At 26 years old, Tayla Parx has solidified her spot as an industry force, thanks to her songwriting accomplishments on the pop, rock and R&B fronts. She began penning hits for superstars like Jennifer Lopez, Fifth Harmony and Mariah Carey as early as 2013, and since then, she’s added Alicia Keys, BTS and Anderson. Paak to her roster of clientele. When it comes to thematics, she's not a one-trick pony—her songs feature concepts pertaining to following your dreams (Panic! At The Disco's "High Hopes"), relationships and trust ("Love Lies" by Khalid and Normani) and female empowerment (Meghan Trainor's "Woman Up"), to name a few.

In 2018, she garnered recognition from The Recording Academy for her contributions to Janelle Monáe's Album Of The Year-nominated project Dirty Computer. Her work in 2019 with close friend Ariana Grande on her smash-hit LP Thank U, Next resulted in another GRAMMY nomination for the 62nd annual ceremony's biggest honor. She provided her lauded songwriting assists on "Needy," "NASA," "Make Up," "Ghostin," the album’s title track and "7 Rings," which is also up for Best Pop Solo Performance and Record Of The Year.

2020 GRAMMY Awards: Complete Nominees List

A triple-threat by design (many may remember her as the spunky, scene-stealing Little Inez Stubbs alongside Queen Latifah in 2007's "Hairspray"), Parx released her debut studio album We Need To Talk in April 2019. Encapsulated by addicting production that plucks inspiration from pop, R&B, reggae and more, the 15-song project finds Parx stepping into the light and developing her identity as a sweetly ferocious vocalist. Aside from being a steadily rising figure in music, Parx works tirelessly to assist other songwriters and creatives in their self-care journeys through her latest venture, Camp Burnout. 

We recently caught up with the GRAMMY-nominated artist to hear more about her songwriting successes, her solo project and more.

This interview has been condensed for clarity.

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How did growing up on the acting scene help you approach music and songwriting? 

Well, coming from the world of acting taught me two things. First of all, it taught me work ethic, you know what I'm saying? It was instilled very young because the schedule of an actress is completely different than the schedule of a musician. There is no being "an hour late" or "30 minutes behind," because it obviously costs a lot more money. [Laughs.] So, it taught me that type of work mentality first. 

The other thing that I learned, later on, was the fact that, when I listened to these artists' stories, eventually it [would] become my own story. It was like you were kind of acting, and you were becoming them. It's like method acting, and when you take every emotion that [the artist] has and break it down, it's like, "Okay, if I were you, I would say it like this," which is essentially what acting is. I realized later on that [this is] the way that I connect to artists. Any time you're writing for somebody, you want to make sure that you're being authentic to them. You're saying you love somebody the way that they would say that, versus how you would personally say it. It's all about getting out of your head and really paying attention, and soaking up this other person. 

From my understanding, your songwriting gifts weren't really discovered until later—​after the acting, after the singing. When did you realize for yourself that this was another gift that you possessed and something that you could take far? 

I think the writing portion of my career kind of started off out of necessity. I was so young and was so wrapped up in the acting world, that [songwriting] was something that I had a lot to prove when I came back with it. I [had] to come back around and prove that I deserved to be in these studios, and show that music is where it all started for me. I [didn't] want to act anymore outside of voiceover, I really wanted to find myself as a musician. 

My dad used to always tell me that I should never want to be an artist that had to rely on somebody to write their songs for them. So, he encouraged me to pick [songwriting] up. I started off like any other kid—writing in my bedroom. I would literally be engineering and writing and was this one-woman show until I was able to get into the different rooms and start to learn from other people. 

What does it feel like to have a nomination for the biggest award of the night for what was such a therapeutic project for your friend, Ariana Grande? 

It feels incredible, simply because [Thank U, Next] is more than just a song and album at this point. Anytime you're helping somebody go through their history and it's something so genuine to them, I think it's more than the numbers that it does in that way. It becomes this moment in history for you—when do you remember making that song? Why did you make it? Why it was necessary for that artist? That's more of an experience. 

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When Ariana started to discuss some of the things she was hoping to do with this project, did you have a feeling that it was going to be different than her other projects in terms of content? In terms of impact? 

I definitely assumed that it would be something different and unique because of the fact that she just seemed like she was in a different mindset. We hadn't worked in years before that, and to see her from a fresh perspective as somebody that that wasn't as close as some of her usual collaborators, I think that it allowed us to just approach the project differently and have fun, and she was already approaching it in an unconventional way. I think that it was a recipe for innovation. 

For her to approach it in that way of saying, “F**k all of the rules, it doesn't matter that I just put out a project, it doesn't matter that I might be considered a "pop star…'" The only thing that mattered in that time was getting out authentic music in the studio. She wasn't like, "We're gonna make an album," she just needed to get it out. The best way to do that for her is through music.

From a personal standpoint, did working on Thank U, Next help you in any way?

I think the best part about this project is [that] it reinforced how I always approach music: work with people that you enjoy working with. I think that sometimes, a lot of writers and producers will get caught up in what everybody else is doing, whatever hits that everybody else [tries to] achieve on the radio. It becomes this frenzy, and you forget the type of music you enjoy making and the people that you enjoy making it with. [The title track] really became one of my favorite songs, one of my favorite experiences in my entire songwriting career, and [the album] is one of the biggest albums that I've worked on. That proved to me that I could have my cake and eat it too—I can have success doing the things that I want to do as a writer and producer. 

You have a new album out called We Need To Talk. When you're working with so many people behind-the-scenes, there are a couple of apprehensions that come with stepping into the spotlight as your own person. Did you have any fears about putting out your first project since your 2017 mixtape?

When I dropped the Tayla Made mixtape, it was my first kind of opportunity to say, "Hey look, I’m either going to go for it, or just stay behind the scenes as a songwriter," because I really enjoy that. After the tape, there was something about me that was like, "I still have more of a story to tell, and there's still not a way that I hear this perspective to these types of beats and in this type of language." I feel like We Need To Talk was something that came so naturally. 

At first, it was very, very scary. Obviously, [songwriters] are this muse that people don't see, it’s like the curtain is being pulled. I think that's probably the biggest fear that most people have, but once I got over that fear and anxiety and just said, "You know what? I'm not going to be afraid anymore," I just started to be more open about discovering my story. You can listen to [the album] from the front to the end, but you can also just bump whatever song relates to you. I'm telling you my story, this is what has happened in the past few months or a year. We Need To Talk was me really discovering myself in a way that I hadn't before. It was perfect timing for me because I'm also allowing myself—somebody who’s been working since I was nine years old—to live my life. I've been just living my best life these days and really discovering who I am. 

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You also have a tour coming up to support the album. So what are some of the things that you're looking forward to? 

The most exciting thing is getting my own vision out there on that stage, and really being able to create my world. It's different when you're opening up for artists because I have to respect that that's somebody else's show, and you're here to also to be a part of that, which is amazing in its own right. But now this time, I get to say, "This is how I want my stage to look, and this sound, the lighting…" and I'm really excited to show people how it adds to the experience of listening to the album.

You have a camp for songwriters and creatives that focuses on self-care called Camp Burnout. Burnout is not just with working and writing—​burnout can mean feeling like no one is really paying attention to your work or valuing your effort, your time, and your talents. How are you able to nurture yourself and focus on making sure your mental health is on point? 

It’s just self-accountability. It should be easy to say, "Hey, I deserve to take care of myself." I started to discover myself and really reassess my own life... I find new hobbies all the time. I find new ways to keep inspiring myself. I learned how to bake a cake one day, or I cook a few times a week. There's a million different things that you can find that will inspire you. [Self-care] became something that went from "I enjoy doing it," to me realizing that this is a necessity amongst the entire creative community. 

What is the importance of being multifaceted and having the gift of working with so many people regardless of genre? 

[Laughs.] I think that the funny thing about this is that all music comes from around one or two genres if you really know about the evolution of music, right? So, once you become a student of music, you realize that you can allow [yourself] to be open to not being put into a box, a genre box. That's what the evolution of music is: a mixture of genres that just happen to lead to a new one. It's definitely interesting to be able to go on that adventure and continue to break these boundaries.

I've kind of gone away from saying "What is mainstream?" and "What is cool to other people?" to "What is cool to me?" Genre does not matter, it never has. If you're really pushing yourself as a songwriter, you can write any genre. You can be a sponge and you can co-create, and write anything bigger than a genre. It's all lyric and melody. 

What are some of your biggest aspirations for 2020 besides getting that GRAMMY win? 

Besides the GRAMMY win, My biggest aspirations for 2020 are killing it on tour, and really getting to see each and every one of my fans, vibe with them and perform live with them.

Then the other thing is that my publishing company (Parx Publishing) has been doing really well. My writers and my producers are killing it, they have so many records coming out that are changing their lives, and for me to be a part of that is beautiful. I want to continue to instill what I'm instilling with them: that publishing and the music industry in general is going in a new way. If you can be creative enough, it can work in your favor. 

Ariana Grande To Perform At 2020 GRAMMY Awards On Jan. 26

Every June, Pride Month offers a time for the LGBTQIA+ community to reflect and raise awareness — but also, to party it up. While there were plenty of Pride anthems to pack playlists prior to this year, the past 12 months have seen some flawless new additions from a mix of fresh talent and long-standing stalwart artists that the queer community happily embraces.

While there's no set template on how to create an undeniable Pride anthem, there are major hallmarks: high-energy tempo, candid lyrics, delicious camp, and an undeniable groove. Between pop bops and dance floor jams, no Pride party is complete without at least a couple of the songs listed below. Cheers to the cathartic power of music to usher in another season of acceptance and equality. 

You play it when you wake up. It's on the radio on the way to the club. It's playing at the club. Heck, it's even blasting at the gym the next day. 2024's newly crowned pop princess, Sabrina Carpenter, released an instant classic when she unfurled "Espresso" in April — more than enough time to learn the lyrics by Pride Month.

With an infectious melody targeting your ears like a jolt of morning caffeine, its steaming dose of memorable lines ("I'm working late/ 'cause I'm a singer") are the handiwork of Carpenter along with three veteran lyricists, including close collaborator Steph Jones, Amy Allen (Harry Styles, Selena Gomez) and Julian Bunetta, who is perhaps best known for his plethora of work with One Direction. "Espresso" marks further proof that if there's one thing Carpenter knows it's how to command an audience, whether through her captivating stage shows or viral, story-telling music videos that link together (including for recent single "Please, Please, Please").

Read More: Sabrina Carpenter Releases New Single "Please Please Please": Everything We Know About Her New Album 'Short N' Sweet'

Charli XCX — "360"

It's safe to say that Charli XCX is experiencing a new phase of her decade-long career as a critically acclaimed starlet. Her sixth studio album, BRAT, marks an evolution of her sound into a batch of adult tracks tailor-made for the club. As a result, it's spawned a number of viral memes among her legions of LGBTQIA+ fans, who have also boasted lime green avatars on social media in honor of what's being dubbed "brat summer."

It's no coincidence then that she'd release the project in the midst of Pride Month, led by the relentlessly pulsating single "360." With lyrics that have quickly already found itselves queer canon — "Drop down, yeah, Put the camera flash on" — the album boasts a hyperpoop energy and unapologetic individuality, making her recent spate of shows some of the hottest tickets in town.

Read More: Charli XCX's Road To 'Brat': How Her New Album Celebrates Unabashed Confidence & Eccentricity

Giddy up! One of the brightest out stars in the LGBTQIA+ musical universe, the ever-masked Orville Peck has made a name for himself as a queer outlier in the country music scene. So it stands to reason that he'd partner up with none other than Kylie Minogue — who had the defining song of Pride '23 in the form of "Padam Padam" — for their own anthem for 2024. The result is "Midnight Ride," a whistle-powered, Diplo-produced earworm that's perfect for a rainbow-tinted hoedown.

The team-up is part of Peck's forthcoming duets project, for which he recruited a cavalcade of singing partners for queer-themed country-tinged tracks in a unique two-volume album dubbed Stampede (which drops in full Aug. 2). The collaborators include Willie Nelson, who croons with Peck on the eye-raising ditty "Cowboys Are Frequently Secretly Fond of Each Other."

Dua Lipa — "Houdini"

When Dua Lipa released Future Nostalgia in 2020, it became an instant classic in the pop world and LGBTQIA+ lexicon alike, cementing Lipa (and songs like "Don't Start Now" and "Physical") into the grand pantheon of queer playlist magic. The pressure was on, then, for her follow-up to live up to its commercial success and fandom.

Cue "Houdini," from this year's Radical Optimism, a cathartic dance floor anthem by one of the gay community's newer idols. Aside from setting the perfect tone for Pride Month with its delicious hook and refreshing confident lyrics "(Prove you got the right to please me"), in an interview with  SiriusXM Hits 1, Lipa said the production of the track set the tone for the new project: "I was like, "Okay, I feel like now I know exactly what this album's gonna be and what it's gonna sound like."

Read More: Dua Lipa's Road To 'Radical Optimism': How Finding The Joy In Every Moment Helped Her Become Pop's Dance Floor Queen

The Challengers soundtrack

Who knew that a soundtrack to a tense and sultry tennis drama would yield an album fit for the dance floor? The thumping array of tunes that Trent Reznor and Atticus Ross churned out for Luca Guadagnino's Challengers has proved to be a hit beyond the film, with its synth-propelled soundtrack proving to be a unique and wild tracks, including the driving "I Know." 

Its embrace in the LGBTQIA+ community should come as no surprise considering the single note the director gave Ross before he started work. "The way he described 'Challengers' was in a one-sentence email," Ross told Variety earlier this year. "Do you want to be on my next film? It's going to be super sexxy.' Two x's."

Ariana Grande — "yes, and"

Ariana Grande is no stranger to gay-friendly anthems; in fact, she delivered one of 2020's most iconic Pride moments with her Lady Gaga duet, "Rain On Me." When her album eternal sunshine dropped earlier this year, it was no surprise that she'd offer a few more bops for a Pride playlist.

Among them is "yes, and," a Max Martin-produced hit that can get even your stiffest friend moving on the dance floor. Perhaps it's no coincidence, then, that the creative team took the sonic elements of ballroom culture — a uniquely queer LGBTQIA+ experience — and fused them with lyrics perfect for a personal Pride anthem. "Say that s— with your chest," she croons. We will, Ari!

Read More: Listen To GRAMMY.com's 2024 Pride Month Playlist Of Rising LGBTQIA+ Artists

If you've been on a dance floor in the recent past, odds are you've grooved to nostalgic beats courtesy the South Korean producer Peggy Gou. The breakout star is known for her unique brand of throwback dance jams, which carry a distinct '90s-era flavor that has led her to be embraced in queer spaces from Fire Island to West Hollywood. The most infectious, "(It Goes Like) Nanana").... samples the German artist ATB's 1998 track "9 PM (Till I Come)," no doubt a reaction to the recent revitalization of 90s-era culture popular in the LGBTQIA+ community, which provides a thumping link to queer culture past.

"For me,  the DJ is someone who teaches people the value of music and educates them," Gou told L'Official of her musical mission. "It is someone who transmits a beautiful memory and is somehow responsible for it."

Chappell Roan — "Casual"

While Roan has been a bubbling-under singer/songwriter for a handful of years, 2024 has proved to be decidedly her time to shine. Ever since the release of her debut album, 2023's The Rise and Fall of a Midwest Princess, her back catalog has logged impressive streaming numbers, and she's commanded massive crowds at the likes of Governor's Ball and Bonnaroo.

Part of her appeal comes from her unabashed candidness about her sexuality (Roan identifies as a lesbian) and resilience. Both are exemplified by her single "Casual," which is about a relationship that doesn't seem to get all that serious, for better or worse.

However, Roan told the Associated Press last year that normally she isn't so sexually candid.  "The songs kind of give me the opportunity to act like that, and say that, and dress like that," she explained. "It's mainly to piss off — it's all a rebellion. That's what it is. It is very empowering, I think, for a lot of people. ... It's just not as empowering to me as it is living out a fantasy."

Read More: Chappell Roan's Big Year: The 'Midwest Princess' Examines How She Became A Pop "Feminomenon"

By now, we've all heard Troye Sivan's infectious hit "Rush" or seen its viral music video — both of which earned the singer his first GRAMMY nominations this year. In the interim, his 2023 album, Something to Give Each Other, is filled with plenty of other tracks that speak intimately and eloquently about the queer experience.

Take, for example, the luscious "One Of Your Girls," a meditation on when a gay man has a transactional fling with an otherwise straight person. It subsequently has turned into yet another queer definitive anthem for the Australian star.

As a result, Sivan has turned into one of the musical heroes of the community: not only unabashedly talented, but an eloquent chronicler of the gay experience. Even better, as he told  NPR last year, his queer-focused projects are as cathartic for him as they may be for listeners. "There's a big element of pride in the fact that I am now so comfortably, openly gay."

The first New Music Friday of the summer delivers us fresh jams packed with exciting collaborations and debuts.

This week features releases from big name, genre-crossing collaborations, including Ariana Grande's remix of "the boy is mine" with Brandy and Monica, and Post Malone teaming up with Blake Shelton on their new track "Pour Me a Drink." As you build your new summer playlist, make sure you don't miss out on these ten must-hear tunes.  

After a massive year with the release of her EP Like..? and four nominations at the 2024 GRAMMYs, Ice Spice is ready to level up once again with her newest single, "Phat Butt." With self-assured lyricism on top of a classic drill beat that is true to her sound, the track serves as the second single to be released from her debut album, Y2K!. "Phat Butt" comes as both a message to those who lacked belief in Ice Spice’s music career, but also as a quintessential summer anthem.

In the self-directed music video, the rapper is shown performing in front of a wall of graffiti with grainy video filters, emphasizing the Y2K feel. Ice Spice is set to take on her Y2K World Tour next month and it's no doubt that this "Phat Butt" will be a highlight on her setlist.

Explore More: The Rise Of Ice Spice: How The "Barbie World" Rapper Turned Viral Moments Into A Full-On Franchise 

When asking different groups who sings the song "the boy is mine," you're likely to get two answers. Some will say pop star Ariana Grande, while others will think of the original 1998 R&B hit by Brandy and Monica, which won the GRAMMY for Best R&B Performance By A Duo Or Group With Vocal in 1999. Doubling down on the shared name of the track and bridging the generational gap among music lovers, Grande, Brandy, and Monica have come together for a fresh remix of "the boy is mine," and the internet couldn't be more ecstatic. 

"My deepest and sincerest thank you to Brandy and Monica, not only for joining me for this moment, but for your generosity, your kindness, and for the countless ways in which you have inspired me," said Grande in an Instagram post announcing the collaboration. "This is in celebration of you both and the impact that you have had on every vocalist, vocal producer, musician, artist that is creating today."

Read More: 5 Takeaways From Ariana Grande's New Album Eternal Sunshine 

Post Malone has been dipping his toes into the country genre for some time now and fans have been anxiously awaiting his promised western era post Cowboy Carter.

Malone and Shelton first ignited excitement with a sneak peek of their song, "Pour Me a Drink" at the CMA Fest earlier this month. Since Posty announced the official release on Instagram, fans have eagerly awaited its arrival on streaming services. The track serves as a tantalizing preview of Post Malone's upcoming country album, F-1 Trillion, coming August 16. 

Read More: Post Malone's Country Roots: 8 Key Moments In Covers and Collaborations 

Coldplay has been generating excitement as they embark on their next chapter, with the release of their latest single, "feelslikeimfallinginlove." Over the past few weeks, they've been feeding fans with sneak peeks on social media and performing the song live on their world tour.

The track sets the stage for the release of Coldplay's highly anticipated tenth studio album, Moon Music, set to land in early October. True to their brand, this song is geared to uplift your spirits, making it the perfect anthem for carefree summer car rides with the windows down.

Read More: How Coldplay's Parachutes Ushered In A New Wave Of Mild-Mannered Guitar Bands 

Ten years into his career, Norwegian DJ Kygo is dropping his self-titled album, Kygo, which he teased last week with the single "Me Before You" featuring Plested. The song, backed by a thumping mid-tempo instrumental, vividly narrates the transformative experience of being deeply influenced by someone in a relationship and not wanting to return to who you were before. The 18-track project features diverse and vibrant collaborations with unexpected guests like the Jonas Brothers and Ava Max.

Maren Morris and Julia Michaels, GRAMMY-winners both independently renowned for their iconic music collaborations, are now joining forces to release their electrifying new track, "cut!" The duo has been working together for a few years, with Michaels' co-writing Morris' "Circles Around Town," which received a nomination for Best Country Song at the 2023 GRAMMYs. So, while this collaboration might not come as a surprise, it is still certainly a welcomed one. 

After a two-year hiatus from releasing music, pop enthusiasts have been eagerly anticipating Morris' return to the spotlight. "Can't wait to cathartically scream f*ck at the top of our lungs together," Morris said in an Instagram post announcing the track.

Learn More: Behind Julia Michaels' Hits: From Working With Britney & Bieber To Writing For Wish 

Building on the success of her debut album, Good Riddance, and the skyrocketing momentum of her career after opening The Eras Tour, California-native Gracie Abrams has unveiled her much-anticipated sophomore album, The Secret of Us.

The album includes the track, "Close to You," which was released ahead of the album drop as the full realization of a 20-second snippet that Abrams posted on Instagram back in 2018. After sitting on the track for six years and relentless pleas from fans, the pop artist finally delivered the full song — a mesmerizing blend of Abrams’ vocal prowess and heartfelt lyricism.  

Learn More: How Making Good Riddance Helped Gracie Abrams Surrender To Change And Lean Into The Present 

6LACK is rebranding himself and making sure everyone knows. The release of his newest track, "F**k The Rap Game" addresses the phenomenon of getting caught up in the glitz and glamor of the entertainment business, tying in the importance of staying true to one's roots. The Atlanta-raised artist is currently on tour with rapper Russ, with whom he recently released the single "Workin On Me,” another nod to 6LACK's ongoing mission of self-reflection and deep introspection.

“A better me equals a better you equals a better us. That’s been the formula of my life. I can’t thrive unless I’m around people who are constantly trying to better themselves as individuals,” 6LACK said in an interview with GRAMMY.com last year. “It took a second of me really looking at myself in the mirror, being honest and saying: I am not doing as much work on myself as I claim to be doing and want to be doing on myself.”

Read More: 6lack On His Comeback Album SIHAL: "I’m Playing A Different Game" 

Months after their buzzworthy performance with Doja Cat at Coachella, South African quintet The Joy has released their self-titled album through Transgressive Records. The album was recorded live, in real time, at Church Studios in London and features no instruments or overdubs — just pure, raw vocals that capture the group's authentic sound.

The Joy came together through a serendipitous twist of fate. Years back, five boys arrived early to their school choir practice and decided to have an impromptu jam session. Realizing their undeniable musical chemistry, The Joy was born, quickly garnering global acclaim. "They are, like, my favorite group," Jennifer Hudson exclaimed on her talk show. 

Known for their feel-good tunes that took over TikTok in 2019, Surfaces presents their sixth album, Good Morning. In tracks like, “Real Estate,” the band chronicles the idea of exploring one’s mind and thoughts, above all other features, backed by a tropical lo-fi instrumental, as well as a steady thump of a bass, and trilling trumpets. 

“’Real Estate’ is about the infatuation with that place in someone’s mind that you can’t get enough of,” Surfaces explained in a press statement. “It’s a familiar place to call home that feels safe and deserves all the love in the world. We wanted to capture the bliss of finding that space and reveling in it.” 

Lauren Watkins has a packed summer schedule, which includes opening for country artist Morgan Wallen and releasing her second studio album, The Heartbroken Record. This project draws inspiration from music industry veterans like Willie Nelson and Waylon Jennings, while also infusing influences from contemporary artists like Kacey Musgraves and Miranda Lambert. Each track from the album underscores stories of love and loss, woven together by the overarching theme of heartbreak. 

"I didn't want to just put an album out — I wanted it to be purposeful," Watkins said in a press statement. "It's the past several years of my life, and that was just so much heartbreak and dramatic girl-feelings, but I think in a really deep and relatable way… and it just needs to get off my chest."

Why 2024 Is The Year Women In Country Music Will Finally Have Their Moment 

Ludwig Göransson's captivating composition for Oppenheimer has triumphed in the Best Original Score category at the 2024 Oscars.

Göransson's victory represents his exceptional talent and innovative approach to film scoring, as one of the youngest composers to ever receive the Best Original Score Oscar. It marks his second win in the category — he took home his first Oscar in 2019 for Black Panther. Göransson's work on Oppenheimer also won at the 2024 GRAMMYs for Best Score Soundtrack For Visual Media (Includes Film And Television).

Göransson's work stood out among the competition, going up against the scores of American Fiction, Indiana Jones and the Dial of Destiny, Killers of the Flower Moon, and Poor Things. His ability to convey deep emotional narratives and complex historical contexts through his scores has established him as one of the most innovative and sought-after composers in Hollywood.

Göransson's composition for Oppenheimer serves as the heartbeat of the movie, underpinning the film's exploration of the moral complexities and monumental impact of J. Robert Oppenheimer's work on the atomic bomb. Through his music, Göransson invites audiences into the internal and external conflicts faced by the "father of the atomic bomb," providing a sonic backdrop that is as thought-provoking as it is visceral.

Read more: Watch: Ludwig Göransson Discusses His GRAMMY Win For 'Oppenheimer' At The 2024 GRAMMYs 

The award was presented by fellow GRAMMY winners, Ariana Grande and Cynthia Erivo, who will star together in the Wizard of Oz big screen adaptation of the musical Wicked as Glinda and Elphaba respectively, premiering on the silver screen later this year. Speaking to the power of music to leave an indelible mark on the viewer through film, Grande said, "a great film score can leave a handprint on our hearts forever. It can ignite wonder and astonishment, make us feel sadness and longing and even transport us to new worlds." 

Göransson achieved just that. In his acceptance speech, Göransson thanked his colleagues,  and stars of the film for contributions to his distinctive vision. "Christopher Nolan, it was your idea to use a violin in the score and it allowed me to work and collaborate with my wonderful wife and acclaimed violinist, Serena Göransson," he said.

Göransson ended his speech by acknowledging his parents, "Thank you for giving me guitars and drum machines and not buying me video games." 

2024 Oscars: Billie Eilish And FINNEAS Perform A Heartrending Version Of "What Was I Made For?" From The 'Barbie' Soundtrack

Sibling duo Billie Eilish and FINNEAS are taking home more awards "What Was I Made For" [From The Motion Picture *Barbie*], this time at the 2024 Oscars, winning the prestigious Best Original Song award for their heartfelt ballad.

Once again, they've proven their unparalleled talent crosses effortlessly between the realms of music and film. Billie Eilish and Finneas won their first Oscar in 2022 for Best Original Song with "No Time to Die," the theme for the James Bond film of the same name.

Fittingly, the award was presented by two GRAMMY-winning musical performers, Ariana Grande and Cynthia Erivo, who star as Glinda and Elphaba in the Wizard of Oz big screen adaptation of the musical Wicked, premiering on the silver screen later this year. 

Eilish, who admitted to having a nightmare the night before receiving the award, burst into laughs before thanking the Academy and Barbie director Greta Gerwig, "Thank you to Greta, where did you go? I love you. Thank you for this. I'm so grateful for this song and this movie and the way that it made me feel."

The pair contended for the award against a diverse group of nominees: Diane Warren with "The Fire Inside" from "Flamin' Hot," Mark Ronson and Andrew Wyatt for "I'm Just Ken" also from Barbie, Jon Batiste and Dan Wilson with "It Never Went Away" from American Symphony, and Scott George for "Wahzhazhe (A Song for My People)" from Killers of the Flower Moon.

Ahead of the win, Eilish and O'Connell gave a stirring paired back performance that highlighted their power as a pair.

Read more: 2024 Oscars: Billie Eilish And FINNEAS Perform A Heartrending Version Of "What Was I Made For?" From The 'Barbie' Soundtrack

"What Was I Made For?" captivated audiences and critics alike with its poignant lyrics and emotive composition, underscoring the siblings' ability to tap into universal feelings of identity and purpose.

This Oscar win is a significant milestone for both artists, reinforcing their status as multifaceted talents capable of storytelling that resonates across different mediums. At the 2024 GRAMMYs, they had already made waves with the same song, winning Song Of The Year and Best Song Written For Visual Media.

Eilish and Finneas's journey from the music studios to the glitz of the Oscar stage is a testament to their hard work, creativity, and the deep connection they share as siblings. Their ability to collaborate and push the boundaries of music, now recognized by both the Recording Academy and the Academy of Motion Picture Arts and Sciences, sets a high bar for artists striving to make their mark across multiple industries.

Eilish and FINNEAS are not just a powerful duo in music but also formidable talents in film music composition. Their Oscar victory tonight is not just a win for them but a win for the incredible synergy between music and storytelling in cinema.

2024 Oscars: Watch Ryan Gosling And Mark Ronson Perform A Soaring, Hilarious Version Of "I'm Just Ken" From The 'Barbie' Soundtrack