Now more than ever, a song’s visual component is as much an artistic statement as the music itself. These artists nominated for Best Music Video at the 2023 GRAMMY Awards are true believers in the art of music videos — but only one of them will have their passion rewarded with a GRAMMY.

This year’s lineup of nominees spans pop, hip-hop, Afrobeats, R&B and synth-pop, all with their own opportunities for visual ingenuity: Adele‘s “Easy On Me,” BTS‘ “Yet To Come (The Most Beautiful Moment),” Doja Cat‘s “Woman,” Kendrick Lamar‘s “The Heart Part 5,” Harry Styles‘ “As It Was,” and Taylor Swift‘s “All Too Well: The Short Film.” 

As we wait for the 65th GRAMMY Awards — airing on Feb. 5, 2023 — to find out who will take home Best Music Video (which is awarded to the artist, video director, and video producer), get better acquainted with this year’s nominees below.

View the complete list of 2023 GRAMMY Award nominees across all 91 categories.

Adele — “Easy On Me”

As the lead single from Adele’s eagerly awaited 2021 album, 30, “Easy On Me” demanded an elegant visual that amplified its themes of heartbreak and healing. To bring her vision to life, the 15-time GRAMMY winner turned to wunderkind Canadian director Xavier Dolan, who at the age of 33 has directed eight feature films, most recently 2019’s Matthias & Maxime.

Notably, Dolan also directed the 2015 music video for Adele’s runaway hit, “Hello”, which is closely linked to the “Easy On Me” visual. Here, Dolan opens on his star in rich, romantic black-and-white as she packs up to leave her just-sold house (shot on a stunning vineyard estate in Sutton, Quebec) in a pickup truck. As the song nears its emotional climax, the video transitions to brilliant color — a perfect visual representation of the catharsis that runs through 30

BTS — “Yet To Come (The Most Beautiful Moment)”

Released as the lead single from BTS’ 2022 compilation album, Proof, “Yet To Come (The Most Beautiful Moment)” was rapturously embraced by the BTS ARMY. For the music video, the group ventured from Las Vegas into the Mojave Desert with director Yong Seok Choi — the visionary behind South Korean video production company Lumpens, who has directed many of BTS’ previous outings.

For “Yet To Come,” the director made the most of the vast desert vistas, fluidly maneuvering his camera to capture the seven BTS members against the sand and sky. The visual includes numerous Easter eggs referencing previous BTS videos, including the yellow school bus from their breakout “No More Dream” and nods to “Spring Day” and “Blood, Sweat, & Tears.” The many callbacks are a fitting capstone on the BTS journey so far, building to a tender final moment on the school bus. Trust that the best is yet to come. 

Doja Cat — “Woman”

On her GRAMMY-nominated third album, Planet Her, Doja Cat invited us to luxuriate in her fictional world — complete with eye-popping music videos. In December, Doja dropped the visual for Planet Her single “Woman,” directed by her frequent collaborator child., who went on to lens Doja’s Elvis soundtrack cut “Vegas” and her Post Malone collab “I Like You (A  Happier Song)” this year.

For “Woman,” child. applied her sumptuous, high-definition style to the realm of Planet Her. In the video, Teyana Taylor (who else?) plays the Queen of Planet Her, whose power is threatened by nefarious men. Her solution: summon Doja Cat to undo them. Inspired by Michael Jackson‘s “Remember The Time,” the “Woman” visual combines elaborate costuming and set design with Doja’s agile choreography. Doja even released a codable interactive version of the video, revealing yet more layers to Planet Her. 

Kendrick Lamar — “The Heart Part 5”

The music video for Kendrick Lamar’s “The Heart Part 5” opens with the Compton rapper in a white t-shirt and a black bandana around his neck, set against a deep red backdrop. As Lamar launches into his first bars over a beat that samples Marvin Gaye‘s “I Want You,” the visual appears to be intentionally bare bones, so as not to pull focus from the words.

Before long, however, we see Lamar’s face morph into different Black celebrities, each rapping a verse. After shapeshifting into the likes of O.J. Simpson, Ye and Kobe Bryant, the video ends powerfully with Lamar channeling the late Nipsey Hussle

Lamar co-directed the arresting video with frequent collaborator Dave Free, utilizing ‘deepfake’ technology developed by “South Park” creators Trey Parker and Matt Stone’s Deep Voodoo production company. With Lamar in full command, the visual deepens an already rich artistic statement. 

Harry Styles — “As It Was”

Immediately upon its release, “As It Was” announced a new era of Harry Styles, hitting No. 1 across the world and launching him into an even bigger superstar stratosphere. Released simultaneously, the music video matched the song’s racing synth-pop melody with an all-out visual feast.

Following her 2021 GRAMMY nomination for co-directing Lil Nas X‘s “MONTERO (Call Me By Your Name)” video, Ukrainian filmmaker Tanu Muino seized the opportunity to shoot Styles, who she calls her “favorite performer.” While not quite as wild and maximal as her work for Lil Nas X, Muino’s vision for “As It Was” still bursts with color and kinetic movement, capturing Styles in a heightened London alongside dancer Mathilde Lin.  

Muino described the bittersweet emotions of shooting “As It Was,” just as Russia invaded her home country. Despite the painful incursions of real life, the video remains a balm, spiriting viewers to another world in under three minutes. 

Taylor Swift — “All Too Well: The Short Film” 

With 11 GRAMMY wins and numerous Top 10 hits, Taylor Swift can now add filmmaker to her résumé. After hitting No. 1 on the Billboard Top 100 with her 10-minute version of “All Too Well” from Red (Taylor’s Version), Swift unveiled All Too Well: The Short Film, starring Sadie Sink (“Stranger Things”) and Dylan O’Brien (Teen Wolf) as a couple navigating their age gap while falling in and out of love.

In its naturalistic tone, the short film is a departure from previous Swift-directed visuals, such as the satirical “The Man” and the fantastical doll house-set “Lover.” The film’s 15-minute runtime allows Swift to intercut vignettes of the couple’s relationship that mirror the song’s themes and build in intensity, reflecting the influence of contemporary filmmakers Noah Baumbach and Joanna Hog on her directorial style. 

2023 GRAMMY Nominations: See The Complete Nominees List