Meek Mill Drops A Victorious New Video As Championships Debuts At No. 1

Against all odds, the wins keep coming for Meek Mill.

The Philly native’s new album and first post-prison LP, Championships, has debuted at No. 1, Billboard reported on Monday (December 10). It marks the rapper’s second chart-topper, following 2015’s Dreams Worth More Than Money. On top of that, Meek has also notched his first top 10 single, as the Drake-featuring “Going Bad” debuted at No. 6 on the Hot 100 chart.

As if that weren’t exciting enough, Meek doubled down on Monday’s celebratory news by dropping a video for “Intro.” The epic album opener — which samples Phil Collins’s classic “In The Air Tonight” — comes to life in the Kid Art-directed visual, as Meek sets the tone for his triumphant comeback. “We in the championship. We was down 3-1,” he says at the jump, making it clear that he’s overcome the odds. Of course, he didn’t rise from the trenches alone, and his loyal Dreamchasers crew gets plenty of screen time as well, as they revel in their freedom and celebrate their wins.

Taking to Instagram on Monday night, Meek shared a short video celebrating his chart-topping release. The caption: a simple but effective string of trophy emojis. What more is there to say?!

Jay-Z’s Favorite Songs Of 2018 Include Kanye, Drake, And Himself

As 2018 comes to a close and everyone scrambles to curate their collection of favorite music from this year, Jay-Z has offered his personal take. On Monday (December 10), the hip-hop mogul released a Tidal playlist of the rap songs that got heavy rotation at the Carter home this year, and it’s packed with smash hits and deep cuts alike.

Titled “JAY-Z’s Year End Picks,” the 20-track set features an eclectic collection of songs, and provides some fascinating insight into Hov’s mind. Up-and-comers like Gunna and Sheck Wes made the cut, as did veterans like Pusha T and Lil Wayne. Drake lands three appearances, including Scorpion‘s “Emotionless” and “That’s How You Feel,” as well as a featured guest spot on Travis Scott‘s chart-topping “Sicko Mode.”

Perhaps most notably, Jay shows love to his brother Kanye West by selecting Kids See Ghosts’ “Freeee (Ghost Town, Pt. 2)” and Nas‘s “Cops Shot the Kid,” which Ye produced and featured on. And of course, Jay gives himself some shine by including a track from his and Beyoncé‘s collaborative album, Everything Is Love.

See the full playlist below, via Tidal.

Alessia Cara Channels Beyoncé For A Flawless Destiny’s Child Mash-Up

Can you handle this? Alessia Cara has crafted a killer mash-up of Destiny’s Child classics that proves what we’ve known for a long time: the 22-year-old is a bonafide cover queen.

For her recent performance at SiriusXM, Cara was joined by three additional singers — think of them as the Kelly, Michelle, and LaTavia to her Beyoncé — and a small backing band. Together, they flew through a medley that began in stunning fashion with the iconic girl group’s 1999 hit “Say My Name.” From there, they seamlessly transitioned into “Bills Bills Bills,” got spunky with “Bootylicious,” and let their vocals fly for the triumphant hook of “Survivor.”

Capping it off was a brief but beautiful bit of “Emotion,” which Cara made wholly her own. I don’t think they can handle this.

Cara’s flawless Destiny’s Child medley comes just a couple weeks after she released her sophomore album, The Pains of Growing. During her SiriusXM visit, Cara and her trusty band also performed a stripped-down take on that album’s latest single, “Trust My Lonely” — check that out below.

Albums Of The Year: Sweetener And The Evolution Of Ariana Grande

There’s a line on Sweetener that sits on its very last song, “get well soon.” On an otherwise timeless, delicate ballad about the familiar concept of leaning on your friends and getting out of your own head, there’s a point where she forcefully commands: “Unfollow fear and just say, ‘You are blocked.’” I think about this line a lot. Most artists want to make something that stands the test of time, but here, by singing about a universal challenge we can all identify with and boiling it down to a line you can put in your Instagram bio, Ariana Grande makes it so decidedly not timeless.

Of course, that “familiar concept”—and all of Sweetener—is deeply transformed by the past year-and-change that Grande has had: the May 2017 Manchester bombing at her own concert, this May’s public breakup with Mac Miller, and his subsequent overdose in September, and her union and engagement to Pete Davidson (though she gives him a loving tribute on a track in his name, the two would break up in November and directly inspire her biggest hit to date, “thank u, next”). Unfortunately, nothing forces growth and maturity quite like unanticipated tragedy, and though Ariana’s experiences were multiplied by having to grow in front of the entire world, she’s still had to get up and face it like the rest of us.

“no tears left to cry,” the single best pop song of the year, is a tribute to release, to the exact moment you stop wallowing, a stuttering disco garage jam wherein Grande echoes affirmations through space (“I’m lovin’, I’m livin’, I’m pickin’ it up”). It’s just the tip of Sweetener, an album that fuses her earlier predispositions for perfectly executed balladry and radio-primed pop with some classic Pharrell Williams productions — beats like the ones on “blazed” and “R.E.M.,” recall some of his best peak-Neptunes work à la early-2000s Justin Timberlake and Britney Spears — but throws in plenty of trap, the sound of the moment. This works best on “successful,” which bounces by with a shimmery first minute before suddenly dropping into a catchy trap/R&B concoction that never looks back.

Pharrell is Sweetener’s bedrock, but her work outside his universe is where the the album is often its strongest, particularly on the Ilya-produced “god is a woman” and “breathin,” both perfect examples of the album’s two worlds. Where “god” is a slinky, churning feminist anthem, “breathin” openly addresses the anxiety Grande grappled with in the aftermath of the Manchester bombing. Where most of its first half is expertly executed love and sex fare, the bulk of its second openly deals with mental health and coping through hardships in a way rarely approached in pop music.

The last inarguably, definitively good mainstream pop album might be Katy Perry’s Teenage Dream, or possibly Taylor Swift’s 1989, and it feels like Sweetener has stepped into that realm: fully realized bodies of work that are confident, experiential, so fully of the time that they become timeless in their way. On Perry’s greatest record to-date, oddball tracks like “California Gurls,” “Firework” and “E.T.” still feel like this decade’s apex of just how crazy fun pop music could feel if we let it, and Swift, freed from her Nashville ways, helped set off a wave of modern artists wrapping their personal lives within sonic concepts (records like Beyonce’s Lemonade and Justin Timberlake’s Man of the Woods, thickly themed records deeply tied to their public perceptions, would soon follow). If our political climate is any indication, these are trying times all around, and Grande here has created an album that encapsulates the full spectrum of how one copes with tragedy in 2018, while nudging pop music forward into some of its both darkest and brightest realms.

And “better off,” driven by Hit-Boy, may be the single greatest thing Ariana Grande has done: a somber, sagging ode to the pitiful feeling of letting someone go, a song about doing the right thing for yourself when doing the right thing absolutely sucks. It’s a miserable effort to find peace; her voice hardly ever rises above a hush, and where the song’s biggest kiss-offs — “I know I’m a hard one to please,” “I’d rather your body than half of your heart” — would easily sound empowering on a “thank u, next,” here they just feel like shit, like the absolute worst truths you never wanted to realize.

The best parts of Sweetener exist in the pit of this swirling well of uncertain feelings in uncertain times. Just as success and contentment and happiness are fleeting, so is heartbreak, insecurity, and the trauma of the unexpected. Most of the time we have in this place, we’re often sad, even when we could choose to be happy, and afraid, even at our most confident. But we can still feel free, invincible, sexy in the face of the unknown, if we want; we can still be a bit hopeful, even when we haven’t yet found our way through the darkness.

Albums Of The Year: Tierra Whack’s Dizzying World-Building Will Give You Whiplash

In Tierra Whack’s world, MTV stands for “men touch vaginas,” ABC means “all boys cry,” and BET stands for “bitches eat tacos.” That’s according to “Cable Guy,” one of the most accessible points of entry on her shapeshifting, impressive debut, Whack World, a swirling realm all her own where songs vanish just as unsystematically as they materialize. Welcome to an entirely new dimension.

Of course, “accessible” seems like the wrong word to describe Whack’s ephemeral wonder. It’s surely immediate, but that actually undersells how easy the adventurous Whack World — which is comprised of 15 songs, all precisely one minute long — is to get lost inside of. Without much warning, bouncy beats suddenly lift and yield to toy keyboards or looping carnival melodies, the last phrase Whack sings still hanging in that half second of empty space.

Barely four minutes in and somehow already a quarter of the way into the experience, she deadpans, “I’m not perfect but I improvise.” A few tracks later, on a song called “Fuck Off,” Whack grabs hold of a cartoonish country twang to spew hexes involving ass rashes. It’s hilarious. It’ll also give you whiplash if you’re not careful.

Whack grew up in Philadelphia and battle-rapped in her teens under the name Dizzle Dizz. But she wanted more. She idolized Lauryn Hill and André 3000 for their innovation and creative command. “I’m like, I want to be like them. I want to be an artist,” Whack told MTV News in an interview at the top of 2018.

Eventually, after completing school in Atlanta, she cut the wild “Mumbo Jumbo” after a trip to the dentist left her mouth swollen. The track is nearly post-vocal, with Whack’s garbled delivery becoming more important than anything she could be communicating clearly. It came out under her given name in late 2017, but it was just a primer for what she’d soon prove to be capable of.

Whack World splits that kind of bold pioneering into 15 shards of shrapnel; Whack adopts new musical personas as she sees fit and discards them in seconds. For music obsessives, this kind of brevity evokes a key, if potentially obsolete, question: Is Whack World an album or an EP? If 2018 really is the year of the EP, long defined as a music collection of less than 30 minutes, and if albums are basically already dead anyway, then Whack’s contribution snugly works as an EP. Right?

Or maybe albums are just shorter now. This year, Kanye West oversaw an entire fleet of new albums clocking in at barely over 20 minutes. Rappers like Valee, Earl Sweatshirt, and Chris Crack crammed more songs onto releases by keeping them lean, yet brimming with unique flavor. Or maybe it doesn’t matter at all. Whack World, naturally, is unconcerned by these semantic squabbles. The artist has world-building to do.

Whack focused on crafting something complete and holistic, including a full-album visual that also doubles as a short film. She partnered with directors Thibaut Duverneix and Mathieu Léger for a series of interconnected, moody vignettes that allow Whack to inhabit precisely who she wants to be for each track — say, a bloated insect victim on “Bugs Life” and a childlike songbird in “Pet Cemetery”‘s Sesame Street-esque puppet sequence. On release day, Whack also unveiled each clip (and therefore, each song) individually on Instagram in the ultimate act of meeting music fans where they already live. After you’ve experienced the songs via the visual, it’s hard to hear them without conjuring those striking images. And maybe that’s the point.

Last week, at Billboard‘s Women in Music event, Whack presented the Trailblazer award to another pioneer in the field of (e)motion pictures, Janelle Monáe. But then Monáe flipped the script. In a series of escalating praises that left Whack shaking her head in gracious disbelief, Monáe delivered a knockout compliment. “I just want to thank you for sacrificing your time to present this award to me,” she said, looking directly at Whack.

There’s truth there. From the time Whack walked out onstage until when she walked into the back together with Monáe, the whole encounter lasted about six minutes. That’s six Tierra Whack songs right there.

Eminem Gets Stabbed By Jessie Reyez In His Brutal ‘Good Guy’ Video

Eight years after Eminem chronicled a violent relationship in his “Love the Way You Lie” video, he’s back with a similarly upsetting narrative in the visual for “Good Guy.”

The Jessie Reyez-featuring track is a sequel to “Nice Guy,” another Em and Reyez collaboration that deals with the turbulent romances Em gets embroiled in. In the “Good Guy” video, that’s illustrated in bloody and brutal fashion, beginning with the opening shot of Reyez clawing her way out of a grave. It seems Em was the one who put her there, because the two face off in an intense tussle involving knives and broken glass, before Reyez chokes him and buries him in the same hole she emerged from. “And I ain’t in my feelings, I’m out,” she sings. “But I let you say that you’re the good guy / ‘Cause this ain’t what love looks like.”

“Good Guy” follows Eminem’s menacing “Venom” video, which references the Tom Hardy-starring Marvel film of the same name. The Detroit MC has also shared visuals for Kamikaze‘s “Fall” and the Joyner Lucas collab “Lucky You.” Just hours before his new clip arrived on Friday, the latter track was announced as a contender for Best Rap Song at the 2019 Grammys. Eminem and Lucas are nominated in the category alongside Drake’s “God’s Plan,” Jay Rock and Kendrick Lamar’s “King’s Dead,” Travis Scott and Drake’s “Sicko Mode,” and Jay Rock’s “Win.”

See How Demi Lovato, Shawn Mendes, And More Are Basking In Their Golden Grammy Nods

Ahh… the sweet sound of a Grammy nomination.

The nominees for the 2019 awards show were announced on Friday (December 7), and the Grammys did indeed “step up” by recognizing more women and more hip-hop artists in the major categories. Needless to say, it’s an exciting day for many of your fave artists, who promptly took to social media to bask in the golden glow of a Grammy nod (or two or three or more).

Demi Lovato, who’s been keeping a low profile since her overdose this summer, took to Twitter for the first time since July to react to her nomination for Best Pop/Duo Group Performance for her Christina Aguilera collaboration, “Fall in Line.” “Woke up filled with hope. Dreams come true y’all… thank you @xtina. I love you so much,” she wrote, later adding, “This is so surreal.” Aguilera graciously responded, saying, “You deserve it all and getting to work with you was its own award for me @ddlovato. There’s no one I’d rather share this with!!”

First-time nominee Shawn Mendes was equally flustered upon hearing that his self-titled third LP is up for Best Pop Vocal Album, while “In My Blood” is a contender for Song of the Year. “Unbelievable, speechless right now. I LOVE YOU,” he tweeted after sharing an Instagram video of his real-time reaction. His buddy Niall Horan even chimed in for a congratulatory message, writing, “My guy @ShawnMendes got 2 Grammy nominations!!! Fuck yeahhhhh!”

And in one of the morning’s most emotional reactions, Janelle Monáe — who helped present the nominations on CBS — was on the verge of tears upon hearing that Dirty Computer earned a nod for Album of the Year. “This album is so much bigger than me. It’s about a community of marginalized voices. … I’m happy to be representing them,” she said on the air. It was a genuinely powerful moment, and a testament to how meaningful a Grammy nomination can be to an artist.

See more reactions — from Dua Lipa, Camila Cabello, Ella Mai, Backstreet Boys, and more — below.

BTS’ Historic Grammy Nomination Brings Them One Step Closer To Total U.S. Domination

South Korean artists BTS are capping off 2018 with yet another historic achievement: a Grammy nomination. The septet scored a coveted nom from the Recording Academy for Best Recording Package, a category that celebrates the visual look of an album.

The nomination is testament to the group’s artistic vision, specifically for their chart-topping Love Yourself: Tear release — the second installment of their critically acclaimed Love Yourself trilogy. BTS are nominated alongside Korean branding company HuskyFox, who is listed on the Love Yourself: Tear credits under “art work,” reports Billboard. ​

BigHit Entertainment

BTS being acknowledged by the Recording Academy for their concept and visuals should come as no surprise to their dedicated fans; the group’s meticulously plotted artistic narratives are often intertwined with the deeper meanings in their music. When it comes to BTS, the two go hand in hand.

While Korean pop has long been driven by striking visuals and conceptualized imagery, BTS’ nomination at the 2019 Grammys is a huge milestone for K-pop’s growing visibility — and credibility — in the U.S. And it’s a great first step.

Back in September, lead rapper Suga addressed the subject of defining K-pop during an intimate conversation at the Grammy Museum in Los Angeles. “Rather than approach K-pop as a genre, I think a better approach would be integrated content,” he said. “K-pop includes not just music, but clothes, makeup, choreography. All of these elements amalgamate together in a visual and auditory content package that sets it apart from other music or other genres.”

Some fans might be upset the group didn’t score any nominations in major categories like Album of the Year and Best Pop Vocal Duo/Group Performance, but the seven members of BTS have a lot to be proud of this year. They concluded their chart-topping Love Yourself series — scoring not one but two No. 1 albums on the Billboard 200, a momentous first for K-pop — embarked on their sold-out world tour, became the first Korean artists to perform at a stadium venue in the U.S., spoke at the United Nations, and made history as the youngest recipients of South Korea’s prestigious Hwagwan Order of Cultural Merit.

Not to mention, a Grammy is a Grammy.

Astrologers Explain What Your Astrological Sign On Spotify Wrapped Really Means

For casual listeners and musicheads alike, there’s only one end-of-year list that matters: Spotify Wrapped, the streaming service’s annual personalized report for its users. Each year, listeners receive a list of their top artists, songs, and genres across the platform, all based on their streaming habits over the past 365 days.

But this year, Spotify gave music fans a little something extra, assigning its users astrological signs based on the artists they most frequently listen to.

With horoscopes all the rage in 2018, it’s no surprise that people reacted strongly to their results, from surprise and awe to disappointment and disgust. But more than anything, people just want to know what their astrological sign results really mean.

In order to find out, MTV News got in touch with two of the internet’s leading astrologers, Dossé-Via Trenou-Wells, the founder and CEO of @KnowTheZodiac, and Nadine Jane, the woman behind @nadinejane_astrology.

  • Aries

    If you’re a fan of strong, powerhouse Aries vocalists like Lady Gaga and Mariah Carey, you’ve probably spent 2018 building your self-confidence, said Trenou-Wells: “Frequently listening to an Aries artist means you have leadership qualities and enjoy being in control, both at work and in love.”

  • Taurus

    This might not be shocking to find out, but fans of Taurus artists really love a good cry to slow, emotional ballads. That’s why Taurus fans “don’t mind [music] being slow so long as it’s smooth,” said Jane, because a heartbreaking song by Adele or Sam Smith just puts them in the right mood.

  • Gemini

    Those extra passionate about lyrics are likely more partial to Gemini artists like Kendrick Lamar, Kanye West, and Troye Sivan. That doesn’t mean Gemini fans don’t care about the production of the song, but their analytical minds flock to the meaning behind the words. “As soon you hear a song you like,” according to Jane, “you’re the first to jump on Google to read the fine print.”

  • Cancer

    Some of the year’s most talked-about artists, like Ariana Grande and Post Malone, stayed top of mind by by bringing out “your more sensitive and nostalgic side,” said Trenou-Wells. Listening to a lot of Cancer artists can be a visceral experience, as they tend to reflect on past relationships and their passive-aggressive tendencies. Thank you, next!

  • Leo

    If you’re a hardcore stan, there’s a decent chance your fave is a Leo, like Shawn Mendes or Dua Lipa. In fact, listening to Leo music totally transforms you into a more outgoing person. According to Trenou-Wells, your favorite music “helps you feel alive, and it often encourages you to step into the limelight.”

  • Virgo

    The perfectionist really jumped out in Virgo fans — because who doesn’t like a flawless queen like Beyoncé? Appreciating meticulously planned music, visuals, and all-around careers, Virgo fans look for the whole package. It’s simple, really, according to Jane: “You want your music to be perfect and thoughtful.”

  • Libra

    When life gets a little too complicated – like for Libra singer Avril Lavigne – some music fans turn to songs to unwind. They’ll often listen to Libra artists like Bruno Mars or John Mayer for chill vibes. At the end of the day, Libra fans just want music that’ll make them feel at peace, according to Jane.

  • Scorpio

    No judging Scorpio fans for their favorite music, please. They can’t help but love sexy, sensual music from artists like Drake and Frank Ocean. Scorpio fans will be glad to learn that “there’s a high likelihood that you have high sex appeal and the ability to manifest the life of your dreams,” said Trenou-Wells.

  • Sagittarius

    Rarely found sitting still, fans of Sagittarius artists need music that’ll get them on their feet, whether at home or during a night out. Music is even better to dance to, in fact, when unfiltered Sagittarius artists like Nicki Minaj open up about what’s really on their mind. These fans probably have “an opinionated and expressive view on life,” according to Trenou-Wells, and aren’t and “afraid to let it be known.”

  • Capricorn

    When a Capricorn’s music finds its way to your soundtrack, there’s a decent chance you just accomplished something major and are feeling empowered. Fans of Capricorn artists like Zayn and Paramore’s Hayley Williams play by their own rules and love to jam out to songs that “inspire you to secure the bag and live like a boss,” said Trenou-Wells.

  • Aquarius

    Some people like to enter a pop star’s fantasy, but Aquarius fans really appreciate something more stripped down. That’s why they’re often proudly listening to more lyric-driven, personal songs by Ed Sheeran and The Weeknd. As Nadine says, “as long as [an artist] feels authentic, you’re in.”

  • Pisces

    For those music fans ready to get totally lost in an artist’s world, they’ve probably got a thing for Pisces artists. Whether it’s going inside Camila’s mind on her debut album, or revisiting Rihanna’s Anti, Pisces fans “just want to feel what they feel,” Jane said.

The 2019 Grammy Nominations Are Here And They’re Absolutely Wild

It’s anybody’s game. And it’s just getting started.

For the second year in a row, Kendrick Lamar is among those artists nominated for the most Grammys with a total of eight noms. Last year, he had seven, just under Jay-Z’s eight — though Kendrick swept the rap categories, while Jay got completely shut out. And it makes sense: K.Dot is a Grammy favorite now (even if the relationship admittedly got off to a rocky start in 2014), and there’s the little matter of his Black Panther: The Album helping to make the film a massive smash.

But Drake is right there behind him with seven, which also makes sense given the year of juggernaut success he’s had, obliterating streaming records and earning listens in the billions. Americana singer Brandi Carlile and producer Boi-1da both snagged six each, while Cardi B, Childish Gambino, H.E.R., Lady Gaga, Maren Morris, Sounwave and engineer Mike Bozzi earned five apiece.

This wide-open field of challengers means one thing for sure: 2019’s Grammys likely won’t be a runaway night for any single artist. And that’s exciting!

Could Bradley Cooper and Lady Gaga win Record of the Year over Childish Gambino or Cardi B? Will Ella Mai’s “Boo’d Up” complete its blazing arc from hidden gem to huge hit with a proper golden statue? How wild is it to see Post Malone nominated in the same pop category as Camila Cabello, Ariana Grande, Lady Gaga, and Beck? These are the questions we’ll have to mull over until February.

Check out some highlights below, and be sure to peep the entire list right here. The show airs February 10 on CBS. In the meantime, start making some playlists.

Album of the Year

H.E.R. – H.E.R.

Brandie Carlile – By the Way, I Forgive You

Drake – Scorpion

Various Artists – Black Panther: The Album

Kacey Musgraves – Golden Hour

Post Malone – Beerbongs & Bentleys

Cardi B – Invasion of Privacy

Janelle Monáe – Dirty Computer

Record of the Year

Cardi B – “I Like It”

Brandi Carlile – “The Joke”

Childish Gambino – “This Is America”

Lady Gaga & Bradley Cooper – “Shallow”

Drake – “God’s Plan”

Kendrick Lamar & SZA – “All the Stars”

Post Malone & 21 Savage – “Rockstar”

Zedd & Maren Morris – “The Middle”

Song of the Year

Kendrick Lamar & SZA – “All the Stars”

Ella Mai – “Boo’d Up”

Drake – “God’s Plan”

Shawn Mendes – “In My Blood”

Brandy Carlile – “The Joke”

Zedd & Maren Morris – “The Middle”

Lady Gaga & Bradley Cooper – “Shallow”

Childish Gambino – “This Is America”

Best New Artist

Chloe x Halle

Luke Combs

Greta Van Fleet


Dua Lipa

Margo Price

Bebe Rexha

Jorja Smith

Best Pop Solo Performance

Beck – “Colors”

Camila Cabello – “Havana (Live)”

Ariana Grande – “God Is A Woman”

Lady Gaga – “Joanne (Where Do You Think You’re Goin’?)”

Post Malone – “Better Now”

Best Pop Duo/Group Performance

Christina Aguilera Featuring Demi Lovato – “Fall In Line”

Backstreet Boys – “Don’t Go Breaking My Heart”

Tony Bennett & Diana Krall – “‘S Wonderful”

Lady Gaga & Bradley Cooper – “Shallow”

Maroon 5 Featuring Cardi B – “Girls Like You”

Justin Timberlake Featuring Chris Stapleton – “Say Something”

Zedd, Maren Morris & Grey – The Middle

Best Pop Vocal Album

Camila Cabello – Camila

Kelly Clarkson – Meaning Of Life

Ariana Grande – Sweetener

Shawn Mendes – Shawn Mendes

P!nk – Beautiful Trauma

Taylor Swift – Reputation

Best Rap Performance

Cardi B – “Be Careful”

Drake – “Nice For What”

Kendrick Lamar, Jay Rock, Future & James Blake – “King’s Dead”

Anderson .Paak – “Bubblin”

Travis Scott, Drake, Big Hawk & Swae Lee – “Sicko Mode”

Best Rap/Sung Performance

Christina Aguilera Featuring Goldlink – “Like I Do”

6lack Featuring J. Cole – “Pretty Little Fears”

Childish Gambino – “This Is America”

Kendrick Lamar & SZA – “All The Stars”

Post Malone Featuring 21 Savage – “Rockstar”

Best Rap Song

Drake – “God’s Plan”

Kendrick Lamar, Jay Rock, Future & James Blake – “King’s Dead”

Eminem Featuring Joyner Lucas – “Lucky You”

Travis Scott, Drake, Big Hawk & Swae Lee – “Sicko Mode”

Jay Rock – “Win”

Best Rap Album

Cardi B – Invasion Of Privacy

Mac Miller – Swimming

Nipsey Hussle – Victory Lap

Pusha T – Daytona

Travis Scott – Astroworld

Best Rock Album

Alice In Chains – Rainier Fog

Fall Out Boy – M A N I A

Ghost – Prequelle

Greta Van Fleet – From The Fires

Weezer – Pacific Daydream

Best Alternative Music Album

Arctic Monkeys – Tranquility Base Hotel + Casino

Beck – Colors

Björk – Utopia

David Byrne – American Utopia

St. Vincent – Masseduction

Best R&B Album

Toni Braxton – Sex & Cigarettes

Leon Bridges – Good Thing

Lalah Hathaway – Honestly

H.E.R. – H.E.R

PJ Morton – Gumbo Unplugged (Live)

Best R&B Performance

Toni Braxton – “Long As I Live”

The Carters – “Summer”

Lalah Hathaway – “Y O Y”

H.E.R. Featuring Daniel Caesar – “Best Part”

PJ Morton – “First Began”

Best R&B Song

Ella Mai – “Boo’d Up”

Miguel Featuring J. Cole & Salaam Remi – “Come Through And Chill”

Childish Gambino – “Feels Like Summer”

H.E.R. – “Focus”

Toni Braxton – “Long As I Live”

Best Country Album

Kelsea Ballerini – Unapologetically

Brothers Osborne – Port Saint Joe

Ashley McBryde – Girl Going Nowhere

Kacey Musgraves – Golden Hour

Chris Stapleton – Volume 2