Chloe Flower may have landed in the public consciousness by accompanying Cardi B at the 61st GRAMMY Awards, but two years later, she's not fading away. The classical pianist and composer wants to fuse pop and classical in a more encompassing way. Welcome to Popsical, Flower's self-conceived genre tag that aims to close the gap between trap beats and Franz Liszt.

"To me, the whole idea of Popsical is that I felt instrumental music had that stigma. It had to be a certain way," Flower tells GRAMMY.com over Zoom from her Manhattan high-rise. "People told me my entire life 'You have to be really successful in solo piano first before you can add drum beats to something.'" Because Flower loves all kinds of music, from pop to reggaetón, this was a quandary for years. But on her debut, self-titled album, her catholic inspirations have blossomed big.

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Chloe Flower, which dropped July 19 via Sony's Masterworks imprint, is the perfect entry point to the musical universe of Popsical. Subdivided into acts with narrations from alternative medicine king Deepak Chopra, the album splits the difference between classical orthodoxy ("Prelude No. 1") and full pop immersion (including an electrified cover of Billie Eilish's "Bad Guy"). 

While Flower has the headstrong personality and label encouragement to pull off such a feat, she's aware that few other women—especially those of color—have those resources and support systems. With the interest of making classical music a more attractive and inclusive arena, she has a few ideas as to how that world can open up to everybody, not just a few.

Read on for an in-depth interview with Flower about the nexus of pop and classical music, constructing Chloe Flower like a front-to-back cinematic experience, and how young women of color can be encouraged to become producers and composers.

This interview has been edited and condensed for clarity.

I'm a classical music fan, but I don't hear much about it outside of history books or the pages of The New York Times. What's the state of this artform?

I would say it's completely changing. Classical music is so different today, in 2021, than when I signed with Babyface in 2010. It was either crossover—there were a select few crossover artists—or it was strictly classical. I think [the shift is] because of social media, YouTube and all these other outlets, when people can express themselves in any way they want and it's not just up to The New York Times to decide something is cool or OK to do.

Who are the key people to know in modern classical?

There are so many new artists I've been following. I tend to follow pop artists, and that's part of the reason I wanted to start this Popsical movement. I didn't feel like there were enough people on the instrumentals. Not just classical music, but instrumental. People would always be like, "Oh, you play piano! You're like Kenny G!" but that's not the only sound there is—smooth jazz or adult contemporary.

That's why, back in the day, I loved Vanessa-Mae. She's one of the first crossover artists to come out of the U.K. She did Bach's Toccata in Fugue—a song I have on my album as well—with an EDM beat. EDM music doesn't resonate with me in the same way that a trap beat or hip-hop beat does, [but] I was always looking for that artist who was that mixture of pop and instrumental.

I think there must be other people out there who want to explore that instrumental space but don't necessarily fit into that Vanessa-Mae category or the Piano Guys category. I love Piano Guys. They're another crossover classical artist that has done so well. So successful. David Garrett is another one who's been so successful at the violin, doing crossover music, but so different from what I do.

I'm sure Babyface saw that versatility in you when you started working together.

Yeah, I was so shocked. He was the first producer I ever asked to work with me and he was the only one I'd heard of! I just cold-reached out to him on Google. I found his manager's email and just randomly sent him a demo. I think he understood that maybe there was a space here for a new kind of sound.

Deepak Chopra's presence on your debut album is interesting. He's synonymous with new age, a style I find a lot of value in that nonetheless gets a lot of flak.

When people say "new age," there's definitely a stigma associated with it. Even in film. You'll watch movies like [2001's] Serendipity from back in the day and see the crossover flutist, and it's kind of a joke in the movie. That has been the reputation of new age, but as with classical music, audiences are embracing a new style, a new sound. I think a lot of people nowadays are embracing spiritual and holistic health practices.

But for me, Deepak is a close friend. I've known him for many years. I know him personally and he really practices what he preaches. He's very authentic in what he believes. He is truly a believer that music is a powerful tool for healing. It was perfect for me because that's how I view music too. I believe music education should be as accessible as religion or sports education. It's completely inaccessible, and part of the reason is that there's no demand.

People think of instrumental music as Kenny G or new age. They think of it that way, so kids aren't demanding to learn an instrument because they don't necessarily want to. I feel that music is so important because it has that healing power.

We saw during the pandemic how music brought people together, from the people singing on balconies in Italy early on to people using pots and pans in New York City. We could hear it because we live right near a hospital [in Manhattan]. That was music too—it's all a form of sound and using that sound as therapy. You can listen to a song and be in a better mood or feel empowered to take action on something. Deepak shares that philosophy with me.

That's why I'm interested in new age. It has literal utility. And while your music has its own genre tag—Popsical—I can hear that component in your work as well.

I'm so honored and complimented by that! To me, the whole idea of Popsical is that I felt instrumental music had that stigma. It had to be a certain way. People told me my entire life "You have to be really successful in solo piano first before you can add drum beats to something."

I'm not just a solo pianist. I love trap music. I love beats. I love reggaetón. All these sounds together—they don't fit in any category. I really call my album an instrumental mixtape because it's all these different sounds. I can never fit into that classical crossover box ever.

Is there a barrier between young people and classical music that Popsical can traverse?

One of the things that is definitely becoming huge in the instrumental space is what we were talking about earlier: The utilitarian function of music. Peaceful piano, right? That's been huge on playlists: People listening to music in the background. But I feel like instrumental music is more than peaceful piano, [even though] that's a huge market. It's huge. But it doesn't necessarily translate into performance.

Like, would you go play a whole peaceful piano playlist in Madison Square Garden? Would someone buy tickets for that and listen to 90 minutes of peaceful piano? I'm not sure, but I think the market has expanded greatly because of that playlist and that sound in the background.

But the idea of Popsical, to me, is to generate demand in younger people. And not just in younger people, but older people too. I don't think it's ever too early or late to learn an instrument, or to listen to music in a different way—not just to sleep.

Beyond blurring styles, what was the artistic intent behind Chloe Flower?

My album is self-titled—not just because I produced and wrote it—but it was a reflection of me. Like I said earlier, I'm not just a solo pianist. On my album, there's actual works by classical composers and then there's solo piano music that's not classical—a little more pop with a pop structure. Then, there's trap beats.

Track 14 is called "POPSICAL," and it's called that because it's a medley of most of the songs I wrote on the album. It's a medley of those themes. It has a very cinematic quality—I imagined it to be like the end credits of The Sound of Music. That's what I was thinking when I wrote and arranged it. It's a reflection of me and the fact I'm not just one sound. 

The label and I were really excited. It's risky for any label to do something that hasn't really been done often or well. It was scary, but it was really cool. I think that's the idea behind this: To showcase instrumental music and the way people listen to it in a different way.

It's interesting that you call it a mixtape when it's separated formally by acts. Was it challenging to square that circle?

No, actually, it was so perfect. That's partly why I had Deepak there. Because it's an instrumental album without lyrics, I wanted people to listen to the album however they want, but [also] from beginning to end, which is why it starts with the prelude and ends with the end credits—the big, thematic Hollywood ending.

Which instrumental records have you been checking out lately?

I actually listen to a lot—a lot—of classical music and Disney soundtracks. I've been listening to a lot of Leroy Anderson. Obviously, a lot of Liberace. I love his brother, George Liberace, who was kind of the quiet, silent partner behind Liberace. He wrote all the arrangements and orchestrated everything. He was a genius arranger. Vladimir Ashkenazy is one of my favorite pianists. I'm always listening to him and Evgeny Kissin.

How can young people interface with classical music in a way that doesn't involve dropping $400 on a ticket?

Totally. It's so inaccessible in that way. And you have to buy your outfit, because you have to dress up when you go to Lincoln Center. You can't just show up in sweats. I think using platforms like YouTube and TikTok [is the answer]. I see so many people who'll tag me doing the Cardi B cover or a classical cover. It's usually "Für Elise" or Bach's Toccata in Fugue, but they're doing it with their own trap beat and it sounds so cool.

As you start to research, you'll see a lot of instrumentalists out there. It's really cool.

I wonder if Popsical can show that classical can not just be melded with pop, but be pop. I'm pretty sure it was pop music hundreds of years ago.

Definitely. I think Mozart was the Justin Timberlake of his time.

I also [wanted to] tell a story. It's a musical journey from beginning to end. I thought of it as a life cycle. For me it was about, in essence, being born with a clean slate. The hardships of life and dealing with that. The darker songs are in the second act and Deepak talks a little bit about suffering. And then you end with hope. If people were to listen to it from beginning to end—which I hope they did—they would experience that with me.

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Have you faced any discrimination in the music business based on who you are or what you look like?

I haven't had an experience that overt, but definitely, as a producer and composer, 100 percent I'm always the only woman. I'm typically the only woman in a studio. It's just me. That by itself is a problem, right? I have such a strong personality and I'm so used to not fitting in, so I can survive that kind of environment and [be] fine, but that's not the case for every woman out there.

I think it's important for there to be more female composers and producers. That's why my label and I wanted to call it Chloe Flower. "Produced by Chloe Flower. Written by Chloe Flower." Because, as a female and a person of color, I represent such a small group of people. Those numbers need to go up. 

I met a girl who's 14 or 15 and she's Asian, and I'm working on a solo-piano Christmas album, so I told her I'd include one of her compositions. She's really good.

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How do we encourage more young women of all backgrounds to enter this field?

I think definitely by promoting as many female producers and composers [as possible]. Not just artists. It's important. So many women don't get songwriting or producer credit. I've been in so many sessions where I play piano on songs and they look at me and go "You don't need the credit." 

I've done so many free sessions that I joke about it. When I do a concert, I'm like, "That's a great fee, but if you divide it by the number of hours I've worked and practiced and done free sessions, it's like negative $1,000 an hour." 

When I go into a studio and it's all dudes, it doesn't necessarily make me so excited to be in the studio. It's all the time, and I think when women see other women in the studio, it's more fun. It's more empowering than being the only girl. 

So, I think it's definitely about promoting and highlighting and honoring these new, young, female composers and producers and showing other women it isn't just a male space.

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In the world of hip-hop, fashion is more than just clothing. It's a powerful means of self-expression, a cultural statement, and a reflection of the ever-evolving nature of the culture.

Since its origin in 1973, hip-hop has been synonymous with style —  but the epochal music category known for breakbeats and lyrical flex also elevated, impacted, and revolutionized global fashion in a way no other genre ever has.   

Real hip-hop heads know this. Before Cardi B was gracing the Met Gala in Mugler and award show red carpets in custom Schiaparelli, Dapper Dan was disassembling garment bags in his Harlem studio in the 1980s, tailoring legendary looks for rappers that would appear on famous album cover art. Crescendo moments like Kendrick Lamar’s performance at the Louis Vuitton Men’s Spring-Summer 2023 runway show in Paris in June 2022 didn’t happen without a storied trajectory toward the runway.

Big fashion moments in hip-hop have always captured the camera flash, but finding space to tell the bigger story of hip-hop’s connection and influence on fashion has not been without struggle. Journalist and author Sowmya Krishnamurphy said plenty of publishers passed on her anthology on the subject, Fashion Killa: How Hip-Hop Revolutionized High Fashion, and "the idea of hip hop fashion warranting 80,000 words." 

"They didn't think it was big enough or culturally important," Krishnamurphy tells GRAMMY.com, "and of course, when I tell people that usually, the reaction is they're shocked."

Yet, at the 50 year anniversary, sands continue to shift swiftly. Last year exhibitions like the Fashion Institute of Technology’s Fresh, Fly, and Fabulous: Fifty Years of Hip-Hop Style popped up alongside notable publishing releases including journalist Vikki Tobak’s, Ice Cold. A Hip-Hop Jewelry Story. Tabak’s second published release covering hip-hop’s influence on style, following her 2018 title, Contact High: A Visual History of Hip-Hop.

"I wanted to go deeper into the history," Krishnamurphy continues. "The psychology, the sociology, all of these important factors that played a role in the rise of hip-hop and the rise of hip-hop fashion"

What do the next 50 years look like? "I would love to see a hip-hop brand, whether it be from an artist, a designer, creative director, somebody from the hip-hop space, become that next great American heritage brand," said Krishnamurphy.

In order to look forward we have to look back. In celebration of hip-hop’s 50 year legacy, GRAMMY.com examines iconic moments that have defined and inspired generations. From Tupac walking the runways at Versace to Gucci's inception-esque knockoff of Dapper Dan, these moments in hip-hop fashion showcase how artists have used clothing, jewelry, accessories, and personal style to shape the culture and leave an indelible mark on the world.

The cover art to Eric B and Rakim’s Paid in Full

Dapper Dan And Logomania: Luxury + High Fashion Streetwear

Dapper Dan, the legendary designer known as "the king of knock-offs," played a pivotal role in transforming luxury fashion into a symbol of empowerment and resistance for hip-hop stars, hustlers, and athletes starting in the 1980s. His Harlem boutique, famously open 24 hours a day, became a hub where high fashion collided with the grit of the streets.

Dapper Dan's customized, tailored outfits, crafted from deconstructed and transformed luxury items, often came with significantly higher price tags compared to ready-to-wear luxury fashion. A friend and favorite of artists like LL Cool J and Notorious B.I.G., Dapper Dan created iconic one-of-a-kind looks seen on artists like Eric B and Rakim’s on the cover of their Paid in Full album.

This fusion, marked by custom pieces emblazoned with designer logos, continues to influence hip-hop high fashion streetwear. His story — which began with endless raids by luxury houses like Fendi, who claimed copyright infringement — would come full circle with brands like Gucci later paying homage to his legacy.

Athleisure Takes Over

Hip-hop's intersection with sportswear gave rise to the "athleisure" trend in the 1980s and '90s, making tracksuits, sweatshirts, and sneakers everyday attire. This transformation was propelled by iconic figures such as Run-D.M.C. and their association with Adidas, as seen in photoshoots and music videos for tracks like "My Adidas."

LL Cool J. Photo: Paul Natkin/Getty Images

LL Cool J’s Kangol Hat

The Kangol hat holds a prominent place in hip-hop fashion, often associated with the genre's early days in the '80s and '90s. This popular headwear became a symbol of casual coolness, popularized by hip-hop pioneers like LL Cool J and Run-D.M.C. The simple, round shape and the Kangaroo logo on the front became instantly recognizable, making the Kangol an essential accessory that was synonymous with a laid-back, streetwise style.

Dr. Dre, comedian T.K. Kirkland, Eazy-E, and Too Short in 1989. Photo: Raymond Boyd/Getty Images

N.W.A & Sports Team Representation

Hip-hop, and notably N.W.A., played a significant role in popularizing sports team representation in fashion. The Los Angeles Raiders' gear became synonymous with West Coast hip-hop thanks to its association with the group's members Dr. Dre, Eazy-E, and Ice Cube, as well as MC Ren.

 Slick Rick in 1991. Photo: Al Pereira/Getty Images/Michael Ochs Archives

Slick Rick’s Rings & Gold Chains

Slick Rick "The Ruler" has made a lasting impact on hip-hop jewelry and fashion with his kingly display of jewelry and wealth. His trendsetting signature look — a fistful of gold rings and a neck heavily layered with an array of opulent chains — exuded a sense of grandeur and self-confidence. Slick Rick's bold and flamboyant approach to jewelry and fashion remains a defining element of hip-hop's sartorial history, well documented in Tobak's Ice Cold.

Tupac Walks The Versace Runway Show

Tupac Shakur's runway appearance at the 1996 Versace runway show was a remarkable and unexpected moment in fashion history. The show was part of Milan Fashion Week, and Versace was known for pushing boundaries and embracing popular culture in their designs. In Fashion Killa, Krishnamurpy documents Shakur's introduction to Gianni Versace and his participation in the 1996 Milan runway show, where he walked arm-in-arm with Kadida Jones.

TLC. Photo: Tim Roney/Getty Images

Women Embrace Oversized Styles

Oversized styles during the 1990s were not limited to menswear; many women in hip-hop during this time adopted a "tomboy" aesthetic. This trend was exemplified by artists like Aaliyah’s predilection for crop tops paired with oversized pants and outerwear (and iconic outfits like her well-remembered Tommy Hilfiger look.)

Many other female artists donned oversized, menswear-inspired looks, including TLC and their known love for matching outfits featuring baggy overalls, denim, and peeking boxer shorts and Missy Elliott's famous "trash bag" suit worn in her 1997 music video for "The Rain." Speaking to Elle Magazine two decades after the original video release Elliot told the magazine that it was a powerful symbol that helped mask her shyness, "I loved the idea of feeling like a hip hop Michelin woman."

Diddy Launches Sean John

Sean "Diddy" Combs’ launch of Sean John in 1998 was about more than just clothing. Following the success of other successful sportswear brands by music industry legends like Russell Simmons’ Phat Farm, Sean John further represented a lifestyle and a cultural movement. Inspired by his own fashion sensibilities, Diddy wanted to create elevated clothing that reflected the style and swagger of hip-hop. From tailored suits to sportswear, the brand was known for its bold designs and signature logo, and shared space with other successful brands like Jay-Z’s Rocawear and model Kimora Lee Simmons' brand Baby Phat.

 Lil' Kim. Photo: Ron Galella/Ron Galella Collection via Getty Images

Lil’ Kim Steals The Show

Lil' Kim’s daring and iconic styles found a kindred home at Versace with

In 1999, Lil' Kim made waves at the MTV Video Music Awards with her unforgettable appearance in a lavender jumpsuit designed by Donatella Versace. This iconic moment solidified her close relationship with the fashion designer, and their collaboration played a pivotal role in reshaping the landscape of hip-hop fashion, pushing boundaries and embracing bold, daring styles predating other newsworthy moments like J.Lo’s 2000 appearance in "The Dress" at the GRAMMY Awards.

Lil Wayne Popularizes "Bling Bling"

Juvenile & Lil Wayne's "Bling Bling" marked a culturally significant moment. Coined in the late 1990s by Cash Money Records, the term "bling bling" became synonymous with the excessive and flashy display of luxury jewelry. Lil Wayne and the wider Cash Money roster celebrated this opulent aesthetic, solidifying the link between hip-hop music and lavish jewelry. As a result, "bling" became a cornerstone of hip-hop's visual identity.

Jay-Z x Nike Air Force 1

In 2004, Jay-Z's partnership with Nike produced the iconic "Roc-A-Fella" Air Force 1 sneakers, a significant collaboration that helped bridge the worlds of hip-hop and sneaker culture. These limited-edition kicks in white and blue colorways featured the Roc-A-Fella Records logo on the heel and were highly coveted by fans. The collaboration exemplified how hip-hop artists could have a profound impact on sneaker culture and streetwear by putting a unique spin on classic designs. Hova's design lives on in limitless references to fresh white Nike kicks.

Daft Punk and Pharrell Williams. Photo: Mark Davis/WireImage

Pharrell Williams' Hat At The 2014 GRAMMYs

Pharrell Williams made a memorable red carpet appearance at the 2014 GRAMMY Awards in a distinctive and oversized brown hat. Designed by Vivienne Westwood, the hat quickly became the talk of the event and social media. A perfect blend of sartorial daring, Pharrell's hat complemented his red Adidas track jacket while accentuating his unique sense of style. An instant fashion moment, the look sparked innumerable memes and, likely, a renewed interest in headwear.

Kanye’s Rise & Fall At Adidas (2013-2022)

Much more than a "moment," the rise and eventual fall of Kanye’s relationship with Adidas, was as documented in a recent investigation by the New York Times. The story begins in 2013 when West and the German sportswear brand agreed to enter a partnership. The collaboration would sell billions of dollars worth of shoes, known as "Yeezys," until West’s anti-semitic, misogynistic, fat-phobic, and other problematic public comments forced the Adidas brand to break from the partnership amid public outrage.

Supreme Drops x Hip-Hop Greats

Supreme, with its limited drops, bold designs, and collaborations with artists like Nas and Wu-Tang Clan, stands as a modern embodiment of hip-hop's influence on streetwear. The brand's ability to create hype, long lines outside its stores, and exclusive artist partnerships underscores the enduring synergy between hip-hop and street fashion.

A model walks the runway at the Gucci Cruise 2018 show. Photo: Pietro D'Aprano/Getty Images

Gucci Pays "homage" to Dapper Dan

When Gucci released a collection in 2017 that seemingly copied Dapper Dan's distinctive style, (particularly one look that seemed to be a direct re-make of a jacket he had created for Olympian Dionne Dixon in the '80s), it triggered outrage and accusations of cultural theft. This incident sparked a conversation about the fashion industry's tendency to co-opt urban and streetwear styles without proper recognition, while also displaying flagrant symbols of racism through designs.

Eventually, spurred by public outrage, the controversy led to a collaboration between Gucci and Dapper Dan, a significant moment in luxury fashion's acknowledgement and celebration of the contributions of Black culture, including streetwear and hip-hop to high fashion. "Had Twitter not spotted the, "Diane Dixon" [jacket] walking down the Gucci runway and then amplified that conversation on social media... I don't think we would have had this incredible comeback," Sowmya Krishnamurphy says.

A$AP Rocky x DIOR

Self-proclaimed "Fashion Killa" A$AP Rocky is a true fashion aficionado. In 2016, the sartorially obsessed musician and rapper became one of the faces of Dior Homme’s fall/winter campaign shot by photographer Willy Vanderperre — an early example of Rocky's many high fashion collaborations with the luxury European brand.

A$AP Rocky's tailored style and impeccable taste for high fashion labels was eloquently enumerated in the track "Fashion Killa" from his 2013 debut album Long. Live. ASAP, which namedrops some 36 luxury fashion brands. The music video for "Fashion Killa" was co-directed by Virgil Abloh featuring a Supreme jersey-clad Fenty founder, Rihanna long before the two became one of music’s most powerful couples. The track became an anthem for hip-hop’s appreciation for high fashion (and serves as the title for Krishnamurphy’s recently published anthology). 

Cardi B. Photo: Steve Granitz/WireImage

Cardi B Wears Vintage Mugler At The 2019 GRAMMYs

Cardi B has solidified her "it girl" fashion status in 2018 and 2019 with bold and captivating style choices and designer collaborations that consistently turn heads. Her 2019 GRAMMYs red carpet appearance in exaggerated vintage Mugler gown, and many custom couture Met Gala looks by designers including Jeremy Scott and Thom Browne that showcased her penchant for drama and extravagance.

But Cardi B's fashion influence extends beyond her penchant for custom high-end designer pieces (like her 2021 gold-masked Schiaparelli look, one of nine looks in an evening.) Her unique ability to blend couture glamour with urban chic (she's known for championing emerging designers and streetwear brands) fosters a sense of inclusivity and diversity, and makes her a true trendsetter.

Beyoncé & Jay-Z in Tiffany & Co.’s "About Love" campaign

The power duo graced Tiffany & Co.'s "About Love'' campaign in 2021, showcasing the iconic "Tiffany Yellow Diamond," a 128.54-carat yellow worn by Beyoncé alongside a tuxedo-clad Jay-Z. The campaign sparked controversy in several ways, with some viewers unable to reconcile the use of such a prominent and historically significant diamond, sourced at the hands of slavery, in a campaign that could be seen as commercializing and diluting the diamond's cultural and historical importance. Despite mixed reaction to the campaign, their stunning appearance celebrated love, adorned with Tiffany jewels and reinforced their status as a power couple in both music and fashion.

Kendrick Lamar Performs At Louis Vuitton

When Kendrick Lamar performed live at the Louis Vuitton Men’s spring-summer 2023 runway show in Paris in June 2022 following the passing of Louis Vuitton’s beloved creative director Virgil Abloh, he underscored the inextricable connection between music, fashion and Black American culture.

Lamar sat front row next to Naomi Campbell, adorned with a jeweled crown of thorns made from diamonds and white gold worth over $2 million, while he performed tracks including "Savior," "N95," and "Rich Spirit'' from his last album, Mr. Morale and the Big Steppers before ending with a repeated mantra, "Long live Virgil." A giant children’s toy racetrack erected in the Cour Carrée of the Louvre became a yellow brick road where models marched, clad in designer looks with bold, streetwear-inspired design details, some strapped with oversized wearable stereo systems.

Pharrell Succeeds Virgil Abloh At Louis Vuitton

Pharrell Williams' appointment as the creative director at Louis Vuitton for their men's wear division in 2023 emphasized hip-hop's enduring influence on global fashion. Pharrell succeeded Virgil Abloh, who was the first Black American to hold the position.

Pharrell's path to this prestigious role, marked by his 2004 and 2008 collaborations with Louis Vuitton, as well as the founding of his streetwear label Billionaire Boy’s Club in 2006 alongside Nigo, the founder of BAPE and Kenzo's current artistic director, highlights the growing diversity and acknowledgment of Black talent within high fashion.

Listen To GRAMMY.com's 50th Anniversary Of Hip-Hop Playlist: 50 Songs That Show The Genre's Evolution

The Song Of The Year GRAMMY Award honors the best releases in the music business, and the eight nominees for the golden gramophone at the 2024 GRAMMYs come from a variety of established singer/songwriters. From dance anthems to pop bops, ballads and R&B smashes, the nominees for Song Of The Year showcase the breadth of emotions of the past year.

Before tuning into the 2024 GRAMMYs on Sunday, Feb. 4, 2024, learn more about this year's Song Of The Year nominees below.

"A&W" - Lana Del Rey

Songwriters: Jack Antonoff, Lana Del Rey & Sam Dew

The second single from her ninth studio album, Did You Know That There's a Tunnel Under Ocean Blvd, "A&W" is a refreshing addition to Lana Del Rey’s expansive discography.

Another shattered portrait of the American Dream, the seven-minute epic, oscillates from madness to exhaustion, as Del Rey described feeling burned out by being objectified and perceived as an "American whore." What begins as a psychedelic folk ballad erupts into a defiant trap number interpolated with a doo-wop standard by the four-minute mark of the chaotic number.

"I’m a princess, I’m divisive/Ask me why I’m like this/Maybe I just kinda like this," Del Rey anxiously warbles. Later, she expresses her resignation surrounding rape culture: "If I told you that I was raped/ Do you really think that anybody would think/ I didn't ask for it? I didn't ask for it/ I won't testify, I already f—ed up my story."

"Anti-Hero" - Taylor Swift

Songwriters: Jack Antonoff & Taylor Swift

"Anti-Hero" showcased a new side of Taylor Swift — a rare moment where the 33-year-old pop star confronted her flaws in the public eye.

"I really don’t think I’ve delved this far into my insecurities in this detail before," Swift said of the track in an Instagram video. "Not to sound too dark, but, like, I just struggle with the idea of not feeling like a person."

The self-loathing synth-pop anthem — with its cheeky chorus — catapulted "Anti Hero" into virality. With its ubiquitous meaning, the song topped charts and became a staple of pop radio. Now, it’s enjoying the highest praise as a contender for Song Of The Year. 

"Butterfly" - Jon Batiste

Songwriters: Jon Batiste & Dan Wilson

Beyond its sound, what makes Jon Batiste’s "Butterfly" so stunning is the story behind it. The touching jazz-soul fusion track is an iteration of the lullabies Batiste penned while his wife Suleika Jaouad was hospitalized during her cancer treatment.

"It’s just such a personal narrative song in relation to my life and what my family has gone through and my wife and all of the things she’s been able to overcome," the 36-year-old GRAMMY winner told PEOPLE.

"Butterfly" is featured on Batiste's latest album, World Music Radio. Like much of his discography, "Butterfly" is inherently uplifting but there’s an underlying yearning for freedom. "Butterfly in the air/ Where you can fly anywhere/ A sight beyond compare," Batiste croons over stripped-down keys.

"Dance The Night" (From Barbie The Album) - Dua Lipa 

Songwriters: Caroline Ailin, Dua Lipa, Mark Ronson & Andrew Wyatt

With the release of her pop-funk epic Future Nostalgia during the COVID-19 pandemic, Dua Lipa proved she could master the art of escapism. On "Dance The Night," a thrilling dance-pop number from the star-studded Barbie soundtrack, she channels that same inspiration with a side of glitter and glam.

"Greta said that the whole film was inspired by disco. There’s a lot of very glittery and pop moments in it," the 28-year-old singer said of how the track fits into the movie in an interview with Dazed.

Over a sleek synth, the pop star reflects the unwavering joy Barbie outwardly emanates while she’s crumbling inside: "Even when the tears are flowin' like diamonds on my face/I'll still keep the party goin', not one hair out of place (yes, I can)."

"Flowers" - Miley Cyrus

Songwriters: Miley Cyrus, Gregory Aldae Hein & Michael Pollack

Miley Cyrus has perfected the art of reinventing herself. With the post-breakup number "Flowers," she reclaimed her independence and took a hard turn from gritty rock back into pop music. "I can take myself dancing, yeah/ I can hold my own hand/ Yeah, I can love me better than you can," she belts over a disco-pop beat.

While the 30-year-old musician wouldn’t share if "Flowers" was indeed about her ex-husband Liam Hemsworth, the song became an empowering earworm from a more refined version of the longtime musician.

"The song is a little fake it till you make it," she said of "Flowers" in an interview with British Vogue. "Which I’m a big fan of." It turns out she made it with a nomination for Song Of The Year at the 2024 GRAMMY Awards.

"Kill Bill" - SZA

Songwriters: Rob Bisel, Carter Lang & Solána Rowe

On the psychedelic R&B groove of "Kill Bill," which references the legendary Quentin Tarantino film, SZA dreams up her own unfiltered revenge fantasy. "I might kill my ex / Not the best idea / His new girlfriend's next / How'd I get here?" she ponders over an airy melody.

The song stands out on the R&B singer’s latest album, SOS, for not only its cheeky wordplay but for how visceral she portrayed the devastation of a breakup. 

Despite its popularity, the 34-year-old singer initially thought one of the other songs on her 23-track album would have topped the charts. "It's always a song that I don't give a f— about that's just super easy, not the s— that I put so much heart and energy into. 'Kill Bill' was super easy — one take, one night," the singer told Billboard of "Kill Bill’s" success.

"Vampire" - Olivia Rodrigo

Songwriters: Daniel Nigro & Olivia Rodrigo

Like her explosive debut "Drivers License," Olivia Rodrigo opted for a swelling power ballad for the lead single of her sophomore album Guts. On "Vampire," the singer/songwriter recalls a parasitic relationship with a swelling power ballad that erupts into a booming guitar breakdown. "Bloodsucker, famef—er/ Bleedin' me dry, like a goddamn vampire," she sings with a bitter lilt.

While many speculated the song was about a toxic relationship, Rodrigo claimed it’s more nuanced than that. "It’s more about my regret and kind of beating myself up for doing something that I knew wasn’t gonna turn out great and kind of just taking ownership of that and dealing with those feelings," she told Sirius XM Hits 1.

Regardless, the 20-year-old artist turned something bitter into something sweet by landing a Song Of The Year nomination.

"What Was I Made For?" [From The Motion Picture "Barbie"] - Billie Eilish

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

Not only was the Barbie movie a massive hit, its soundtrack was, too, thanks to a slew of chart-topping artists including Dua Lipa, HAIM and Sam Smith. So it’s no surprise that Billie Eilish made that list as well, and delivered a gutting ballad that soundtracked one of the most heartbreaking moments of the film.

The wistful single, which arrives at the devastating realization that you’re not real and are instead meant to be consumed, aptly embodies the narrative arc of the box office smash. "Looked so alive, turns out I'm not real/ Just something you paid for/ What was I made for," the 21-year-old musician sings with a heartbreaking lilt. 

While writing the sobering number, Eilish tried to embody the essence of the life-sized doll herself. "I was purely inspired by this movie and this character and the way I thought she would feel, and wrote about that," she told Zane Lowe of Apple Music. 

The 2024 GRAMMYs, officially known as the 66th GRAMMY Awards, returns to Los Angeles' Crypto.com Arena on Sunday, Feb. 4, 2024, and will broadcast live on the CBS Television Network and stream live and on-demand on Paramount+ at 8-11:30 p.m. ET/5-8:30 p.m. PT.

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2024 GRAMMY Nominations: See The Full Nominees List

Throughout the past year, Miley Cyrus, Billie Eilish, Olivia Rodrigo and Taylor Swift delivered inescapable pop anthems, while Victoria Monét and SZA proved that R&B deserves a place in the spotlight. Jon Batiste continued to evolve his artistry, while indie supergroup boygenius made an anticipated comeback.

With so many standout moments, the golden gramophone 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) — is shaping up to be a thrilling contest at the 2024 GRAMMYs, officially known as the 66th GRAMMY Awards.

Before tuning into the 2024 GRAMMYs on Feb. 4, 2024, learn more about this year's Record Of The Year nominees below.

Jon Batiste - "Worship" 

Jon Batiste has been revered for his refreshing take on jazz, but the multi-instrumentalist showed that his talents stretch beyond the genre on his seventh album, World Music Radio.

Album highlight "Worship" encapsulates the LP’s message of unification and community by fusing various global sounds. The song is quite the joyride, beginning with bellowing organs before a choir joins with a glorious harmony and finally explodes with a Latin samba party. "We are born the same / Return to that place" Batiste repeats throughout the song, driving home his inclusive mission.

"Worship" is a joyous anthem and, following his Album Of The Year win at the 2023 GRAMMYs for We Are, it’s clear the five-time GRAMMY winner is keeping the celebration going.

boygenius -"Not Strong Enough"  

Nearly five years after boygenius released their debut self-titled EP, the trio of Julien Baker, Phoebe Bridgers and Lucy Dacus returned again with a full-length, The Record. 

The LP beautifully captured just how well the women rockers work together, and their chemistry is best seen in "Not Strong Enough." The single’s lush harmonies and feather-light guitars are a contrast to the candid lyricism, which attempts to juggle insecurities and having a God complex. 

"The two wolves inside us can be self-hatred and self-aggrandizing," Bridgers explained to Rolling Stone. "Being like, ‘I’m not strong enough to show up for you. I can’t be the partner that you want me to be.’ But also being like, ‘I’m too f—ed up. I’m unknowable in some deep way!’"

"Not Strong Enough" marks a career milestone for boygenius, as it's the group’s first nomination for Record Of The Year.

Miley Cyrus - "Flowers"  

A truly great pop star knows how to make a break-up anthem for the ages. Miley Cyrus already had a few under her belt, but she kicked off the year with her strongest offering to date.

"Flowers" was suggested to be inspired by Cyrus’ divorce from Liam Hemsworth, but the song’s messaging goes well beyond the singer’s personal life. Many can relate to having to pick up the pieces of a broken heart, but Cyrus’ confident vocals paired with the soaring disco-inspired melody reassure that self-love is the ultimate healer.

"The chorus was originally: ‘I can buy myself flowers, write my name in the sand, but I can’t love me better than you can,’" the singer told British Vogue of the song’s original lyrics. "It used to be more, like, 1950s. The saddest song. Like: ‘Sure, I can be my own lover, but you’re so much better.’" 

The subtle decision to flip the "can’t" into a "can" showcases the brilliance of Cyrus’ songwriting, which ultimately makes the meaning of "Flowers" that much more empowering.

Billie Eilish & FINNEAS - "What Was I Made For?" 

The Barbie movie was arguably this year’s biggest pop culture phenomenon, so of course the soundtrack had equally big names. But among the midst of fast-paced and glittery pop songs, Billie Eilish’s contribution tugged at heartstrings. The seven-time GRAMMY winner teamed with her brother and go-to collaborator FINNEAS for "What Was I Made For?"

It’s a tender, melancholic ballad that ties in the movie’s themes of autonomy and balancing feminism in a patriarchal world, with Eilish still holding on to hope: "I don’t know how to feel / But someday I might." The song reflects a universal experience for many women, including Eilish herself — although she didn’t realize it at first. 

​​"I was purely inspired by this movie and this character and the way I thought she would feel and wrote about that," Eilish told Zane Lowe for Apple Music 1. "Over the next couple days, I was listening and [realized] I was writing for myself and I don’t even know it." That relatability is one of the beauties of music, for listeners and artists alike.

Victoria Monét - "On My Mama"  

Victoria Monét has a long songwriting history, penning hits for the likes of Brandy, BLACKPINK, Chloe x Halle and longtime friend Ariana Grande. And while she’s released solo music in the past, her debut album Jaguar II cements her place within R&B’s new crop of stars. Third single "On My Mama" took the scene by storm, bringing together millennials and Gen Z’s shared love of ‘00s nostalgia. 

Sampling Chalie Boy’s 2009 song "I Look Good" and lined with Monét’s signature horns, the song is a celebration of Black southern culture. As Monét described it on "The Ebro Show" on Apple Music 1, "It’s an anthem for affirmations, positive self-talk, manifestations, living in abundance, [and] speaking things into existence."

Olivia Rodrigo - "Vampire" 

What makes Olivia Rodrigo a captivating artist is her honesty. Her ability to capture her generation’s emotional nature is why 2021’s debut album Sour took pop music by storm (and also made her a three-time GRAMMY winner). And she’s continued the movement with "Vampire", the lead single from her sophomore album, Guts. 

The song is a red herring of sorts, beginning with melancholic piano keys that often kickstart the singer’s tunes. But rather than shed tears, she unleashes the fury of a woman scorned, dishing out insults to a manipulative ex-lover that ripped her heart out. "Bloodsucker, famef—er / Bleedin' me dry, like a goddamn vampire" she seethes on the chorus. The best revenge is always served cold.

Taylor Swift - "Anti-Hero" 

Taylor Swift has grown to be even more self-aware as her status ascends. She knows being a pop superstar comes with its challenges, and “Anti-Hero” reveals the woman behind the glitzy veil. Inspired by her nightmares, the chart-topping smash from tTaylor Swift has become even more self aware as her status ascends. She knows being a pop superstar comes with its challenges, and "Anti-Hero" reveals the woman behind the glitzy veil.

Inspired by her nightmares, the chart-topping smash from the 12-time GRAMMY winner’s tenth album Midnights is a personal journal into feelings of self-doubt and anxiety. But in natural Swift fashion, the dark lyricism is anchored by hopeful pop synths courtesy of longtime collaborator and co-producer Jack Antonoff. The video heightens the song’s themes, as Swift confronts various versions of her former selves.

"We all hate things about ​​ourselves, and it's all of those aspects of the things we dislike and like about ourselves that we have to come to terms with if we're going to be this person," Swift shared with fans on Instagram. That refreshing honesty is what makes "Anti-Hero" one of the singer’s most successful songs to date.

SZA - "Kill Bill"  

Leave it to SZA to make murder sound so sweet. On SOS standout single "Kill Bill," the singer takes a page from director Quentin Tarantino by nodding to his 2003 film, as she lives out her vengeful fantasies. 

The GRAMMY winner’s raging jealousy landed "Kill Bill" atop the Billboard Hot 100, making it her first-ever solo No.1 hit. SZA brought the fatal single to life with a cinematic music video, which pays homage to Kill Bill with fierce action scenes and  an appearance from Vivica A. Fox, who starred as a Deadly Viper and Thurman's enemy Vernita Green in the film.

"I've never raged the way that I should have. This is my villain era, and I'm very comfortable with that," the singer shared with Glamour about her album’s themes. "It is in the way I say no. It's in the f–ked up things that I don't apologize for." And with lyrics like "I did all of this sober" on "Kill Bill," you have no choice but to believe her.

2024 GRAMMY Nominations: See The Full Nominees List

Updated Friday Oct. 13, 2023 to include info about Kendrick Lamar's most recent GRAMMY wins, as of the 2023 GRAMMYs.

A GRAMMY veteran these days, Kendrick Lamar has won 17 GRAMMYs and has received 47 GRAMMY nominations overall. A sizable chunk of his trophies came from the 58th annual GRAMMY Awards in 2016, when he walked away with five — including his first-ever win in the Best Rap Album category.

This installment of GRAMMY Rewind turns back the clock to 2016, revisiting Lamar's acceptance speech upon winning Best Rap Album for To Pimp A Butterfly. Though Lamar was alone on stage, he made it clear that he wouldn't be at the top of his game without the help of a broad support system. 

"First off, all glory to God, that's for sure," he said, kicking off a speech that went on to thank his parents, who he described as his "those who gave me the responsibility of knowing, of accepting the good with the bad."

Looking for more GRAMMYs news? The 2024 GRAMMY nominations are here!

He also extended his love and gratitude to his fiancée, Whitney Alford, and shouted out his Top Dawg Entertainment labelmates. Lamar specifically praised Top Dawg's CEO, Anthony Tiffith, for finding and developing raw talent that might not otherwise get the chance to pursue their musical dreams.

"We'd never forget that: Taking these kids out of the projects, out of Compton, and putting them right here on this stage, to be the best that they can be," Lamar — a Compton native himself — continued, leading into an impassioned conclusion spotlighting some of the cornerstone rap albums that came before To Pimp a Butterfly.

"Hip-hop. Ice Cube. This is for hip-hop," he said. "This is for Snoop Dogg, Doggystyle. This is for Illmatic, this is for Nas. We will live forever. Believe that."

To Pimp a Butterfly singles "Alright" and "These Walls" earned Lamar three more GRAMMYs that night, the former winning Best Rap Performance and Best Rap Song and the latter taking Best Rap/Sung Collaboration (the song features Bilal, Anna Wise and Thundercat). He also won Best Music Video for the remix of Taylor Swift's "Bad Blood." 

Lamar has since won Best Rap Album two more times, taking home the golden gramophone in 2018 for his blockbuster LP DAMN., and in 2023 for his bold fifth album, Mr. Morale & the Big Steppers.

Watch Lamar's full acceptance speech above, and check back at GRAMMY.com every Friday for more GRAMMY Rewind episodes. 

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