Burna Boy, Luke Combs and Travis Scott have been added to the performer lineup for the 2024 GRAMMYs. Unveiled earlier today on CBS, these newly announced performing artists join previously announced 2024 GRAMMYs performers Billie Eilish, Dua Lipa and Olivia Rodrigo. Additional performers will be announced in the coming days and weeks. See the full list of performers and host at the 2024 GRAMMYs to date. 

The 2024 GRAMMYs, officially known as the 66th GRAMMY Awards, will broadcast live from Crypto.com Arena in Los Angeles on Sunday, Feb. 4, at 8 p.m. ET/5 p.m. PT on the CBS Television Network and will be available to stream live and on demand on Paramount+.^ Prior to the Telecast, the GRAMMY Awards Premiere Ceremony will broadcast live from the Peacock Theater at 12:30 p.m. PT/3:30 p.m. ET and will be streamed live on live.GRAMMY.com. On GRAMMY Sunday, fans can access exclusive behind-the-scenes GRAMMY Awards content, including performances, acceptance speeches, interviews from the GRAMMY Live red-carpet special, and more via the Recording Academy's digital experience on live.GRAMMY.com. 

Two-time GRAMMY-nominated comedian, actor, author, podcast host, and former "The Daily Show" host Trevor Noah returns to host the 2024 GRAMMYs, marking his fourth consecutive year as host of Music's Biggest Night; Noah is currently nominated at the 2024 GRAMMYs in the Best Comedy Album Category for this 2022 Netflix comedy special, I Wish You Would.

Learn more about Burna Boy, Luke Combs and Travis Scott and their current GRAMMY nominations below.

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

GRAMMY Award winner Burna Boy is nominated for four GRAMMY Awards this year including Best Global Music Album (I Told Them...), the inaugural Best African Music Performance ("City Boys"), Best Global Music Performance ("Alone"), and Best Melodic Rap Performance ("Sittin' On Top Of The World").

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

Past and current GRAMMY Award nominee Luke Combs is up for one this year for Best Country Solo Performance for his cover of Tracy Chapman's iconic, GRAMMY-winning song "Fast Car."

Read More: 6 Artists Influenced By Tracy Chapman: Luke Combs, Brandi Carlile, Tori Amos & More

Past and current GRAMMY Award nominee Travis Scott is nominated this year for Best Rap Album (Utopia).

Read More: 5 Takeaways From Travis Scott's New Album UTOPIA

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The 66th GRAMMY Awards are produced by Fulwell 73 Productions for the Recording Academy for the fourth consecutive year. Ben Winston, Raj Kapoor and Jesse Collins are executive producers. 

^Paramount+ with SHOWTIME subscribers will have access to stream live via the live feed of their local CBS affiliate on the service, as well as on demand in the United States. Paramount+ Essential subscribers will not have the option to stream live but will have access to on-demand the day after the special airs in the U.S. only.

2024 GRAMMYs Ticket Giveaway: Enter For A Chance To Attend The 66th GRAMMY Awards In Los Angeles

If Tom Petty and the Heartbreakers landed in 2024, how would we define them? For fans of the beloved heartland rockers and their very missed leader, it's a compelling question.

"It's not active rock. It's not mainstream rock. It's not country. It would really fall in that Americana vein," says Scott Borchetta, the founder of Big Machine Label Group. "When you think about what his lyrics were and are about, it's really about the American condition."

To Borchetta, these extended to everything in Petty's universe — his principled public statements, his man-of-the-people crusades against the music industry. "He was an American rebel with a cause," Borchetta says. And when you fuse that attitude with big melodies, bigger choruses, and a grounded, earthy perspective — well, there's a lot for country fans to love.

That's what Coran Capshaw of Red Light Management bet on when he posited the idea of Petty Country: A Country Music Celebration of Tom Petty, a tribute album released June 21. Featuring leading lights like Dolly Parton ("Southern Accents"), Willie and Lukas Nelson ("Angel Dream (No. 2)," Luke Combs ("Runnin' Down a Dream"), Dierks Bentley ("American Girl,") Wynonna and Lainey Wilson ("Refugee"), and other country luminaries covering Tom Petty classics, Petty Country is a seamless union of musical worlds.

Which makes perfect sense: on a core level, Petty, and his band of brothers, were absolutely steeped in country — after all, they grew up in the South — Gainesville, Florida.

"Tom loved all country music. He went pretty deep into the Carter Family, and "Will the Circle Be Unbroken?" and the folk, Americana heart of it," says Petty's daughter, Adria, who helps run his estate. "Hank Williams, and even Ernest Tubb and Patsy Cline… as a songwriter, I think a lot of that real original music influenced him enormously." (The Flying Burrito Brothers, and the Byrds' Gram Parsons-hijacked country phase, were also foundational.)

A key architect of Petty Country was the man's longtime producer, George Drakoulias. "He's worked with Dad for a hundred years since [1994's] Wildflowers, and he has super exquisite taste," Adria says.

In reaching out to prospective contributors, he and fellow music supervisor Randall Poster started at the top: none other than Willie Nelson and Dolly Parton. "Having Willie and Dolly made people stand up and pay attention," Dreakoulias told Rolling Stone, and the Nashville floodgates were opened: Thomas Rhett ("Wildflowers"), Brothers Osborne ("I Won't Back Down"), Lady A ("Stop Draggin' My Heart Around"), and so many others.

Each artist gave Petty's work a distinctive, personal spin. Luke Combs jets down the highway of "Runnin' Down the Dream" like he was born to ride. Along with Yo-Yo Ma and founding Heartbreakers keyboardist Benmont Tench, Rhiannon Giddens scoops out the electronics and plumbs the droning, haunting essence of "Don't Come Around Here No More."

And where a lesser tribute album would have lacquered over the songs with homogenous Nashville production, Petty Country is the opposite.

"I'm not a fan of having a singular producer on records like this. I want each one of them to be their own little crown jewel," Borchetta says. "That's going to give us a better opportunity for them to make the record in their own image."

This could mean a take that hews to the original, or casts an entirely new light on it. "Dierks called up and said, 'Hey, do you think we would be all right doing a little bit more of a bluegrass feel to it?' I was like, 'Absolutely. If you hear it, go get it.'"

"It had the diversity that the Petty women like on the records," Adria says, elaborating that they wanted women and people of color on the roster. "We like to see those tributes to Tom reflect his values; he was always very pro-woman, which is why he has such outspoken women [laughs] in his wake."

Two of Petty Country's unquestionable highlights are by women. Margo Price chose "Ways to Be Wicked," a cut so deep that even the hardcore Petty faithful might not know it; the Let Me Up (I've Had Enough) outtake was buried on disc six of the 1995 boxed set Playback.

"Man, it's just one of those songs that gets in your veins," Price says. "He really knew how to twist the knife — that chorus, 'There's so many ways to be wicked, but you don't know one little thing about love.'" Founding Heartbreakers guitarist Mike Campbell features on the dark, driving banger.

And all interviewed for this article are agog over Dolly Parton's commanding take on "Southern Accents" — the title track of the band's lumpy, complicated, vulnerable 1985 album of the same name. "It's just revelatory… it brings me to my knees," Adria says. "It's just a phenomenal version I know my dad would've absolutely loved."

"It's one of Dolly's best vocals ever, and it's hair-raising," Borchetta says. "You could tell she really felt that track, and what the song was about."

Adria is filled with profuse gratitude for the artists preserving and carrying her dad's legacy. 

"I'm really touched that these musicians showed up for my dad," she says. "A lot of people don't want to show up for anything that's not making money for them, or in service to their career, and we really appreciate it… I owe great debt to all of these artists and their managers for making the time to think about our old man like that."

Indeed, in Nashville and beyond, we've all been thinking about her old man, especially since his untimely passing in 2017. We'll never forget him — and will strum and sing these simple, heartfelt, and profound songs for years to come.

Let Your Heart Be Your Guide: Adria Petty, Mike Campbell & More On The Enduring Significance Of Tom Petty's Wildflowers

As a country artist of remarkable detail and relatability, Luke Combs has the songwriting muscle to deliver a gut-wrenching punch — and his latest set might be the biggest heart-tugger yet.

On June 14, the country star will release his fifth album, Fathers & Sons, which sees Combs stake his claim on songs about family, devotion and belonging. While those are all themes he's explored throughout his five-album discography, he's never honed them quite like this.

Combs is now a proud papa of two; he and his wife, Nicole, welcomed their first son in 2022 and their second in 2023. Fathers & Sons is a 12-song reflection on his experiences as a dad thus far, as well as the unique bond between parents and children.

The new album's highlights, like the mortality-addressing "In Case I Ain't Around"; the dewy, contemplative "Whoever You Turn Out to Be"; and the meditation on memory "Remember Him That Way," are sure to resonate throughout Combs' sizable fan base and beyond.

It's a natural progression for Combs, who has charted the prizes and pitfalls of growing up since his 2017 debut, This One's for You, whether in hits like his Eric Church collaboration "Does To Me" or deep cuts like "Memories Are Made Of." (He even named Father & Sons' 2022 and 2023 predecessors Growin' Up and Gettin' Old.)

His preternatural knack for a heartfelt story song extends to songs he didn't write, too, as his cover of Tracy Chapman's "Fast Car" became his biggest hit to date in 2023 and scored him two GRAMMY nominations at the 2024 GRAMMYs.

The familial sentiments of Fathers & Sons have often appeared in Combs' music as well, making his album full of "dad songs" all the more fitting — and continuing his beloved reputation as one of country music's most relatable superstars.

If you're unfamiliar with Combs' back catalog — or just want a refresher — use these 10 songs to trace his evolution from longing for the carefree days of teenhood to fully embracing fatherhood.

Basically Combs' spin on the Beach Boys' "That's Not Me," "Be Careful What You Wish For" reflects on his adolescence — when he had a fire in his belly to hurtle out of his circumstances into the unknown. The result plants seeds for the realizations he passes to his kin on Fathers & Sons.

In the song, an 18-year-old and newly emancipated Combs says sayonara to his "one-horse" town, before realizing the grass ain't always greener. "Sometimes things ain't what you think they're gonna be," Combs sagely warns in the pre-chorus. "What you want ain't always what you need."

When you look back on your youth, what stuck in your craw most — generic milestones, or fleeting, stolen moments? Chances are, it's the latter, as Combs memorably argues in another This One's for You cut, another dispatch from his youth that resonates with Fathers & Sons.

Therein, he and his ne'er-do-well friends, fresh out of high school, crack open cold ones under a bright blue sky. "Just a couple buds and a good buzz, that's all it was," he sings in the chorus. "But that's what memories are made of." On Fathers & Sons, he seems to recognize his boys will remember the small moments, too — and those are often the ones worth cherishing most.

Many tracks on Combs' second album, What You See is What You Get, showed his maturation as a man and a songwriter, but one served as his introduction to paternal matters: "Even Though I'm Leaving."

The tear-jerker charts the evolution of a father-son relationship, from Dad evacuating a monster under the bed, to seeing his son off to the military, to eventually saying goodbye before his passing.

As the father assures the son in all of those stages, he'll always be there for his boy, even when he isn't physically there. It marked a poignant foreshadowing to Father & Sons' masterful interrogations of mortality and eternal family bonds.

As What You See is What You Get winds down, the spectre of time still weighs heavily on Combs. "Dear Today" is just that — a letter to Combs' present self, from his future self. (There's a tint of that on "My Old Man Was Right," the penultimate track on Fathers & Sons.)

"You're the only one with a choice in the matter," tomorrow Luke gently, yet firmly, prods. Call your mom, have a drink with your dad, "put that diamond on her hand." What an effective framing device, to capture the crossroads we all face on the cusp of our thirties — another prelude to Combs' advice to his sons on Fathers & Sons.

A few years before welcoming his first son, Combs hinted to Rolling Stone that he was ready to settle down. "I'm almost 30 years old now, and I'm not going to be out at the bar every night," he said in 2019. "I just want to grow up a little bit." "Does to Me" is a terrific inventory of what resources, exactly, he possesses in order to carry out that mission.

He's unflinching about the ways he's an ordinary, average guy. After all, the opening line is "I was a third-string dreamer on a second-place team."

But as "Does to Me" lays down, "achievements" have nothing on qualities that really matter, like being a good brother, or romantic partner. Fertile soil for a real man to grow from — and eventually pass on to his own boys.

In "Doin' This," Combs cements his life mission — regardless of whether it brings him fame and fortune.

He'd still be Luke Combs even if he wasn't Luke Combs, he explains. Whether at the Grand Ole Opry or some watering hole, picking up a guitar and laying waste to a besotted crowd is why he was put on this planet. "I'd still be doin' this if I weren't doin' this": simple, evocative, masterful.

While "Doin' This" isn't necessarily centered around a theme of family, it makes all the sense in the world that his devotion to his boys is in parallel to his devotion of the craft — proof of which is all over Fathers & Sons.

You can only be yourself — that's the central message of this equally great Growin' Up cut, where Combs reflects on all the people he could be, and once ached to be.

He could have finished college — or pursued football, hunting or fishing with more chutzpah — but that's not him. This "North Carolina good ol' boy" is what he is — and he's not losing sleep over that pesky fact anymore. By knowing himself, Combs establishes himself as a man of integrity, which is exactly who his sons need as a role model.

Across his discography, Combs expertly builds out his family dynamics, and that continues on "Where the Wild Things Are." The song concerns a hell-raising brother, who pointed his Indian Scout motorcycle toward Southern California to indulge in earthly pleasures.

After detailing a wild night of brotherly bonding in the Hollywood Hills, the song ends in tragedy, when the "wild as the devil" brother crashes his motorcycle and perishes. "We buried him out in the wind 'neath the West Coast stars," Combs sings, "out where the wild things are."

If any father's lesson is to be taken away from this song: there's a time and a place to enjoy life in all its wildness, without risking calamity. It continues the life lessons Combs touches on again in "Growin' Up and Gettin' Old," and later on Fathers & Sons.

Oh, to be in your early thirties — you can't stay out as late, the hangovers hit harder. Overall, your perspective shifts dramatically, and you realize nothing lasts forever.

"I'm still bending rules, but thinkin' 'fore I break 'em/ And I ain't lost a step, I just look before I take 'em," Combs sings on "Growin' Up and Gettin' Old."

As usual, this ever-nimble songwriter nails this pivotal time of life — and takes a hard look in the mirror, taking inventory before undergoing his journey on Fathers & Sons.

With Combs still being a very recent father, his sons are at the age where he can do no wrong upon Fathers & Sons' release. Even so, he fears the day that illusion erodes, and lead single "The Man He Sees In Me" details his anxiety over this eventuality.

The song's not fatalistic, though; it's aspirational: "Maybe I'll finally be the man he sees in me" flips into "I hope he's trying to be the man he sees in me."

As Combs wrote in a letter to his boys upon the release of "The Man He Sees In Me," "With this song I want you to know that even though I'm not perfect, I try my hardest every day to be the best version of myself for you both."

He stresses that sentiment throughout Fathers & Sons — an album with a lot of introspective and self-realizing precedent in Combs' increasingly touching discography.

2024 GRAMMYs: Luke Combs & Tracy Chapman Team Up For A Surprise Duet Version Of "Fast Car"

If you were online during the summer of 2022, chances are you’ve heard Pheelz’s viral hit single "Finesse." The swanky Afro-fusion track (featuring fellow Nigerian artist Bnxn) ushered in a world of crossover success for Pheelz, who began his career as a producer for the likes of Omah Lay, Davido, and Fireboy DML.

Born Phillip Kayode Moses, Pheelz’s religious upbringing in Lagos state contributed to his development as a musician. He manned the choir at his father’s church while actively working on his solo music. Those solo efforts garnered praise from his peers and music executives, culminating in Pheelz's debut EP in 2021. Hear Me Out saw Pheelz fully embrace his talent as a vocalist, songwriter, and producer. 

"I feel important, like I’m just molding clay, and I have control over each decision," Pheelz tells GRAMMY.com about creating his own music. 

2022 saw the release of the first two tapes in his Pheelz Good trilogy: Pheelz Good I and Pheelz Good (Triibe Tape), which was almost entirely self-produced. The 29-year-old's consistency has paid off: he produced and sang on Usher’s "Ruin," the lead single from his latest album Coming Home, and also produced the album's title track featuring Burna Boy. But Pheelz isn't only about racking up big-name collaborators; the self-proclaimed African rockstar's forthcoming projects will center on profound vulnerability and interpersonal honesty. First up: Pheelz Good II EP, out May 10, followed by a studio album in late summer.

Both releases will see the multi-hyphenate "being unapologetically myself," Pheelz tells GRAMMY.com. "It will also be me being as vulnerable as I can be. And it’s going to be me embracing my "crayge" [crazy rage]...being myself, and allowing my people to gravitate towards me."

Ahead of his new project, Pheelz spoke with GRAMMY.com about his transition from producer artist, designing all his own 3D cover art, his rockstar aesthetic, and what listeners can expect from Pheelz Good II.

This interview has been edited for clarity.

What sparked your transition from singing in church to realizing your passion for creating music?

For me, it wasn’t really a transition. I just always loved making music so for me I felt like it was just wherever I go to make music, that’s where I wanna be. I would be in church and I was the choirmaster at some point in my life, so I would write songs for Sunday service as well. And then I would go to school as well and write in school, and people heard me and they would love it. And I would want to do more of that as well. 

A friend of my dad played some of my records for the biggest producers in Nigeria back then and took me on as an intern in his studio. I guess that’s the transition from church music into the industry. My brothers and sisters were in the choir, but that came with the job of being the children of the pastor, I guess. None of them really did music like me; I’m the only one who took music as a career and pursued it.

You made a name for yourself as a producer before ever releasing your music, earning Producer Of The Year at Nigeria’s Headies Awards numerous times. What finally pushed you to get into the booth?

I’ve always wanted to get into the booth. The reason why I actually started producing was to produce beats for songs that I had written. I’ve always been in the booth, but always had something holding me back. Like a kind of subconscious feeling over what my childhood has been. I wasn’t really outspoken as a child growing up, so I wouldn’t want people to really hear me and would shy away from the camera in a sense. I think that stuck with me and held me back. 

But then COVID happened and then I caught COVID and I’m like Oh my god and like that [snaps fingers] What I am doing? Why am I not going full steam? Like why do I have all this amazing awesomeness inside of me and no one gets to it because I’m scared of this or that?

There was this phrase that kept ringing in my head: You have to die empty. You can’t leave this earth with all of this gift that God has given you; you have to make sure you empty yourself. And since then, it’s just been back-to-back, which just gave me the courage.  

How did you react to " Finesse" in former President Barack Obama’s annual summer playlist in 2022?

Bro, I reacted crazy but my dad went bananas. [Laughs.] I was really grateful for that moment, but just watching my dad react like that to that experience was the highlight of that moment for me. He's such a fan of Barack Obama and to see that his son’s music is on the playlist, it just made his whole month. Literally. He still talks about it to this day. 

Experiences like that just make me feel very grateful to be here. Life has really been a movie, just watching a movie and just watching God work and being grateful for everything.

At first he [my dad] [didn’t support my career] because every parent wants their child to be a doctor, a lawyer, or an engineer. But when he saw the hunger [I have], and I was stubborn with [wanting] to do music, he just had to let me do it. And now he’s my number one fan. 

Your latest single, "Go Low" arrived just in time for festival season. What was it like exploring the live elements of your art at SXSW and your headlining show in London at the end of April?

I have always wanted to perform live. I’ve always loved performing; Pheelz on stage is the best Pheelz. Coming from church every Sunday, I would perform, lead prayers and worship, so I’ve always wanted to experience that again.

Having to perform live with my band around the world is incredible man. And I’ll forever raise the flag of amazing Afro live music because there’s a difference, you know? [Laughs.] There are so many elements and so many rhythms and so many grooves

I’ve noticed that much of your recent cover art for your singles and EPs is animated or digitally crafted. What’s the significance, if any, of this stylistic choice?

It still goes back to my childhood because I wasn’t expressive as a child; I wouldn’t really talk or say how I felt. I’d rather write about it, write a song about it, write a poem about it, or draw about it. I’d draw this mask and then put how I’m feeling into that character, so if I was angry, the mask would be raging and just angry.

The angry ones were the best ones, so that stuck with me even after I started coming out of my shell and talking and being expressive; that act of drawing a mask still stuck with me. And then I got into 3D, and I made a 3D version of the mask and I made a 3D character of the mask. So I made that the main character, and then I just started making my lyric videos, again post-COVID, and making them [lyric videos] to the characters and making the actual video mine as well.

In the future, I’m gonna get into fashion with the characters, I’m gonna get into animation and cartoons and video games, but I just wanna take it one step at a time with the music first. So, in all of my lyric videos, you get to experience the characters. There’s a fight [scene] among them in one of the lyric videos called "Ewele"; there is the lover boy in the lyric video for "Stand by You"; there are the bad boys in the lyric video for "Balling." They all have their own different characters so hopefully in the near future, I will get to make a feature film with them and just tell their story [and] build a world with them. I make sure I put extra energy into that, make most of them myself so the imprint of my energy is gonna be on it as well because it’s very important to me.

You and Usher have a lengthy working relationship. You first performed together in 2022 at the Global Citizen Festival, then produced/co-wrote "Coming Home" and "Ruin." Take us through the journey of how you two began collaborating.

It started through a meeting with [Epic Records CEO] L.A. Reid; he was telling me about the album that they were working on for Usher and I’m like, "Get me into the studio and lemme see what I can cook up." And they got me into the studio, [with Warner Records A&R] Marc Byers, and I wrote and produced "Coming Home." I already had "Ruin" a year before that. 

["Ruin"] was inspired by a breakup I just went through. Some of the greatest art comes from pain, I guess. That record was gonna be for my album but after I came home I saw how L.A. Reid and Usher reacted and how they loved it. I told them, "I have this other song, and I think you guys would like it for this album." And I played "Ruin," and the rest was history.

Before your upcoming EP, you’ve worked with Pharrell Williams, Kail Uchis, and the Chainsmokers in the studio. What do you consider when selecting potential collaborators?

To be honest, I did not look for these collabs. It was like life just brought them my way, because for me I’m open to any experience. I’m open to life; I do it the best I can at any moment, you understand? 

Having worked with Pharrell now, Dr. Dre, Timbaland, and the Chainsmokers, I’m still shocked at the fact that this is happening. But ultimately, I am grateful for the fact that this is happening. I am proud of myself as well for how far I’ve come. Someone like Timbaland — they are literally the reason why I started producing music; I would literally copy their beats, and try to sound like them growing up. 

[Now] I have them in the same room talking, and we’re teaching and learning, making music and feeding off of each others’ energy. It’s a dream come true, literally.

What's it like working with am electro-pop group like the Chainsmokers? How’d you keep your musical authenticity on "PTSD"?

That experiment ["PTSD"] was actually something I would play with back home. But the crazy thing is, it’s gonna be on the album now, not the EP. I would play it back home, like just trying to get the EDM and Afrohouse world to connect, cause I get in my Albert Einstein bag sometimes and just try and experiment. So when I met the Chainsmokers and like. "Okay, this is an opportunity to actually do it now," and we had a very lengthy conversation. 

We bonded first as friends before we went into the studio. We had an amazing conversation talking about music, [them] talking about pop and electronic music, and me talking about African music. So it was just a bunch of producers geeking out on what they love to do. And then we just talk through how we think the sound would be like really technical terms. Then we get into the studio and just bang it out. Hopefully, we get to make some more music because I think we can create something for the world together.

I’ve noticed you dress a bit eccentrically. Have you always had this aesthetic?

I’ve always dabbled in fashion. Even growing up, I would sketch for my sister and make this little clothing, so like I would kick up my uniform as well, make it baggy, make it flare pants, make it fly. 

I think that stuck with me until now, trying different things with fashion. And now I have like stylists I can talk to and throw ideas off of and create something together. So yeah, I want to get into the fashion space and see what the world has in store for me. 

What can fans expect as you’re putting the finishing touches on your upcoming EP Pheelz Good II and your album?

Pheelz Good II, [will be] a close to the Pheelz Good trilogy of Pheelz Good I, Pheelz Good Triibe Tape and Pheelz Good II. The album is going to be me being unapologetically myself still. But it will also be me being as vulnerable as I can be. 

It’s going to be me embracing my crayge [crazy rage]. Like just embracing me unapologetically and being me, being myself, and allowing my people to gravitate towards me, you get me. But I’m working on some really amazing music that I am so proud of. I’m so proud of the EP and the album.

Mr. Eazi’s Gallery: How The Afrobeats Star Brought His Long-Awaited Album To Life With African Art

Since 1959, the GRAMMY Award has been music’s most coveted honor. Each year at the annual GRAMMY Awards, GRAMMY-winning and -nominated artists are recognized for their musical excellence by their peers. Their lives are forever changed — so are their career trajectories. And when you have questions about the GRAMMYs, we have answers.

Here are seven facts to know about the value of the GRAMMY trophy.

How Much Does A GRAMMY Trophy Cost To Make?

The cost to produce a GRAMMY Award trophy, including labor and materials, is nearly $800. Bob Graves, who cast the original GRAMMY mold inside his garage in 1958, passed on his legacy to John Billings, his neighbor, in 1983. Billings, also known as "The GRAMMY Man," designed the current model in use, which debuted in 1991.

How Long Does It Take To Make A GRAMMY Trophy?

Billings and his crew work on making GRAMMY trophies throughout the year. Each GRAMMY is handmade, and each GRAMMY Award trophy takes 15 hours to produce. 

Where Are The GRAMMY Trophies Made?

While Los Angeles is the headquarters of the Recording Academy and the GRAMMYs, and regularly the home of the annual GRAMMY Awards, GRAMMY trophies are produced at Billings Artworks in Ridgway, Colorado, about 800 miles away from L.A.

Is The GRAMMY Award Made Of Real Gold?

GRAMMY Awards are made of a trademarked alloy called "Grammium" — a secret zinc alloy — and are plated with 24-karat gold.

How Many GRAMMY Trophies Are Made Per Year?

Approximately 600-800 GRAMMY Award trophies are produced per year. This includes both GRAMMY Awards and Latin GRAMMY Awards for the two Academies; the number of GRAMMYs manufactured each year always depends on the number of winners and Categories we award across both award shows.

Fun fact: The two GRAMMY trophies have different-colored bases. The GRAMMY Award has a black base, while the Latin GRAMMY Award has a burgundy base.

Photos: Gabriel Bouys/AFP via Getty Images; Frederick M. Brown/Getty Images

How Much Does A GRAMMY Weigh?

The GRAMMY trophy weighs approximately 5 pounds. The trophy's height is 9-and-a-half inches. The trophy's width is nearly 6 inches by 6 inches.

What Is The True Value Of A GRAMMY?

Winning a GRAMMY, and even just being nominated for a GRAMMY, has an immeasurable positive impact on the nominated and winning artists. It opens up new career avenues, builds global awareness of artists, and ultimately solidifies a creator’s place in history. Since the GRAMMY Award is the only peer-voted award in music, this means artists are recognized, awarded and celebrated by those in their fields and industries, ultimately making the value of a GRAMMY truly priceless and immeasurable.

In an interview featured in the 2024 GRAMMYs program book, two-time GRAMMY winner Lauren Daigle spoke of the value and impact of a GRAMMY Award. "Time has passed since I got my [first] GRAMMYs, but the rooms that I am now able to sit in, with some of the most incredible writers, producers and performers on the planet, is truly the greatest gift of all." 

"Once you have that credential, it's a different certification. It definitely holds weight," two-time GRAMMY winner Tariq "Black Thought" Trotter of the Roots added. "It's a huge stamp as far as branding, businesswise, achievement-wise and in every regard. What the GRAMMY means to people, fans and artists is ever-evolving." 

As Billboard explains, artists will often see significant boosts in album sales and streaming numbers after winning a GRAMMY or performing on the GRAMMY stage. This is known as the "GRAMMY Effect," an industry phenomenon in which a GRAMMY accolade directly influences the music biz and the wider popular culture. 

For new artists in particular, the "GRAMMY Effect" has immensely helped rising creators reach new professional heights. Samara Joy, who won the GRAMMY for Best New Artist at the 2023 GRAMMYs, saw a 989% boost in sales and a 670% increase in on-demand streams for her album Linger Awhile, which won the GRAMMY for Best Jazz Vocal Album that same night. H.E.R., a former Best New Artist nominee, saw a massive 6,771% increase in song sales for her hit “I Can’t Breathe” on the day it won the GRAMMY for Song Of The Year at the 2021 GRAMMYs, compared to the day before, Rolling Stone reports. 

Throughout the decades, past Best New Artist winners have continued to dominate the music industry and charts since taking home the GRAMMY gold — and continue to do so to this day. Recently, Best New Artist winners dominated the music industry and charts in 2023: Billie Eilish (2020 winner) sold 2 million equivalent album units, Olivia Rodrigo (2022 winner) sold 2.1 million equivalent album units, and Adele (2009 winner) sold 1.3 million equivalent album units. Elsewhere, past Best New Artist winners have gone on to star in major Hollywood blockbusters (Dua Lipa); headline arena tours and sign major brand deals (Megan Thee Stallion); become LGBTIA+ icons (Sam Smith); and reach multiplatinum status (John Legend).

Most recently, several winners, nominees and performers at the 2024 GRAMMYs saw significant bumps in U.S. streams and sales: Tracy Chapman's classic, GRAMMY-winning single "Fast Car," which she performed alongside Luke Combs, returned to the Billboard Hot 100 chart for the first time since 1988, when the song was originally released, according to Billboard. Fellow icon Joni Mitchell saw her ‘60s classic “Both Sides, Now,” hit the top 10 on the Digital Song Sales chart, Billboard reports.

In addition to financial gains, artists also experience significant professional wins as a result of their GRAMMY accolades. For instance, after she won the GRAMMY for Best Reggae Album for Rapture at the 2020 GRAMMYs, Koffee signed a U.S. record deal; after his first GRAMMYs in 2014, Kendrick Lamar saw a 349% increase in his Instagram following, Billboard reports. 

Visit our interactive GRAMMY Awards Journey page to learn more about the GRAMMY Awards and the voting process behind the annual ceremony.

2024 GRAMMYs: See The Full Winners & Nominees List