Tobias Jesso Jr. wanted to know how to write a hit song, so he read How to Write a Hit Song. Not that he needed to figure out how to break into the mainstream: he had already written a tune with Sia and Adele that cracked the Billboard Hot 100. But in an effort to take his young career seriously — that of writing behind the curtain for the stars — he cracked open the book at a café.

Just then, a voice: "What the hell are you doing?" He glanced up. It was Sia.

"She was like, 'Why are you reading that?' and I was like, 'I honestly don't know,'" Jesso remembers with a laugh. "I think I just put the book away from that point on and was like, OK, I don't need the books. And I just felt like there's been a different one of those lessons at every step of the way where I'm just like, Man, I think this is what I got to do, and then I just figure it out."**

Since that exchange, Jesso has written with a litany of contemporary stars: John Legend, Shawn Mendes, Pink, Haim, Harry Styles — the list goes on. (As per the latter, he co-wrote "Boyfriends" on Harry's House, which was crowned Album Of The Year at the 2023 GRAMMYs.) 

And at said ceremony, he received a historic honor — the first-ever golden gramophone for Songwriter Of The Year. As Evan Bogart, Chair of the Songwriters & Composers Wing, recently toldput it to GRAMMY.com: "We're looking for which songwriters have demonstrated, first and foremost, that they're considered a songwriter first by the music community. We want to recognize the professional, hardworking songwriters who do this for a living."

Read More: Why The New Songwriter Of The Year GRAMMY Category Matters For The Music Industry And Creator Community

Clearly, Jesso fits the mold, and possesses technical chops worthy of How to Write a Hit Song. But his realization — that he can literally throw out the rulebook — speaks volumes as to his flexible, collaborator-first and fun-first process. 

"I get into a room and I really want to enjoy the people, and the songs will come if we're all just being honest," he tells GRAMMY.com. "If you take a few days or weeks to get to know somebody, all of a sudden, your songs are deeper." 

And while working his interpersonal and collaborative magic, he keeps his ears and imagination open — a momentary trifle can become the heart of a song. It happened with Cautious Clay's "Whoa," which came from messing with some, well, whoas. 

"It was a little silly at first," says Jesso,the songwriter whose first output was "inappropriate" high-school joke songs. "But now it wasn't silly anymore."

GRAMMY.com sat down with Jesso about his creative beginnings, the experience of working alongside pop titans, and how his inaugural GRAMMY win for Songwriter Of The Year happened during the happiest, most creatively fruitful period of his burgeoning career.

This interview has been edited for clarity.

How did it feel to take home the golden gramophone — the first ever in this category?

It felt tremendous. It felt amazing. It's such an honor to have received it, and I felt the weight of what it meant. I get really stage frightened, and so I kept telling myself there's no way I was going to win, just so I wouldn't be nervous or anything like that. 

But weirdly, when I did win, I was very not nervous. I don't know how to put it, but it was the opposite of what I thought I would feel. I don't know if I've never been awarded something so prestigious. My elementary school did a piece on me after I won the GRAMMY, and it was sort of largely a "We didn't see any talent at all" kind of thing.

So, I'd say "tremendous" would be probably the one word I would feel most aptly describes it. I'm just really, really proud of the category and its creation, and super lucky to have been a part of it at all. Especially in the year that it comes out. I was baffled that I was nominated. 

I had already felt like that rush of whoa, this amazing thing happened when I was nominated. And then winning was the next level of completely beyond what I could have ever expected.

How does the win help chart the next stage of your career?

As a songwriter, your job is to serve the artist. Your job is to serve the artist — the person who the song's for. And I think because of that, most songwriters have a very serve mentality, which generally doesn't work out well on the business side of things for you. 

I think if you took all the producers in the world and took all the songwriters in the world and tried to look at which ones are more business savvy, I'd say nine times out of 10, it's probably the producers. 

I think a lot of people — artists or songwriters among them — have imposter syndrome, feeling like they don't really know whether they belong there or they're just lucky or they have what it takes for the next one, even. If they know they had a good run or whatever, they're always going back to the well and praying that there's something in there. 

And I think this GRAMMY is almost like having a symbol of a really good run — a really good, fertile time of creativity or something. TI think the way I see it is sort of a symbol of this period of time where I had a lot of ideas, and worked really hard, and managed to somehow win this thing, which is, for me, is huge. It means a lot. 

For the songwriting community to have the award to look forward to, to have this symbol of Hey, you can be creative as a songwriter and just be a songwriter who doesn't sing and doesn't produce, and [the fact] you can get this prestigious symbol of your gifts that the world will now recognize — I think that's a wonderful thing for songwriters to have.

Take me back to the beginning of your career writing songs, either for yourself or others. The first time you really embraced this magical act of creation.

I was such a lazy songwriter for so many years because I always loved writing songs, writing songs with my friends in high school and stuff like that. But I never really wanted to play an instrument, and I never really wanted to sing them myself. 

I think probably back in high school, in 1998 or '99, it was because they were joke songs. So I probably didn't want to sing them because they were inappropriate or something. I always wanted to. The beginning for me was definitely a sort of moment of hearing Tracy Chapman when I was like, Oh, this is what I'm going to do. Not be Tracy Chapman, but write songs.

From there I was really lazy and I just tried to do as little as possible, but I had this sort of confidence that I was somehow good at it. So, I would sometimes have my friends who played guitar or my friends who played piano, or whoever was around, do the music part for me, and I could just kind of pipe in and direct where I felt like my skillset was. 

I started writing on piano for the first time when I was 27. That was a big moment for me where I was. I feel like I finally figured it out. It took me a long time: I still don't know how to play the piano, but I know I'm going to figure this out now.

I made a lot of mistakes along the way with bands and with albums or whatever. Things that just didn't exactly go the way [I planned them]; my gut was eventually telling me it just wasn't right. And then, when I started playing piano, it just finally all felt right, and I didn't think too much about it. I just sort of started doing it. 

During that time, I unfortunately had to sing to get my album out, which was sort of a means to an end. But as soon as I was able to, I ducked away from that and started writing. Then I just had a new job. I was like I got promoted or something. 

As you honed your ability and developed your craft, how did you follow that chain of connections to be able to write for who you've written for?

It's funny because Adele was the first person I worked with — [but] not in a professional way where managers and stuff like that are involved, and it's not just a friend of mine from high school or something. She was sort of my blueprint for how those things went.

I couldn't have gotten any luckier than with Adele, because her blueprint for how to do a writing session is the most pure in the game. There's nothing to hide behind. There's no producer in the room. She came to my friend's grandparents' where there are no mics; there's no studio equipment at all. There's a piano. And she just goes, "Great, let's write a song."

I don't know that that even exists much anymore. There's not even a microphone to capture what's going on, let alone one of the biggest players in the entire world doing it — just showing up, being like, "Let's write a song." And there's nothing to record her. I thought that was really cool. I'm like, "That's how I write songs. I just sit in front of a piano and just do what I think I like." And she was like, "And me too."

So, that's how we got along real great off the bat. And then from there, I would say it was just the most epic amount of failures and trial and error to figure out what the hell I was doing in every different session. I mean, I was treading water at times, and I felt like I was smoking crack sometimes, because I was so creative in a certain scenario I didn't expect to be creative in or something like that.

I think it's just this kind of learning process. There are a lot of people who are typically geared towards one style of writing. You're the country guy or you're the pop guy, or you're the ballad guy. And I could see that I was getting typecast. I was starting to get typecast, especially early on in my career because ballads, that's just the tempo that's naturally within me. It's sort of my soul tempo to just slow things down. I can write much easier in that tempo. I'll always sort of naturally progress there.

But I wanted to push the limits of that, and I wanted to figure out a way to get out of that typecast. And so I tried as quickly as I could to pick people who would be like, "Please don't play a ballad."

And when I started doing that, it was, again, trial and error. I think Niall [Horan of One Direction] was the first person I worked with who was in the pop world, and he was very much an acoustic singer. So I think that I was going into that session thinking I wanted to do upbeat pop. So I don't know — you get in the door and then you just try to acclimate yourself to the environment and help out as much as you can.

I think that's the best way to put it, because you never know what you're going to be doing. You never know what the artist is going to want from you or not want from you. A lot of the job is just figuring all that stuff out and then trying to just have fun while you're doing it. I think it's just that good energy, good attitude, and good people tend to sort of gravitate together.

How would you characterize the state of your artistic journey at this point?

I would say it feels the richest, in the sense that I'm the happiest I've been working.

I've found my rhythm — my perfect work-life balance kind of thing — so I can spend time with my son. And I think because of all of the time I've spent writing songs and how many songs come out, which is not a lot compared to how much you spend writing, you kind of learn that the relationships you make in the room are really the things that you really take out of it. It can be a lot more than, "I'm just a songwriter here to serve this artist" or whatever.

Lately, probably because of all the time I've spent doing it, I get into a room and I really want to enjoy the people. And the songs will come if we're all just being honest. We all know why we're here. We don't need that pressure in the room, and we don't need the A&R sitting in the room. We can get a song, but let's just be honest and really enjoy each other's company for a while.

And I think once that starts happening, it's way, way more fruitful in the long run. Because if you take a few days or weeks to get to know somebody, all of a sudden, your songs are deeper.

As a songwriter, your job is to point out metaphors or parallels — and things that could spark some interest in an artist's mind. And the better you get to know somebody, the more amazing the writing process can be.

That's been happening a lot in my recent sessions with Dua [Lipa] and Harry, another just amazing person. He is a great guy, but we haven't done that much writing together, but we know each other mostly through Kid Harpoon — Tom [Hull], who's the best.

I'm getting to know the people, and that's the most important part for me — I'm working with the people I want to work with. That's my journey now. I'll always work with new people, but I don't need to work with people I don't really vibe with or listen to. That's not really my interest anymore, especially if I'm in it for the right reasons. I'd say it's just more intentional, and I'm being more honest.

When you walk into a room to write with somebody, what are the first steps, or operating principles?

My operating principle is: Do I want to get to know this person, and do they want to get to know me at all, or do they just want to write a song and not want to open up?

If it's somebody who seems very open to talk, that's usually a good sign. And if not, then you just do what they want. You start writing a song and that's fine too. Sometimes there's great, catchy stuff. It's not always the deepest stuff.

Maybe they're the ones writing the lyrics, so maybe it is. But my operating principle is kind of, if I'm having a good time and everyone's having a good time, we're doing something good. We're not writing a bad song. We're just not. If we were writing a bad song in this room of professionals, we wouldn't be having a good time.

And when you're having a good time, good ideas do come. Even if they are silly at first and they're more openly accepted, and everything in the room is flowing better when those channels of enjoyment are sort of open, and everyone's laughing and having fun and dancing and being silly, that's how you get creative.

I don't know of many songwriters who are just dead serious. I've maybe met a couple. So I think my operating principle is to have a good time. That's going to be the funnest day, no matter what. It's probably going to be a better song for it if you're having fun and you like the people and they like you, and everything's going well.

Why is it crucial that the Recording Academy honor not only public-facing creators, but those behind the curtain?

I won't speak for myself as much as just the amazing people who I've worked with. You can't understand what kind of work has to go into a song. It's so funny, because it's a three-minute thing that sounds like most people can do it in an hour or something, but some of these things take months of work to get right.

I think it's really important to acknowledge everyone involved in each of the processes, because to give credit to just producers and artists, and then it's like, "Yeah, but the storytellers aren't even in the room," is like the congratulating a director and an actor, and then being like, the writer is s—. It's like, what? The movie wouldn't exist without them!

That just wouldn't happen. So, it feels like the right thing. I'm a bit overwhelmed and still a bit in disbelief, but it's snowing in LA, so miracles do happen.

What would you tell a young songwriter who wants to roll up their sleeves and do this?

I would say just be a good person and keep learning. Everyone's not perfect at the start. But if I had to give one piece of advice that was super, super important to me, is the good guys are winning in the end sometimes.

Like I said, the friendships and the artists, you don't want to come in being a d—. And I don't mean that strictly for men. I just mean whoever's coming in, you want to be a nice person. I think there's a lot of good people, and there's a lot of bad people too. You find your crew — energy finds energy.

Meet Stephanie Economou, The First-Ever GRAMMY Winner For Best Score Soundtrack For Video Games And Other Interactive Media

See the full list of winners and nominees from the 2026 Grammys.

Watch highlights and exclusive Grammys content from the 2026 Grammys all year long.

The Grammys have undeniably always been Music's Biggest Night, but there's an argument its one of fashion's biggest nights, too. Over the years, the Grammys have offered fans an endless display of eye-catching and boundary-pushing fashion, in between celebrating music, and the 2026 Grammys were no exception.

The sartorial parade began, of course, on the Grammy red carpet, where Grammy nominees, presenters, and more of the music industry's brightest stars celebrated the year in musical excellence. But with plenty of outfit changes, over-the-top performances and surprise appearances during the show, the can't-miss looks continued throughout the entire evening — all the way up until host Trevor Noah bid the millions watching at home a good night.

Below, check out some of the most unforgettable and talked-about looks from the 2026 Grammys, from Chappell Roan's spicy Mugler moment to Bad Bunny's history-making haute couture.

Chappell Roan

Chappell Roan, last year's Best New Artist winner, turned heads on the Grammy red carpet with a custom Mugler ensemble involving nipple rings, pastie prosthetics, and a plethora of medieval-inspired temporary tattoos. (The entire look was directly inspired by Mugler's Jeu de Paume couture collection from spring/summer 1998.)

While the risqué outfit set the internet positively ablaze, Roan — who was nominated for Record of the Year and Best Pop Solo Performance for her 2025 single "The Subway" and presented this year's Grammy Award for Best New Artist to Olivia Dean — shrugged off the online pearl-clutching with a laugh.

"Giggling because I don't even think this is THAT outrageous of an outfit. The look's actually so awesome and weird," Roan wrote in an Instagram post after the Grammys.

"I recommend just exercising your free will it's really fun and silly :D," the Midwest Princess continued. "Thank you for having me @grammys and those who voted for me!!"

Sabrina Carpenter

Sabrina Carpenter was nothing short of a vision when she arrived at the 2026 Grammys wearing a romantic custom gown by Valentino.

Honoring the late Italian fashion icon, who died in January at 93, the superstar's dress featured a dainty, sheer capelet for the sleeves, a sparkling bodice made of crystalline, beaded flowers, and a cascading, ruffled skirt.

Nominated for six Grammys — including Album of the Year and Best Pop Vocal Album —  for her 2025 album Man's Best Friend, Carpenter lit up the Grammy stage early in the telecast with a maximalist production number of her No. 1 single "Manchild," which also earned nods for Song of the Year, Record of the Year, Best Pop Solo Performance, and Best Music Video. For the high-energy, airport-themed number, Carpenter changed into a corseted pilot's uniform, complete with matching white go-go boots and an old-fashioned airline captain's hat.

KATSEYE

KATSEYE expertly resurrected the immortal tradition of girl groups rocking matching looks on the Grammys red carpet. The sextet looked all sorts of angelic in their coordinated white and silver gowns by Ludovic de Saint Sernin, complete with studded silver detailing and ample use of both halter necklines and lace.

Of course, during the telecast, the first-time Grammy nominees changed into more choreography-friendly outfits to perform their addictive single "Gnarly" — a high-octane highlight from the Best New Artist medley that also featured performances from fellow Best New Artist Grammy nominees The Marías, Addison Rae, Leon Thomas, Alex Warren, Lola Young, sombr, and eventual winner Olivia Dean.

KATSEYE weren't the only group sporting a matching aesthetic at the show. British girl group FLO, who earned their first Grammy nomination this year in the Best Progressive R&B Album Category, served up regal shades of royal blue on the red carpet just days after paying tribute to Mariah Carey with a cover of "Dreamlover" at the 2026 MusiCares Person of the Year benefit gala. The sisters of HAIM, meanwhile, opted for a trio of strappy black-and-silver dresses by Louis Vuitton. Plus, on the menswear side of the aisle, Pharrell Williams matched with Clipse in peachy velvet suits before hitting the Grammy stage to perform their 2025 collaboration "So Far Ahead," off the Grammy-nominated Let God Sort Em Out.

Teyana Taylor

Fresh off her win at the 2026 Golden Globes, Teyana Taylor wore an ab-baring gown by Tom Ford at the 2026 Grammys.

The budding multi-hyphenate, who earned her first Grammy nomination for Best R&B Album for her 2025 album Escape Room, wowed in an asymmetrical look made of metallic chain mail. Continuing the red carpet theme of daring, nearly-naked fashion, the dress featured an innovative strapless design that had to be seen to be believed.

Perhaps the most striking detail, though, is that Taylor reportedly styled herself for the evening, pairing the sculptural gown with a plunging gold necklace from Tiffany & Co., bronzed makeup, and a matching manicure.

Heidi Klum

Heidi Klum's dress at the 2026 Grammys was both a high-fashion moment and a technological marvel. Dreamed up by Berlin-based designer Marina Hoermanseder, the skin-toned leather look brought new meaning to "nude illusion," with the dress sculpted to a mold of the supermodel's body.

"She did a little mold, and then everything is done by leather. She makes it wet, it gets molded, then she dries it. Then it gets lacquered, sprayed and voila!" Klum explained on the Grammy red carpet while dishing on "Red Eye," her new collab with Diplo created for the upcoming season of "Germany's Next Topmodel."

"I always go for, like, a showstopper kind of an outfit, you know? I'm never someone who's like, 'This looks nice,'" the longtime "Project Runway" host concluded. "I always like something special."

Following the ceremony, Hoermanseder gave followers a behind-the-scenes peek at the process of making Klum's body-baring gown via an insightful Instagram carousel. The fashion designer showed off every step of the painstaking process — from creating the very first sketches and computer models to stretching and drying the leather by hand before matching its color precisely to Klum's skin.

Bad Bunny

Hours before Bad Bunny's triumphant night at the Grammys ended with his historic win for Album of the Year, it started with the perfect Schiaparelli tuxedo.

Inspired by a gender-bending design from the French maison's Couture runway show in 2023 and featuring a laced-up, corset-style back and subtle measuring tape lapel, Benito's dapper tux made its own mark on fashion history as Schiaparelli's very first Haute Couture custom menswear look to ever grace a red carpet.

Following the 2026 Grammys, Schiaparelli took to social media to celebrate Bad Bunny's trio of big wins for Album of the Year, Best Música Urbana Album, and Best Global Music Performance. They also gleefully pointed out the fact that the past three Album of the Year Grammy winners have all accepted their Grammys while wearing custom Schiaparelli Haute Couture — including Beyoncé in 2025 for COWBOY CARTER and Taylor Swift in 2024 for Midnights. Talk about a high fashion hat trick!

Harry Styles

Harry Styles served as the final presenter at the 2026 Grammys, returning to the Grammy stage to announce this year's winner for Album of the Year. And while the three-time Grammy winner didn't walk the Grammy red carpet, he still managed to make quite the sartorial statement by pairing a dazzling Dior blazer with — of all things — casual dark wash jeans.

"A truly great album can change the way you see everything. An artist can take you on a journey as you discover the world together. The best albums stay with you, and you can always return to them, just like old friends," Styles said, before listing off the eight albums nominated for Album of the Year and ultimately announcing Bad Bunny's DeBÍ TiRAR MáS FOToS as the year's big winner.

See the full list of winners and nominees from the 2026 Grammys.

Watch highlights and exclusive Grammys content from the 2026 Grammys all year long.

The Recording Academy has announced the presenters for the 2026 Grammys, which take place Sunday, Feb. 1: Carole King, Chappell Roan, Charli xcx, Doechii, Harry Styles, Jeff Goldblum, KAROL G, Lainey Wilson, Marcello Hernández, Nikki Glaser, Q-Tip, Queen Latifah, and Teyana Taylor are confirmed to present. Plus, an additional surprise presenter will be revealed on Grammy night.

The full performers lineup at the 2026 Grammys includes:

• Current Best New Artist Grammy nominees Addison Rae, Alex Warren, KATSEYE, Leon Thomas, Lola Young, Olivia Dean, SOMBR, and The Marías, who are performing in a special Best New Artist segment

• Bruno Mars, who is currently nominated for three Grammy Awards at the 2026 Grammys

• Clipse and Pharrell Williams, who are currently nominated at the 2026 Grammys for their work on the former's Let God Sort Em Out

• Justin Bieber, who is currently nominated for four Grammy Awards at the 2026 Grammys

• Lady Gaga, who is currently nominated for seven Grammy Awards at the 2026 Grammys

• Ms. Lauryn Hill will perform in honor of D'Angelo and Roberta Flack in the annual In Memoriam tribute at the 2026 Grammys

• Post Malone, Andrew Watt, Chad Smith, Duff McKagan, and Slash will perform a special tribute to Ozzy Osbourne in the annual In Memoriam segment at the 2026 Grammys

• Reba McEntire joined by Brandy Clark and Lukas Nelson, who will pay tribute to those we've recently lost in the annual In Memoriam tribute at the 2026 Grammys

• ROSÉ, who is currently nominated for three Grammy Awards at the 2026 Grammys

• Sabrina Carpenter, who is currently nominated for six Grammy Awards at the 2026 Grammys

• Tyler, The Creator, who is currently nominated for six Grammy Awards

See the full list of performers and hosts at the 2026 Grammys to date (updating in real time).

The 2026 Grammys, hosted by Trevor Noah, will broadcast live from Crypto.com Arena in Los Angeles on Sunday, Feb. 1, at 5 p.m. PT/8 p.m. ET on the CBS Television Network and will be available to stream live and on demand on Paramount+^.

Hours ahead of the live telecast, the 2026 Grammy Awards Premiere Ceremony, where the majority of the Grammy Awards of the day are awarded, will stream live from Peacock Theater in Los Angeles on Sunday, Feb. 1, at 12:30 p.m. PT/3:30 p.m. ET on the Recording Academy's YouTube channel and on live.grammy.com.

Learn more about how to watch the 2026 Grammys.

The Grammy Awards are the only peer-recognized accolade in music and are voted on by the Recording Academy's voting membership body of music makers who represent all genres and creative disciplines, including recording artists, songwriters, producers, mixers, and engineers.

Fulwell Entertainment is producing the 2026 Grammy Awards for the Recording Academy. Ben Winston, Raj Kapoor, Jesse Collins, and Trevor Noah are executive producers.

^Paramount+ Premium plan subscribers will have access to stream live via the live feed of their local CBS affiliate on the service, as well as on-demand. Paramount+ Essential subscribers will not have the option to stream live, but will have access to on-demand the day after the episodes airs.

See the full list of winners and nominees from the 2026 Grammys.

Watch highlights and exclusive Grammys content from the 2026 Grammys all year long.

First awarded at the 2023 GRAMMYS, Songwriter Of The Year, Non-Classical helps honor some of the most talented people behind music's biggest songs. And as this year's Category proves, there are several songwriters who have been on quite the successful run.

At the 2026 GRAMMYS, the Songwriter Of The Year, Non-Classical nominees are Amy Allen, Edgar Barrera, Jessie Jo Dillon, Tobias Jesso Jr. and Laura Veltz — all of whom are either two- or three-time nominees in the Category. 

In fact, two of them are previous winners: Allen was the first woman crowned Songwriter Of The Year, Non-Classical at the 2025 GRAMMYS, and Jesso Jr. was the inaugural recipient in 2023. 

The songwriters nominated in 2026 represent the best of songcraft across pop, country, Latin, rock, K-pop, and more. Their songs have helped turn artists like Sabrina Carpenter and Tate McCrae into the next generation of pop superstars and helped rising talents like Olivia Dean and Jessie Murph land breakout hits, guiding music into the latter half of the 2020s.

Check out the nominees for Songwriter Of The Year, Non-Classical below and read the full 2026 GRAMMYs nominations list ahead of Music's Biggest Night on Feb. 1, 2026.

Amy Allen

Last year's winner in the Category — and first woman to win it — Amy Allen scores her third nod for Songwriter Of The Year, Non-Classical as she continues to define the sound of modern pop music.

Coming from the small town of Windham, Maine, Allen built her foundation as a songwriter at the famed Berklee College of Music before launching her career in 2018 with credits for Selena Gomez, Halsey and more. Just a few years later, Allen had earned a reputation as a go-to hit-maker for some of pop music's biggest names, and earned her first GRAMMY as a songwriter on Harry Styles' 2023 Album Of The Year winner, Harry's House.

Allen has remained a key player in pop this year, as she's continued her GRAMMY-winning partnership with Sabrina Carpenter by co-writing every track — including smash singles "Manchild" and Tears" — on the diminutive superstar's latest No. 1 album, Man's Best Friend. She's also collaborated once again with Tate McCrae on "Just Keep Watching," her high-octane contribution to F1: The Movie and its star-studded soundtrack, and reunited with Jessie Murph for slow-burning Sex Hysteria album cut "Bad As The Rest."

Allen expanded her repertoire into the world of K-pop in 2025 as well, helping JENNIE and ROSÉ score crossover hits with, respectively, the Dua Lipa duet "Handlebars" and the Bruno Mars-assisted global chart-topper "APT." She also dabbled in country music crossovers, co-penning Shaboozey and Sierra Ferrell's duet "Hail Mary," Jon Bellion's "WHY" featuring Luke Combs and "Lost In Translation," Carín León's ranchera-meets-country collab with Kacey Musgraves.

Edgar Barrera

With this year's nomination, Edgar Barrera completes a well-deserved hat trick by earning nods in the Category for three consecutive years thanks to his indelible imprint on the Latin music landscape.

A Texas native who also writes under his alias Edge, Barrera's latest GRAMMY nomination for Songwriter Of The Year, Non-Classical stems from his acclaimed work with artists like KAROL G ("Milagros," from her 2025 documentary "Karol G: Tomorrow Was Beautiful"), Shakira (2024 one-off "Soltera") and Juanes ("Una Noche Contigo").

On the Regional Mexican front, Barrera also co-wrote "Me Jalo," the opener off Fuerza Regida and Grupo Frontera's collaborative EP Mala Mía as well as "Me Retiro, the latter's 2025 team-up with Santana, and also ventured into hip-hop with BIA and Young Miko's bilingual banger "BIRTHDAY BEHAVIOR." 

Notably, Barrera's work also earned him a Songwriter Of The Year nod at the 2025 Latin GRAMMYS, one of 10 nominations that remarkably also includes Producer Of The Year.

Jessie Jo Dillon

Jessie Jo Dillion joins both Allen and Barrera as a fellow three-peat nominee for Songwriter Of The Year, Non-Classical following her nominations in the Category in 2025 and 2024. 

The daughter of country songwriter Dean Dillon, Jessie Jo arrived on the Nashville scene in the early 2010s, when some of her earliest credits were writing for country icons like LeAnn Rimes ("Crazy Women") and George Strait ("The Breath You Take," co-written with her dad). 

Over the years, Dillon has become a trusted collaborator of artists like Megan Moroney and Kelsea Ballerini — continuing her hot streak with the former by adding "Bless Your Heart" to the deluxe edition of 2024's Am I Okay? and co-writing more than a dozen tracks with the latter on her fifth studio album Patterns, including the title track, singles "Sorry Mom" and "First Rodeo" and standout bonus cut "To the Men That Love Women After Heartbreak."

Dillon's success hasn't been limited to just female artists in 2025, either. She's also co-written songs for Jelly Roll ("Dreams Don't Die"), HARDY ("Bottomland") and Russell Dickerson ("Happen To Me"), as well as "Hello S—ty Day," Jake Worthington's collaboration with Miranda Lambert.

Tobias Jesso Jr.

Tobias Jesso Jr. earns his second nomination for Songwriter Of The Year, Non-Classical after making history as the Category's inaugural winner back in 2023. That first year, the North Vancouver, British Columbia native's work displayed an impressive ability to write across genres, ranging from superstars like Adele, Harry Styles and Diplo to then-rising voices like Omar Apollo, Orville Peck and King Princess.

With his second nod, the GRAMMY winner continues to demonstrate that same cross-genre appeal, whether he was helping Justin Bieber craft the sound of SWAG with songs like "GO BABY," "WALKING AWAY" and lead single "DAISIES," kicking off Dijon's acclaimed sophomore album Baby with the one-two punch of "Baby!" and "Another Baby!" or collaborating with Bon Iver on SABLE fABLE deep cut "From."  

Jesso also contributed to the track list of Miley Cyrus' existential, experimental visual album Something Beautiful with a co-write on "Golden Burning Sun," aided HAIM in kicking off their fourth album with lead single "Relationships" and helped Olivia Dean earn her well-deserved breakout moment with the inescapable hit "Man I Need," which just cracked the Top 5 of the Billboard Hot 100 as of press time.

Laura Veltz

Laura Veltz was also one of the first songwriters to ever land a nod for Songwriter Of The Year, Non-Classical back in 2023, and now she's back with her second nomination in the Category.

Prior to her songwriting career, though, Veltz sang with her family band, Cecilia, who released just a single album (2006's This) under the name The Veltz Family. After relocating to Nashville in 2008, the former frontwoman began working full-time as a songwriter with credits for country acts like Edens Edge, Jana Kramer, Chris Young, and Eli Young Band throughout the early 2010s. 

Cut to 2025 and Veltz continues to push the boundaries of modern country by working with Maren Morris ("Grand Bouquet"), BigXthaPlug and Tucker Wetmore ("About You") and Josh Ross ("Leave Me Too"). She also co-penned multiple tracks off Jessie Murph's sophomore album, including breakout single "Blue Strips," "Touch Me Like a Gangster" and the Bailey Zimmerman-assisted "Someone In This Room," and reunited with Demi Lovato to write "You'll Be OK, Kid," the theme from the pop star's 2024 documentary "Child Star."

Editor's Note: This article was originally published on Jan. 31, 2023 and was updated on Feb. 3, 2025 to reflect her 2025 GRAMMY wins.

Two years after becoming the artist with the most GRAMMY wins at the 2023 GRAMMYs, Beyoncé made GRAMMY history again at the 2025 GRAMMYs. Along with winning her first golden gramophone for Album Of The Year for COWBOY CARTER, the now 35-time GRAMMY-winning star also became the first Black artist to win the GRAMMY for Best Country Album.

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

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

2000 — 42nd GRAMMY Awards

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

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

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

2001 — 43rd GRAMMY Awards

Photo: Steve Granitz / Contributor / Getty Images

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

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

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

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

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

2002 — 44th GRAMMY Awards

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

Nominations: Best R&B Album (Survivor)

Performance: "Quisiera Ser" with Alejandro Sanz

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

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

2004 — 46th GRAMMY Awards

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

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

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

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

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

2005 — 47th GRAMMY Awards

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

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

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

2006 — 48th GRAMMY Awards

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

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

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

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

2007 — 49th GRAMMY Awards

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

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

Performance: "Listen" 

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

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

2008 — 50th GRAMMY Awards

Wins: Best Compilation Soundtrack (Dreamgirls) 

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

Performance: "Proud Mary" with Tina Turner

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

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

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

2009 — 51st GRAMMY Awards

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

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

2010 — 52nd GRAMMY Awards

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

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

Performance: "If I Were a Boy" 

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

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

2011 — 53rd GRAMMY Awards

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

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

2012 — 54th GRAMMY Awards

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

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

2013 — 55th GRAMMY Awards

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

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

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

2014 — 56th GRAMMY Awards

Photo: Frederic J. Brown / Getty Images

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

Performance: "Drunk In Love" with Jay-Z

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

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

2015 — 57th GRAMMY Awards

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

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

Performance: "Take My Hand, Precious Lord"

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

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

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

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

2016 — 58th GRAMMY Awards

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

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

2017 — 59th GRAMMY Awards

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

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

Performance: "Love Drought" and "Sandcastles"

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

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

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

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

2018 — 60th GRAMMY Awards

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

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

2019 — 61st GRAMMY Awards

Win: Best Urban Contemporary Album (Everything Is Love)

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

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

2020 — 62nd GRAMMY Awards

Win: Best Music Film (Homecoming)

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

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

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

2021 — 63rd GRAMMY Awards

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

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

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

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

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

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

2023 — 65th GRAMMY Awards

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

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

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

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

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

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

2025 — 67th GRAMMY Awards

Wins: Album Of The Year (COWBOY CARTER), Best Country Album (COWBOY CARTER), Best Country Duo/Group Performance ("II MOST WANTED" with Miley Cyrus)

Nominations: Record Of The Year ("TEXAS HOLD 'EM"), Song Of The Year ("TEXAS HOLD 'EM"), Best Pop Solo Performance ("BODYGUARD"), Best Pop Duo/Group Performance ("LEVII'S JEANS" with Post Malone), Best Melodic Rap Performance ("SPAGHETTII" with Linda Martell and Shaboozey), Best Country Solo Performance ("16 CARRIAGES"), Best Country Song ("TEXAS HOLD 'EM"), Best Americana Performance ("YA YA")

With 11 nominations, Beyoncé wasn't just the most-nominated artist at the 2025 GRAMMYs — she became the artist with the most GRAMMY nominations ever.

While the noms helped her break yet another GRAMMY record, she continued to add to her ever-growing GRAMMY legacy when she won three more golden gramophones that night. Along with furthering her lead as the artist with the most GRAMMYs (from 32 to 35), Beyoncé also achieved another GRAMMY first with one of her three wins: the first Black artist to win Best Country Album.

In her heartfelt speech, Beyoncé admitted that she "really was not expecting" to win in the Best Country Album Category. "I think sometimes genre is a cold word to keep us in our place as artists, and I just want to encourage people to do what they're passionate about, and to stay persistent," she said, thanking God, her family, her collaborators, and "all of the incredible country artists that accepted this album."

COWBOY CARTER also won Beyoncé two more GRAMMYs, including perhaps one of the most exciting of her career for both Queen Bey and her loyal Beyhive: her first Album Of The Year victory. With five nominations in the Category prior to the 2025 GRAMMYs, the star couldn't help but acknowledge her long-awaited feat in her speech. "I just feel very full and very honored — it's been many, many years," she said. To close out another historic GRAMMY night, she left viewers with an uplifting message: "I hope we just keep pushing forward, opening doors."