Puerto Rican Eduardo Cabra (Calle 13) won Producer Of The Year at the 18th Latin GRAMMY Awards.

"Wow. Today is a crazy day. Today my son has a birthday, and this is happening, you know [it's] a very special day. I want to show my gratitude towards the technicians, to all the musicians with whom I've shared the stage with [and] with whom I've shared the studio with — the one who picks up a cable to the one who is sitting next to the console. All of those people are teachers. One is constantly learning from all of the people that affect you being onstage or [in] the recording studio. They are all teachers — really, thank you very much for your education, teachings, and your tales. In addition, I want to thank the Academy. Really, this is super neat that this is happening … thank you. And thank you to the projects [on] which I collaborated this year. They were incredible projects, incredible foundations. We had a blast in the studio. I think that's what it's all about: have fun, have a good time. I had a blast during those five jobs. Thanks to Joan. Thanks to Wendell for all of the hours we spent together in the studio. [I'm] truly thankful. Take care." — Eduardo Cabra

The win marks Cabra's 23rd Latin GRAMMY of his career.  It is the second time he's won this category. He previously won as a member of Calle 13 at the 12th Latin GRAMMY Awards in 2011.

Cabra (Visitante) produced Vicente García’s A La Mar, La Vida Bohéme’s La Lucha and Silvina Moreno’s Sofá, among other work this past year.

Previous winners for Producer Of The Year include Sebastian Krys, Juan Luis Guerra, Sergio George, and Rafael Aracute. 

The other nominees in the category this year were Eduardo Bergallo, Moogie Canazio, Hamilton De Holanda, Marcos Portinari, Daniel Santiago, and Armando Manzanero.

Since Mike Piacentini’s switch from computer science to audio engineering in college, his family has been his biggest champions. So, when he received his nomination for Best Immersive Album for Madison Beer's pop album Silence Between Songs, at the 2024 GRAMMYs, it was a no-brainer to invite his parents and wife.

“He’s always been into music. He had his own band, so [the shift] wasn’t surprising at all,” Piacentini’s mother says in the newest episode of Family Matters. “He’s very talented. I knew one day he would be here. It’s great to see it actually happen.”

In homage to his parents’ support, Piacentini offered to let his father write a short but simple acceptance in case he won: “Thank you, Mom and Dad,” he jokes.

Alongside his blood relatives, Piacentini also had support from his colleague Sean Brennan. "It's a tremendous honor, especially to be here with [Piacentini]. We work day in and day out in the studio," Brennan explains. "He's someone who's always there."

Press play on the video above to learn more about Mike Piacentini's support system, and remember to check back to GRAMMY.com for more new episodes of Family Matters.

How Madison Beer Broke Free From Pressures Of Internet Fame & Created Her New Album 'Silence Between Songs'

Jack Antonoff has won his third consecutive GRAMMY for Producer Of The Year, Non-Classical at the 66th GRAMMY Awards — which marks a GRAMMY record.

Antonoff is the first producer to win the Category three times in a row. He is now in an elite class of Producers with multiple wins in the Category, tied with David Foster, Quincy Jones and Pharrell Williams who each have also won Producer Of The Year, Non-Classical three times; Babyface holds the record for most wins in the Category with four.

In his acceptance speech, Antonoff thanked both Swift and Del Rey. In particular he shouted out Swift, who is nominated for Album Of The Year for Midnights and Record and Song of the Year for "Anti-Hero," for boosting his career by recruiting him for her album 1984. 

"You need a door kicked open for you," he said. "Taylor Swift kicked that f—in’ door open for me." 

Of Del Rey, nominated for Song Of The Year for "A&W" and Album Of The Year for Did You Know There’s A Tunnel Under Ocean Blvd., Antonoff said "Lana, wherever you are, I love you so much," and lauded her talent in the studio.  

"I can’t believe how weird it gets in there, your brain takes it in the most amazing places." 

With this win Antonoff matches Babyface’s dominant mid-’90s run, becoming only the second musician to win Producer Of The Year three times in a row. He previously shared GRAMMY awards with Swift, St. Vincent, and his band fun. The win brings his total number of GRAMMY awards to nine. 

Keep checking this space for more updates from Music’s Biggest Night!

2024 GRAMMY Nominations: See The Full Winners & Nominees List

Few artist-producer collaborations in contemporary pop music have been as successful as Olivia Rodrigo and Dan Nigro. Since the singer burst onto the scene with her record-breaking debut single, "drivers license" in 2021, she's been an unstoppable force, with three No. 1s, a streak of Top 10 singles, and three GRAMMYs — and Nigro has been integral in that success.

The Long Island, New York native has solely produced or co-produced every song Rodrigo has released to date, as well as co-writing the majority alongside the superstar. Following the blockbuster success of Rodrigo's debut album, 2021's SOUR, the two struck again with the equally industry-shaking follow-up, 2023's GUTS. 

Like its predecessor, GUTS scored Rodrigo and Nigro multiple GRAMMY nominations, including Album Of The Year and both Song and Record Of The Year for the scathing lead single, "vampire." But for Nigro, the 2024 GRAMMY nominations are even more special: his work earned a nod for Producer Of The Year (Non-Classical).

And while he may be Rodrigo's right-hand man, it's far from his only acclaimed collaboration. Nigro's production and songwriting on Irish singer/songwriter Dermot Kennedy's 2022 album, Sonder, and rising pop star Chappell Roan's debut LP, The Rise and Fall of a Midwest Princess, also helped him land the honor. 

In fact, Nigro's path to his Producer Of The Year nomination is more than a decade in the making — embodying as many surprise twists and turns as the music he's now known for. 

After his initial taste of industry success in the midst of the early-00s pop-punk scene as a member of the band As Tall as Lions, Nigro landed his first big break as a behind-the-scenes impresario with a McDonald's jingle. A string of high-profile collaborations materialized in the next few years, with the likes of Sky Ferreira, Kylie Minogue and Carly Rae Jepsen. 

Through that evolution, Nigro gained a reputation as a whisperer for tender singer/songwriters known for their candid lyrics. And along with Rodrigo, he's lately become a go-to producer/co-wrote for Conan Gray, Caroline Polachek and the aforementioned Roan.

Ahead of the 2024 GRAMMYS, Nigro detailed his unique path and creative process to GRAMMY.com, also offering an inside look inside making one of the biggest albums of 2023.

The path of your career in music has been unique. Was this end result always a goal?

It definitely wasn't. It's interesting because I did an interview with [the podcast] And The Writer is… a couple years ago, and it was cool to have so many people reach out to me after that, and relating to it, and feeling like they were on the same journey. But where I ended up is not where I thought. 

When I moved out to L.A., honestly my goal was to just be able to make a life making music and be happy. The thought of being nominated for GRAMMYs or having No. 1 songs wasn't the goal. My only thought was, If I can make music for commercials, I'll be able to pay my rent doing that. That was the dream, just to make enough money to sustain myself as a musician. 

Along with developing a universe of artists around you, along the way you also developed your own sound. Was that something you consciously nurtured, or did it naturally evolve?

It definitely evolved over time. It's learning new things every day and making music with new people and finding new ways to be inspired by other people and other music. Like anything, you take the best of what you learn and put it in your arsenal — like how a person might mic an acoustic guitar a certain way, or how another person focuses on lyrics more so than melody. 

Everybody has their different ways of making music and what's important to them. So you take what makes sense and resonates with you. But hopefully, it's an ever-evolving sound. 

Read More: Here Are The Producer Of The Year, Non-Classical GRAMMY Nominees At The 2024 GRAMMYs

When it comes to the GRAMMY nominations for GUTS, which one is most meaningful to you? Producer Of The Year?

Probably. To be honest, I was so shocked when I heard [we were nominated]. I'm nervous and an anxious person already, so I just didn't watch when they announced them. I was like, I don't want to know what's happening. Somebody will call me.

I went out for a walk with my wife, Emily, and my baby, Saoirse, and when we went out the front door, a FaceTime came through from Olivia. She was like, "Congratulations!" I was like, "Cool. For what?!" 

She was so pumped and crying. I really didn't think it was going to happen, because you're getting nominated by a group of peers. It's so subjective and you have no clue what's going to happen. 

I think what's forgotten is that when you started working with Olivia on her breakout song, "driver's license," and debut album, SOUR, is that you as a team weren't chasing any trends; you created what you both thought these songs should sound like. Now we have so many artists chasing that very sound you helped popularize, from diary-like lyrics to utilizing actual instruments, the latter of which you and her brought back to the charts. Can you describe how you built on that for GUTS?

That's the greatest thing about Olivia, I have to give her that credit. I say this to everyone I work with, and maybe it's cliché, but you're really only as good as the artist that you're working with. But I remember at times in the beginning thinking to myself, "Wow, we are literally using all live instruments." 

For GUTS, we did a couple of those songs live, which came from Olivia telling me what she wanted the songs to sound like and feel like. I remember having to take a step back and be like, "Wow, we have one of the biggest artists in the world and she wants it to be recorded live." 

She [wanted] the authenticity and the push and pull of the music. I just thought, "We're going to need to do this live." That's fun to do, but I had never done it with her or a big pop artist before. 

I remember we went in to record "all american b—" and "ballad of a homeschooled girl." We went into the studio, had the musicians there, and I had it all mapped out in a Pro-Tools sketch, like a really bad demo. But we didn't know if we'd actually achieve it or come back two days later and say, "Wow, that was a waste of money and time." 

What was so exciting for me was when GUTS took shape, because that session was so successful. Me and my engineer Dave [Schiffman] looked at each other afterwards like, "Wow, after only three days we got a lot." I was shocked it all really worked out. 

When I was back in my home studio and listened to it with fresh ears a week later, I was like, "This feels good!" The songs that were the missing links to the record were there. 

I sent Olivia "ballad of a homeschooled girl" and she was like, "It's incredible, I love it!" So we were good — she loves it, and I love it.

How did you record Olivia's vocals? It seems to me like her voice has a sort-of lo-fi filter. Maybe a cheaper microphone, for lack of a better descriptor. 

For a couple of the songs, I put an effect on her to make it sound like that, but we actually recorded it on a very fancy mic. But it's a plug-in in Pro-Tools, I think it's called Vintage Vinyl from a company that made it sound like it was recorded in the 60s or something. I wish I could say we used an old vintage mic on that, but we didn't.

**Whether SOUR or GUTS, you recorded the majority of the album in your home studio. Are you careful to not mix it up so much by going to a fancier place with a whole set-up, entourage, etc?** 

It was intentional. We enjoyed making SOUR, and it felt like a special moment for both of us in our lives, and it was all done in the home studio. So we decided very early on, Why would we want to change that up just because we're more successful now? 

Olivia said, "I want to make it in your garage again, I like writing songs in there." But when we worked on SOUR, I lived here while we were making it, but I don't anymore. It's the same place, but now the entire house is the studio. The only thing that's changed is that one of the bedrooms that was my bedroom is the live room with a drum set, organ and piano. The garage itself is only 180 sq feet.

How does the energy of a song reveal itself? Listening to your productions, some of them are subtle and others explode with energy. Meanwhile, you're also known to vacillate with a single song going from demure to a wild burst in seconds. 

Everyone has different interpretations about what makes a great song, and one of the first bands I got obsessed with listening to the production of a song was Queen. I loved how they took you on this journey. 

I always feel weird when music is singular. I know some people produce songs that are one thing the whole way through, and we obviously make songs like that as well, but I think it's important on a lot of records to have a few songs where you go on a journey. If you listen to the first half of a song you couldn't tell what the last half would sound like. 

People talk all the time about "passive listening music," and I don't like making that. I want to make music for people to listen to with intent, and you go on that journey. I hope we make more songs that do that because those are always my favorite. 

Read More: 2024 GRAMMYs Performers: Billie Eilish, Dua Lipa, And Olivia Rodrigo Announced

SOUR could have been a once-in-a-career moment for everybody involved. And people always say having a breakout like that is easier than making a huge success again because it so rarely happens. How did you grapple with expectations when it came to working on the follow-up?

It was really hard for both Olivia and I. We're really good at balancing each other out — when one person was feeling down and negative, the other tries to get them out of a hole and vice versa. It's hard to not let the voices get in your head with expectations or what you think people would think and really make what you just want to make. 

It actually took us a long time to get to the point where we both felt comfortable that we made the music we just wanted to make, and get enough confidence. In the beginning of making the record, you feel imposter syndrome: Will I ever do that again? What even is that to be done again?  

But we came back to the simple fact that we made songs we like to make and we'll do that again — and to find solace in the fact that if it's not as big as SOUR, it doesn't really matter, because we're making music we like. And you hope people follow you on your journey along the way.

From Olivia to Conan Gray and Chappell Roan, all of the artists you work with are known for the raw, unfiltered honesty in their lyrics. How did you become a creative whisperer for this specific style?

I don't know what makes them want to work with me half the time. I'm so slow and more indecisive than the artist can be. 

I approach it with a band mentality. We're in it together. And maybe that's my strength or my weakness, but I want to be involved. I want to know why an artist likes a song or doesn't; I see the kind of gray areas. 

To me, there's so much nuance in between what makes a song good — like if it's one little part that makes it special and nurturing that to make it bigger. I think that's what I bring to the table; helping these artists see their vision and seeing if we as a group find something special in a song. 

For example, I might try five different types of production on it. It's about that feeling when you know there's something there, but it's about getting it onto the tape to make it feel special sometimes. It's a journey, but I think a lot of people don't like to do it like that, for some reason. They record something quickly and decide then and there, "That's it" and it's very black and white. 

"vampire" is nominated for Song Of The Year and Record Of The Year. What can you tell me about the evolution of that track?

It was one of the hardest songs on the album to make. Olivia brought in the original idea for it, which was basically a verse and a chorus in January 2023, after she wrote it [that] last December.  

She was nervous to play them for me. I remember listening to it by myself and when the tag came in at the time, which was different. The original line was "Bloodsucker, famef—er, love me like a vampire." When I heard the "famef—er" I was like, "Oh! That was cool." From there, we workshopped it. 

I loved the idea, but I thought there were some things that could be improved upon. So we spent that whole day just trying out all these little intricacies, changing lyrics here and there. It was a slow evolution. 

At the time, Olivia had been off the internet, but she wound up posting a little teaser clip. We actually worked on it on the anniversary [of when] "driver's license" came out. But we both liked it a lot and were excited. 

My initial thought was that it was a ballad, so later on the initial demo I recorded some drums and a guitar and it was a full ballad. When I played it for Olivia two days later, she was like, "No. I don't like it." So then I switched it to double-time and put a kick in and made it more intense, which she loved, which began a whole other process of trying to figure out how to arc the song, because it builds and builds and builds. Then we had to figure out how to arc the vocal performance, then we made the bridge weeks later and every time we worked out we got more and more close. 

I remember we had a meeting where we played it for her management. It wasn't done and the transitions weren't fully realized yet, but I remember that we were [still] excited about it. They were just like, "Yeah… sounds like three songs in one? Interesting." 

We were so disappointed at the meeting… We thought this was good! So we worked on it more and the next time we played it for people that's when everybody got excited about it. There are so many versions of the song, I can't even count them. But maybe one day we'll put together a folder of all of them.

Read More: 5 Lessons Olivia Rodrigo Learned On 'GUTS'

"ballad of a homeschooled girl" is also nominated for Best Rock Song. Was that always designed as a high-energy rock song?

For the genesis of the song, the verse and the chorus, we wrote it the very first day we got to Electric Lady Studios in New York City. We were hanging out in the lounge and talking about what we wanted to do when we were there with a whole week booked out. 

I had an acoustic guitar in my hand. She said, "I want to write a song that feels like this" and I picked up a guitar, played some chords and she just started singing. Within 10 minutes, we wrote it and had a Voice Note of it and forgot about it. 

It wasn't until months later when we were writing and writing without doing any production, it got to the point where we decided we should put together some real demos for people. I put together a demo of it and she was shocked and loved it, and it spiraled from there.

Take me through the evolution of another favorite from the album, "Get Him Back!"

We also wrote that one at Electric Lady on an acoustic guitar. The bridge was originally the verse. "I wanna key his car…"  "That was our original verse. But we wrote it, wrote the chorus, had the song and I recorded a scratch demo. Olivia didn't like it and said, "I don't know if that's the right verse." 

It wasn't until weeks later when I said, "What if we made the old verse the bridge?" And we were like, "Wow, that actually works way better than the original!" But it took us a long time to realize that was the path of the song. 

How does it feel going from making commercial jingles to having such a monumental impact on American popular music, not to mention these GRAMMY nominations?

It feels pretty good. I will admit that. It doesn't feel real sometimes, but it's pretty awesome. 

Olivia is a real special person, and I feel very fortunate that I get to make music with her. We're really just trying to have fun making music. 

Loving Olivia Rodrigo's "Vampire"? Check Out 15 Songs By Alanis Morissette, Miley Cyrus & More That Reclaim The Breakup Narrative

The golden gramophone for Producer Of  The Year, Non-Classical is perhaps the ultimate accolade for anyone whose talents are best served behind a mixing desk. Phil Ramone, Rick Rubin, and Max Martin are just a few of the legendary behind-the-scenes names who've received the coveted award since it was added to the ceremony in 1975. But winners such as Pharrell Williams, Mark Ronson, and Stevie Wonder have also proven that the Recording Academy are open to honoring those who can take center stage, too.

This year's crop have undoubtedly all been pivotal to the pop, rock and hip-hop landscapes of the past 12 months. Two-time winner Jack Antonoff continued on his mission to conquer the charts for all of eternity by joining forces with two of his superstar regular cohorts, while first-time nominee Daniel Nigro helped not just one but two teen stars parlay their early success into adulthood.

Hit-Boy and Metro Boomin both vied for the title of hardest-working rap producer with an exhausting list of credits. At the other end of the scale, D'Mile, focused most of his attention on just one burgeoning talent.

Here's a closer look at the nominees for Producer Of The Year at the 2024 GRAMMYs.

Jack Antonoff

Jack Antonoff will be hoping to replicate Babyface's mid-'90s dominance by becoming only the second-ever artist to win the Producer Of The Year, Non-Classical GRAMMY three times in a row. The pop maestro is on the cusp of history thanks to fruitful working relationships with two of the era's most prolific female singer-songwriters.

Antonoff has been recognized for co-producing the entirety of Taylor Swift's Midnights, the dreamlike concept album which spawned a record-breaking 10 U.S. Top 10 singles in the same week including Lana Del Rey collaboration "Snow on the Beach." The latter's equally alluring Did You Know There's A Tunnel Under Ocean Blvd also benefited from Antonoff's magic touch on all but three of its 16 tracks including a guest appearance from his own alt-pop outfit Bleachers.

Antonoff's production empire further grew this year when he entered the studio with another Swift-adjacent (albeit briefly) act, The 1975, for their fifth LP, Being Funny In A Foreign Language. But despite his chart ubiquity, the New Jersey native insists he has little interest in courting the mainstream.

"I do think that there's a misconception about what I do and what pop music is," he told The Face in September. "There's a certain group of people who think it's about appealing to the masses, [which is] not how I feel. I've never made anything hoping that everyone would like it."

Alongside his own individual accolades, Antonoff has previously shared GRAMMYs with his first band fun. (Best New Artist, Song of the Year for "We Are Young") Swift (Album of the Year for both 1989 and Folklore), and St. Vincent (Best Rock Song for "Masseduction" and Best Alternative Music Album for Daddy's Home).

But proving that all the awards glory hasn't gone to his head, Antonoff dedicated much of his acceptance speech last year to the unsung hero who joined him on stage: "I sit in the studio all day with one person — this is Laura, who engineers and mixes the records with us. We just sit there all f—ing day. We were there yesterday, we'll be there tomorrow, and this is all completely for Laura."

Dernst "D'Mile" Emile II

While last year's nomination came for his work with a modern R&B legend, Mary J. Blige, this year's is courtesy of a relatively new diva on the block.

Dernst Emile II, a.k.a. R&B/hip-hop producer D'Mile took the production reins on 10 of the 11 tracks on Victoria Monét's long-awaited full-length debut Jaguar II. The lush melting pot of disco, dancehall, funk, and soul firmly established the Ariana Grande hitmaker as a star in her own right.

It certainly lived up to the expectations that D'Mile, who also worked on Monét's Jaguar EP, put forward to GRAMMY.com last year: "We dug a little deeper. She is an artist that I feel really comfortable with. There might be a couple of songs that you wouldn't expect from her, and then there are songs that are just incredible records."

Of course, D'Mile has already made GRAMMY history having become the first-ever songwriter to pick up consecutive Song Of The Year awards, first winning with H.E.R.'s "I Can't Breathe" and then with Silk Sonic's "Leave the Door Open."

D'Mile sadly didn't get to accept the former in person due to COVID-19 protocols. But thankfully, the hitmaker did get to join Bruno Mars and Anderson .Paak on stage for the latter where he dedicated the award to his late Haitian vocalist mother Yanick Étienne (the same Philly soul throwback also picked up Record Of The Year and Best R&B Song).

When asked about his pioneering feat by Vulture, D’Mile still appeared to be in a state of shock: "Man, these past two — even three — years have been just a wild ride for me. I definitely didn't expect to set a record. Even when I heard that it was possible, I was like, Wow, really? No one's ever done that? It's just wild to me that I'm at the GRAMMYs, let alone winning..."

D'Mile better get used to the feeling. The New Yorker was also victorious at the 2022 GRAMMYs thanks to his contributions on Lucky Daye's Best Progressive R&B Album Table for Two. And this second consecutive nod suggests it's only a matter of time before Producer of the Year - Non-Classical is added to the trophy cabinet that also includes an Academy Award for Best Original Song.

Hit-Boy

From Ty Dolla $ign and Big Sean to Travis Scott and ASAP Rocky — name pretty much any major hip-hop star of the last 20 years and there's a good chance Chauncey Alexander Hollis Jr., a.k.a. Hit-Boy, has given them some audacious beats.

The Californian already has three GRAMMY Awards to his name, having co-produced Kanye West and Jay-Z's "N— in Paris," showcased his own lyrical flow on Nipsey Hussle's "Racks in the Middle," and worked on all 13 tracks on Nas' King's Disease.

Hit-Boy's prolific new partnership with the latter rap god has undoubtedly helped him pick up a second Producer Of The Year, Non-Classical GRAMMY nomination, specifically his work on the two Magic sequels and King's Disease III. Likewise, his production skills on Dreamville's "Just Face It" and Don Toliver's "Bus Stop."

But the aptly-named beatmaker has also been celebrated for his own headlining efforts, including the Surf and Drown mixtape, the Alchemist collaboration "Slipping Into Darkness," and the Victims and Villains LP recorded alongside nu-soul crooner Musiq Soulchild, all of which arrived within the space of just three months.

Hit-Boy's work schedule may sound truly exhausting, but as he told GRAMMY.com in 2020, the star thrives on keeping busy: "It's too many artists trying to tap in for me to just work on one thing at a time, but I still am able to give my focus. It's like quantity and quality. I don't know how to explain it right now."

And Hit-Boy will certainly be appreciative if it proves to be second time lucky. Discussing his first Producer of the Year nod, he told Variety, "It would definitely be a dream come true … Just to be recognized is amazing, but to win? That would be major, man. Just for the people that have followed my story and know how much I've stayed down, that would be major."

Metro Boomin

Perhaps surprisingly, considering he's been behind Hot 100 No.1s by Migos and The Weeknd, trap genius Metro Boomin is the only Producer Of The Year, Non-Classical nominee this year without a GRAMMY already to his name. In fact, he's only ever received one nomination — Album of the Year for his sole contribution to Coldplay's Music of the Spheres.

Could 2024 be the year this changes? Well, it wouldn't be for the want of trying. The man born Leland Tyler Wayne has laid down beats for everyone from Travis Scott ("Til Further Notice") and Lil Durk ("War Bout It") to Drake ("More M's") and Young Thug ("Oh U Went") over the period of eligibility.

And like his fellow studio wizard Hit-Boy, Metro Boomin has also been recognized for his own material including his Spider-Man: Across the Spider-Verse cuts "Am I Dreaming" and "Calling," and three tracks from his sophomore Heroes and Villains ("Creepin'," "Superhero," and "Trance"),

Luckily, the St. Louis native seems likely to take it in his stride if he once again misses out on a golden gramophone. Metro Boomin was seen as a shoo-in for the 2018 Producer Of The Year category but the award went to Greg Kurstin. The hitmaker told Billboard, "You know, we don't be tripping off stuff like that. We just keep it moving, man … I'm just here to service the people. As long as that happens what I do, that's really all that what matters to me."

That doesn't mean Boomin believes he's unworthy of the accolade, though, with the star recently telling Ebony, "I knew I was here to stay before I even really got here, because I knew how much time I was putting into this…..I'm always trying to outdo myself. This is one of the first times in my career that I can really feel the ascension; I can feel something happening, and I'm well aware of it."

Daniel Nigro

Mid-2000s emo rock outfit As Tall as Lions might not have got anywhere near the most prestigious night on the music industry calendar. But frontman Daniel Nigro is now racking up the GRAMMY nominations as one of the go-to guys for Gen-Z.

All four of the New Yorker's previous nods were for his work with Disney Channel graduate Olivia Rodrigo, including the Best Pop Album category in which Sour reigned supreme. But in his first Producer Of The Year, Non-Classical showing, Nigro has also been acknowledged for collaborating with some other cool names.

That includes Chappell Roan, the dark-pop singer-songwriter who called on Nigro to produce the entirety of her debut album The Rise and Fall of a Midwest Princess. Irish troubadour Dermot Kennedy ("Divide") and former Chairlift vocalist Caroline Polachek ("Welcome To My Island") have also helped the one-time jingle writer to build a GRAMMY-worthy discography over the past 12 months.

Of course, it's Nigro's second effort with Rodrigo, Guts, that may best put him in contention for the big prize. He produced and co-wrote all 12 tracks on the pop-punk chart-topper, a committed approach he told Billboard is far preferable to being a songwriter-for-hire: "I know I'm definitely a pop producer [now], but I think I struggled a long time with that whole, 'You're part of a record' … I never felt satisfied doing just a song or two with an artist. I always felt detached. I come from a world where when something happens I want to call you up and celebrate the wins and vent about the losses and be a part of it [all]."

Nigro seems keen to continue guiding the careers of those young enough to be his kids. "I think it's just about being honest and talking about what's going on in their lives," Nigro replied when asked by Vulture what he admires about artists such as Rodrigo and Conan Gray.

"I think in their generation, something that they gravitate towards is the specificity of lyrics and honesty, which is always interesting," he continued to Vulture. "Whereas our generation was much more about metaphor and vagueness in lyrics, something that's left for interpretation, you know? It seems this generation is much more into something that's right on the nose."

The 2024 GRAMMYs, officially known as the 66th GRAMMY Awards, returns to Los Angeles' Crypto.com Arena on Sunday, Feb. 4, 2024, and will broadcast live on the CBS Television Network and stream live and on-demand on Paramount+ at 8-11:30 p.m. ET/5-8:30 p.m. PT.

The Recording Academy and GRAMMY.com do not endorse any particular artist, submission or nominee over another. The results of the GRAMMY Awards, including winners and nominees, are solely dependent on the Recording Academy’s Voting Membership.

2024 GRAMMY Nominations: See The Full Nominees List