ghost in the machine 1993 babysitter

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Ghost in the machine (1993).

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Plug in to your worst nightmare

After a freak, fatal accident, the soul Karl—aka The Address Book Killer—ends up trapped in the electrical grid. He targets Terry and her son for his next victims, turning home technology against them as deadly weapons.

Rachel Talalay

William Davies

William Osborne

Top Billed Cast

Karen Allen

Terry Munroe

Wil Horneff

Josh Munroe

Chris Mulkey

Bram Walker

Jessica Walter

Elaine Spencer

Shevonne Durkin

Carol Maibaum

Brandon Quintin Adams

Ted Marcoux

Karl Hopkins

Rick Ducommun

Phil Stewart

Karl's Landlord

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Status Released

Original Language English

Budget $12,000,000.00

Revenue $5,086,909.00

• virtual reality
• serial killer
• electrocution
• single mother
• address book
• woman director
• technophobia

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Film / Ghost in the Machine

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Ghost in the Machine (also known as Deadly Terror ) is a 1993 Sci-Fi Horror film about a Serial Killer who comes Back from the Dead after a hospital accident fried his brain to continue his murder spree beyond the grave as an electrical being.

This film provides examples of:

• Ax-Crazy : Hochman. He kills people For the Evulz and never shows remorse.
• Cruel and Unusual Death : The digital killer seems to delight in making his kills as gruesome as possible. Notable stand-outs are a guy being roasted to death in his kitchen, a man who's burned alive by a malfunctioning hand dryer, and a girl who's electrocuted on a wet floor.
• Cyberspace : There are lots of visual graphics to show the killer travelling through cyberspace. Josh and his friend are also shown playing some sort of virtual reality First-Person Shooter in an arcade hall.
• Digitized Hacker : After becoming an electrical entity, Hochmann is able to use electronic appliances to continue killing victims.
• Everything Is Online : The digital killer is able to manipulate records, send digital messages, make phone calls, mess with traffic lights, infiltrate a VR system, disrupt a car crash test, access cameras, turn household appliances with physical switches on and off, and even regain physical form near the end through the power of computers.
• Evil Sounds Deep : Hochman talks in a threatening, robotic voice after his transformation.
• Evil Phone : The digitized killer harasses the heroine over the phone, at first by making her a target of call advertisements, until he directly talks to her.
• Face of an Angel, Mind of a Demon : The Serial Killer Hochman is actually a pretty-faced young man who could be just a typical everyday person. Chillingly this is not uncommon among many serial killers in Real Life .
• Hack the Traffic Lights : One of Hochmann's attempted murders involves hacking traffic lights to cause accidents.
• High-Voltage Death : Hochmann kills the babysitter by flooding the kitchen she's in with a dishwasher, which causes multiple plugged devices to short-circuit and electrocute the girl to death.
• Lightning Can Do Anything : A lightning strike at a hospital overloads an MRI machine, which kills the injured Serial Killer currently inside it and creates a Virtual Ghost from his mind.
• Ms. Fanservice : Two 14-year old boys actually convince an older teenage girl from their neighborhood (who's babysitting them and one of their baby siblings) to perform a strip tease, but she obviously stops before things get too risqué.
• Older Hero vs. Younger Villain : The main protagonists Terri and Bram are a woman and a man in their forties while the Serial Killer Hochman is a young man between his twenties/thirties.
• Police Are Useless : If the police even show up, they make no contribution whatsoever. Aside from not bothering to inform Terri that the killer stole her address book before his death and that she was his last intended victim, the killer also manipulates the cops into converging on the home of Terri's mother after she sends Josh there for safety by calling in a downed officer in a hostage crisis. Despite no obvious signs of a hostage situation, they quickly turn the house into a shooting gallery.
• Radiograph of Doom : Hochman turns into the titular monstrosity when the MRI he was placed in malfunctions because of a lightning strike and fries him , on top of super-charging the scanner so it creates a perfect copy of his mind .
• Resurrected Murderer : Karl Hochmann, aka The Address Book Killer, is critically wounded in a random car crash while on his way to kill Terri and her son. A freak electrical strike while he's in an MRI machine fries his body but also creates a "digital imprint" of Hochmann's mind, creating a Virtual Ghost who can travel through Cyberspace .
• Screens Are Cameras : The virtual killer is shown travelling through cyberspace, until he stops to observe his victims through a computer screen or similar interface as if it were a glass window.
• Serial Killer : Karl Hochman starts out as a mundane example who finds victims from address books, until a lightning strike overloading the MRI machine he is in ends up vaporizing him. He then becomes a digital ghost who travels through computer networks, overloading electronic appliances, such as turning a hairdryer into a flamethrower.
• Stalker with a Crush : The killer chooses his primary victims because he's attracted to them. When he focuses his attention on Terri, one of his first acts is to send her lingerie with creepy notes. He proceeds to kill off all her friends one by one and makes harassing phone calls.
• Straying Baby : During the babysitter scenes, an infant girl proceeds to wander off into the kitchen while the virtual killer starts overheating the gas stoves. Luckily, the babysitter catches the little girl in time before anything bad can happen.
• They Look Just Like Everyone Else! : When Terri learns that Hochman was the killer who recently died, it's noted that he just looked like a normal guy.
• Virtual Ghost : A seriously injured Serial Killer is in an MRI machine when it is overloaded by a lightning strike . This also conveniently fries and kills the physical body. The resulting electronic consciousness is able to travel through power lines and kills people by manipulating and overloading electronic appliances, such as turning a hairdryer into a flamethrower.
• Would Hurt a Child : The killer starts the movie by murdering a whole family, tries to kill Terri's adolescent son Josh multiple times, and at one point even attempts to murder an infant.
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Ghost in the Machine (film)

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Ghost in the Machine is a 1993 American science fiction horror film directed by Rachel Talalay and released by 20th Century Fox about a deceased serial killer with artificial computer intelligence.

Plot [ edit ]

While working at a computer store in Cleveland, Ohio , serial killer Karl Hochman, known as "The Address Book Killer" due to habitually stealing address books and choosing his victims from them, obtains Terry Munroe's address book, due to the store manager, who is demonstrating a scanner, copying a page of her address book into a computer, allowing Karl access to it. On a rainy night while heading home, Karl hurriedly drives into an oncoming lane and swerves to miss a truck. This causes his car to go off the road into a cemetery, all while he laughs like a maniac.

In the emergency room, he is put into an MRI machine. A surge from an electrical storm manages to transfer his soul into a computer. Now, as a network-based entity, Karl continues to plot his killing spree using various objects connected to the electrical grid and computer networks .

Karl opens the scanned page from Terry's address book and begins to kill everyone listed on the page. Her boss, Frank Mallory, becomes the first victim when his microwave oven begins radiating the entire kitchen. Another friend, Elliot Miller, gets burned to death when a hand dryer turns into a flamethrower . Later on, babysitter Carol Maibaum is hired to look after Terry's son Josh and his best friend Frazer. However, Carol becomes the third victim; she is electrocuted from an exposed electrical cord on the kitchen floor when the dishwasher explodes and floods the kitchen.

The police do not believe the theory that Karl is on a killing spree after his death, but Josh realizes the order of the killings parallels a list of contacts from Terry's address book. Terry, along with noted computer hacker Bram Walker, unplugs everything in her house.

The police then receive anonymous reports of an armed robbery, a hostage situation, domestic violence, and a murder in progress, all at Terry's house. The police open fire on the home after mistaking an exploding pole transformer for gunfire. After realizing their mistake, they cease fire. Terry's mother goes into shock during the siege and is transported to the hospital for recovery. Aided by Bram and Josh, Bram manages to defeat Karl by introducing a computer virus that traps him in a physics laboratory. They activate an atom smasher located in the lab, which draws Karl in and destroys him because of the extremely powerful magnetic field produced by the machine.

As the film ends, Bram tells Terry to turn off a heart rate monitor in an ambulance, causing the screen to fade to black.

Cast [ edit ]

• Karen Allen as Terry Munroe
• Chris Mulkey as Bram Walker
• Ted Marcoux as Karl Hochman
• Wil Horneff as Josh Munroe
• Jessica Walter as Elaine Spencer
• Brandon Adams as Frazer
• Rick Ducommun as Phil Stewart
• Jack Laufer as Elliott Miller
• Shevonne Durkin as Carol Maibaum
• Richard McKenzie as Frank Mallory
• Nancy Fish as Karl's Landlord
• Richard Schiff as Scanner Technician

Production [ edit ]

In 1987, writers William Davies and William Osborne first got the idea for Ghost in the Machine when reading about a piece of computer software called Skeleton Key, which allowed users to invade other computer networks and retrieve all data within them without owners knowing anything about it, and crafted a premise wherein a serial killer was absorbed into a computer and now possessed those same abilities. [3] Due to the release of Wes Craven's Shocker , 20th Century Fox briefly put the film in Turnaround due to perceived similarities between the two films, however the film resumed development at Fox following uncredited re-writes by Todd Graff . [3]

The film's special effects were provided by Video Image under the direction of special effects supervisor Richard Hollander. [3] In order to create evolutionary images of the electronic serial killer's computerized environment, at the suggestion of director Rachel Talalay , Hollander and his group decided to digitally manipulate real-life data taken from MRI body scans. Ted Marcoux, who plays Killer Karl, was scanned at UCLA . [3]

The film was shot over the course of 51 days in Los Angeles , which doubled for the film's Cleveland, Ohio setting. [3]

Release and reception [ edit ]

Ghost in the Machine had initially been slated for release some time in August 1993, but to avoid competition with Jurassic Park and major fall releases the release was pushed back. [4]

During its opening weekend, Ghost in the Machine grossed $1,854,431 and ranked at no. 10. [5] By the end of its run, it had grossed a domestic total of $5,086,909, [6] failing to recoup its $12 million budget. [7]

On the review aggregator website Rotten Tomatoes , the film has a rating of 10% based on 10 reviews, with an average rating of 3.4/10. [8]

Home video [ edit ]

Ghost in the Machine was released on VHS and LaserDisc on May 25, 1994, and on DVD on January 17, 2006.

See also [ edit ]

• List of ghost films

References [ edit ]

• ^ "Ghost in the Machine" .
• ^ a b c d e Beeler, Michael (August 1993). "Ghost in the Machine" . Cinemafantastique . Fourth Castle Micromedia . Retrieved February 20, 2023 .
• ^ Beeler, Michael (April 1994). "Ghost in the Machine" . Cinemafantastique . Fourth Castle Micromedia . Retrieved February 20, 2023 .
• ^ "Domestic 1993 Weekend 53" .
• ^ Ghost in the Machine at Box Office Mojo
• ^ Ghost in the Machine (IMDb)
• ^ "Ghost in the Machine" . Rotten Tomatoes . Fandango Media . Retrieved November 6, 2023 .

External links [ edit ]

• Ghost in the Machine at IMDb
• Ghost in the Machine at AllMovie
• Ghost in the Machine at Box Office Mojo
• Ghost in the Machine at Rotten Tomatoes

• 1993 action films
• 1993 horror films
• 1993 science fiction films
• 1990s action horror films
• 1990s American films
• 1990s English-language films
• 1990s ghost films
• 1990s science fiction action films
• 1990s science fiction horror films
• 1990s serial killer films
• 20th Century Fox films
• American action horror films
• American ghost films
• American science fiction action films
• American science fiction horror films
• American serial killer films
• Cyberpunk films
• Films directed by Rachel Talalay
• Films scored by Graeme Revell
• Films set in Cleveland
• Films shot in Los Angeles
• Films with screenplays by William Davies
• Techno-thriller films
• Films with screenplays by William Osborne (writer)
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Ghost in the machine.

1993 Directed by Rachel Talalay

Plug in to your worst nightmare

After a freak, fatal accident, the soul Karl—aka The Address Book Killer—ends up trapped in the electrical grid. He targets Terry and her son for his next victims, turning home technology against them as deadly weapons.

Karen Allen Wil Horneff Chris Mulkey Jessica Walter Shevonne Durkin Brandon Quintin Adams Ted Marcoux Rick Ducommun Nancy Fish Jack Laufer Richard McKenzie Mimi Lieber Mickey Gilbert Ken Thorley Carl Gabriel Yorke Richard Schiff Clayton Landey Walter Addison Matthew Glave Carlease Burke Michael LaGuardia Charles Haugk Chris Ellis Robert Lamar Kemp Dom Magwili Haunani Minn Charles Stransky Alix Koromzay Helen Greenberg Show All… Nigel Gibbs Andrew Woodworth Zack Phifer Don Keith Opper Mitchell R. Parnes Edwina Moore Rick Scarry Cherie Chetyrbok

Director Director

Rachel Talalay

Additional Directing Add. Directing

Mickey Gilbert

Producers Producers

Paul Schiff William Davies William Osborne Barry Sabath

Writers Writers

William Davies William Osborne

Casting Casting

Debra Zane David Rubin

Editors Editors

Janice Hampton Erica Huggins

Cinematography Cinematography

Phil Meheux

Production Design Production Design

James H. Spencer

Art Direction Art Direction

James F. Truesdale

Set Decoration Set Decoration

Sarah Burdick Stone

Special Effects Special Effects

Rick Thompson

Visual Effects Visual Effects

Peter Crosman

Stunts Stunts

Glory Fioramonti John C. Meier Troy Gilbert

Composer Composer

Graeme Revell

Sound Sound

Bruce Richardson Mark Weingarten Alison Sanford

Costume Design Costume Design

Isis Mussenden Alexandria Forster

Makeup Makeup

Tony Gardner Kelcey Fry Sheryl Berkoff

Hairstyling Hairstyling

Peggy Semtob

20th Century Fox

Releases by Date

20 dec 1993, 29 dec 1993, 27 apr 1994, 02 jun 1994, 18 aug 1994, 28 oct 1994, 05 dec 1994, 07 apr 1995, 21 jan 2000, releases by country.

• Theatrical M
• Theatrical 16
• Theatrical R

104 mins   More at IMDb TMDb Report this page

Popular reviews

Review by Sally Jane Black 8

Soundtracked by early 90s rap music and R&B, featuring terrible computer graphics, Karen Allen's best role, and inventive deaths, this the kinda rent-for-your-kids VHS horror movie that should be heralded as the height of the genre.

Review by Lou (rhymes with wow!) ★★★★ 6

A supernatural/ cyber slasher of sorts with super dated '90s computer fx (my favourite kind ♥️). This one is super fun and wild with some very creative kills (one where a whole kitchen is turned into a microwave, for instance). Had I seen this as a tween then it probably would have been my favourite movie ever.

It's even more fabulous on rewatch. I really encourage everyone to seek this awesome movie out.

Review by Lou (rhymes with wow!) ★★★½ 4

Wow.. this whole movie is dripping with peak 90's computer generated FX. We get some high tech virtual reality and even 90's hackers are represented in Mr. Cool; Chris Mulkey :')

Ghost in the Machine is a movie about a serial killer who dies in a car crash. Because his body was in an MRI machine at the moment lightning strikes the hospital, his consciousness is uploaded onto The Net®. Now these 90's homes, with all those smart appliances, aren't safe from the whims of this crazed electronic maniac!

There is a scene, so awesome, where the killer turns a whole kitchen into a microwave and kills some dude. We get lots of sparks flying, popcorn popping, bananas melting, skin bubbling and blood boiling. It is frickin' glorious!

Also, two boys pay their babysitter $ 37,28 to unbutton her shirt. Their reaction to seeing some mild cleavage it's kind of adorable! The 90's truly were a simpler time.

Review by sydney ★★★★

not as wacky as SHOCKER, but still a fun and delightfully gross twist on the same concept. it's driven by a technology panic that may seem paranoid, but 23 years later i can't really argue with the fears on display here, though i guess they haven't been realized quite so literally. this has some incredible images, real avant-garde cyber cheese stuff, and some of the best horror deaths ever. required viewing for my fellow experimental action/90's tech aesthetic fans.

Review by pd187 ★★★★ 7

REALLY DOPE til the end, which is like something out of bibleman (trust me on this)

talalays still 1 of my faves & this doofy movie has the same camp exuberance as freddys dead which had me :D'n str8 thru

Review by Buddy O ★★★★ 1

1.3k views, 2.6/5? How?

This movie was AWESOME!! It's an early 90s horror/scifi movie where technology is still new. A serial killer that is dubbed 'the address book killer' dies in an accident and his ghost haunts the computer of a young kid and his mother.

Through out the movie the ghost of the dead serial killer possesses all kinds of technology to kill people. (there's a cool scene where he possesses a microwave to kill someone)

This was amazing to watch, while computers were still an up and coming thing in the early 90s. It was just tons of fun.

I feel like I have discovered an under appreciated horror movie.

Review by Paul Thomas ★★★★ 2

FREDDY'S DEAD is underrated.

TANK GIRL is awesome.

And GHOST IN THE MACHINE is hands down, without a doubt, the absolute best slasher movie ever where the killer is electricity created by a serial killer using household appliances.

Justice for Rachel Talalay!

Review by Cinematic Underdogs ★★★½

This review may contain spoilers. I can handle the truth.

Ghost in the Machine is a paranoid thriller about the perils of technology. For a middlebrow 90s slasher flick, it has an ingeniously off-the-wall premise. It feels like a bizarre fusion of  Final Destination and   Cronenberg post-body horror: without the latter’s artsiness or edge. Aesthetic shortcomings aside, Ghost in the Machine  works as a deliriously entertaining curio: offering a zany parable about unbridled technology that earns kudos for tapping into rational fears re: AI & advanced computer technology at a fairly inchoate stage. 

The central plot is inarguably campy and absurd, and the execution is even more ridiculous. To keep things simple, the film follows Karl Hochman, a computer store technician known as the "Address Book Killer" due to his psychopathic schtick of stealing address…

Review by Helen ★★★★ 4

Another entry in the fabulous category of 90s Cyber Cinema…. Alongside Lawnmower Man, Virtuosity, and Chain Reaction. 

Sure, some of the effects are dated but it’s fun and there’s a kitchen scene that is just so fantastic with really neat time lapse shots that hold up beautifully. 

Really enjoyed this one!

Review by Joe ★★★ 4

SATAN'S VIDEO INFERNO

Completely fucking asinine but it has a certain go-for-broke, unabashed lack of subtlety that I find appealing - my favorite examples actually don't have anything to do with the early 90s technophobe atmosphere: A sequence involving a family being stalked by a serial killer opening on a close-up of both a freshly baked apple pie and a baseball INSIDE a catcher's mitt, and a nice Baby Herman-like sequence of an infant crawling into a kitchen filled with menacingly gleaming cutlery. If this works at all it's thanks to its surprising wealth of cinematic style and its caveman-simple dramatic structure, one victim after another falling prey to increasingly unlikely murderous appliances (you'll never use a bathroom hand dryer…

Review by Carlo V 4

I can't really separate this movie from nostalgia, it was one of the first horror movies I saw at my best friend's house when I was 10. Apparently he's a total jabroni now whose only interests seem to be football, pitbulls, and procreation, but he did introduce me to junk like Mortal Kombat and horror movies so never forget etc.. Ghost in the Machine isn't as much fun as Freddy's Dead to me, but electrical serial killer is one of my favorite weird tropes and so is early 90s computer nonsense so yeah.

Review by theironcupcake ★★★ 1

Is this the worst death scene ever in a sci-fi horror movie or actually the best? You be the judge. All I know is I laughed pretty hard at the banana part.

Director Rachel Talalay's Ghost in the Machine is definitely a weird one, although at least it's a step up from her previous feature film, Freddy's Dead: The Final Nightmare. Machine never comfortably fits into either of its genres, but maybe there is no neat way to categorize a story about a serial killer (Ted Marcoux) who is critically injured in a car crash, dies soon afterward and has his soul inadvertently uploaded to the information superhighway via a hospital MRI, then uses the power of early 90s internet…

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Ghost in the Machine (1993)

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Directed by Rachel Talalay

Take a few moments to think about all of the great films that have yet to be given the DVD treatment they so rightfully deserve and then realize that Ghost in the Machine is now immortalized on DVD. I can say something that very few folks can; I actually paid to see Ghost in the Machine in a theater, and it wasn’t a dollar theater either. I believe that made me one of about three dozen that turned out on opening weekend, which if I recall correctly was New Year’s Eve, a release date that guaranteed box office failure on a near Uwe Boll level.

Made back in 1993 when the internet was just becoming an everyday reality and virtual reality was supposed to be the next big thing… Hey, whatever happened to that whole virtual reality boom? Oh, sure, there’s still some it around, but it’s mostly a novelty whereas back in 1993 when films like this and Virtuosity and The Lawnmower Man were being made, it was touted as something that was going to change the way we live. Ironically, all that virtual reality hype turned out to be a fad based around a fad that never really became a reality.

Anyway, the bastard lovechild of The Lawnmower Man and Shocker, Ghost in the Machine is a digital slasher flick about a homicidal maniac with no discernable personality or any clear motive for his killings aside from being a homicidal maniac whose soul ends up inside of power lines, thus giving him near God-like powers with seemingly limitless possibilities that he then wastes on doing the same old stalking and killing of uninteresting people he’d been doing; namely the lady from Starman , two of the kids from The Sandlot , and the would-be bride of Leprechaun .

Even though Ghost in the Machine was made just a little over a dozen years ago, watching it today it feels positively archaic. It not only feels dated because of the technology involved; it also feels dated because of how little working knowledge the filmmakers clearly had of the technology. One does not have to be proficient with computers or electronics to know this flick gets so very much wrong. One could look the other way if the movie didn’t already suck tremendously so. Everything plays itself so straight in a particularly dull fashion that’s it’s more likely to put you to sleep, but then there will be a truly asinine scene (usually when Karl attacks) that wakes you up from your bored stupor just long enough to make you shake your head at the idiocy.

It should come as no surprise that Ghost in the Machine turned out by a sucky blend of tedium and stupidity since it was directed by Rachel Talalay, who made this stinker after making the total misfire that was Freddy’s Dead: The Final Nightmare and before the brain cell massacre known as Tank Girl . A cold shiver just ran down my spine just from typing the words Tank Girl . There it goes again.

Single mom Terry ( Raiders of the Lost Ark’ s Karen Allen in a “so it has come to this” role) and her son Josh head into a computer store where one of the technicians on staff scans her address book into the computer, an address book she mistakenly leaves behind. Computer store co-worker Karl offers to return the address book to Terry; a gesture that seems friendly except for the fact that Karl is actually a serial killer the media has dubbed (DUM! DUM! DUM!) “The Address Book Killer,” a mass murderer whose m.o. is getting ahold of someone’s address book and killing everyone in it. You’d think he’d be easy to catch since all the cops would have to do is stake out the location of names in the address book he’s currently working his way through and wait for him to make his move. Karl gets into a really bad car wreck while on the way to kill them, and a massive power surge bombards the hospital while Karl is in the middle of a CAT scan, somehow digitizing him and allowing him to free flow through power lines and manipulate electrical devices.

Here is precisely the moment where the movie reveals itself to be a dead zone of imagination. Karl, who isn’t a terribly compelling villain as it is already, immediately taps into the computer where he worked to get that scanned page from Terry’s address book and goes down the list knocking everyone off. No hesitation whatsoever, no awe as to his newfound abilities, all Karl wants to do now that’s he’s a non-corporeal electronic entity is exactly what he was doing when he was a physical being, and his only motivation for any of this is that he’s a homicidal maniac, his only personality trait at all.

This also sets up my second gripe with Ghost in the Machine ; it’s really quite stupid, and not even stupid in a fun sort of way. This is just irritatingly stupidity. It wasn’t enough that Karl has the power to move through electronics, so the screenplay has him being able to do things that completely defy the laws of physics to such a degree that it still stands out at exceptionally moronic in a lowbrow techno slasher flick like this. One victim is cooked to death when Karl supercharges the man’s microwave so that the entire kitchen turns into a giant microwave oven. Josh and his best friend are playing a virtual reality arcade game that Karl materializes inside of just so that he can make stupid-looking computer generated scary faces that would only succeed in frightening people that are petrified of bad computer animation. The hotty babysitter gets electrocuted in Rube Goldberg fashion; Josh is nearly drowned when Karl tries to have the retractable tarp cover trap him in the swimming pool; and so on.

The absolute low point is a long, drawn out sequence built around a crash test simulator. You just know that Karl is going to do something to it that causes the guy in charge to get killed. Sure enough, he ends up inside the simulator when it suddenly develops a mind of his own and goes crashing into the wall, but the air bag worked and so the potential victim escapes unscathed and stumbles into the restroom. All seems well until he turns up the nozzle on the automatic hand dryer and gets a flamethrower to the face. The kills in general could best be described as Final Destination for dummies.

Terry and son eventually figure out what’s going on around them and seek help from a reclusive computer genius (underutilized character actor Chris Mulkey in a thankless role that helps explain why the man continues to be underutilized) to help her deal with her circuitry stalker. His solution involves the use of a nuclear collider. Thank goodness the local college has one and minimal security protecting access to it; you know, just like in real life.

Ghost in the Machine takes its name from a famous song by The Police. This movie should have remained locked up. A DVD release just thirteen years later is too early a parole if you ask me.

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Ghost in the Machine (film)

From wikipedia, the free encyclopedia.

Ghost in the Machine is a 1993 American science fiction horror film directed by Rachel Talalay and released by 20th Century Fox about a deceased serial killer with artificial computer intelligence.

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Transcription

While working at a computer store in Cleveland, Ohio , serial killer Karl Hochman, known as "The Address Book Killer" due to habitually stealing address books and choosing his victims from them, obtains Terry Munroe's address book, due to the store manager, who is demonstrating a scanner, copying a page of her address book into a computer, allowing Karl access to it. On a rainy night while heading home, Karl hurriedly drives into an oncoming lane and swerves to miss a truck. This causes his car to go off the road into a cemetery, all while he laughs like a maniac.

In the emergency room, he is put into an MRI machine. A surge from an electrical storm manages to transfer his soul into a computer. Now, as a network-based entity, Karl continues to plot his killing spree using various objects connected to the electrical grid and computer networks .

Karl opens the scanned page from Terry's address book and begins to kill everyone listed on the page. Her boss, Frank Mallory, becomes the first victim when his microwave oven begins radiating the entire kitchen. Another friend, Elliot Miller, gets burned to death when a hand dryer turns into a flamethrower . Later on, babysitter Carol Maibaum is hired to look after Terry's son Josh and his best friend Frazer. However, Carol becomes the third victim; she is electrocuted from an exposed electrical cord on the kitchen floor when the dishwasher explodes and floods the kitchen.

The police do not believe the theory that Karl is on a killing spree after his death, but Josh realizes the order of the killings parallels a list of contacts from Terry's address book. Terry, along with noted computer hacker Bram Walker, unplugs everything in her house.

The police then receive anonymous reports of an armed robbery, a hostage situation, domestic violence, and a murder in progress, all at Terry's house. The police open fire on the home after mistaking an exploding pole transformer for gunfire. After realizing their mistake, they cease fire. Terry's mother goes into shock during the siege and is transported to the hospital for recovery. Aided by Bram and Josh, Bram manages to defeat Karl by introducing a computer virus that traps him in a physics laboratory. They activate an atom smasher located in the lab, which draws Karl in and destroys him because of the extremely powerful magnetic field produced by the machine.

As the film ends, Bram tells Terry to turn off a heart rate monitor in an ambulance, causing the screen to fade to black.

• Karen Allen as Terry Munroe
• Chris Mulkey as Bram Walker
• Ted Marcoux as Karl Hochman
• Wil Horneff as Josh Munroe
• Jessica Walter as Elaine Spencer
• Brandon Adams as Frazer
• Rick Ducommun as Phil Stewart
• Jack Laufer as Elliott Miller
• Shevonne Durkin as Carol Maibaum
• Richard McKenzie as Frank Mallory
• Nancy Fish as Karl's Landlord
• Richard Schiff as Scanner Technician

In 1987, writers William Davies and William Osborne first got the idea for Ghost in the Machine when reading about a piece of computer software called Skeleton Key, which allowed users to invade other computer networks and retrieve all data within them without owners knowing anything about it, and crafted a premise wherein a serial killer was absorbed into a computer and now possessed those same abilities. [3] Due to the release of Wes Craven's Shocker , 20th Century Fox briefly put the film in Turnaround due to perceived similarities between the two films, however the film resumed development at Fox following uncredited re-writes by Todd Graff . [3]

The film's special effects were provided by Video Image under the direction of special effects supervisor Richard Hollander. [3] In order to create evolutionary images of the electronic serial killer's computerized environment, at the suggestion of director Rachel Talalay , Hollander and his group decided to digitally manipulate real-life data taken from MRI body scans. Ted Marcoux, who plays Killer Karl, was scanned at UCLA . [3]

The film was shot over the course of 51 days in Los Angeles , which doubled for the film's Cleveland, Ohio setting. [3]

Release and reception

Ghost in the Machine had initially been slated for release some time in August 1993, but to avoid competition with Jurassic Park and major fall releases the release was pushed back. [4]

During its opening weekend, Ghost in the Machine grossed $1,854,431 and ranked at no. 10. [5] By the end of its run, it had grossed a domestic total of $5,086,909, [6] failing to recoup its $12 million budget. [7]

On the review aggregator website Rotten Tomatoes , the film has a rating of 10% based on 10 reviews, with an average rating of 3.4/10. [8]

Ghost in the Machine was released on VHS and LaserDisc on May 25, 1994, and on DVD on January 17, 2006.

• List of ghost films
• ^ "Ghost in the Machine" .
• ^ a b c d e Beeler, Michael (August 1993). "Ghost in the Machine" . Cinemafantastique . Fourth Castle Micromedia . Retrieved February 20, 2023 .
• ^ Beeler, Michael (April 1994). "Ghost in the Machine" . Cinemafantastique . Fourth Castle Micromedia . Retrieved February 20, 2023 .
• ^ "Domestic 1993 Weekend 53" .
• ^ Ghost in the Machine at Box Office Mojo
• ^ Ghost in the Machine  (IMDb)
• ^ "Ghost in the Machine" . Rotten Tomatoes . Fandango Media . Retrieved November 6, 2023 .

External links

• Ghost in the Machine at IMDb
• Ghost in the Machine at AllMovie
• Ghost in the Machine at Box Office Mojo
• Ghost in the Machine at Rotten Tomatoes

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Tough Films For The Rough Crowd

The awkward slasher growing pains of 1993’s ‘ghost in the machine’.

New Line Cinema’s decision to kill off Freddy and Jason left a void in the early-’90s horror scene, creating an odd, sort of listless time for the genre: with the ’80s slasher trend receding further into the rearview mirror each passing year, Hollywood produced a strange grab bag of burgeoning franchises, splatter-era leftovers, and even some last-gasp efforts from the golden age of Stephen King adaptations . Nestled in this eclectic bunch was also a rash of techno-horror films like, and FREDDY’S DEAD director Rachel Talalay herself would step into this arena to fill that Krueger-sized void with 1993’s GHOST IN THE MACHINE .

Obviously, it’s hard to make the case that it did that since it came and went without much fanfare and has since fallen into virtual obscurity. But in an era where genre enthusiasts re-litigate every movie, I think it’s only fair that we extend the same courtesy to GHOST IN THE MACHINE and recognize it as an entertaining attempt to update the splatter movie for ’90s sensibilities. Maybe this means it’s very much of that era, but I’m not sure that’s a bad thing when it involves early visions of virtual reality, vintage hip hop, and reminders that America was once briefly obsessed with crash test dummies.

It also involves the pervasive belief that this budding technology known as “computers” and “the internet” were capable of doing anything, which explains our plot. A maniac dubbed “The Address Book Killer” has been wreaking havoc by swiping address books and using the names found within as targets. By day, he’s just Karl (Ted Marcoux), a creepy computer store grunt who eventually crosses paths with beleaguered single-mom Terry Monroe ( Karen Allen ).

When she accidentally leaves behind an address book, Karl assumes he has a new smorgasbord; unfortunately for him, he suffers a car accident that leaves him the hospital with brain trauma. Before an MRI can reveal the extent of the damage, a surge from a lightning storm transfers his soul into the internet. Doctors assume he died; however, he quickly resumes his grisly exploits by hacking into electronic devices to murder everyone in Terry’s address book.

Clearly, GHOST IN THE MACHINE requires you to suspend all of the disbelief, especially that we now definitively know that computers are not capable of soul transference. (On the other hand: a psychotic man using the internet to dox and kill innocent people? Super believable, unfortunately.) No, this isn’t some parable about the looming horrors of the computer age; yes, it’s blatant technosploitaiton, a thinly-veiled excuse to hijack this emerging trend and turn it into a splatter movie. And that’s okay. Besides, it’s not the first time this genre would ask us to just go with it. Last I checked, it wasn’t possible for a dead child-murderer to butcher you in your sleep, and let’s not pretend that other slashers didn’t thrive on exploitation.

To that end, GHOST IN THE MACHINE mostly works, especially when it gets down to the nasty business of offing its expendable cast. Talalay carries over the imagination often harnessed by the ELM STREET series here by staging imaginative and deviously clever murder sequences. The premise here dictates more than routine stalk-and-slash, and Talalay obliges with inventive theatrics to indulge that familiar sense of audience bloodlust inspired by slashers. Her camera darts and whirls through a network of cables and power outlets to give a presence to her phantom killer.

Dynamic shots capture the elaborate set-pieces that unfold with a demented, insidious intent: various appliances—dishwashers, microwaves, hand-dryers, crash test dummy sites—become twisted pieces of a gory jigsaw puzzles that lead the audience to guess at just how Karl will dispatch his victims.

FINAL DESTINATION would go on to popularize the formula on display here, but GHOST IN THE MACHINE did a fine job of it seven years earlier. Not only are the set-ups playfully tense, but the pay-offs provide an outlandishly gruesome assortment of melted skulls, electrified teenagers, and even a complete full-body torching. I have a policy of appreciating any movie that features an unhinged fire stunt, if only because it reminds me that someone put their life on the line for my entertainment. Someone lit themselves on fire in the service of GHOST IN THE MACHINE , and, for that, it has my enthusiastic endorsement.

Your mileage my vary, of course. There’s definitely an argument that GHOST IN THE MACHINE has a little bit too much of a mean streak to be considered one of those harmless, goofball slasher movies. All of Karl’s victims are as innocent as they are disposable, meaning you can’t glean any satisfaction from their deaths, nor are you all disturbed by them since most appear only to die.

Consider the case of Carol Maibaum ( Shevonne Durkin ), a babysitter whose only “sin” is briefly flashing the two boys (Wil Horneff and Brandon Adams) she’s charged with watching. Dog lovers should also beware because GHOST IN THE MACHINE has no qualms about disposing of anyone or anything for pure shock value. Even a poor old grandma ( Jessica Walter?!? ) isn’t spared Karl’s wrath when he manipulates a SWAT team into firing live rounds into her home.

It’s also fair to say that the downtime between the slashing isn’t the most compelling. The presence of Karen Allen and Chris Mulkey (playing an IT wizard who assumes all the shenanigans are the work of an expert hacker) give this nonsense the faintest sense of gravitas, and the major studio production values lend a gritty sort of legitimacy to the proceedings. But there’s a sense that it’s all just window dressing for the splattery spectacle.

Whatever drama GHOST IN THE MACHINE has leans on the tense but clichéd relationship between Terry and her unruly teen son Josh (Horneff), and even this is underserved. It mostly amounts to him mouthing off, eating an enormous pile of Oreos, and racking up an absurd bill on a sex hotline, while his poor mom’s only recourse is to take away his landline phone. Truth be told, his buddy Frazer ( Adams, PEOPLE UNDER THE STAIRS ) is the badass little kid Josh thinks he is, but he’s unfortunately reduced to a sidekick role here. Still, try not to crack a smile when Frazer’s hustle involving the babysitter works out, producing one of the most wholesome shit-eating grins imaginable.

I wish there were more moments like that, but the script isn’t that invested in these characters. They mostly exist to investigate and unravel a plot that’s already plainly unfolded for viewers, who are left waiting for everyone to figure out that Karl is an internet phantasm, not a hacker boogeyman.

The effects take a higher priority, as best evidenced by a memorable sequence where Josh and Frazer visit an arcade that features a state-of-the-art VR sim, which allows Talalay and company to dabble in some primitive computer effects when Karl stalks the boys within the game. At the time, this technology was aspirational, or at least it was to me, an absolutely impressionable 10-year-old who thought virtual reality was just a few years away. 1995 and the crippling disappointment of the Virtual Boy hadn’t arrived yet to crush those dreams.

Nearly three decades later, these effects feel dated and chintzy, but you have to admire Talalay’s willingness to push the limits of the technology available to her. In an era where these effects still weren’t commonplace, it’s remarkable to see them at work on a relatively low-budget slasher movie. Given Talalay’s background in mathematics and computer programming (after graduating from Yale, she had an eye on furthering her education until she landed a job working with John Waters—talk about career arc goals!), it’s no surprise that her three ’90s features consistently explored the multimedia possibilities at the disposal of filmmakers. Between the VR sequence here, the 16-bit Freddy mayhem in FREDDY’S DEAD , and the animated interludes in TANK GIRL , you see the hallmarks of an imaginative filmmaker looking to expand the medium’s boundaries with idiosyncratic bursts.

GHOST IN THE MACHINE in particular is not without its flaws: its slasher could use a little bit more personality, it could use another standout splatter sequence or two, and its thin plot hinges on a gimmick that feels a little bit derivative (ironically enough, this movie conjures up ghosts of SHOCKER , another attempt at chasing Freddy Krueger). But this is also something we’ve said about so many other slasher movies over the years before bestowing them with a cult classic status.

I can’t boldly proclaim that this is the future for GHOST IN THE MACHINE ; however, I do think it’s worthy of a nice Blu-ray release that would give everyone an excuse to give it another shot—especially now that ’90s nostalgia compels us to wistfully recall a time when toxic assholes on the internet was just the stuff of harmless fantasy.

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Tags: 1993 , Brandon Quintin Adams , Chris Mulkey , Ghost In The Machine , Internet , Jessica Walter , Karen Allen , Rachel Talalay , Shevonne Durkin , slasher , Ted Marcoux , Virtual Reality , Wil Horneff

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Friday, May 15, 2009

• Ghost in the Machine (1993)

4 comments:

"Someone, somewhere thought that was good writing" cough coughwayansbrotherscough cough! Also I was just in a Computer Renaissance about two weeks ago, and it looked JUST LIKE that computer store. Not a thing had changed. Also Also, I just recently saw an episode of Simon and SImon that has some relevance to this (episode 3, season1 "Trapdoors"). I will try to relate the important aspects to you when I have some time.

If you mention your Grandma's Tweeter one more time…

If you mention your Grandma's Tweeter one more time… the first on-screen toilet was in Psycho

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Watch Ghost in the Machine

• 1 hr 35 min
• 4.6   (4,066)

Ghost in the Machine is a 1993 horror film directed by Rachel Talalay, starring Karen Allen, Chris Mulkey, and Ted Marcoux. The concept of the movie revolves around a serial killer who, after being hit by a car, transfers his consciousness into an electrical grid and begins to harass his intended victims via their household devices.

The film begins with a man named Karl Hochman (Marcoux), an unassuming bureaucrat, who sideswipes a car driven by Terry Munroe (Allen), mother to Bram (Brandon Adams). Terry is a single mother raising her son on her own. Karl is unrepentant and even after he injures her car, refuses to do the right thing and share his insurance information. Terry is clearly frustrated, and has to come up with a way to teach Karl a lesson.

Meanwhile, a man obsessed with Terry named Bram (Mulkey) gets an idea after visiting a tech store. He is the creator of a machine he calls "The Addresser," which can send electronic signals to any electronic device in range of the device. Bram uses this technology to infiltrate Karl's home and use his electronic devices to harm him, before eventually murdering him in cold blood. However, before dying, Karl utters a curse promising to get revenge.

It is at this point that the movie starts to get creepy, with Karl's spirit transferring into the electrical grid of the city, becoming a malevolent force that can control any networked device, and beginning its reign of terror on Terry and Bram. Terry and her son both become Karl's next target. The horror culminates in a series of fatal accidents that occur around Bram's home, which is filled with the latest tech.

Terry and her son are at the center of the entire horror film, and it is heartbreaking to watch Terry struggle to maintain her sanity and fight against an invisible enemy intent on destroying them. She becomes convinced that Bram is the source of the malevolence, but the real enemy is something far more sinister. She must do everything she can to protect her son and herself from this new, dangerous force.

The movie is a mix of horror, suspense, and action. It has a few moments of genuine fright, using the fear of technology, which feels apt considering our dependency on it today. Ghost in the Machine is not just a mindless B-movie or a typical slasher flick. It's a movie with a clear message to the viewer: Consider the risks we face as we move into an increasingly technology-driven world.

With its fun storyline, solid performances from a talented cast, and well-executed suspense scenes, Ghost in the Machine is a solid example of early 90s style horror. The horror genre is not always taken seriously, but Ghost in the Machine presents an interesting idea that makes this film stand out from the crowd. The film successfully manages to take an unremarkable urban setting and turns it into a cauldron of terror.

In conclusion, Ghost in the Machine is a well-made, suspenseful horror movie that frightens and captivates its audience with a combination of scares, creepy atmosphere, and exciting action. It also touches on important themes like the dangers of technology and the ever-evolving technology landscape that we're confronted with today. The combination of these elements makes this movie a must-see for fans of horror and sci-fi.

Ghost in the Machine is a 1993 horror movie with a runtime of 1 hour and 35 minutes. It has received mostly poor reviews from critics and viewers, who have given it an IMDb score of 4.6 and a MetaScore of 34.

• Genres Horror Science Fiction Thriller
• Cast Karen Allen Chris Mulkey Ted Marcoux
• Director Rachel Talalay
• Release Date 1993
• MPAA Rating R
• Runtime 1 hr 35 min
• IMDB Rating 4.6   (4,066)
• Metascore 34

Ghost in the Machine (1993)

• Parents Guide

Certification

• Sex & Nudity (2)
• Violence & Gore (7)
• Profanity (1)
• Alcohol, Drugs & Smoking (2)
• Frightening & Intense Scenes (1)

Sex & Nudity

• Mild 4 of 6 found this mild Severity? None 2 Mild 4 Moderate 0 Severe 0 We were unable to submit your evaluation. Please try again later.
• A boy plays a computer game where he removes a woman's bra and her bare breasts are shown. Edit
• A teen babysitter wears a tied-off blouse showing her stomach and tight jean shorts. Two young teen boys bribe her to show them her breasts. She unbuttons the top of her blouse, leans over and shows them her cleavage only. Edit

Violence & Gore

• Moderate 5 of 5 found this moderate Severity? None 0 Mild 0 Moderate 5 Severe 0 We were unable to submit your evaluation. Please try again later.
• A man kills a family; the bloody results are shown. He then puts their photo in his photo album. Edit
• A man drives down a highway and then goes on the opposite road. He eventually crashes, and his car goes flying through a forest. Edit
• A microwave cooks a man in his own kitchen. The man's skin bubbles and a pool of blood appears on the floor under his head. Edit
• A dog drowns. Edit
• A man goes to dry his hands but a fireball strikes him, sending him up in flames. Edit
• A woman has a nightmare of seeing a charred corpse fly in her face. Edit
• A woman gets electrocuted after a dishwasher explodes and water goes into a nearby socket. Edit
• Mild 4 of 5 found this mild Severity? None 1 Mild 4 Moderate 0 Severe 0 We were unable to submit your evaluation. Please try again later.
• There is one use of "fuck". There are also some uses of "damn", "bitch", and "Jesus Christ". Edit

Alcohol, Drugs & Smoking

• Mild 4 of 4 found this mild Severity? None 0 Mild 4 Moderate 0 Severe 0 We were unable to submit your evaluation. Please try again later.
• A man smokes a cigarette. Edit
• A woman drinks a beer. Edit

Frightening & Intense Scenes

• Moderate 3 of 4 found this moderate Severity? None 0 Mild 1 Moderate 3 Severe 0 We were unable to submit your evaluation. Please try again later.
• The deaths may be frightening for some viewers. Edit

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3. Song Of The Year

A Songwriter(s) Award. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.

A&W Jack Antonoff, Lana Del Rey & Sam Dew, songwriters (Lana Del Rey) Anti-Hero Jack Antonoff & Taylor Swift, songwriters (Taylor Swift) Butterfly Jon Batiste & Dan Wilson, songwriters (Jon Batiste)

Dance The Night (From Barbie The Album) Caroline Ailin, Dua Lipa, Mark Ronson & Andrew Wyatt, songwriters (Dua Lipa)

Flowers Miley Cyrus, Gregory Aldae Hein & Michael Pollack, songwriters (Miley Cyrus)

Kill Bill Rob Bisel, Carter Lang & Solána Rowe, songwriters (SZA)

Vampire Daniel Nigro & Olivia Rodrigo, songwriters (Olivia Rodrigo) What Was I Made For? [From The Motion Picture "Barbie"] Billie Eilish O'Connell & Finneas O'Connell, songwriters (Billie Eilish)

4. Best New Artist

This category recognizes an artist whose eligibility-year release(s) achieved a breakthrough into the public consciousness and notably impacted the musical landscape.

Gracie Abrams Fred again.. Ice Spice Jelly Roll Coco Jones Noah Kahan Victoria Monét The War And Treaty

5. Producer Of The Year, Non-Classical

A Producer's Award. (Artists names appear in parentheses.)

Jack Antonoff

      • Being Funny In A Foreign Language (The 1975) (A)

      • Did You Know That There's A Tunnel Under Ocean Blvd (Lana Del Rey) (A)

      • Midnights (Taylor Swift) (A)

Dernst "D'Mile" Emile II

      • JAGUAR II (Victoria Monét) (A)

      • Bus Stop (Don Toliver Featuring Brent Faiyaz) (T)

      • Just Face It (Dreamville With Blxst) (T)

      • Kings Disease III (Nas) (A)

      • Magic 3 (Nas) (A)

      • Magic 2 (Nas) (A)

      • Slipping Into Darkness (Hit-Boy & The Alchemist) (S)

      • Surf Or Drown Vol. 1 (Hit-Boy) (A)

      • Surf Or Drown Vol. 2 (Hit-Boy) (A)

      • Victims & Villains (Musiq Soulchild & Hit-Boy) (A)

• Metro Boomin

      • Am I Dreaming (Metro Boomin Featuring Roisee & A$AP Rocky) (S)

      • Calling (Metro Boomin Featuring NAV, A Boogie Wit Da Hoodie & Swae Lee) (S)

      • Creepin' (Metro Boomin Featuring 21 Savage & The Weeknd) (S)

      • More M's (Drake & 21 Savage) (S)

      • Oh U Went (Young Thug Featuring Drake) (S)

      • Superhero (Heroes & Villains) (Metro Boomin, Future & Chris Brown) (S)

      • Til Further Notice (Travis Scott Featuring James Blake & 21 Savage) (S)

      • Trance (Metro Boomin Featuring Travis Scott & Young Thug) (S)

      • War Bout It (Lil Durk Featuring 21 Savage) (S)

• Daniel Nigro

      • Casual (Chappell Roan) (S)

      • Divide (Dermot Kennedy) (S)

      • Guts (Olivia Rodrigo) (A)

      • Hot To Go! (Chappell Roan) (S)

      • Kaleidoscope (Chappell Roan) (S)

      • Red Wine Supernova (Chappell Roan) (S)

      • Welcome To My Island (Caroline Polachek) (S)

6. Songwriter of the Year, Non-Classical

A Songwriter's Award. (Artists names appear in parentheses.)

Edgar Barrera

      • Cuestion De Tiempo (Don Omar) (T)

      • Falsa Alarma (En Vivo) (Grupo Firme) (T)

      • Gucci Los Paños (Karol G) (T)

      • La Despedida (Christian Nodal) (T)

      • Mi Ex Tenía Razón (Karol G) (T)

      • Que Vuelvas (Various Artists) (T)

      • Un Cumbión Dolido (Christian Nodal) (T)

      • un x100to (Grupo Frontera & Bad Bunny) (T)

      • Yo Pr1mero (Rels B) (S)

Jessie Jo Dillon

      • Buried (Brandy Clark) (T)

      • Girl In The Mirror (Megan Moroney) (T)

      • Halfway To Hell (Jelly Roll) (T)

      • I Just Killed A Man (Catie Offerman) (S)

      • Memory Lane (Old Dominion) (S)

      • Neon Cowgirl (Dan + Shay) (T)

      • screen (HARDY) (T)

      • The Town In Your Heart (Lori McKenna) (T)

      • Up Above The Clouds (Cecilia's Song) (Brandy Clark) (T)

Shane McAnally

      • Come Back To Me (Brandy Clark) (S)

      • Good With Me (Walker Hayes) (S)

      • He's Never Gunna Change (Lauren Daigle) (S)

      • I Should Have Married You (Old Dominion) (S)

      • Independently Owned (Alex Newell & Original Broadway Cast of Shucked) (S)

      • Never Grow Up (Niall Horan) (S)

      • Start Nowhere (Sam Hunt) (S)

      • Walmart (Sam Hunt) (S)

      • We Don't Fight Anymore (Carly Pearce & Chris Stapleton) (S)

Theron Thomas

      • All My Life (Lil Durk Featuring J. Cole) (S)

      • Been Thinking (Tyla) (S)

      • Cheatback (Chlöe & Future) (T)

      • How We Roll (Ciara & Chris Brown) (S)

      • Make Up Your Mind (Cordae) (S)

      • Pretty Girls Walk (Big Boss Vette) (S)

      • Seven (Jung Kook & Latto) (S)

      • Told Ya (Chlöe & Missy Elliot) (T)

      • You And I (Sekou) (T)

Justin Tranter

      • Gemini Moon (Reneé Rapp) (T)

      • Honey! (Are U Coming?) (Måneskin) (S)

      • I Want More (Marisa Davila & Cast Of Grease: Rise Of The Pink Ladies) (S)

      • Jersey (Baby Tate) (S)

      • A Little Bit Happy (TALK) (S)

      • Pretty Girls (Reneé Rapp) (S)

      • River (Miley Cyrus) (S)

Field 1: Pop & Dance/Electronic Music

7. Best Pop Solo Performance

For new vocal or instrumental pop recordings. Singles or Tracks only.

Flowers Miley Cyrus

Paint The Town Red Doja Cat

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

Vampire Olivia Rodrigo

Anti-Hero Taylor Swift

8. Best Pop Duo/Group Performance

For new vocal or instrumental duo/group or collaborative pop recordings. Singles or Tracks only.

Thousand Miles Miley Cyrus Featuring Brandi Carlile

Candy Necklace Lana Del Rey Featuring Jon Batiste

Never Felt So Alone Labrinth Featuring Billie Eilish

Karma Taylor Swift Featuring Ice Spice

Ghost In The Machine SZA Featuring Phoebe Bridgers

9. Best Pop Vocal Album

For albums containing greater than 75% playing time of new pop vocal recordings.

Chemistry Kelly Clarkson

Endless Summer Vacation Miley Cyrus

GUTS Olivia Rodrigo

- (Subtract) Ed Sheeran

Midnights Taylor Swift

10. Best Dance/Electronic Recording

For solo, duo, group or collaborative performances. Vocal or Instrumental. Singles or tracks only.

Blackbox Life Recorder 21F Aphex Twin Richard D James, producer; Richard D James, mixer

Loading James Blake James Blake & Dom Maker, producers; James Blake, mixer

Higher Than Ever Before Disclosure Cirkut, Guy Lawrence & Howard Lawrence, producers; Guy Lawrence, mixer

Strong Romy & Fred again.. Fred again.., Stuart Price & Romy, producers; Fred again.. & Stuart Price, mixers

Rumble Skrillex, Fred again.. & Flowdan Fred again.. & Skrillex, producers; Skrillex, mixer

11. Best Pop Dance Recording

Baby Don't Hurt Me David Guetta, Anne-Marie & Coi Leray Johnny Goldstein, Toby Green, David Guetta & Mike Hawkins, producers; Serban    Ghenea, mixer

Miracle Calvin Harris Featuring Ellie Goulding Burns & Calvin Harris, producers; Calvin Harris, mixer

Padam Padam Kylie Minogue Lostboy, producer; Guy Massey, mixer

One In A Million Bebe Rexha & David Guetta Burns & David Guetta, producers; Serban Ghenea, mixer

Rush Troye Sivan Styalz Fuego, Novodor & Zhone, producers; Alex Ghenea, mixer

12. Best Dance/Electronic Music Album

For vocal or instrumental albums. Albums only.

Playing Robots Into Heaven James Blake

For That Beautiful Feeling The Chemical Brothers

Actual Life 3 (January 1 - September 9 2022) Fred again..

Quest For Fire Skrillex

Field 2: Rock, Metal & Alternative Music

13. Best Rock Performance

For new vocal or instrumental solo, duo/group or collaborative rock recordings.

Sculptures Of Anything Goes Arctic Monkeys

More Than A Love Song Black Pumas

Not Strong Enough Boygenius

Rescued Foo Fighters

Lux Æterna Metallica

14. Best Metal Performance

For new vocal or instrumental solo, duo/group or collaborative metal recordings.

Bad Man Disturbed

Phantom Of The Opera Ghost

72 Seasons Metallica

Hive Mind Slipknot

Jaded Spiritbox

15. Best Rock Song

A Songwriter(s) Award. Includes Rock, Hard Rock and Metal songs. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.

Angry Mick Jagger, Keith Richards & Andrew Watt, songwriters (The Rolling Stones)

Ballad Of A Homeschooled Girl Daniel Nigro & Olivia Rodrigo, songwriters (Olivia Rodrigo)

Emotion Sickness Dean Fertita, Joshua Homme, Michael Shuman, Jon Theodore & Troy Van Leeuwen, songwriters (Queens Of The Stone Age)

Not Strong Enough Julien Baker, Phoebe Bridgers & Lucy Dacus, songwriters (boygenius)

Rescued Dave Grohl, Rami Jaffee, Nate Mendel, Chris Shiflett & Pat Smear, songwriters (Foo Fighters)

16. Best Rock Album

For albums containing greater than 75% playing time of new rock, hard rock or metal recordings.

But Here We Are Foo Fighters

Starcatcher Greta Van Fleet

This Is Why Paramore

In Times New Roman... Queens Of The Stone Age

17. Best Alternative Music Performance

For new vocal or instrumental solo, duo/group or collaborative Alternative music recordings.

Belinda Says Alvvays

Body Paint Arctic Monkeys

Cool About It boygenius

A&W Lana Del Rey

18. Best Alternative Music Album

Vocal or Instrumental.

The Car Arctic Monkeys

The Record boygenius

Did You Know That There's A Tunnel Under Ocean Blvd Lana Del Rey

Cracker Island Gorillaz

I Inside The Old Year Dying PJ Harvey

Field 3: R&B, Rap & Spoken Word Poetry

19. Best R&B Performance

For new vocal or instrumental R&B recordings.

Summer Too Hot Chris Brown

Back To Love Robert Glasper Featuring SiR & Alex Isley

ICU Coco Jones

How Does It Make You Feel Victoria Monét

Kill Bill SZA

20. Best Traditional R&B Performance

For new vocal or instrumental traditional R&B recordings.

Simple Babyface Featuring Coco Jones

Lucky Kenyon Dixon

Hollywood Victoria Monét Featuring Earth, Wind & Fire & Hazel Monét

Good Morning PJ Morton Featuring Susan Carol

Love Language SZA

21. Best R&B Song

Angel Halle Bailey, Theron Feemster & Coleridge Tillman, songwriters (Halle)

Back To Love Darryl Andrew Farris, Robert Glasper & Alexandra Isley, songwriters (Robert Glasper Featuring SiR & Alex Isley)

ICU Darhyl Camper Jr., Courtney Jones, Raymond Komba & Roy Keisha Rockette, songwriters (Coco Jones)

On My Mama Dernst Emile II, Jeff Gitelman, Victoria Monét, Kyla Moscovich, Jamil Pierre & Charles Williams, songwriters (Victoria Monét)

Snooze Kenny B. Edmonds, Blair Ferguson, Khris Riddick-Tynes, Solána Rowe & Leon Thomas, songwriters (SZA)

22. Best Progressive R&B Album

For albums containing greater than 75% playing time of newly recorded progressive vocal tracks derivative of R&B.

Since I Have A Lover 6LACK

The Love Album: Off The Grid Diddy

Nova Terrace Martin And James Fauntleroy

The Age Of Pleasure Janelle Monáe

23. Best R&B Album

For albums containing greater than 75% playing time of new R&B recordings.

Girls Night Out Babyface

What I Didn't Tell You (Deluxe) Coco Jones

Special Occasion Emily King

JAGUAR II Victoria Monét

CLEAR 2: SOFT LIFE EP Summer Walker

24. Best Rap Performance

For a Rap performance. Singles or Tracks only.

The Hillbillies Baby Keem Featuring Kendrick Lamar

Love Letter Black Thought

Rich Flex Drake & 21 Savage

SCIENTISTS & ENGINEERS Killer Mike Featuring André 3000, Future And Eryn Allen Kane

Players Coi Leray

25. Best Melodic Rap Performance

For a solo or collaborative performance containing both elements of R&B melodies and Rap.

Sittin' On Top Of The World Burna Boy Featuring 21 Savage

Attention Doja Cat

Spin Bout U Drake & 21 Savage

All My Life Lil Durk Featuring J. Cole

26. Best Rap Song

Attention Rogét Chahayed, Amala Zandile Dlamini & Ari Starace, songwriters (Doja Cat)

Barbie World [From Barbie The Album] Isis Naija Gaston, Ephrem Louis Lopez Jr. & Onika Maraj, songwriters (Nicki Minaj & Ice Spice Featuring Aqua)

Just Wanna Rock Mohamad Camara, Symere Woods & Javier Mercado, songwriters (Lil Uzi Vert)

Rich Flex Brytavious Chambers, Isaac "Zac" De Boni, Aubrey Graham, J. Gwin, Anderson Hernandez, Michael "Finatik" Mule & Shéyaa Bin Abraham-Joseph, songwriters (Drake & 21 Savage)

SCIENTISTS & ENGINEERS Andre Benjamin, Paul Beauregard, James Blake, Michael Render, Tim Moore & Dion Wilson, songwriters (Killer Mike Featuring André 3000, Future And Eryn Allen Kane)

27. Best Rap Album

For albums containing greater than 75% playing time of new rap recordings.

Her Loss Drake & 21 Savage

MICHAEL Killer Mike

HEROES & VILLIANS Metro Boomin

King's Disease III Nas

UTOPIA Travis Scott

28. Best Spoken Word Poetry Album

For albums containing greater than 50% playing time of new spoken word poetry recordings.

A-You're Not Wrong B-They're Not Either: The Fukc-It Pill Revisited Queen Sheba

For Your Consideration'24 -The Album Prentice Powell and Shawn William

Grocery Shopping With My Mother Kevin Powell

The Light Inside J. Ivy

When The Poems Do What They Do Aja Monet

Field 4: Jazz, Traditional Pop, Contemporary Instrumental & Musical Theater

29. Best Jazz Performance

For new vocal or instrumental solo, duo/group or collaborative jazz recordings.

Movement 18' (Heroes) Jon Batiste

Basquiat Lakecia Benjamin

Vulnerable (Live) Adam Blackstone Featuring The Baylor Project & Russell Ferranté

But Not For Me Fred Hersch & Esperanza Spalding

Tight Samara Joy

30. Best Jazz Vocal Album

For albums containing greater than 75% playing time of new vocal jazz recordings.

For Ella 2 Patti Austin Featuring Gordon Goodwin's Big Phat Band

Alive At The Village Vanguard Fred Hersch & Esperanza Spalding

Lean In Gretchen Parlato & Lionel Loueke

Mélusine Cécile McLorin Salvant

How Love Begins Nicole Zuraitis

31. Best Jazz Instrumental Album

For albums containing greater than 75% playing time of new instrumental jazz recordings.

The Source Kenny Barron

Phoenix Lakecia Benjamin

Legacy: The Instrumental Jawn Adam Blackstone

The Winds Of Change Billy Childs

Dream Box Pat Metheny

32. Best Large Jazz Ensemble Album

For albums containing greater than 75% playing time of new ensemble jazz recordings.

The Chick Corea Symphony Tribute - Ritmo ADDA Simfònica, Josep Vicent, Emilio Solla

Dynamic Maximum Tension Darcy James Argue's Secret Society

Basie Swings The Blues The Count Basie Orchestra Directed By Scotty Barnhart

Olympians Vince Mendoza & Metropole Orkest

The Charles Mingus Centennial Sessions Mingus Big Band

33. Best Latin Jazz Album

For vocal or instrumental albums containing greater than 75% playing time of newly recorded material. The intent of this category is to recognize recordings that represent the blending of jazz with Latin, Iberian-American, Brazilian, and Argentinian tango music.

Quietude Eliane Elias

My Heart Speaks Ivan Lins With The Tblisi Symphony Orchestra

Vox Humana Bobby Sanabria Multiverse Big Band

Cometa Luciana Souza & Trio Corrente

El Arte Del Bolero Vol. 2 Miguel Zenón & Luis Perdomo

34. Best Alternative Jazz Album

For vocal or instrumental albums containing greater than 75% playing time of new Alternative jazz recordings.

Love In Exile Arooj Aftab, Vijay Iyer, Shahzad Ismaily

Quality Over Opinion Louis Cole

SuperBlue: The Iridescent Spree Kurt Elling, Charlie Hunter, SuperBlue

Live At The Piano Cory Henry

The Omnichord Real Book Meshell Ndegeocello

35. Best Traditional Pop Vocal Album

For albums containing greater than 75% playing time of new traditional pop recordings.

To Steve With Love: Liz Callaway Celebrates Sondheim Liz Callaway

Pieces Of Treasure Rickie Lee Jones

Bewitched Laufey

Holidays Around The World Pentatonix

Only The Strong Survive Bruce Springsteen

Sondheim Unplugged (The NYC Sessions), Vol. 3 (Various Artists)

36. Best Contemporary Instrumental Album

For albums containing greater than 75% playing time of new contemporary instrumental recordings.

As We Speak Béla Fleck, Zakir Hussain, Edgar Meyer, Featuring Rakesh Chaurasia

On Becoming House Of Waters

Jazz Hands Bob James

The Layers Julian Lage

All One Ben Wendel

37. Best Musical Theater Album

For albums containing greater than 51% playing time of new recordings. Award to the principal vocalist(s), and the album producer(s) of 50% or more playing time of the album. The lyricist(s) and composer(s) of 50 % or more of a score of a new recording are eligible for an Award if any previous recording of said score has not been nominated in this category.

Kimberly Akimbo John Clancy, David Stone & Jeanine Tesori, producers; Jeanine Tesori, composer; David Lindsay-Abaire, lyricist (Original Broadway Cast)

Parade Micaela Diamond, Alex Joseph Grayson, Jake Pedersen & Ben Platt, principal vocalists; Jason Robert Brown & Jeffrey Lesser, producers; Jason Robert Brown, composer & lyricist (2023 Broadway Cast)

Shucked Brandy Clark, Jason Howland, Shane McAnally & Billy Jay Stein, producers; Brandy Clark & Shane McAnally, composers/lyricists (Original Broadway Cast)

Some Like It Hot Christian Borle, J. Harrison Ghee, Adrianna Hicks & NaTasha Yvette Williams, principal vocalists; Mary-Mitchell Campbell, Bryan Carter, Scott M. Riesett, Charlie Rosen & Marc Shaiman, producers; Scott Wittman, lyricist; Marc Shaiman, composer & lyricist (Original Broadway Cast)

Sweeney Todd: The Demon Barber Of Fleet Street Annaleigh Ashford & Josh Groban, principal vocalists; Thomas Kail & Alex Lacamoire, producers (Stephen Sondheim, composer & lyricist) (2023 Broadway Cast)

Field 5: Country & American Roots Music

38. Best Country Solo Performance

For new vocal or instrumental solo country recordings.

In Your Love Tyler Childers

Buried Brandy Clark

Fast Car Luke Combs

The Last Thing On My Mind Dolly Parton

White Horse Chris Stapleton

39. Best Country Duo/Group Performance

For new vocal or instrumental duo/group or collaborative country recordings.

High Note Dierks Bentley Featuring Billy Strings

Nobody's Nobody Brothers Osborne

I Remember Everything Zach Bryan Featuring Kacey Musgraves

Kissing Your Picture (Is So Cold) Vince Gill & Paul Franklin

Save Me Jelly Roll With Lainey Wilson

We Don't Fight Anymore Carly Pearce Featuring Chris Stapleton

40. Best Country Song

Buried Brandy Clark & Jessie Jo Dillon, songwriters (Brandy Clark)

I Remember Everything Zach Bryan & Kacey Musgraves, songwriters (Zach Bryan Featuring Kacey Musgraves)

In Your Love Tyler Childers & Geno Seale, songwriters (Tyler Childers)

Last Night John Byron, Ashley Gorley, Jacob Kasher Hindlin & Ryan Vojtesak, songwriters (Morgan Wallen)

White Horse Chris Stapleton & Dan Wilson, songwriters (Chris Stapleton)

41. Best Country Album

For albums containing greater than 75% playing time of new country recordings.

Rolling Up The Welcome Mat Kelsea Ballerini

Brothers Osborne Brothers Osborne

Zach Bryan Zach Bryan

Rustin' In The Rain Tyler Childers

Bell Bottom Country Lainey Wilson

42. Best American Roots Performance

For new vocal or instrumental American Roots recordings.  This is for performances in the style of any of the subgenres encompassed in the American Roots Music field including bluegrass, blues, folk or regional roots. Award to the artist(s).

Butterfly Jon Batiste

Heaven Help Us All The Blind Boys Of Alabama

Inventing The Wheel Madison Cunningham

You Louisiana Man Rhiannon Giddens

Eve Was Black Allison Russell

43. Best Americana Performance

For new vocal or instrumental Americana performance. Award to the artist(s).

Friendship The Blind Boys Of Alabama

Help Me Make It Through The Night Tyler Childers

Dear Insecurity Brandy Clark Featuring Brandi Carlile

King Of Oklahoma Jason Isbell And The 400 Unit

The Returner Allison Russell

44. Best American Roots Song

A Songwriter(s) Award. Includes Americana, bluegrass, traditional blues, contemporary blues, folk or regional roots songs. A song is eligible if it was first released or if it first achieved prominence during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.

Blank Page Michael Trotter Jr. & Tanya Trotter, songwriters (The War And Treaty)

California Sober Aaron Allen, William Apostol & Jon Weisberger, songwriters (Billy Strings Featuring Willie Nelson)

Cast Iron Skillet Jason Isbell, songwriter (Jason Isbell And The 400 Unit)

Dear Insecurity Brandy Clark & Michael Pollack, songwriters (Brandy Clark Featuring Brandi Carlile)

The Returner Drew Lindsay, JT Nero & Allison Russell, songwriters (Allison Russell)

45. Best Americana Album

For albums containing greater than 75% playing time of new vocal or instrumental Americana recordings.

Brandy Clark Brandy Clark

The Chicago Sessions Rodney Crowell

You're The One Rhiannon Giddens

Weathervanes Jason Isbell And The 400 Unit

46. Best Bluegrass Album

For albums containing greater than 75% playing time of new vocal or instrumental bluegrass recordings.

Radio John: Songs of John Hartford Sam Bush

Lovin' Of The Game Michael Cleveland

Mighty Poplar Mighty Poplar

Bluegrass Willie Nelson

Me/And/Dad Billy Strings

City Of Gold Molly Tuttle & Golden Highway

47. Best Traditional Blues Album

For albums containing greater than 75% playing time of new vocal or instrumental traditional blues recordings.

Ridin' Eric Bibb

The Soul Side Of Sipp Mr. Sipp

Life Don't Miss Nobody Tracy Nelson

Teardrops For Magic Slim Live At Rosa's Lounge John Primer

All My Love For You Bobby Rush

48. Best Contemporary Blues Album

For albums containing greater than 75% playing time of new vocal or instrumental contemporary blues recordings.

Death Wish Blues Samantha Fish And Jesse Dayton

Healing Time Ruthie Foster

Live In London Christone "Kingfish" Ingram

Blood Harmony Larkin Poe

LaVette! Bettye LaVette

49. Best Folk Album

For albums containing greater than 75% playing time of new vocal or instrumental folk recordings.

Traveling Wildfire Dom Flemons

I Only See The Moon The Milk Carton Kids

Joni Mitchell At Newport [Live] Joni Mitchell

Celebrants Nickel Creek

Jubilee Old Crow Medicine Show

Seven Psalms Paul Simon

Folkocracy Rufus Wainwright

50. Best Regional Roots Music Album

For albums containing greater than 75% playing time of new vocal or instrumental regional roots music recordings.

New Beginnings Buckwheat Zydeco Jr. & The Legendary Ils Sont Partis Band

Live At The 2023 New Orleans Jazz & Heritage Festival Dwayne Dopsie & The Zydeco Hellraisers

Live: Orpheum Theater Nola Lost Bayou Ramblers & Louisiana Philharmonic Orchestra

Made In New Orleans New Breed Brass Band

Too Much To Hold New Orleans Nightcrawlers

Live At The Maple Leaf The Rumble Featuring Chief Joseph Boudreaux Jr.

Field 6: Gospel & Contemporary Christian Music

51. Best Gospel Performance/Song

This award is given to the artist(s) and songwriter(s) (for new compositions) for the best traditional Christian, roots gospel or contemporary gospel single or track.

God Is Good Stanley Brown Featuring Hezekiah Walker, Kierra Sheard & Karen Clark Sheard; Stanley Brown, Karen V Clark Sheard, Kaylah Jiavanni Harvey, Rodney Jerkins, Elyse Victoria Johnson, J Drew Sheard II, Kierra Valencia Sheard & Hezekiah Walker, songwriters

Feel Alright (Blessed) Erica Campbell; Erica Campbell, Warryn Campbell, William Weatherspoon, Juan Winans & Marvin L. Winans, songwriters

Lord Do It For Me (Live) Zacardi Cortez; Marcus Calyen, Zacardi Cortez & Kerry Douglas, songwriters

God Is Melvin Crispell III

All Things Kirk Franklin; Kirk Franklin, songwriter

52. Best Contemporary Christian Music Performance/Song

This award is given to the artist(s) and songwriter(s) (for new compositions) for the best contemporary Christian music single or track, (including pop, rap/hip-hop, Latin, or rock.)

Believe Blessing Offor; Hank Bentley & Blessing Offor, songwriters

Firm Foundation (He Won't) [Live] Cody Carnes

Thank God I Do Lauren Daigle; Lauren Daigle & Jason Ingram, songwriters

Love Me Like I Am for KING & COUNTRY Featuring Jordin Sparks

Your Power Lecrae & Tasha Cobbs Leonard

God Problems Maverick City Music, Chandler Moore & Naomi Raine; Daniel Bashta, Chris Davenport, Ryan Ellis & Naomi Raine, songwriters

53. Best Gospel Album

For albums containing greater than 75% playing time of newly recorded, vocal, traditional or contemporary/R&B gospel music recordings.

I Love You Erica Campbell

Hymns (Live) Tasha Cobbs Leonard

The Maverick Way Maverick City Music

My Truth Jonathan McReynolds

All Things New: Live In Orlando Tye Tribbett

54. Best Contemporary Christian Music Album

For albums containing greater than 75% playing time of newly recorded, vocal, contemporary Christian music, including pop, rap/hip hop, Latin, or rock recordings.

My Tribe Blessing Offor

Emanuel Da' T.R.U.T.H.

Lauren Daigle Lauren Daigle

Church Clothes 4 Lecrae

I Believe Phil Wickham

55. Best Roots Gospel Album

For albums containing greater than 75% playing time of newly recorded, vocal, traditional/roots gospel music, including country, Southern gospel, bluegrass, and Americana recordings.

Tribute To The King The Blackwood Brothers Quartet

Echoes Of The South Blind Boys Of Alabama

Songs That Pulled Me Through The Tough Times Becky Isaacs Bowman

Meet Me At The Cross Brian Free & Assurance

Shine: The Darker The Night The Brighter The Light Gaither Vocal Band

Field 7: Latin, Global, Reggae & New Age, Ambient, or Chant

56. Best Latin Pop Album

For albums containing greater than 75% playing time of new Latin pop recordings.

La Cuarta Hoja Pablo Alborán

Beautiful Humans, Vol. 1 AleMor

A Ciegas Paula Arenas

La Neta Pedro Capó

Don Juan Maluma

X Mí (Vol. 1) Gaby Moreno

57. Best Música Urbana Album

For albums containing greater than 75% playing time of new Música Urbana recordings.

SATURNO Rauw Alejandro

MAÑANA SERÁ BONITO Karol G

58. Best Latin Rock or Alternative Album

For albums containing greater than 75% playing time of new Latin rock or alternative recordings.

MARTÍNEZ Cabra

Leche De Tigre Diamante Eléctrico

Vida Cotidiana Juanes

De Todas Las Flores Natalia Lafourcade

EADDA9223 Fito Paez

59. Best Música Mexicana Album (Including Tejano)

For albums containing greater than 75% playing time of new regional Mexican (banda, norteño, corridos, gruperos, mariachi, ranchera and Tejano) recordings.

Bordado A Mano Ana Bárbara

La Sánchez Lila Downs

Motherflower Flor De Toloache

Amor Como En Las Películas De Antes Lupita Infante

GÉNESIS Peso Pluma

60. Best Tropical Latin Album

For albums containing greater than 75% playing time of new tropical Latin recordings.

Siembra: 45º Aniversario (En Vivo en el Coliseo de Puerto Rico, 14 de Mayo 2022) Rubén Blades Con Roberto Delgado & Orquesta

Voy A Ti Luis Figueroa

Niche Sinfónico Grupo Niche Y Orquesta Sinfónica Nacional de Colombia

VIDA Omara Portuondo

MIMY & TONY Tony Succar, Mimy Succar

Escalona Nunca Se Había Grabado Así Carlos Vives

61. Best Global Music Performance

For new vocal or instrumental Global music recordings.

Shadow Forces Arooj Aftab, Vijay Iyer & Shahzad Ismaily

Alone Burna Boy

FEEL Davido

Milagro Y Disastre Silvana Estrada

Abundance In Millets Falu & Gaurav Shah (Featuring PM Narendra Modi)

Pashto Béla Fleck, Edgar Meyer & Zakir Hussain Featuring Rakesh Chaurasia

Todo Colores Ibrahim Maalouf Featuring Cimafunk & Tank And The Bangas

62. Best African Music Performance

Amapiano ASAKE & Olamide

City Boys Burna Boy

UNAVAILABLE Davido Featuring Musa Keys

Rush Ayra Starr

63. Best Global Music Album

For albums containing greater than 75% playing time of new vocal or instrumental Global Music recordings.

Epifanías Susana Baca

History Bokanté

I Told Them... Burna Boy

Timeless Davido

This Moment Shakti

64. Best Reggae Album

For albums containing greater than 75% playing time of new reggae recordings.

Born For Greatness Buju Banton

Simma Beenie Man

Cali Roots Riddim 2023 Collie Buddz

No Destroyer Burning Spear

Colors Of Royal Julian Marley & Antaeus

65. Best New Age, Ambient, or Chant Album

For albums containing greater than 75% playing time of new vocal or instrumental new age recordings.

Aquamarine Kirsten Agresta-Copely

Moments Of Beauty Omar Akram

Some Kind Of Peace (Piano Reworks) Ólafur Arnalds

Ocean Dreaming Ocean David Darling & Hans Christian

So She Howls Carla Patullo Featuring Tonality And The Scorchio Quartet

Field 8: Children's, Comedy, Audio Books, Visual Media & Music Video/Film

66. Best Children's Music Album

For albums containing greater than 75% playing time of new musical or spoken word recordings that are created and intended specifically for children.

Ahhhhh! Andrew & Polly

Ancestars Pierce Freelon & Nnenna Freelon

Hip Hope For Kids! DJ Willy Wow!

Taste The Sky Uncle Jumbo

We Grow Together Preschool Songs 123 Andrés

67. Best Comedy Album

For albums containing greater than 75% playing time of new recordings.

I Wish You Would Trevor Noah

I'm An Entertainer Wanda Sykes

Selective Outrage Chris Rock

Someone You Love Sarah Silverman

What's In A Name? Dave Chappelle

68. Best Audio Book, Narration, and Storytelling Recording

Big Tree Meryl Streep

Boldly Go: Reflections On A Life Of Awe And Wonder William Shatner

The Creative Act: A Way Of Being Rick Rubin

It's Ok To Be Angry About Capitalism Senator Bernie Sanders

The Light We Carry: Overcoming In Uncertain Times Michelle Obama

69. Best Compilation Soundtrack For Visual Media

Award to the principal artist(s) and/or 'in studio' producer(s) of a majority of the tracks on the album.  In the absence of both, award to the one or two individuals proactively responsible for the concept and musical direction of the album and for the selection of artists, songs and producers, as applicable. Award also goes to appropriately credited music supervisor(s).

AURORA (Daisy Jones & The Six)

Barbie The Album (Various Artists)

Black Panther: Wakanda Forever - Music From And Inspired By (Various Artists)

Guardians of the Galaxy, Vol. 3: Awesome Mix, Vol. 3 (Various Artists)

Weird: The Al Yankovic Story Weird Al Yankovic

70. Best Score Soundtrack For Visual Media (Includes Film And Television)

Award to Composer(s) for an original score created specifically for, or as a companion to, a current legitimate motion picture, television show or series, or other visual media.

Barbie Mark Ronson & Andrew Wyatt, composers

Black Panther: Wakanda Forever Ludwig Göransson, composer

The Fabelmans John Williams, composer

Indiana Jones And The Dial Of Destiny John Williams, composer

Oppenheimer Ludwig Göransson, composer

71.  Best Score Soundtrack for Video Games and Other Interactive Media

Award to Composer(s) for an original score created specifically for, or as a companion to, video games and other interactive media.

Call Of Duty®: Modern Warfare II Sarah Schachner, composer

God Of War Ragnarök Bear McCreary, composer

Hogwarts Legacy Peter Murray, J Scott Rakozy & Chuck E. Myers "Sea", composers

Star Wars Jedi: Survivor Stephen Barton & Gordy Haab, composers

Stray Gods: The Roleplaying Musical Jess Serro, Tripod & Austin Wintory, composers

72. Best Song Written For Visual Media

A Songwriter(s) award. For a song (melody & lyrics) written specifically for a motion picture, television, video games or other visual media, and released for the first time during the Eligibility Year. (Artist names appear in parentheses.) Singles or Tracks only.)

Barbie World [From "Barbie The Album"] Naija Gaston, Ephrem Louis Lopez Jr. & Onika Maraj, songwriters (Nicki Minaj & Ice Spice Featuring Aqua)

Dance The Night [From "Barbie The Album"] Caroline Ailin, Dua Lipa, Mark Ronson & Andrew Wyatt, songwriters (Dua Lipa)

I'm Just Ken [From "Barbie The Album"] Mark Ronson & Andrew Wyatt, songwriters (Ryan Gosling)

Lift Me Up [From "Black Panther: Wakanda Forever - Music From And Inspired By"] Ryan Coogler, Ludwig Göransson, Robyn Fenty & Temilade Openiyi, songwriters (Rihanna)

What Was I Made For? [From "Barbie The Album"] Billie Eilish O'Connell & Finneas O'Connell, songwriters (Billie Eilish)

73. Best Music Video

Award to the artist, video director, and video producer.

I'm Only Sleeping (The Beatles) Em Cooper, video director; Jonathan Clyde, Sophie Hilton, Sue Loughlin & Laura Thomas, video producers

In Your Love Tyler Childers Bryan Schlam, video director; Kacie Barton, Silas House, Nicholas Robespierre, Ian Thornton & Whitney Wolanin, video producers

What Was I Made For Billie Eilish Billie Eilish, video director; Michelle An, Chelsea Dodson & David Moore, video producers

Count Me Out Kendrick Lamar Dave Free & Kendrick Lamar, video directors; Jason Baum & Jamie Rabineau, video producers

Rush Troye Sivan Gordon Von Steiner, video director; Kelly McGee, video producer

74. Best Music Film

For concert/performance films or music documentaries. Award to the artist, video director, and video producer.

Moonage Daydream (David Bowie) Brett Morgen, video director; Brett Morgen, video producer

How I'm Feeling Now Lewis Capaldi Joe Pearlman, video director; Sam Bridger, Isabel Davis & Alice Rhodes, video producers

Live From Paris, The Big Steppers Tour Kendrick Lamar Mike Carson, Dave Free & Mark Ritchie, video directors; Cornell Brown, Debra Davis, Jared Heinke & Jamie Rabineau, video producers

I Am Everything (Little Richard) Lisa Cortés, video director; Caryn Capotosto, Lisa Cortés, Robert Friedman & Liz Yale Marsh, video producers

Dear Mama (Tupac Shakur) Allen Hughes, video director; Joshua Garcia, Loren Gomez, James Jenkins & Stef Smith, video producers

Field 9: Package, Notes & Historical

75. Best Recording Package

The Art Of Forgetting Caroline Rose, art director (Caroline Rose)

Cadenza 21' Hsing-Hui Cheng, art director (Ensemble Cadenza 21')

Electrophonic Chronic Perry Shall, art director (The Arcs)

Gravity Falls Iam8bit, art director (Brad Breeck)

Migration Yu Wei, art director (Leaf Yeh)

Stumpwork Luke Brooks & James Theseus Buck, art directors (Dry Cleaning)

76. Best Boxed Or Special Limited Edition Package

The Collected Works Of Neutral Milk Hotel Jeff Mangum, Daniel Murphy & Mark Ohe, art directors (Neutral Milk Hotel)

For The Birds: The Birdsong Project Jeri Heiden & John Heiden, art directors (Various Artists)

Gieo Duy Dao, art director (Ngot)

Inside: Deluxe Box Set Bo Burnham & Daniel Calderwood, art directors (Bo Burnham)

Words & Music, May 1965 - Deluxe Edition Masaki Koike, art director (Lou Reed)

77. Best Album Notes

Evenings At The Village Gate: John Coltrane With Eric Dolphy (Live) Ashley Kahn, album notes writer (John Coltrane & Eric Dolphy)

I Can Almost See Houston: The Complete Howdy Glenn Scott B. Bomar, album notes writer (Howdy Glenn)

Mogadishu's Finest: The Al Uruba Sessions Vik Sohonie, album notes writer (Iftin Band)

Playing For The Man At The Door: Field Recordings From The Collection Of Mack McCormick, 1958–1971 Jeff Place & John Troutman, album notes writers (Various Artists)

Written In Their Soul: The Stax Songwriter Demos Robert Gordon & Deanie Parker, album notes writers (Various Artists)

78. Best Historical Album

Fragments – Time Out Of Mind Sessions (1996-1997): The Bootleg Series, Vol. 17 Steve Berkowitz & Jeff Rosen, compilation producers; Steve Addabbo, Greg Calbi, Steve Fallone, Chris Shaw & Mark Wilder, mastering engineers (Bob Dylan)

The Moaninest Moan Of Them All: The Jazz Saxophone of Loren McMurray, 1920-1922 Colin Hancock, Meagan Hennessey & Richard Martin, compilation producers; Richard Martin, mastering engineer; Richard Martin, restoration engineer (Various Artists)

Playing For The Man At The Door: Field Recordings From The Collection Of Mack McCormick, 1958–1971 Jeff Place & John Troutman, compilation producers; Randy LeRoy & Charlie Pilzer, mastering engineers; Mike Petillo & Charlie Pilzer, restoration engineers (Various Artists)

Words & Music, May 1965 - Deluxe Edition Laurie Anderson, Don Fleming, Jason Stern, Matt Sulllivan & Hal Willner, compilation producers; John Baldwin, mastering engineer; John Baldwin, restoration engineer (Lou Reed)

Written In Their Soul: The Stax Songwriter Demos Robert Gordon, Deanie Parker, Cheryl Pawelski, Michele Smith & Mason Williams, compilation producers; Michael Graves, mastering engineer; Michael Graves, restoration engineer (Various Artists)

Field 10: Production, Engineering, Composition & Arrangement

79. Best Engineered Album, Non-Classical

An Engineer's Award. (Artists names appear in parentheses.)

Desire, I Want To Turn Into You Macks Faulkron, Daniel Harle, Caroline Polachek & Geoff Swan, engineers; Mike Bozzi & Chris Gehringer, mastering engineers (Caroline Polachek)

History Nic Hard, engineer; Dave McNair, mastering engineer (Bokanté)

JAGUAR II John Kercy, Kyle Mann, Victoria Monét, Patrizio "Teezio" Pigliapoco, Neal H Pogue & Todd Robinson, engineers; Colin Leonard, mastering engineer (Victoria Monét)

Multitudes Michael Harris, Robbie Lackritz, Joseph Lorge & Blake Mills, engineers (Feist)

The Record Owen Lantz, Will Maclellan, Catherine Marks, Mike Mogis, Bobby Mota, Kaushlesh "Garry" Purohit & Sarah Tudzin, engineers; Pat Sullivan, mastering engineer (boygenius)

80. Best Engineered Album, Classical

An Engineer's Award. (Artist names appear in parentheses.)

The Blue Hour Patrick Dillett, Mitchell Graham, Jesse Lewis, Kyle Pyke, Andrew Scheps & John Weston, engineers; Helge Sten, mastering engineer (Shara Nova & A Far Cry)

Contemporary American Composers David Frost & Charlie Post, engineers; Silas Brown, mastering engineer (Riccardo Muti & Chicago Symphony Orchestra)

Fandango Alexander Lipay & Dmitriy Lipay, engineers; Alexander Lipay & Dmitriy Lipay, mastering engineers (Gustavo Dudamel, Anne Akiko Meyers, Gustavo Castillo & Los Angeles Philharmonic)

Sanlikol: A Gentleman Of Istanbul - Symphony For Strings, Percussion, Piano, Oud, Ney & Tenor Christopher Moretti & John Weston, engineers; Shauna Barravecchio & Jesse Lewis, mastering engineers (Mehmet Ali Sanlikol, George Lernis & A Far Cry)

Tchaikovsky: Symphony No. 5 & Schulhoff: Five Pieces Mark Donahue, engineer; Mark Donahue, mastering engineer (Manfred Honeck & Pittsburgh Symphony Orchestra)

81. Producer Of The Year, Classical

A Producer's Award. (Artist names appear in parentheses.)

David Frost The American Project (Yuja Wang, Teddy Abrams, Louisville Orchestra) (A) Arc II - Ravel, Brahms, Shostakovich (Orion Weiss) (A) Blanchard: Champion (Yannick Nézet-Séguin, Latonia Moore, Ryan Speedo Green, Eric Owens, Stephanie Blythe, Metropolitan Opera Chorus & Orchestra) (A) Contemporary American Composers (Riccardo Muti & Chicago Symphony Orchestra) (A) The Guitar Player (Mattias Schulstad) (A) Mysterium (Anne Akiko Meyers, Grant Gershon & Los Angeles Master Chorale) (A) Verdi: Rigoletto (Daniele Rustioni, Piotr Beczala, Quinn Kelsey, Rosa Feola, Varduhi Abrahamyan, Andrea Mastroni, The Metropolitan Opera Chorus & Orchestra) (A)

Morten Lindberg An Old Hall Ladymass (Catalina Vicens & Trio Mediæval) (A) Thoresen: Lyden Av Arktis - La Terra Meravigliosa (Christian Kluxen & Arktisk Filharmoni) (A) The Trondheim Concertos (Sigurd Imsen & Baroque Ensemble Of The Trondheim Symphony Orchestra) (A) Yggdrasil (Tove Ramlo-Ystad & Cantus) (A)

Dmitriy Lipay Adès: Dante (Gustavo Dudamel & Los Angeles Philharmonic) (A) Fandango (Gustavo Dudamel, Anne Akiko Meyers & Los Angeles Philharmonic) (A) Price: Symphony No. 4; Dawson: Negro Folk Symphony (Yannick Nézet-Séguin & Philadelphia Orchestra) (A) Rachmaninoff: The Piano Concertos & Paganini Rhapsody (Yuja Wang, Gustavo Dudamel & Los Angeles Philharmonic) (A) Walker: Lyric For Strings; Folksongs For Orchestra; Lilacs For Voice & Orchestra; Dawson: Negro Folk Symphony (Asher Fisch & Seattle Symphony) (A)

Elaine Martone Ascenso (Santiago Cañón-Valencia) (A) Berg: Three Pieces From Lyric Suite; Strauss: Suite From Der Rosenkavalier (Franz Welser-Möst & The Cleveland Orchestra) (A) Between Breaths (Third Coast Percussion) (A) Difficult Grace (Seth Parker Woods) (A) Man Up / Man Down (Constellation Men's Ensemble) (A) Prokofiev: Symphony No. 5 (Franz Welser-Möst & The Cleveland Orchestra) (A) Rachmaninoff & Gershwin: Transcriptions By Earl Wild (John Wilson) (A) Sirventés - Music From The Iranian Female Composers Association (Brian Thornton, Katherine Bormann, Alicia Koelz, Eleisha Nelson, Amahl Arulanadam & Nathan Petipas) (A) Walker: Antifonys; Lilacs; Sinfonias Nos. 4 & 5 (Franz Welser-Möst & The Cleveland Orchestra) (A)

Brian Pidgeon Fuchs: Orchestral Works, Vol. 1 (John Wilson & Sinfonia Of London) (A) Music For Strings (John Wilson & Sinfonia Of London) (A) Nielsen: Violin Concerto; Symphony No. 4 (James Ehnes, Edward Gardner & Bergen Philharmonic Orchestra) (A) Pierre Sancan - A Musical Tribute (Jean-Efflam Bavouzet, Yan Pascal Tortelier & BBC Philharmonic) (A) Poulenc: Orchestral Works (Bramwell Tovey & BBC Concert Orchestra) (A) Rachmaninoff: Symphony No. 3; Voclaise; The Isle Of The Dead (John Wilson & Sinfonia Of London) (A) Schubert: Symphonies, Vol. 3 (Edward Gardner & City Of Birmingham Symphony Orchestra) (A) Shostakovich: Symphonies Nos. 12 & 15 (John Storgårds & BBC Philharmonic) (A) Tchaikovsky: Orchestral Works (Alpesh Chauhan & BBC Scottish Symphony Orchestra) (A)

82. Best Remixed Recording

(A Remixer's Award. (Artists names appear in parentheses for identification.) Singles or Tracks only.)

Alien Love Call BADBADNOTGOOD, remixers (Turnstile & BADBADNOTGOOD Featuring Blood Orange)

New Gold (Dom Dolla Remix) Dom Dolla, remixer (Gorillaz Featuring Tame Impala & Bootie Brown)

Reviver (Totally Enormous Extinct Dinosaurs Remix) Totally Enormous Extinct Dinosaurs, remixer (Lane 8)

Wagging Tongue (Wet Leg Remix) Wet Leg, remixers (Depeche Mode)

Workin' Hard (Terry Hunter Remix) Terry Hunter, remixer (Mariah Carey)

83. Best Immersive Audio Album

For vocal or instrumental albums in any genre.  Must be commercially released for physical sale or on an eligible streaming or download service and must provide a new immersive mix of four or more channels.  Award to the immersive mix engineer, immersive producer (if any) and immersive mastering engineer (if any).

Act 3 (Immersive Edition) Ryan Ulyate, immersive mix engineer; Michael Romanowski, immersive mastering engineer; Ryan Ulyate, immersive producer (Ryan Ulyate)

Blue Clear Sky Chuck Ainlay, immersive mix engineer; Michael Romanowski, immersive mastering engineer; Chuck Ainlay, immersive producer (George Strait)

The Diary Of Alicia Keys George Massenburg & Eric Schilling, immersive mix engineers; Michael Romanowski, immersive mastering engineer; Alicia Keys & Ann Mincieli, immersive producers (Alicia Keys)

God Of War Ragnarök (Original Soundtrack) Eric Schilling, immersive mix engineer; Michael Romanowski, immersive mastering engineer; Kellogg Boynton, Peter Scaturro & Herbert Waltl, immersive producers (Bear McCreary)

Silence Between Songs Aaron Short, immersive mastering engineer (Madison Beer)

84. Best Instrumental Composition

A Composer's Award for an original composition (not an adaptation) first released during the Eligibility Year. Singles or Tracks only.

Amerikkan Skin Lakecia Benjamin, composer (Lakecia Benjamin Featuring Angela Davis)

Can You Hear The Music Ludwig Göransson, composer (Ludwig Göransson)

Cutey And The Dragon Gordon Goodwin & Raymond Scott, composers (Quartet San Francisco Featuring Gordon Goodwin's Big Phat Band)

Helena's Theme John Williams, composer (John Williams)

Motion Edgar Meyer, composer (Béla Fleck, Edgar Meyer & Zakir Hussain Featuring Rakesh Chaurasia)

85. Best Arrangement, Instrumental or A Cappella

An Arranger's Award. (Artist names appear in parentheses.) Singles or Tracks only.

Angels We Have Heard On High Nkosilathi Emmanuel Sibanda, arranger (Just 6)

Can You Hear The Music Ludwig Göransson, arranger (Ludwig Göransson)

Folsom Prison Blues John Carter Cash, Tommy Emmanuel, Markus Illko, Janet Robin & Roberto Luis Rodriguez, arrangers (The String Revolution Featuring Tommy Emmanuel)

I Remember Mingus Hilario Duran, arranger (Hilario Duran And His Latin Jazz Big Band Featuring Paquito D'Rivera)

Paint It Black Esin Aydingoz, Chris Bacon & Alana Da Fonseca, arrangers (Wednesday Addams)

86. Best Arrangement, Instruments and Vocals

An Arranger's Award. (Artist names appear in parentheses.) Singles or Tracks only. April In Paris Gordon Goodwin, arranger (Patti Austin Featuring Gordon Goodwin's Big Phat Band)

Com Que Voz (Live) John Beasley & Maria Mendes, arrangers (Maria Mendes Featuring John Beasley & Metropole Orkest)

Fenestra Godwin Louis, arranger (Cécile McLorin Salvant)

In The Wee Small Hours Of The Morning Erin Bentlage, Jacob Collier, Sara Gazarek, Johnaye Kendrick & Amanda Taylor, arrangers (säje Featuring Jacob Collier)

Lush Life Kendric McCallister, arranger (Samara Joy)

Field 11: Classical

87. Best Orchestral Performance

Award to the Conductor and to the Orchestra.

Adès: Dante Gustavo Dudamel, conductor (Los Angeles Philharmonic)

Bartók: Concerto For Orchestra; Four Pieces Karina Canellakis, conductor (Netherlands Radio Philharmonic Orchestra)

Price: Symphony No. 4; Dawson: Negro Folk Symphony Yannick Nézet-Séguin, conductor (The Philadelphia Orchestra)

Scriabin: Symphony No. 2; The Poem Of Ecstasy JoAnn Falletta, conductor (Buffalo Philharmonic Orchestra)

Stravinsky: The Rite Of Spring Esa-Pekka Salonen, conductor (San Francisco Symphony)

88. Best Opera Recording

Award to the Conductor, Album Producer(s) and Principal Soloists, and to the Composer and Librettist (if applicable) of a world premiere Opera recording only.

Blanchard: Champion Yannick Nézet-Séguin, conductor; Ryan Speedo Green, Latonia Moore & Eric Owens; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)

Corigliano: The Lord Of Cries Gil Rose, conductor; Anthony Roth Costanzo, Kathryn Henry, Jarrett Ott & David Portillo; Gil Rose, producer (Boston Modern Orchestra Project & Odyssey Opera Chorus)

Little: Black Lodge Timur; Andrew McKenna Lee & David T. Little, producers (The Dime Museum; Isaura String Quartet)

89. Best Choral Performance

Award to the Conductor, and to the Choral Director and/or Chorus Master where applicable and to the Choral Organization/Ensemble.

Carols After A Plague Donald Nally, conductor (The Crossing)

The House Of Belonging Craig Hella Johnson, conductor (Miró Quartet; Conspirare)

Ligeti: Lux Aeterna Esa-Pekka Salonen, conductor (San Francisco Symphony Chorus)

Rachmaninoff: All-Night Vigil Steven Fox, conductor (The Clarion Choir)

Saariaho: Reconnaissance Nils Schweckendiek, conductor (Uusinta Ensemble; Helsinki Chamber Choir)

90. Best Chamber Music/Small Ensemble Performance

For new recordings of works with chamber or small ensemble (twenty-four or fewer members, not including the conductor). One Award to the ensemble and one Award to the conductor, if applicable.

American Stories Anthony McGill & Pacifica Quartet

Beethoven For Three: Symphony No. 6, 'Pastorale' And Op. 1, No. 3 Yo-Yo Ma, Emanuel Ax & Leonidas Kavakos

Between Breaths Third Coast Percussion

Rough Magic Roomful Of Teeth

Uncovered, Vol. 3: Coleridge-Taylor Perkinson, William Grant Still & George Walker Catalyst Quartet

91. Best Classical Instrumental Solo

Award to the Instrumental Soloist(s) and to the Conductor when applicable.

Adams, John Luther: Darkness And Scattered Light Robert Black

Akiho: Cylinders Andy Akiho

The American Project Yuja Wang; Teddy Abrams, conductor (Louisville Orchestra)

Difficult Grace Seth Parker Woods

Of Love Curtis Stewart

92. Best Classical Solo Vocal Album

Award to: Vocalist(s), Collaborative Artist(s) (Ex: pianists, conductors, chamber groups) Producer(s), Recording Engineers/Mixers with greater than 50% playing time of new material.

Because Reginald Mobley, soloist; Baptiste Trotignon, pianist

Broken Branches Karim Sulayman, soloist; Sean Shibe, accompanist

40@40 Laura Strickling, soloist; Daniel Schlosberg, pianist

Rising Lawrence Brownlee, soloist; Kevin J. Miller, pianist

Walking In The Dark Julia Bullock, soloist; Christian Reif, conductor (Philharmonia Orchestra)

93. Best Classical Compendium

Award to the Artist(s) and to the Album Producer(s) and Engineer(s) of over 50% playing time of the album, and to the Composer and Librettist (if applicable) with over 50% playing time of a world premiere recording only.

Fandango Anne Akiko Meyers; Gustavo Dudamel, conductor; Dmitriy Lipay, producer

Julius Eastman, Vol. 3: If You're So Smart, Why Aren't You Rich? Christopher Rountree, conductor; Lewis Pesacov, producer

Mazzoli: Dark With Excessive Bright Peter Herresthal; Tim Weiss, conductor; Hans Kipfer, producer

Passion For Bach And Coltrane Alex Brown, Harlem Quartet, Imani Winds, Edward Perez, Neal Smith & A.B. Spellman; Silas Brown & Mark Dover, producers

Sardinia Chick Corea; Chick Corea & Bernie Kirsh, producers

Sculptures Andy Akiho; Andy Akiho & Sean Dixon, producers

Zodiac Suite Aaron Diehl Trio & The Knights; Eric Jacobsen, conductor; Aaron Diehl & Eric Jacobsen, producers

94. Best Contemporary Classical Composition

A Composer's Award. (For a contemporary classical composition composed within the last 25 years, and released for the first time during the Eligibility Year.) Award to the librettist, if applicable.

Adès: Dante Thomas Adès, composer (Gustavo Dudamel & Los Angeles Philharmonic)

Akiho: In That Space, At That Time Andy Akiho, composer (Andy Akiho, Ankush Kumar Bahl & Omaha Symphony)

Brittelle: Psychedelics William Brittelle, composer (Roomful Of Teeth)

Mazzoli: Dark With Excessive Bright Missy Mazzoli, composer (Peter Herresthal, James Gaffigan & Bergen Philharmonic)

Montgomery: Rounds Jessie Montgomery, composer (Awadagin Pratt, A Far Cry & Roomful Of Teeth)

Read More: SZA's Massive Year Continues, 'Barbie' Dominates & Big Firsts From The 2024 GRAMMYs Nominations

Here Are The Nominees For Best Pop Dance Recording At The 2024 GRAMMYs

Take a look at the inaugural list of nominees for Best Pop Dance Recording — one of three new categories at the 2024 GRAMMYs — which features hits from dance legends and pop superstars.

One of three new categories debuting at the 2024 GRAMMYs, Best Pop Dance Recording will be hotly contested in its first year.

The inaugural round of Best Pop Dance Recording nominees features not one, but two David Guetta collaborations ("Baby Don’t Hurt Me" with Anne-Marie and Coi Leray, and "One In A Million" with Bebe Rexha), and the long-awaited reunion of Calvin Harris and Ellie Goulding on "Miracle." The new category also features two earworms from Australian pop dance exports: Kylie Minogue ’s "Padam Padam" and Troye Sivan ’s "Rush." 

Ahead of the 2024 GRAMMYs on Feb. 4, 2024, get to know the five nominees in this newly minted category.

David Guetta, Anne-Marie & Coi Leray -"Baby Don't Hurt Me"

In a year defined by dance producers putting a modern spin on dance music’s past, David Guetta reached back to 1993 to interpolate Haddaway’s dance-pop hit, "What Is Love," for "Baby Don’t Hurt Me." The song is a fitting follow-up to Guetta and Bebe Rexha ’s 2022 hit, "I’m Good (Blue)", which winkingly rekindled Eiffel 65 ’s Eurodance anthem, "Blue (Da Ba Dee)".

"Baby Don’t Hurt Me" brings Haddaway’s irresistible hook into 2023 with distinctive verses from British vocalist Anne-Marie (who memorably joined Marshmello on 2018’s smash  "Friends") and fast-rising Boston rapper Coi Leray. 

Paired with a video that references ‘90s clubbing and cult movie A Night at the Roxbury, "Baby Don’t Hurt Me" is a familiar sugar rush that plays to the individual strengths of its perhaps unlikely trio. 

Calvin Harris featuring Ellie Goulding - "Miracle"

Calvin Harris and Ellie Goulding are a dance music dream team, having previously released "I Need Your Love" (2012) and "Outside" (2014). After waiting almost a full decade to reunite, the pair returned in 2023 with their third collaboration, "Miracle."

An out-and-out trance-meets-Eurodance throwback (think inspirations like Robert Miles' "Children"), "Miracle" aims straight for the nostalgic pleasure centers. Harris told Apple Music that he needed Goulding's "angelic" vocal talents, and the British singer skillfully plays off the song's maximal production. Working alongside his longtime studio partner Burns, Harris packs the rave euphoria into a crisp three minutes, right through to the unexpected breakbeat outro. 

The non-album single signaled a new phase for Harris, and follows 2022's Funk Wav Bounces Vol. 2 as well as his ravier experiments as Love Regenerator. In July, Harris returned to the trance sounds of his teen years with "Desire" featuring Sam Smith , proving these faster tempos are not just a passing phase. 

Kylie Minogue - "Padam Padam"  

Now 16 albums into a glittering career, Kylie Minogue is a true icon of international pop. However, not even the most ardent Kylie fans could've predicted her 2023 glow-up, courtesy of viral sensation "Padam Padam." 

The song first came to Minogue in a demo version by Norwegian singer/songwriter Ina Wroldsen and UK producer Lostboy, which immediately caught her ear. "Straightaway, I was in," she recalled to GRAMMY.com , noting that she knew it was "perfect for me."

The first single from the Australian singer's latest album, Tension , the instantly danceable beat and one-word hook of "Padam Padam" inspired countless TikTok videos and memes. "I finally get TikTok. Yes, I've been slow but I finally am there," Minogue admitted upon Tension 's release.

Minogue also celebrated the queer community and Gen Z's embrace of her runaway hit. "I hope to continue having fun with that," she added. "It was really organic. I don't think you can force that. It happened and I loved every second of it."

Bebe Rexha & David Guetta - "One In A Million"

Ever since co-writing Eminem and Rihanna 's "The Monster" in 2013, Brooklyn-born Bebe Rexha has mastered the art of collaboration. Over a prolific decade, including three albums of her own, the pop singer/songwriter has teamed up with a diverse range of artists, including Nicki Minaj , Doja Cat , Florida Georgia Line and Dolly Parton , to feature on her songs.

In the pop dance world, French hitmaker David Guetta is Rexha's most reliable collaborator. After striking gold on 2022's "I'm Good (Blue)" — which peaked at No. 4 on the Billboard Hot 100 at the top of 2023 — the pair returned with a new standalone single, "One In A Million."

With a piano line that evokes Guetta's own "When Love Takes Over," "One In A Million" channels the giddy feeling of new love over a racing beat. The song arrived in a typically whirlwind year of collaborations for Guetta, who also mined the past alongside Jason Derulo, Oliver Tree and Zara Larsson. 

Troye Sivan - "Rush"

After a long wait between solo releases, Australian pop chameleon Troye Sivan boldly announced a new era with "Rush." Released at the height of summer as the lead single from Sivan's third album, Something To Give Each Other , "Rush" instantly hit its mark as a celebration of queer pleasure-seeking. In a statement , Sivan described the single as an accumulation of "all of my experiences from a chapter where I feel confident, free and liberated."

The song's lusty bassline, exultant piano-house keys and chanted chorus perfectly play off Sivan's falsetto, creating a heady mood of dance floor abandon. (Fittingly, the Berlin-shot music video is a parade of sweaty bodies in motion.) A ready-made anthem, "Rush" set the stage perfectly for the assured and life-affirming Something To Give Each Other , leaving no doubt that Sivan is thriving in 2023. 

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.

The Recording Academy and GRAMMY.com do not endorse any particular artist, submission or nominee over another. The results of the GRAMMY Awards, including winners and nominees, are solely dependent on the Recording Academy's Voting Membership.

2024 GRAMMY Nominations: See The Complete Winners & Nominees List

Here Are The Nominees For Best R&B Album At The 2024 GRAMMYs

The five nominees for Best R&B Album highlight how women are driving the category. With entries from Coco Jones, Victoria Monét, Summer Walker, Emily King and Babyface — whose album features all female singers — R&B is putting ladies first.

The roster of the Best R&B Album nominees at the 2024 GRAMMYs makes it abundantly clear that women are driving the category for the 66th GRAMMY Awards.

Coco Jones and Victoria Monét took back control over their careers and scored their biggest hits yet, while Summer Walker and Emily King turned their pain into art that resonates. Babyface — who helped define the '90s as one of the most in-demand songwriters — released his first full-length record in seven years, Girls Night Out .

Since 1995, only 12 female artists have won Best R&B Album with Alicia Keys receiving the honor three times. This year, female artists are taking center stage in the category. From Babyface championing some of today's most promising female R&B vocalists, to Monét and Jones finding their unique voices and King and Walker's beautiful solace in heartbreak, it's anyone's game.

Ahead of the 2024 GRAMMYs on Feb. 4, 2024, get to know the five nominees for Best R&B Album. 

Babyface - Girls Night Out

R&B legend and 11-time GRAMMY winner Babyface didn't set out to make a sequel to 1996's beloved Waiting to Exhale 's soundtrack — which boasts vocal contributions from Whitney Houston , Brandy , Toni Braxton , Mary J. Blige , TLC , and Aretha Franklin , to name a few.

Still, his 2022 album Girls Night Out drew plenty of comparisons to the now-iconic OST due to its all-female lineup. The record features some of the leading ladies from R&B's new class , including Ari Lennox , Muni Long , Kehlani , Queen Naija, and fellow nominee Coco Jones (more on her later). His "Keeps on Fallin'" collab with Ella Mai received a nod for Best Traditional R&B Performance at the 2023 GRAMMYs .

As the Girls Night Out title suggests, Babyface takes a backseat and lets the women shine. While each lends their own signature style, the result is a cohesive body of work under Babyface's mentorship.

Despite having 125 Top 10 writer/producer credits to his name, the 64-year-old music veteran admitted to studying the current R&B landscape before joining forces with some of the genre's brightest and best. His homework is perhaps most reflected in "Game Over," "Don't Even Think About It," "G Wagon," and the title track.

"I needed to learn how people spoke and how melodies are different," Babyface told GRAMMY.com in early 2023. "I have a much clearer understanding of today's R&B because there is a difference, and it's not necessarily a difference that's any better or any worse. It's just a difference in terms of time, and that's what made the process enjoyable to me."

Coco Jones - What I Didn't Tell You (Deluxe)

Coco Jones is living proof that staying the course pays off. With co-signs from Janet Jackson and Beyoncé , Jones started recording demos at just 9 years old and released music independently for nearly a decade after parting ways with Disney in 2014.

Fast forward to 2023, a jam-packed year of exciting firsts for the former Disney Channel prodigy. The platinum-selling single "ICU" off Jones' debut EP, What I Didn't Tell You , became her first Billboard Hot 100 chart entry and first No. 1 on the Mainstream R&B/Hip Hop Airplay chart . Plus, the 25-year-old embarked on her first headlining tour, which kicked off on Aug. 5. And now, her first GRAMMY nomination.

Released in the second half of 2022, What I Didn't Tell You sees the Bel-Air star returning to music roots in a big way and leaning into her starpower with "Crazy for Me," "Spend It," "Headline," and the SWV -sampling "Double Back" emerging as standouts in addition to breakout hit "ICU."

In typical R&B fashion, What I Didn't Tell You takes listeners through the mixed bag of emotions brought on by love. But longtime fans may notice something's different this time around. For instance, lyrics like "This here is top shelf, I know you're thirsty / Run up a tab so you can get every drop of me" from "No Chaser" are delivered with a level of confidence that's only attained through real-life experiences.

The deluxe version of What I Didn't Tell You features four extra tracks, including her "Simple" duet with Babyface . With the 2024 GRAMMYs inching closer, Jones is clearly manifesting what could end up being her first-ever win. "That photo of Beyoncé, where she's holding several GRAMMYs — I put my face on there," she recently told the Los Angeles Times . "And then I zoomed in on a GRAMMY, and wrote Coco Jones."

Emily King - Special Occasion

"This year's gonna be about me / Never will I have another reason to doubt me," Emily King declares on "This Year," the opening track off her fifth studio album, Special Occasion .

The song itself sees King picking up the pieces of a broken heart, but on a larger scale, it's a sincere manifestation of good things to come.

All 11 tracks on Special Occasion embody the end of King's nearly 15-year relationship with Jeremy Most , who doubled as her longtime musical collaborator. As King told NPR , the record is more than a breakup album; it's a collection of "songs that project out into the future of who I want to be."

Born to jazz singers in New York City, King's talent caught the attention of Clive Davis at just 18 years old, landing a deal with the legendary executive's J Records. In 2008, her debut album, East Side Story , garnered a GRAMMY nomination for Best Contemporary R&B Album. Around the same time, King toured with John Legend , Alicia Keys, and Erykah Badu . However, the then-newcomer grew dissatisfied with the music that was supposed to represent her and J Records dropped her soon after. "I had made compromises creatively," King, now 38, told " CBS Mornings ."

So, receiving another GRAMMY nod (her fourth in total) in a similar category for music that she's creating on her terms must feel full-circle and validating as an artist.

While cuts like "Bad Memory" and "Easy" evoke regret and sadness, there's also great moments of joy sprinkled across Special Occasion . "Brand-new kicks and my old Jeep / Windows down, catch the summer breeze / Music loud on the stereo / Cuties passing, wave hello," she croons.

In all the complexities and nuances heard throughout the sonic journey that is Special Occasion lies King's most honest work to date.

Victoria Monét - JAGUAR II

Victoria Monét is finally getting the spotlight she deserves. After years spent penning hit songs for artists like Ariana Grande , Chloe x Halle , and BLACKPINK , Monét's debut studio album, JAGUAR II, was met with much acclaim when it arrived on Aug. 25.

Earlier in August, the 34-year-old set social media ablaze when she dropped the Y2K nostalgia-laced visuals for "On My Mama," the third single off JAGUAR II and her highest-charting single on the Billboard Hot 100 so far.

Ironically, the feel-good anthem was conceived while Monét experienced postpartum depression a couple months after welcoming her first child in 2021. "It came while I was in a place of disbelief in what I was actually saying. So it's almost like I had to speak it into existence," she told Apple Music 1 .

For much of the sonic cohesion heard throughout JAGUAR II , Monét entrusted two-time GRAMMY winner D'Mile , who counts Beyoncé and JAY-Z , along with Bruno Mars and Anderson .Paak 's Silk Sonic as collaborators . In its entirety, Monét’s record makes the perfect soundtrack for family reunions and cookouts. Songs like "Good Bye," "How Does It Make You Feel," and "Hollywood," which features Earth, Wind & Fire and Monét's two-year-old daughter Hazel's first laugh, are such ethereal nods to '70s music that it's easy to mistake the album for a time machine.

Monét's future looks brighter than ever, as evidenced by her sold-out debut headlining tour and celebratory deal with RCA Records.

"I feel really excited to just be able to share these parts of myself with the world, while not trying to put too much pressure on expectations, but of course I do want the accolades," she told GRAMMY.com in 2020. "I have GRAMMY dreams, I have award show performance dreams, I have world tour dreams. But really just being able to make music a career, and doing what I love — it’s a privilege."

Summer Walker - CLEAR 2: SOFT LIFE EP

Summer Walker's rise has been both fascinating and inspiring; she's come a long way since teaching herself to play guitar through YouTube tutorials and running her own cleaning business in her early 20s.

Her debut album, 2019's Over It , narrowly missed the top spot on the Billboard 200 chart but birthed her breakthrough hit, "Playing Games," whereas her 2021 sophomore effort, Still Over It, debuted at No. 1 on the Billboard 200 . It also holds the record for the most streamed R&B album by a female artist since Beyoncé's Lemonade .

Fast forward a couple years later, and Walker is celebrating her first solo GRAMMY nomination thanks to her latest EP, CLEAR 2: SOFT LIFE — featuring production from Solange , Steve Lacy , Jay Versace, and John Carroll Kirby .

On the diaristic, neo soul-coded project, Walker is as raw, vulnerable, and introspective as ever. "Tired of seein' all these, all these / Spanish and these white bitches / Livin' they soft life with they feet kicked up," she sings in "Hardlife." Elsewhere, the spoken-word piece "Agayu’s Revelation" sees Walker taking accountability and prioritizing inner work over toxic relationships ("Stop workin' with people who are made of glass if you are made of steel").

One of the nine-track EP's highlights belongs to opener "To Summer, From Cole (Audio Hug)." On the track, which brought Walker to tears , J. Cole pens a heartfelt verse uplifting and affirming  the mother of three. "I find it amazing the way that you juggle your kids, the biz, the fame / The bitches that's hatin', they sit around / Waitin' for you to fall off, like the album I'm makin,'" J. Cole raps over a minimalistic beat. "Between the hectic sounds of your precious baby crying / Do you clear your mind? Must be a lot goin' on."

"To Summer, From Cole" particularly stands out considering the singer's openness surrounding her social anxiety disorder and failed relationships, along with the fact that more Black women are  breaking up with the strong Black woman archetype and embracing their "soft era" instead. As Walker noted to Apple Music , "I'm really loving life right now, enjoying this new outlook on life, loving the new me, loving my kids, and not letting life pass me by anymore." The "soft life" suits her well.

The Recording Academy and GRAMMY.com do not endorse any particular artist, submission or nominee over another. The results of the GRAMMY Awards, including winners and nominees, are solely dependent on the Recording Academy’s Voting Membership.

Here Are The Nominees For Best Rap Song At The 2024 GRAMMYs

Get a deeper look into the five tracks from Doja Cat, Nicki Minaj and Ice Spice, Lil Uzi Vert, Drake and 21 Savage, and Killer Mike, André 3000, Future and Eryn Allen Kane that earned the Best Rap Song nod at the 2024 GRAMMYs.

Rap music has changed a lot since the Best Rap Song category was introduced at the 2004 GRAMMYs . Most of the first year's nominees, even if they're still making music, now spend the majority of their time on things like making hit TV shows or running iconic fashion brands .

But the category, then and now, has its finger on the pulse; it gives us a cross-section of what makes hip-hop so important to so many people. The Best Rap Song nominees for the 2024 GRAMMYs are no different. The Category includes a pop princess taking a big left turn; two New Yorkers paying tribute to the greatest of all dolls; a Philly rapper taking us to the club; a duo who can't stop flexing on us; and a Dungeon Family reunion that spans generations. 

Below, take a deep dive into the five tracks up for Best Rap Song at the 2024 GRAMMYs.

Attention" — Doja Cat

Rogét Chahayed, Amala Zandile Dlamini & Ari Starace, songwriters (Doja Cat)

"Attention" marked a new era for Doja Cat — one where she moved away from the pop sounds that made her famous, and into something harder and more aggressive.

In the weeks leading up to the track's release, Doja called her earlier rapping attempts "mid and corny" and referred to the music that broke her into the big time as "mediocre pop." So it only made sense that her big statement single would be exactly that — a statement. 

The beat by Rogét Chahayed and Y2K has a drum loop that wouldn't sound out of place on Ultimate Breaks and Beats , and Doja lets the world see her inner hip-hop fan with some serious rapping — no mid or corny verses here. This is the Doja who can quote underground faves like Homeboy Sandman and Little Brother at the drop of a hat . 

"Attention" finds Doja addressing her often-contentious relationship with fans and social media, as well as the controversies she went through leading up to the song's release. But the whole thing is playful and ambiguous. Does she want the world's attention, now that she has it? What is she willing to do to keep it? In this song — and even more so in its video — Doja plays with these questions like a truly great superstar.  

"Barbie World" [From Barbie The Album] — Nicki Minaj & Ice Spice Featuring Aqua

Isis Naija Gaston, Ephrem Louis Lopez Jr. & Onika Maraj, songwriters (Nicki Minaj & Ice Spice Featuring Aqua)

Aqua's "Barbie Girl" was too sexy for Mattel when it was released in 1997 — the company sued the band , claiming that people would associate lyrics like "Kiss me here, touch me there" with their wholesome children's toy. So it's both ironic and, given the post-irony tone of the movie itself, somehow fitting that "Barbie Girl" is sampled in a major song from the new Barbie movie.

And who better to bring Barbie to life in rap form than the head of the Barbz? Soundtrack producer Mark Ronson said that there was no way to have a Barbie soundtrack without Nicki Minaj, and he was absolutely right. Nicki, with her career-long association with Mattel's most famous toy, was the perfect choice. Joining her on the track is the hottest rapper of the moment, Ice Spice. Ice's go-to producer RiotUSA did the music for the song, which accounts for both its aggressive drums and its sample drill -style use of the once- verboten Aqua hit. 

Nicki and Ice have great chemistry in the song. Nicki doesn't treat the song like a movie soundtrack throwaway — her rhyming is clear, sharp, layered, and funny. And she gets extra points for referring to a bob-style wig as her "Bob Dylan."

"Just Wanna Rock" — Lil Uzi Vert

Mohamad Camara, Javier Mercado & Symere Woods, songwriters

Lil Uzi Vert took "Just Wanna Rock" from TikTok all the way to the GRAMMYs.

The track began as a snippet on the social media app, where it went viral, garnering hundreds of millions of views; even celebrities like Kevin Hart got into the act . When the actual song came out, at just about two minutes long, it wasn't much longer than a TikTok video. But it didn't need to be — the full track kept all the joy and danceability of the memeable excerpt.

"Just Wanna Rock" features Uzi acting as an MC, but not in a traditional going-for-the-cleverest-rhyme way. Instead, his voice is used more for its rhythmic qualities, darting in and out of the four-on-the-floor pounding of the kick drum with short, punchy phrases. "I just wanna rock, body-ody-ya" may not look like much on the page, but it's placed perfectly, and it's the kernel that blossoms into the rest of Uzi's performance.

He takes the rhythm of that initial phrase and plays with it throughout in increasingly intricate ways, while never losing sight of the source material. The song is heavily influenced by the Jersey club sound that has been all over hip-hop this year. As the most popular rap/Jersey club crossover of 2023, it makes perfect sense that "Just Wanna Rock" is in the running for Best Rap Song — even if it is unfinished .

"Rich Flex" — Drake & 21 Savage

Shéyaa Bin Abraham-Joseph, Charles Bernstein, Isaac "Zac" De Boni, Brytavious Chambers, Aldrin Davis, Aubrey Graham, J. Gwin, Clifford Harris, Gladys Hayes, Anderson Hernandez, Michael "Finatik" Mule, Megan Pete, B.D. Session Jr & Anthony White, songwriters

Simon and Garfunkel. Sam and Dave. Hall and Oates. To that list of great duos, it might be time to add Drake and 21 Savage. Seven years after their first collaboration, Toronto and Atlanta's finest finally got together for a full-length project in 2023, and Her Loss standout (and opener) "Rich Flex" is now up for an award on Music's Biggest Night.

"Rich Flex," like much latter-day Drake , has multiple beats. But in this case, that adds to the song's playful mood. Drizzy and 21 sound like they're actually having fun — Drake even playfully lapses into a sing-songy, nursery rhyme-esque melody on occasion. Savage, for his part, seems to be having a blast interpolating Megan Thee Stallion's "Savage" — a move which earned the Houston rapper a writing credit on the track. 

Drake, as in a lot of his recent work, seems consumed with the costs of fame: haters everywhere you look, hangers-on who make your house feel like a hotel; women who won't leave you alone; unwanted attention from law enforcement. But he almost never sounds this engaged, even joyful, when addressing these topics. Maybe what he needed all along was a duet partner. 

"Scientists & Engineers" — Killer Mike Featuring André 3000, Future And Eryn Allen Kane

Paul Beauregard, Andre Benjamin, James Blake, Tim Moore, Michael Render & Dion Wilson, songwriters

It was Andre 3000's first appearance on a song in two years that got all the attention at first. But there's a lot more to "Scientists & Engineers" than the fact that the reclusive half of OutKast shows up.

For one thing, it's what he shows up with . Andre's verse is smart, well-observed, poetic, and somehow manages to change focus completely in the middle and yet still hold together as an artistic statement.

But he's far from the only talent on the song. The track is a veritable all-star fest — not for nothing did Killer Mike call it a "hip-hop fantasy." On the music side, there are contributions from legendary producers No ID and Three 6 Mafia's DJ Paul, hip-hop's favorite singer/songwriter James Blake, and TWhy. Singer Eryn Allen Kane adds her gorgeous vocals. And Future, who lest we forget, began his career as a "second generation" member of the Dungeon Family collective that included OutKast and Mike, adds his patented boastful vulnerability.

Then there's Mike himself. He needed to bring a stellar performance in order not to be buried by all his very special guests, and he more than pulls it off. "I am Thelonius Monk in a donk ," he rhymes, and the combination of the innovative jazz legend and the classic car with big rims perfectly describes not only him, but the entire mood he sets with this song.

Photos: Todd Owyoung/NBC via Getty Images; TiVO; Prince Williams/WireImage; Todd Owyoung/NBC via Getty Images

Here Are The Nominees For Best African Music Performance At The 2024 GRAMMYs

The five nominees for the inaugural Best African Music Performance at the 66th GRAMMY Awards signal the commercial and cultural prowess of the continent’s music.

No matter who takes home the GRAMMY for Best African Music Performance, they’ll be making history in the process. One of three newly-added categories for the 2024 GRAMMYs, the award is a breakthrough for the African music industry, signaling the commercial and cultural prowess of the continent’s music.

"Giving African music its own category would highlight and celebrate the diversity and richness of Africa," Shawn Thwaites, project manager at the Recording Academy, said in a roundtable about the new category . "This is a great step forward!" 

African musicians have a long history at the GRAMMYs, from Ali Farka Touré to Wizkid . Artists of any African musical style can gain a nomination, whether they make Ethio-jazz, Ghanaian drill, high life, or kwassa. This year, however, one genre’s stars are shining particularly bright: Nigerian Afrobeats stars Burna Boy , ASAKE, Davido, and Ayra Star all netted nominations. 

And yet, this can’t be said to have been a conventional year for Afrobeats. The genre’s best and brightest have embraced the sensual, pulsating sound of amapiano, the South Africa-born house offshoot that has taken clubs from London to Lagos by storm. Three of the five tracks nominated take stylistic cues from amapiano, with ASAKE even namechecking the genre in the title of his nominated track. Meanwhile, South African Tyla’s blend of ama and R&B shows the pervasive nature of piano power across the field. 

Learn more about the nominees below, and see who takes the pioneering award during the 2024 GRAMMYs, held on Sunday, Feb. 4. 

"Amapiano"- ASAKE & Olamide

There are more established artists in this field, but none feel as momentous as Asake, whose rapid rise to fame feels at times like the Afrobeats equivalent of Beatlemania. Thanks to his deeply charismatic persona and spectacular stage presence , he’s become massively popular with just two albums under his belt. And speaking of spectacle, earlier this year he became the fourth Nigerian artist, behind Wizkid, Davido, and Burna Boy, to sell out London’s O2 Arena, entering on a helicopter.

The key to his appeal lies in his embrace of sounds from all over the continent, especially amapiano. His album Work of Art mixes the popular Afro-house offshoot with Mauritian séga music as well as fújì , an Indigenous Yoruba genre from Nigeria. 

"Amapiano" works as both a statement on the title genre’s popularity and a subtle flip on its conventions, rearranging elements such as the iconic log drum and combining them with dynamic rapping from Asake and featured artist Olamide. The song’s hook — "Steadily, steadily, heavily, we are getting lit" — is especially irresistible. 

" City Boys " - Burna Boy

There’s not a bigger star in Afrobeats, or even the whole of Africa itself, than Burna Boy. He nabbed two consecutive Best Global Album GRAMMY nods for his albums Twice as Tall and African Giant , and he’s also collaborated with global stars such as Ed Sheeran and Justin Bieber .

After earning his first UK No. 1 album this year with the classic hip-hop influenced I Told Them… , featuring appearances from 21 Savage , J. Cole , RZA , and GZA , he’s firmly in his imperial era. It’s hard to get away with releasing a track called "Sittin’ On Top of the World" if you’re not doing just that. 

Yet it was "City Boys," that caught the Recording Academy’s attention this year. Produced by MD$ and Ruuben with a sample from Jeremih’s sultry R&B classic "Birthday Sex," the stomping, glamorous track reminiscent of late-’90s Timbaland beats highlights the path of influence from hip-hop to Afrobeats. In the song’s flashy video, Burna Boy rides around the streets of Los Angeles in a yellow Ferrari and matches an iced-out Richard Mille watch with a Wu-Tang Clan durag, paying tribute to hip-hop’s extravagance and braggadocio. The track also topped the UK Afrobeats Singles Chart in September

"UNAVAILABLE" - Davido Featuring Musa Keys  

Asake may have risen to fame based on his embrace of Amapiano, but Davido has been boosting the genre for even longer. Back in 2021 he joined forces with amapiano DJ and MC Focalistic on "Champion Sound," giving the style a crucial early foothold into the Afrobeats scene.

"Champion Sound" eventually became the lead single for Davido’s 2023 project Timeless , released after the tragic accidental death of his three-year-old son. It’s a record dominated by the forward momentum of Amapiano beats, and "UNAVAILABLE," the GRAMMY-nominated single from the album, is no exception. A brighter, smoother take on the sound with triumphant choral vocals on the hook, it features confident verses from Davido and collaborator Musa Keys. 

Considered one of Afrobeats’ big three along with Burna Boy and Wizkid, Davido first broke onto the scene in 2012. He’s since dueled with the other two artists for records and chart placements, such as Timeless beating Burna Boy’s album Love, Damini as the biggest debut for an album on Spotify Nigeria earlier. The album also gained the most single-day streams for any African album on Apple Music. 

"Rush" - Ayra Starr

With an anthemic tone reminiscent of Rihanna ’s "Diamonds," Ayra Starr’s track was boosted up the global charts thanks to TikTok virality. Born in French-speaking Benin to Nigerian parents, the 21-year-old moved frequently during childhood, eventually ending up in Lagos to pursue music.

After a brief stint in modeling, she signed to the star-making Mavin Records label in 2020, only their third female act. This nomination is only the latest accolade for her: she’s already earned three Nigerian number one singles, a feature on Wizkid’s track "2 Sugar," and a spot on the soundtrack to Creed III . 

"Rush" is all about staying focused and grinding towards success. Starr sings about the cutthroat nature of the working world with determined fierceness: "Me no get the time for the hate and the bad energy / Got my mind on my money." The track may have a distinctive Afrobeats clave rhythm and Nigerian pidgin lyrics, but its glimmering synths recall early 2010s electro-pop from the likes of Robyn or Carly Rae Jepsen . 

"Water" - Tyla

The youngest nominee on this list and the lone South African artist, 21-year-old Tyla is already a star in her home country, having been nominated for two South African Music Awards.

With "Water," the lead single from her upcoming debut EP, she also became the first solo musician from South Africa in 55 years to chart on the Billboard Hot 100 . Largely driven forward by a popular TikTok challenge, the song debuted at 67 and has peaked at 21 so far. 

It’s easy to see the crossover appeal of "Water," which could be mistaken for an American pop song if not for the sweltering Amapiano instrumental underneath. Singing entirely in English, Tyla’s vocal delivery brims with confidence and desire, especially over the chorus — "Make me sweat, make me hotter, make me lose my breath, make me water" — while the song’s sweltering video turns up the heat further. 

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.  

How To Watch The 2024 GRAMMYs Live: GRAMMY Nominations Announcement, Air Date, Red Carpet, Streaming Channel & More

• 1 2024 GRAMMY Nominations: See The Full Nominees List
• 2 Here Are The Nominees For Best Pop Dance Recording At The 2024 GRAMMYs
• 3 Here Are The Nominees For Best R&B Album At The 2024 GRAMMYs
• 4 Here Are The Nominees For Best Rap Song At The 2024 GRAMMYs
• 5 Here Are The Nominees For Best African Music Performance At The 2024 GRAMMYs