Meet The Nominees For Best Children's Music Album At The 2023 … – The GRAMMYs

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Ahead of the 2023 GRAMMYs, Best Children's Music Album nominees Alphabet Rockers, Divinity Roxx, Wendy & DB, Lucky Diaz and the Family Jam Band, and Justin Roberts discuss how they've broken diversity and age barriers by making music for kids.
The Best Children's Music Album category name has changed a few times over the years, but awarding outstanding songs made for kids has been part of the GRAMMYs since its inception in 1959, when Ross Bagdasarian Sr.'s "The Chipmunk Song" was crowned the Best Recording for Children. Sixty-four years later, the Best Children's Music Album nominees at the 2023 GRAMMYs are all celebrating this youthful corner of the music business for making strides in diversity, inclusion and representation in a digital world.
"What an exciting time for children's music!" enthuses Divinity Roxx, whose album Ready Set Go is one of this year's nominees. "There are so many incredible and diverse artists dedicated to enriching the lives of children through music and content that inspires, empowers, and encourages… The digital era allows us to connect directly with fans and smashes the barriers to accessibility for artists and music lovers."
Though streaming has outstripped physical sales across the board in the music industry, children's music has endured in all forms.
"While I feel like kids' music has been totally transformed, I think children's music was always a little beyond the curve on streaming," notes Justin Roberts, a five-time GRAMMY nominee whose Space Cadet is up for Best Children's Music Album. "I think physical sales had a longer life in kids music than in many other genres. I also keep hearing that the album is dead and it is a world of singles and playlists, but I've been moved by how many kids and parents mention the deeper cuts on Space Cadet…  It's been amazing to feel like the kids music world has exploded with streaming, both in terms of the diversity of music being made and the more global reach of the songs."
Regardless of a listener's preferred format, the content of children's music is gaining more substance. And the audience spans more generations than ever.
"Music is slowly taking a turn from teaching school lessons and promoting play to instilling life lessons and questioning our humanity," share Kaitlin McGaw and Tommy Soulati Shepherd of Alphabet Rockers, who were nominated for The Movement. "Music can be a soundtrack for how to be. We listen to all genres of music and children's music continues to spark imagination and connection between generations."
Also nominated in the category are Wendy & DB and Lucky Diaz & the Family Jam Band; this year's Best Children's Music Album winner will be announced at the 2023 GRAMMYs on Feb. 5. Below, hear more from each nominee about what makes children's music so special — and why a GRAMMY nomination is the cherry on top.
In 2022, Oakland's Alphabet Rockers released their sixth album, The Movement, which includes young lyricists singing about diversity and strength in unity. Songs such as "Juneteenth" and "Restorative Justice" educate about the past as well as current issues.
"We write for the moments where families have the 'big' conversations, and we do it with great joy," Alphabet Rockers' Kaitlin McGaw and Tommy Soulati Shepherd share. "Whether a child is 3 and learning about fairness, or 6 and learning about racism, we write to weave real narratives into family conversations."
They add, "Plus, we make songs that we want to turn up no matter the age of who is around. Whether carpooling or hosting family parties, we know the music plays to all of us."
This is Alphabet Rockers' third nomination in the Best Children's Album category. Their 2019 album, The Love, and 2017 album, Rise Shine #Woke were also nominated.
The 16th full-length release from Justin Roberts, Space Cadet engages listeners young and old with lyrics about acceptance and inclusion set to beats and melodies meant for wiggling. The power pop album has earned the Chicago singer/songwriter his fifth GRAMMY nomination.
"It means so much to know that my fellow musicians still feel that my work deserves this special recognition," he says. "I'm always trying to make something new and different from what I've done before, and even when I feel pretty good about it, it's hard to know if it will translate. Hearing this kind of positive recognition from your peers is always a sign that it did."
The fifth children's album by Wendy & DB (Wendy Morgan and Darryl Boggs), Into the Little Blue House sings sweetly to preschoolers about topics such as curiosity, history, diversity, and science, all to the tune of Chicago blues.
"Making music that resonates with today's children and their families is at the heart of everything we do," the duo shares. "One very important state of children's music is the remarkable wave of increased diversity within the children's music world. That is very exciting to see."
This is their first GRAMMY nomination, and they are thrilled to be recognized: "This honor has left our team feeling gratified, encouraged and truly humbled."
Los Fabulosos has earned the Los Angeles-based Lucky Diaz and the Family Jam Band a second GRAMMY nomination — and second in a row, as their first nomination came last year for their 2021 album Crayon Kids. They are also two-time Latin GRAMMY winners for Best Latin Children's Album (Mejor Álbum de Música Latina Para Niños) as well as four-time Latin GRAMMY nominees.
"We get to be a part of something that connects parents to their children, across the world, which connects us to humanity on a greater level," says Lucky Diaz and Alisha Gaddis. "That is a privilege and a responsibility."
The lighthearted humor that's present on the album also peeps out when the band is asked how it feels to be GRAMMY-nominated: "Wait… we're GRAMMY-nominated?!"
A former touring bassist and musical director for GRAMMY record-breaker Beyoncé, Atlanta's Divinity Roxx is also breaking barriers with her Best Children's Album nomination. Her 2021 LP, Ready Set Go! — an album of positivity anthems that infectiously spread joy, love and unity to bouncy beats — isn't just her first nomination, it's the first nomination for a Black woman in the Best Children's Music category.
"I am honored to stand on the shoulders of great pioneers like Ella Jenkins, who dedicated her life to making music for the most vulnerable among us," she says. "The award show falls on my birthday this year, so no matter who takes home the award, I will be celebrating and basking in the light of it all throughout the rest of the year!"
2023 GRAMMY Nominations: See The Complete Nominees List
Photo: Todd Rosenberg
interview
Are you curious as to whether there's actually good children's music out there — and/or whether you should be part of the Academy? Meet Justin Roberts — a terrific family-music artist deeply involved with the Recording Academy's Chicago Chapter.
At first listen, Justin Roberts' new album is squarely for the kiddies. His sharply enunciated vocals are high and dry in the mix, leaving no room for misinterpretation. The rhythms bounce like Motown; the high-glucose melodies leap and bound.
But what if you listen to Space Cadet not as a family-music record, but as a straight-up power pop record? Because Roberts is a diehard fan of everyone from Brian Wilson to Scott Miller of Game Theory and the Loud Family — and thanks to his knack for ear-snagging compositions, he's up there with those eccentric geniuses.
"I just try to make stuff that I enjoy as an adult — things that get stuck in my head and/or move me emotionally." the four-time GRAMMY nominee says from his Chicago home. "And I've found that generally translates to kids and adults enjoying the music."
Part of this philosophy — call it the Give Kids A Little Credit clause — came from his experiences working in a preschool at age 20.
"I was surrounded by a lot of children's music of the time, and some of it seemed really saccharine or preachy to me," Roberts tells GRAMMY.com. "Kids are so smart and emotionally intelligent. I might try to tell them a good story, or give them something that relates to their life. But I don't try to tell them what to do."
By dignifying children and parents and serving the song above all else, Roberts has amassed a spectacular body of work in the family-music sphere. And his latest, Space Cadet — out July 15 — is one of his very best.
Using an accessible and age-appropriate palette, Roberts rockets in several directions — from jingle-jangle madness ("I Have Been a Unicorn") a zonked suite of movements ("Space Cadet") to tender balladry ("Whole Lotta Love in This World").
Aside from helming this sometimes-misunderstood musical space, Roberts has left another profound mark on music — that of a Recording Academy leader.
A former Trustee and President of the Recording Academy's Chicago Chapter, Roberts remains active in the Academy's Advocacy efforts — and even testified in front of the Senate Judiciary to help pass the important Music Modernization Act.
Below, check out a premiere of the official video for "Space Cadet." Then, read on for an in-depth interview with Roberts about his approach to family music, what he tried to convey with Space Cadet and how his experiences with the Chicago chapter shaped him.
This interview has been edited for clarity.
I almost hear this more through the lens of power-pop than family music. What first compelled you to write songs this way — tightly constructed and hyper-melodic with no dull moments?
I mean, I've been making music, and this is my 16th album. So, I think it has changed over time and I try different things. But I started off doing very folky-type records with acoustic guitars and all that, and gradually started writing for a band.
And I found, even early on, that the influences of what I listened to as an adult worked really well for kids. I worked at a preschool briefly and would play Sam Cooke songs for the kids — or a Ramones song if it was lyrically appropriate. I'm just a big fan of really melodic pop music, and a giant Brian Wilson fan. I love hearing music with a lot of things going on.
I write on the computer, primarily, when I'm doing demos. And if I hear something in my head, I add another vocal part or vibes or whatever it is to the demo, and then get in the studio and reconstruct that with actual musicians. Like real string quartets and things like that.
Something I learned early on from working with kids is that they'll take in a really simple, saccharine-type song, and they'll memorize it. But they'll also take in whatever you give them. So, I just tried to make stuff that I enjoy as an adult.
That makes me make things that get stuck in my head and move me emotionally — and I've found that generally translates to kids and adults enjoying the music.
Power pop can be summed up with a handful of acts — Cheap Trick, the Raspberries, et al — but its reverberations are everywhere. It seems to resonate within the family-music sphere too.
Yeah, exactly. There are tons and tons of ways you can make music for kids.
You know, I was working at a preschool in the early '90s — right out of college. I was playing in a band in Minneapolis, and I had the idea that it has to be really simple — like an "Itsy Bitsy Spider" kind of thing — or the kinds of folk music that were prominent in children's music in the '50s and '60s.
But then, as I was working with kids, I just found that they love anything. I started writing songs in ska or whatever kind of style that I wanted, and I just tried to make it honest. And it seemed to be something that they wanted to hear again and again.
I feel that people of all ages respond to music that's simple and fun. What loses kids, musically speaking? What elements cause their attention to wander?
That's a good question. I mean, there's a big difference between what I do on an album and what I do live. Because after I write the songs, I have to figure out a way to perform them. Because a kid's show is such an interactive thing that you have to constantly keep the audience engaged.
You can't just play songs; you have to find ways to make them a part of the show. Whether it's hand motions, call and response, or various dances — things that will keep them engaged in the variety of those [events] is really important.
When I'm making the album, I'm assuming it's going to be people driving around in their car, or listening in their living room or kitchen. There's going to be a variety of contexts and ways of paying attention. In general, I don't try to predict what people are going to like or not like. I put things on records that I like.
When it comes to family music, there's a fine line between sweet and saccharine. What tools are in your arsenal to not tip over into corniness?
It's probably my own inner critic, which is very strong. Maybe the time that I delve closest to that is when I'm doing a more heartfelt ballad. I'm hoping that it feels real, because it usually is when I'm writing it.
[Space Cadet] has a couple of those, just to give a little break from the 26 musicians, like on "Little Red Wagon" and "Everybody Get On Board." "Whole Lotta Love in this World" was something I hadn't really written anything like, although I'm a huge fan of those '70s drummers that used to play with fingerless gloves and do all these silly fills in ballads.
But I guess it's just a gauge of my own emotion when I'm writing something. And if I don't believe myself, then I stop writing. In general, if it moves me or makes me laugh as an adult, that's usually when I keep writing what I'm writing.
You mentioned Brian Wilson. The title track of Space Cadet has a totally Wilsonian feeling — it moves gracefully through disparate movements.
The thing I enjoy about that song is that it's definitely about a distracted ADHD-type kid — or me, as a person! [Laughs] It has, like, 20 different parts in it — three pre-choruses. And it has that scatterbrained feeling in the song itself.
Has a child ever offered you criticism — harsh or constructive — that compelled you to pivot your approach?
The funniest criticism I ever got was from [one of these] interactive kid shows where I'm often giving direction to the audience. I was, at one point, playing in L.A., and a maybe 8-year-old girl raised her hand. I said, "Yeah? What do you need?" And she said, "Why are you always telling everyone what to do?" [Laughs]
So, for the rest of the show, I was like, "This is just a suggestion. You don't have to do it!" I had to think about that for hours after the show was over.
What do people not understand about family music that you wish they would?
There's a huge variety of music being made now, in every genre you can imagine. There are a lot of people with their hearts in the right places, making great music for families.
One of the great compliments I often get is: not only do parents continue to listen to music after they drop their kids off at school, but I have adults now whose kids are 23. And they still like to listen to my records, which is the greatest compliment.
Can you talk about your relationship with the Academy over the years — and your work with the Chicago chapter, specifically?
After my first GRAMMY nomination [for Best Musical Album For Children for Jungle Gym at the 2011 GRAMMYs], I got a call from the Chicago chapter, asking me to run for the board. Which I did, and I lost. I ran again and lost. And, I think, the third time, I got on, and I served on the chapter for many years.
Eventually, I became the president of the Chicago chapter and a trustee for two terms. But the main thing that really got me involved in the Recording Academy, beyond just being on the board, was the Advocacy work that we were and are doing in D.C.
I started going to GRAMMYs On The Hill as a governor, and was very into trying to change laws to support creatives and musicians. Eventually, I went to testify in front of the Senate Judiciary for the Music Modernization Act with Smokey Robinson and helped propel that along to pass, which was amazing.
I'd always thought of the Recording Academy as just being about the GRAMMY Awards. But I learned about what they do with MusiCares and Advocacy, and the power of our members to change laws and make sure creative people are being treated fairly.
That's the whole reason I was in the Recording Academy — to make sure that stuff was happening. And being part of it was a powerful experience.
Nnenna And Pierce Freelon Are The First Mother & Son Nominated Individually At The Same GRAMMYs Ceremony: How They Honor A Husband & Father Through Music
Alphabet Rockers
Photo: Daniel Mendoza/Recording Academy
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The GRAMMY-nominated group shares why it's so important for them to make music for kids that tackles the "tough stuff" and leaves them feeling empowered
GRAMMY-nominated group Alphabet Rockers may be focused on making children’s music, but their social justice themed, kid-friendly hip-hop songs are about more than just having fun. Their goal is to educate and empower young people through “music that we’d all like to hear and things that we all need to be listening to.”

Kaitlin McGaw, Tommy Shepherd, Jr. and Juan Amador of the Alphabet Rockers stopped by our tent backstage at Lollapalooza to share what it means to them to perform their music at the iconic festival, why they write songs about “tough stuff,” and how it’s such an important time to empower young people and celebrate diversity by “throwing shine all over this shade.”
“What’s different about Alphabet Rockers is we are really invested in the human experience,” Shepherd explains. “And so, when we talk about children’s music, we talk about music that we’d all like to hear and things that we all need to be listening to as adults.”

Inside GRAMMY U’s Backstage Tour Takeover At Lollapalooza 2018
Larkin Poe
Photos: Daniel Mendoza/Recording Academy
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Follow us to Chicago for one of the summer's biggest and best festivals as we take you behind-the-scenes with all your favorite artists
Lollapalooza marks the apex of the summer in music each year, descending upon Chicago’s Grant Park for four full days of performaces from artists spanning many genres. We are on-the-ground backstage at the festival to give you an inside look at the action.

New Orleans alternative R&B-soul collective Tank And The Bangas came through to talk about their meteoric rise since winning NPR’s Tiny Desk Contest and tell us about their latest single, “Smoke.Netflix.Chill.”

Rising superstar Billie Eilish took a moment to chat with us about her success this year, her new Beats 1 radio show, and what fans can expect from her debut full-length album.

Chicago rapper Valee chopped it up with us on his latest GOOD Job You Found Me, his single “Womp Womp,” touring with Pusha T, and the relationship between boredom and creativity.

The loud and lovely Lizzo swung through to hype up her Lolla set, open up about her time on Rupaul’s “Drag Race” and tease a super secret upcoming project.

The boys of rock torch-bearers Greta Van Fleet stopped by to tell us about the makings of their latest single, “When The Curtain Falls,” and dish on their highly anticipated debut full-length before hamming it up for our cameras.

From making songs in her bedroom to taking the Lollapalooza stage, Clairo remained cool, calm and collected backstage, opening up about her debut EP Diary 001, her lates collab with Cuco, “DROWN,” and keeping a level head in the storm of success she’s experiencing.

Canadian electro-funk duo Chromeo stopped in before thier Sunday set to tell us about their new album, Head Over Heels, and its highly danceable lead single “Must’ve Been” featuring DRAM. 

GRAMMY nominee James Bay opened up about his musical transformation during our interview with the British singer/songwriter. He also told the story behind “Pink Lemonade” and revealed his three favorite hobbies outside of music.

Jessie Reyez took some time to tell us about her single “Apple Juice” and what it’s like drawing from Canadian and Colombian music backgrounds.

Self-described as “writer by nature, rapper by craft,” Chicago’s femdot. came through to give his reaction to playing at Lolla and talk about what’s happening in his city’s hip-hop scene right now.

Firey and soulful, Dorothy posed for our cameras backstage at Lolla. Her latest album, 28 Days In The Valley, showcases her one-of-a-kind show-stopping voice and authenticity.

Nashville singer/songwriter Anderson East sat down with us to discuss the quick and dirty recording process of his raw new album Encore.

Provo, Utah’s sparkle rock quartet The Aces visited our tent backstage to talk about their stellar debut album, When My Heart Felt Volcanic, and breakdown their irresistible video for “The Last One.”

GRAMMY-nominated children’s hip-hop group Alphabet Rockers visited us to discuss the empowering messages of their music, their lastest album Rise Shine #Woke and what they’re working on next.

Chicago’s DJ Taye paid us a visit to reveal his feelings on playing his first Lollapalooza. He also broke down his trippy single “Trippin'” and posed for a few snapshots.

Larkin Poe came by to say hi after their incredible Lolla set and tell us about hitting the road with Keith Urban.

Wallows dropped in to talk about Lolla kicking off their run of festival dates and let us in on the making of their delightful DIY video for (deep breath…) “Under The Streetlights In The Winter Outside Your House.”

Fierce and fabulous British rock duo BONES took the time to talk with us about their undeniable song, “Creature,” their unmistakable visual aesthetic and their rush of excitement for upcoming tour dates in the States with the likes of Stone Temple Pilots, Bush, The Cult, and Palaye Royale – lookout, U.S.A.!



Our interview with mighty dance duo Galantis was crashed by Max, the artist featured on their new collaboration “Satisfied.” The trio talked about working together and had some fun in our portrait studio.

Pale Waves hung out with us to talk about their latest EP and upcoming album and their experience on tour with The 1975.

GoldLink surprised us with a visit after running into his friends, Tank And The Bangas, outside our tent. The Washington D.C.-born rapper took a minute to pose for a quick photo.

Fresh off the Lollapalooza stage – and a trip across the Atlantic – Rusko dropped in to share some of his magic and discuss how he’s infusing his music with glorious ’90s vibes. 

Soulful pop singer/songwriter Bazzi swung through to tell us about the story he tells with his debut full-length album, COSMIC.

Latin GRAMMY-winning children’s artist Mister G brought some sunshine into our tent before their fun Friday Kidzapalooza set.

We linked up with morgxn to hear the inspiration behind his transformational album, Vital, and breakdown “Carry The Weight” and “Home.”

British songstress Freya Ridings gave us the inside scoop on her breakout hit “Lost Without You” and struck a pose for a few photos after her Lolla set.

Austin’s one-man band, Mobley made an appearance after his Lolla set to show us his sleek style in our portrait studio. 

What So Not stopped in before his set to tell us about his dazzling debut full-lenght album, Not All The Beautiful Things, and reveal the neon green head of hair under his hat for our cameras.

Norweigian producer LIDO stopped in for a quick pic and to chat about his many upcoming project. His list of past credits include Halsey, Portugal. The Man, Ariana Grande, and more.

Up-and-coming singer/songwriter duo twins Carly and Martina popped in to see us and discuss songwriting collaborations, the recording process, their rapidly growing popularity, and more.

Dubliner Dermot Kennedy sat down with us to talk about his latest projects, working with Mike Dean and the benefits of being a well-traveled artist.

Wes Period came through to tell us what he’s up to on tour with Kesha and Macklemore, dish about his pair of new singles, and describe that feeling you get at Lollapalooza.

From Who Killed Matt Maeson to The Hearse, we talked getting personal on his pair of stellar EPs with singer/songwriter Matt Maeson.

Sasha Sloan swung through for a quick picture and a chat about living an artist’s life in Los Angeles. Catch her on the road in a town near you soon!

Chicago-raised, New York-based soul-pop artist John Splithoff came by to chat about playing his hometown’s biggest stage, singing the National Anthem at pro sports games, and his latest EP, Make It Happen.

Cleveland blues rockers Welshy Arms paid us a visit. The group released their debut full-length album, No Place Is Home, earlier this year.

Hot off Perry’s Stage, Ekali stopped by to talk about how out-of-control the crowd was for his Lolla set and where his musical wild ride is taking him next.

We also saw GRAMMY-nominated Chicago-based children’s singer/songwriter Justin Roberts. Roberts recently testified in front of the Senate Judiciary Committee on behalf of music creators in support of the Music Modernization Act. 

Boston pop visionairy Emilia Ali hung out with us backstage and smiled big for our cameras after her Lolla set. 
For more from Lollapalooza 2018, check out our official recap.
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Mastodon’s Brann Dailor
 Photo: Lloyd Bishop/NBC/NBCU Photo Bank via Getty Images
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The Blind Boys Of Alabama, Mastodon, PJ Morton, the producers of "Despacito," and more let us into their heads on the precipice of Music's Biggest Night
Though the holidays are over, the spirit of the Recording Academy’s 60th GRAMMY Awards Nominees Reception felt akin to Christmas Eve.

But on the eve of Music’s Biggest Night, a different kind of anticipation filled the Ziegfeld Ballroom in New York City. Instead of questions about what gifts would be in store the next day, the question many nominees were likely pondering was, “Will I win a GRAMMY tomorrow?”
While we won’t know until the envelopes are cracked open in the 84 GRAMMY categories, what is certain is that the respect and genuine admiration between the fellow nominees in attendance were genuine. We spoke with 11 nominees spanning categories in the Rock, American Roots Music, Children’s, Gospel/Contemporary Christian Music, and R&B Fields and asked them how they were feeling heading into GRAMMY Sunday. Here’s what they had to say.

“I feel excited to be here and be representing heavy metal and hard rock. But I’m trying to subdue any feelings of hope. I’d love to get my hands on one of those statues, of course. That would be very amazing and cool and wonderful. [We’re] up against Metallica [for Best Rock Song], who are very good friends of ours. We’ve toured with them a lot. Queens Of The Stone Age, again, are very close friends of ours.The rock and metal community is very small and we all know and respect each other.”Mastodon’s Brann Dailor: Nominated for Best Rock Album for Emperor Of Sand and Best Metal Performance for “Sultan’s Curse”

“We have previously won five GRAMMYs and a Lifetime Achievement Award. It’s always a thrill to be nominated, to come to the GRAMMYs and to see our friends. We’re coming all the way from the West Coast, and after the GRAMMYs are over we’ll return to West Canada for more shows.” — Jimmy Carter, Blind Boys Of Alabama: Nominated for Best American Roots Performance for “Let My Mother Live”
“This is our second GRAMMY nom. And I think that for us it just means that we’re doing something right in kingdom music. I think it means that all of our hard work, and all of the things we put forth toward kingdom, is going noticed.” — Ahjah Walls, the Walls Group: Nominated for Best Gospel Performance/Song for “My Life”
“We are very, very excited. This was something, of course, we didn’t expect to happen with ‘Despacito.’ It has been a great year. All of [the other nominees in the category] are idols for us so we are super honored to be part of that category with them.” — Producers Andrés Torres and Mauricio Rengifo: Nominated for Record Of The Year for Luis Fonsi & Daddy Yankee Featuring Justin Bieber‘s “Despacito”
“Man, this is really special. This is a big year for R&B. I’m nominated amongst some giants in Bruno [Mars], SZA and Childish Gambino. So I’m just very honored to be a part.” — PJ Morton: Nominated for Best R&B Song for “First Began” and Best R&B Album for Gumbo

“It’s bittersweet to be here without Gregg [Allman], of course. … He passed away May of 2017, but we had a great run together. We had a great collaboration as writers. I was his bandleader and guitar player in his touring band and also made two records with him… And our record Southern Blood … is also up for the [Best Americana Album] category. It was a big honor to play with him and it’s an honor to be standing here to represent what I can of his legacy, He was a tremendous guy.” — Scott Sharrard: Nominated for Best American Roots Song for “My Only True Friend”

“I’m super excited to be nominated for the third time and it’s an amazing group of nominees, so I feel really honored to be a part of it. I did have the title [of my album] prior to Beyoncé’s record being released … and then I saw that and I thought, “Uh, oh.” And then I thought, “Well, it will be funny. I’ll just call it ‘Lemonade’ anyway.” — Justin Roberts: Nominated for Best Children’s Album for Lemonade
“It feels amazing! It’s an honor to be here. I’m very excited for our little indie project coming from the Pacific Northwest,” — Randy Porter, Randy Porter Trio: Nominated for Best Jazz Vocal Album for Porter Plays Porter
“It’s an amazing feeling. It’s hard to explain. I have so many emotions because you feel that the Academy really showcased you. All the types of people really respecting our types of music, you feel that energy when you come here.”— Northern Cree’s Leroy Whitstone, Best Regional Roots Music Album for Mîyo Kekisepa, Make A Stand [Live]
“it’s wonderful to be here, taking in the scenery, taking in the city, taking in the environment. We’re just having a good time,” — Bishop Cortez Vaughn: Nominated for Best Gospel Performance/Song for “You Deserve It”
“My God, it’s amazing. It’s our first nomination. [Our fellow nominees] are all amazing. The competition is really hard. Whoever wins, it’s well done. We’re honored just to be recognized.” — Jane Bunnett & Maqueque’s Elizabeth Rodriguez: Nominated for Best Latin Jazz Album for Addara

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