In the words of SZA on SOS track “Ghost in the Machine,” let’s talk about AI.

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The R&B hitmaker spoke out Wednesday (July 16) about being “deeply concerned” regarding the dangers of using artificial intelligence, which — through models such as ChatGPT and Elon Musk’s Grok — has been seeing a drastic increase in popularity in recent years. What many of its users may not realize, however, is that AI comes with a steep environmental cost, one that has been found to disproportionately affect Black and brown communities — which is exactly what SZA is hoping to get across.

“Please google how much energy and pollution it takes to run Ai,” the musician wrote in a comment on Instagram, a screenshot of which she shared on her Story. “Please google the beautiful black cities like Memphis that are SUFFERING because of twitters new Ai system.”

“PLEASE JUST GOOGLE ENVIRONMENTAL RACISM,” she continued. “AI doesn’t give a f–k if you live or die I promise. THERE IS A PRICE FOR CONVENIENCE AND BLACK AND BROWN [people] WILL PAY THE BRUNT OF IT EVERY-TIME.”

Billboard has reached out to X for comment.

SZA also slammed the use of AI the day prior, according to Complex, writing at the time on her Story: “AI is killing and polluting Black and Brown cities. None of you care ‘cause [you’re] codependent on a machine. Have a great life.”

Artificial intelligence has long been a tricky subject, especially within the music industry. Artists such as Rihanna and Paul McCartney have spoken up about the technology’s capacity to create potentially harmful deepfakes and infringe on other musicians’ creative rights, while others have used it as a tool to aid in the creation or restoration of music.

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But while the possible benefits and drawbacks of AI are still being discovered, what can’t be ignored are the environmental risks it poses. According to MIT, artificial intelligence data centers frequently demand high amounts of water and “a staggering amount of electricity, which leads to increased carbon dioxide emissions and pressures on the electric grid.”

As far as SZA is concerned, she arguably couldn’t have picked a better time to speak out about what she believes in. The star has had even more eyes on her than usual this week following her spat on X with Nicki Minaj, who called SZA “ugly” and a “liar” on Tuesday (July 15) and wrote, “B—h looking & sounding like she got stung by a f–king bee.”

SZA fired back at the time, “I don’t give a f–k bout none of that weird s–t you popping.”

The Jonas Brothers dropped the latest preview of their upcoming seventh studio album, Greetings From Your Hometown, on Wednesday morning (July 16). The bouncy, ready for hot fun in the summertime single “I Can’t Lose” is an homage to a love that makes everything feel right, even when things are going wrong.

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“I woke up late, missed the alarm, can’t find the keys to my car/ What do you know? Power went out, I’m getting dressed in the dark/ Finally got out the door, but on the way, they cancelled my flight/ Nothing’s working anymore, feels like I’m losing my mind,” Joe Jonas sings on the first verse of the bubbling tune that features Joe teaming with Nick on the keening chorus of the track that will be featured on the LP due out on Aug. 8.

“I can’t lose when I’m with you/ Oh-oh, you give me everything, everything that I need, everything that I need to keep smiling through-ooh-ooh/ I can’t lose when I’m with you/ Oh-oh, made out of magic and I gotta have it, I made it a habit to keep smiling through-ooh-ooh,” they sing on the soaring refrain.

The positive energy carries over into the performance video for the single, which mixes footage of the Brothers singing on a New York rooftop for a group of select fans with images of cancer survivors celebrating the end of treatment and receiving loving support from their families. The song was first featured as the official anthem of ESPN’s Sunday Night Baseball coverage and the uplifting video debuted in partnership with Mastercard in support of Stand Up To Cancer during Tuesday night’s (July 15) 2025 MLB All-Star game.

“We debuted ‘I Can’t Lose’ – a song about love, strength, and showing up for the people you love. Dedicated to all of those who Stand Up To Cancer,” the band said in a statement. “Teaming up with Mastercard to uplift fans who’ve found hope and healing in our music means so much to us. ‘I Can’t Lose’ is a song we hope can carry different meanings for everyone who hears it and, for those who need it, a reminder of their own strength.”

“I Can’t Lose” follows the trio’s most recent single, the Bee Gees-interpolating disco pop single “No Time To Talk.” So far, they’ve also previewed the album with the songs “Love Me to Heaven” and the Marshmello collab “Slow Motion.”

The JoBros will kick off their 2025 JONAS20: Greetings From Your Hometown tour on Aug. 10 at MetLife Stadium in East Rutherford, N.J.

Check out the “I Can’t Lose” video below.

Nicki Minaj and SZA continued their X feud on Tuesday evening (July 15) as the pair of music titans exchanged shots. What initially began as Minaj attacking Top Dawg Entertainment president Terrence “Punch” Henderson became a Nicki-SZA spat.

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The Queens, N.Y., hitmaker blasted SZA’s ability as an artist and how “the music business wouldn’t even miss” her. Minaj went on to tout her accolades when compared to the success that the TDE singer has enjoyed in her career thus far.

“Wait. Does Sza think she’s more successful than me? Lol yall catch me up pls,” Nicki began. “Sza if every song you’ve ever done vanished right now the music business wouldn’t even miss you. I’ve been to countries that never heard of you. I know you’re not THAT stupid are you? Stadiums? Did you look at the venues I played on my OWN headlined FESTIVAL tour out of the country last year? B—h have you ever headlined to 80K ppl? Btch what have you ever done besides yodel with auto tune that needed retuning?”

Minaj continued, in part: “Boo im an icon. You’re not. The end. Pay that man for almost breaking his back. … You the type that would’ve been quiet in school trying to fit in. You still have no clue who you are!”

The rapper also went on to reference a series of resurfaced tweets that allegedly found SZA shading Beyoncé, Rihanna and Ciara in the early 2010s. “Btch used to be on twitter dissing Rihanna, Ci, etc.” she wrote. “Allegedly. Like b—h stop being jealous of women who you secretly would kill to be up their a— holes.”

The “Super Bass” rapper added: “Now wanna act like you a mthfkn tarot card, b—h quit. What an odd little weirdo.”

The ranting didn’t stop there, as Minaj took the feud to her Stationhead channel where she insulted SZA, whom she nicknamed MZA, some more and claimed to not “know one of [her] motherf—king songs.”

“Not one. Listen, MZA,” she said. “I said find you some motherf—king else body to play with, b—h. You already played with your own, hoe, and we see how that went, b—h.”

Billboard has reached out to reps for SZA for comment.

Minaj’s rants against SZA appeared to come to a close late Tuesday; the latter is currently in the midst of the European leg of her co-headlining Grand National Tour with Kendrick Lamar.

It’s unclear what the root of the issue is between Minaj and SZA. The Breakfast Club‘s Loren Lorosa allegedly spoke to Punch, who relayed that Nicki attempted to get SZA on a song in 2020, but the opportunity fell through after the singer declined.

Regardless, both Nicki and SZA have been widely successful in their respective careers. The singer’s SOS album remains in the top five of the Billboard 200 years after its 2022 release and has spent 135 weeks on the chart. Minaj holds the record for the most Billboard 200 No. 1 albums by a female rapper and boasts 149 Billboard Hot 100 hits to her name.

SiriusXM launched a low-cost subscription service this week as the audio giant seeks solutions to reverse a persistently declining subscriber-base and increase its earnings from advertisers.

The new, ad-supported service, called SiriusXM Play, will cost less than $7 a month –less than SiriusXM’s $25 all access plan or its $9.99 app subsciption–and will become available by the end of this year. Play listeners will have access to the satellite radio company’s 130 stations in the car, including popular music, news and sports channels, as well as the app’s offering.

While price and availability are still being rolled out, investors were lukewarm to the idea. SiriusXM’s stock falling by more than 3% on Wednesday to $23.07, one day after the company announced the news.

SiriusXM lost 303,000 subscribers in the first quarter this year, bringing its total number of subscribers to roughly 33 million. While still a healthy subscriber number, the deline drove a 5% reduction in the business division’s subscriber revenue. Last year, the company said it expected 2025 revenue to come in below 2024’s figures, forecasting revenue this year of $8.5 billion compared to 2024’s revenue of $8.675 billion.

As the dominant premium audio provider for listeners in their vehicles, Sirius’s fortunes are closely connected to the automobile industry. U.S. auto sales rose between March and July, as people rushed to buy cars befure prices rose due to new tariffs on U.S. imports. While that could be a good thing for new car starts, a category of SiriusXM subscriptions the company is expected to share details about when it reports second quarter earnings on July 31, car sales are cooling as tariffs are expected to drive vehicle prices higher.

SiriusXM executives have been teasing the launch of a lower-tier product for in-car subscribers and expanded and more tailored marketing opportunities for advertisers for several quarters. On Tuesday, the company said Play presents an opportunity to boost not just subscribers but also ad dollars.

“Play is an exciting new opportunity for marketers,” said Scott Walker, chief advertising revenue officer. “The car is the final frontier for digital ad-supported media. We are opening up new inventory.”

Like every other contemporary film composer, Alexandre Desplat works in the shadow of the great John Williams. And so it was on Tuesday (July 15), as Desplat made his Hollywood Bowl debut, conducting the Los Angeles Philharmonic Orchestra on a program of music from his film scores.

Before the show began, overhead screens promoted upcoming shows, including a tribute to Williams which is booked to run three nights (Aug. 22-24), with David Newman conducting the L.A. Phil. The title of that show: “Maestro of the Movies: Celebrating the Music of John Williams.”

If the name “Maestro of the Movies” is taken, let’s call Desplat “Monsieur of the Movies.” The French composer deserves that, thanks to his impeccable musicianship and disarming, shy manner.

Near the top of the show, Desplat said “It’s an immense pleasure to be celebrating about 20 years of Hollywood films. I figured this would be a good venue to do this.”

Indeed it is. The Hollywood Bowl is about a mile from the Dolby Theatre in Hollywood, where Desplat has picked up two Oscars, for The Grand Budapest Hotel and The Shape of Water, from 11 nominations. Since the Oscar ceremony in 2000, only Williams has received more Oscar nominations for best original score (17).

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Desplat, 63, has said he realized that he wanted to be a film scorer when he heard Williams’ score for Star Wars in 1977, so he probably doesn’t mind trailing the master in Oscar nods. “He’s such a legend for all of us,” Desplat recently told The Los Angeles Times. “He’s just the only one to follow.”

Desplat didn’t include (or even mention) any of his three 2025 film scores – for Wes Anderson’s The Phoenician Scheme, Gareth Edwards’ Jurassic World Rebirth or Guillermo del Toro’s Frankenstein (The latter film, now in post-production, is due in November).

Desplat has conducted the London Symphony Orchestra, the Royal Philharmonic Orchestra and the Munich Symphony Orchestra on performances of his music. And now he can add the L.A. Phil to that list.

Here are the six best moments from the show that gave Gustavo Dudamel a night off and the rest of us a real treat.

Singer-songwriter tobyMac notches his 12th No. 1 on Billboard’s Christian AC Airplay chart as “A Lil Church (Nobody’s Too Lost)” ascends a place to the top of the July 19-dated ranking.

The single advanced by 1% in plays July 4-10, according to Luminate. It also holds at its No. 2 high on Christian Airplay with 5.1 million audience impressions (up 1%).

tobyMac (real name Toby McKeehan), from Fairfax, Va., co-wrote the song with Benji Cowart and Kyle Williams and co-produced it with Williams.

The track is the lead single from tobyMac’s LP Heaven on My Mind, which arrived in March as his seventh No. 1 on Top Christian Albums, with 10,000 equivalent album units.

“I am so grateful that ‘A Lil Church’ made it to the top of the chart, especially with so many incredible songs out at the same time,” tobyMac tells Billboard. “We are all in this together. I believe with all my heart nobody’s too lost to get found. We were never meant to walk this journey alone. No matter what you’re going through, remember, we grow stronger when we pray together, worship together and lift each other up.”

tobyMac, now based in Franklin, Tenn., had most recently ruled Christian AC Airplay with “Nothin’ Sweeter” for five frames beginning last October.

Not counting holiday fare, “A Lil Church” is the singer-songwriter’s fourth straight leader on the list. Before “Nothin’ Sweeter,” “Faithfully” led for eight weeks starting in February 2024 and “Cornerstone,” with Zach Williams, dominated for seven weeks beginning in June 2023.

tobyMac first topped the chart with “City on Our Knees” for five weeks in 2009-10. He boasts the fourth-most No. 1s since the chart began in 2003, after MercyMe (20), Jeremy Camp and Casting Crowns (13 each).

Taylor Swift‘s father, Scott Swift, is on the mend after undergoing heart surgery, with a rep for the pop star telling Billboard on Wednesday (July 16) that the stockbroker is “doing fantastic.”

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According to reports that emerged earlier Wednesday morning, Scott, who is 73, received quintuple bypass surgery more than a month ago. People confirmed that the businessman chose to get the procedure after going in for a general checkup, during which his doctor recommended the operation, the purpose of which, per the Mayo Clinic , is “to restore blood flow around a blocked heart artery.” 

The surgery was not the result of a heart attack. The 14-time Grammy winner and her younger brother, actor Austin Swift, were reportedly by their father’s side throughout the process, as was Scott’s wife of 37 years, Andrea Swift.

Scott has been instrumental in Taylor’s career from the very beginning, investing in the musician’s very first label home, Big Machine Records. For as long as Taylor has been touring, Scott has also been known to hand out guitar picks and chat with fans on venue grounds, earning himself the nickname “Papa Swift.”  

Taylor has paid tribute to her dad a few times in her music as well, most notably on “The Best Day” from 2008 album Fearless. On the track, which is dedicated to Andrea, the Eras Tour headliner sings, “I have an excellent father/ His strength is making me stronger.”

The health update comes about six years after Taylor shared that her dad had previously had cancer in an essay written for Elle. In that same piece, the hitmaker also opened up about her mom’s battle with the illness; after Andrea was diagnosed with cancer in 2015, her doctors found that she also had a brain tumor, Taylor revealed in 2020.

“I’ve had to learn how to handle serious illness in my family,” Taylor wrote at the time. “It’s taught me that there are real problems and then there’s everything else … I used to be so anxious about daily ups and downs. I give all of my worry, stress and prayers to real problems now.” 

The musician’s father has also been known to be protective of his famous daughter. When Big Machine founder Scott Borchetta sold the label to Scooter Braun in 2019 — a move to which Taylor has been vocal in her opposition — Mr. Swift refused to sign an NDA that would have involved him in negotiations, the singer’s team has said in the past.

Taylor’s dad also made headlines in 2024 when he was accused of assaulting a photographer who’d been trying to take photos of her in Australia. Shortly afterward, a rep told Billboard that the incident occurred as two individuals had been “aggressively pushing their way towards Taylor, grabbing at her security personnel and threatening to throw a female staff member into the water,” and local police later confirmed that they would not be taking further action. 

At the midyear mark of 2025, two Universal Music Group labels remain far ahead of the rest of the field in current market share, as REPUBLIC and Interscope Geffen A&M are the only two labels to post double-digit percentages for the second straight quarter, according to data from Luminate through June 26, 2025.

After Kendrick Lamar helped spur Interscope to a first-quarter lead among labels, REPUBLIC — whose market share includes Island Records, Mercury Records, Big Loud and indie distributor Imperial — reclaimed first place at the mid-year mark, posting a 12.69% current share, up from the 12.52% it held in Q1 though down from its staggering 15.72% at mid-year 2024, when it surpassed the entirety of the Warner Music Group. Interscope — which includes Verve Label Group in its market share — came in second at a still-formidable 11.56%, down from its 12.67% mark in Q1 but up significantly from its 9.51% halfway through 2024.

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REPUBLIC was boosted by the seven-week Billboard 200 No. 1 album I’m The Problem by Morgan Wallen (Big Loud/Mercury), which was released May 16 and quickly became the biggest album of the year so far. Continued success by albums from The Weeknd, Ariana Grande and Taylor Swift, as well as Island’s Sabrina Carpenter and Chappell Roan, also underpinned its industry lead. Meanwhile, a trio of 2024 Interscope releases from Lamar, Billie Eilish and Gracie Abrams continue generating share for the label, as well as new albums from Lady Gaga and Playboi Carti; adding in the 4.32% current share for the Capitol Music Group, and the combined Interscope Capitol Label Group (ICLG) stands at 15.88%.

REPUBLIC and ICLG make up the majority of the Universal Music Group’s industry-leading 36.03% current share at mid-year, a figure that is down from both Q1 2025 (36.82%) and mid-year 2024 (36.37%). Sony Music Group, in second, posted a 26.95% share, which is up significantly from last year’s 26.07% — helped by a huge Bad Bunny album released in January — but down from its 27.37% Q1 mark. At 16.38%, the third major, Warner Music Group, is up both year over year (15.68%) and over Q1 (15.89%), while the indies by distribution ownership come in at 20.64% current share, up from Q1’s 19.92% but down from the 21.88% they held midway through 2024, and higher than their 15.02% overall share when factoring in catalog. By label ownership, the indie community represents 35.49% of the overall market, down from 37.35% midway through 2024.

Helping power WMG’s uptick is the third and fourth ranked labels, Warner Records and Atlantic Records, respectively, which posted 6.21% and 5.75% marks. For Warner Records — which includes Warner Nashville, Warner Latin and catalog label Rhino in its share — that continues a hot streak that has been going for more than a year, essentially static from Q1’s 6.17% and just slightly down from 2024’s 6.30%. Atlantic, meanwhile, is steadily rounding back into form, as its mark — helped by the breakout success of Alex Warren, whose “Ordinary” spent five weeks at No. 1 on the Hot 100 by midyear, and which includes 300 Entertainment and Elektra in its share — represents a steady upward trajectory from last year’s mid-year 5.24% and Q1’s 5.58%, and also its highest share since the end of 2023.

Maintaining its position in fifth place is RCA Records at 4.46%, which is still riding high on the success of SZA, as well as 2025 albums from Tate McRae and Sleep Token, though down from both mid-year 2024 (4.59%) and Q1 2025 (4.83%). Columbia, meanwhile, moves back into sixth place after dipping to seventh in Q1, as its 4.37% current share is enough to beat out Capitol Music Group (inclusive of Motown/Quality Control, Astralwerks, Virgin Music, Blue Note and Capitol Christian Music Group) at 4.32%, which is a dip from 4.56% in Q1, though up from 4.03% midway through last year.

Making a big year over year jump is Alamo Records, which surges from 11th place midway through last year (1.78%) into eighth place at the mid-year mark of 2025 (2.81%) with a more than one percent jump, with its Santa Anna distribution service contributing significantly to its share. Sony Music Latin (2.19%) and Sony Music Nashville (1.87%) round out the top 10.

In overall market share, UMG’s 38.56% share is down slightly from last year’s 38.60%, while both Sony and Warner climbed: the former is up to 27.69% from 27.21% last year; while the latter is up to 18.71% from last year’s 18.22%. Much of those gains were at the expense of the indies’ overall share, which dipped to its 15.02% mark this year from a 16.05% halfway through 2024.

Among the labels, when reordered by overall share, Interscope takes the lead with a 10.36% mark, besting REPUBLIC’s 9.88%, a mirrored reversal of this time last year, when REPUBLIC led with 10.61% and Interscope took second at 9.88%. Jumping to third is Atlantic off the strength of its formidable catalog, sitting at 7.80% and up from 7.61% in 2024, with Warner sitting in fourth at 6.93%, up from last year’s 6.74%. Capitol and RCA swap places either side of Columbia in fifth, sixth and seventh, with Capitol’s 5.95% good for fifth, Columbia’s 5.35% in sixth and RCA’s 5.15% in seventh. Epic Records (2.39%), Sony Nashville (2.01%) and Concord (1.76%) round out the top 10.

The order stays largely the same when looking solely at catalog, though Def Jam Recordings (2.09%) sneaks in at No. 9 ahead of Sony Nashville at 10.

Rewind: Q1 Record Label Market Share Report

The 40th anniversary of Whitney Houston‘s music career will be celebrated on Aug. 11 when Julien’s Auctions hosts the Whitney E. Houston Legacy Foundation Auction featuring a treasure trove of the iconic singer’s stage clothes and personal effects, including a RIAA multi-platinum sales award for her legendary 1992 hit and Billboard Hot 100 No. 1 smash “I Will Always Love You.”

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The auction, which will kick off at 10 a.m. PST will honor Houston’s legacy and raise awareness and funds for the foundation’s many initiatives, including scholarships for young college students studying the arts at Historically Black Colleges and Universities.


“On behalf of The Whitney E. Houston Legacy Foundation, we look forward to partnering with Julien’s Auctions,” said the singer’s sister-in-law and former manager/ executor of Houston’s estate, Pat Houston, in a statement. “For Whitney’s 40th Anniversary, we have some of her unique and one-of-a-kind items and garments that Whitney wore on stage and at various A-list events and at home. Gathering those items brought back so many memories. We look forward to previewing this year’s collection with her supporters globally.” 

Among the items going under the gavel are: a 1991 “I’m Your Baby Tonight” stage-worn Marc Bouwer embellished catsuit, a 1994 personalized FIFA World Cup event-worn jersey, a 1994 event-worn Michael McCollom black fur coat, a 1994 The Bodyguard world tour stage-worn Bouwer embellished two-piece outfit, two pair of 1999 My Love Is Your Love world tour-worn Dolce & Gabbana pumps, a novelty slot machine, various pieces of jewelry and an RIAA multi-platinum sales award for The Bodyguard soundtrack, the best-selling soundtrack of all time.

“Julien’s Auctions is proud to partner with the Whitney E. Houston Legacy Foundation for this very special auction,” said Julien’s VP head of music Giles Moon in a statement. “Whitney Houston fans and collectors from around the world will have a rare opportunity to own incredible memorabilia and artifacts from important moments of her stellar career, while making a difference, with 100% of the proceeds from the sale benefitting the Whitney E.  Houston Legacy Foundation.”

A special preview of the auction items will take place at the Foundation’s 4th annual Legacy of Love gala on Aug. 9 at the St. Regis Hotel in Atlanta, on what would have been Houston’s 62nd birthday; Houston died in Feb. 2012 at age 48. The collection is live now and the sale will commence on Aug. 11 from Los Angeles beginning at 1 p.m. ET and online here.

Kendrick Lamar had a big night at the 67th annual Grammy Awards in February, winning all five categories in which he was nominated, including record and song of the year for “Not Like Us.” Expect him to make another strong showing at the 68th Grammys on Feb. 1, 2026, where he could become the first male solo rapper to win album of the year.

First, though, there are the nominations, which are set to be announced Nov. 7. Ten years ago, when Lamar’s To Pimp a Butterfly was released, the rapper received a career-best 11 nods (just one shy of the record held jointly by Michael Jackson and Babyface). Lamar’s tally this year could be close to that.

Ahead of the end of the eligibility period on Aug. 30, here are the early top contenders in the four highest-profile categories — album, record and song of the year plus best new artist — which are commonly referred to as the Big Four.

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Album of the Year

We’ll find out if Bad Bunny, Lorde and The Weeknd can return to the album of the year finals after missing out with their previous sets. We’ll also see if Kendrick Lamar can become the first solo artist in Grammy history to receive album of the year nods for five consecutive studio projects and if Morgan Wallen finally lands his first nod in a Big Four category.

Bad Bunny, DeBÍ TiRAR MáS FOToS

Three years ago, Un Verano Sin Ti became the first Spanish-language album to receive an album of the year nod. Bad Bunny’s 2023 follow-up wasn’t nominated in this category, but his latest may put him back on track and make him the only artist with two Spanish-language albums nominated in the top category. Billboard 200 peak: No. 1 (four weeks).

Justin Bieber, SWAG

This surprise drop on July 11 could bring Bieber his third nod in this category following Purpose (2017) and Justice (2022). The alternative R&B album features artists such as Gunna and Sexyy Red alongside Dijon and Eddie Benjamin. Grammy voters have long been Beliebers — four of his six previous studio albums were nominated for best pop vocal album.

Sabrina Carpenter, Man’s Best Friend (Aug. 29)

Carpenter was nominated in this category last year for Short n’ Sweet. She is vying to become just the third artist in the past decade — following H.E.R. and Taylor Swift — to be nominated in this category in back-to-back years. If she is, Carpenter will match the Carpenters (no relation), who had consecutive album of the year nods in 1971 and 1972.

Elton John & Brandi Carlile, Who Believes in Angels?

This would be John’s fourth nod in the category — his first since Captain Fantastic and the Brown Dirt Cowboy 50 years ago — and the third for Carlile. This would give John a 55-year span of album of the year nominations, a record topped only by Tony Bennett, whose nods spanned 59 years. Billboard 200 peak: No. 9 (one week).

Lady Gaga, MAYHEM

This would be Gaga’s fifth nomination in this category and her first for a contemporary pop album since Born This Way in 2012. Gaga has amassed 14 Grammys, but she has yet to win in a Big Four category. She and Bruno Mars memorably performed “California Dreamin’ ” to boost Los Angeles wildfire relief at the 2025 Grammys. In April, she headlined the first night of Coachella. Billboard 200 peak: No. 1 (one week).

Kendrick Lamar, GNX

Lamar could become the first rapper to receive five nominations in this category as a lead artist. He’s currently tied with Ye (formerly known as Kanye West), with four nods. In addition, he would become the first solo artist from any genre to be nominated for the award with five consecutive studio albums. Billboard 200 peak: No. 1 (three weeks).

Tyler, the Creator, Chromakopia

The rapper was nominated in this category 13 years ago as a featured artist on Frank Ocean’s debut studio album, Channel Orange. He has since won two Grammys as a lead artist for best rap album for Igor and Call Me If You Get Lost. Billboard 200 peak: No. 1 (three weeks).

The Weeknd, Hurry Up Tomorrow

The superstar was nominated for album of the year 10 years ago with Beauty Behind the Madness, but was passed over with his next four studio projects. When he wasn’t nominated in any categories at the 2021 ceremony for his megahit “Blinding Lights,” he announced a Grammy boycott, but he made a surprise, bury-the-hatchet appearance at the 2025 Grammys, where he performed two songs. Will voters extend the rapprochement with a nod here? Billboard 200 peak: No. 1 (one week).

Within Reach: Bon Iver, SABLE, fABLE; Clipse, Let God Sort Em Out; Coldplay, Moon Music; HAIM, I Quit; Jelly Roll, Beautifully Broken; Lorde, Virgin; Tate McRae, So Close To What; Playboi Carti, MUSIC; Kali Uchis, Sincerely,; Morgan Wallen, I’m the Problem.

Record of the Year

Sound, Grammy Preview, Rosé and Mars, Doechii, Gracie Abrams and Alex Warren

Clockwise from top: ROSÉ and Mars, Doechii, Gracie Abrams and Alex Warren.

Illustration by Mara Ocejo

Artists may receive two nominations in this category, provided at least one is with a co-nominee. Thus, Kendrick Lamar could get the nod for his solo smash “Squabble Up” and one of his hit duets with SZA, most likely “Luther.” However, the smart strategy is to enter your strongest single and not risk vote-splitting. Artists can enter different works for record and song of the year, as Sabrina Carpenter did last year, but it’s usually best to play your strongest card across the board.

Gracie Abrams, “That’s So True”

Abrams teamed with Aaron Dessner and Julian Bunetta to produce this single, which became her first top 10 hit on the Billboard Hot 100. Bunetta was nominated in this category last year for producing Sabrina Carpenter’s “Espresso.” This would be Abrams’ second nod in a Big Four category after her best new artist nomination two years ago. Hot 100 peak: No. 6.

Sabrina Carpenter, “Manchild”

Carpenter, who was nominated for this award last year with “Espresso,” could return to the finals with this amusing lead single from Man’s Best Friend. She teamed with Jack Antonoff to produce the smash, which became her second No. 1 on the Hot 100. This would be Antonoff’s fourth nod in this category. Hot 100 peak: No. 1 (one week).

Doechii, “Denial Is a River”

Doechii performed this song in February on the Grammy telecast, where she won best rap album and was nominated for best new artist. She has two eligible singles in this category. “Anxiety,” which samples Gotye’s 2013 record of the year winner, “Somebody That I Used To Know,” was a bigger hit, but “Denial Is a River” is a more original and distinctive work. Hot 100 peak: No. 21.

Billie Eilish, “Wildflower”

This would be Eilish’s sixth nod in this category in the past seven years. Her brother, FINNEAS, has produced or co-produced all of these records. Like 2024’s nominated “Birds of a Feather,” “Wildflower” has been a fixture on the Hot 100 for more than a year. The siblings are masters of slow-burning hits. Hot 100 peak: No. 17.

Lady Gaga, “Abracadabra”

This would be Gaga’s fourth nomination in this category following “Poker Face,” “Shallow” (with Bradley Cooper) and “I Get a Kick Out of You” (with Tony Bennett). Gaga produced the single with Cirkut (who was nominated in this category last year for co-producing Charli xcx’s “360”) and Andrew Watt (nominated four years ago for the Justin Bieber smash “Peaches”). Hot 100 peak: No. 13.

Kendrick Lamar & SZA, “Luther”

Lamar and SZA are vying to become the first occasional duet partners to receive two nominations in this category. They were nominated seven years ago for “All the Stars.” This would be Lamar’s fifth nod for this prize, which would establish a new record for a hip-hop artist. It would be SZA’s fourth. Hot 100 peak: No. 1 (13 weeks).

ROSÉ & Bruno Mars, “APT.”

This would be a history-making nomination: Blackpink’s ROSÉ would become the first K-pop artist to receive a Big Four nod. It doesn’t hurt that she is teamed with Mars, a six-time nominee in this category. He co-produced the single with Cirkut, Omer Fedi and Rogét Chahayed, all of whom are also past nominees in this category. Hot 100 peak: No. 3.

Alex Warren, “Ordinary”

This power ballad has been a global smash, topping the Official U.K. Singles Chart for 13 weeks and the Billboard Global 200 for 10. Its extra-“Ordinary” success may be capped off by a nomination in this category. Co-writer Adam Yaron also produced Warren’s single. Hot 100 peak: No. 1 (six weeks).

Within Reach: BigXthaPlug featuring Bailey Zimmerman, “All the Way”; Miley Cyrus, “End of the World”; Drake, “Nokia”; Tate McRae, “Sports Car”; Ed Sheeran, “Azizam”; sombr, “Undressed”; Teddy Swims, “Bad Dreams”; Tyla, “Push 2 Start”; Morgan Wallen featuring Tate McRae, “What I Want”; The Weeknd and Playboi Carti, “Timeless.”

Song of the Year

Sound, Grammy Preview, Audrey Hobert, Dan Nigro, Amy Allen and Atia “INK” Boggs

Clockwise from top: Dan Nigro, Amy Allen, Atia “INK” Boggs and Audrey Hobert.

Illustration by Mara Ocejo

In each of the last two years, five record of the year nominees were also nominated for this songwriter’s award. Our early projection is that six will double up in 2026. Songs that sample or interpolate previous hits, such as “Luther” (Luther Vandross & Cheryl Lynn’s “If This World Were Mine”), “APT.” (Toni Basil’s “Mickey”) and “Anxiety” (Gotye’s “Somebody That I Used To Know”), are eligible, but the writers of the sampled/interpolated songs are not.

“Denial Is A River”
Songwriters: Doechii, James Ian Anderson, Joey Hamhock

This loosely autobiographical song could potentially bring Doechii her first nomination in a songwriting category and her co-writers their first Grammy nods ever. The clever, sitcom-themed video (co-directed by Carlos Acosta and James Mackel) is also a strong contender for a best music video nod.

“The Giver”
Songwriters: Chappell Roan, Dan Nigro

Roan and Nigro were nominated in this category last year for co-writing “Good Luck, Babe!” Nigro was previously nominated here for co-writing Olivia Rodrigo’s “drivers license” and “vampire.” If this cheeky song is nominated, this would be the second year in a row that a non-country artist received a nod in this category for co-writing a country-flavored song. Beyoncé was nominated last year for “Texas Hold ’Em.”

“Luther”
Songwriters: Kendrick Lamar, SZA, Atia “INK” Boggs, Samuel Dew

This would be Lamar’s fifth nomination in this category — establishing a new record for a rapper — the fourth nod here for SZA and the second for Boggs, who was nominated last year for co-writing Beyoncé’s “Texas Hold ’Em.” Luther Vandross, the song’s namesake, won this category in 2004 for co-writing “Dance With My Father.”

“Manchild”
Songwriters: Sabrina Carpenter, Amy Allen, Jack Antonoff

This songwriting trio was nominated in this category last year for co-writing “Please Please Please.” This would be Antonoff’s seventh nod in this category, which would put him behind only his frequent collaborator Taylor Swift, who has amassed eight nods. Allen is the reigning winner for songwriter of the year, non-classical.

“Ordinary”
Songwriters: Alex Warren, Adam Yaron, Cal Shapiro, Mags Duval

Stately power ballads have been perennial favorites in this ­category, with the winners’ list including such songs as Paul Simon’s “Bridge Over Troubled Water” (1971), Sam Smith’s “Stay With Me” (2015) and Adele’s “Hello” (2017). The lattermost smash is the most recent power ballad to win. It’s too early to know if “Ordinary” will take the prize, but a nomination seems likely.

“That’s So True”
Songwriters: Gracie Abrams, Audrey Hobert

This would be Abrams’ first nomination in a songwriting category and Hobert’s first nod ever. It would also be the first collaboration by two women to be nominated in this category since the expanded version of “All Too Well,” co-written by Taylor Swift and Liz Rose, was nominated two years ago.

“When This Old World Is Done With Me”
Songwriters: Brandi Carlile, Elton John, Bernie Taupin, Andrew Watt

This poignant ballad would be Carlile’s fifth nomination in this category, the third for John and the second for Watt (following “Die With a Smile” last year). Taupin has never been nominated for song of the year — meaning not one Elton & Bernie collaboration has been nominated in this category. If only to correct that oversight, a nod would be welcome.

“Wildflower”
Songwriters: Billie Eilish, FINNEAS

This would be the siblings’ sixth song of the year nomination in just seven years. No other songwriters have piled up so many nods so quickly. Lionel Richie scored his six nods in a comparatively leisurely eight years. Eilish and FINNEAS won for “bad guy” in 2020 and the Barbie smash “What Was I Made For?” in 2024.

Within Reach: “Abracadabra” (artist: Lady Gaga), “APT.” (Bruno Mars and ROSÉ), “Azizam” (Ed Sheeran), “Bad Dreams” (Teddy Swims), “Nokia” (Drake), “Push 2 Start” (Tyla), “Relationships” (HAIM), “Timeless” (The Weeknd and Playboi Carti), “Undressed” (sombr), “twilight zone” (Ariana Grande).

Best New Artist

Sound, Grammy Preview, Best New Artist, The Marías, Top, Mariah the Scientist, sombr and Lola Young

Clockwise from top: The Marías, Top, Mariah the Scientist, sombr and Lola Young.

Illustration by Mara Ocejo

The Marías were featured on Bad Bunny’s Un Verano Sin Ti, an album of the year nominee in 2022. That would have previously made them ineligible here, but the Recording Academy tweaked its rules in June so that artists who are featured on less than 20% of the playing time of an album of the year nominee don’t lose their future best new artist eligibility. But Leon Thomas appears to be out of luck: He won a Grammy — an automatic disqualifier — two years ago for co-writing SZA’s “Snooze.”

Ella Langley

Langley’s hit duet with Riley Green, “you look like you love me,” arrived prior to the eligibility period, so it’s not in the running for record or song of the year nods. There’s usually more flexibility in this category, however. Langley, 26, was the top winner at the Academy of Country Music (ACM) Awards in May. Her five trophies included new female artist of the year.

The Marías

The four-member indie pop band from Los Angeles is best-known for the ballad “No One Noticed,” which was released in the previous eligibility year. The quartet, fronted by María Zardoya, is vying to become the first group with a woman lead singer to be nominated in this category since Wet Leg three years ago.

Mariah the Scientist

Mariah the Scientist, 27, wrote her breakthrough hit, the soulful ballad “Burning Blue,” which reached No. 25 on the Billboard Hot 100. The artist born Mariah Buckles could be the second Mariah to be nominated in this category: Mariah Carey won in 1991. “Burning Blue” co-producer Nineteen85 was nominated for producer of the year, non-classical in 2017.

Myles Smith

Smith, 27, may become the first male English artist to be nominated in this category since Fred again.. two years ago. He was up for best new artist at the BRIT Awards in March. Smith followed “Stargazing,” a top 20 hit on the Hot 100, with the spirited “Nice To Meet You,” which also charted.

sombr

Born Shane Michael Boose, sombr is the sole writer of his breakthrough hits “Undressed” and “Back to Friends.” The songs have a maturity and depth that belie sombr’s age — he turned 20 on July 5. He could potentially be the youngest nominee in this category in four years. The Kid LAROI and Olivia Rodrigo were both 18 when they were nominated in 2021. (Billie Eilish was just 17 when she was nominated in 2019 but had turned 18 by the time she won in 2020.)

Zach Top

Top, 27, has garnered much praise for his neotraditional country/bluegrass sound. He won new male artist of the year at the ACM Awards in May and was nominated for new artist of the year at 2024’s Country Music Association Awards. He may well be nominated in that category again at this year’s CMA Awards. (Artists have two shots in the new artist categories at country awards shows.)

Alex Warren

Warren, 24, followed breakout single “Ordinary” with “Bloodline” (with Jelly Roll). His first Hot 100 hit was “Burning Down” featuring Joe Jonas — who, as part of the Jonas Brothers, was nominated in this category in 2009. Warren’s first EP, You’ll Be Alright, Kid (Chapter 1), reached No. 13 on the Billboard 200. His debut full-length, also titled You’ll Be Alright, Kid, arrived July 18.

Lola Young

“Messy,” which Young co-wrote, reached No. 1 on the Official U.K. Singles Chart and No. 14 on the Hot 100. The song was released prior to this eligibility year. Young, 24, could become the second woman artist from England to be nominated in this category in as many years. RAYE was a finalist in 2024.

Within Reach: Addison Rae, BigXthaPlug, Reneé Rapp, Ravyn Lenae, Ken Carson, October London, Jessie Murph, Gigi Perez, Sleep Token, The Red Clay Strays.

This story appears in the July 19, 2025, issue of Billboard.