Last week, the GRAMMY Awards were in the news because of an exciting, timely update to one of its 84 categories: Moving forward, Best World Music Album will now be known as the more inclusive Best Global Music Album. While the change might appear subtle to those not familiar with the baggage the term "world music" carries, it represents an important honoring of its past and movement towards a more inclusive, adaptive future.

The new name was decided after extensive conversations with artists, ethnomusicologists and linguists from around the world, who decided it was time to rename it with "a more relevant, modern, and inclusive term," an email sent to Recording Academy members explained.

"The change symbolizes a departure from the connotations of colonialism, folk and 'non-American' that the former term embodied while adapting to current listening trends and cultural evolution among the diverse communities it may represent."

Read on to hear from three international artists about what the new Best Global Music Album name means to them, and why it's more inclusive than "world music."

Read: The 63rd GRAMMYs: Looking Ahead To The 2021 GRAMMY Awards

"Miriam Makeba used to tell me the expression 'World Music' was a politically correct way of calling our music 'Third World Music,' therefore putting us in a closed box from which it was very difficult to emerge. Now the new name of the category opens the box wide open and allows every dream!" GRAMMY-winning Beninese singer/songwriter Angélique Kidjo told us. The legendary artist won (what was then called) Best World Music Album at the 2020 GRAMMYs for her Celia Cruz tribute album, Celia, and at the 2016 and 2015 GRAMMYs.

Nigerian singer Bankulli, who is featured on Beyoncé's The Lion King: The Gift album, added, "Global Music provides a more inclusive awards platform to artists from relevant new genres. The term is encompassing of what is happening today and looks to the future for better representation."

"American ethnomusicologist Robert E. Brown coined the term in the early 1960s, but it was later popularized in the 1980s as a marketing category in the media and the music industry intending to encompass different styles of music from outside of the Western world. It is by and large a determination of any type of genre or sound that Westerners consider ethnic, indigenous, folk, or simply non-American music," Uproxx explained earlier this year.

As the Guardian recently noted, "the term 'world music' was originally coined [in the music business] in the U.K. in 1987 to help market music from non-western artists… Our world music album of the month column was, like the GRAMMYs, renamed global album of the month.

Guardian music critic Ammar Kalia reasoned that the change 'does not answer the valid complaints of the artists and record label founders who have been plagued by catch-all terms. Yet, in the glorious tyranny of endless internet-fueled musical choice, marginalized music still needs championing and signposting in the west.'"

The Recording Academy awarded the first Best World Music Album golden gramophone at the 1992 GRAMMYs to Grateful Dead drummer Mickey Hart for his album Planet Drum. A diverse group of artists, representing many countries and musical styles, including Brazilian bossa nova great Sergio Mendes, Panamanian salsa singer Rubén Blades and South African choir Ladysmith Black Mambazo have also won over the years.

"Culturally speaking, we are living in a borderless world. Changing our language to better describe and categorize influential music from around the globe allows us to hit a reset button on how we view each other. It allows us to have a better conversation about who we are and where we're headed," Marlon Fuentes, Genre Manager, Global Music, New Age and Contemporary Instrumental at the Recording Academy, shared.

"In my opinion, this moment was symbolic of a new era that connects the past to the future. A signal that we are living in a time where creative people from all over the world are using social media and innovative approaches to overcome clichés and stereotypes by defining their identity on their own terms." 

"Global Music is the future of music. As the world continues to become more interconnected, music culture no longer has borders," Haitian DJ/producer Michael Brun said. "The fusion of sounds breeds innovation, and global music artists are at the forefront of that movement. I'm happy to see the Recording Academy working to adapt to the changing landscape and celebrate excellence from around the globe."

Related: Haiti's Michael Brun Talks Debut LP 'LOKAL,' Friendship With J Balvin & Diplo & His Legacy As Global Artist

This summer, the Recording Academy announced updates to the names and rules for four other categories, which included renaming Best Urban Contemporary Album to Best Progressive R&B Album. Conversations around nixing the term "urban music," an umbrella category encompassing traditionally Black genres like R&B and rap, came to the forefront in 2020 following the deep reckoning with racism in American and beyond. Major labels, including Universal Music Group, including affiliates Warner Music Group and Republic Records, have dropped the term.

As Billboard notes, the Best Global Music Album rename follows a similar change implemented at the 2020 Academy Awards—Best Foreign Language Film was updated to Best International Feature Film. South Korean director Bong Joon-ho won for his widely celebrated 2019 film Parasite.

The 2021 GRAMMY nominees for Best Global Music Album—along with the other 83 categories—will be announced on Nov. 24. The 2021 GRAMMY Awards and Premiere Ceremony will take place on Jan. 31, 2021, when all the big winners will be revealed.

Get To Know The 2020 Latin GRAMMYs Album Of The Year Nominees | 2020 Latin GRAMMY Awards

Michaël Brun's new EP has almost three times as many guests as it does tracks. And he's keen on you knowing about them.

The first tune on Fami Summer, which arrived July 21, features SAINt JHN, Charly Black and J Perry, with an uncredited J Balvin verse. "Shut Up & Dance" is augmented by King Promise, Kes and Anthony Ramos. The third and final cut, "Closer," enlists Stalk Ashley and Kojey Radical.

But it's not guests for the sake of guests: the Haitian DJ and producer does everything with keen intentionality. "Everybody has a perspective," Brun tells GRAMMY.com. "The chance, the opportunity, to bring my culture and all these amazing artists from Haiti and around the world in one space was something that I've always wanted to do."

He's referring to his volcanic SummerStage performance in New York's Central Park, a day after Fami Summer's release. But it applies to that EP, and his artistic presence writ large.

Brun was brought up in Haiti, where he was exposed to a multiplicity of sounds and styles; as the years rolled on, he acutely perceived the Caribbean's ripple effects, between its various islands and around the world. Accordingly, "I felt like the EP could really encapsulate all the different things that made me who I am as an artist today," he says.

Read on for an in-depth interview with Brun about his globe-spanning Summerstage performance, his impressive roster of guests on Fami Summer and the complicated and evolving role of Haiti in the global music landscape.

This interview has been edited for clarity.

Tell me about your recent Summerstage performance. How did it feel up there?

That was, like, a personal achievement. I've been dreaming about a show like that most of my life. I got to bring out so many iconic artists from Haiti. We had, like, 5,000 people out there.

Tell me about those artists you brought onstage.

I had a really, really big group of artists that joined. For the opening, there was DJ KOLO, a great DJ from Haiti. Right now, he has his own scene that he's been working on in the north. He has a lot of house music influences, Afrotech influences.

And then, Paul Beaubrun, who's a really good friend — one of the original people I started with, like seven years ago. He has an incredible band.

So, they performed, and then during my set, the idea behind this show is: I DJ and MC, but then bring out all these different surprise guests throughout the night. Each of the surprise guests is really meaningful to me in different ways, and some of them are from Haiti.

One example is Naika. There was another artist called Anie Alerte. One more is J Perry, who [worked with me on] my new song, "Jessica," on my EP.

So, those are some of the Haitian artists, but then I also had Saint Levant, who worked on my recent song, "Sak Pase." And Joeboy from Nigeria. Anthony Ramos. So, there's a really interesting mix of all kinds of artists from around the world that I've collaborated with.

For the people who came to the show, they were just hearing the set, and there were surprises every five minutes, which is pretty nuts.

Joeboy was one of the first Afrobeats artists I interviewed when I got hired at GRAMMY.com. What do you take away from him?

I love Joeboy. I've known him for a few years through Mr Eazi, because I worked really closely with Mr Eazi for a while; now, he's become a really close friend.

[Joeboy and I] actually have a new song that's going to come out soon, called "Game Over." We premiered it at the show, and actually shot the music video the day before. So, he came from Nigeria, and that was one of the really big surprises I'm happy we got to make.

You released three singles earlier in 2023; now, you're back with new music. Tell me about your creative path to this new EP, Fami Summer.

This year's releases are my first releases with a major. My entire career, I've been indie. I just always felt like I didn't want to do any kind of label partnership until I found partners that really believed in the vision that I had.

As an artist, I've always wanted to make music that builds bridges around the world. So, I felt like with the first three releases, we really focused in on specific areas around the world.

So, "Clueless" was Nigeria, with Oxlade. "Charge It" really felt that confluence. That was with Bayka, who's actually from Kingston; Masego has Jamaican heritage; every time I ever linked with Jozzy, she always talked about how much she loved the dancehall. Then, "Sak Pase" with Saint Levant and Lolo [Zouaï] was very Arabic influenced.

With the EP … I really wanted to bring together my personal heritage as much as possible, which is a mixed Caribbean heritage. There's as much Haitian influence as there is Guyanese influence as there is Jamaican as there is West African, by way of the UK and Europe.

I think because I grew up in Haiti, I was exposed to so many different styles — so many different languages and sounds. So, I felt like the EP could really encapsulate all the different things that made me who I am as an artist today.

Musically, where do all these strains of influence connect for you?

I feel like around Haiti in particular, there's such an interesting history of multiple countries having links to that part of the world. 

So, whether it's European presence, whether it's the incredible West African presence that still exists today … if you even look at the different languages that are spoken throughout the Caribbean, whether it's English or Creole or French mixed with our local languages … In Haiti, we have Creole; but then in Jamaica, there's patois.

All those things are kind of related. If you didn't really know that, you might see them as disparate parts of the world. But really, I think the Caribbean is just as Latin as it is African as it is European as it is local and native. I feel like that diversity of sound is what makes the Caribbean what it is — about diversity of culture.

I grew up traveling to Guyana, and I grew up in Haiti. Sometimes, I would come to the States, and I had a chance to go to Europe and West Africa. All of these different influences, I think, made me appreciate different sounds.

That's how I approached every single song: I wanted this to be the truest version of myself, to the music and the collaborators as well.

Can we do a lightning round where you talk about the special guests on the EP, starting with Anthony Ramos?

Anthony, I linked with a couple of years ago now, and we've been working on music and became such good friends. He's one of the most talented people I've ever met. I think most people know him as an actor, but he's also an amazing dancer and singer. He can rap; he can write. It inspires me a lot.

Charly Black?

Charly Black is such a legend. Like, "Gyal You a Party Animal" is one of the biggest Jamaican hits, I think, in the last decade. And that's one of the songs that truly crosses over, because it's something you can hear at any bar, anywhere in the world.

When I went to Kingston earlier this year and had a chance to work with him — especially on the song "Jessica," to get his voice and perspective — that was so cool.

J Perry?

J Perry is actually my cousin; we grew up making music together. He also happens to be, in my opinion, the best hook maker in the world. So undeniable, so catchy, and I think every time we've ever worked together, there's been only great stuff that's come from it.

Kes?

Kes is from Trinidad, and he has really been my doorway into soca culture and Trinidadian culture. He also has become such a great friend. I feel like the way that he approaches his craft is very similar to my own. It's been so cool with that cultural exchange; we talk a lot about history, actually.

King Promise?

King Promise is, in my opinion, one of the rising stars of Ghana. His hook on "Shut Up & Dance" was so infectious. I remember I sent him that beat a few years ago, and he came back within, like, five minutes. We actually met finally properly in person on Saturday, at my show. He's such a cool guy and really embraced being part of this project.

Kojey Radical?

We linked up last year for the first time, and I was a huge fan of his project. I felt like his artistry, aesthetic and vision are so unique. He's really, really versatile. His voice is really powerful. I'm grateful to see an artist always open-minded to try new things, but also very much themselves the whole way through.

SAINt JHN?

My guy and my brother. We linked up five or six years ago. I feel like he played me his first collection way, way back through a mutual friend. To see his career rise and everything that he's done has been so cool. 

Finally, we have Stalk Ashley.

I actually also met her on my Kingston trip earlier this year, and she is so amazing. Such a sweet person — super, super talented. We actually worked on that song together, maybe the second day that I was in Jamaica, and it just came so naturally. She's really inspiring, and I'm a fan of her music.

From there, can you talk about the role J Balvin plays in the EP, and in your musical world at large?

We've worked on so many projects over the years. We first linked up for the World Cup in 2018, and had a song called "Positivo," and then worked on his [2020] album Positivo. 

We won a Latin GRAMMY from that, and have also been working on a lot of other projects throughout the years and become really, really close friends. He's been an amazing mentor, and also a great collaborator, and I've learned so much through him.

He also introduced me to so many amazing people, like Ed Sheeran. I think with the song "Jessica," it's our first true collaboration for my project. It couldn't have been a more perfect time, because it was right in the center of where our tastes align. 

We've been working for years and years, and I feel like we're going to keep working, as well, in the future. To hear him sing in Creole on our song is really, really exciting. I'm grateful to him for opening his world to my songs and my audience, and I feel like we've influenced each other quite a bit.

Before we go, I'd love to hear your thoughts on this: as borders continue to evaporate in the music industry, where does Haiti fit into this puzzle?

I think Haiti's impact in music and culture has been around, like, low-key. 

So, even if we go to the most obvious Haitian success story, which, in my opinion, is Wyclef and the Fugees, I think their impact is maybe a little bit understated still today — because The Score is still [one of the top] selling rap albums in history. 

To have a Haitian voice have such a huge impact, and then be such a prolific producer, bringing a Haitian flag on TV on the biggest award shows like the GRAMMYs and all kinds of really incredible places — I think that paved the way for future success stories.

And two more recent ones that I know personally are D'Mile and Kaytranada — two artists that have done such incredible things in their respective spaces.

I think the Haitian success stories have been there, but they're not, I think, going to start becoming way more forward facing, as opposed to being more in the background, just because the world's starting to be more open to different languages and new sounds.

I feel like my place in all this is: I feel like a bridge between the diaspora and Haiti. I feel like I'm super connected to both sides of my heritage. I've worked so hard to create a space that feels very welcoming, that feels like a way for people to reconnect with their culture.

For The Record: How The Fugees Settled The Score 25 Years Ago

The 2017 GRAMMYs were a massive night for Adele, who swept all five categories for which she was nominated. But when she was crowned the Album Of The Year winner, the "Hello" singer couldn't help but argue that Beyoncé deserved it.

In this episode of GRAMMY Rewind, revisit the emotional moment between Adele and Beyoncé as the British star claimed her Album Of The Year GRAMMY for 25. After thanking her collaborators for their encouragement to release 25 and calling the win "full-circle," Adele choked up as she acknowledged Beyoncé's Lemonade that was also nominated in the category.

"I can't possibly accept this award. And I'm very humbled, and I'm very grateful and gracious, but my artist of my life is Beyoncé," Adele said as she held back tears. "This album was so monumental, and so well-thought-out and so beautiful and soul-bearing…and all us artists here, we f—ing adore you."

The heartfelt acknowledgement had the crowd roaring, but most poignantly brought Beyoncé to tears as she mouthed "I love you" to Adele. (Lemonade did get some GRAMMY love that night, winning Best Urban Contemporary Album and lead single "Formation" won Best Music Video.)

There could be another powerful Adele/Beyoncé moment at the 2023 GRAMMYs, as the two are once again nominated for Album Of The Year, as well as Song Of The Year and Record Of The Year.

Press play on the video above to watch Adele's tearful acceptance speech. Keep checking back to GRAMMY.com for more episodes of GRAMMY Rewind, and make sure to tune into CBS on Feb. 5 to watch the 2023 GRAMMYs.

A Look At The Nominees For Album Of The Year At The 2023 GRAMMY Awards

Two years after making GRAMMY history, Beyoncé did it again at the 2023 GRAMMYs. Going into the night, she was tied with her husband, Jay-Z, for having the most nominations ever — 88 in total — but after adding four more GRAMMYs to her collection at the 65th GRAMMY Awards, she became the artist with the most GRAMMYs of all time with 32.

While the 2023 GRAMMYs may be her most historic, Beyoncé has created an extensive array of GRAMMY moments. She has delivered epic live performances on her own and alongside icons like Prince and Tina Turner, and she's taken home six GRAMMYs in one night.

Starting from her first nominations with Destiny's Child in 2000, take a trip through Beyoncé's most memorable and impactful moments at Music's Biggest Night.

2000 — 42nd GRAMMY Awards

Nominations: Best R&B Performance By A Duo Or Group With Vocal and Best Rhythm & Blues Song ("Bills, Bills, Bills") with Destiny's Child

Beyoncé's first red carpet appearance at the GRAMMYs was with fellow Destiny's Child members Kelly Rowland, Michelle Williams and Farrah Franklin (who was only part of the group for six months). The iteration of the group that was there that day was not the same group that received two nominations for "Bills, Bills, Bills" — that distinction goes to Beyoncé, Rowland, LeToya Luckett and LaTavia Roberson. 

Beyoncé, Luckett and Rowland co-wrote the track with producer Kevin "She'kspeare" Briggs and Xscape singer Kandi Burruss, the latter of whom coincidentally won the GRAMMY for Best Rhythm & Blues Song that year for co-writing TLC's "No Scrubs" with Tameka "Tiny" Cottle.

2001 — 43rd GRAMMY Awards

Photo: Steve Granitz / Contributor / Getty Images

Wins: Best R&B Song ("Say My Name"), Best R&B Performance By A Duo or Group With Vocal ("Say My Name")

Nominations: Record Of The Year and Song Of The Year ("Say My Name"), Best Song Written For A Motion Picture, Television Or Other Visual Media ("Independent Women Part I" From Charlie's Angels)

The first GRAMMY red carpet as a trio with Roland and Williams, the group wore matching silky gowns on the red carpet and "Survivor"-era green outfits backstage, all designed by Beyoncé's mother, Tina Knowles. 

Destiny's Child took home their first GRAMMYs that night, for Best R&B Performance By A Duo or Group With Vocal and Best R&B Song for "Say My Name," which was also nominated for Record Of The Year and Song Of The Year. 

Beyoncé also earned a Best Song Written For A Motion Picture, Television Or Other Visual Media nomination for Destiny's Child's contribution to the 2000 film Charlie's Angels, "Independent Women Part I," which she co-wrote.

2002 — 44th GRAMMY Awards

Wins: Best R&B Performance By A Duo Or Group With Vocal ("Survivor")

Nominations: Best R&B Album (Survivor)

Performance: "Quisiera Ser" with Alejandro Sanz

Destiny's Child's first performance at the GRAMMYs was to duet with Latin star Alejandro Sanz on "Quisiera Ser." They provided supporting vocals and Beyoncé added some English lyrics to his Spanish song. 

The group's own international hit "Survivor," an anthem about thriving as the trio, won a GRAMMY for Best R&B Performance By A Duo Or Group With Vocal, and the Survivor album was nominated for Best R&B Album.

2004 — 46th GRAMMY Awards

Wins: Best Female R&B Vocal Performance ("Dangerously In Love 2"), Best R&B Performance By A Duo Or Group With Vocals ("The Closer I Get To You") with Luther Vandross, Best R&B Song and Best Rap/Sung Collaboration ("Crazy In Love"), Best Contemporary R&B Album (Dangerously In Love)

Nominations: Record Of The Year ("Crazy In Love")

Performance: "Purple Rain," "Baby I'm a Star," "Let's Go Crazy" and "Crazy In Love" with Prince

After dazzling in a gold Tina Knowles dress on the red carpet, Beyoncé opened the show alongside Prince with a medley of his hits "Purple Rain," "Let's Go Crazy" and "Baby I'm a Star," with a dash of her own "Crazy In Love." 

She accepted her first five GRAMMYs as a solo artist, including Best Female R&B Vocal Performance for "Dangerously In Love 2" — which she also performed — Best R&B Performance By A Duo Or Group With Vocals for "The Closer I Get To You" with Luther Vandross, Best Contemporary R&B Album for Dangerously In Love and two wins for "Crazy In Love" (Best R&B Song and Best Rap/Sung Collaboration). 

2005 — 47th GRAMMY Awards

Nomination: Best R&B Performance by a Duo or Group With Vocals ("Lose My Breath")

Destiny's Child celebrated another global smash earning a GRAMMY nomination with "Lose My Breath." The lead single from Destiny Fulfilled — their final studio album — received a nomination for Best R&B Performance by a Duo or Group With Vocals. 

Beyoncé and Rowland co-produced "Lose My Breath" with hitmakers Rodney Jerkins (who also helmed "Say My Name" and "Cater 2 U" from Destiny Fulfilled), and Sean Garrett, who later co-produced Bey solo singles including "Check On It," "Get Me Bodied," "Ring The Alarm" and "Upgrade U" with Swizz Beatz.

2006 — 48th GRAMMY Awards

Win: Best R&B Performance by a Duo or Group With Vocals ("So Amazing") with Stevie Wonder

Nominations: Best Contemporary R&B Album (Destiny Fulfilled), Best Female R&B Vocal Performance ("Wishing On A Star"), Best R&B Performance By A Duo Or Group With Vocals ("Cater 2 U"), Best R&B Song ("Cater 2 U"), Best Rap/Sung Collaboration ("Soldier")

Beyoncé and Stevie Wonder won a GRAMMY for Best R&B Performance by a Duo or Group With Vocals for "So Amazing," a cover of the song Luther Vandross wrote for Dionne Warwick in 1983 and recorded himself three years later. Bey also received a solo nomination for her cover of Rose Royce's "Wishing On A Star" on her Live at Wembley album. 

Meanwhile, Destiny's Child closed out their time as a group with four more nominations, bringing their career total to 14. Although the group had announced in June 2005 that they would be disbanding to pursue solo ventures, they assembled on the GRAMMY stage one last time — igniting eruptive applause — to present the golden gramophone for Song Of The Year, which went to U2 for "Sometimes You Can't Make It on Your Own."

2007 — 49th GRAMMY Awards

Win: Best Contemporary R&B Album (B'Day)

Nominations: Best Female R&B Vocal Performance ("Ring The Alarm"), Best R&B Song and Best Rap/Sung Collaboration ("Deja Vu")

Performance: "Listen" 

Beyoncé performed "Listen," her original song that she also sang as the lead role of Deena Jones in the film adaptation of the Broadway musical Dreamgirls.

She went home a GRAMMY winner again that night, as her second album, B'Day, was victorious as Best Contemporary R&B Album. Two of the album's singles earned nominations as well: "Ring The Alarm" for Best Female R&B Vocal Performance and "Deja Vu" for Best Rap/Sung Collaboration.

2008 — 50th GRAMMY Awards

Wins: Best Compilation Soundtrack (Dreamgirls) 

Nominations: Record Of The Year ("Irreplaceable"), Best Pop Collaboration ("Beautiful Liar") with Shakira

Performance: "Proud Mary" with Tina Turner

Continuing her streak of performing live with legends at the GRAMMYs, Beyoncé joined Tina Turner onstage to sing a fierce rendition of "Proud Mary" and achieve one of her personal bucket-list moments. 

"She's my hero and my icon," she said of Turner at an after party. "It was crazy. I went in the room [after] and I just bawled because I couldn't believe it.”

Dreamgirls won Best Compilation Soundtrack that night, while "Irreplaceable" was nominated for Record Of The Year and "Beautiful Liar," her collaboration with Colombian star Shakira from B'Day, received a nomination for Best Pop Collaboration.

2009 — 51st GRAMMY Awards

Nomination: Best Female R&B Vocal Performance ("Me, Myself & I")

A top 10 hit that was co-produced by Beyoncé and Scott Storch, "Me, Myself & I" touts the benefits of self-care, of being one's "own best friend" and not taking the blame in the face of a partner's infidelity. The relatable song was nominated for Best Female R&B Vocal Performance.

2010 — 52nd GRAMMY Awards

Wins: Song Of The Year, Best R&B Song and Best Female R&B Vocal Performance ("Single Ladies (Put A Ring On It)"), Best Female Pop Vocal Performance ("Halo"), Best Contemporary R&B Album (I Am… Sasha Fierce), Best Traditional R&B Vocal Performance ("At Last" from Cadillac Records: Music From The Motion Picture)

Nominations: Record Of The Year ("Halo"), Album Of The Year (I Am... Sasha Fierce), Best Rap/Sung Collaboration ("Ego"), Best Song Written For Motion Picture, Television Or Other Visual Media ("Once In A Lifetime" from Cadillac Records: Music From The Motion Picture)

Performance: "If I Were a Boy" 

Backed by an army of male dancers, Beyoncé's live performance of "If I Were a Boy" included an even more unexpected moment. At the song's climax, she switched to the chorus from "You Oughta Know" by Alanis Morrissette, the 1996 GRAMMY winner for Best Rock Song and Best Female Rock Vocal Performance.

Bey won an impressive six GRAMMYs in 2010, including three for "Single Ladies (Put A Ring On It)." She also earned a nomination for her portrayal of Etta James in the 2008 film Cadillac Records, as Beyoncé's version of "At Last" won Best Traditional R&B Vocal Performance.

2011 — 53rd GRAMMY Awards

Nominations: Best Female Pop Vocal Performance ("Halo (Live)"), Album Of The Year (The Fame Monster), Best Pop Collaboration With Vocals ("Telephone") with Lady Gaga

Several of Beyoncé's GRAMMY nominations have been for live songs as well as songs with other artists. At the 2011 GRAMMYs, she celebrated nominations for both: "Halo (Live)," which appears on the live album I Am… Yours: An Intimate Performance at Wynn Las Vegas, was nominated for Best Female Pop Vocal Performance, and her collaboration with Lady Gaga, "Telephone," earned Beyoncé two nominations. 

2012 — 54th GRAMMY Awards

Nominations: Best Rap/Sung Collaboration ("Party") and Best Longform Music Video (I Am… World Tour)

"Party," a duet with André 3000 from OutKast, is a highlight from Beyoncé's 4 album for its infectious chorus and the sheer rarity of scoring a verse from Three Stacks. The GRAMMYs recognized this dream team with a nomination for Best Rap/Sung Collaboration. Bey also received her first-ever nomination in the Best Longform Music Video category for I Am…World Tour. The film includes her singing "If I Were a Boy" with a few measures of "You Oughta Know," just like she did in her 2010 GRAMMYs performance.

2013 — 55th GRAMMY Awards

Win: Best Traditional R&B Performance ("Love On Top")

Beyoncé's 17th GRAMMY win occurred in the Premiere Ceremony for the 2013 GRAMMYs, which she and husband Jay-Z did not attend. So when Jimmy Jam announced that Beyoncé had won Best Traditional R&B Performance for "Love On Top," he jokingly offered to drop off the GRAMMY along with the awards Jay-Z won at the ceremony.

"They live in the same place, it's all good," Jam smiled. "Economical!"

2014 — 56th GRAMMY Awards

Photo: Frederic J. Brown / Getty Images

Nomination: Best Rap/Sung Collaboration ("Part II (On The Run)") with Jay-Z

Performance: "Drunk In Love" with Jay-Z

Smoke billowed across the stage as Beyoncé opened the 2014 GRAMMYs with an intimate live performance of "Drunk In Love," joined by her husband Jay-Z for what may just be the sexiest performance of their careers.

Although "Drunk In Love" wasn't nominated until the following year, the couple did celebrate a nomination in 2014 for "Part II (On The Run)," from Jay's album Magna Carta Holy Grail. Backstage, Bey's long white Michael Costello gown got cameras clicking and slayed style watchers, a standout among all of her GRAMMY fits.

2015 — 57th GRAMMY Awards

Wins: Best R&B Performance ("Drunk In Love"), Best R&B Song ("Drunk In Love"), Best Surround Sound Album (Beyoncé)

Nominations: Album Of The Year (Beyoncé), Best Contemporary Album (Beyoncé), Best Music Film (Beyoncé and Jay-Z: On The Run Tour)

Performance: "Take My Hand, Precious Lord"

After the previous year's racy performance of "Drunk In Love" that opened the show, Beyoncé took a markedly more pious approach with her musical number in 2015. Backed by an all-male choir, she sang "Take My Hand, Precious Lord," a gospel classic written by Thomas A. Dorsey in 1932. In a now-deleted behind-the-scenes video posted on her website, she explained that the performance was meant as a statement around police brutality and civil unrest in the wake of the murders of Eric Garner and Michael Brown, among others.

"My grandparents marched with Dr. King, and my father was part of the first generation of Black men that attended an all-white school," Beyoncé said. "My father has grown up with a lot of trauma from those experiences. I feel like now I can sing for his pain, I can sing for my grandparents' pain. I can sing for some of the families that have lost their sons."

During her three wins, fans saw her show some rare PDA with Jay-Z. The pair shared a kiss when they won Best R&B Performance for "Drunk In Love."

Two days after the 2015 GRAMMYs, Beyoncé also took part in a star-studded salute to Stevie Wonder for the CBS special "Stevie Wonder: Songs in the Key of Life — An All-Star Grammy Salute," which aired on Feb. 15, 2015. She sang a medley of "Fingertips," "Master Blaster" and "Higher Ground" alongside Ed Sheeran and Gary Clark Jr.

2016 — 58th GRAMMY Awards

In a year when she didn't have eligible work in the running, Beyoncé still made international waves when she appeared at the GRAMMYs in a white wedding-like gown. She wasn't there to get married, though — she presented the award for Record Of The Year to Bruno Mars for his hit song "Uptown Funk."

"Let's go, Beyoncé, let's do it!" Mars playfully yelled from the audience, just before she said his name.

2017 — 59th GRAMMY Awards

Wins: Best Contemporary Urban Album (Lemonade), Best Music Video ("Formation")

Nominations: Album Of The Year (Lemonade), Best Music Film (Lemonade), Record Of The Year ("Formation"), Song Of The Year ("Formation"), Best Pop Solo Performance ("Hold Up"), Best Rock Performance ("Don't Hurt Yourself"), Best Rap/Sung Performance ("Freedom") 

Performance: "Love Drought" and "Sandcastles"

Beyoncé dressed like a goddess while pregnant with twins Rumi and Sir Carter to perform "Love Drought" and "Sandcastles," songs from her multi-nominated (and GRAMMY-winning) album and music film Lemonade. Her kids were at the forefront of her mind during her acceptance speech for Best Contemporary Urban Album.

"It's important to me to show images to my children that reflect their beauty so they can grow up in a world where they look in the mirror — first through their own families, as well as the news, the Super Bowl, the Olympics, the White House and the GRAMMYs — and see themselves," she said.

Later, in an unexpected — and instantly viral — moment, Adele dedicated her acceptance speech for Album Of The Year to effusively praising Beyoncé and the Lemonade album, which was also nominated in the category.

"You are our light!" Adele exclaimed, calling Lemonade her album of the year.

2018 — 60th GRAMMY Awards

Nomination: Best Rap/Sung Performance ("Family Feud")

It was all in the family when Beyoncé, Jay-Z and their then 6-year-old daughter Blue Ivy Carter sat together at the GRAMMYs in 2018 — though Blue's parents were ironically nominated for a song called "Family Feud" from Jay's 4:44 album. In a clip that went viral, a camera caught Blue seemingly motioning for them to stop clapping. The world fell in love with her commanding presence at that very moment.

2019 — 61st GRAMMY Awards

Win: Best Urban Contemporary Album (Everything Is Love)

Nominations: Best R&B Performance ("Summer"), Best Music Video ("Apes<em></em>*")

Beyoncé's 2019 win and nominations were given for her collaborations with Jay-Z in their Everything Is Love album. The Carters won Best Urban Contemporary Album with the nine-song album, which they co-produced with Leon Michels and Cool & Dre. They also were nominated for Best R&B Performance for "Summer" as well as Best Music Video for "Apes<em></em>*," a bold piece which they filmed in front of the Mona Lisa, Venus de Milo, Great Sphinx of Tanis and other seminal works displayed in Paris' Louvre.

2020 — 62nd GRAMMY Awards

Win: Best Music Film (Homecoming)

Nominations: Best Pop Solo Performance ("Spirit"), Best Song Written for Visual Media ("Spirit"), Best Pop Vocal Album (The Lion King: The Gift) 

Homecoming offers an intimate look at the best onstage and behind-the-scenes moments from Beyoncé's massive headline sets at Coachella in 2018. Performed over two consecutive weekends, her show at the Southern California desert festival pays homage to the great Southern bands from HBCUs (Historically Black Colleges and Universities). There's also a brief but thrilling Destiny's Child reunion, as well as plenty of Easter eggs for Southern rap fans in the form of instrumental and lyrical riffs and snippets weaved into her hits. 

Two additional nominations recognized her work for The Lion King: The Gift. She voiced Nala in the film.

2021 — 63rd GRAMMY Awards

Wins: Best R&B Performance ("Black Parade"), Best Music Video ("Brown Skin Girl"), Best Rap Performance ("Savage") and Best Rap Song ("Savage") with Megan Thee Stallion

Nominations: Record Of The Year ("Savage") and Record Of The Year ("Savage") with Megan Thee Stallion, Best R&B Song and Song Of The Year ("Black Parade"), Best Music Film (Black Is King)

Beyoncé's Best R&B Performance win made her the performing artist with the most career GRAMMY wins in history. (She's tied with producer Quincy Jones, and Georg Solti, who has more wins, was a conductor and not a performer.) She also became the woman with the most GRAMMY wins that night.

During her acceptance speech, she shared that she's worked hard since she was 9 years old and congratulated her daughter — also 9 at the time — for scoring her first GRAMMY. Blue stars in the video for "Brown Skin Girl," the Best Music Video winner.

"It has been such a difficult time so I wanted to uplift, encourage, and celebrate all of the beautiful Black queens and kings that continue to inspire me and inspire the whole world," Beyoncé added about her Black Is King project. 

Bey also appeared onstage with fellow Houstonian Megan Thee Stallion, who couldn't contain her excitement about sharing the stage — and two GRAMMYs — with her hometown hero. "I love her work ethic, I love the way she is, I love the way she carry herself," Megan said. "My momma will always be like, 'Megan, what would Beyoncé do?' And I'm always like, 'You know what? What would Beyoncé do, but let me make it a little ratchet.'"

2023 — 65th GRAMMY Awards

Wins: Best Dance/Electronic Music Album (RENAISSANCE), Best R&B Song ("CUFF IT"), Best Traditional R&B Performance ("PLASTIC OFF THE SOFA"), Best Dance/Electronic Music Recording ("BREAK MY SOUL")

Nominations: Album Of The Year (RENAISSANCE), Record Of The Year ("BREAK MY SOUL"), Song Of The Year ("BREAK MY SOUL"), Best Song Written For Visual Media ("Be Alive" from King Richard), Best R&B Performance ("VIRGO’S GROOVE")

Beyoncé made even more GRAMMY history in 2023 — and it was her biggest record yet.

She needed four wins out of her nine nominations to become the artist with the most GRAMMYs of all time with 32. Going into the ceremony, she had two wins down (Best Traditional R&B Performance and Best Dance/Electronic Music Recording), and she was, according to host Trevor Noah, "stuck in traffic" upon winning her third golden gramophone for Best R&B Song. But she made it just in time for her history-making moment, taking deep breaths as she took the stage and noting that she was "trying to just receive this night."

Throughout her speech, Beyoncé first thanked God and her late Uncle Jonny — her main inspiration for RENAISSANCE — then went on to thank her parents as well as Jay-Z and their three kids. She poignantly ended with a tribute to the trailblazers who opened the door for her record-breaking album.

"I’d like to thank the queer community for your love and for inventing this genre," she said. "God bless you, thank you so much to the GRAMMYs."

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Since the initiation of his solo career, Lebanese instrumentalist Ibrahim Maalouf has strived to diversify music with his trumpeting.

The musician found his start performing at international jazz and classical competitions. After quickly becoming one of the most decorated trumpeters, Maalouf began his career as a soloist, where he could transcend the bounds of traditional genres. His skillful, unique improvisation caught the attention of artists globally, including Afrobeats singer Angélique Kidjo.

Together, they released Queen of Sheba, which snagged Maalouf his very first GRAMMY nomination in the Best Global Music Album category at the 2023 GRAMMYs and made him the first Lebanese instrumentalist to be nominated in GRAMMY history.

In this episode of Press Play, Maalouf performs an instrumental version of "Right Time," an upbeat hip-hop track on his latest album, Capacity to Love. Accompanied by an electric guitar and saxophone, Maalouf plays the track's melody, originally sung by Erick the Architect from the Flatbush Zombies.

Maalouf then trades off with the saxophonist, as the two musicians deliver an impressive, improvised solo.

Capacity to Love is Maalouf's fifteenth studio album and first self-produced project. The genre-bending release features collaborations with pop singer J.P. Cooper, rapper D Smoke, New Orleans funk band Tank & the Bangas, and more.

Press play on the video above to watch Ibrahim Maalouf's performance of "Right Time," and keep checking back to GRAMMY.com for more new episodes of Press Play.

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