Over the past few years, a number of hip-hop’s leading artists have died — but thanks to recent posthumous albums, their presence could still be felt at the Grammys.
In most of those cases, the Grammys recognized late-period works that weren’t necessarily considered their creators’ most vital. What makes this year unusual is that the multiple deceased artists in Grammy contention don’t have the decades of success and veteran esteem that ordinarily earn belated accolades.
The posthumous sets from Pop Smoke and Juice WRLD posted two of the biggest first-week numbers during the Grammy eligibility period , and each spun off singles that went top 10 on the Billboard Hot 100. Though neither was hailed as a masterwork, both hinted at the artistic potential and crossover success that Pop Smoke and Juice might have achieved. Meanwhile, Miller’smoved 164,000 units in its debut week and drew some of the year’s strongest reviews.
That kind of promotion, especially for a deceased artist, requires a delicate balance during campaign season. Jeff Sosnow, executive vp A&R at Miller’s label, Warner Records, says that gettinginto consideration is “a different process” given his death — involving just an interview or two given by close collaborator Jon Brion. “The family and estate have been tasteful, thoughtful and judicious in preserving the intent of Mac around this music,” says Sosnow.
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