The biggest night in music. Dreaded for snubbing, misrepresentation, overlooking, and … well, you know the rest. Aside from red carpet mishaps, this year, I don’t think the Academy did so bad. What made 2024 such a great year in music was a much-needed level of vulnerability and creativity. I didn’t hear two records that sounded the same, or see any artists emerge with the same aesthetic. It was refreshing to see so many unique voices in the limelight. I loved the individuality that every artist brought to the table.

That being said, we all have different tastes and different ideas of who was deserving and who wasn’t (in a fair world, Bird’s Eye by Ravyn Lenae would have at least gotten a nomination). But, that doesn’t make it any less of a great piece of art. There’s still work to be done in the space of recognition and representation, but this year’s wins are evidence of a step toward acknowledging the power of diversity (sonically and aesthetically) in modern music. With fresh faces like Doechii and Chappell Roan joining the ranks of familiar favorites like Beyoncé and Kendrick Lamar, the Grammys didn’t do so bad. This month’s Now Playing post is dedicated to the Grammy winners!!

Best Dance/Electronic Music Album: BRAT

Best Recording Package: BRAT

Best Dance Pop Recording: Von dutch

You’ve seen it—that sickening neon green, the bold, seemingly simple black font that just hits different. If you arrived at this party early enough, you watched the old album covers disappear in real time, fading into the background, following suit. And sure, some of the industry’s biggest money grabbers may have tried to rip it off, but let’s be real—nothing quite compares to BRAT green within the context of this album. It’s more than a color; it’s a cultural phenomenon. So, yes—this win for Best Recording Package is more than deserved.

I don’t need to say much about this BRAT—it speaks for itself. We all know the cultural impact. You know the memes. You know the edits with Kamala Harris. You know the joint tour with Troye Sivan. From rallying your favorite internet sensations to dropping a whole remix album, Charli XCX has consistently found new ways to keep us engaged, it’s no surprise she’s being recognised for this.

But beyond the trend cycles and social media noise, BRAT is an oasis in a desert where individuality and resilience aren’t easy to come by. Charli’s ability to push boundaries while staying true to her artistic self is why BRAT has survived, thrived, and stayed relevant in a landscape that’s constantly changing. The beauty of Charli’s discography is that she’s been here for so long. There’s plenty to look back at. Each album tells a different story, but BRAT feels like a beautiful full-circle moment for an artist who’s never been afraid to evolve, to challenge expectations, and to stay herself.

Best Rap Album: Alligator Bites Never Heal

Doechii the Don, Doechii the Dean, Doechii SUPREME, the Swamp Ruler. Doechii has etched her name into the history books as one of the only women ever to win the Best Rap Album Grammy, joining the ranks of Lauryn Hill and Cardi B. A monumental achievement in every sense.

I’ve been following Doechii’s journey since 2020’s Oh the Places You’ll Go, and to witness her rise to this level of recognition has been nothing short of incredible. In the past year alone, Doechii has shown the world what it means to be unapologetically yourself, as she dedicates her first-ever Grammy to Black girls. It’s not just about the music for Doechii; it’s about giving back and inspiring others to keep pushing forward.

From dropping Alter Ego with JT to an unforgettable feature on Tyler, The Creator’s CHROMAKOPIA, to slaying her NPR Tiny Desk performance—Doechii has absolutely been everywhere this year, and her creativity and versatility shine through. She’s one of the few artists who can turn any track into an experience. And don’t even get me started on the music video for Denial is a River—pure cinematic brilliance.

Alligator Bites Never Heal isn’t even an album. It’s a mixtape! Doechii isn’t just making music; she’s making history. Self-belief, creativity, and raw talent—she’s giving us all of that and more and she’s not slowing down anytime soon.

Best New Artist: Chappell Roan

Now she’s not really new is she? New to the mainstream perhaps, and honestly new to me. Chappell, I was unfamiliar with your game.

A lot of Chappell Roan’s recognition this year stems from her 2022 album The Rise and Fall of a Midwest Princess, and it’s clear why. Tracks like the catchy synth-driven HOT TO GO! the witty, thought-provoking Femininomenon and hilariously heartbreaking Casual, captured attention for their uniqueness, but also for how they unpacked serious themes wrapped in humour and pop sensibilities.

Outspoken, tacky in the best way, and wonderfully boundary-pushing, Chappell Roan is everything we need right now in the music scene. She’s not boring. She’s an advocate, an ally, and truly unapologetic in her artistry. Her presence this year has been undeniable—from her long nails and drag-inspired makeup to performing as the Statue of Liberty in all her fabulous glory. It’s clear: we’ve made the right person famous.

Best Progressive R&B Album: Why Lawd?

Why Lawd? feels like one of those albums that doesn’t get enough shine in everyday conversations, but once you hear it, you can’t stop thinking about it. And if I had to sum it up in a few words? Progressive R&B. It’s the perfect blend of the old and new—fusing soul, rap, classic R&B, and even some spoken elements, all wrapped in that signature smooth richness.

The union of Knxwledge and Anderson .Paak is just magic. They’ve got chemistry, and it’s clear they’ve spent years building their sound into something that feels both timeless and forward-thinking. Why Lawd? comes 8 years after Yes Lawd!, and in the world of R&B, 8 years is a lifetime. The genre’s landscape has changed a lot during that time, but this album proves that Knxwledge and Paak are as in tune with the evolution of R&B as anyone, if not more so.

To me, progressive R&B is all about respecting the foundation—the classic grooves, the soulful storytelling, the rhythm and blues—but then carving out something new, something that’s undeniably fresh while paying homage to where it all started. Why Lawd? does that effortlessly. It takes you back to a place where the music feels deep and authentic, but the way it’s arranged and presented is entirely modern, not stuck in any one time period. There’s a fluidity to the sound that makes it feel like it’s both rooted and exploratory.

So, when I think of progressive R&B, this is the kind of album I’m thinking of: something that doesn’t just look back but pushes the genre forward, expanding its boundaries while staying true to its roots. Knxwledge and Anderson .Paak have done that with Why Lawd?, and honestly, it’s well-deserved recognition for an album that stands as a bridge between eras and influences, creating something new that feels like it’s always been there.

Honourable mentions…

It isn’t really the Grammy’s without a snub! And I’m not getting into the particulars of Espresso vs. BIRDS OF A FEATHER or Cowboy Carter vs. HIT ME HARD AND SOFT, and this definitely isn’t a safe space for Swifties. Let’s talk about WILLOW.

Best Engineered Album: empathogen

Willow has truly leveled up with empathogen, and it’s a big surprise that she didn’t take home the Grammy for Best Engineered Album. This project is a masterclass in sound design—it’s the kind of album that gives you goosebumps, whether you’re listening up close with headphones or blasting it through a big speakers. Trust me, I’ve tried both.

empathogen is refined in a way that feels almost effortless, but there’s a depth to it that comes from meticulous attention to detail in the engineering. It’s organised chaos—a beautiful, disorienting blend of textures and layers that somehow come together perfectly. Every track feels like it has its own distinct vibe, yet the album flows seamlessly, creating this unique sense of emotional and sonic intensity. It’s not just an album you listen to—it’s one you feel.

Willow also earned nominations for Non-Classical and Best Arrangement, Instruments and Vocalsfor her standout track b i g f e e l i n g s. Willow’s music never fails to find new ways to combine genres and moods with precision. Wake this up!

Playing Next

Messing up the 67th Annual Grammys would’ve been nearly impossible, given the incredible talent on display last year. It felt like an all-you-can-eat buffet of good music. While it’s hard to predict what 2025 has in store, the year is already off to a strong start with Bad Bunny’s DTMF and FKA twigs’ Eusexua making waves and I’m seated for Summer Walker’s Finally Over It. Hopefully, we’re in for another year of musical innovation.