NEW YORK, NY.- Young women from across genres — along with the Recording Academy’s favorite polymath spoiler, Jon Batiste — reigned atop the nominations Friday for the 66th annual Grammy Awards, to be held Feb. 4 in Los Angeles.

But beyond familiar names like Taylor Swift, Olivia Rodrigo and Billie Eilish, this year’s class of nominees reveals a strong surge for R&B (SZA, Victoria Monét, Coco Jones, Janelle Monáe); a tough showing for country, rap and Latin music, especially in the top categories; and the enduring love for soundtracks historically felt in Grammyland.

But who got left out, who represents a welcome surprise and what, as ever, are the Grammys thinking? The New York Times pop music team — editor Caryn Ganz, reporter Joe Coscarelli, chief pop music critic Jon Pareles and pop music critic Jon Caramanica — pored over the complete list, including some deeper, oft-ignored categories, to break down the most interesting storylines, snubs and surprises.

Boygenius makes the big leagues.

The indie-rock supergroup made up of singers and songwriters Julien Baker, Phoebe Bridgers and Lucy Dacus was once a side project, an inside joke, a fun way to promote a tour of solo acts. Not anymore. Having released its debut album, “The Record,” this year on the major label Interscope — and having sold 67,000 albums in its first week, landing in the Billboard Top 5 — boygenius may very well be the biggest new rock band working, with all the arena shows, promotional savvy and celebrity worship that entails.

Recognized in best rock performance, best rock song, best alternative performance, best alternative album, best engineered album and — most notably — album of the year, boygenius is among the most nominated acts with six overall, the same number as Taylor Swift. Not bad company in 2023. — JOE COSCARELLI

Where’s country music?

By any measure, it has been a banner 12 months for country music on the pop charts — Morgan Wallen’s “One Thing at a Time” has spent 16 nonconsecutive weeks atop the Billboard 200, and in August, for the first time in the history of the Billboard Hot 100, the top three positions were occupied by country songs. And yet none of the artists behind those songs — Wallen, Luke Combs and Jason Aldean — were nominated in any of the Grammys’ big three all-genre categories. Neither was Zach Bryan, the genre’s leading dissident, nor Oliver Anthony, who had the year’s most unlikely No. 1 hit.

The shutout of the men of country may be indicative of the political shift, explicit and implicit, shaping the genre’s most prominent figures.

Wallen, who remains under the long shadow of the 2021 revelation that he was captured on tape using a racial epithet, is still the most popular performer in the genre; he received no nominations this year (though his song “Last Night” is up for best country song, a prize for songwriters). With Aldean, the politics are more literal. His vigilante-justice hit, “Try That in a Small Town,” made overt a partisan perspective that often resides just beneath the surface in Nashville. As for Anthony’s “Rich Men North of Richmond,” a workingman lament that baffled both the left and the right, its direct engagement with class politics perhaps made it too hot to the touch for Grammy voters (if, indeed, Anthony even submitted it for consideration).

If there were one song with the best chance of bridging contemporary country to the Grammys, it would be Combs’ cover of Tracy Chapman’s “Fast Car,” which went to No. 2 on the Hot 100 and earlier this week won song of the year at the CMA Awards, making Chapman the first Black winner in that category. But in part because of Grammy rules — it isn’t eligible for song of the year because Chapman was nominated for her original in 1989 — Combs’ version has been relegated to just a single nomination, in best country solo performance, a snub that feels unexpectedly pointed. — JON CARAMANICA

‘Barbie’ at the Grammys? Yes, she Ken.

If it felt this year that pop music was more slippery than ever, subject to the whims of streaming algorithms and TikTok trends, it’s perhaps unsurprising that the Grammys chose to reward songs that came via a particularly old-fashioned delivery mechanism: the film soundtrack.

Songs from the Greta Gerwig film “Barbie” — a canny collection of contemporary pop hitmakers finding creative ways to wrestle with the film’s themes — are everywhere in this year’s nominations. Billie Eilish’s familiarly melancholy “What Was I Made For?” is up for record and song of the year, and Dua Lipa’s “Dance the Night” is also nominated for song of the year. “Barbie World” by Nicki Minaj and Ice Spice will compete for best rap song. Tracks from the soundtrack also hog four of the five available slots in best song written for visual media. — JON CARAMANICA

Emerging Latin stars get left behind.




After a year in which Latin music continued to explode on streaming services and forge all sorts of cross-cultural hybrids, this year’s Grammy nominations are, well, puzzling. Edgar Barrera, a Mexican American songwriter who has collaborated on hit after hit for singers across the Americas, is rightfully a nominee for songwriter of the year. But there’s no best new artist nomination for Peso Pluma, a cutting-voiced Mexican songwriter whose career skyrocketed in 2022 and 2023 — he’s touring arenas this year — and who bridges regional Mexican corridos and Latin trap.

Peso Pluma’s 2023 album, “Génesis,” is just tucked among the nominees for música mexicana. Other emerging Mexican-rooted acts that had a blockbuster year — among them Eslabon Armado, Grupo Frontera, Grupo Firme, Christian Nodal and Natanael Cano — go unmentioned.

Then there’s the oddity of the música urbana category. Its three — only three — nominees are deserving: reggaeton producer Tainy, electronics-loving pop experimenter Rauw Alejandro and Colombian songwriter Karol G, whose 2023 album, “Mañana Será Bonito,” was the first Spanish-language album by a woman to reach No. 1 on the Billboard 200. But música urbana — encompassing reggaeton, Latin hip-hop, dembow, Latin trap and more — is a crowded, competitive, hugely popular format. The Grammys couldn’t find five nominees? All they had to do was turn on the radio. — JON PARELES

Olivia Rodrigo takes on ... the Rolling Stones.

The Grammys’ rock categories are reliable head-scratchers, but best rock song provides an unexpected delight this time: Olivia Rodrigo’s “Ballad of a Homeschooled Girl” goes up against the Rolling Stones’ “Angry,” pitting some of this year’s oldest nominees (average Stones age: 78) against one of the youngest (at 20, Rodrigo is still not old enough to order a celebratory Champagne). Rodrigo is the only nominee in the category who isn’t part of a band, but her track has the fewest number of writers: just two, herself and producer Daniel Nigro. (The other competitors are boygenius, Foo Fighters and Queens of the Stone Age.)

“Ballad of a Homeschooled Girl,” with its gleeful pop-punk thrash, is an ode to social awkwardness that draws on ’90s rockers like Veruca Salt; “Angry” is built on a classic Stones riff with plenty of room to breathe — unlike the troubled relationship Mick Jagger describes in its lyrics. Both describe uncomfortable situations; both sound like a load of fun. And it’s nice to see Rodrigo’s latest album, “Guts,” recognized in the rock field, where it belongs. — CARYN GANZ

A powerful Paul Simon LP goes unrewarded.

If anyone should have been able to count on respect from the Grammys, it’s Paul Simon. His 2023 album, “Seven Psalms,” plays as a thoughtful, complex, tuneful farewell, anticipating his death. It’s a major statement couched in intimate acoustic arrangements, with the craftsmanship and artistic ambition that awards shows claim to recognize. Simon has won 16 Grammys, dating back to his days with Simon and Garfunkel.

But “Seven Psalms” was shut out of high-profile categories like album of the year, and got just one obscure nomination, for best folk album, where Simon competes with the touching comeback (and beloved, familiar songs) of “Joni Mitchell at Newport.” The Grammys used to reward late-career albums by musicians like Steely Dan (“Two Against Nature”), Bob Dylan (“Time Out of Mind”) and Tony Bennett (“MTV Unplugged”). Now, Simon’s knotty confrontation with mortality seems to have gotten stranded between Grammy generations. — JON PARELES

Rap’s Grammy struggle continues.

For the 20th time in a row, a rap release will not win album of the year at the Grammys. That was a safe bet before — only two hip-hop albums have ever won in the biggest category: Lauryn Hill’s “The Miseducation of Lauryn Hill” in 1999 and Outkast’s “Speakerboxxx/The Love Below” in 2004 — but it’s assured now because none were even nominated.

No rap appears among the nominees in record or song of the year either. (Childish Gambino’s “This Is America” remains the only rap song to ever win in those categories.) But while past Grammys have brought recriminations about how hip-hop is recognized, this shutout up top comes amid a year of intra-genre soul-searching about a lack of chart impact and a dearth of new stars, especially those invested in the album format.

Genre-specific nominations include a mix of familiar names (Drake — despite his history of boycotting submissions — with 21 Savage, plus Nicki Minaj and Nas) and a few artists with something to prove (Killer Mike, Doja Cat, Coi Leray). Yet this may be the first year in some time where a lack of major recognition is met with a resigned sigh. Outside of SZA’s rap-flavored singing, Ice Spice’s nomination for best new artist is the lone bright spot in the biggest categories, driving home another common talking point in rap industry circles of late: Women are the present, and likely the future. — JOE COSCARELLI

Greetings from traditional pop.

Oh, the categories! Who knew that Bruce Springsteen, a lifelong rocker, would someday find himself among the “traditional pop vocal” nominees? I think of it as the slot that was created for singers like Tony Bennett who kept reaching back to what was known as the Great American Songbook: pop standards written for vintage Broadway and Hollywood musicals, the sophisticated idiom that was overturned by the simplicity of rock ’n’ roll. But Springsteen’s nominated album, “Only the Strong Survive,” isn’t a standards album. It’s a collection of vintage 1960s soul songs, which somehow do not qualify in the Grammy category of “traditional R&B.” Are the Grammys expanding the Great American Songbook, or just consigning Springsteen to the past? — JON PARELES

This article originally appeared in The New York Times.