Connect with us

Entertainment

Grammy Awards 2022 Full Winners List

Angelique Kidjo grammy 2022

The curtains have drawn and fallen on the biggest event in the music industry – the Grammy Awards. Though no Nigerian artist scooped the bell-shaped accolade, a few of them won by association. If you watched the event, then you know we’re referring to Angelique Kidjo’s winning speech where she thanked Nigerian artists Yemi Alade, Burna Boy, and Mr. Eazi for their input in her critically acclaimed album, Mother Nature which won the Best Global Music Album, a category that gave a nod to Wiz Kid.

Machala as well as other Nigerian artists including Femi Kuti and Burner boy also received a Grammy nomination in the category of Best Global Performance but they lost out to Pakistan musician Aroof Aftab’s Mohabbat. Jon Batiste who received the most nominations (11) when the nomination list was published in November 2021 went home with the most awards – a whopping 5!

South African comedian Trevor Noah immaculately steered the three-hour event which was held at Las Vegas’ MGM Grand Garden Arena. Here is a full list of all winners of the 2022 Grammy Award.

Grammy Award 2022 Winners Full List

Best Global Music Performance

“Mohabbat,” Arooj Aftab

 

Best Global Music Album

“Mother Nature,” Angelique Kidjo

 

Song of the Year

“Leave the Door Open,” Brandon Anderson, Christopher Brody Brown, Dernst Emile Ii and Bruno Mars, songwriters (Silk Sonic)

Best New Artist

Olivia Rodrigo

 

Best Pop Solo Performance

“Drivers License,” Olivia Rodrigo

 

Best Pop Duo/Group Performance

“Kiss Me More,” Doja Cat featuring SZA

 

Best Traditional Pop Vocal Album

“Love for Sale,” Tony Bennett and Lady Gaga

 

Best Pop Vocal Album

“Sour,” Olivia Rodrigo

Best Dance/Electronic Recording

“Alive,” Rüfüs Du Sol

 

Best Dance/Electronic Music Album

“Subconsciously,” Black Coffee

 

Best Alternative Music Album

“Daddy’s Home,” St. Vincent

 

Best Contemporary Instrumental Album

“Tree Falls,” Taylor Eigsti

 

Best Rock Performance

“Making a Fire,” Foo Fighters

Best Metal Performance

“The Alien,” Dream Theater

 

Best Rock Song

“Waiting on a War,” Dave Grohl, Taylor Hawkins, Rami Jaffee, Nate Mendel, Chris Shiflett and Pat Smear, songwriters (Foo Fighters)

 

Best Rock Album

“Medicine at Midnight,” Foo Fighters

 

Best R&B Performance

“Leave the Door Open,” Silk Sonic

“Pick Up Your Feelings,” Jazmine Sullivan

 

Best Traditional R&B Performance

“Fight for You,” H.E.R.

 

Best R&B Song

“Leave the Door Open,” Brandon Anderson, Christopher Brody Brown, Dernst Emile II and Bruno Mars, songwriters (Silk Sonic)

 

Best Progressive R&B Album

“Table for Two,” Lucky Daye

Best R&B Album

“Heaux Tales,” Jazmine Sullivan

 

Best Rap Performance

“Family Ties” Baby Keem featuring Kendrick Lamar

 

Best Melodic Rap Performance

“Hurricane,” Kanye West featuring the Weeknd and Lil Baby

 

Best Rap Song

“Jail,” Dwayne Abernathy, Jr., Shawn Carter, Raul Cubina, Michael Dean, Charles M. Njapa, Sean Solymar, Kanye West and Mark Williams, songwriters (Kanye West featuring Jay-Z)

 

Best Rap Album

“Call Me if You Get Lost,” Tyler, the Creator

Best Country Solo Performance

“You Should Probably Leave,” Chris Stapleton

 

Best Country Duo/Group Performance

“Younger Me,” Brothers Osborne

 

Best Country Song

“Cold,” Dave Cobb, J.T. Cure, Derek Mixon and Chris Stapleton, songwriters (Chris Stapleton)

 

Best Country Album

“Starting Over,” Chris Stapleton

 

Best New Age Album

“Divine Tides,” Stewart Copeland and Ricky Kej

Best Improvised Jazz Solo

“Humpty Dumpty (Set 2),” Chick Corea, soloist

 

Best Jazz Vocal Album

“Songwrights Apothecary Lab,” Esperanza Spalding

 

Best Jazz Instrumental Album

“Skyline,” Ron Carter, Jack DeJohnette and Gonzalo Rubalcaba

 

Best Large Jazz Ensemble Album

“For Jimmy, Wes and Oliver,” Christian McBride Big Band

 

Best Latin Jazz Album

“Mirror Mirror,” Eliane Elias With Chick Corea and Chucho Valdés

Best Gospel Performance/Song

“Never Lost,” CeCe Winans

 

Best Contemporary Christian Music Performance/Song

“Believe for It,” CeCe Winans; Dwan Hill, Kyle Lee, CeCe Winans and Mitch Wong, songwriters

 

Best Gospel Album

“Believe for It,” CeCe Winans

 

Best Contemporary Christian Music Album

“Old Church Basement,” Elevation Worship and Maverick City Music

 

Best Roots Gospel Album

“My Savior,” Carrie Underwood

Best Latin Pop Album

“Mendó,” Alex Cuba

 

Best Música Urbana Album

“El Último Tour Del Mundo,” Bad Bunny

 

Best Latin Rock or Alternative Album

“Origen,” Juanes

 

Best Regional Mexican Music Album (Including Tejano)

“A Mis 80’s,” Vicente Fernández

 

Best Tropical Latin Album

“Salswing!,” Rubén Blades y Roberto Delgado & Orquesta

Best American Roots Performance

“Cry,” Jon Batiste

 

Best American Roots Song

“Cry,” Jon Batiste and Steve McEwan, songwriters (Jon Batiste)

 

Best Americana Album

“Native Sons,” Los Lobos

 

Best Bluegrass Album

“My Bluegrass Heart,” Béla Fleck

 

Best Traditional Blues Album

“I Be Trying,” Cedric Burnside

Best Contemporary Blues Album

“662,” Christone “Kingfish” Ingram

 

Best Folk Album

“They’re Calling Me Home,” Rhiannon Giddens with Francesco Turrisi

 

Best Regional Roots Music Album

“Kau Ka Pe’a,” Kalani Pe’a

 

Best Reggae Album

“Beauty in the Silence,” Soja

 

Best Engineered Album, Non-Classical

“Love for Sale,” Dae Bennett, Josh Coleman and Billy Cumella, engineers; Greg Calbi and Steve Fallone, mastering engineers (Tony Bennett and Lady Gaga)

Producer of the Year, Non-Classical

Jack Antonoff

 

Best Remixed Recording

“Passenger” (Mike Shinoda Remix); Mike Shinoda, remixer (Deftones); track from: “White Pony” (20th Anniversary Deluxe Edition)

 

Best Children’s Music Album

“A Colorful World,” Falu

 

Best Spoken Word Album

“Carry On: Reflections for a New Generation From John Lewis,” Don Cheadle

 

Best Comedy Album

“Sincerely Louis C.K.,” Louis C.K.

Best Musical Theater Album

“The Unofficial Bridgerton Musical,” Emily Bear, producer; Abigail Barlow and Emily Bear, composers/lyricists (Barlow & Bear)

 

Best Compilation Soundtrack for Visual Media

“The United States vs. Billie Holiday,” Andra Day

 

Best Score Soundtrack for Visual Media

“The Queen’s Gambit,” Carlos Rafael Rivera, composer

“Soul,” Jon Batiste, Trent Reznor and Atticus Ross, composers

Read Also: Oscars 2022 – Full List of Nominees and Winners

Best Song Written For Visual Media

“All Eyes On Me [From Inside],” Bo Burnham, songwriter (Bo Burnham)

 

Best Immersive Audio Album

“Alicia,” George Massenburg and Eric Schilling, immersive mix engineers; Michael Romanowski, immersive mastering engineer; Ann Mincieli, immersive producer (Alicia Keys)

 

Best Immersive Audio Album (for 63rd Grammy Awards)

“Soundtrack of the American Soldier,” Leslie Ann Jones, immersive mix engineer; Michael Romanowski, immersive mastering engineer; Dan Merceruio, immersive producer (Jim R. Keene and the United States Army Field Band)

 

Best Engineered Album, Classical

“Chanticleer Sings Christmas,” Leslie Ann Jones, engineer (Chanticleer)

Producer of the Year, Classical

Judith Sherman

Best Orchestral Performance

“Price: Symphonies Nos. 1 & 3,” Yannick Nézet-Séguin, conductor (Philadelphia Orchestra)

Best Opera Recording

“Glass: Akhnaten,” Karen Kamensek, conductor; J’Nai Bridges, Anthony Roth Costanzo, Zachary James and Dísella Lárusdóttir; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)

Best Choral Performance

“Mahler: Symphony No. 8, ‘Symphony of a Thousand,'” Gustavo Dudamel, conductor; Grant Gershon, Robert Istad, Fernando Malvar-Ruiz and Luke McEndarfer, chorus masters (Leah Crocetto, Mihoko Fujimura, Ryan McKinny, Erin Morley, Tamara Mumford, Simon O’Neill, Morris Robinson and Tamara Wilson; Los Angeles Philharmonic; Los Angeles Children’s Chorus, Los Angeles Master Chorale, National Children’s Chorus and Pacific Chorale)

 

Best Chamber Music/Small Ensemble Performance

“Beethoven: Cello Sonatas – Hope Amid Tears,” Yo-Yo Ma and Emanuel Ax

 

Best Classical Instrumental Solo

“Alone Together,” Jennifer Koh

 

Best Classical Solo Vocal Album

“Mythologies,” Sangeeta Kaur and Hila Plitmann (Virginie D’Avezac De Castera, Lili Haydn, Wouter Kellerman, Nadeem Majdalany, Eru Matsumoto and Emilio D. Miler)

 

Best Classical Compendium

“Women Warriors – The Voices of Change,” Amy Andersson, conductor; Amy Andersson, Mark Mattson and Lolita Ritmanis, producers.

 

Best Contemporary Classical Composition

“Shaw: Narrow Sea,” Caroline Shaw, composer (Dawn Upshaw, Gilbert Kalish and Sō Percussion)

Best Instrumental Composition

“Eberhard,” Lyle Mays, composer (Lyle Mays)

Best Arrangement, Instrumental or A Cappella

“Meta Knight’s Revenge (From ‘Kirby Superstar’),” Charlie Rosen and Jake Silverman, arrangers (The 8-Bit Big Band featuring Button Masher)

Best Arrangement, Instruments and Vocals

“To The Edge Of Longing (Edit Version),” Vince Mendoza, Arranger (Vince Mendoza, Czech National Symphony Orchestra and Julia Bullock)

Best Recording Package

“Pakelang,” Li Jheng Han and Yu, Wei, Art Directors (2nd Generation Falangao Singing Group and the Chairman Crossover Big Band)

 

Best Boxed or Special Limited Edition Package

“All Things Must Pass: 50th Anniversary Edition,” Darren Evans, Dhani Harrison and Olivia Harrison, art directors (George Harrison)

 

Best Music Video

“Freedom,” (Jon Batiste); Alan Ferguson, video director; Alex P. Willson, video producer.

Best Music Film

“Summer of Soul,” (Various Artists); Ahmir “Questlove” Thompson, video director; David Dinerstein, Robert Fyvolent and Joseph Patel, video producers.

Best Music Video

“Freedom,” (Jon Batiste); Alan Ferguson, video director; Alex P. Willson, video producer.

 

Best Music Film

“Summer of Soul,” (Various Artists); Ahmir “Questlove” Thompson, video director; David Dinerstein, Robert Fyvolent and Joseph Patel, video producers.

Related Topics:
Click to comment

Leave a Reply

Your email address will not be published. Required fields are marked *

Entertainment

Asake’s ‘Mr Money With the Vibe’ Is Charting Top 50 On Spotify

Three years after its release, Asake’s Mr Money With the Vibe is still doing numbers. At the time of press, the track ‘Nzaza’ currently ranks 23rd on Spotify Nigeria’s Top 50 songs, that’s 148 weeks and counting, nearly three years of nonstop streaming for a debut project.

For most artists, a first album fades after its moment. For Asake, it’s really that moment that refuses to fade.

Released September 8, 2022, through YBNL Nation and Empire, Mr Money With the Vibe arrived when the streets already knew Asake’s name. He had already spent months turning singles like Sungba into hits. This 12-track debut built on that momentum, and he managed to do even more.

The project blends Afrobeats, Amapiano, and Fuji influences, creating a sound that can be global yet deeply Nigerian. Songs like Joha, Terminator, and Organise became instant hits, setting the tone for Asake’s larger-than-life run that would define Afrobeats in the mid-2020s.

From its first day out, Mr Money With the Vibe shattered expectations and redefined what a Nigerian debut could do.

Apple Music Africa: The album broke records for the most first-day and most opening three-day streams ever by an African project.Apple Music Nigeria Top 100: For a brief, almost unbelievable stretch, every single track on the album occupied the first 12 spots on the chart. Global Reach: The project reached #1 on Apple Music Album Charts in 26 countries, including six across Europe.

Albums fade, trends change, and new stars rise every quarter. Yet Mr Money With the Vibe remains glued to the top. That consistency says something about both Asake and his audience. For one, the project captured a moment in time, the rise of a new street-pop generation that blurred the lines between amapiano and Yoruba-rooted rhythm. Every track carried Asake’s trademark vocals and a hypnotic tempo that became instantly recognizable across countries.

Continue Reading

Entertainment

The Cavemen Drop New Album – Cavy In The City

The Cavemen’s new album Cavy in the City dropped on 31 October, and it feels like a confident return to form for the duo: Kingsley Okorie on bass and Benjamin James on drums. Known for reimagining traditional highlife with live instrumentation and rich nostalgia, the brothers once again build on what they’ve always done best.

The project opens with a warm homage to the legends: Rex Lawson, Celestine Ukwu, Osita Osadebe, and Oliver De Coque, instantly grounding it in the music’s roots. Sonically and visually, the record leans into that vintage spirit. Even the cover art, like Show Dem Camp’s Afrika Magic, nods to old Nigerian poster design with its bold, grainy, and proudly analogue look.

Compared to their last album, Love and Highlife (2024), which experimented more with contemporary sounds and collaborations, this one feels closer in spirit to their debut Roots, which is familiar and more faithful to the traditional highlife rhythms that first made fans fall in love.

Their latest album, Cavy in the City, arrives as a confident extension of what they’ve always done best: traditional highlife music reimagined through live instrumentation, arranged sounds, and nostalgia.

The Cavemen are students of sound. Their live-band approach gives the album a steady rhythm, powered by drums, deep basslines, and proper jazz-style. Here, they lean even deeper into highlife, less genre-blending, more focus. The songs blend into each other in a way that’s good enough, although there’s still a little sonic interruption here and there. Those interruptions are enough to distinguish certain tracks.

Production-wise, Cavy in the City is good. The mixing isn’t glossy or overdone; it’s a sort of warm music that fits a Sunday afternoon gathering more than a club night. The Cavemen aren’t trying to modernise highlife, either. They’re preserving it while giving it motion.

Despite the album title, Cavy in the City doesn’t build a clear concept around urban life or transition. Instead, it feels like a loose collection of moments and moods. The interludes do a lot of the heavy lifting, keeping the flow from track to track.

The standout collaborations work smoothly within that flow. Angelique Kidjo on Keep on Moving adds her signature sound, while Pa Salieu brings structure to Gatekeepers. Neither feature disrupts The Cavemen’s sound; they simply expand it.

Continue Reading

Entertainment

Why I Refused To Rap In English For Global Validation – Olamide

When the conversation around Nigerian hip hop legends arises, Olamide Badoo’s name sits firmly at the top of the list.

From his breakout in the early 2010s to becoming a full-blown cultural force, Olamide Gbenga Adedeji has built an empire around authenticity, consistency, and a fearless embrace of his roots.

The YBNL boss is not only responsible for his own catalogue of timeless street anthems, but for discovering and nurturing some of the country’s biggest modern stars, from Lil Kesh to Fireboy DML to Asake.

What sets Olamide apart isn’t just his ear for hits or his dominance on the charts. It is his refusal to conform. In an era when many Nigerian artists switched to English or diluted their sound in search of international recognition, Olamide doubled down on the streets that made him.

During a recent interview with Eddie Kaddi on BBC Radio 1 Extra, Olamide spoke candidly about the philosophy behind his decision to rap in his native language rather than switching to English for global appeal.

His words revealed a sense of pride that goes beyond music.

He said: “Growing up and seeing the likes of Awilo Longomba doing his thing, Brenda Fassi (…). These people never tried to infuse English by force or anything. They were just doing their thing. Key thing is you have to identify your audience. Once you identify your audience, then the rest of the world are going to catch up eventually. So I have to stay true to myself no matter what it is, where it is in this world.”

The 36-year-old star added: “I’m a Naija boy. If I want to wear my Agbada and my Dashiki, I will do it. Let them know what I’m really all about — my heritage, my lineage, my culture, my food. You just have to stay true to yourself and that’s the only way you can become comfortable in life. I’m comfortable in my skin, I’m a Naija guy, Yoruba boy. I’ve got H-factor and all that. And I’m proud about it.”

That statement alone captures the very essence of Olamide’s career, a superb balance of street confidence, cultural loyalty, and an unshakeable belief in himself.

It is the same attitude that has fuelled his rise from Bariga to global acclaim, without ever having to abandon his linguistic or sonic identity.

Continue Reading

Trending