Glitz, glamor, and great performances from legendary musicians are only part of what make the GRAMMYs Music’s Biggest Night. It’s also an occasion to honor the music industry’s best and brightest, highlight their greatest achievements from the past year, and watch them soak up the glory. 

Some of the night’s biggest moments came when artists accepted their GRAMMY trophies, from Taylor Swift announcing her next album to teary-eyed moments from SZA and Best New Artist Victoria Monét. Here are a few of our favorite acceptance speeches from the 2024 GRAMMYs. 

Killer Mike Sweeps With Three GRAMMYs In A Row

Atlanta rapper Killer Mike had already given a moving speech upon winning Best Rap Performance for “Scientists & Engineers,” saying “I want to thank everyone who dares to believe that art can change the world.” But his third and final win, Best Rap Album for Michael, sent him into another dimension: “It’s a sweep! Atlanta, it’s a sweep!” 

Tyla Was Shocked To Win Best African Performance

Although her hit song “Water” has dominated the charts, even Tyla was caught off guard by her Best African Music Performance win – the first ever awarded in this category – exclaiming “What the heck?!” The South African star continued "This is crazy, I never thought I’d say I won a GRAMMY at 22 years old."

Boygenius Sweep The Rock Categories

Boygenius already had something to celebrate when Phoebe Bridgers won a GRAMMY for her collab with SZA. They went on to win three categories during the Premiere Ceremony – Best Rock Song, Best Rock Performance, and Best Rock Album – enabling each member of the trio to give a separate speech. “We were all delusional enough as kids to think this might happen someday,” Lucy Dacus said. 

Miley Cyrus Was A Class Act

Accepting the prize for Best Pop Solo Performance for “Flowers,” Miley Cyrus took to the stage to strike a pose with presenter Mariah Carey – “This M.C. is gonna stand by this M.C.” — before launching into a story about a boy who tries desperately to catch a butterfly, before nabbing one when they least expect it. “This song ‘Flowers’ is my butterfly,” she concluded. 

SZA Runs From Backstage To Accept Award

Changing backstage after her GRAMMYs performance, SZA was caught off guard when “Snooze” won Best R&B Song. She embraced friend and presenter Lizzo before giving an emotional, funny speech. “I can’t believe this is happening, and it feels very fake,” she said. “I love you, I’m not an attractive cryer, have a good evening.” 

Taylor Swift Announces New Album

When the pop mega-star took to the stage to accept her lucky 13th overall GRAMMY for Best Pop Vocal Album (Midnights), she decided to use the moment to give her fans the ultimate gift, announcing her 11th studio album, The Tortured Poets Department, will release on April 19. “I want to say thank you by telling you a secret that I've been keeping from you for the past two years,” she said. 

Billie Eilish Didn’t Know What To Say

After delivering a lovely performance of her Barbie movie ballad “What Was I Made For?,” Billie Eilish wasn’t exactly at a loss for words when the track won Song of the Year. The words that came out of her mouth were a bit less than rehearsed, however: “Whoa, whoops, yikes, whoa my goodness! Damn, that’s stupid guys!” she said. “I don’t even know what to say, I’m shocked out of my balls.” 

Victoria Monét Delivers Tearful, Eloquent Speech

Through tears of joy, Best New Artist winner Victoria Monét gave a speech worthy of an artist who spent years writing for others before striking out on her own. “This award was a 15-year pursuit,” she said, going on to compare herself to a plant growing in the soil of the music industry. “My roots have been growing underneath ground, unseen, for so long, and I feel like today I’m sprouting, finally above ground.” 

Miley Cyrus Makes An Even Wilder Record of the Year Speech

Cyrus returned to the stage twice after her first GRAMMY win, first to perform her award-winning song, and then once more to accept a second golden gramophone for Record of the Year. “This award is amazing, but I really hope it doesn’t change anything, because my life was beautiful yesterday,” she said. Then she ended the speech by saying “I don’t think I’ve forgotten anyone, but I might’ve forgotten underwear!”

Taylor Swift’s Record-Shattering Album of the Year

Lightning struck twice for Taylor Swift, as the evening ended with her taking home a record-breaking fourth GRAMMY for Album of the Year (Midnights), more than any other artist in GRAMMY history. Flanked by producer Jack Antonoff and friend and collaborator Lana Del Rey, she gave a speech that highlighted her passion for music-making, saying  “For me the award is the work. All I wanna do is keep being able to do this. I love it so much, it makes me so happy." As happy as Swift was, her fans probably left even happier. 

9 Ways Women Dominated The 2024 GRAMMYs

Leon Thomas III has had a big year. Following a Best R&B Song win at the 2024 GRAMMYs for "Snooze" and a three-month stint in Florence, Italy to produce Ye and Ty Dolla $ign’s Vultures series, the R&B singer and songwriter is ready to see his own name atop the marquee. 

When he’s not penning chart-topping songs or producing for the likes of Ariana Grande, Post Malone, Drake or Chris Brown, the former child actor is adding notches to his own musical utility belt. Since joining Ty Dolla $ign’s EZMNY Records as the imprint’s first artist in 2022, Thomas has evolved into a R&B fixture. His debut album, 2023's Electric Dusk, showcased his slick lyrics, free-flowing melodies, and anthem-made ballets in full form.

Now, the Brooklyn-born artist is set to build on his newfound momentum with his sophomore release, Mutt. While the project may seem carefully curated, Thomas says the album and his artistic journey is loosely-tailored by design. 

"There are parts of this that people may think are calculated, but I’m just flowing," he tells GRAMMY.com. "I’m just glad people are resonating with everything I’m doing naturally. It’s a journey."  

Mutt unites Thomas' love of jazz icons like Art Blakey and Miles Davis with neo-soul and rock acts like Black Sabbath and Led Zeppelin to forge sleek jams with a contemporary edge. Album cuts "Vibes Don’t Lie" and "Yes It Is" are a baptism in neo-soul vocals, evoking  innovators such as D’Angelo, Musiq Soulchild, and Maxwell. 

The album is as lyrically rich as it is sonically expansive. On the sultry "I Use To," Thomas recounts the sorrow of a lost love that once enriched his soul; "I Do" is a piano-laden tale of the hard-fought lessons that ushered in a new romantic endeavor. Throughout, the singer/songwriter is intensely vulnerable. "God and losing you is the only two things I fear," Thomas sings. 

The rock-inspired "Dancing With Demons" is a foot inside the deep end of fame while "How Fast" offers a flash of braggadocio. "Hold on, I’m a visionary. This s– getting kind of scary/ So addicted to the top, it’s always missionary." And "Answer Your Phone" is a crowd-swaying tune set to enliven fans on Thomas’s first solo tour.

Like Thomas’ life, the album shows the "Socialite" artist embark on a one-way ticket to the top of the musical landscape. He’s no longer satisfied with playing the background. Thomas has embraced the weight of being a headlining act on Mutt, and he’s prepared to weather the uncertain storms and visible weeds he’s set to experience on his broader musical pursuits. 

Thomas spoke with GRAMMY.com about his studio sessions with Ty Dolla $ign and Ye, the new generation of R&B crooners pushing the genre forward, and how his dog Terry inspired the album title. 

This interview has been lightly edited for length and clarity. 

How does it feel to release your second album?

It feels special, but I was super nervous. Dropping music in 2024 is an interesting process because you’re fighting the waves of so many social media moments and distractions. But it’s great to see my music cut through and for people to hear me. It feels like some of my best work, and I’m just excited for people to see all of the different ways I’m putting music together. This is going to be a journey. 

What inspired the album title?

I got a dog three years ago. His name is Terry and he’s a German Shepherd and Husky mix. He’s such a sweetheart, but he’s always getting into stuff. I recognize the face he makes when he’s in trouble. I make the same face when I’m about to go through a breakup or something. 

I felt like that correlation was an interesting process. I wanted to talk about the element of control between men and women when you’re trying to get your partner to act right. It seems to be a common theme in this generation, so I wanted to talk about it. 

What sound were you trying to capture on Mutt?

For me, jazz is the root of who I am. My grandfather was really cool with Art Blakey back in the day, and he always played Miles Davis and John Coltrane. I try to find ways to implement some of the chord progressions that I hear in my head into my music. That will always be adjacent to neo soul, but I don’t necessarily want to do a whole live jazz album as a 30-year-old right now. 

A lot of decisions that I made are also rock influenced as well. I was listening to a lot of Black Sabbath, the Rolling Stones, and Led Zeppelin during the making of the album. I’m finding ways to sneak in my influences, even though I know I’ll lock in on these R&B charts. 

How did the production come together? Did you handle most of it?

I outsourced. There were a bunch of different guys that worked on the production. I think being around Ye and Ty Dolla $ign for the Vultures I album helped. I spent three months in Florence, Italy before I finished [Mutt]. I came back with a different taste level for how an album can play from top to bottom and how tricky we can get with the production. I started adding little pieces here and there to really elevate the sound of it. It’s definitely my symphony, and I’m trying to put it all together.  

How is it working with artists like Ty Dolla $ign, Ye, Chris Brown, and SZA? Are you inspired by their work or studio sessions?

I think I’m inspired by osmosis. I don’t feel like there’s any specific style that I’m using that’s theirs. I’m just putting my neck out there and daring to be different. I’m not doing basic concepts or attacking basic instrumentals. I feel like I’m doing my best to push the genre by taking chances and experimenting. I’m just hoping that it’s received because I genuinely love the R&B genre. I want to see it grow and evolve, and I want to be a part of that process. 

Read more: How 'SOS' Transformed SZA Into A Superstar & Solidified Her As The Vulnerability Queen

What’s your views on the current state of R&B?

I think we’re in a really amazing place. There are singers that fill that craving for the golden era of the 1990s. There are others with really solid vibes that feel like the '60s. And then there are people like myself who are blending genres and time periods while having fun, not giving a s— about the rules. 

I think that’s a positive thing, but it’s abrasive to people who only see R&B as a linear thing. There’s a broad range in what it can be in its true definition, and I’m excited to see where we go in the future. There are so many artists playing instruments and singing their ass off without a lick of autotune. I’m definitely a fan of the genre, and the next generation is going to be nuts. 

Read more: R&B Isn't Dead: Listen To 51 Songs By Summer Walker, Josh Levi & More Artists Who Are Pushing The Genre Forward

Do you feel this album will fill any perceived holes in the genre?

I’ll be honest, I create selfishly. I’m just going into the studio to chase some chills. I don’t really care about the holes in the R&B genre. I just feel like that’s a big boulder to carry on your shoulders. I’m just trying to tell my story. I’m doing my best to put these records together, to get them mixed on time, and to shoot these music videos. 

When penning music for artists like SZA, Chris Brown, and other greats, was there a point where you were like, I got to do this for me?

Yes. It’s hard to be selfish, but the more reading I did and the more I learned about myself, it just felt like it was time to prioritize something that means so much to me. 

Writing these records and working with these big artists is such a blessing, but I want to hit stages and see the world through my music. I want to collect furniture from all the different countries. I feel like the best way to do that is through my music, so this is me putting my music and my dreams first. And I’m just really excited about it all. 

Did you ever have a moment of hesitancy, especially with you starting out as a child actor?

Yes, it wasn’t always easy. I think internally, I know who I am. I know who God made. I don’t need outside people to validate what I know to be true. Sometimes you have to be patient to allow people to grow with you. 

It’s like being a Coca-Cola or a Pepsi. They met me as an actor and they know I make music, but they saw me in a certain light and as a certain brand. It takes time to transfer over and introduce new flavors to the consumer. I’m being patient with my fans, and I’m being patient with myself. I’m working harder to make a product that’s going to be acceptable and will allow me to continue making music I want to make. 

You’re a multi-hyphenate. An artist, actor, producer, and songwriter. Do you ever get overwhelmed by it all? 

When it comes to scheduling, I get overwhelmed. But I’m doing more to prioritize my mental and physical health without taking anything away from myself or my art. That balance is something I will continue to perfect over time. It’s like a muscle, and I’m still figuring it out. I want to do everything, and I know I can. I just think certain industries I’m involved in are a three-month season, rather than all 12. 

How did it feel to win a GRAMMY for SZA’s "Snooze"?

It’s really surreal. I’ve never been one to put too much energy into awards, but that GRAMMY felt different. That was a special thing. I don’t have a college degree or anything, but this is the closest thing I can say to my pops that, "Hey, I’m validated here." He obviously sees the work I do with all these big artists, but him coming to my house and holding my GRAMMY was an interesting moment. Seeing someone who’s always believed in me hold something that validated his belief was such a beautiful moment.

Do you feel like you’ve found your voice, or is something you’re still exploring? 

I feel like an artist’s work is never done. There’s always something to explore. I sat in a studio session with Babyface. He’s still exploring new things and he’s a lot older than me. The fact he’s still writing new songs and experiencing the world through his music lets me know it never ends. And I’m cool with that because this is a really awesome job. I feel like my voice is present and my voice is formed. It’s just all about packaging it so people can help me better. 

Are there future collaborations or goals you have in mind down the road? 

I definitely want to continue to make music, and I want to be rich enough to give back as well. I have a lot of initiatives and nonprofits I want to put together when I hit that $100 million mark, and I think it’s all possible through music. That’s why I fight so hard for my artistic journey because the brand itself can really uplift my own community. 

When will your day-one fans see you go back to acting?  

I’ve been ignoring self audition tapes for three years because it’s been insane trying to produce big albus and build these albums out in preparation for tours. But I’m looking forward to the release of this album and my tour to get back into acting class. I’m really a fan of the artform, so I want to shake off the cobwebs and really get back into the acting gym. I want to give [my fans] a performance that’s an elevation from everything they have seen from me before.

"I think collaboration boils down to the core belief that something can work," Jack Antonoff recently told GRAMMY.com. "When I make an album with someone, I'm filled with faith that much more in my life or the universe can work, which is definitely a reason why I do this."

The 11-time GRAMMY-winning singer, songwriter and producer has worked with many of the biggest modern pop stars — from Taylor Swift, Lana Del Rey and Lorde, to St. Vincent and Sabrina Carpenter — but his core focus has never changed. Antonoff simply wants to make music he loves with people he loves, and perform it live.

Antonoff not only holds many peoples' dream job of being Swift's go-to collaborator, but he's been having a banner year filled with notable creative projects and big wins. At the 2024 GRAMMYs, he won Producer of the Year, Non-Classical for the third year in a row. He also earned two more GRAMMYs that night, sharing Best Pop Vocal Album and Album Of The Year with Swift for his extensive production work, co-writing and instrumentation on Midnights. In March, he released his fourth album as Bleachers and launched a lengthy world tour with the band, which will wrap with their biggest-ever (sold-out) gig at Madison Square Garden on Oct. 4.

His 2024 production credits include Swift's The Tortured Poets Department, four of breakout star Carpenter's Short n' Sweet tracks including No. 1 hit "Please Please Please," and even one of Kendrick Lamar's Drake diss tracks, "6:16 in LA." He also curated and produced the soundtrack for Apple TV's WWII couture period drama "The New Look," featuring modern renditions of classics by Lana Del Rey, Florence Welch, Nick Cave and others. He was also tapped by Tony-winning director Sam Gold to create the soundtrack for a modern reimagining of "Romeo and Juliet," debuting on Broadway later this month.

Before Antonoff became one of the most in-demand producers in pop, he spent his time in bands. As a high school senior in 2002, he formed indie rock outfit Steel Train with several classmates, who'd have a decade-long run playing big festivals including Bonnaroo, SXSW, Warped Tour and Lollapalooza. Afterwards, he played guitar in the power pop trio fun. with whom he earned his first six GRAMMY nods and won his first two in 2013, for Best New Artist and Song of the Year for their anthemic hit "We Are Young" featuring Janelle Monáe.

2013 was a pivotal year for the "Tiny Moves" artist, as it also marked his first time he worked with Swift, who then enlisted him to support her transition away from country music on Album Of The Year winner 1989. Antonoff has said that she was the first artist to trust him as a producer, and that their work together, understandably, opened many other doors for him.

GRAMMY.com recently caught up with the prolific producer and artist for a dive deep into his collaborative magic, the latest Bleachers album, and why he thinks pop is whatever you want it to be. 

This interview has been edited and condensed.

There's a lot to talk about just from this year, it's pretty crazy. 

When the Bleachers album came out and I was starting to do interviews, I had this really weird experience. Interviews recap things that have happened, so [they make me] realize how little I think about the past. I don't know if that's a good or bad thing. 

I think it's a symptom of how much my life is future-focused — which is something I really like and fear about my life at the same time. The studio is such a forward place. You're thinking about the next thing, how to find this next feeling in literal and esoteric ways. [Being on] the road is one of the most literally forward places — every day you're somewhere new and you're thinking about the next day and the tour. 

I feel like I'm trapped in the future. It's nice and I've designed it that way. But sometimes I get a little scattered or emotional when I talk about things that have happened because I'm thinking about them for the first time. I don't have canned answers. 

You're often called a super-producer, which is valid; you've worked with so many big artists and on so much music that everyone hears. But what are you desiring as an artist and a producer lately?

The grand desire that I have has never changed, because it's so much bigger than any amount of success. That desire is to write and produce things and play live. That's a big part of why I love this work so much is because nothing can really help you with that besides your soul. You could be in the most expensive studio in the world with all the best engineers, but there's no proof that [that setting] equals a better song than just sitting in your room.

That fleeting feeling of knowing that it comes and it goes, and you just have to be there to grab it, is such a deep connected-to-the-cosmos feeling.

When you're working on music, at what point do you get excited about a song or know that it's going in the right direction?

When it does happen is when I start to push it forward in a real way. There's an amazing amount of f—king around in search of that feeling, and you never know where you're going to get it. It's sometimes just moving around instruments or lyrics or thoughts with no direction until one thing feels exciting, and then you follow that thing. 

It's a really fun process, and it can be anxiety-producing. It's a different kind of fun when you do it with someone else, because you're on this weird adventure together. When you're in a room with other people and everyone has that feeling off of one idea or one sound, it's a very connecting feeling. 

When you're working on your own music, particularly with Bleachers, it's mostly just you in the studio, right? 

Yes. But the Bleachers process is oddly similar [to my producing], just sort of flipped. I work with producers on Bleachers because I need it sometimes. I've always had these two sides of writing my music and having my own band and needing help with that in various ways. I've learned so much on either side. 

Being on the road with Bleachers, remarkably, keeps me connected to everything that matters the most when I'm making records with other artists because I can very easily visualize real fans, the people who live and die by this music. To be acquainted with them every night is a very powerful experience. It always just reminds me who I'm in conversation with, because I think it's easier than ever to get lost.

You've had a busy summer on the road with the Bleachers. How has it felt performing this album live?

It's really my favorite ever. It's the first album I've made with Bleachers that feels like a response to this thing that happens at the shows. Somewhere during the Take the Sadness Out of Saturday Night [tour in 2021], the shows got really crazy and loose and kind of off the wall. There was something about it where I was kinda like, Okay, you want to play chicken? [Laughs.] I went into the studio and I tried to one up them. I never felt that before. This time I was talking right at [my fans], which is a luxury of being known by them.**

The first song we ever released was "I Wanna Get Better," which is almost a Wikipedia page of my life, it rattles through everything I'm going to be talking about [forever]. It feels like now I can wax on about something, and they know what I'm talking about.

Is that why you decided to self-title this album?

The actual decision to self-title is a gut feeling. But the real reason is it felt like an earned moment, like we had arrived somewhere where everything had completely formed.

Every reference point [while] making this album became about our own history and our own mythology. In the past, I would have said, Make it like a Mick Fleetwood or Ringo kind of feel. Now the reference point would be Play it like you do at this point in the set when the wheels have blown out for you. You tour and spend enough time with people where it becomes almost like conversations with your best friends, the reference points become your own shared history. 

What called you back into the studio to make your own music? 

I never know. My life is a lot less structured than people would think. The way I make Bleachers records — and even in everything I make with other people — there's a real looseness to it because I like to be [in the studio] when I feel incredibly excited to be there. I schedule things, just not terribly far out.

For example, Lana and I or Taylor and I have never once been like, "Let's book out a month here." It's sort of like, "What are you doing today? I got this idea, come over." And then if that's feeling good, it's like, "What are you doing tomorrow? Let's keep this going." It's very [much] catching it when it's happening. Some days I'm in the studio for an hour, some days for 16 hours; it's all based on how I feel. 

Are you always working on music or ideas — is there always something that's coming out of you? 

Lately — the past couple years — I've been feeling the need to create a lot. I feel connected to something, and I feel a lot of joy and that good buzzy anxiety of having these ideas and wanting to hear them, which reminds me of my earliest memories of writing and producing music. When you hear the thing in reality — you can press play on a thing that was a thought — it's the most incredible experience.

"Alma Mater" is such a poetic way to refer to an ex. How did that track come together? Did you have Lana del Rey in mind for it? 

No, we were just f—ing around. I think a lot about where you put people [when listening to a song]. On that song, I wanted to put you in a room with me and her, so I left a lot of the elements of us being in the room writing it, messing around. We kept singing back and forth like, "She's my alma mater, f— Balenciaga." [Chuckles.] The lyrics were just making us smile. 

As it started to come together, this idea of referring to an old relationship as an alma mater, that excited me and made me want to write that story. That's kind of what an old relationship is: a school that you go to where there's a whole set of friends, and a whole culture, and when it's over, poof, it's gone. 

Obviously, you worked with Sabrina Carpenter on some of her new music… 

How brilliant is she?

Read more: How Sabrina Carpenter Became A Pop Queen: Tracing Her Journey To 'Short N' Sweet'

She's around the same age Taylor Swift was when you started working with her. Do you see any parallels with Sabrina where Taylor was at then? Sabrina has said it was a really big deal to get to work with you. What was it like working with her? 

It was a big deal for me to get to work with her. The great parallel is brilliant writing and being able to write about one's life in the most vulnerable and powerful way. It sounds so simple, but it's the rarest thing to be able to write about your life and to be able to make it so specific and also so poetic. You know it as soon as you hear it.

Can you talk a little bit about the sonic landscape on "Please Please Please"?

We were thinking a lot about joy and the kind of fantastical nature of ABBA, Dolly [Parton] and ELO that I felt would fit her voice and lyrics so well. She [does] this quick vacillation between really cheeky then really emotional, back to really sarcastic, and then she smacks you over the head with something so serious and real that you're stunned. It's my favorite kind of music.

One of the reasons it's so thrilling to me that so many people have responded to it is because it doesn't sound like anything that's going on at all, it almost sounds like the opposite of everything going on. Those are my favorite moments; when something out of left field grabs everyone's attention.

Those bubbly sounds right when "Please Please Please" comes in are not in time. You have a LinnDrum ['80s drum machine] and a live drum playing this tight beat and these country-picking acoustic guitars. Then you have these wobbling synths that, in my head, I'm playing the same way someone would play it when it was first invented because you're just playing along to the track, you're not locking it to any MIDI or anything. I was thinking a lot about that time period — I think about [it] all the time — when I was with Sabrina.

How has your creative partnership with Taylor Swift and your trust in each other evolved in the decade-plus you've been working together? And what has been the coolest thing for you to see in your ongoing work?

As far as evolution, we just have our own language. I saw her play last night [at Wembley Stadium in London], and actually played some songs there too. Most of the time when we work it's just her and I in a room, usually my apartment or Electric Lady [Studios]. To see [the songs] in literally the biggest spaces and retain all of [their] importance and soul and feeling like it's that for every single person in that crowd, it's like the absolute coolest.

She's the absolute greatest of all time, with a never-ending hunger to push forward. 

You and Taylor both have such an affinity for witty, nerdy, literary references, and poetic phrasing. How do you pull that out in a way that makes sense in a pop song structure? 

I think that tendency is just inherent in both of us. But I think the concept of pop structure is whatever the hell we want it to be. The worst of pop music is ambulance-chasing. The real inspiration is to be your own loud light-up machine shooting down the street. The things I've loved about pop music have just invigorated me to believe that pop music is whatever the hell the person making it says it is, and then everyone else gets to argue if it is or isn't. 

I don't sit around and think about genre, placement, or who they're going to satisfy. All those thoughts are not just the death of making things. It's pretty easy for me to only consider that gut feeling. I'm just fascinated by how people hear things. There's no genre of music that I think is better or worse than any other one. 

What can you tell us about the upcoming Romeo + Juliet Broadway show you soundtracked? Was it a different creative exercise for you to score such a well-known text; how so?

It was a very different process which is exactly why I wanted to do it. Credit to [director] Sam Gold who really let me fly out to left field and back. I'm about 50 percent through it and I'm going to finish it when I'm home from this tour. It's been something that has opened my world in many ways, to a whole new side of scoring and writing for a musical. 

You have a lot of GRAMMYs, 11 of them — 

People always ask me if it gets normal. No, it doesn't get normal! It's crazy. 

One, where do you keep them? 

That's one thing I've never really figured out, they kind of move around. Everything in my life moves around a lot, so I don't have a satisfying answer for that one.

And going back to 2013 when you won your first GRAMMYs with fun., how did you feel that day? 

F—ing shocked. As I was saying, I don't really sit around thinking about the past because it's the opposite of the job. What's so shocking about those moments is you're surrounded by family and the people you love and work with, and it's this huge moment to think about how you got to that point. 

My biggest takeaway of these experiences that force you to stop and think about the road behind is just how heavy they are. All of us are held up by really special people, whether it's partners or parents or siblings, fans, engineers, managers, loved ones. If you have amazing people around you, it's the best feeling in the world. That's my favorite part about any award, it feels like it's for everyone that got you there.

Sabrina Carpenter is the first to admit that it's taken her a bit of time to find her way to the top of the music industry. She even likens herself to the tortoise in the fable "The Tortoise and the Hare" — even if she didn't want to believe the metaphor growing up.

"Something that my mom always said to me as a little girl that really annoyed me was that I am the tortoise… throughout my life, [I was] being told, 'Sabrina, you're the tortoise, just chill,'" Carpenter recalled while accepting the Variety Hitmakers Rising Artist Award in December 2023. "In moments of frustration and confusion it can feel like a letdown, but it turns out it's actually a very good thing."

It's been a very good thing for Carpenter, indeed. A decade since the release of her debut single, the singer/songwriter isn't just breaking through — she's one of pop's new reigning queens. Over the last year, Carpenter has nabbed her first No. 1 song on the Billboard Hot 100, made a stellar debut at Coachella, and performed on "Saturday Night Live," all the while racking up billions of streams on her music new and old. It's all built excitement for one of the most anticipated pop albums of the summer: Short n' Sweet.

As Carpenter unveils her new album, take a deep dive into her decade-long journey to pop stardom.

Growing up, Carpenter filled the sounds of her family home in Pennsylvania with covers of songs like Adele's "Set Fire To The Rain" and "Picture to Burn" by future Eras Tour companion Taylor Swift (more on that later). After submitting videos for a singing contest spearheaded by Miley Cyrus, Carpenter would get her first taste of success. Placing third, she caught the eye of Hollywood Records, who signed her following the competition.

Simultaneously, Carpenter also began pursuing acting, landing guest spots on series like "Law & Order: Special Victims Unit" in 2011 and joining "The Goodwin Games" in 2012. In 2014, she landed a lead role in the Disney Channel series "Girl Meets World," a spin-off of the beloved '90s series "Boy Meets World," which served as a breakthrough moment for the burgeoning star — and a catalyst for her music career.

Just before the show debuted, Carpenter released her debut single, "Can't Blame A Girl for Trying," the title track to her debut EP that arrived a month later. While the four-track EP was the typical output of a teenage Disney star — bubblegum pop sounds with digestible, family-friendly lyricism — it showed off her youthful timbre and offered themes that would become prevalent later in Carpenter's songwriting: love, heartache, and navigating life.

A year later, she released her debut album, Eyes Wide Open. A mix of pop with folk and country influences — a soundscape that remains on Short n' Sweet — Carpenter's debut showed maturity and growth following Can't Blame A Girl For Trying; songs like "Eyes Wide Open" and "We'll Be the Stars" showed a more introspective side, reflecting on the pressures of being in the spotlight and the journey of finding her identity. Eyes Wide Open also hinted that Carpenter was beginning to hone her songwriting skills, penning four of the 12 tracks.

It would be on her 2016 sophomore album, EVOLution, where Carpenter would find confidence as a songwriter, co-writing all but one song on the 10-track project. In turn, the lyrics reflected her growing sense of self and a new perspective on past themes, like embracing non-romantic forms of love in "All We Have is Love," being there for a struggling friend in "Shadows," and learning to assert boundaries in "Space."

EVOLution transitioned Carpenter out of the teen pop aesthetic into a more sophisticated sound, experimenting with dance-pop and techno sonics. Genre versatility would become a throughline of sorts for Carpenter, and EVOLution foreshadowed the multifaceted musicality that was to come.

After "Girl Meets World" came to an end at the beginning of 2017, Carpenter was ready for reinvention. Much like Britney Spears' Britney and Cyrus' Can't Be Tamed before her, as Carpenter grew into an adult, she felt like she needed to shed the Disney-fied image that has become a rite of passage for teen stars. Thus began the Singular era.

Released in 2018 and 2019, respectively, Singular: Act I and Singular: Act II featured songs that were more risqué and mature in nature. A far cry from her tamer work of the past, the R&B track "Hold Tight" is equal parts sultry and evocative with Carpenter singing, "Wanna keep you in, wanna keep you in right/ Wanna feel your skin, wanna feel it on mine."

As she noted in an interview with Billboard, Singular: Act I  was a natural progression for a girl now in her late teens — even if it was against the squeaky-clean image of her beginnings.

"I was known as a fictional character on television with lines that were written for her with an attitude that was portrayed in a way by other people. So for a lot of people, their first impression of me was as a 13-year-old girl [singing] the kinds of songs that she should be singing," she said. "Then, flash forward to 19, and people are asking why I am not singing about the same things that I did when I was 13, as if that's normal."

One of the more notable Singular tracks is from Act I, "Sue Me." Sneakily disguised as a story about a romantic relationship, the song is Carpenter's response to being sued by her ex music managers: "That's my shape, I made the shadow/ That's my name, don't wear it out though/ Feelin' myself can't be illegal." Its tongue-in-cheek and snarky nature would inevitably embolden Carpenter to continue writing more confessional songs with attitude, whether she's responding to media scrutiny in "because i liked a boy" from 2022's emails i can't send, or warning a suitor to be careful in Short n' Sweet's "Please, Please, Please."

Singular: Act I and Act II further helped demonstrate different facets of Carpenter's musicality, with the former leaning into pop tendencies and the latter embracing an R&B flair. And as her final albums with Hollywood Records, she used Singular: Act I and Act II to indicate that she wasn't going to let any sort of previous perceptions hold her back. Their coming-of-age themes showcased Carpenter as an artist coming into her own — regardless of whether listeners wanted to keep her in the Disney box or not.

While the world was going through a period of change amid the COVID-19 pandemic, so was Carpenter. She signed with Universal Music Group's Island Records in 2021, and soon she would be able to fully introduce the world to who Sabrina Carpenter is as an artist.

As she noted herself to Variety earlier this year, her 2022 LP, emails i can't send, "marked the beginning of a really freeing and artistic time for me." Once again, she co-wrote every song on the album; this time, though, she only had one co-writer for each track, and even wrote two songs solo ("emails i can't send" and "how many things") — proving that she was more assured as a songwriter than ever.

As a result, Carpenter's knack for confessional songwriting is on full display. emails i can't send represents a reflective time capsule of sorts; one that brings the curiosity of her earlier work with the perspective and wisdom of a young adult. Her growing fame meant there was more attention on her personal life, and emails i can't send allowed her to reclaim her narrative and express her side of the story.

Carpenter's candidness struck a chord with listeners, and upon the release of emails i can't send in July 2022, it was clear Carpenter was on a new trajectory. The album debuted at No. 23 on the Billboard 200, which marked her highest entry on the chart to date (as of press time); the 2022 stretch of her Emails I Can't Send Tour sold out in less than a day. And once  "Nonsense" was released as a single that November, her place as a rapidly rising star was solidified.

"Nonsense" was initially written as a means to an end after Carpenter was writing a sad song and had writer's block. Now, the track is the epitome of Carpenter's lyricism, weaving together her wit and humor with an infectious hook. First gaining traction on TikTok because of its catchiness, it's become a beloved part of Carpenter's canon thanks to her inventive and bespoke outros during her live shows. It's since become a tradition for fans to check to see what outro she created for each performance, adding to the fan fervor.

Carpenter further satiated fans' taste for her cheeky lyricism in March 2023, when she released emails i can't send fwd:, the deluxe version of her album, which featured a new track called "Feather." She took the playful, flirting energy of "Nonsense" and infused "Feather" with buoyant, airy production that mimics the feeling of self-liberation after moving on from a relationship. Earning Carpenter her first pop radio No. 1, "Feather" proved that the singer's audacious style was taking hold — and it set the stage for an even bigger 2024.

After her own extensive — and very sold out — tour in support of Emails I Can't Send, Carpenter's rising star status was further confirmed by pop's current queen, Taylor Swift. The singer earned a coveted opening slot on Swift's monumental Eras Tour in Mexico, South America, Australia, and Asia.

Just after her last Eras Tour show in March 2024, Carpenter hinted that her own new era was beginning. "I'm starting to feel like I've outgrown the songs I'm singing," she admitted to Cosmopolitan, "which is always an exciting feeling because I think that means the next chapter is right around the corner."

That chapter began with "Espresso," which dropped a day before her debut Coachella performance. Doubling down on the playful, self-assured vibe of "Nonsense," the song immediately hinted that big things were coming for Carpenter, debuting at No. 7 on the Billboard Hot 100, where it peaked at No. 3.

Upon announcing her sixth album, Short n' Sweet, Carpenter released "Please Please Please." Combining her now-signature playful, carefree lyricism with an airy, disco-tinged sound, "Please Please Please" didn't just present Carpenter as a confident superstar —  it became her first Hot 100-topping smash.

Carpenter has referred to Short n' Sweet as the "hot older sister" of emails i can't send. "It's my second 'big girl' album; it's a companion but it's not the same," she explained to Variety, to whom she also admitted she feels a "sense of separation" from her work prior to emails. "When it comes to having full creative control and being a full-fledged adult, I would consider this a sophomore album."

It's apt, then, that her Short n' Sweet collaborators — including songwriters Julia Michaels, Amy Allen and Steph Jones — are largely the same as the team from emails i can't send. "I've really honed in on the people that I love making music with," she told Rolling Stone in June.

Even more telling of the direction she's heading is her work with one of pop's hottest producers — and Swift's right-hand man — Jack Antonoff, for the first time. At a GRAMMY Museum event with Antonoff himself, Carpenter debuted the country-infused "Slim Pickins," presenting yet another pop style from Short n' Sweet. And as "Slim Pickins," "Espresso" and "Please Please Please" indicate, Carpenter's knack for infectious and edgy lyrics isn't just the throughline across Short n' Sweet — it's become the epitome of both her artistry and her stardom.

Just like her metaphorical friend the tortoise, Carpenter's long but steady journey has clearly paid off. As she's figured out who she is on her own terms, she's manifested the bonafide superstardom she's always imagined.

"I never had the plan B, and it wasn't even a thought in my mind that it wouldn't work out," she told Rolling Stone. "I just always knew it was about not if it would happen but when it would happen."

For Carpenter, every chapter of her artistry has built on the last; she's refused to rest on her laurels and continuously pursued new directions. She's creating work that wholeheartedly reflects her, and growing a loyal fan base because of it. Her next album might be named Short n' Sweet, but her time as a pop superstar will be anything but.

It’s officially awards season! Today, the nominees for the 2024 Emmys dropped — and, happily, the 2024 GRAMMYs telecast received a whopping five nominations.

At the 2024 Emmys, the 2024 GRAMMYs telecast is currently nominated for Outstanding Variety Special (Live), Outstanding Production Design for a Variety Special, Outstanding Lighting Design/Lighting Direction for a Variety Special, Outstanding Sound Mixing for a Variety Series or Special, and Outstanding Technical Direction and Camerawork for a Special.

Across these categories, this puts Music’s Biggest Night in a friendly head-to-head with other prestigious awards shows and live variety specials, including the Super Bowl LVIII Halftime Show starring Usher as well as fellow awards shows the Oscars and the Tonys.

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2024 was a banner year for the GRAMMYs. Music heroes returned to the spotlight; across Categories, so many new stars were minted. New GRAMMY Categories received their inaugural winners: Best African Music Performance, Best Alternative Jazz Album and Best Pop Dance Recording. Culture-shaking performances and acceptance speeches went down. Those we lost received a loving farewell via the In Memoriam segment.

The 2025 GRAMMYs will take place Sunday, Feb. 2, live at Crypto.com Arena in Los Angeles and will broadcast live on the CBS Television Network and stream live and on demand on Paramount+. Nominations for the 2025 GRAMMYs will be announced Friday, Nov. 8, 2024.

For more information about the 2025 GRAMMY Awards season, learn more about the annual GRAMMY Awards process, read our FAQ (Frequently Asked Questions) section, view the official GRAMMY Awards Rules and Guidelines, and visit the GRAMMY Award Update Center for a list of real-time changes to the GRAMMY Awards process.