The 2025 GRAMMYs, officially known as the 67th GRAMMY Awards, will air live on CBS and Paramount+ on Sunday, Feb. 2. Watch highlights from the 2025 GRAMMYs on live.GRAMMY.com.

The 2025 GRAMMYs telecast will be reimagined to raise funds to support wildfire relief efforts and aid music professionals impacted by the wildfires in Los Angeles. Donate to the Recording Academy's and MusiCares' Los Angeles Fire Relief Effort To Support Music Professionals.

The Record Of The Year Category honors some of the year's biggest recordings — and at the 2025 GRAMMYs, the nominees are hits by a mix of newcomers and superstars.

Throughout the past year, Billie Eilish, Sabrina Carpenter, Charli xcx, and Chappell Roan proved why they're at the top of pop's current class. The Beatles and Kendrick Lamar both cemented their respective legacies, while Beyoncé and Taylor Swift continue to challenge their own musical boundaries.

With a range of unforgettable music moments, there's no telling who will take home the golden gramophone for Record Of The Year — which is awarded to the artist and the producer(s), recording engineer(s) and/or mixer(s) and mastering engineer(s) — at the 67th Annual GRAMMY Awards. But one thing is for sure: the eight nominees make for quite an exciting contest.

Check out the nominees below and read the full 2025 GRAMMYs nominations list ahead of Music's Biggest Night on Sunday, Feb. 2, 2025.

It can take years for an artist to work on their masterpiece. In the Beatles' case, the journey of "Now And Then" took 45 years. John Lennon originally wrote the demo in the late '70s. It's a mournful, piano-backed confession: "I know it's true/ It's all because of you/ And if I make it through/ It's all because of you."

The song remained unfinished long after Lennon's tragic 1980 passing, but — in a powerful act of love — his bandmates completed it for him. Paul McCartney enlisted Giles Martin (the son of Beatles' former producer and longtime collaborator George Martin) as the song's co-producer, using Lennon's original 1977 demo, George Harrison's guitar melodies from the 1995 Anthology sessions, and Ringo Starr's drumming and backing vocals from 2022. "Now And Then," which marked the Beatles' 35th top 10 single on the Billboard Hot 100, is a tearful close to the band's legacy. 

"Obviously, it hasn't been, but it sounds like John's written it for Paul now, in a very emotional way," Martin told Rolling Stone. "It's a bittersweet song, which is very John. But with a combination of happiness and regret." 

McCartney never gave up on the song, which is a testament that true friendship never dies.

Beyoncé — "TEXAS HOLD 'EM"

After shimmying underneath a disco ball for 2022's GRAMMY-winning RENAISSANCE, Beyoncé wanted to keep the dance party going on 2024's COWBOY CARTER — except this time around, she traded Studio 54 for a honky-tonk. But "TEXAS HOLD 'EM," the album's joint lead single alongside "16 CARRIAGES," is much more than an instructional hoedown.

The 32-time GRAMMY winning icon has long incorporated African American history in her music, and "TEXAS HOLD 'EM" is no different. The single, like many tunes on COWBOY CARTER, is rooted in liberation. Country music is the backbone of America, but its roots in Black culture are often hidden. With "TEXAS HOLD 'EM," Beyoncé lifts the veil off the genre's true history by celebrating both her Houston heritage and the Black country artists that paved the way for her.

The song's message is clear, but it's balanced by playful melodies, Beyoncé's signature stacked harmonies and a plucking banjo (played by Rhiannon Giddens, an advocate for the reclamation of country music instruments by Black musicians). While Beyoncé is no stranger to chart-topping hits ("TEXAS HOLD 'EM" is her ninth solo No. 1 single on the Hot 100), she made history as the first Black woman to score a No. 1 on Billboard's Hot Country Songs chart.

Sabrina Carpenter does whimsy so well. Chalk it up to her Disney Channel roots, but the singer's innate ability to craft an earworm is why she's skyrocketed as one of the biggest pop stars of the new generation. "Espresso," the lead single from 2024's Short n' Sweet album and unofficial song of the summer, encapsulates Carpenter's irresistible charm.

"The song is kind of about seeing femininity as your superpower, and embracing the confidence of being that b—," she told Vogue in April. 

That confidence is found all throughout "Espresso," from her cooing vocals to her cheeky songwriting ("I can't relate to desperation/ My give-a-f—s are on vacation"). Topped off by an irresistibly catchy, undulating chorus, "Espresso" helped Carpenter reach several career milestones that kickstarted a year full of them — including her first GRAMMY nominations.

Charli xcx has long been one of the coolest girls in pop, and her sixth album brat cemented that fact. On "360," the album's second single, the British star not only acknowledges her own cool factor, but of those around her. Produced by longtime collaborator A. G. Cook, the song trades in the producer's signature exaggerated hyperpop sonics for more minimalistic synths that complement Charli's auto-tuned vocals.

"I went my own way and I made it/ I'm your favorite reference, baby," Charli xcx exclaims on the cocky opening line before comparing herself to friends like model/musician Gabbriette and actress Julia Fox. "360" is a cheeky reflection of the ever-growing digital era, giving fellow internet "It" girls an anthem for the ages.

Billie Eilish — "BIRDS OF A FEATHER"

The beauty of Billie Eilish's artistry is in her vulnerability. For the nine-time GRAMMY winner's third album HIT ME HARD AND SOFT, she pushed herself into her deeper territories with the assistance of her brother and go-to collaborator FINNEAS.

Second single "BIRDS OF A FEATHER" best exemplifies the album title's meaning in both its tenderness and desperation. It was initially intended to be a traditional love song, but given the siblings' unorthodox track record, they couldn't resist making it slightly untraditional: "I want you to stay/ 'Til I'm in the grave/ 'Til I rot away, dead and buried/ 'Til I'm in the casket you carry," Eilish sings on the opening verse in her signature whisper. 

Even with the juxtaposing lyrics, the song's airy production and wistfully gauzy synths still make for a beautiful, adoring statement piece. And the heartfelt sentiment paired with Eilish's breathy vocals quickly made "BIRDS OF A FEATHER" the biggest hit from HIT ME HARD AND SOFT, already garnering nearly 1.5 billion Spotify streams as of press time.

Branding Kendrick Lamar's "Not Like Us" as merely a diss track would be doing it a disservice. The 17-time GRAMMY winner's tune is not just a rap song, but a cultural phenomenon. A seething finale to his (very public) feud with Drake, "Not Like Us" is a triumphant win for both Lamar and rap music as a whole.

Atop a buzzing sample of Monk Higgins' 1968 "I Believe to My Soul" cover, Lamar delivers slick wordplay and calls out Drake's presumed cultural appropriation of Southern rap: "You run to Atlanta when you need a few dollars/ No, you not a colleague, you a f—in' colonizer."

Following its release, the song took on a life on its own: tennis icon Serena Williams (Drake's alleged former lover) crip walked to the track at the 2024 ESPY Awards, Megan Thee Stallion and Janet Jackson incorporated it into their concerts, and many national sports leagues used it in their game broadcasts.

Drama aside, "Not Like Us" — which also scored a Song Of The Year nomination — is a celebration of West Coast hip-hop. Lamar, a proud Compton native, enlisted Los Angeles-born DJ Mustard to produce the track. The chopped-up sample is inspired by Oakland's "hyphy" rap subgenre, while Lamar exaggerates his already-animated cadence, paying homage to late Los Angeles rapper Drakeo the Ruler. While "Not Like Us" is a targeted diss, it's also a reminder of California's historical impact on rap — and Lamar's place within that legacy.

Chappell Roan grabbed the world's attention with her bombastic interpretation of baroque pop and her knack for highlighting queer romance. "Good Luck, Babe!," April's breakout hit following her 2023 debut LP, The Rise and Fall of a Midwest Princess, ushered in a new chapter.

The song discusses compulsory heterosexuality, as Roan sings about a woman she's dating who tries to deny her feelings for Roan: "You can kiss a hundred boys in bars/ Shoot another shot, try to stop the feeling." 

"I knew exactly what I wanted. I wrote it in three minutes," Chappell Roan told Rolling Stone of the song's creation, which she co-wrote alongside Daniel Nigro and Justin Tranter. "I felt so much anger. I was so upset. It all came out and I didn't add anything when I wrote it all done. It was a perfect storm."

The anger definitely explodes on "Good Luck, Babe!," with Roan channeling '80s divas like Kate Bush and George Michael. The singer's goal was to make a "big anthemic pop song," and "Good Luck, Babe!" soared beyond all expectations.

Taylor Swift Feat. Post Malone — "Fortnight"

Despite nailing a formula that has made her one of the biggest pop stars of all time, Taylor Swift is still willing to take risks.

"Fortnight," from the 14-time GRAMMY winner's The Tortured Poets Department, serves as both the LP's first single and opening track. The chart-topping smash introduces the album's moodier tones, telling the story of a woman in an unhappy marriage who is now the neighbor to her ex-lover and his new wife. 

Atop '80s-inspired electropop synths courtesy of longtime collaborator and co-producer Jack Antonoff, the lyrics are unexpectedly dismal for Swift: "I took the miracle move-on drug, the effects were temporary/ And I love you, it's ruining my life." Featured artist Post Malone then sweeps in with his melancholic harmonies, giving more emotional weight to Swift's brilliant storytelling.

As days get brighter and longer halfway into March, there’s practically no end to the new music being released to soundtrack your spring. 

Nearly half a decade after their last album, HAIM kick off a new era of music with "Relationships" (and get some hunky help from actor Drew Starkey for the single’s music video). Plus, Frankie Grande makes his own bid for pop stardom on his major label debut single "Rhythm of Love," while Calvin Harris lets his voice shine on the harmonica-heavy "SMOKE THE PAIN AWAY."

Meanwhile, Gwen Stefani adds a few more flowers to her fourth solo album Bouquet with a deluxe edition containing bonus cut "Still Gonna Love You" (as well as an entire second all-acoustic disc). Peso Pluma drops new single "RARI" in the wake of his recently released short film 14-14.

Below, dive into 10 more new releases worth checking out including Chappell Roan’s long-awaited follow-up to "Good Luck, Babe!," a surprise single and music video from Lil Nas X, a new EP from LE SSERAFIM and more.

Four months after debuting her unreleased track "The Giver" on "Saturday Night Live," Chappell Roan has finally gifted fans the official studio version. The country song marks her first new release since the majestic 2024 one-off "Good Luck, Babe!"

Of course, between that rowdy November performance and release day, the Midwest Princess has become a certified GRAMMY winner and 2025 Best New Artist. True to form, Roan isn’t afraid to be completely herself while exploring new genres. On "The Giver," she slyly line dances her way around the innuendo-laden invitation at the center of the song’s sapphic come-ons. 

"Ain’t got antlers on my walls/ But I sure know mating calls/ From the stalls in the bars on a Friday night," she promises with a wink before confidently crowing, "Ain’t no need to hurry/ ‘Cause baby, I deliver/ Ain’t no country boy quitter/ I get the job done."

Read More: Chappell Roan's Road To Best New Artist: 9 Milestones That Led To Her GRAMMY Win

Anitta shows off the personal side behind her larger-than-life stage persona on "Larissa," taken from the soundtrack to her newly released Netflix documentary, Larissa: The Other Side of Anitta.

The Brazilian star (born Larissa de Macedo Machado) pairs a laid-back vocal with skittering, upbeat production as she tells a new flame, "I woke up with you in this hotel/ How did we get there?/ Oh, tell me, how do we leave? If you want, stay so you can understand/ How we got here and how well we fit." The track’s music video features documentary and home footage of the two-time GRAMMY nominee spending time at home, skiing in the mountains, happily dancing on the balcony of a tropical hideaway and more. 

Listen: Love Anitta? Check Out These 6 Brazilian Female Artists Rising To Global Stardom

LE SSERAFIM keep the temperature rising on their new EP, HOT, which arrives just one month before the K-pop girl group is set to embark on their very first world tour and concludes the trilogy they started last year with fellow mini-albums EASY and CRAZY.

From the start of spoken word opener "Born Fire," Sakura, Kim Chaewon, Huh Yunjin, Kazuha and Hong Eunchae commit to the EP’s fiery concept — whether they’re smoldering about being "burning hot" on the title track or preparing to rise like the phoenix after setting everything ablaze on the atmospheric midtempo ballad "Ash."

Read More: Meet LE SSERAFIM, The K-Pop Group Nile Rodgers Chose For His First Foray Into The Genre

Lil Nas X capped off a week of teasing his upcoming sophomore album DREAMBOY with the flirtatious new single "HOTBOX." Putting his floating falsetto to good use, the rapper leaves little to the imagination as he gleefully sings, "Hit me with your lovin’/ Boy, I know you wanna/ Pick me up and f— me/ I’ll be waitin’ on ya." 

The weeklong blitzkrieg (which kicked off with the LP’s title track and also includes surprise songs "BIG DUMMY!","SWISH" and "RIGHT THERE!") has been positively pretty in pink, with Lil Nas X posing as a different, muscled-up doll on the cover of all five singles. The Elias Talbot-helmed music video for "HOTBOX" is no exception as he channels both Ken and Sharpay Evans in equal, fabulous measure.

Watch: How Lil Nas X Turned The Industry On Its Head With "Old Town Road" And Beyond | Black Sounds Beautiful

Davido revels in his role as one of the brightest Afrobeats stars on the global stage on "Be There Still." Featured on his upcoming fifth album — the appropriately titled 5ive — the song gives the Nigerian singer plenty to celebrate as he croons, "I want to have it all/ Still define my result/ Na God dey bless me all the way/ Twelve years, I’m still on top/ And my cup runneth over."

Though fans will have to wait until April 18 to hear the entire studio set, "Be There Still" follows in the footsteps of fellow 5ive-era singles "Awuke" with YG Marley and"Funds" featuring Odumodublvck and Chike.

Listen: 10 Afrobeats Songs Turning 10 In 2025: Wizkid’s "Ojuelegba," Olamide’s "Bobo" & More

For Coheed and Cambria’s landmark tenth album, frontman Claudio Sanchez decided to forgo the band’s characteristic sci-fi-fueled prog rock for a series of songs that are more autobiographically meta. The rocker examines his role in crafting the fictional universe eight of the band’s previous nine albums inhabit on "Play the Poet" and even fantasizes about leaving Coheed and Cambria behind on pop-punk rager "Goodbye, Sunshine." 

In addition to previously released singles like "Searching For Tomorrow" and "Someone Who Can," The Father of Make Believe also concludes with an epic 20-minute closer divided into four separate movements: "The Continuum I: Welcome to Forever Mr. No…," "The Continuum II: The Flood," ‘The Continuum III: Tethered Together" and "The Continuum IV: So It Goes."

Fresh off his GRAMMY-nominated 2024 album $10 Cowboy, Charley Crockett enlisted Shooter Jennings to co-produce his follow-up LP, Lonesome Drifter. The release was recorded live with minimal overdubs, with the pair attempting to capture, as they said in a statement, "the magic of performance on tape."

Throughout the 12-track journey, Crockett tips his well-worn cowboy hat to a diverse set of influences. The spirit of Waylon Jennings, Woody Guthrie, Bill Withers and Bob Dylan appear on twangy yarns like "Night Rider," "The Death of Bill Bailey," "One Trick Pony" and closer "Amarillo By Morning."

Read More: Country & Western's New Generation Is Defiantly Of The Moment: Meet Charley Crockett, Colter Wall, Sierra Ferrell, Bella White & Others

SEULGI continues her solo career outside of Red Velvet with the release of her second mini album, Accidentally On Purpose.

Released on March 10, the six-track collection kicks off with infectious opener "Baby, Not Baby," whose music video depicts the K-pop idol becoming more and more hilariously, ahem,batty after a mission to give out free hugs at the mall goes embarrassingly awry. The EP also includes downbeat bop "Better Dayz," the dreamy, elastic bounce of "Rolling (With My Homies)," Korean-language ballad "Praying" and more. 

Carly Pearce expands on her 2024 album Hummingbird with the deluxe release of hummingbird: no rain, no flowers. The original LP’s lead single, "we don’t fight anymore," earned the country singer and collaborator Chris Stapleton a GRAMMY nomination for Best Country Duo/Group Performance, and now she’s continued the era with a trio of bonus tracks and two acoustic re-workings of "oklahoma" and "things i don’t chase." 

Standout cut "if looks could kill" turns the idiom on its head by putting Pearce on the receiving end of a devastating picture she can’t bear to see. "Heart first" serves as a regretful lamentation of a love affair gone toxic, while "no rain" finds the singer putting her troubles into contemplative perspective while drawing the deluxe album’s wistful subtitle from its chorus.

Neal Francis continues his track record of delivering groovy, retro-leaning psychedelic rock on his latest album, Return to Zero. Front-loaded with a trio of collaborations ("Need You Again," "Don’t Wait" and "Broken Glass") with Brooklyn soul act Say She She, the LP is the Illinois native’s first studio release since his 2023 live album, Francis Comes Alive, which was recorded during back-to-back shows at Chicago’s historic Thalia Hall.

Elsewhere on Return to Zero, Francis gets down over a deliciously addictive bass line on "Back It Up" and pounds out a swirling ode to heartbreak on "What’s Left of Me" before teaming up with Carlile on the synth-heavy album cut "Dirty Little Secret."

Watch highlights from the 2025 GRAMMYs on live.GRAMMY.com.

The 2025 GRAMMYs telecast was reimagined to raise funds to support those impacted by the wildfires in the greater Los Angeles area. The Recording Academy and MusiCares launched a dedicated campaign to support affected music professionals, and we need your help. Donate now.

Canadian metal quartet Spiritbox have become the metal band of the moment.  Long known for their collision of blistering metalcore and djent influences against melodic new wave and ethereal goth undercurrents, the quartet are ready to level up to headliner status.

The band's dreamy dissonance made it all the way to Music's Biggest Night, where they received their second nod in the Best Metal Performance Category, this time for "Cellar Door." Now, Spiritbox plan to make even more waves with their second full-length album, Tsunami Sea. 

Tsunami Sea finds them unleashing some of their heaviest music while blending in atmospheric tracks like "Deep End" and the drum ‘n bass-inflected "Crystal Roses." The music feels apropos for a band that has overcome adversity, including the recent death of a former band member and their bassist losing his home in the L.A. wildfires.

Formed by singer Courtney LaPlante and guitarist Michael Stringer in 2015 after they left the band Iwrestledabearonce, Spiritbox released two independent EPs before making their big splash in 2021. Their full-length debut album, Eternal Blue hit No. 13 on the Billboard 200 albums chart and generated significant buzz. Despite a series of touring setbacks due to the pandemic, Spiritbox began converting the masses with their heavy, high energy shows in late 2021. Two more EPs followed: the industrial-laced Rotoscope and the more melodic, twice GRAMMY-nominated The Fear Of Fear.

This is set to be a big year for Spiritbox. The group will embark on a nearly six-week North American tour in April, followed by European festival dates and three shows supporting Linkin Park including one at Wembley Stadium. Ahead of their album release, LaPlante spoke with GRAMMY.com about the band’s recent upheavals, the rising power of women in metal, and a funny case of mistaken identity.

This interview has been edited for brevity.

Women rule pop music, but here are so many women in rock and metal doing cool things. I don't feel like the mainstream media gives them as much love. Do you wonder why that is?

Yeah. There's not a lot of women that get to something other than niche success if they don't have a more traditionally pleasant voice. There isn't really an equivalent, like, Tom Waits in the women's world — someone [whose] singing is more about the character and storytelling, versus technical or pleasing proficiency. 

I wonder if hearing a male or female voice singing over the same passage of music, someone might interpret the heaviness factor differently. It's obviously an experiment that I will never conduct, but I always wonder, Is my male counterpart considered more metal than me if we are doing similar stuff?

Learn more: 5 Women Essential To Punk: Exene Cervenka, Poly Styrene, Alice Bag, Kathleen Hanna & The Linda Lindas

You've previously discussed how there are a lot of women in metal now, but there could be more.

After a certain point, [women and girls] don't really care to get into a party that no one invited them to. I look at it like a cool nightclub — I'm not going to stand outside waiting in line trying to see if the bouncer is going to let me in. I'll go find my own club. If you don't want me there, I'll find somewhere where people want to see me. 

It also comes from when you're a young girl, not really feeling welcome. Like going to a small metal show and having people question why you're there. Things are getting better, but we just have to a higher standard and not care that some bread crumbs were thrown at us. We're trying to eat the steak.

There are some lyrics in Tsunami Sea that really sync up for me. In "Crystal Roses," you sing, "You're an echo of an echo flowing nowhere, buried in a message somewhere out there." Then in "Ride The Wave," you sing, "Ride the wave like a message in a bottle." Is there a connection for you between those songs?

Everything that we've ever made — lyrically and sonically — we think of as a concept album. This album, every song, has to do with each other. The final song is the culmination of everything that I talked about. Instrumentally, every weird 808 sound is actually a sound from the ocean. It's a show don't tell thing. I hope that subtly comes across to whoever is listening.

Lyrically, the album is like an autobiography of what it is to be me, but in my head. I think the environment in which you were raised is so imprinted on how you see the world. When I was 15, I moved to Vancouver Island; that's where I met my husband Michael who’s in my band. Living on an island that was very remote and hard to leave made me feel very isolated due to the career that I hoped to have. It just really shaped a lot of who I am, but I miss it as well. I romanticize this place where I'm from, that when I was there it was holding me back. Then when I'm gone, I romanticize being there because I miss it and I miss my family.

It’s fun watching the "Soft Spine" video – you're doing pop dance moves against these heavy guitars and grooves.

It's just how I am on stage. That's how I express myself when I'm doing that song. I love dancing, and that's how I emote. 

It's also very funny when you think about [how] most of the songs are about me being depressed, then I'm just having fun and dancing on stage. When I'm on stage, I'm playing a character and a lot more relatable. That came through in this video. I was also wearing sensible shoes so I could dance.

Megan Thee Stallion enlisted you guys for the rock remix of her song "Cobra."

I love her. She's someone that I've supported as a fan of her music for a long time now. I got in relatively on the ground floor with her. She's one of the only artists that I've ever stumbled upon and watched them rise up in the industry.

I love seeing and being curious about what other types of music fans think about what we do. Her fans loved it. They are so open-minded because she has such eclectic music tastes. Our fans, and the fans of our genre of metal, thought it was awesome.

You had to cancel two tours that were underway during the COVID pandemic and lost significant money. Brent Smith from Shinedown and the band We Came as Romans offered Spiritbox financial help. I imagine that was pretty vital for you at that point.

These are people that did not know us and just wanted to help somebody because they wanted to pay it forward. The Europe tour was just us taking time off work and knowing it was going to be rough. The [tour supporting] Limp Bizkit was a different level of touring. We went from never having any musical gear to investing in all of that gear, and paying [a space] to rehearse. 

[At that point], we hadn't been together in a year and a half. We played music together like 10 times and never played together again, so we invested so much time and money into that. That was a disaster when that got canceled after three shows.

I was really depressed, then my manager called me and [said], "You know the band Shinedown? Their singer just sent you guys $10,000 from his business manager." We're like, Is this a scam or something? He went out of his way, and he said, "Don't worry about telling anyone. Don't feel like you have to thank me or anything. I just know what that's like to have your investment mess up." I was like, consider this an advance on us opening for you. It was nice that a couple of years later we got to finally work with them and meet them.

We were renting our light package from [We Came as Romans]; that's thousands of dollars for that month. They were just like, "Don't worry about it, you don’t need to pay us." It was just very nice to see such positive people wanting to help out a stranger.

Your bassist Josh Gilbert has had a rough year. He lost his house in the Altadena fire, and then the band went on tour. How has he managed to cope through all of this?

I think that's how he coped. We were like, we gotta cancel all of this. We gotta push our album back. All that other stuff feels so insignificant and selfish. We gave him some time, banded together, and helped each other. We were like, "What do you want to do? We'll do whatever you want."

Josh is very wise. He really knows himself and what he wants. He was like, "I need to do this. I need to go to rehearsal every day. I need to shoot music videos. This is my identity, and I need to not be Josh who lost his house. I need to be Josh, bass player in Spiritbox."

That's what he wanted to do, and we're really grateful. But it's crazy. If you talk to anyone else that's happened to, it feels like a death [to them].

Your former bassist Bill Crook died last year which shocked people.

It was horrible. It was very sudden, and we were on tour. We're so thankful his mom wanted all of his friends to be at his memorial. She moved it to when we were back from tour so that we could go. 

We dedicated our [new] album to him and him alone in the thank you section. This album really is for him, because he grew up in the same place as us and had the same experiences. A lot of what I'm talking about in the album – of the things I deal with and try to overcome mentally – he and I are very similar [there]. 

We wrote all this before he passed, but I wish I could have showed it to him. Every day I miss him so much. This last couple months have been hard for everybody, but we're going to be okay. I think we're going to have a really good year.

On the 2025 GRAMMYs red carpet, another outlet mistook you for Poppy, who was nominated in the same Category. You played along — with a lot of poise and humor.

I don't take anything like that personally. It’s the same if someone asks me a really misogynistic question — I find it so much more valuable to make it a learning experience, or at least have someone else that's about to watch it find some fun humor in it. That person didn't know who I was. They had no reason to know who I was.

I just found that whole process very fascinating and extremely funny, and I was immediately smirking while doing it. I texted [Poppy] right away: I just did an interview as you. I hope that I said all my knowledge correctly.

Editor's Note: This article was originally published on May 15, 2017, and was updated on Feb. 4, 2025 to reflect history-making moments through the 2025 GRAMMYs, and on March 4, 2025 with a new graphic.

The 2025 GRAMMYs marked another big night for female artists, from Doechii's dynamic performance and Chappell Roan's powerful speech to Beyoncé's career-defining wins. But it was far from the first time that women have made waves on the GRAMMY stage.

In the GRAMMY Awards' 67-year history, women have set a wide array of GRAMMY records, along with achieving many remarkable firsts. This year alone, Beyoncé did both, setting the record for the most GRAMMY nominations ever at 99, and becoming the first Black woman to win the GRAMMY for Best Country Album for COWBOY CARTER (which also won the superstar her first Album Of The Year honor).

Beyoncé is in good company when it comes to female GRAMMY record holders, which includes the likes of Ella Fitzgerald, Taylor Swift, Billie Eilish, and Lauryn Hill. From the first women to ever win a GRAMMY to the top GRAMMY-winning woman, as well as the first female GRAMMY performers and the first female GRAMMY host, here are 13 examples of how women blazed trails in music — and left their indelible marks in GRAMMY history.

Ella Fitzgerald: The First Woman To Win Multiple GRAMMYs

The 1st Annual GRAMMY Awards took place in 1958, and several women were among the first crop of recipients. The first female multiple GRAMMY winner was jazz singer Ella Fitzgerald, who took home two gramophones: Best Vocal Performance, Female and Best Jazz Performance, Individual. The roster of first-time female GRAMMY winners also included Keely Smith, Salli Terri, Barbara Cook, Pert Kelton, Helen Raymond, and Renata Tebaldi.

The First Women To Win GRAMMYs In The General Field

Wins by women in the General Field Categories — Record, Song and Album Of The Year and Best New Artist — date all the way back to the 4th Annual GRAMMY Awards in 1962. The first female winner for Album Of The Year was Judy Garland, for her 1961 album, Judy At Carnegie Hall.

Three years later, Astrud Gilberto became the first woman to win Record Of The Year, winning alongside Stan Getz for "The Girl From Ipanema" in 1964. Then in 1968, country singer/songwriter Bobbie Gentry became the first female Best New Artist winner. And in 1971, Carole King was the first woman to claim the Song Of The Year honor for "You've Got A Friend" in 1971. 

Taylor Swift: The Artist With The Most Album Of The Year Wins

Taylor Swift is the artist with the most Album Of The Year wins in GRAMMY history, with four awards under her belt. The singer/songwriter scored her first win in the Category at the 2010 GRAMMYs for 2008's Fearless, which also won Best Country Album; Swift later won in 2016 for 2014's 1989 (also winning Best Pop Vocal Album) and in 2021 for 2020's critically acclaimed Folklore, the latter of which made her the first woman to win Album Of The Year three times.

In 2024, she broke the Category's record for all artists, winning for her tenth album Midnights (which also scored Best Pop Vocal Album that year). Overall, Swift has been nominated for Album Of The Year a total of seven times, with the other nods for 2012's Red, 2020's Evermore, and 2024's The Tortured Poets Department.

Read More: A Timeline Of Taylor Swift's GRAMMYs History, From Skipping Senior Prom To Setting A Record With 'Midnights'

Carole King: The First Woman To Win Multiple General Field GRAMMYs

The first woman to win multiple GRAMMYs in the General Field in the same night was Carole King, when she swept Record ("It's Too Late"), Album (Tapestry) and Song Of The Year ("You've Got A Friend") in 1971. The first women to win multiple GRAMMYs in the same General Field Categories include Roberta Flack, who took Record Of The Year in 1973 and 1974, for "The First Time Ever I Saw Your Face" and "Killing Me Softly With His Song," respectively. 

While Taylor Swift holds the record for most Album Of The Year wins, there are many female artists with multiple victories in the Category. Lauryn Hill, Norah Jones, and Alison Krauss have each won Album Of The Year twice (but only once in each case for their own recordings). At the 2017 GRAMMYs, Adele became the first artist in GRAMMY history to win Record, Song and Album Of The Year in the same night twice, five years after doing so in 2012.

Billie Eilish: The First Woman To Sweep The General Field

At the 2020 GRAMMYs, Billie Eilish made history as the first woman to win in all four General Field Categories — Album Of The Year, Record Of The Year, Song Of The Year, and Best New Artist — in the same night, thanks to her 2019 debut album, WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? and its breakout hit "bad guy." (She also took home a golden gramophone for Best Pop Vocal Album.) The record-setting moment made a then-18-year-old Eilish the youngest General Field sweeper, and only the second to do so, nearly 40 years after Christopher Cross did so in 1981. 

At the 2025 GRAMMYs, both Sabrina Carpenter and Chappell Roan were nominated in all four General Field Categories, giving them a chance to make history alongside Eilish. While neither of them completed the sweep, both singers earned their first GRAMMYs; Carpenter won Best Pop Vocal Album for 2024's Short n' Sweet album and Best Pop Solo Performance for her viral smash "Espresso," while Roan took home Best New Artist.

Beyoncé: The Artist With The Most GRAMMY Wins & Nominations

Before the 2025 GRAMMYs, Beyoncé already held the record for the most GRAMMY wins of any artist in history. She achieved the feat at the 2023 GRAMMYs, when she took home the GRAMMY for Best Dance/Electronic Music Album for her 2022 album, RENAISSANCE to bring her total GRAMMY count to 32. Not only did she add to her lead at the 2025 GRAMMYs, but she made history twice over, thanks to both her nominations and her wins.

Scoring 11 nods at the 2025 GRAMMYs thanks to her eighth studio album, 2024's COWBOY CARTER, Beyoncé's nomination total went up to 99, making her the artist with the most GRAMMY nominations of all time. 

At the 2025 ceremony, the "TEXAS HOLD 'EM" singer won her career-first Album Of The Year award for COWBOY CARTER, making her the first Black woman to win the award since 1999, when Lauryn Hill won for 1998's The Miseducation of Lauryn Hill. In the same night, Beyoncé also became the first Black artist to win Best Country Album for COWBOY CARTER. With three wins in total (she also won Best Country Duo/Group Performance for "II MOST WANTED" with Miley Cyrus), Beyoncé brought her record-holding number of GRAMMY wins to 35.

Read More: A Timeline Of Beyoncé's GRAMMY Moments, From Her First Win With Destiny's Child To Making History With 'Cowboy Carter'

The First Women To Perform On The GRAMMYs

The first televised GRAMMY event, a taped "NBC Sunday Showcase," in honor of the 2nd GRAMMY Awards, aired Nov. 29, 1959. It was Fitzgerald's performance on this broadcast that earned her the distinction of being the first woman to take the GRAMMY stage. 

When the GRAMMYs transitioned to a live television broadcast format for the 13th GRAMMY Awards in 1971, several female artists performed as part of the milestone event, including Karen Carpenter of the Carpenters, Aretha Franklin, Wanda Jackson, Anne Murray, and Dionne Warwick.

Bonnie Raitt: The Most GRAMMY Performances

Beloved singer/songwriter Bonnie Raitt is the woman who has performed the most at the GRAMMYs. From her first solo performance of "Thing Called Love" at the 32nd GRAMMY Awards in 1990 through her latest performance in honor of B.B. King with Chris Stapleton and Gary Clark, Jr. at the 58th GRAMMY Awards in 2016, Raitt has graced the stage nine times. In a tie for a close second are Aretha Franklin and Whitney Houston, who each notched eight career GRAMMY performances in their lifetimes.

Whoopi Goldberg: The First Female GRAMMY Host

Whoopi Goldberg served as the GRAMMYs' first female host at the 34th GRAMMY Awards in 1992. An EGOT (Emmy, GRAMMY, Oscar, and Tony) winner, the comedian already had an impressive array of credentials when she helmed the GRAMMY stage. Not one to shy away from pushing the envelope, she delivered arguably one of the raunchiest jokes in GRAMMY history when referencing the show's accounting firm: "I must tell you, Deloitte & Touche are two things I do nightly."

The First Female Special Merit Awards Recipients

The inaugural Recording Academy Special Merit Award was given in 1963 to Bing Crosby, but it wasn't long until women made their mark. Ella Fitzgerald was the first woman to receive the Lifetime Achievement Award in 1967. Liza Minnelli became the first female artist to receive a GRAMMY Legend Award in 1990.

In 1992, Christine M. Farnon became the first woman to receive a Trustees Award. She served as The Recording Academy's National Executive Director for more than 20 years. 

The First Recordings By Women To Be Inducted Into The GRAMMY Hall Of Fame

The GRAMMY Hall Of Fame — established in 1973 by the Recording Academy's Board of Trustees to honor outstanding recordings that were made before the inception of the GRAMMY Awards — inducted its first female recipients in 1976. Billie Holiday's "God Bless The Child," which was originally done in 1941, marked the first solo female recording. Gershwin's Porgy & Bess (Opera Version), featuring Camilla Williams, and the original Broadway cast version of "Oklahoma!," featuring Joan Roberts, were inducted into the Hall that same year.

Lauryn Hill, Cardi B, MC Lyte: The Women Who Changed Rap At The GRAMMYs

While rap music is a largely male-dominated genre, women have continued to evolve the sound since the beginnings of hip-hop. It's no surprise, then, that female rappers have also made GRAMMY history throughout the decades.

With the release of her debut album, Lyte As A Rock, in 1988, MC Lyte became the first female rapper to release a solo album. She then followed the feat by becoming the first woman rapper to receive a GRAMMY nomination when her 1993 chart-topping song "Ruffneck" received a nomination for Best Rap Solo Performance at the 36th GRAMMY Awards in 1994.

Just a few years later, Lauryn Hill continued the history-making streak at the 1997 GRAMMYs; she became the first female rap artist to win Best Rap Album thanks to The Score, her second album with The Fugees. Hill also made GRAMMY history on her own at the 1999 GRAMMYs, when she won Album Of The Year for her monumental 1998 album, The Miseducation Of Lauryn Hill, becoming the first rap artist to win that major Category.

Cardi B ushered in another GRAMMY first two decades later: At the 2019 GRAMMYs, she became the first solo female rapper to win the GRAMMY for Best Rap Album for her 2018 debut album, Invasion of Privacy. The 2025 GRAMMYs found history repeating itself, as Cardi B presented Doechii the Best Rap Album award for 2024's Alligator Bites Never Heal. The win made Doechii the third female rapper in history to win the Category.

Amy Allen: The First Woman To Win Songwriter Of The Year, Non-Classical

Making history with one of the most recent additions to the GRAMMY canon, Songwriter Of The Year, Non-Classical — which was first awarded in 2023 — Amy Allen became the first woman to be awarded with the honor at the 2025 GRAMMYs. Her win was thanks to her work on Sabrina Carpenter's GRAMMY-winning album, Short N' Sweet, and songs by Tate McRae, Olivia Rodrigo, Justin Timberlake, and Koe Wetzel.

With several new historic feats at the 2025 GRAMMYs, female artists are continuing to dominate on the GRAMMY stage and beyond — and show no signs of slowing down.

This article features contributions from Bianca Gracie and Taylor Weatherby.

If the past 12 months were any indication, it has been a celebratory and transformative time for women in music. Women swept at the 2025 GRAMMYs, with some Categories (Best Pop Solo Performance, Best Pop Vocal Album) exclusively recognizing female nominees. Amy Allen became the first woman to win Songwriter Of The Year, Non-Classical. Meanwhile, Beyoncé extended her record as the most decorated GRAMMY artist. Women artists won Album Of The Year and Best New Artist for the third time in five years. 

Beyond chart achievements and awards, women stepped up to advocate for their right to take up space in the industry — and called for safer, more inclusive spaces. Chappell Roan, for example, took the GRAMMY stage for her Best New Artist win to challenge executives: "I told myself if I ever won a GRAMMY, and I got to stand up here in front of the most powerful people in music, I would demand that labels and the industry profiting millions of dollars off of artists would offer a livable wage and health care, especially to developing artists."

Her acceptance speech caused a rippling effect, prompting Universal Music Group and the Music Health Alliance to launch a music industry health fund. Shortly after, first-time GRAMMY winners Sabrina Carpenter and Charli xcx joined Roan's campaign with a $25,000 donation to support rising musicians.

Read more: 13 Times Women Made GRAMMY History: Beyoncé, Taylor Swift & More

While the Recording Academy has made meaningful progress in increasing women's representation within its Membership, there is still more work to be done industry-wide. In honor of Women’s History Month and International Women’s Day, GRAMMY.com celebrates the women in music who have broken barriers and paved the way for a more inclusive industry. When there’s more women, there’s more music. Together as advocates and allies, we encourage the music industry to unite in uplifting, supporting, and creating more opportunities for women. 

Press play on female empowerment anthems that can sum up the past year of taking charge in music history, from the joyous declarations of unapologetic femininity on Megan Thee Stallion's "HISS" and Ariana Grande's "yes, and?," to the odes to sisterhood on Tori Kelly's "Spruce" and Camila Cabello's "DREAM-GIRLS."