Representatives for the rapper did not immediately respond to requests for comment. The Recording Academy, which presents the awards, referred questions to the police.

Less than an hour before the Grammys telecast began, video posted on social media by a journalist for The Hollywood Reporter showed Killer Mike, in handcuffs, being led through the Crypto.com Arena by a police officer.

To fans and observers, the footage seemed like whiplash. The rapper had just been on the Grammys stage waving a gramophone trophy and celebrating the three awards he had won at the preshow, which is not televised, for his work “Michael,” his first solo album in more than a decade. In addition to best rap album, he received Grammys for best rap song and best rap performance for “Scientists & Engineers,” a collaboration with André 3000, Future and Eryn Allen Kane.

“You cannot tell me that you get too old, you can’t tell me it’s too late,” said Killer Mike, 48, a prolific musician from Atlanta who is also an activist and organizer.

Not long after, he was being escorted through the arena, according to the video. As fans wondered on social media about the reasons for his detainment, his X and Instagram accounts remained active, celebrating the Grammy wins.

Ben Sisario contributed reporting.

“Those who have been blessed enough to be here,” she went on, “must never take for granted the tremendous love and joy that music brings to our lives and to people all around the world.”

Dion, 55, first announced over a year ago that she has a condition called stiff person syndrome, which causes progressive stiffness in the body and severe muscle spasms, leading her to cancel a scheduled world tour. A five-time Grammy winner — including album of the year in 1997 — Dion has maintained a legion of fans around the world, and before the diagnosis, she was an active performer, delivering soaring hits such as “Because You Loved Me” and “My Heart Will Go On” alongside her newer music.

Last week, Dion announced a documentary following her battle against the disorder. Dion indicated in the announcement that she was aiming to return to singing, saying in a statement, “As the road to resuming my performing career continues, I have realized how much I have missed it, of being able to see my fans.”

“Midnights,” Swift’s most recent LP of new material, beat out entries from SZA, Olivia Rodrigo, boygenius, Lana Del Rey, Miley Cyrus, Jon Batiste and Janelle Monáe to take the Grammys’ top album prize on Sunday. It was her second win of the night.

Earlier in the night, as she accepted the Grammy for best pop vocal album for “Midnights,” Taylor Swift announced that she would be releasing her new album, “The Tortured Poets Department,” on April 19.

It was Swift’s sixth nomination for the prize, and fourth win, after her previous victories for “Fearless” in 2010, “1989” in 2016, and “Folklore” in 2020. With her latest win, she moves past three beloved stars who had each won the category three times: Frank Sinatra, Stevie Wonder and Paul Simon.

In 2014, Swift’s “Red” lost the award to Daft Punk’s “Random Access Memories,” and in 2022 “Evermore” lost to Batiste’s “We Are.”

Last year, Beyoncé won her 32nd Grammy, more than any other artist in history. (Take that, Quincy Jones and Sir Georg Solti!) With 14 lifetime wins so far, Swift would need another 18 to match Beyoncé.

Joel, 74, wrote “Turn the Lights Back On” with the songwriter and producer Freddy Wexler, along with Arthur Bacon and Wayne Hector. It was released on his longtime label, Columbia Records, which put out “River of Dreams,” his last pop album; in 2001, he turned to classical music on “Fantasies & Delusions.”

Joel is no stranger — see what we did there? — to the Grammys stage, first performing as part of a New York package at the 1988 ceremony, when he crooned “New York State of Mind.” From 1979 to 2001 he received 23 nominations and earned five wins in competitive categories, including record and song of the year for “Just the Way You Are.” In 1991, he was honored with a legacy award.

Joel and his Garden series have served as a successful case study in the local residency. Though he was inspired by Celine Dion’s tenure in Las Vegas, Joel was determined to stay closer to his Long Island home and demonstrated that the model can work. Other artists certainly took note: In 2022, Harry Styles performed 42 gigs in just five North American cities. The same year, the Mexican rock band Maná performed 12 shows in the United States, all at the Kia Forum in Inglewood, Calif., and Adele began a residency at Caesars Palace in Las Vegas. Joel played the first show of his residency in January 2014.

Though his monthly gig is ending, Joel has said that he is not retiring. At the same time, it is worth treasuring what he continues to offer. “I find myself onstage thinking: This is a young man’s job,” he told The New York Times six years ago. “What am I doing?”

“Music must always be our safe space,” Mason said, as a string quartet played in a somber melody. “When that’s violated, it strikes at the very core of who we are.,” He cited three violent tragedies at musical events: the 2015 shooting at the Bataclan night club in Paris, where 89 were killed; the 2017 bombing at an Ariana Grande show in Manchester, England, which killed 22; a gunman’s 2017 killing of 60 at the Route 91 Harvest music festival in Las Vegas.

Then he added the Tribe of Nova festival to the list: “That day, and all the tragic days that have followed, have been awful for the world to bear as we mourn the loss of all innocent lives.”

He added, “Music must remain the common ground on which we all stand together in peace and harmony.”

The string quartet, he added, was composed of musicians of “Palestinian, Israeli and Arab descent,” at the Grammys “playing together.”

It was the night’s second prominent reference to the conflict. Earlier in the ceremony, Annie Lennox concluded her performance of “Nothing Compares 2 U” in tribute to Sinead O’Connor, who died in July, by declaring, “Artists for cease-fire.”

An exhibit in Tel Aviv in December featured artifacts recovered from the festival, which was held in Re’im a few miles from the Gaza border, including tents, toilet cubicles riddled with bullet holes, and a backgammon board. Despite the devastation, the event has plans to return: Its organizers’ new motto is “We will dance again.”

During a performance of “Flowers” at the ceremony, Cyrus ad-libbed several times, shouting, “Don’t act like you don’t know this song!” and “I just won my first Grammy!”

Cyrus bested nominees from several other prominent female stars for record of the year, including Taylor Swift’s “Anti-Hero,” Olivia Rodrigo’s “Vampire” and SZA’s “Kill Bill.”

Monét was up against nominees from many styles and backgrounds, including the category’s oldest nominee in 25 years, the rapper turned country singer Jelly Roll, 39. Another prominent competitor was Ice Spice, the Bronx drill-meets-pop rapper whose cultural ubiquity last year extended to a Taylor Swift collaboration and a “Barbie” soundtrack appearance. The other nominees in the category were the pop-folkie Noah Kahan, the British dance producer Fred again.., the R&B singer Coco Jones, the rootsy married duo the War and Treaty, and the singer Gracie Abrams, who opened for Swift on the Eras Tour.

Monét was nominated for seven Grammys at the 2024 awards, tied for second-most overall. Her full-length debut, “Jaguar II,” won for best R&B album and for best engineered album, non-classical.

“On My Mama,” the album’s third single, was up for record of the year as well as best R&B song. From the same album, “How Does It Make You Feel” was a nominee for best R&B performance, while “Hollywood,” a collaboration with Earth, Wind & Fire, scored a nod for best traditional R&B performance. “Hollywood” also features Monét’s daughter, Hazel, who at 2 years old became the youngest Grammy nominee ever.

Beyond the Grammy accolades for Monét, her longtime collaborator and “Jaguar II” producer Dernst Emile II, known as D’Mile, also got his second straight nomination for producer of the year, non-classical. D’Mile has won five Grammys, including record of the year and song of the year in 2022 for his contributions to Silk Sonic’s “Leave the Door Open” and song of the year in 2021 for H.E.R.’s “I Can’t Breathe.”

Monét came into the 2024 Grammy season with three previous nominations for her work as a songwriter. In 2020, her Grande tunesmithing landed nominations for album of the year for “Thank U, Next” and record of the year for “7 Rings,” while in 2021 her work with Chloe x Halle was up for best R&B song for “Do It.”

“I think my entire story has been leading up to this moment,” Monét told The New York Times in November after learning she’d earned seven nominations. “I felt like an underdog for so long.”

He added, “We want you to get it right — at least get it close to right.”

Jay-Z also referred to Will Smith and DJ Jazzy Jeff’s boycott of the 1989 Grammys because the rap category was not televised at the time. He noted that he had boycotted the show when DMX released two No. 1 albums but was not nominated.

“Some of you may get robbed,” he said, adding, “Some of you don’t belong in the category.”

He also conceded that the process of awarding Grammys is subjective. “It’s music and it’s opinion based,” he said.

Jay-Z made the remarks during his acceptance speech for the Dr. Dre Global Impact Award, which recognizes personal and professional achievements in the music industry.

Through his record label, Roc Nation, Jay-Z has advocated social justice causes, particularly for racial equality in the United States. In 2022, he convened an inaugural summit for social justice leaders to meet in New York to raise awareness about racial justice and policy.

He has also served as an executive producer on two docuseries about the killings of Black Americans: “Time: The Kalief Browder Story” and “Rest in Power: The Trayvon Martin Story.” When George Floyd was killed by the Minneapolis police in 2020, Jay-Z, through Roc Nation, took out full-page ads in major newspapers that quoted a passage from the Rev. Dr. Martin Luther King Jr.’s 1965 speech in Selma, Ala.

Carlile, one of Mitchell’s most high-profile champions, is largely responsible for bringing her hero back to the stage, and she introduced Mitchell, who earlier won the Grammy for best folk album for “Joni Mitchell at Newport.” Nine years ago, Mitchell had an aneurysm and largely vanished from the public eye; her legions of fans feared that her singing days were complete.

But the writer and unmistakable soprano behind classics like “Big Yellow Taxi” and “A Case of You” was not finished. She made a surprise appearance at the 2022 Newport Folk Festival alongside Carlile, as well as musicians including Wynonna Judd and Marcus Mumford.

Mitchell followed that performance with an almost three-hour set at Carlile’s Echoes Through the Canyon Festival in George, Wash., last spring. (Two more performances from Joni Mitchell & the Joni Jam are scheduled for October at the Hollywood Bowl.) “To hear Mitchell hit certain notes again in that inimitable voice was like glimpsing, in the wild, a magnificent bird long feared to have gone extinct,” Lindsay Zoladz wrote in a New York Times review of the Washington show.

Mitchell’s recording career, which began in the 1960s, has included her early folk music, the autofiction of her classic albums “Blue” and “Court and Spark,” and the jazz that followed. Decades later, in 1996, Mitchell, then 52, won the Grammys for best pop album and best recording package for “Turbulent Indigo,” her 15th release. “I’ve been contemplating whether to quit music and go into painting, and perhaps I will now,” she said that night.

Swift, who was nominated alongside her co-writer Jack Antonoff, was competing with the writers behind SZA’s “Kill Bill,” Olivia Rodrigo’s “Vampire,” Lana Del Rey’s “A&W,” Miley Cyrus’s “Flowers,” Jon Batiste’s “Worship” and Dua Lipa’s “Dance the Night,” another song from the “Barbie” soundtrack.

That Swift has still never taken the song of the year prize remains one of the mysteries of the modern Grammys. She would seem to be a perfect candidate for the prize: an intentional and famously personal writer, serious and respectful of the craft, both an innovator and a traditionalist. The role of songwriter has been key to her identity as an artist since the beginning.

And she has clearly been a Grammy favorite, at least in one other important category: album of the year. She has accepted that prize three times, which ties her with no less than Frank Sinatra, Stevie Wonder and Paul Simon for the record.

Yet song of the year keeps slipping away from her, in hit after epochal hit. In 2010, “You Belong With Me” lost to Beyoncé’s “Single Ladies (Put a Ring on It).” Five years later, “Shake It Off” fell to Sam Smith’s “Stay With Me.” In 2016, “Blank Space” went up against Ed Sheeran’s “Thinking Out Loud.” Guess which won? In 2020, “Lover” gave way to Billie Eilish’s “Bad Guy.” The following year, “Cardigan” lost to H.E.R.’s “I Can’t Breathe.” And last year, her extended remake “All Too Well (10 Minute Version)” wilted before Bonnie Raitt’s “Just Like That.”

For an artist so associated with winning, song of the year has represented Swift’s most egregious and puzzling losing streak.

Despite traffic and flight cancellations, the ceremony started on time — although Miley Cyrus, who clinched the first win of the night for best pop solo performance, said she nearly missed the start of the show.

“Oh my God, I just got stuck in the rain in traffic and thought I was going to miss this moment,” she said at the start of her acceptance speech.

Gov. Gavin Newsom of California declared a state of emergency for eight counties, including Los Angeles. Mayor Karen Bass warned earlier that Sunday’s storm had the potential to be “historic,” bringing intense winds, thunderstorms and the threat of tornadoes.

“If y

The track is one of Turner’s most celebrated songs from her time performing alongside her first husband, Ike Turner, and it is a go-to track for tributes, including one by Beyoncé at the Kennedy Center Honors in 2005.

Like Turner, Barrino-Taylor — who rose to fame as the Season 3 winner of “American Idol” and recently starred in the film adaptation of “The Color Purple” — started off singing gospel in the Baptist church, developing a multidimensional voice that can be both gravelly and soaring.

Singers have been paying tribute to Turner — directly or not — for decades. It’s something she’d become used to, she told Amanda Hess in a 2019 profile. She’d see a young singer in her mold and remark, “She’ll make a good Tina.” (Her response to being told Beyoncé had released a song that referenced her? “Yeah, I’m not surprised.”)

Turner’s perseverance and pure talent were an inspiration to many, but she said she often didn’t relate to her role as a symbol. “I don’t necessarily want to be a ‘strong’ person,” she told The Times. “I had a terrible life. I just kept going. You just keep going, and you hope that something will come.”

The in memoriam segment at the Grammys acknowledged the music industry luminaries that have died since the last awards show, including Burt Bacharach, the pop composer and producer, who received a video tribute, and Clarence Avant, the influential record executive, who received a tribute performance from Jon Batiste.

There was a bit of irony in Lennox’s performance: In 1991, the year that O’Connor won the Grammy for best alternative music performance — for the album “I Do Not Want What I Haven’t Got,” which featured “Nothing Compares 2 U” — she boycotted the ceremony over what she called the show’s excessive commercialism.

In a fitting tribute, Lennox took a moment at the end of her performance for an antiwar statement, saying, “Artists for cease-fire,” in reference to the ongoing Israel-Hamas war.

O’Connor had a tendency of turning public performances into headlines, famously ripping up a photo of Pope John Paul II on “S.N.L.” in protest of sexual abuse in the Roman Catholic Church. As Amanda Hess wrote in a 2021 profile of O’Connor, the act was more personal than it may have seemed. Her mother, who the singer said in her memoir had physically abused her, died when O’Connor was 18. It was her mother’s photo, plucked from a bedroom wall, that O’Connor destroyed on national television.

“I’m not sorry I did it. It was brilliant,” she said. “But it was very traumatizing.” Her career never recovered, but she felt a sense of freedom. “I could just be me,” she wrote in her book, “Rememberings.” “I’m not a pop star. I’m just a troubled soul who needs to scream into mikes now and then.”

In the days and months following O’Connor’s death, which a coroner later said was the result of natural causes, scores of artists spoke of her bravery and pure talent.

Lennox, a Scottish singer-songwriter who started her own solo career around the time of O’Connor’s rise, posted to social media a moving tribute to the singer after she died, calling her raw, fierce and brilliant.

Swift said she would post the album’s cover from backstage when she was done accepting the prize.

Going into the night’s awards show, Swift fans had noticed that the artist had changed her profile picture on X, Instagram and Facebook to a black-and-white version, and many interpreted this as a hint that Swift would announce a new “Taylor’s version” of her “Reputation” album, which has a black-and-white cover.

Swift received six Grammy nominations, including nods for “Anti-Hero” in the best song and record of the year categories and a nomination for “Midnights” in the album of the year category.

“This is my 13th Grammy,” Swift said in her speech. “This is my lucky number, I don’t know if I’ve ever told you that.”

Both albums won Grammys for best traditional pop vocal album and produced tracks that took home Grammys, too: his rendition of “Body and Soul” with Amy Winehouse on “Duets II,” and “For Once in My Life,” a Motown standard made famous by Stevie Wonder, who shared the 2006 track with him.

On Sunday, Wonder — a Grammy powerhouse with 74 nominations and 25 wins over his career — honored Bennett with a duet of “For Once in My Life,” with Wonder singing at the piano and Bennett displayed on a video behind him, the two trading lines.

Before beginning his performance, Wonder recalled how as a teenager he had heard Bennett sing the track. He also praised Bennett’s “love for civil rights.”

After the Bennett tribute, Wonder sang “The Best Is Yet to Come,” another jazz standard favored by Bennett, while the names and images of members of the music industry who recently died were displayed behind him. Those honored included Harry Belafonte; Robbie Robertson, the lead guitarist of the Band; Jerry Moss, an executive; and Bill Lee, a celebrated bassist (and father of Spike).

The duets albums brought Bennett’s talents to the attention of new generations of fans, but they also brought new generations of talent to the attention of Bennett, he told The New York Times in 2006. “Everybody my age can’t help but have an attitude about how much better it was in the old days,” he said. “What I’ve learned from this is the professionalism of the people more than 10 years younger than I amMENT

The venue was inspired by a Ray Bradbury short story in which children’s dreams are projected onto the walls of their nursery. In Las Vegas, the audience in the 17,600-seat venue sees whatever images the band and its art directors choose to show on the 160,000-square-foot LED media plane as the music is blasted through 167,000 speakers. (In U2’s case, The Times critic Jon Caramanica compared some of the wall art to material that an artificial intelligence program might cook up.)

At the Grammys, the band played “Atomic City,” a single released to coincide with the residency. Host Trevor Noah said it was the first time television cameras had broadcast from its interior.

After the performance, frontman Bono introduced the nominees for the best pop vocal album Grammy. U2’s guitarist, the Edge, handed the envelope to Bono who announced the winner: Taylor Swift, for “Midnights.”

U2’s time at the Sphere ends March 2, and the venue will host Phish in April, and Dead & Company May 16 through June 22.

The band’s Grammy performance was an opportunity to show off the venue to audiences contemplating a trip to see the space firsthand. And as “experience” becomes a watchword of the entertainment industry, one-of-a-kind setups such as the Sphere, which Dolan has indicated he would like to replicate in other cities, might point toward a lucrative future for musical acts — especially ones that like to stay put rather than hit the road.

The rock-leaning singer and songwriter entered the ceremony with six nominations, locked in a tie with Taylor Swift, Billie Eilish, Miley Cyrus, the indie supergroup boygenius and the genre-blending bandleader Jon Batiste. (They all trailed SZA, with nine, and Victoria Monét and boygenius’s Phoebe Bridgers, who had seven apiece.)

Notably, Rodrigo scored nominations in all three of the Grammys’ big all-genre categories. “Guts” is up for album of the year, part of a field that also includes SZA’s “SOS” and Swift’s “Midnights.” In record of the year and song of the year, “Vampire” is competing against Swift’s “Anti-Hero” and SZA’s “Kill Bill.”

For best pop vocal album, “Guts” went up against Swift’s “Midnights” (which won the award) and Cyrus’s “Endless Summer Vacation” as well as Kelly Clarkson’s “Chemistry” and Ed Sheeran’s “-” (called “Subtract”).

Rodrigo also nabbed a nomination for best rock song, where her “Ballad of a Homeschooled Girl” faced off against the Rolling Stones’ “Angry,” in a matchup between one of the Grammy’s youngest nominees (Rodrigo is 20) and some of the oldest (the Stones’ average age is about 78). (“Not Strong Enough” by boygenius won that prize.)

Indeed, although Rodrigo operates in the high-stakes realm of pop stardom, “Guts” tilts heavily toward rock. Rodrigo told The Times that she has “always loved rock music, and always wanted to find a way that I could make it feel like me, and make it feel feminine and still telling a story and having something to say that’s vulnerable and intimate.”

Daniel Nigro, the producer who worked with Rodrigo on “Guts,” also received a nomination for producer of the year, non-classical.

Rodrigo’s Guts World Tour starts in Palm Springs, Calif., on Feb. 23. Her global trek has more than 60 stops, heading across the United States, Canada and Europe before wrapping up in Los Angeles with four shows ending Aug. 17. Set to open in various cities are the Breeders, Chappell Roan, PinkPantheress and Remi Wolf.

At the 2022 Grammys, Rodrigo was nominated for seven awards and won three, including best new artist.

“Barbie: The Album” racked up 11 nominations — more than the film’s eight Oscar nods — including two for song of the year and four of the five contenders in best song written for visual media. Billie Eilish could win her third record of the year Grammy, for “What Was I Made For?,” a forlorn ballad she wrote with her brother, Finneas, for one of the movie’s most powerful scenes: when Stereotypical Barbie (Margot Robbie) meets her inventor, Ruth Handler (Rhea Pearlman).

Eilish and her brother were shown the scene and told, Eilish recalled in an interview with The Times, to make “Barbie’s heart song.”

“I never would have been able to write any of that song if I had tried to be vulnerable about my own life and experience,” Eilish said, “so it was really a perfect vessel.”

Onstage at the Grammys, Eilish sat on a stool next to the piano, where Finneas accompanied her along with a group of string players, as her parents watched from the audience.

When they were approached to work on the song, Eilish and Finneas were supposed to be working on a new album, and the “Barbie” gig provided an inviting respite. The two wrote “What Was I Made For?” in a half-hour. Five of Eilish’s six Grammy nominations this year were for the spare track.

“What Was I Made For?” reached No. 14 on Billboard’s Hot 100 and won a Golden Globe last month. Now it has the potential to win best original song at the Academy Awards, where it is competing with tracks from “Killers of the Flower Moon,” “Flamin’ Hot,” “American Symphony” and a second “Barbie” song, “I’m Just Ken,” for which, let’s face it, even being nominated was Kenough.

In a field led by young women, SZA will face off with Taylor Swift, Olivia Rodrigo and Miley Cyrus in each of the Grammys’ three top categories. “SOS” is up for album of the year, and its No. 1 single, “Kill Bill,” is competing for both record and song of the year.

Outside of the big all-genre categories, SZA has already won best pop duo/group performance for “Ghost in the Machine,” her “SOS” collaboration with Phoebe Bridgers of the indie-rock trio boygenius, as well as best progressive R&B album.

SZA was no stranger to accolades from the Recording Academy. Before the 2024 awards season, she had already received 15 nominations overall, including for best new artist in 2016 and record of the year and song of the year in 2019 for “All the Stars,” her “Black Panther” collaboration with Kendrick Lamar. She had won one previous Grammy, for best pop/duo group performance in 2022 for “Kiss Me More,” a collaboration with Doja Cat.

In her songs, SZA portrays melancholy with its everyday messiness. “Sad-girl energy has always been my energy,” she told The New York Times Magazine.

Last year, SZA mounted a sought-after arena tour, and her tour stop in Brooklyn recently became available to watch on demand on both Apple Music and Apple TV+.

While the song has had notable staying power — it’s inspired dance covers, was sampled by Nicki Minaj and has been strummed in dorm rooms for decades — the country star Luke Combs’s faithful cover, which became a hit last year, has helped bring it a kind of renaissance.

On Sunday night in Los Angeles, Chapman and Combs shared the steering wheel at the Grammys with their first-ever duet performance of the track. Chapman opened the performance playing the song’s signature riff on an acoustic guitar, as she and Combs exchanged verses before joining together on the chorus. Many in the audience could be seen standing and singing along throughout, including Taylor Swift. Combs bowed to her at the conclusion of the song as they received a standing ovation from those in the arena.

Combs’s “Fast Car” — which reached No. 2 on the Billboard Hot 100 as a single from his 2023 album, “Gettin’ Old” — was up for a Grammy for best country solo performance (and lost to Chris Stapleton’s “White Horse”). Surprising many in the industry, however, “Fast Car” missed out on a nomination for record of the year. (The cover was not eligible for song of the year, an award that goes to songwriters, because it was already nominated in that category in 1989.)

Chapman has made few public appearances since her most recent tour ended in 2009, mostly taking the stage on late-night shows. In 2015, she covered “Stand by Me” as David Letterman prepared to retire from the “Late Show,” and in the lead-up to the 2020 election, she performed “Talkin’ ’Bout a Revolution” on “Late Night With Seth Meyers.”

Combs’s meticulously faithful take on Chapman’s working-class anthem, delivered with unassuming earnestness, has crossed eras like a time-traveling DeLorean. In November, thanks to the cover, Chapman won song of the year at the Country Music Awards for “Fast Car,” becoming the first Black songwriter to clinch the honor.

In a statement at the time, Chapman apologized for not attending the country awards ceremony in Nashville. “It’s truly an honor for my song to be newly recognized after 35 years of its debut,” she said in the statement.

Combs described “Fast Car” as “one of the best songs of all time,” in his own C.M.A.s acceptance speech for single of the year. “I just recorded it because I love this song so much,” he added. “It’s meant so much to me throughout my entire life.”

The original “Fast Car” hit No. 6 on the Hot 100 in 1988 and earned three Grammy nominations. Chapman won for best female pop vocalist at the 1989 Grammy ceremony. There, too, she performed “Fast Car.”

“Fast Car” was a fan-favorite staple of Combs’s live shows long before he recorded it in the studio. Asked in July about the potential to duet on the song with Chapman, Combs’s manager, Chris Kappy, told Billboard, “We would be more than excited if the opportunity arose for Tracy and Luke to perform the song together.”

At the same time, Chapman told Billboard that she was “happy for Luke and his success and grateful that new fans have found and embraced ‘Fast Car.’”

The R&B singer and songwriter Victoria Monét has been a behind-the-scenes presence in pop for well over a decade — she’s been nominated for Grammys for her work on hits recorded by Ariana Grande and Chloe x Halle. She has seven nods as a solo artist this year, including two for her breakout album “Jaguar II,” which features the sleek, sultry hit “On My Mama.”

▶ Listen on Spotify, Apple Music or YouTube

2. The War and Treaty: “Lover’s Game”

The War and Treaty is the husband-and-wife duo of Michael Trotter Jr. and Tanya Trotter, two accomplished Nashville-based musicians with tremendous voices that blend in beautiful harmony. Their sound is a mix of country, blues and soul, but this fiery title track from their 2023 debut album shows off their rock-star potential.

▶ Listen on Spotify, Apple Music or YouTube

3. Jelly Roll: “Son of a Sinner”

The rapper-turned-country-phenom Jelly Roll — who has scored a series of recent, raw-voiced radio hits about sin and redemption — has an opportunity to make Grammy history: At 39, he could become the oldest solo act ever to win best new artist.

▶ Listen on Spotify, Apple Music or YouTube

4. Noah Kahan: “Stick Season”

A proud Vermonter who seems destined to have his own Ben & Jerry’s flavor, the rising star Noah Kahan’s music blends a kind of wordy, breakneck-paced delivery with the lyricism of an unabashed romantic. On his signature hit “Stick Season,” he sounds like Mumford’s most irreverent son.

▶ Listen on Spotify, Apple Music or YouTube

5. Ice Spice: “In Ha Mood”

Ice Spice may be the most famous name on this list, thanks to her recent pop cultural ubiquity, her appearance on the remix of Taylor Swift’s “Karma,” and her eye-catching, rap-game-Little-Orphan-Annie ’do. The thumping “In Ha Mood” is one of many recent singles that shows off the 24-year-old M.C.’s effortless charisma and her dexterous, unbothered flow.

▶ Listen on Spotify, Apple Music or YouTube

6. Coco Jones: “ICU”

The 26-year-old R&B singer-songwriter and actress Coco Jones currently stars as Hilary Banks on “Bel-Air,” Peacock’s reimagining of “The Fresh Prince of Bel-Air,” but she’s also a prolific musical talent with a lush, rich voice. Her range is on full display on “ICU,” a velvety ballad also nominated for best R&B performance and best R&B song.

▶ Listen on Spotify, Apple Music or YouTube

7. Gracie Abrams: “Difficult”

Gracie Abrams’s breathy, hyper-personal pop has fans in high places. (Count Taylor Swift and Olivia Rodrigo among them.) There’s a rushing kineticism to the quarter-life-crisis anthem “Difficult,” a standout from her 2023 debut full-length, “Good Riddance.”

▶ Listen on Spotify, Apple Music or YouTube

8. Fred again..: “Delilah (Pull Me Out of This)”

The 30-year-old English producer Fred again.. makes uncommonly emotional dance music, building strobe-lit hooks from found sounds, random digital ephemera, and sometimes even snippets from chats with his friends that he records on his iPhone.

▶ Listen on Spotify, Apple Music or YouTube

The indie-rock trio boygenius won three early prizes, including best rock song, rock performance and alternative music album (for “The Record”). Dressed in identical white suits, with black ties and pink carnations, the band’s three women ran excitedly to the podium and gave emotional speeches.

“We were all delusional enough as kids to think this might happen to us one day,” Lucy Dacus, one group member, said.

Songs from “Barbie” — which logged 11 nominations total, including some multiple nods in individual categories — took two prizes early in the night. Eilish and her brother, Finneas, were present to accept the award for best song written for visual media, for “What Was I Made For?”

“I want to thank our parents,” Finneas said. “Our dad who worked as a construction worker at Mattel Corporation for much of our childhood to keep food on the table. That’s very sick. Thank you for parenting us.”

Jack Antonoff — the producer of Taylor Swift, Lana Del Rey and other stars — won producer of the year, non-classical, for the third year a row.

Although this nontelevised segment is seen by few fans, it can feature notable, heartfelt speeches. Mitchell, 80, accepting the award for best folk album, for “Joni Mitchell at Newport,” a live recording of her surprise comeback appearance in 2022, said: “We had so much fun at that concert, and I think you can feel it on the record. It’s a very joyous record because of the people that I played with and the spirit of the occasion was very high. And it went onto the record. Even the audience sounds like music.”

Killer Mike, the Atlanta rap veteran and political activist, was up for three awards in the rap field for music from his album “Michael” — rap album, performance and song — and he won all three.

In a passionate series of speeches, his head covered in sweat, he exhorted: “For all the people out there that think you get too old to rap, [expletive]!” He added: “Dreams come true! It is a sweep! It is a swe

Terence Blanchard’s “Champion,” a jazz-inflected work about the boxer Emile Griffith, won best opera recording, in a performance by the Metropolitan Opera orchestra and chorus that was led by the Met’s music director, Yannick Nézet-Séguin. It had its Met premiere last year. The opera tells the real-life story of Griffith, a closeted boxer whose ferocious attack in the ring on an opponent who had taunted him with a gay slur resulted in the man’s death 10 days later.

“It takes more than a village in opera,” Nézet-Séguin said in accepting the award. “This goes to Terence Blanchard and all the voices of our time.”

The composer Jessie Montgomery won best contemporary classical composition for “Rounds,” a piano concerto. Imani Winds, a quintet based in New York, and the Harlem Quartet won best classical compendium, for “Passion for Bach and Coltrane,” an oratorio by Jeffrey Scott that draws on classical and jazz. Roomful of Teeth, an a cappella ensemble founded in 2009, won for its album, “Rough Magic.”

Other classical stars were also honored, including the pianist Yuja Wang and the conductor and composer Teddy Abrams, who leads the Louisville Orchestra, for “The American Project.” The album features a piano concerto by Abrams, performed by Wang and the orchestra, as well as a solo piano piece written for Wang by the conductor Michael Tilson Thomas.

Abrams praised Wang on Sunday, calling her “one of the most talented musicians on the face of the earth right now.” He also praised the orchestra, noting its history of performing music by living composers

Working with Gerwig was certainly part of the allure for Eilish, who first met the director when they were grouped together at a 2019 gala dinner. “I remember being like, ‘Greta Gerwig sitting next to us is so cool,’” she said in an interview. “‘She seems like somebody I would be friends with already.’” (Eilish’s wrenching “Barbie” ballad “What Was I Made For?” is up for record and song of the year.)

Gerwig may have provided the spark, but the “Barbie” soundtrack — which narrowly missed a No. 1 debut on the Billboard chart — is an unusually loaded record that achieves a rare synergy with the film itself. The movie was last year’s biggest pop culture phenomenon not named Taylor Swift, and the music reflects its broad, cross-genre appeal, including songs from rappers (Ice Spice, Minaj), a psych-rock band (Tame Impala), a Latin music superstar (Karol G) and a poppy indie trio (Haim).

On some level, the vision was simple: Sign up great musicians to record songs that were of a part with the movie itself. “As lip service as it sounds, it was really just about: ‘Who are our favorite artists who are going to see this film and understand some of the depth?’” Ronson said. After he was hired by the music supervisor George Drakoulias, Ronson recruited the musician Andrew Wyatt, one of his partners on the Oscar-winning Lady Gaga and Bradley Cooper song “Shallow” from the 2018 film “A Star Is Born.”

Often, movie soundtracks are generated through a “brief-based approach,” said the musician Mark Nilan Jr., who has worked on albums for movies including “A Star Is Born” and “Fast X.” A desired song is described in direct, referential terms (say, “a high-energy, Eminem-type song” for a car chase scene) before the movie has been finished. But Gerwig and Ronson were able to screen chunks of the filmed movie for artists — sometimes in person, sometimes over high-security video streams — and asked them to write what came to mind. This approach allowed them to avoid boxing artists into a pre-established idea, and, in turn, created more flexibility for how the music would flow back into the movie itself.

“We really strove to do something that artistically had merit in the way that the film does,” Ronson said. “So it’s nice, certainly, to be recognized.”

The show, a big and lush production, had a hard time on Broadway and closed in December at a loss after a one-year run. But the score was praised, with the New York Times theater critic Jesse Green writing that the first-act songs “are pretty much all knockouts.”

The award was given to the show’s principal vocalists, Christian Borle, J. Harrison Ghee, Adrianna Hicks and NaTasha Yvette Williams; the songwriting team of Scott Wittman and Marc Shaiman; and five album producers. Wittman and Shaiman also won a musical show album Grammy in 2003 for “Hairspray.”

This year’s five Grammy-nominated cast albums were all for musicals that opened on Broadway during the 2022-23 season.

The other nominees were “Kimberly Akimbo,” a poignant comedy about a high school student with a genetic disorder and a criminally dysfunctional family; “Parade,” a revival of a 1998 musical exploring the true story of Leo Frank, a Jewish factory manager who was lynched in early 20th-century Georgia; “Shucked,” a romantic comedy with a country sound and a lot of corn-based puns; and “Sweeney Todd: The Demon Barber of Fleet Street,” a revival of the 1979 Stephen Sondheim musical about a wronged barber who conspires with an amoral baker on a giddily gruesome vengeance spree.

“Kimberly Akimbo” won last year’s Tony Award for best musical, and “Parade” won the Tony for best musical revival.

Only “Kimberly Akimbo” and “Sweeney Todd” are still running on Broadway, and if you want to see them in New York, now’s the time: “Kimberly Akimbo” has announced plans to close on April 28 and “Sweeney Todd” is expected to end its run on May 5.

“Kimberly Akimbo” is planning a national tour that is scheduled to start in Denver in September. A “Shucked” tour is to begin in Nashville in November, and a “Parade” tour is to begin in January in Schenectady, N.Y., and then Minneapolis. “Some Like It Hot” had announced an intention to tour starting this fall but has not announced any venue

It is an impressive run for any artist, but Swift, even at 34, is not the youngest collector of album of the year Grammys: When Wonder took the prize for the third time — in 1977, for “Songs in the Key of Life” — he was just 26.

SZA could make another big splash in the album of the year category. If her “SOS” wins, she would be the first Black woman to take home the prize in 25 years — since Lauryn Hill, for “The Miseducation of Lauryn Hill.” Only two other Black women have won it: Natalie Cole, for “Unforgettable … With Love” in 1992, and Whitney Houston, for the soundtrack to “The Bodyguard” in 1994.

In the record of the year category, Billie Eilish is up for “What Was I Made For?,” her soul-searching “Barbie” ballad. If she wins, Eilish would be the first woman to take the prize three times, after her earlier wins for “Bad Guy” in 2020 and “Everything I Wanted” in 2021.

Two other artists, both men, also have three wins in the category. Paul Simon won for “Mrs. Robinson” in 1969 and “Bridge Over Troubled Water” in 1971 with Simon and Garfunkel, and “Graceland” in 1988 as a solo artist. Bruno Mars won for “Uptown Funk,” with Mark Ronson in 2016; “24K Magic” in 2018; and “Leave the Door Open,” with Silk Sonic in 2022.

1. Kylie Minogue: “Padam Padam” (pop dance recording)

Kylie Minogue conquered dance floors yet again in 2023 with “Padam Padam.” The title is a heartbeat rhythm, the production uses reverb to play with space and Minogue breezily asserts, “I know you wanna take me home.” (Listen on YouTube)

2. Killer Mike featuring André 3000, Future and Eryn Allen Kane: “Scientists & Engineers” (rap performance)

Multifaceted ideas about creativity — as a calling, a compulsion and a career — unite Killer Mike and his guests in this ambitious, changeable track. (Listen on YouTube)

3. Allison Russell: “Eve Was Black” (American roots performance)

Racism and misogyny are Allison Russell’s direct targets in “Eve Was Black,” which transforms itself from Appalachian toe-tapper to eerie rocker to jazz excursion to gospel incantation. (Listen on YouTube)

4. Jason Isbell: “Cast Iron Skillet” (American roots song)

A tangle of bleak, likely interconnected narratives — murder, death in prison, a family shattered by interracial romance — mingles with homey advice in this modest-sounding but far-reaching ballad. (Listen on YouTube)

5. Molly Tuttle & Golden Highway: “El Dorado” (bluegrass album)

The songwriter and flatpicking guitar virtuoso Molly Tuttle spins a brisk, minor-key chronicle of the Gold Rush, singing about desperate characters and wondering, “Was it worth the blood and dirt to dig our lives away?” (Listen on YouTube)

6. Bettye LaVette: “Hard to Be a Human” (contemporary blues album)

The gritty-voiced, 77-year-old soul survivor Bettye LaVette embraces 1970s-style Nigerian Afrobeat, with its chattering saxophone and curlicued guitars, as she ponders humanity’s irredeemable flaws in this song by Randall Bramblett and Davis Causey. (Listen on YouTube)

7. Blind Boys of Alabama: “Work Until My Days Are Done” (roots gospel album)

The Blind Boys of Alabama, a gospel institution since the 1940s, bring their vintage-style harmonies to a traditional song that’s more about sweat and diligence than worship. (Listen on YouTube)

8. Tainy featuring Bad Bunny and Julieta Venegas: “Lo Siento BB:/” (música urbana)

Julieta Venegas and Bad Bunny sing about her infatuation versus his refusal to commit, as Tainy juxtaposes cushy electronics and a blunt beat. (Listen on YouTube)

9. Natalia Lafourcade: “De Todas las Flores” (Latin rock or alternative album)

The Mexican songwriter Natalia Lafourcade’s album “De Todas las Flores” isn’t remotely rock, Latin or otherwise. It’s richly retro pop that harks back decades, with acoustic instruments and subdued choral backup as Lafourcade sings about how love and passion can fade. (Listen on YouTube)

10. Davido featuring Musa Keys: “Unavailable” (African music performance)

Davido, a Nigerian hitmaker, infuses Nigerian Afrobeats with a South African style, amapiano, and he’s joined by the South African singer Musa Keys. They’re both playing hard to get. (Listen on YouTube)

11. Darcy James Argue’s Secret Society: “Dymaxion’” (large jazz ensemble album)

The composer Darcy James Argue’s Secret Society is an 18-piece big band that stokes suspense with dissonance, pinpoint timing and an arrangement that gets denser and denser throughout most of “Dymaxion.” (Listen on YouTube)

12. Olafur Arnalds: “Woven Song (Hania Rani Piano Rework)” (new age, ambient or chant album)

“Woven Song” originally was released with an eerie, sliding, untempered vocal. The Polish pianist and singer Hania Rani makes it cozier and more consonant in her “rework,” but the ghost-waltz spirit of the original persists. (Listen on YouTube)

Swift, who rocked the entertainment world with her record-breaking Eras Tour; Rodrigo, the 20-year-old singer-songwriter with a proclivity for rock; Cyrus, the child star turned hitmaker; and Batiste, the New Orleans musical scion, are competing with SZA for the three major all-genre categories: best album, record and song. SZA’s “Kill Bill,” Swift’s “Anti-Hero,” Rodrigo’s “Vampire,” Eilish’s “What Was I Made For?” from the “Barbie” soundtrack and Cyrus’s “Flowers” are up for both record and song of the year. (Batiste’s “Worship” is up for record, and “Butterfly” for song, a songwriter’s award.)

The other best album contenders are boygenius’s “The Record,” Lana Del Rey’s “Did You Know That There’s a Tunnel Under Ocean Blvd” and Janelle Monáe’s “The Age of Pleasure.” Best record is rounded out by boygenius’s “Not Strong Enough” and Monét’s “On My Mama,” while song’s other entrants are Del Rey’s “A&W” and Dua Lipa’s “Dance the Night.”

The biggest winner of the night could be the musicians behind the movie “Barbie,” Greta Gerwig’s meditation on what it means to be a woman today. The film’s soundtrack garnered 11 nominations across seven categories, with an eclectic mix of artists that includes Eilish, Lipa, Nicki Minaj and Sam Smith.

The show will feature performances from nominated artists, including Eilish, SZA, Lipa, Rodrigo, Travis Scott, U2, Luke Combs, Miley Cyrus, Burna Boy and Joni Mitchell, who will be making her Grammy debut. Billy Joel will perform his first pop song in nearly two decades, “Turn the Lights Back On.” Stevie Wonder will honor Tony Bennett, Annie Lennox will sing for Sinead O’Connor, Fantasia Barrino-Taylor will perform a tribute to Tina Turner and Jon Batiste will lead a memorial for the music executive Clarence Avant.

Trevor Noah, formerly host of “The Daily Show” on Comedy Central, will return as host for the fourth straight year.

This year’s presenters include Christina Aguilera, Lenny Kravitz, Lionel Richie, Mark Ronson, Maluma, Meryl Streep, Samara Joy, Taylor Tomlinson and Oprah Winfrey.