing his career total of wins to seven.

54th GRAMMY Awards

Kanye West, 7 nominations

There's a reason Kanye West believes he's a hip-hop god. At the 54th GRAMMYs, West picked up seven of his career total 56 GRAMMY nominations for his collaborative album with Jay Z, Watch The Throne, and his own album, My Beautiful Dark Twisted Fantasy. Watch … was nominated for Best Rap Album, and its hit single "Otis" earned nods for Best Rap Performance and Best Rap Song, winning the former category. My Beautiful Dark Twisted Fantasy emerged as the Best Rap Album winner. His solo hit "All Of The Lights" (featuring Kid Cudi, Rihanna and Fergie) earned three nods, ultimately winning for Best Rap/Sung Collaboration and Best Rap Song. West has won the most GRAMMYs in the 21st century to date, with 21.

53rd GRAMMY Awards

Eminem, 10 nominations

Predominately on the strength of his chart-topping Recovery album, Eminem scored a perfect 10, as in 10 GRAMMY nods. The rapper's nominations for the 53rd GRAMMYs included Album Of The Year; Best Rap/Sung Collaboration, Record and Song Of The Year for "Love The Way You Lie" (featuring Rihanna); and Best Pop Collaboration With Vocals for B.o.B's "Airplanes, Part II" (also featuring Hayley Williams). Eminem ultimately picked up Best Rap Album honors and Best Rap Solo Performance for "Not Afraid." A 15-time GRAMMY winner, Eminem has won Best Rap Album six times, making him the category leader.

Who will garner the most nominations for the 58th GRAMMY Awards? Come back to GRAMMY.com on Monday, Dec. 7 for the complete list, and follow the GRAMMY nominations conversation on Facebook and Twitter. The 58th Annual GRAMMY Awards will broadcast live on the CBS Television Network on Monday, Feb. 15, 2016, at 8 p.m. ET/PT. Tune in to see who will be the top winners.

Two guys can sure make a lot of noise. That's the throughline when it comes to Dan Auerbach and Patrick Carney's brotherhood in their long-running indie-garage-blues band the Black Keys — but that noise doesn't just come from their lungs and hands.

Sometimes, they're channeling the gut-bucket sound of hill country blues, like on their 2021 covers album Delta Kream. Other times, that noise has been refracted through the lens of outside producer Danger Mouse.

And on their new album, Ohio Players — out today — the once-musically insular Auerbach and Carney have opened up that noise to collaborators, like Noel Gallagher, Dan "the Automator" Nakamura, superproducer Greg Kurstin, and most prominently, Beck. (He co-wrote seven songs on the album; he sings lead on "Paper Crown," which also features Juicy J of Three Six Mafia.)

"We had this epiphany: 'We can call our friends to help us make music,'" Carney said in a statement — adding that this is especially rich, given they always co-write with others. "What we wanted to accomplish with this record was make something that was fun. And something that most bands 20 years into their career don't make, which is an approachable, fun record that is also cool."

As a ramp-up to Ohio Players, take a spin through 11 great songs from the four-time GRAMMY winners and 13-time nominees' catalog — whether you're a newbie or a longtime player.

"Girl is On My Mind" (Rubber Factory, 2004)

If you've heard the Black Keys' breakout hits like "Tighten Up," but prefer their sound a little rawer, all their early, pre-Attack and Release records should vibe with you. "Girl is On My Mind" has all their hallmarks — a sexy crawl, controlled-demolition drums, an abundant lo-fi buzz.

"I Got Mine" (Attack & Release, 2008)

Attack and Release is an album of two important Keys firsts: their first in a professional studio, and their first with Danger Mouse. With said six-time GRAMMY winner and 22-time nominee at the helm, their sound gains depth and resonance — yet remains gloriously stripped down.

"Tighten Up" (Brothers, 2010)

This is where the Black Keys zoomed up to the top, and the tired "car commercial rock" criticisms really got rolling. (Maybe so, but they do it better than anyone.) When Carney's four-on-the-floor rhythms collide with Auerbach's effortless melodic gifts, magic transpires.

"Howlin' For You" (Brothers)

The Keys' discography is something of one uninterrupted, glorious buzz — but at this point, they were teasing new colors out of it left and right. The fuzzy, buzzy "Howlin' For You" represents the flipside of Brothers — a more finicky, angular and wired feel.

"Lonely Boy" (El Camino, 2011)

After the smash success of Brothers, Auerbach and Carney returned with the even more brazen and brassy El Camino — a direct shot of Keysiness to the arm. "Am I born to bleed?

Any old time, you keep me waitin'," Auerbach pleads in this rollicking, uptempo favorite.

"Gold on the Ceiling" (El Camino, 2011)

Ain't it wild that for a decade, there were equal and opposite rock acts called the Black Keys and the White Stripes? While both have always been loath to be lumped in with each other — Auerbach and White have a history of bad blood — "Gold on the Ceiling" shows that Auerbach's serrated fuzz could occasionally rip a hole in the firmament, much like his sometime rival.

"Fever" (Turn Blue, 2014)

After the rush of riotous success surrounding Brothers and El Camino, Auerbach and Carney took a two-year cooldown to produce for other artists. The album they made upon their return was moodier and more midtempo: "Fever" is one laser-focused example of this approach.

"Lo/Hi" (Let's Rock, 2019)

As they approached 20 years as a band, the Black Keys relaxed into their own skin with Let's Rock, a happily middle-of-the-road offering with idiosyncratic charm galore. (The title is a reference to convicted murderer Edmund Zagorski's last words before getting the chair.) "Lo/Hi" is a deep, satisfying rumble from the core of their well-explored aural aesthetic.

"Shine a Little Light" (Let's Rock, 2019)

This equally appealing Let's Rock cut is commensurately dreamy and guttural, showing off their still-sharp dynamics over a gospel-like heft.

"Wild Child" (Dropout Boogie, 2022)

Dropout Boogie isn't altogether different from its predecessor — again, this is the Black Keys, and it's all a continuum. But the choruses are even sharper — and the underdog video, where Auerbach and Carney get verbally torn apart by public school staff, is just as memorable.

"Beautiful People (Stay High)" (Ohio Players, 2024)

A sizable leap forward from the already very good Let's Rock and Dropout Boogie, Ohio Players shows not only their range more than two decades in, but their chemistry with their old friends.

And it's all boiled into "Beautiful People (Stay High)" — which, admittedly, leans on something on a shopworn lyrical trope about getting high and never coming down. But it's impossible to quibble with that when that indelible chorus shakes the cheap seats.

It serves as a reminder that the Black Keys draw from a universal canon of blues, rock, psychedelia and much more — and it's less what they say than how they say it.

From The Black Keys To Behind The Board: How Dan Auerbach's Production Work Ripples Through The Music Community

"Genres are a funny little concept, aren't they? In theory, they have a simple definition that's easy to understand. But in practice, well, some may feel confined."

With those words, spoken on "SPAGHETTII" by Linda Martell — the first commercially successful Black female artist in country music and the first to play the Grand Ole Opry solo — Beyoncé provides a proxy response to her original call on Instagram 10 days before COWBOY CARTER was released: "This ain’t a Country album. This is a “Beyoncé” album." 

She delivered on that promise with intent. Through a mix of homage and innovation, Beyoncé's latest is a 27-track testament to her boundless musicality and draws  from a rich aural palette. In addition to its country leanings, COWBOY CARTER includes everything from the soulful depths of gospel to the intricate layers of opera. 

Beyoncé's stance is clear: she's not here to fit into a box. From the heartfelt tribute in "BLACKBIIRD" to the genre-blurring tracks like "YA YA," Beyoncé uses her platform to elevate the conversation around genre, culture, and history. She doesn't claim country music; she illuminates its roots and wings, celebrating the Black artists who've shaped its essence.

The collective album proves no genre was created or remains in isolation. It's a concept stoked in the words of the opening track, "AMERIICAN REQUIEM" when Beyonce reflects, "Nothing really ends / For things to stay the same they have to change again." For country, and all popular genres of music to exist they have to evolve. No sound ever stays the same.

COWBOY CARTER's narrative arc, from "AMERICAN REQUIEM" to "AMEN," is a journey through American music's heart and soul, paying tribute to its origins while charting a path forward. This album isn't just an exploration of musical heritage; it's an act of freedom and a declaration of the multifaceted influence of Black culture on American pop culture.

Here's a closer look at some of some of the musical genres touched on in act ii, the second release of an anticipated trilogy by Beyoncé, the most GRAMMY-winning artist of all-time: 

Country 

Before COWBOY CARTER was even released, Beyoncé sparked critical discussion over the role of herself and all Black artists in country music. Yet COWBOY CARTER doesn't stake a claim on country music. Rather, it spotlights the genre through collaborations with legends and modern icons, while championing the message that country music, like all popular American music and culture, has always been built on the labor and love of Black lives. 

It's a reckoning acknowledged not only by Beyoncé's personal connection to country music growing up in Texas, but the role Black artists have played in country music rooted in gospel, blues, and folk music. 

Country legends, Dolly Parton ("DOLLY P", "JOLENE," and "TYRANT"), Willie Nelson ("SMOKE HOUR" and "SMOKE HOUR II"), and Martell ("SPAGHETTII and "THE LINDA MARTELL SHOW") serve mainly as spoken-word collaborators, becoming MCs for Queen Bey. Some of the most prolific country music legends receiving her in a space where she has been made to feel unwelcome in music (most notably with the racism surrounding her 2016 CMA performance of "Daddy Lessons" with the Dixie Chicks) provides a prolific release of industry levies. Martell, a woman who trod the dark country road before Bey, finally getting her much-deserved dues appears as an almost pre-ordained and poetic act of justice. 

"BLACKBIIRD," a version of the Beatles' civil rights era song of encouragement and hope for the struggle of Black women is led softly by Beyoncé, backed by a quartet of Black female contemporary country songbirds: Tanner Adell, Brittney Spencer, Tiera Kennedy, and Reyna Roberts. 

Beyoncé holds space for others, using the power of her star to shine a light on those around her. These inclusions rebuke nay-sayers who quipped pre-release that she was stealing attention from other Black country artists. It also flies in the faces that shunned and discriminated against her, serving as an example of how to do better. The reality that Beyoncé wasn't stealing a spotlight, but building a stage for fellow artists, is a case study in how success for one begets success for others. 

Read more: 8 Country Crossover Artists You Should Know: Ray Charles, The Beastie Boys, Cyndi Lauper & More

Gospel, Blues, & Folk (American Roots)

As is Beyoncé's way, she mounts a case for country music with evidence to back up her testimony. She meanders a course through a sequence of styles that serve as the genre's foundation: gospel, blues, and folk music.

"AMERIICAN REQUIEM" and "AMEN" bookend the album with gospel-inspired lyrics and choir vocals. The opener sets up a reflective sermon buoyed by  the sounds of a reverberating church organ, while the closer, with its introspective lyrics, pleads for mercy and redemption. The main verse on "AMEN", "This house was built with blood and bone/ The statues they made were beautiful/ But they were lies of stone," is complemented by a blend of piano, and choral harmonies. 

Hymnal references are interlaced throughout the album, particularly in songs like "II HANDS II HEAVEN" and in the lyrical nuances on "JUST FOR FUN." In the later track, Beyoncé's voice soars with gratitude in a powerful delivery of the lines, "Time heals everything / I don't need anything / Hallelujah, I pray to her." 

The gospel-inspired, blues-based "16 CARRIAGES" reflects the rich history of country songs borrowing from the blues while simultaneously calling back to songs sung by field laborers in the colonial American South. "Sixteen dollars, workin' all day/ Ain't got time to waste, I got art to make" serves as the exhausted plea of an artist working tirelessly long hours in dedication to a better life. 

Rhiannon Giddens, a celebrated musician-scholar, two-time GRAMMY winner, and Pulitzer Prize recipient, infuses "TEXAS HOLD 'EM" with her profound understanding of American folk, country, and blues. She plays the viola and banjo, the latter tracing its origins to Sub-Saharan West Africa and the lutes of ancient Egypt. Through her skilled plucking and bending of the strings, Giddens bridges the rich musical heritage of Africa and the South with the soul of country, blues, and folk music.

Pop, Funk, Soul & Rock 'n' Roll 

All in, Beyoncé is a pop star who is wrestling with labels placed on her 27-year career in COWBOY CARTER. Fittingly, she brings in two other pop artists known for swimming in the brackish water between country and pop, Miley Cyrus and Post Malone. Her intentional inclusion of two artists who have blurred genres without much cross-examination begs the question, Why should Beyoncé's sound be segregated to a different realm? 

On "YA YA" Linda Martell returns as the listener's sonic sentinel, introducing the track like a lesson plan: "This particular tune stretches across a range of genres. And that’s what makes it a unique listening experience." The tune sinks into the strummed chords of Nancy Sinatra's "These Boots Are Made for Walkin'" before leaping into a fiery dance track that features reimagined lyrics from the Beach Boys, with soulful vocal flourishes and breaks that show the throughline connection between '60s era rock, funk, and pop music.

Robert Randolph lends his hands on "16 CARRIAGES" with a funk-infused grapple on his pedal-steel guitar. It's a style he honed through his early years touring and recording with his family band and later in his career as an in-demand collaborator working with names including the Allman Brothers, and Norah Jones. 

The lesson is solidified as the album transitions into an interlude on "OH LOUISIANA," featuring a sped-up sample of a classic track by Chuck Berry. This moment emphasizes the pop superstar's nod to civil rights era music history, spotlighting a controversial artist celebrated for his pioneering contributions to rock 'n' roll. (It's a part of music history Beyoncé knows well, after starring as Etta James in the 2008 film Cadillac Records, a veiled biopic of the legendary Chicago label Chess Records.)

Classical & Opera

Opera was missing from many listeners' Beyoncé Bingo card, but didn't surprise those that know her background. Beyoncé was trained for over a decade starting at an early age by her voice teacher David Lee Brewer, a retired opera singer who once lived with the Knowles family. 

COWBOY CARTER gives sing-along fans a 101 opera class with "DAUGHTER." In Italian, Beyoncé sings passages from the 1783 Italian opera "Caro Mio Ben," composed by Giuseppe Tommaso Giovanni Giordani. The aria is a classic piece of vocal training that fittingly shows off her full range — taking us back to the earliest days of her vocal teachings.

Hip-Hop & R&B

Midway through the album on "SPAGHETTII" Beyoncé announces, "I ain't no regular singer, now come get everythin' you came for," landing right where expectations have confined her: in the throes of a romping beat, experimenting with sounds that blend hip-hop with R&B and soul. The track notably highlights the talent of Nigerian American singer/rapper Shaboozey, who also shows up to the rodeo on "SWEET HONEY BUCKIN'" brandishing his unique mix of hip-hop, folk-pop, and country music. 

Beyoncé worked with longtime collaborator Raphael Saadiq on this album, a career legend in the R&B industry, who lends his mark to several tracks on which he wrote, produced, and played multiple instruments. Beyoncé also utilizes the Louisiana songwriter Willie Jones on "JUST FOR FUN," an artist who draws on a contemporary blend of country, Southern rap, and R&B in the hymnal ballad. 

The violin-heavy "TYRANT" and "SPAGHETTII" both underscore hip-hop's long love affair with the classical string instrument (See: Common's "Be," and Wu Tang Clan's "Reunited" as the tip of that particular iceberg) with a blend of soulful R&B lyrics paired with beat-based instrumentalization. 

In a world quick to draw lines and label sounds, Beyoncé's COWBOY CARTER stands as a vibrant mosaic of musical influence and innovation. Ultimately, Beyoncé's COWBOY CARTER isn't seeking anyone's acceptance. As a Texan once told she didn't belong, her critical response claps back at this exclusion.  It's also a reminder that in the hands of a true artist, music is limitless.

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Beyoncé's act ii is upon us — say hello to COWBOY CARTER.

On March 29, the 32-time GRAMMY winner unleashed the follow-up to her acclaimed 2022 album, RENAISSANCE. While COWBOY CARTER hints "Bey goes country," the LP is more of a psychedelic opus, with glimmers of country twang and style.

Across a sprawling 27-song tracklist of inspired originals flecked with covers and interpolations, Queen Bey takes us on a rodeo ride through so many musical universes, paying homage to the Beatles, Chuck Berry, Willie Nelson, Dolly Parton, Linda Martell, and more.

Clearly, there's a treasure trove here — more than enough to keep the Beyhive abuzz throughout 2024. GRAMMY.com is here to help you pore over every twangy lick, mega-guest star and lyrical implication. 

As you dive into Beyoncé's astonishing new album, read on for some of the fundamentals of COWBOY CARTER.

The Tracklisting

Two days prior to COWBOY CARTER's release, Bey released the tracklist — fittingly, in the form of a rodeo poster. And much to the delight of the Beyhive, it's nearly double the length of its 16-track predecessor, RENAISSANCE.

Check out the rodeo poster, as well as the complete track listing, below.

1. AMERIICAN REQUIEM

2. BLACKBIIRD

3. 16 CARRIAGES

4. PROTECTOR

5. MY ROSE

6. SMOKE HOUR WILLIE NELSON

7. TEXAS HOLD 'EM

8. BODYGUARD

9. DOLLY P

10. JOLENE

11. DAUGHTER

12. SPAGHETTII

13. ALLIGATOR TEARS

14. SMOKE HOUR II

15. JUST FOR FUN

16. II MOST WANTED

17. LEVII'S JEANS

18. FLAMENCO

19. THE LINDA MARTELL SHOW

20. YA YA

21. OH LOUISIANA

22. DESERT EAGLE

23. RIIVERDANCE

24. II HANDS II HEAVEN

25. TYRANT

26. SWEET HONEY BUCKIIN'

27. AMEN

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The Cover Songs

Among two dozen dazzling Beyoncé originals, COWBOY CARTER features covers of the Beatles' "Blackbird," Dolly Parton's "Jolene" and Chuck Berry's "Oh Louisiana."

"BLACKBIIRD" (retitled from "Blackbird," with an act ii flavor) is a Paul McCartney song, credited to Lennon-McCartney and featured on 1968's The Beatles, commonly known as The White Album. The song's civil rights inspiration makes it more than a worthy selection: the use of McCartney's original guitar and foot-tapping track makes it especially ear-grabbing.

"JOLENE" is a Dolly Parton classic, similarly given symphonic heft by Bey; Parton offers a radio-like intro on the COWBOY CARTER rendition.

In Parton's pre-"JOLENE" intro, "DOLLY P," she connects "Jolene" to Bey's immortal line "Becky with the good hair" from the Lemonade track "Sorry": "You know that hussy with the good hair you sing about? Reminded me of someone I knew back when, except she has flamin' locks of auburn hair. Bless her heart. Just a hair of a different color, but it hurts just the same."

"OH LOUISIANA" is a Chuck Berry deep cut from 1971's undersung San Francisco Dues; a flicker of Berry's "Maybellene" appears in "SMOKE HOUR WILLIE NELSON," which also features interpolations of Roy Hamilton's "Don't Let Go" and Sister Rosetta Tharpe's "Down By The River Side."

Similarly, "YA YA" contains glimmers of Tommaso Giordani's "Caro Mio Ben," Lee Hazelwood's "These Boots Are Made For Walkin'," and the Beach Boys' "Good Vibrations."

The Guests

Beyoncé has always displayed razor-sharp intent with her collaborators, and COWBOY CARTER is no exception.

The featured guests highlight a slew of rising Black stars in the country scene. "BLACKBIIRD" spotlights four budding female artists, Brittney Spencer, Renya Roberts, Tanner Addell and Tiera Kennedy; Willie Jones shows off his chops on "JUST FOR FUN"; and country-rap fusionist Shaboozey stars on two tracks, "SPAGHETTII" and "SWEET HONEY BUCKIIN.'"

She also welcomes two country-loving pop stars, Miley Cyrus and Post Malone, who make appearances on "II MOST WANTED" and "LEVII'S JEANS," respectively. And along with Parton, Beyoncé honors two more country greats with two aptly titled homages: fellow Texan Willie Nelson appears on "SMOKE HOUR WILLIE NELSON" and "SMOKE HOUR II," and trailblazer Linda Martell "The Linda Martell Show"

Perhaps Beyoncé's cutest collaborator is her six-year-old daughter, Rumi Carter, who makes her adorable debut on "PROTECTOR."

With that, venture forth into COWBOY CARTER — another quintessentially Bey statement of purpose and prowess.

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Amongst Beyoncé's expansive catalog, "Halo" is easily one of her most iconic songs. Today, the 2009 single is her most-streamed song on Spotify; it was her first video to reach one billion views on YouTube; and it helped her set one of her GRAMMY records in 2010.

In this episode of GRAMMY Rewind, watch the superstar take the stage to accept Best Female Pop Vocal Performance for "Halo" in 2010 — the year she became the first female artist to win six GRAMMYs in one night.

"This has been such an amazing night for me, and I'd love to thank the GRAMMYs," she said, admitting she was nervous before taking a deep breath.

Before leaving the stage, Beyoncé took a second to thank two more special groups: "I'd love to thank my family for all of their support, including my husband. I love you. And I'd like to thank all of my fans for their support over the years."

The five other awards Beyoncé took home that night were for the coveted Song Of The Year ("Single Ladies (Put A Ring On It)") and four R&B Categories: Best Contemporary R&B Album (I Am... Sasha Fierce), Best R&B Song ("Single Ladies"), Best Female R&B Vocal Performance ("Single Ladies"), and Best Traditional R&B Vocal Performance (for her cover of Etta James' "At Last"). 

As of 2024, Beyoncé has won the most GRAMMY Awards in history with 32 wins.

Press play on the video above to relive Queen Bey's "Halo" win for Best Female Pop Vocal Performance, and check back to GRAMMY.com for more new episodes of GRAMMY Rewind.