Leading up to the Grammy nominations on Nov. 16, “Rolling Stone” is breaking down 11 different categories. For each, we’re predicting the nominees, as well as who will (and who should) win on Grammy night.
To claim the Grammy for Producer of the Year, Non-Classical, a producer must deliver both commercial impact and compelling narrative. According to Cecilia Winter, Editorial Lead of Global Hits at Spotify, the most successful contenders often “pull back the curtain” on their creative collaborations, revealing the stories behind the albums they’ve shaped during the eligibility period.
This year’s field features industry giants and genre-defying innovators. Andrew Watt has emerged as a frontrunner after guiding Paul McCartney and the Rolling Stones toward new sonic territories. Meanwhile, Miranda Lambert has made waves producing not only her own work but also Ella Langley’s breakout hit Dandelion. Kenny Beats has left his mark on Geese and Weezer, Dan Nigro continues his stellar partnership with Olivia Rodrigo, and Aaron Dessner and Gabe Simon have helped propel Noah Kahan to new heights with The Great Divide.
Producer of the Year, Non-Classical — Our Predictions
Kenny Beats (Geese’s Getting Killed, Fcukers’ Ö, Weezer’s Weezer, the Lurkers soundtrack)
Aaron Dessner (Noah Kahan’s The Great Divide, Gracie Abrams’ Daughter From Hell)
Miranda Lambert (Ella Langley’s Dandelion and “Choosin’ Texas,” Miranda Lambert’s Crisco)
Dan Nigro (Olivia Rodrigo’s You Seem Pretty Sad for a Girl So in Love, Gracie Abrams’ “Look at My Life”)
Andrew Watt (Brandi Carlile’s Returning to Myself, Paul McCartney’s The Boys of Dungeon Lane, the Rolling Stones’ Foreign Tongues)
Who Will Win?
Andrew Watt
Watt appears to be the favorite, having recently revitalized the catalogs of musical legends like McCartney and the Rolling Stones. “Having this newer, younger producer who works across all these different genres help these guys move their sound into their next era, is super cool,” notes Winter.
Who Should Win?
Kenny Beats
Over the past year, Kenneth Charles Blume III has demonstrated remarkable versatility, shaping sounds across indie rock with Geese’s Getting Killed, experimental hardcore with Show Me the Body, and alternative pop with Fcukers. His work on Weezer’s self-titled release further showcases his ability to adapt while maintaining his distinctive touch. “He has worked across such a wide range of projects,” observes Winter, “and that diversity should be celebrated.”
Forecasting the Field
While Watt seems poised for victory, several other producers deserve recognition. Miranda Lambert’s production of “Choosin’ Texas” and the Dandelion album represents a historic opportunity to spotlight country music in this category. “It would be really cool to get a country artist or country producer in this space for the first time in decades,” Winter explains. “And Miranda Lambert, in particular, is a cool one because she obviously knows what it is to be a commercial star in country music.”
The landscape also includes established powerhouses like Dessner, whose collaborations with Noah Kahan and Gracie Abrams continue to resonate, and Dan Nigro, who has been instrumental in Olivia Rodrigo’s evolution as an artist. Meanwhile, Jack Antonoff’s recent projects span his own Bleachers album, Lana Del Rey’s upcoming Stove, and Phoebe Bridgers’ Lost Weekend, demonstrating his continued influence across multiple genres.
Other notable figures include Mike Sabath, D’Leslie (D’León), Stuart Price, Max Martin, and even last year’s winner Cirkut, all of whom have contributed to some of the year’s most memorable releases. Rosalía’s Lux stands out as a production marvel, blending classical and avant-garde elements with multilingual lyricism—a testament to how modern producers are redefining what it means to create across boundaries.