Photo: Andy Lyons/Getty Images
Super Bowl LVI Halftime Show Recap: Dr. Dre, Snoop Dogg, Mary J. Blige, Eminem, Kendrick Lamar & More Blow The Roof Off SoFi Stadium
The Super Bowl LVI halftime show promised to be a giddy monument to rap's best and brightest. Boasting a multigenerational lineup and surprise appearances from 50 Cent and Anderson .Paak, it didn't disappoint.
The history of Super Bowl halftime shows is something of a mixed bag — that's why they're good fodder for impassioned arguments and comprehensive rankings. But there was extra anticipation for this one, and not just because of how many GRAMMYs juggernauts there'd be.
"Snoop Dogg told me that hip-hop's always been in the culture of the NFL," sportscaster Maria Taylor said during the 2022 Super Bowl. "But for the first time ever, hip-hop and rap will take center stage." Thus, she primed the audience for a hell of a ride, filled with rap royalty from multiple scenes and lineages — and the Pepsi Super Bowl LVI Halftime Show did not disappoint.
From the opening seconds, it looked like viewers were in for yet another first: Dr. Dre, enthroned on an office chair, pushed faders on a massive, pearl-white mixing board. Is this the first shout-out to producers and engineers on the halftime stage? That's probably for the Recording Academy's P&E Wing to debate among themselves on Monday. But in the moment, it simply felt like a fitting salute to Dre's legacy as a visionary behind the board.
Dre then stood up, arms outstretched, surveying his dominion. More than a year after his 2021 aneurysm briefly laid him low, it's poignant to see him back in action on such a grand scale. The set was revealed to be a city block (or, as multiple tweets jokingly surmised, a WeWork) on top of a map of L.A. Then, a joyous yelp of "Snoop Doooooogg!" What an homage to the West Coast; what a colossal party. Everybody's celebratin'.
Festooned in blue before a sea of Crip-walking dancers, The artist formerly known as Snoop Lion — who planted his flag as a hungry upstart on The Chronic back in 1992 — joined Dre for performances of "The Next Episode" and "California Love" — the latter being, of course, a Tupac Shakur joint. And if that wasn't enough of a throwback, surprise! An upside-down — then right-side-up — 50 Cent performed his once-inescapable, GRAMMY-nominated 2003 hit "In Da Club."
In what was destined to bowl over Twitter, a highly reflective Mary J. Blige appeared to perform "Family Affair," backed up by silvery dancers. She went from high-octane to heart-on-sleeve with "No More Drama," which she capped off with a flourish and a faux-faint. But it wasn't time to say goodnight: whether by flames or by chains, when it comes to bringing things to another level of high-concept drama, you can always count on Kendrick Lamar.
K-Dot — who's been finishing up his follow-up to DAMN. and collecting beach cruisers — blew minds the world over with an aerodynamic performance of "Alright," which won the GRAMMY for Best Rap Song at the 2016 GRAMMY Awards. Whatever he's got up his suit jacket sleeve for 2022 and beyond, be advised to brace yourselves.
Never one to be easily upstaged, Eminem brought the heat with "Lose Yourself" — you know, the one about a matriarch's certain Italian staple. And if that wasn't Anderson .Paak on drums! (Silk Sonic, his high thread count duo with Bruno Mars, is up for four GRAMMYs at the 2022 GRAMMY Awards.)
After rumors of a behind-the-scenes kerfuffle over whether Em would kneel in solidarity with Colin Kaepernick, he did just that — as Dre plunked out the melody to Tupac's "I Ain't Mad at Cha" on a gleaming piano. Before the next round of commercials piped in and the Rams rode to victory, all five headlining musicians — plus 50 — joined together for a celebratory version of "Still D.R.E."
"I still got love for these streets," the pioneering MC and producer declared to the entire planet, toasting to the everlasting global supremacy of rap, flanked by his mightiest colleagues and compatriots. So do we, Dre. So do we.
Photo: Steve Russell/Toronto Star via Getty Images
Hip-Hop's Secret Weapon: Producer Boi-1da On Working With Kendrick, Staying Humble And Doing The Unorthodox
The self-described "young veteran" producer, up for four awards at the 2023 GRAMMYs, including Producer Of The Year, Non-Classical, has his hand on songs by Drake, Beyoncé and Kendrick Lamar. He spoke with GRAMMY.com about creating with hip-hop greats.
If a rapper staying atop the mainstream for more than a decade is a herculean feat, then a producer doing the same is downright sisyphean. Boi-1da, the 36-year-old Canadian producer who netted four nominations at the 2023 GRAMMYs — including the coveted Producer Of The Year, Non-Classical — has risen to the very top of the industry, and remained there because he hasn’t lost the perspective from when he first started rolling the boulder up the hill
"I feel like my awareness is a lot of the reason I’ve been doing this for a long time, because I’m very socially aware of what’s going on and I can see," he tells GRAMMY.com. "In some rooms, you’ve got to find out what role you play. Sometimes, you've gotta play a bigger role. I find, working with newer artists, you have to play more of a mentoring role. But I find with other people, it’s about finding your use and being a utility."
Boi-1da initially rose to prominence as one of Drake’s trusted beatsmiths and has his thumbprint on hits like "Best I Ever Had," "Over," and the GRAMMY-winning "God's Plan." His credits grew to include Rihanna's "Work" and Kanye West's Donda. Yet, even by these standards, 2022 was a banner year: Boi-1da contributed to Beyoncé’s Album of the Year nominee Renaissance ("Heated"), scored a pair of credits on Kendrick Lamar’s progressive, polarizing AOTY hopeful Mr. Morale & the Big Steppers ("N95," "Silent Hill"), and crafted the understated, elegant instrumental for Jack Harlow and Drake’s Best Rap Song contender "Churchill Downs."
Hip-hop producers are often pigeonholed, but Boi-1da’s three biggest records from last year have virtually no sonic overlap. This malleability is the cornerstone of the self-described "young veteran"’s success, as he realized that eschewing one signature sound was the best way to remain in the zeitgeist.
"There have been many times where I’ve created sounds and it gets emulated and everybody starts doing it," he says. You’re liable to hear Boi-1da in every phylum of contemporary rap and pop music, from the horror movie menace of Nardo Wick’s "Wicked Freestyle," to Alessia Cara’s emphatic kiss-off "Lie to Me" to the bristling boom-bap of Freddie Gibb’s "Space Rabbit." More than 15 years into his career, Boi-1da continues to reinvent himself, and is gearing up to release his first solo studio album later in 2023.
Ahead of Music's Biggest Night, the GRAMMY-winning producer shared stories about working with Drake, Beyoncé, and Kendrick, as well as the importance of mentoring young talent, and why even after more than a dozen nominations, getting GRAMMY recognition still feels special.
This is your second time getting the Producer Of The Year nod after being nominated in 2019. What does that recognition mean to you and are there any ways it feels different than the first time?
I feel like it’s the highest honor as a producer. So I was extremely honored the first time and to be here again is even more of an honor. I’m not gonna lie, the first time I did it, I was going crazy and I was like, Man, that was so hard to even get nominated. I didn’t win the first time, so I was like, I’m gonna try equally hard and see if I can get back here. And by the grace of God, I’m back here again. You know, it just took a lot of hard work, a lot of putting my head down and making a lot of sacrifices.
What do you think has changed the most about the way you’ve approached making music since you were last nominated?
I think the growth point is truly the way I listen to music and the way I intake music. I’m learning to do that differently. I think the approach of creating is always the same for me, other than adding new elements, new sounds and whatnot.
I feel like music is so different and it’s rapidly changing, so there’s a lot of adjustments. I feel like that’s the only thing that has really changed for me. I’ve been doing this for a long time; I feel like I’m kind of like a young veteran. Right now, there are a bunch of new kids growing up in this generation of music and their taste and style is totally different. I like to come left-field and do stuff unorthodox and different, so figuring out how to pivot and keep yourself relevant is what I’ve been doing.
Definitely. What I find today with a lot of music is people love extremely familiar samples over really straight-to-the-point beats. Not a lot of detail, something familiar, which is basically what we did with a song like "Circo Loco." The type of producer I am, I like to make beats; I’ll make one of five types of beats that sound the same, or use ideas that sound the same, and then I’ll move on.
That’s the way I’ve been able to stay relevant for so long, moving on from sounds. There have been many times where I’ve created sounds and it gets emulated and everybody starts doing it. You can be mad and sit there and be like, "Yo, everybody’s biting my style." I feel like I’m just that creative where I can move onto the next thing and be like "Okay, cool, you guys can have that. I’ll make something else."
It shows, because the three biggest songs you produced this year, "Heated," "Churchill Downs," and then "N95," those are wildly different poles in rap/R&B/pop music production. Were you and Drake already working on "Heated" when Beyoncé reached out?
Drake had been working with B; that was just an idea that we had started with Drake and he and B ended up finishing up the idea with me. I think Beyoncé added to the production as well.
I wasn’t around for the process of Beyoncé making that song, but I was heavily involved in the production. Whenever I work with Drake or someone like Beyoncé, it’s on easy mode. You have something they like, they usually know exactly what they want to do with it and you just trust ‘em completely. Sometimes, I’m hands off, I’m like, "Cool, y’all like it? Here you go. I know what you guys do and you guys do that."
The liner notes on a lot of your songs, like "I Got a Shot" off Jack’s album, that has a ton of people credited. Is there a level of ego sublimation with that where it’s like "You might not be able to hear my contributions in the final product, but I know that I did my part to get this song where it needs to go?"
[Jack Harlow] likes it to be a room full of producers. It’s like a band. We’d construct stuff and put it together. I have no ego when it comes to collaborating. I really just want the song to sound exactly how I want it to sound. If it takes 50 people to do that, then so be it. I’d rather it sounds the best that it can sound than like, "Oh, no, I’m getting lower publishing on this song."
It’s so fun to be in there with a bunch of people. You get that feeling of doing something and you see somebody else’s reaction and it just motivates you to be like, "Yeah, okay, I know what I’m doing." When I was younger, I’d sit in a room by myself and make music. That’s cool and all and I still do it, but it’s so much fun to be in a room of people with different energies.
How did the "Churchill Downs" record come together?
When it comes to "Churchill Downs," I worked pretty closely with Jack. He and Drake are very good friends. Jack would always say, "Yo, I wanna do a song with Drake. Let’s make an idea." We were really and truly figuring it out. We were working in L.A. for some-odd weeks and I ended up going back home.
I went to a friend’s birthday party and he told me, "I’ve been working with this producer, I want you to hear some of his stuff." He gave me a flash drive…and it was full of samples. The first sample I heard was the one for "Churchill Downs." It sounded like a harp and a woman singing. I got home and chopped it up and did a little bounce to it and sent it over to my boy [TT] Audi, and he added some stuff to the beat and it was complete.
I had sent it to Jack because he was still in the studio. He immediately fell in love with the beat. He played me his part in the song and said, "I really want Drake on this record." I was like, "S—, you’re homies with Drake, too. Just hit him. I’m pretty sure he’ll rock with this. It’s hard." They met up on their own and recorded that song together.
I was amazed looking back through stuff you were doing 10, 11 years ago that there were songs of yours that Kendrick was on back then. How has your creative relationship with Kendrick changed over the decade that you’ve known each other?
I’ve known Kendrick Lamar for a long time. I knew him actually before Good Kid, M.A.A.D. City. I had met him through one of my good friends who actually signed him. Our relationship hasn’t changed. Kendrick is one of the coolest guys ever. Me and him always lock in and create music together. We have tons of music that we’ve made together and he’s just a great dude.
Kendrick really makes folks wait and wants to come with something that feels totally different and distinct with each new body of work. What was the direction that he was trying to push on Mr. Morale, and what did you bring to it?
When it comes to me working with Kendrick, it’s really just raw ideas and raw thoughts. A lot of the time, I’m not sure where it’s going or what he’s gonna do with it because I’m not really around for the song recording process. I like to sometimes just give artists…their own creative space and free-flow and whatnot. That’s why he’s one of my favorite guys to work with, because you go in there and it’s like, "Alright, what are we doing?"
I didn’t really know what was gonna happen with ["N95"] and where he was gonna go with it lyrically. I just recall me, Jahaan [Sweet] and Sounwave in there, we had cooked up the idea and I was like, "Man, this sounds really dope but I’m not sure where it’s going."
I ended up hearing it right before the album came out. We had done that before the pandemic and the pandemic happened and nobody saw each other for the longest time…and he did what he did to it. It’s always fun working with Kendrick because it’s just raw, it’s literally everybody doing whatever they wanna do and it meshing together.
You’ve done a lot through collaborations with Splice and people like Jahaan Sweet and WondaGurl, who’ve come up as proteges of yours. Why is taking that active role in mentorship and demystifying the production process important to you?
I didn’t have a mentor. I didn’t have YouTube, I didn’t have tutorials, I had to figure out everything [on my own]. I lived in Durham, Ontario, there was absolutely nothing to do, nothing going on. There was no way of reaching out to artists or reaching out to producers. So it’s like, if I could be some kind of mentor or do anything for anybody, I do it because I never had it. I know how it feels to be not heard and have to fight, tooth and claw, to get to where you gotta get to.
The feeling of serving and giving back is always rewarding, more rewarding than getting, to be honest. Remember, I had nothing, I came from Canada. People didn’t know we made hip-hop music in Canada or take us seriously. I’d go to America and people would ask me if there were polar bears where I live. But that’s the reason why I do it and I love it and I still continue to do it. I give bursaries to the highest music marks of my high school. I just always stay in tune and check stuff out. I love music and I love being around it and inspiring as much as I can.
You gotta stay in tune with the young guys, that’s the future right there. You’ve gotta [be] tapped in with them, because at the end of the day, it’s like you’re making music for them.
You’ve been nominated for 19 GRAMMYs, that’s staggering. Does that ever stop feeling special for you and the people in your circle, like Drake and 40?
No, it always feels great to be nominated and even win awards, as well. It just goes to show that sometimes, everybody that’s a human being will get into their head, especially as a musician. Especially someone like myself who has been doing it for a really long time, you sometimes question if you’re still doing the right thing, if you’re still dope. So literally being nominated for awards is a great feeling and [one] that will never get old to me. It lets me know that I’m still doing stuff that people love and heading in the right direction.
Is there anything else you want to mention about what you’re working on in 2023?
I’m working on a compilation album right now. It’s gonna be really dope, a lot of your favorite artists, a lot of new artists you’ve never heard of. A lot of dope music and I’m really excited to finish it and put it out.
It’s been in the works for a while. I’ve started and stopped it a few times because I’m really a perfectionist and I want to get it right. I’m not caring about numbers, I want to make the best project. I want people to hear it and be like "Wow, this is amazing." I care more about that than anything, which is why I’ve started and stopped it so many times. Music changes and I really just want to get it perfect.
Photos: (L to R): Jeff Kravitz/FilmMagic, Inc; Ethan Miller/Getty Images; KMazur/WireImage; Kevin C. Cox/Getty Images
Songbook: How Mary J. Blige Became The Queen of Hip-Hop Soul Through Empathy, Attitude And An Open Heart
With 14 albums and nine GRAMMYs under her belt, Mary J. Blige puts no limitations on the music she creates. Explore her extensive catalog of hits, soundtrack favorites, stunning covers and impactful remixes.
Mary J. Blige’s tireless work ethic, extraordinary singing talent and soul-level relatability are the secret ingredients to her longevity as a recording artist. Her discography includes nine GRAMMY wins and 37 nominations, and the multi-hyphenate artist continues to demonstrate that there's no limit to her creativity.
Blige is nominated for six awards at the 2023 GRAMMYs, including Album Of The Year and Best R&B Album for Good Morning Gorgeous (Deluxe). The title track is nominated in three categories: Record Of The Year, Best Traditional R&B Performance and Best R&B Song, and "Here With Me" is up for Best R&B Performance.
Good Morning Gorgeous encapsulates the true self-love Blige felt after healing from divorce, abusive relationships and depression. As she explains on an album interlude "good morning gorgeous" is the affirmation Blige now says to herself in the mornings — and, for the first time, she believes it. And when it comes to the odds of adding to her GRAMMY wins on Feb. 5, it’s safe to wager that Blige thinks they’re sound.
"Bet on me, why not?" Blige sings in the chorus of the album’s "On Top." "Don’t act like I never left on top."
For her resonant musical messages, Blige has been crowned the Queen of Hip-Hop Soul. But she’s also an industry professional who deftly sets and iterates on trends, keeping even her earliest releases relevant and exciting.
Blige became a record label boss when she released Good Morning Gorgeous as a joint venture between Lyor Cohen’s 300 Entertainment and her own Mary Jane Productions. She’s a frequent executive producer of her albums and multimedia projects and is set to executive produce two fictional films for Lifetime in 2023 through her production company Blue Butterfly. Real Love and Strength of a Woman are both named for her songs. Real Love is described as a romantic drama set in an upstate New York college.
After more than 30 years of recording, Blige has amassed an acclaimed and extensive discography of consummate original classics, deep soundtrack cuts, scene-stealing covers and remixes. Press play on the Amazon Music playlist above and use the below guide as a diving board into a career full of the empathetic pain, healing, promise and happiness that she has shared with unflinching honesty and vulnerability.
The Queen Of Hip-Hop Soul
Blige was living in a housing project in Yonkers, N.Y. when the late Andre Harrell signed her to his Uptown Records, which released her 1992 debut album, What’s The 411? Harrell coined the nickname Queen of Hip-Hop Soul to describe the fresh way Blige's music melded rap beats with R&B hooks.
Harrell and his then-intern Sean Combs gave her a rugged style to match her music, with boots and baseball caps instead of heels and sparkles. Young women from the inner city saw themselves in Blige's aesthetic and in her rawness.
Yet admiration for Blige’s powerful vocals and unique tone grew before her name was ever recognized. Blige was first heard as a backup singer for Father MC’s 1990 hit "I'll Do 4 U" and, the following year, her own single "You Remind Me" (from the Strictly Business soundtrack) gave Blige some street buzz to lead into What’s The 411? The hip-hop swagger of "Real Love" — which samples "Top Billin'" by Audio Two, a beat highly familiar to New York City fans at the time — served as her formal introduction to the world and remains a calling card decades later.
The My Life Era (Extended Mix)
Contrary to the music industry’s sophomore slump stereotype, Blige’s second album is a seminal work. 1994's My Life became career-defining, and an album that she has subsequently reflected on to show her growth.
The album is a reflection of her volatile relationship with singer Cedric "K-Ci" Hailey, Blige explained in Mary J. Blige’s My Life, a documentary she executive produced for Amazon Studios in honor of the album’s 25th anniversary. Throughout, Blige keenly pairs heights of happiness with depths of her despair on songs like "You Bring Me Joy," "I’m Goin’ Down," "I Love You" and "Be Happy."
"The whole 'My Life' album is, 'Please love me, don’t go, I need you,'" she said in the documentary. Combs, then known as Puffy, continued: "When she made that album, she was fighting for her heart." (Combs and Harrell served as executive producers of My Life.)
Blige and Combs never collaborated quite so closely again, though they remained friends. Combs didn’t produce 2011’s My Life II… The Journey Continues (Act 1), but he appears in a telephone skit to open the album, similarly to how he did on My Life. The sequel features guest stars such as Nas, Beyoncé and Drake.
Though her earlier works hinted at the potential, My Life most firmly established Blige as a beacon for hurt hearts everywhere. In a 2021 interview with Trevor Noah, Blige described how childhood physical and mental abuse, as well as her relationship with Hailey, led to substance abuse and depression. When she used the songs on My Life as a way of saying she needed help, "four million people responded and said, ‘'We need help, too.'"
Covers, Collaborations And Remixes
Cover songs have been an acclaimed — and long-lasting — part of Blige’s career ever since she sang "Sweet Thing" by Rufus featuring Chaka Khan on What’s The 411? Blige released her hugely popular version of Rose Royce’s "I’m Goin’ Down" in 1994, which reached No. 22 on the Billboard Hot 100, and she beat Beyoncé to the punch in 2000 with her take on Maze’s "Before I Let Go."
But her ascension to rock star status has a lot to do with her scene-stealing covers of songs of stadium-level acts. Blige has delivered epic versions of songs by Led Zeppelin ("Stairway To Heaven") and Sting ("Whenever I Say Your Name"), and when she collaborated with U2 on a new version of "One," there’s an audible battle with Bono as to whose song this is now.
Blige collaborates with rap, R&B, rock, country, electronic and classical artists with equal ease, and her discography includes work with late legends, including "Holdin’ On" with Aretha Franklin and a cover of Stevie Wonder’s "As" with George Michael. She won her first career GRAMMY in 1995 for Best Rap Performance By A Duo Or Group for "I'll Be There For You / You're All I Need To Get By," a collaboration with Method Man that covers Marvin Gaye and Tammi Terrell.
A dance music collaboration with London duo Disclosure called "F for You" in 2013 helped to catalyze an entire album from the Capital of England called The London Sessions. The 2014 album features a second collaboration with Disclosure ("Right Now"), a cameo from UK garage DJ/producer MJ Cole ("Nobody But You") and guest vocals from Scottish singer Emeli Sandé ("Whole Damn Year").
Blige has long understood the potency of both hip-hop and dance music remixes, which remain a part of her single roll-outs. Over the years, she created a remix album of songs from What’s The 411?, and in 2002 released club-focused reworks of songs from No More Drama, Mary and Share My World on Dance For Me.
Blige's remixes also pay homage. On her cover of First Choice’s "Let No Man Put Asunder," Blige honors singers who came before by featuring guest vocals from the group's lead singer, Rochelle Fleming.
Her Rap Alter Ego
Blige has rapped a few times on her albums, beginning with a verse in "Love," from 2001’s No More Drama. She won her first solo GRAMMY for Best Female R&B Vocal Performance in 2003 for "He Think I Don't Know" from No More Drama. By the time she rhymed on "Enough Cryin’" and "Take Me As I Am" (both from 2005’s The Breakthrough), her rap alter ego had a name: Brook Lynn.
Her cadence caught the ear of her friend Busta Rhymes, who recruited Blige for his "Touch It (Remix)" the next year. "The haters plot and they watch, lookin’ all pale/While I’m on a yacht overseas, doin’ my nails," she raps alongside Busta, Missy Elliott and Rah Digga.
Brook Lynn took a hiatus for a few years after that, but she came back blazing in 2011. "Homegirls love me and we be ridin' Phantoms/Mad chicks hate me 'cause I be writin' anthems," she rhymes on "Midnight Drive" from My Life II… The Journey Continues (Act 1).
Since "You Remind Me," her first Top 40 entry, appeared on the soundtrack to Strictly Business, Blige has written stunning original songs such as "I Can See in Color" for Precious (2009). She has also licensed other hits to dozens of movies.
After years of contributing to soundtracks, Blige created her own as executive producer and performer of the soundtrack for Think Like a Man Too (2014), which includes a cover of Shalamar’s "A Night to Remember" and guest appearances by Pharrell Williams and The-Dream.
Blige has been cast in several acting roles since she guest starred in an episode of The Jamie Foxx Show in 1998 and has played fictional characters as well as real life figures Betty Shabazz (Betty and Coretta) and Dinah Washington (Respect). She received Academy Award nominations for Best Supporting Actress and Best Original Song for her work on 2017 film Mudbound.
More than 30 years into her recording career, Blige appears happy, energized and ready to add more hits and heartfelt anthems to her songbook.
Photos Courtesy of the Artists
2023 GRAMMYs Performers Announced: Bad Bunny, Lizzo, Sam Smith, Steve Lacy, Mary J. Blige & More Confirmed
The first wave of 2023 GRAMMYs performers has been announced: Bad Bunny, Mary J. Blige, Brandi Carlile, Luke Combs, Steve Lacy, Lizzo, Kim Petras, and Sam Smith. Catch them all on Sunday, Feb. 5, on CBS, Paramount+, and live.GRAMMY.com!
We all knew Music's Biggest Night would be explosive this year. Now, GRAMMY night just got bigger! The first round of performers for the 2023 GRAMMYs has been announced. Taking the GRAMMY stage will be current nominees Bad Bunny, Mary J. Blige, Brandi Carlile, Luke Combs, Steve Lacy, Lizzo, Kim Petras, and Sam Smith.
Live from Crypto.com Arena in Los Angeles and hosted by Trevor Noah, the 2023 GRAMMYs will be broadcast live on Sunday, Feb. 5, at 8 p.m. ET/5 p.m. PT on the CBS Television Network and will be available to stream live and on demand on Paramount+.
Prior to the Telecast, the GRAMMY Awards Premiere Ceremony will be broadcast live from the Microsoft Theater at 12:30 p.m. PT and will be streamed live on live.GRAMMY.com. Additional performers will be announced in the coming days.
On GRAMMY Sunday, fans can access exclusive, behind-the-scenes GRAMMYs content, including performances, acceptance speeches, interviews from the GRAMMY Live red-carpet special, and more via the Recording Academy's digital experience on live.GRAMMY.com.
Learn more about the 2023 GRAMMYs performers and host here and below:
Two-time GRAMMY winner Bad Bunny is up for three GRAMMY nominations: Album Of The Year (Un Verano Sin Ti), Best Pop Solo Performance ("Moscow Mule") and Best Música Urbana Album (Un Verano Sin Ti).
Nine-time GRAMMY winner Mary J. Blige is nominated for six GRAMMY Awards: Record Of The Year ("Good Morning Gorgeous"), Album Of The Year (Good Morning Gorgeous (Deluxe)), Best R&B Performance ("Here With Me"), Best Traditional R&B Performance ("Good Morning Gorgeous"), Best R&B Song ("Good Morning Gorgeous"), and Best R&B Album (Good Morning Gorgeous (Deluxe)).
Six-time GRAMMY winner Brandi Carlile is nominated for seven GRAMMY Awards this year: Record Of The Year ("You And Me On The Rock"), Album Of The Year (In These Silent Days), Best Rock Performance ("Broken Horses"), Best Rock Song ("Broken Horses"), Best Americana Performance ("You And Me On The Rock"), Best American Roots Song ("You And Me On The Rock"), and Best Americana Album (In These Silent Days).
Luke Combs is up for three GRAMMY nominations: Best Country Duo/Group Performance ("Outrunnin' Your Memory"), Best Country Song ("Doin' This") and Best Country Album (Growin' Up).
Steve Lacy is up for four GRAMMY nominations: Record Of The Year ("Bad Habit"), Song Of The Year ("Bad Habit"), Best Pop Solo Performance ("Bad Habit"), and Best Progressive R&B Album (Gemini Rights).
Three-time GRAMMY winner Lizzo is nominated for five GRAMMY Awards: Record Of The Year ("About Damn Time"), Album Of The Year (Special), Song Of The Year ("About Damn Time"), Best Pop Solo Performance ("About Damn Time"), and Best Pop Vocal Album (Special).
First-time nominee Kim Petras is up for Best Pop Duo/Group Performance ("Unholy").
Four-time GRAMMY winner Sam Smith is nominated for Best Pop Duo/Group Performance ("Unholy").
Keep checking back here on GRAMMY.com for more details on the 2023 GRAMMYs — and tune in on Sunday, Feb. 5, at 8 p.m. ET/5 p.m. PT to watch who takes home GRAMMY gold. And head to live.GRAMMY.com for a dynamic and expansive online experience where you can explore Music's Biggest Night in full.
The Soundtrack Hit Makes A Comeback: How 'Encanto,' 'Top Gun' & ‘Black Panther’ Went From Chart-Toppers To GRAMMY Nominations
The once-golden bridge between Hollywood and Billboard has been quiet in recent years, perhaps due in part to the pandemic. But over the past 12 months, that trend has been truly broken.
It’s the kind of development even an animated fortune teller voiced by John Leguizamo couldn’t have predicted.
Lin-Manuel Miranda’s 2021 animated film Encanto was all-conquering, and its success also touched the Billboard charts. The film's "We Don't Talk About Bruno" entered the first Hot 100 chart of 2022 at No. 50, quickly becoming a record-breaking, multi-million-selling phenomenon. It also led to the renaissance of a particular crossover: the soundtrack hit.
With the domestic box office now showing signs of returning to pre-COVID days, the soundtrack single has, once again, become a key marketing tool and chart staple. The nominees for Best Song Written For Visual Media at the 2023 GRAMMYs are proof: Four of the six nominated songs charted on the Billboard Hot 100, with "We Don't Talk About Bruno" sitting at No. 1 for five weeks — the highest tally for a soundtrack release in seven years. (Aladdin favorite "A Whole New World" is also in the exclusive club of Disney animation No. 1s.)
2022 spawned five Top 10 hits from film soundtracks — a feat last achieved in 2018 via Kendrick Lamar’s Black Panther collabs with the Weeknd ("Pray for Me") and SZA ("All the Stars"), Swae Lee and Post Malone’s "Sunflower" (Spiderman: Into the Spider-Verse), Khalid & Normani’s "Love Lies" (Love, Simon), and the A Star Is Born cut "Shallow." Yet the once-golden bridge between Hollywood and Billboard was quiet in the intervening years, perhaps due in part to the pandemic. Not one TV or movie tie-in graced the Top 10 in 2021 or 2020. And although Oscar-winning “Shallow” reached pole position in 2019, it began its chart trajectory the year previously.
Over the past 12 months, however, this drought has been well and truly broken. And for a while, single-handedly by Encanto.
The Encanto OST picked up three GRAMMY nominations — Best Compilation Soundtrack For Visual Media, Best Score Soundtrack For Visual Media and Best Song Written For Visual Media for "Bruno" — and spawned seven Hot 100 singles, including another Top 10 smash, "Surface Pressure." Not bad for an album which in its first week entered the charts at No. 197.
Unlike the inescapable "Let It Go" from 2013's Disney juggernaut Frozen, the success of "Bruno" happened more organically. Its chart and streaming dominance wasn't steered by record executives, but by the public who deemed it more stream-worthy than any other track from the film. The biggest soundtrack from a live-action film, Top Gun: Maverick, told a similar story.
Lady Gaga’s power ballad "Hold My Hand" was primed to replicate the chart-topping, Academy Award-winning success of Berlin’s "Take My Breath Away" from the 1986 original. But while Gaga's lead single received a Best Song Written For Visual Media nomination at the 65th GRAMMY Awards, its chart peak was overwhelmingly eclipsed by OneRepublic’s "I Ain’t Worried."
The uptempo Peter, Bjorn and John-sampling track played over key scene where Tom Cruise, Glen Powell and Miles Teller play football shirtless on the beach, and became Ryan Tedder and co.’s biggest hit since 2013’s "Counting Stars" (No. 6 on Hot 100, over 660 million streams). The synergy between moviegoers and OneRepublic fans caught the band's record label off guard; Interscope pulled promotion of then-current single "West Coast" to capitalize on all the buzz.
2022 also witnessed a return-to-form from pop music-savvy director Baz Luhrmann, whose expert curation helped Romeo and Juliet, Moulin Rouge and The Great Gatsby spawn radio hits. Luhrmann was never going to give his Elvis Presley biopic a traditional soundtrack; instead he favored a mix of nostalgia and anachronism.
Elvis is peppered with songs performed by The King himself, as well as covers sung by former teen idol/lead actor Austin Butler and a host of newcomers and established artists. Yet the film's sole Top 10 hit was contemporary: Doja Cat's "Hound Dog"-sampling "Vegas." For Luhrmann's vision, Elvis was nominated alongside Encanto, "Stranger Things," Top Gun: Maverick and West Side Story for Best Compilation Soundtrack For Visual Media GRAMMY Award.
Even Rihanna came out of self-imposed musical retirement for a film soundtrack, releasing the lead single from Black Panther: Wakanda Forever in late October. While the dramatic balladry of "Lift Me Up" might not have been the floor-filling banger many fans hoped for — the song is Rihanna's first solo single in six years — it still returned the Barbadian to the upper echelons of the hit parade, reaching No. 2.
No stranger to the film soundtrack, Taylor Swift’s contribution to haunting drama Where the Crawdads Sing, "Carolina," is also nominated in the Best Song Written for Visual Media category alongside "Nobody Like U" — Turning Red’s fictional boyband song co-penned by Billie Eilish. And while the monolithic state of the comic book universe has rarely translated to the singles chart, The Batman’s use of Nirvana’s "Something In The Way" catapulted 1992's Nevermind up the charts.
As movie hits were abundant, so were songs featured in big-time TV shows — bringing new songs and decades-old hits back into public consciousness. Chief among these small screen-to-chartoppers was Kate Bush's 1985 single "Running Up That Hill," which played over a significant moment in the mammoth fourth season of Netflix’s "Stranger Things."
The song was the British singer/songwriter's first Top 40 hit in the U.S., peaking at No. 30 on the Hot 100 in the '80s. Nearly 30 years later, without any label backing, the majestic synth-pop classic enjoyed a much-deserved second wind, shooting all the way up to No. 3 faster than you can say "flesh-eating Demogorgon."
The sci-fi nostalgia-fest also gave another, although much heavier, ‘80s gem a new lease of life when Joseph Quinn’s Eddie Munson shredded Metallica’s "Master of Puppets" in its season finale. The thrash metal favorite subsequently enjoyed a belated chart debut at No. 35, returning the headbangers to the Hot 100 for the first time in 14 years.
Elsewhere, video game adaptation "Arcane" spawned the first TV theme hit in eons with unlikely dream team Imagine Dragons and JID’s "Enemy," while "Euphoria" regular Labrinth scored a chart hit with "I’m Tired," a gospel-tinged song he performs in the second season's fourth episode as Zendaya's Rue imagines entering a church. The new golden age of television combined with the return to multiplexes ensured that 2022 was a banner year for the OST.
2023 looks promising, too: Dua Lipa is rumored to be contributing to Barbie’s long-awaited cinematic debut; Disney is set to give The Little Mermaid the live-action treatment featuring Chloe x Halle’s Halle Bailey; and several franchises that previously spawned No. 1 soundtrack songs have new installments on the way (The Hunger Games: The Ballad of Songbirds and Snakes, Fast X). Regardless, expect the soundtrack hit renaissance to continue growing like the "grapes that thrive on the vine."