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Sam have won and been nominated for numerous awards. These include multiple Grammy Awards and an Academy Award. Their achievements highlight his exceptional talent and widespread recognition in the music industry. It has further solidified their position as an influential artist, shaping his public image as a versatile and socially conscious public figure. Their recognition and awards have portrayed them as a role model for LGBTQ+ acceptance, further extending their influence beyond music.

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Sam have won and been nominated for numerous awards. These include multiple Grammy Awards and an Academy Award. Their achievements highlight his exceptional talent and widespread recognition in the music industry. It has further solidified their position as an influential artist, shaping his public image as a versatile and socially conscious public figure. Their recognition and awards have portrayed them as a role model for LGBTQ+ acceptance, further extending their influence beyond music.

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In the early stages Sam Smith career, he demonstrated his vocal prowess by performing in local venues and auditioning in music competitions. He  emerged as a soulful artist displaying  vulnerability and an emotional image. This was a starting point of his ravishing career that people could connect with. His persona made it easy for audiences to connect with and find meaning. 

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In the early stages Sam Smith career, he demonstrated his vocal prowess by performing in local venues and auditioning in music competitions. He  emerged as a soulful artist displaying  vulnerability and an emotional image. This was a starting point of his ravishing career that people could connect with. His persona made it easy for audiences to connect with and find meaning. 

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Sam parents knew he was a natural born star, so they encouraged his childhood vocal training soon auditioning in music theatres across the UK age 8. He was well sought for and worked with more than 6 managers before deciding to wholly commit to launching a music career and moving to London at 18.

He soon rose to stardom in a short time by being recognised for his unique approach to love and identity in their music.

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Sam Smith, in full Samuel Frederick Smith, (born May 19, 1992, London, England), British soul singer with a mellifluous voice who was noted for lyrics that subverted the notions of romantic love that defined popular soul music.

Smith was raised in Cambridgeshire, born to a father who was a truck driver and greengrocer and a mother who was a banker. Both parents encouraged Smith's singing at a young age, after the budding vocalist impressed them with a rendition of Whitney Houston 's "My Love Is Your Love." Smith pursued vocal training and soon appeared in local theatre productions and with Youth Music Theatre UK, going through six managers before ultimately moving to London at age 18 to pursue opportunities there.

The first big break came when Smith teamed with house duo Disclosure on the track "Latch," which featured Smith's liquid falsetto vocals astride an effervescent electronic beat. That recording was released in 2012 and emerged as a hit. The collaboration landed Smith a record deal. By early 2013 the singer had released "Lay Me Down," the first single from Smith's debut album, In the Lonely Hour. Smith's vocals were also featured on the propulsive electronica track "La La La" (2013), by producer Naughty Boy. The breakout single from In the Lonely Hour, "Stay with Me," a keening falsetto ballad that wistfully implores a one-night stand for affection, became a radio staple following its release in 2014. Smith cited the influences of singers such as Houston and Aretha Franklin, who both propelled their powerful, soaring voices to the high end of their registers as they evoked love and loss. Those themes defined In the Lonely Hour, an album that Smith, who was homosexual, had composed in the wake of a romantic rejection by a heterosexual man.

The young vocalist steadily accrued accolades for dulcet stylings, earning comparisons to crooners ranging from Frank Sinatra to Adele. At the 2015 Grammy Awards, In the Lonely Hour was named best pop vocal album, and "Stay with Me" was awarded record of the year and song of the year. Smith was deemed best new artist.

The revelation in early 2015 that the singer had settled out of court with musician Tom Petty over melodic similarities between "Stay with Me" and Petty's 1989 single "I Won't Back Down" was tempered by a statement from the rocker expressing goodwill toward Smith and praising the quickness with which the situation was corrected. Also in 2015 Smith sang "Writing's on the Wall," which Smith wrote with Jimmy Napes, for the James Bond film Spectre; the duo later won an Academy Award for best original song. During the acceptance speech, Smith misquoted an interview with actor Ian McKellen, incorrectly implying that Smith was the first openly gay man to win an Oscar. The singer expressed regret for the gaffe afterward and took a brief break from the spotlight. Smith's second studio album, The Thrill of It All, was released in late 2017 and won both popular and critical praise. The song "Him," a plea for acceptance of Smith's love for a man, was especially acclaimed. In 2019 Smith announced a nonbinary identity and tweeted that "my pronouns are they/them."

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Sam Smith, British soul singer who was noted for having a mellifluous voice and for lyrics that subverted the notions of romantic love that defined popular soul music. Smith's best-known songs included 'Stay with Me,' 'Writing's on the Wall,' and 'Him.'

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Sam signed to PMR, an established label responsible for all notable great UK music releases, especially during the year 2012/2013, Sam's lucky year (waddup Jessie Ware!) sort-of-garage duo Disclosure, helped enlist the newcomer Sam Smith for more soundtracks. The audience went wild with Sam Smith’s falsetto vocals, singing higher notes than what is considered a normal range coupled with an effervescent electronic beat resonating with music enthusiasts.

"Latch" topped UK singles chart when they just turned 21, setting the stage for subsequent solo first single music and not long after the release of "Lay Me Down," impacting the musical trajectory.

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Disclosure - Latch feat. Sam Smith  (Official Video)

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Sam Smith's debut single, 'Lay Me Down,' released in 2013, served as a memorable introduction to staging his talent. It emphasised their exceptional vocal prowess emotional raw depth, and vulnerability. 'Lay Me Down' was a testament to his ability to convey raw, heartfelt emotion through their soulful voice, which was the foundation for their stardom of genuine self-expression. This single defined their career of brilliance that captivating audiences throughout the world, setting him on a trajectory toward global recognition.

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Sam Smith - Lay Me Down (Official Music Video)

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WINS: 68

NOMINATIONS: 155

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This 2014 interview offers a glimpse into Sam Smith's personality on the cusp of superstardom. It represents their humility, genuine nature and growth. However, the interview appeared conventional and did not delve deep into the artist's background or creative process, although it is evident that Sam was still finding their footing in the spotlight. Their public image represented authenticity, talent, and modesty, among other visible traits that eventually played a role in their initial rise to fame.

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The Swift Ascent: Sam Smith's Journey to Stardom

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The Swift Ascent: Sam Smith's Journey to Stardom

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Sam Smith meteoric rise from relative obscurity to becoming a pop sensation evolved in a short space of time. Their talent was pivotal with their distinctive voice being celebrated among the music industry. Effective marketing strategies, and the cultural context have also added to their success. Their personal journey has not left his side, whether in public or private, expressing their willingness to embrace their identity as a gay artist; expressing this through their emotionally raw music, dress sense and much more.

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ALL through his most recent American tour, Sam Smith has been stunned by the size of his crowds. When he first played in Philadelphia, in March last year, it was at a bar too small to fit his full band; last month, he filled Temple University’s basketball arena. His New York debut, in August 2013, w…

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Sam Smith's Billboard history reflects their hit chart list and undeniable musical talent. It represents their ability to continuously produce chart-topping hits, such as 'Stay with Me,' 'Too Good at Goodbyes,' and 'Writing's On The Wall.'

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Sam Smith's 2014 debut album, In the Lonely Hour, bridged soul and pop. It earned the English singer four Grammy Awards, including pop album of the year and song of the year for single "Stay With Me." They scored a No. 1 album on both sides of the pond with 2017's The Thrill Of It All. The young LGBTQ icon came out as gay in 2014, and later as genderqueer in 2017.

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Sam Smith | Biography, Music & News | Billboard

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Sam Smith's 2014 debut album, In the Lonely Hour, bridged soul and pop. It earned the English singer four Grammy Awards, including pop album of the year and song of the year for single "Stay With M...

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Sam Smith expresses their relatable vulnerability and 'caught in a lie' during a Beyoncé karaoke performance, which fans connected with as even the biggest stars have moments of imperfection. This adds to their multi-faceted stardom image, suggesting his genuine character and unpretentious approach to fame, resonating with their fans worldwide.

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PopUps: Sam Smith Lies to Fans, Sings Beyonce Karaoke

Oh what a tangled web we weave when it comes to ditching your plans to go to a bar to sing Beyonce songs.

Out U.K. soul singer Sam Smith is in some hot water this week after he was caught in a lie to his fans, Billboard points out.

The 22-year-old "Stay With Me Singer" took to Twitter Tuesday night, after finishing his concert in Nashville, Tenn., and wrote that he wouldn't be able to chill with fans because he was feeling under the weather.

"Nashville, sorry I can't come out to say hey tonight after the show!! Still not feeling 100% and need to sleep!! So sorry xxxx," Smith tweeted.

OK sounds good! Feel better Sammy! Rest up! We don't want you to get polyps on your voice like Adele; we'll catch you next time!

Except that's not exactly what happened, and it appears as though Smith was treating his fans like that annoying friend who you keep telling your "busy" or "sick" or "dead" to get out of plans.

Around 4 a.m., three hours after his initial tweet, Smith wrote: "Best night EVER at a karaoke bar in Nashville!!!!!!!!!" and included a link to his Instagram -- an image of a bar.

An Instagram user, who may or may have not had it out for Smith and wanted to expose him for his devious ways, posted two clips of the singer partying up at karaoke looking NOT SICK AT ALL.

Although he did make some good choices, covering Beyonce's "***Flawless" and Destiny's Child's classic "Say My Name."

Smith proved to be a terrible liar but judging by those videos, which you can watch below, I can't hate. What pop star casually hangs out with fans anyway?

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sings beyonce karaoke  | edge united states

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PopUps: Sam Smith Lies to Fans, Sings Beyonce Karaoke | EDGE United States

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Sam Smith told Nashville fans he couldn't hang out with them this week because he was "sick." Turns out he just wanted to sing some Beyonce.

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Sam Smith - Awards - IMDb - Awards, nominations, and wins

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"My Boy Like a Queen: Musical and Visual Queer Performance in Music Videos of Sam Smith and Troye Sivan."

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"My Boy Like a Queen: Musical and Visual Queer Performance in Music Videos of Sam Smith and Troye Sivan."

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Sam Smith's public persona and stardom image are analysed through their music and finds patterns specifically focus on the portrayal of queerness. The video "How Do You Sleep?" expresses Sam coming to terms with their gender identity, their inner struggle and use of gender-normative clothing that is often critiqued from the perspective of societal patriarchy. Thus, this article reflects on Sam's journey and can be said to be an advocate for inclusivity, fighting against what is seen as normality.

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"Sam Smith Answers Your Questions | Actually Me,"

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"Sam Smith Answers Your Questions | Actually Me,"

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Sam Smith's YouTube presence unapologetically gives candid responses to fans' questions and offers a unique glimpse into their personality. This reinforces their connection with his audience while demystifying their public image.

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Sam Smith Answers Your Questions | Actually Me

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Read more about Sam Smith GRAMMY History and other GRAMMY-winning and GRAMMY-nominated artists on GRAMMY.com

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Sam Smith and Kim Petras commanded attention on the red carpet at the 65th Annual Grammy Awards in Los Angeles on Sunday.

The Dancing with a Stranger singer, 30, and the German musician, 30, were head turners in matching over-the-top theatrical red ensembles.

Smith wore a floor-length scarlet puffed out coat with a large collar, which they paired with red gloves and a top hat with a lace trim.

Meanwhile Petras wowed as she showed off her toned legs in a frilly red hot mini dress, which she paired with red heels and a gothic ruby pendant around her neck.

They won the Best Pop Duo/Group Performance for their hit song 'Unholy'.

Grammy Awards 2023 WINNERS: AT A GLANCE

Album of the Year: Harry Styles - Harry's House

Record of the Year: Lizzo - About Damn Time

Song of the Year: Bonnie Raitt - Just Like That

Best New Artist: Samara Joy

Best Pop Solo Performance: Adele - Easy on Me

Best Pop Duo/Group Performance: Sam Smith & Kim Petras - Unholy

Best Pop Vocal Album: Harry Styles - Harry's House

Best Dance/Electronic Recording: Beyoncé - Break My Soul

Best Dance/Electronic Music Album: Beyoncé - Renaissance

Best Rock Performance: Brandi Carlile - Broken Horses

Best Rock Song: Brandi Carlile - Broken Horses

Best Traditional R&B Performance: Beyoncé - Plastic Off the Sofa

Best R&B Song: Beyoncé - Cuff It

Best Progressive R&B Album: Steve Lacy - Gemini Rights

Best Rap Song: Kendrick Lamar - The Heart Part 5

Best Rap Album: Kendrick Lamar - Mr. Morale & the Big Steppers

Best Country Solo Performance: Willie Nelson - Live Forever

Best Country Album: Willie Nelson - A Beautiful Time

Best Jazz Vocal Album: Samara Joy - Linger Awhile

Best Música Urbana Album: Bad Bunny - Un Verano Sin Ti

Best Americana Performance: Bonnie Raitt - Made Up Mind

Best American Roots Song: Bonnie Raitt - Just Like That

Best Americana Album: Brandi Carlile - In These Silent Days

Best Audio Book, Narration, and Storytelling Recording: Viola Davis - Finding Me

Best Comedy Album: Dave Chappelle - The Closer

Best Engineered Album, Non-Classical: Harry Styles - Harry's House

Producer of the Year, Non-Classical: Jack Antonoff

Best Remixed Recording: Lizzo - About Damn Time (Purple Disco Machine Remix)

Smith accessorized their look with a glittering red cane, and a dangling silver earring.

Petras channeled a bride as she finalized her ensemble with a red veil, and tied in the whole outfit together with red lipstick.

The blonde beauty wore her platinum tresses parted on the side and styled straight.

The duo were surrounded by their entourage, who matched them in all-red looks of their own.

The musicians performed their hit song Unholy at the show - which hit to No. 1 on the Billboard Hot 100 songs chart in October.

The biggest night in music took place at the Crypto.com Arena in downtown Los Angeles with Trevor Noah hosting the show for a third year in a row.

Beyoncé made history as she broke the record for most Grammy wins ever after scooping her 32nd gong at the ceremony.

The superstar singer had been nominated for nine awards and walked away with Best R&B Song, Best Traditional R&B Performance, Best Dance/Electronic Music Album and Best Dance/Electronic Recording.

The Cuff It hitmaker, 41, was tearful during her acceptance speech as she thanked her husband, children, and late gay uncle.

Adele and Lizzo also won big but it was Harry Styles who shocked by scooping up the top honor.

Despite a triumphant night, the Queen Bey was unable to secure a win in the elusive Album Of The Year category as she lost out once again on the biggest prize of the night to Harry Styles.

The 29-year-old British singer won for his album Harry's House as he beat an impressive field of ten that included ABBA - Voyage, Adele - 30, Bad Bunny - Un Verano Sin Ti and Beyoncé - Renaissance.

Earlier in the night, Harry beat out heavy competition including Adele and Lizzo as he earned the first award of the night at the star-studded event.

He earned Best Pop Vocal Album for his third solo album Harry's House at the star-studded event.

The As It Was hitmaker beat out ABBA - Voyage, Adele - 30, Coldplay - Music of the Spheres, and Lizzo - Special.

Adele earned her one Grammy Award on the night in the Best Pop Solo Performance category for smash hit track Easy On Me.

The 34-year-old hitmaker triumphed over Bad Bunny - Moscow Mule, Doja Cat - Woman, Harry Styles - As It Was, Lizzo - About Damn Time, and Steve Lacy - Bad Habit.

Lizzo was one of the biggest winners of the night as she earned the coveted Record Of The Year gong for smash hit About Damn Time.

The 34-year-old Minnesota native beat out a very impressive and packed field including ABBA - Don't Shut Me Down, Adele - Easy on Me and Beyoncé - Break My Soul.

Perhaps the most shocking moment of the night came when Bonnie Raitt was a surprise winner of the Song of the Year award.

The 73-year-old singer's Just Like That staved off competition from a star-studded field of nominees that included Taylor Swift, Lizzo, Harry Styles, Beyonce and Adele.

Sam Smith and Kim Petras earned Best Pop Duo/Group Performance for hit Unholy as the 30-year-old transgender German singer accepted the honor on behalf of the pop duo.

Kendrick Lamar won three gongs including the coveted Best Rap Album for Mr. Morale & the Big Steppers.

Grammy Awards 2023 WINNERS

Album of the Year

ABBA - Voyage

Adele - 30

Bad Bunny - Un Verano Sin Ti

Beyoncé - Renaissance

Brandi Carlile - In These Silent Days

Coldplay - Music of the Spheres

Harry Styles - Harry's House - WINNER

Kendrick Lamar - Mr. Morale & the Big Steppers

Lizzo - Special

Mary J. Blige - Good Morning Gorgeous (Deluxe)

Record of the Year

ABBA - Don't Shut Me Down

Adele - Easy on Me

Beyoncé - Break My Soul

Brandi Carlile Featuring Lucius - You and Me on the Rock

Doja Cat - Woman

Harry Styles - As It Was

Kendrick Lamar - The Heart Part 5

Lizzo - About Damn Time - WINNER

Mary J. Blige - Good Morning Gorgeous

Steve Lacy - Bad Habit

Song of the Year

Adele - Easy on Me

Beyoncé - Break My Soul

Bonnie Raitt - Just Like That - WINNER

DJ Khaled Featuring Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy - God Did

Gayle - ABCDEFU

Harry Styles - As It Was

Kendrick Lamar - The Heart Part 5

Lizzo - About Damn Time

Steve Lacy - Bad Habit

Taylor Swift - All Too Well (10 Minute Version) (The Short Film)

Best New Artist

Anitta

Domi & JD Beck

Latto

Måneskin

Molly Tuttle

Muni Long

Omar Apollo

Samara Joy - WINNER

Tobe Nwigwe

Wet Leg

Best Pop Solo Performance

Adele - Easy on Me - WINNER

Bad Bunny - Moscow Mule

Doja Cat - Woman

Harry Styles - As It Was

Lizzo - About Damn Time

Steve Lacy - Bad Habit

Best Pop Duo/Group Performance

ABBA - Don't Shut Me Down

Camila Cabello Featuring Ed Sheeran - Bam Bam

Coldplay & BTS - My Universe

Post Malone & Doja Cat - I Like You (A Happier Song)

Sam Smith & Kim Petras - Unholy - WINNER

Best Traditional Pop Vocal Album

Diana Ross - Thank You

Kelly Clarkson - When Christmas Comes Around...

Michael Bublé - Higher - WINNER

Norah Jones - I Dream of Christmas (Extended)

Pentatonix - Evergreen

Best Pop Vocal Album

ABBA - Voyage

Adele - 30

Coldplay - Music of the Spheres

Harry Styles - Harry's House - WINNER

Lizzo - Special

Best Dance/Electronic Recording

Beyoncé - Break My Soul - WINNER

Bonobo - Rosewood

David Guetta & Bebe Rexha - I'm Good (Blue)

Diplo & Miguel - Don't Forget My Love

Kaytranada Featuring H.E.R. - Intimidated

Rüfüs Du Sol - On My Knees

Best Dance/Electronic Music Album

Beyoncé - Renaissance - WINNER

Bonobo - Fragments

Diplo - Diplo

Odesza - The Last Goodbye

Rüfüs Du Sol - Surrender

Best Contemporary Instrumental Album

Brad Mehldau - Jacob's Ladder

Domi & JD Beck - Not Tight

Grant Geissman - Blooz

Jeff Coffin - Between Dreaming and Joy

Snarky Puppy - Empire Central - WINNER

Best Rock Performance

Beck - Old Man

The Black Keys - Wild Child

Brandi Carlile - Broken Horses - WINNER

Bryan Adams - So Happy It Hurts

Idles - Crawl!

Ozzy Osbourne Featuring Jeff Beck - Patient Number 9

Turnstile - Holiday

Best Metal Performance

Ghost - Call Me Little Sunshine

Megadeth - We'll Be Back

Muse - Kill or Be Killed

Ozzy Osbourne Featuring Tony Iommi - Degradation Rules - WINNER

Turnstile - Blackout

Best Rock Song

Brandi Carlile - Broken Horses - WINNER

Ozzy Osbourne Featuring Jeff Beck - Patient Number 9

Red Hot Chili Peppers - Black Summer

Turnstile - Blackout

The War on Drugs - Harmonia's Dream

Best Rock Album

The Black Keys - Dropout Boogie

Elvis Costello & The Imposters - The Boy Named If

Idles - Crawler

Machine Gun Kelly - Mainstream Sellout

Ozzy Osbourne - Patient Number 9 - WINNER

Spoon - Lucifer on the Sofa

Best Alternative Music Performance

Arctic Monkeys - There'd Better Be a Mirrorball

Big Thief - Certainty

Florence and the Machine - King

Wet Leg - Chaise Lounge - WINNER

Yeah Yeah Yeahs Featuring Perfume Genius - Spitting Off the Edge of the World

Best Alternative Music Album

Arcade Fire - WE

Big Thief - Dragon New Warm Mountain I Believe in You

Björk - Fossora

Wet Leg - Wet Leg - WINNER

Yeah Yeah Yeahs - Cool It Down

Best R&B Performance

Beyoncé - Virgo's Groove

Jazmine Sullivan - Hurt Me So Good

Lucky Daye - Over

Mary J. Blige Featuring Anderson .Paak - Here With Me

Muni Long - Hrs & Hrs - WINNER

Best Traditional R&B Performance

Adam Blackstone Featuring Jazmine Sullivan - 'Round Midnight

Babyface Featuring Ella Mai - Keeps on Fallin'

Beyoncé - Plastic Off the Sofa - WINNER

Mary J. Blige - Good Morning Gorgeous

Snoh Aalegra - Do 4 Love

Best R&B Song

Beyoncé - Cuff It - WINNER

Jazmine Sullivan - Hurt Me So Good

Mary J. Blige - Good Morning Gorgeous

Muni Long - Hrs & Hrs

PJ Morton - Please Don't Walk Away

Best Progressive R&B Album

Cory Henry - Operation Funk

Moonchild - Starfuit

Steve Lacy - Gemini Rights - WINNER

Tank and the Bangas - Red Balloon

Terrace Martin - Drones

Best R&B Album

Chris Brown - Breezy (Deluxe)

Lucky Daye - Candy Drip

Mary J. Blige - Good Morning Gorgeous (Deluxe)

PJ Morton - Watch the Sun

Robert Glasper - Black Radio III - WINNER

Best Rap Performance

DJ Khaled Featuring Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy - God Did

Doja Cat - Vegas

Gunna & Future Featuring Young Thug - Pushin P

Hitkidd & Glorilla - F.N.F. (Let's Go)

Kendrick Lamar - The Heart Part 5 - WINNER

Best Melodic Rap Performance

DJ Khaled Featuring Future & SZA - Beautiful

Future Featuring Drake & Tems - Wait for U - WINNER

Jack Harlow - First Class

Kendrick Lamar Featuring Blxst & Amanda Reifer - Die Hard

Latto - Big Energy (Live)

Best Rap Song

DJ Khaled Featuring Rick Ross, Lil Wayne, Jay-Z, John Legend & Fridayy - God Did

Future Featuring Drake & Tems - Wait for U

Gunna & Future Featuring Young Thug - Pushin P

Jack Harlow Featuring Drake - Churchill Downs

Kendrick Lamar - The Heart Part 5 - WINNER

Best Rap Album

DJ Khaled - God Did

Future - I Never Liked You

Jack Harlow - Come Home the Kids Miss You

Kendrick Lamar - Mr. Morale & the Big Steppers - WINNER

Pusha T - It's Almost Dry

Best Country Solo Performance

Kelsea Ballerini - Heartfirst

Maren Morris - Circles Around This Town

Miranda Lambert - In His Arms

Willie Nelson - Live Forever - WINNER

Zach Bryan - Something in the Orange

Best Country Duo/Group Performance

Brothers Osborne - Midnight Rider's Prayer

Carly Pearce & Ashley McBryde - Never Wanted to Be That Girl - WINNER

Ingrid Andress & Sam Hunt - Wishful Drinking

Luke Combs & Miranda Lambert - Outrunnin' Your Memory

Reba McEntire & Dolly Parton - Does He Love You (Revisited)

Robert Plant & Alison Krauss - Gonig Where the Lonely Go

Best Country Song

Cody Johnson - 'Til You Can't - WINNER

Luke Combs - Doin' This

Maren Morris - Circles Around This Town

Miranda Lambert - If I Was a Cowboy

Taylor Swift - I Bet You Think About Me (Taylor's Version) (From the Vault)

Willie Nelson - I'll Love You Till the Day I Die

Best Country Album

Ashley McBryde - Ashley McBryde Presents: Lindeville

Luke Combs - Growin' Up

Maren Morris - Humble Quest

Miranda Lambert - Palomino

Willie Nelson - A Beautiful Time - WINNER

Best New Age, Ambient, or Chant Album

Cheryl B. Engelhardt - The Passenger

Madi Das, Dave Stringer & Bhakti Without Borders - Mantra Americana

Mystic Mirror - White Sun - WINNER

Paul Avgerinos - Joy

Will Ackerman - Positano Songs

Best Improvised Jazz Solo

Ambrose Akinmusire - Rounds (Live)

Gerald Albright - Keep Holding On

John Beasley - Cherokee/Koko

Marcus Baylor - Call of the Drum

Melissa Aldana - Falling

Wayne Shorter & Leo Genovese - Endangered Species - WINNER

Best Jazz Vocal Album

The Baylor Project - The Evening : Live At Apparatus

Carmen Lundy - Fade to Black

Cécile McLorin Salvant - Ghost Song

The Manhattan Transfer & The WDR Funkhausorchester - Fifty

Samara Joy - Linger Awhile - WINNER

Best Jazz Instrumental Album

Joshua Redman, Brad Mehldau, Christian McBride & Brian Blade - LongGone

Peter Erskine Trio - Live in Italy

Terri Lyne Carrington, Kris Davis, Linda May Han Oh, Nicholas Payton & Matthew Stevens - New Standards, Vol. 1 - WINNER

Wayne Shorter, Terri Lyne Carrington, Leo Genovese & Esperanza Spalding - Live at the Detroit Jazz Festival

Yellowjackets - Parallel Motion

Best Large Jazz Ensemble Album

John Beasley, Magnus Lindgren & SWR Big Band - Bird Lives

Remy Le Boeuf's Assembly of Shadows - Architecture of Storms

Ron Carter & The Jazzaar Festival Big Band Directed by Christian Jacob - Remembering Bob Freedman

Steve Gadd, Eddie Gomez, Ronnie Cuber & WDR Big Band Conducted by Michael Abene - Center Stage

Steven Feifke, Bijon Watson & Generation Gap Jazz Orchestra - Generation Gap Jazz Orchestra - WINNER

Best Latin Jazz Album

Arturo O'Farrill & The Afro Latin Jazz Orchestra Featuring The Congra Patria Son Jarocho Collective - Fandango at the Wall in New York - WINNER

Arturo Sandoval - Rhythm & Soul

Danilo Pérez Featuring The Global Messengers - Crisálida

Flora Purim - If You Will

Miguel Zenón - Música de las Américas

Best Gospel Performance/Song

Doe - When I Pray

Erica Campbell - Positive

Maverick City Music & Kirk Franklin - Kingdom - WINNER

PJ Morton Featuring Zacardi Cortez, Gene Moore, Samoht, Tim Rogers & Darrel Walls - The Better Benediction

Tye Tribbett - Get Up

Best Contemporary Christian Music Performance/Song

Chris Tomlin - Holy Forever

Crowder & Dante Bowe Featuring Maverick City Music - God Really Loves Us (Radio Version)

Doe - So Good

For King & Country & Hillary Scott - For God Is With Us

Maverick City Music & Kirk Franklin - Fear Is Not My Future - WINNER

Phil Wickham - Hymn of Heaven (Radio Version)

Best Gospel Album

Doe - Clarity

Maranda Curtis - Die to Live

Maverick City Music & Kirk Franklin - Kingdom Book One (Deluxe) - WINNER

Ricky Dillard - Breakthrough: The Exodus (Live)

Tye Tribbett - All Things New

Best Contemporary Christian Music Album

Anne Wilson - My Jesus

Chris Tomlin - Always

Elevation Worship - Lion

Maverick City Music - Breathe - WINNER

TobyMac - Life After Death

Best Roots Gospel Album

Gaither Vocal Band - Let's Just Praise the Lord

Karen Peck & New River - 2:22

Keith & Kristyn Getty - Confessio - Irish American Roots

Tennessee State University - The Urban Hymnal - WINNER

Willie Nelson - The Willie Nelson Family

Best Latin Pop Album

Camilo - De Adentro Pa Afuera

Christina Aguilera - Aguilera

Fonseca - Viajante

Rubén Blades & Boca Livre - Pasieros - WINNER

Sebastián Yatra - Dharma +

Best Música Urbana Album

Bad Bunny - Un Verano Sin Ti - WINNER

Daddy Yankee - Legendaddy

Farruko - La 167

Maluma - The Love & Sex Tape

Rauw Alejandro - Trap Cake, Vol. 2

Best Latin Rock or Alternative Album

Cimafunk - El Alimento

Fito Paez - Los Años Salvajes

Gaby Moreno - Alegoría

Jorge Drexler - Tinta y Tiempo

Mon Laferte - 1940 Carmen

Rosalía - Motomami - WINNER

Best Regional Mexican Music Album (Including Tejano)

Chiquis - Abeja Reina

Christian Nodal - EP #1 Forajido

Marco Antonio Solís - Qué Ganas de Verte (Deluxe)

Natalia Lafourcade - Un Canto por México - El Musical - WINNER

Los Tigres del Norte - La Reunión (Deluxe)

Best Tropical Latin Album

Carlos Vives - Cumbiana II

Marc Anthony - Pa'lla Voy - WINNER

La Santa Cecilia - Quiero Verte Feliz

Spanish Harlem Orchestra - Imágenes Latinas

Tito Nieves - Legendario

Best American Roots Performance

Aaron Neville & The Dirty Dozen Brass Band - Stompin' Ground - WINNER

Aoife O'Donovan & Allison Russell - Prodigal Daughter

Bill Anderson Featuring Dolly Parton - Someday It'll All Make Sense (Bluegrass Version)

Fantastic Negrito - Oh Betty

Madison Cunningham - Life According to Raechel

Best Americana Performance

Asleep at the Wheel Featuring Lyle Lovett - There You Go Again

Blind Boys of Alabama Featuring Black Violin - The Message

Bonnie Raitt - Made Up Mind - WINNER

Brandi Carlile Featuring Lucius - You and Me on the Rock

Eric Alexandrakis - Silver Moon [A Tribute to Michael Nesmith]

Best American Roots Song

Anaïs Mitchell - Bright Star

Aoife O'Donovan & Allison Russell - Prodigal Daughter

Bonnie Raitt - Just Like That - WINNER

Brandi Carlile Featuring Lucius - You and Me on the Rock

Robert Plant & Alison Krauss - High and Lonesome

Sheryl Crow - Forever

Best Americana Album

Bonnie Raitt - Just Like That...

Brandi Carlile - In These Silent Days - WINNER

Dr. John - Things Happen That Way

Keb' Mo' - Good to Be...

Robert Plant & Alison Krauss - Raise the Roof

Best Bluegrass Album

The Del McCoury Band - Almost Proud

The Infamous Stringdusters - Toward the Fray

Molly Tuttle & Golden Highway - Crooked Tree - WINNER

Peter Rowan - Calling You From My Mountain

Yonder Mountain String Band - Get Yourself Outside

Best Traditional Blues Album

Buddy Guy - The Blues Don't Lie

Charlie Musselwhite - Mississippi Son

Gov't Mule - Heavy Load Blues

John Mayall - The Sun Is Shining Down

Taj Mahal & Ry Cooder - Get on Board - WINNER

Best Contemporary Blues Album

Ben Harper - Bloodline Maintenance

Edgar Winter - Brother Johnny - WINNER

Eric Gales - Crown

North Mississippi Allstars - Set Sail

Shemekia Copeland - Done Come Too Far

Best Folk Album

Aoife O'Donovan - Age of Apathy

Janis Ian - The Light at the End of the Line

Judy Collins - Spellbound

Madison Cunningham - Revealer - WINNER

Punch Brothers - Hell on Church Street

Best Regional Roots Music Album

Halau Hula Keali'i o Nalani - Halau Hula Keali'i o Nalani (Live at the Getty Center)

Natalie Ai Kamauu - Natalie Noelani

Nathan & The Zydeco Cha-Chas - Lucky Man

Ranky Tanky - Live at the 2022 New Orleans Jazz & Heritage Festival - WINNER

Sean Ardoin & Kreole Rock and Soul Featuring The Golden Band From Tigerland - Full Circle

Best Reggae Album

Kabaka Pyramid - The Kalling - WINNER

Koffee - Gifted

Protoje - Third Time's the Charm

Sean Paul - Scorcha

Shaggy - Com Fly Wid Mi

Best Global Music Performance

Arooj Aftab & Anoushka Shankar - Udhero Na

Burna Boy - Last Last

Matt B & Eddy Kenzo - Gimme Love

Rocky Dawuni Featuring Blvk H3ro - Neva Bow Down

Wouter Kellerman, Zakes Bantwini & Nomcebo Zikode - Bayethe - WINNER

Best Global Music Album

Angélique Kidjo & Ibrahim Maalouf - Queen of Sheba

Anoushka Shankar, Metropole Orkest & Jules Buckley Featuring Manu Delago - Between Us... (Live)

Berklee Indian Ensemble - Shuruaat

Burna Boy - Love, Damini

Masa Takumi - Sakura - WINNER

Best Children's Music Album

Alphabet Rockers - The Movement - WINNER

Divinity Roxx - Ready Set Go!

Justin Roberts - Space Cadet

Lucky Diaz and the Family Jam Band - Los Fabulosos

Wendy and DB - Into the Little Blue House

Best Audio Book, Narration, and Storytelling Recording

Jamie Foxx - Act Like You Got Some Sense

Lin-Manuel Miranda - Aristotle and Dante Dive Into the Waters of the World

Mel Brooks - All About Me!: My Remarkable Life in Show Business

Questlove - Music Is History

Viola Davis - Finding Me - WINNER

Best Spoken Word Poetry Album

Amanda Gorman - Call Us What We Carry: Poems

Amir Sulaiman - You Will Be Someone's Ancestor. Act Accordingly.

Ethelbert Miller - Black Men Are Precious

J. Ivy - The Poet Who Sat by the Door - WINNER

Malcolm-Jamal Warner - Hiding in Plain View

Best Comedy Album

Dave Chappelle - The Closer - WINNER

Jim Gaffigan - Comedy Monster

Louis C.K. - Sorry

Patton Oswalt - We All Scream

Randy Rainbow - A Little Brains, a Little Talent

Best Musical Theater Album

Original Broadway Cast - A Strange Loop

New Broadway Cast - Caroline, or Change

'Into the Woods' 2022 Broadway Cast - Into the Woods (2022 Broadway Cast Recording) - WINNER

Original Broadway Cast - MJ the Musical

'Mr. Saturday Night' Original Cast - Mr. Saturday Night

Original Broadway Cast - Six: Live on Opening Night

Best Compilation Soundtrack for Visual Media

Various Artists - Elvis

Various Artists - Encanto - WINNER

Various Artists - Stranger Things: Soundtrack From the Netflix Series, Season 4

Lorne Balfe, Harold Faltermeyer, Lady Gaga & Hans Zimmer - Top Gun: Maverick

Various Artists - West Side Story

Best Score Soundtrack for Visual Media (Includes Film and Television)

Germaine Franco - Encanto - WINNER

Hans Zimmer - No Time to Die

Jonny Greenwood - The Power of the Dog

Michael Giacchino - The Batman

Nicholas Britell - Succession: Season 3

Best Score Soundtrack for Video Games and Other Interactive Media

Austin Wintory - Aliens: Fireteam Elite

Bear McCreary - Call of Duty®: Vanguard

Christopher Tin - Old World

Richard Jacques - Marvel's Guardians of the Galaxy

Stephanie Economou - Assassin's Creed Valhalla: Dawn of Ragnarök - WINNER

Best Song Written for Visual Media

Beyoncé - Be Alive

Carolina Gaitán - La Gaita, Mauro Castillo, Adassa, Rhenzy Feliz, Diane Guerrero, Stephanie Beatriz & Encanto - Cast - We Don't Talk About Bruno - WINNER

Jessy Wilson Featuring Angélique Kidjo - Keep Rising (The Woman King)

Lady Gaga - Hold My Hand

Taylor Swift - Carolina

4*Town, Jordan Fisher, Finneas O'Connell, Josh Levi, Topher Ngo & Grayson Villanueva - Nobody Like U

Best Instrumental Composition

Danilo Pérez Featuring The Global Messengers - Fronteras (Borders) Suite: Al-Musafir Blues

Geoffrey Keezer - Refuge - WINNER

Miguel Zenón, José Antonio Zayas Cabán, Ryan Smith & Casey Rafn - El País Invisible

Tasha Warren & Dave Eggar - African Tales

Tasha Warren & Dave Eggar - Snapshots

Best Arrangement, Instrumental or A Cappella

Armand Hutton Featuring Terrell Hunt & Just 6 - As Days Go By (An Arrangement of the Family Matters Theme Song)

Danny Elfman - Main Titles

Kings Return - How Deep Is Your Love

Magnus Lindgren, John Beasley & The SWR Big Band Featuring Martin Auer - Scrapple From the Apple - WINNER

Remy Le Boeuf - Minnesota, WI

Best Arrangement, Instruments and Vocals

Becca Stevens & Attacca Quartet - 2 + 2 = 5 (Arr. Nathan Schram)

Cécile McLorin Salvant - Optimistic Voices / No Love Dying

Christine McVie - Songbird (Orchestral Version) - WINNER

Jacob Collier Featuring Lizzy McAlpine & John Mayer - Never Gonna Be Alone

Louis Cole - Let It Happen

Best Recording Package

Fann - Telos

Soporus - Divers

Spiritualized - Everything Was Beautiful

Tamsui-Kavalan Chinese Orchestra - Beginningless Beginning - WINNER

Underoath - Voyeurist

Best Boxed or Special Limited Edition Package

Black Pumas - Black Pumas (Collector's Edition Box Set)

Danny Elfman - Big Mess

The Grateful Dead - In and Out of the Garden: Madison Square Garden '81, '82, '83 - WINNER

They Might Be Giants - Book

Various Artists - Artists Inspired by Music: Interscope Reimagined

Best Album Notes

Andy Irvine & Paul Brady - Andy Irvine / Paul Brady

Astor Piazzolla - The American Clavé Recordings

Doc Watson - Life's Work: A Retrospective

Harry Partch - Harry Partch, 1942

Wilco - Yankee Hotel Foxtrot (20th Anniversary Super Deluxe Edition) - WINNER

Best Historical Album

Blondie - Against the Odds: 1974 - 1982

Doc Watson - Life's Work: A Retrospective

Freestyle Fellowship - To Whom It May Concern...

Glenn Gould - The Goldberg Variations: The Complete Unreleased 1981 Studio Sessions

Wilco - Yankee Hotel Foxtrot (20th Anniversary Super Deluxe Edition) - WINNER

Songwriter of the Year, Non-Classical

Amy Allen

Laura Veltz

Nija Charles

The-Dream

Tobias Jesso Jr. - WINNER

Best Engineered Album, Non-Classical

Baynk - Adolescence

Father John Misty - Chloë and the Next 20th Century

Harry Styles - Harry's House - WINNER

Robert Glasper - Black Radio III

Wet Leg - Wet Leg

Producer of the Year, Non-Classical

Boi-1da

Dahi

Dan Auerbach

Dernst "D'Mile" Emile II

Jack Antonoff - WINNER

Best Remixed Recording

Beyoncé - Break My Soul (Terry Hunter Remix)

Ellie Goulding - Easy Lover (Four Tet Remix)

The Knocks & Dragonette - Slow Song (Paul Woolford Remix)

Lizzo - About Damn Time (Purple Disco Machine Remix) - WINNER

Wet Leg - Too Late Now (Soulwax Remix)

Best Immersive Audio Album

Anita Brevik, Nidarosdomens Jentekor & Trondheimsolistene - Tuvayhun - Beatitudes for a Wounded World

The Chainsmokers - Memories...Do Not Open

Christina Aguilera - Aguilera

Jane Ira Bloom - Picturing the Invisible: Focus 1

Stewart Copeland & Ricky Kej - Divine Tides - WINNER

Best Engineered Album, Classical

Anita Brevik, Nidarosdomens Jentekor & Trondheimsolistene - Tuvayhun - Beatitudes for a Wounded World

Anne-Sophie Mutter, Boston Symphony Orchestra & John Williams - Williams: Violin Concerto No. 2 & Selected Film Themes

Edwin Outwater & Chicago Symphony Orchestra - Mason Bates: Philharmonia Fantastique: The Making of the Orchestra - WINNER

Pittsburgh Symphony Orchestra & Manfred Honeck - Beethoven & Stucky: Orchestral Works

Third Coast Percussion - Perspectives

Producer of the Year, Classical

Christoph Franke

Elaine Martone

James Ginsburg

Jonathan Allen

Judith Sherman - WINNER

Best Orchestral Performance

Berlin Philharmonic & John Williams - John Williams: The Berlin Concert

Los Angeles Philharmonic & Gustavo Dudamel - Dvořák: Symphonies Nos. 7-9

New York Youth Symphony - Works by Florence Price, Jessie Montgomery, Valerie Coleman - WINNER

Various Artists - Sila: The Breath of the World

Wild Up & Christopher Rountree - Stay on It

Best Opera Recording

Boston Modern Orchestra Project & Odyssey Opera Chorus - Anthony Davis: X: The Life and Times of Malcolm X

The Metropolitan Opera Orchestra & The Metropolitan Opera Chorus - Blanchard: Fire Shut Up in My Bones - WINNER

The Metropolitan Opera Orchestra & The Metropolitan Opera Chorus - Eurydice

Best Choral Performance

The Crossing - Born - WINNER

English Baroque Soloists & Monteverdi Choir - J.S. Bach: St. John Passion, BWV 245

The Metropolitan Opera Orchestra, The Metropolitan Opera Chorus, Yannick Nézet-Séguin, Ailyn Pérez, Michelle DeYoung, Matthew Polenzani & Eric Owens - Verdi's Requiem: The Met Remembers 9/11

Best Chamber Music/Small Ensemble Performance

Attacca Quartet - Caroline Shaw: Evergreen - WINNER

Dover Quartet - Beethoven: Complete String Quartets, Vol. 2 - The Middle Quartets

Neave Trio - Musical Remembrances

Publiquartet - What Is American

Third Coast Percussion - Perspectives

Best Classical Instrumental Solo

Daniil Trifonov - Bach: The Art of Life

Hilary Hahn - Abels: Isolation Variation

Mak Grgić - A Night in Upper Town - The Music of Zoran Krajacic

Mitsuko Uchida - Beethoven: Diabelli Variations

Time for Three, The Philadelphia Orchestra & Xian Zhang - Letters for the Future - WINNER

Best Classical Solo Vocal Album

Il Pomo d'Oro - Eden

Nicholas Phan, Brooklyn Rider, The Knights & Eric Jacobsen - Stranger - Works for Tenor by Nico Muhly

Renée Fleming & Yannick Nézet-Séguin - Voice of Nature: The Anthropocene - WINNER

Sasha Cooke & Kirill Kuzmin - How Do I Find You

Will Liverman, Paul Sánchez & J'Nai Bridges - Shawn E. Okpebholo: Lord, How Come Me Here?

Best Classical Compendium

Christopher Tin, Voces8, Royal Philharmonic Orchestra & Barnaby Smith - The Lost Birds

Kitt Wakeley - An Adoption Story - WINNER

The Metropolitan Opera Orchestra & Yannick Nézet-Séguin - A Concert for Ukraine

Seunghee Lee, JP Jofre & London Symphony Orchestra - Aspire

Best Contemporary Classical Composition

Andris Nelsons & Gewandhausorchester - Gubaidulina: The Wrath of God

Carlos Simon, MK Zulu, Marco Pavé & Hub New Music - Simon: Requiem for the Enslaved

Ian Rosenbaum & Dover Quartet - Akiho: Ligneous Suite

Jack Quartet - Bermel: Intonations

Time for Three, The Philadelphia Orchestra & Xian Zhang - Puts: Contact - WINNER

Best Music Video

Adele - Easy on Me

BTS - Yet to Come

Doja Cat - Woman

Harry Styles - As It Was

Kendrick Lamar - The Heart Part 5

Taylor Swift - All Too Well: The Short Film - WINNER

Best Music Film

Adele - Adele One Night Only

Billie Eilish - Billie Eilish Live at the O2

Justin Bieber - Our World

Neil Young & Crazy Horse - A Band a Brotherhood a Barn

Rosalía - Motomami (Rosalía TikTok Live Performance)

Various Artists - Jazz Fest: A New Orleans Story - WINNER

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Sam Smith and Kim Petras match in red ahead of Grammys performance

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Sam Smith and Kim Petras commanded attention on the red carpet at the 65th Annual Grammy Awards in Los Angeles on Sunday.

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We will be thinking about Sam Smith's 2023 Brit Awards look for the rest of time.

In what can only be described as the ultimate serve, the singer caught everyone's eye on the red carpet as they rocked up wearing an inflatable latex sculpture.

Dressed head-to-toe in all black, Sam, who has made headlines recently with their risqué performances, left jaws on the floor, in the almost David Bowie esque quirky ensemble.

Sam, who is non-binary and uses they/them pronouns, of course, paired the unusual outfit with a pair of absolutely killer heels.

The outfit itself is from a brand named Harri, which specialises in eye-catching latex fashions.

Sam's specific trousers are described as 'doubled-handled vase trousers' and are made to order, but retail for £4,000.
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The fitted black top, meanwhile, costs £300.

Sam is set to take to the stage tonight with Kim Petras, fresh off making history at the Grammys as Kim became the first transgender artist to take home the award for best pop duo/group.

Since going viral on TikTok, their track Unholy has been inescapable, and we have no doubt they'll pull out all the stops once more tonight.

It's fair to say Sam and Kim have caused a divide, however, as not everyone is on board with some of the religious themes in their live performances.

In fact, some people were incredibly angry about their Grammys number, branding the duet 'satanic.'

One person who has had Sam's back, though, is Madonna, whom they were keen to thank after the chaos of Grammys weekend died down.

Publicly thanking the Like A Virgin hitmaker for introducing them and championing their artistic creations, Sam uploaded a raunchy snap of the pair backstage at Sunday night's ceremony.

Posing beside Madonna, the award-winning singer donned a red see-through shirt and knelt beside the star who sported a black corset and fishnet tights.

They penned the caption: 'Overwhelmed, grateful and inspired. Thank you for your love and support. I'll never forget your kindness', next to the picture that received plenty of love from supportive fans on Instagram.

Meanwhile, they'll be hoping to take home another trophy for their collection at tonight's Brits, with the likes of Harry Styles, Wet Leg, Beyoncé, Taylor Swift, Lewis Capaldi, Lizzo, and so many more earning noms.

Along with Sam and Kim, Lizzo and Harry will perform, as will rap star Stormzy.

The Brit Awards 2023 will air live tonight at 8pm on ITV1 and ITVX.

Brit Awards nominees 2023
Song of the Year
Aitch and Ashanti - Baby

Cat Burns - Go

Dave - Starlight

Lewis Capaldi - Forget Me
Best New Artist
Kojey Radical

Mimi Webb

Rina Sawayama

Sam Ryder

Wet Leg
Artist of the Year
Central Cee

Fred again..

George Ezra

Harry Styles

Stormzy
Group of the Year
The 1975

Arctic Monkeys

Bad Boy Chiller Crew

Nova Twins

Wet Leg
International Group of the Year
Blackpink

Drake & 21 Savage

First Aid Kit

Fontaines D.C.

Gabriels
Best Pop/R&B Act
Cat Burns

Charli XCX

Dua Lipa

Harry Styles

Sam Smith
Best Rock/Alternative Act
The 1975

Arctic Monkeys

Nova Twins

Tom Grennan

Wet Leg
Best Dance Act
Becky Hill

Bonobo

Calvin Harris

Eliza Rose

Fred again..
Best Hip Hop/Grime/Rap Act
Aitch

Central Cee

Dave

Loyle Carner

Stormzy
International Artist of the Year
Beyoncé

Burna Boy

Kendrick Lamar

Lizzo

Taylor Swift
International Song of the Year
Beyoncé - Break My Soul

Gayle - abcdefu

Jack Harlow - First Class

Lizzo - About Damn Time

OneRepublic - I Ain't Worried

Taylor Swift - Anti-Hero

Wet Leg - Wet Leg

Harry Styles - Harry's House

MORE : Jessie J is a vision in red for Brit Awards with cut-outs to show off baby bump in all its glory

MORE : S Club 7 stars reunite on Brit Awards red carpet 21 years after win - ahead of huge announcement

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Sam Smith rocks up to Brits in inflatable latex sculpture and we are obsessed

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Sam Smith rocked up to the 2023 Brits wearing an inflatable latex sculpture and we are obsessed.

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Sam Smith and Kim Petras' performance of "Unholy" at the 2023 Brit Awards prompted dozens of viewers in the United Kingdom to file complaints.

The Office of Communications, which regulates TV, radio, phone and other services, received 106 complaints for this year's Brit Awards, which was held Feb. 11 in London and broadcast on ITV1, according to the office's website.

"The majority of complaints related to Sam Smith's performance, with the remainder about the use of offensive language and consumption of alcohol," an Ofcom spokesperson told British tabloid Daily Mail.

Just last week, the duo drew complaints for its performance at the 2023 Grammys, with Smith donning a hat with devil horns and Petras dancing in front of fire.

Smith and Petras won the Grammy Award for pop duo/group performance, making Petras the first transgender woman to win in that category.

At the Brit Awards, they traded the fiery red aesthetic for a grimier, postapocalyptic, Mad Max-inspired look, drawing more from the music video's auto "body shop" themes. Smith still wore his devil hat, and as he walked off the stage, a pair of dancers were seen making out on the hood of a car.

Even though 106 complaints were enough to make the top three of Ofcom's weekly public list, it paled in comparison to other recent controversial broadcasts.

Topping the week's list was Capital FM radio host Ant Payne, who drew fire for telling listeners to book "cheap" flights to Turkey after an earthquake there killed thousands. That broadcast prompted 567 complaints, according to Ofcom. The most complaints in recent years were provoked by Piers Morgan's comments about Meghan Markle's suicidal thoughts, which drew more than 50,000 complaints.

In the United States, the "Unholy" Grammy performance prompted only 18 complaints to the Federal Communications Commission, according to TMZ.

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Sam Smith, Kim Petras draw majority of complaints for performance at 2023 Brit Awards

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Sam Smith and Kim Petras' racy performance of "Unholy" at the 2023 Brit Awards drew the majority of the complaints about the show to the UK's Office of Communications.

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Tweets by samsmith

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Sam Smith's puts on body weight but showcases their evolving appearance as a body-positive. This photo showcases their confidence and influence as a cultural icon that challenges conventional beauty standards. It also contributes to a broader discussion in the music industry and popular culture towards embracing self-acceptance and body positivity.

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LONDON, ENGLAND - FEBRUARY 11: EDITORIAL USE ONLY: Sam Smith attends The BRIT Awards 2023 at The O2 Arena on February 11, 2023 in London, England. (Photo by Gareth Cattermole/Gareth Cattermole/Getty Images)

Sam Smith has posted more images revealing their body and fans are rejoicing.

The singer has spoken recently about feeling more confident in their body, and about not wanting to conform to beauty standards, pushing the envelope for what beauty can and should look like in 2023.

In a new set of photos the singer, who uses they/them pronouns, can be seen wrapped up in string again, the same as they were in a previous set of photos for Perfect magazine.

They are also wearing a corset that doesn't fit with their belly protruding from the bottom, and in one picture, the singer is holding their hand proudly atop their stomach.

It comes three weeks after Sam Smith posted the first set of photos from the Perfect magazine shoot where they were laying on the floor and bound in ties and wearing all red. They captioned the photo "honey roasted Sam."

Smith had spoken out about overcoming body image issues earlier this year when they revealed they "forced" themselves to underdress at the swimming pool to get more confident.

"Within my industry there is definitely that question of, 'What should a pop star look like?' When I was 25 I came off tour exhausted," they told The Sunday Times, speaking of a time before their new born confidence.

But they said they are in a more confident place now, and famously described their outlook as being "the opposite of body dysmorphia."

Earlier this year Smith turned up to the BRIT awards wearing a balloon outfit which caused a similar storm of outrage on social media.

Fans of Smith's have commented on their new set of photos showing their support and acknowledging that the singer's photos are controversial to some.

"This is gonna piss so many people off and I'm here for it," wrote one user.

Another wrote: "This is taking your power back."

Responding to hateful messages, another commenter wrote: "This comment section is literally why these photos matter."

Smith has been promoting their new album Gloria, which is out now.
Read more entertainment news on City A.M. Life&Style
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Sam Smith fans delighted as singer posts more revealing body pics

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Sam Smith fans are delighted as the singer has posted more revealing pics of their body to promote their new album

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Sam Smith's multifaceted construction of pop persona and artist identity.

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Sam Smith's multifaceted construction of pop persona and artist identity.

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Sam Smith | Music Artist, Actor, Composer

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Known for: Spectre, Pitch Perfect 2, Sam Smith & Kim Petras: Unholy

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This review of Sam Smith "The Thrill of It All" reflects on the critical acclaim that the album received. It highlights Sam's unwavering ability to connect emotionally with their audience through their soulful vocals and lyrical depth. The positive reception highlights their continued relevance and artistic growth in the music industry.

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In his follow up to 2014's multi-award winning debut In the Lonely Hour, Sam Smith bares his soul for listeners in a collection of songs that candidly speak on love, passion and heartbreak.

Following a few years away from music and the spotlight altogether, Smith returns with a truly unadulterated portrayal of the love life of a millennial, but with sophisticated lyrical content and timeless tales of tenderness and despair that even those not of the same demographic as Smith can relate to, suggesting Smith is much wiser than his years.

Opening with lead single "Too Good at Goodbyes" - a song that tells of someone's strength after intense heartbreak - Smith informs listeners from the offset that this album is a deeply personal one. It is clear from listening that while it may not contain as many 'hits' as it predecessor, The Thrill of it All is a stark portrayal of the life of a 20-something who has been thrust into the spotlight and intensely scrutinised, and lays the emotions that come with it bare. The universal themes of love and heartbreak might seem outdated to some; however, Smith's rich tone with his signature breathiness enables all listeners to relate, as there is a true element of yearning in his voice in every song.

Following the numerous cruel jibes about his weight and his gaffe during his speech at the 2016 Academy Awards - in which he incorrectly stated that it was the first Oscar to be won by a homosexual man - Smith understandably took some time off, and the album truly shows he's gone and experienced more of life than he had in his debut. This is perhaps most apparent in singles "Burning", which Smith himself has referred to as the "most personal song [he's] written in [his] life", and "Pray", a collaboration with renowned R&B and rap producer Timbaland, which was inspired by his time spent in Mosul in Iraq with the charity War Child. This song in particular displays Smith's versatility, incorporating Timbaland's signature beats alongside a gospel choir who give the song even greater emotional weight. While the imagery that is conveyed by Smith is somewhat bleak, it highlights a depressing realism and finding solace with one's own sadness.

A true vocal highlight of the album is "No Peace", the only one to feature another artist, YEBBA, the moniker for New York based soul singer Abbey Smith, who is of no relation to Sam. To hear another singer hold their own whilst performing a duet with [Sam] Smith is a real treat to the ears as their voices compliment each other beautifully, and this song serves as a true standout.

Throughout, Smith's adoration of the late George Michael is apparent. This album is truly reminiscent of Michael's Listen Without Prejudice Vol. 1, in which Michael fully established himself as a fully formed solo force to be reckoned with, completely eradicating his 'teenybopper' past. Whilst Smith didn't have a past life as a teen pop idol, it is apparent that this album serves as somewhat of a reinvention from his past, and is an exemplar for other artists trying to put their emotions on display without oversharing, but whilst also being brutally frank. Smith's skill in reinventing himself whilst remaining true to his artistry and remaining authentic is commendable. Whilst The Thrill of it All isn't a complete departure from the artist we all know and love, it is clear that Smith is in a new phase of his career and is encompassing what it means to be a 'soul' singer.

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Truly thrilling: Sam Smith's second album serves up brutal realism

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The themes of love and heartbreak might seem outdated, but Sam Smith's vocals provide a true element of yearning in each of his songs.

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This review of Sam Smith's "Gloria" album underscores the continued critical acclaim that has been a hallmark of Smith's stardom. This sustained positive reception further solidifies Sam Smith's enduring stardom and their pivotal role in the music industry.

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With an uncommonly powerful voice and a debut album that garnered four Grammys, Sam Smith easily could have stayed in the same lane for their entire career - beautifully sung songs about heartbreak and longing in a smooth, sometimes slick pop-R&B vein with a dazzling array of vocal pyrotechnics. But after three albums, so much heartache and moping began to feel like a third dinner with your recent-big-breakup friend.

Smith's fourth album, "Gloria" is not that at all - it's a wild, wide-ranging night out that's tinged with adventure and some danger, but still gets you home safely. More than a new chapter for Smith, it's a musical rebirth that completely redefines them as an artist - there are smooth and commercial songs along with ballads and slow jams and dancefloor anthems, and most of all, an adventurousness that was only hinted at before. It's full of surprises.

But along with all that, Smith has become a much more assured singer, their vocals and phrasing taking on a nuance that evokes classic R&B singers from Gladys Knight and Anita Baker to Mary J. Blige, but more the mid-period work of George Michael, Sade and especially Prince, whose influence looms large in several songs here. There's plenty of the powerhouse soaring that fans crave, but it's used strategically and sparingly, with the focus more on suiting the mood and the lyric than shattering glass. The heartache is still there, but with less insecurity and more I-will-survive, like the songs are coming from a person more comfortable in their own skin.

The album opens deceptively with "Love Me More," a gospel-inflected self-care song that places its empowering but sometimes dark lyrics - "Every day I'm trying not to hate myself" - over a sincere, sing-song melody that seems more suited to a John Legend or Jon Batiste (or, honestly, a TV commercial). But from there the album shifts into gear with three R&B-tinged songs that swing between the low-key disco of "Lose You" to the sultry "Perfect," a duet with Canadian-Colombian singer Jessie Reyez that sums up one of the album's themes: "I'm not perfect, but I'm worth it/ I'm not perfect, but I'm working on it."

The easy groove of those three songs comes to a lurching halt when "Unholy" - Smith's swaggering smash duet with Kim Petras released last fall - throws open the door and thunders in. A throbbing pop-dance track about a family man's adventures in unsafe sex, it has a skulking rhythm and raucous, roaring chorus that sounds like a cross between an Arabic melody and a sea chanty. It's the most sexually loaded song to top the Billboard Hot 100 since Cardi B and Megan Thee Stallion's "WAP," but it's one of the most musically innovative and unusual songs in years to do the same.

How do you follow that? With a gentle acoustic ballad called "How to Cry," of course. The album's sequence proceeds masterfully, ebbing and flowing in mood and sound, dropping down with the post-coital slow jam "Six Shots," picking up again with the pinging electro single "Gimme," and climaxing with an irresistible disco anthem that could well be Smith's next No. 1 and the song of this summer, "I'm Not Here to Make Friends." A collaboration with Reyez and DJ titan Calvin Harris, it's embellished with a Chic groove, sparkling strings and a sassy title that will inspire countless don't-f-with-me finger-pointing on dancefloors, but the real payoff comes in the response: "I'm not here to make friends/ I need a lover." (And may we respectfully suggest that a remix featuring Dua Lipa would be stunning.)

Naturally, that energy peak is followed with something drastically different: the hymn-like, vocals-only title track, which was recorded with a full choir in the medieval-era church Smith attended as a child (and which they performed on "Saturday Night Live" last weekend with a surprise appearance from actor Sharon Stone). The song features just the choir for the first minute, until Smith's voice comes soaring in, evoking images of angels on a church ceiling; although they've described it as "my queer anthem," the lyrics are fairly elliptical and again are counterintuitive to the music - demons and monsters in the first verse, empowerment in the second. But the spiritual themes of a song called "Gloria" sung by a medieval-sounding church choir could not be more obvious.

It seems like the finale, but it's not: The album closes with "We Love Who We Love," a gentle, hand-on-the-shoulder duet with Ed Sheeran that leaves the listener, no doubt intentionally, with the words, "So let go/ You don't know better than your heart knows/ We love who we love."

For such a musically far-reaching album - with 11 fully realized songs in just over 33 minutes, no less - it's surprising that Smith and longtime musical collaborator Jimmy Napes worked mostly with just two teams: the long-running multiplatinum Norwegian duo Stargate (Beyonce, Mariah Carey, Rihanna) and the quartet of Ilya, Cirkut, Blake Slatkin and Omer Fedi (Ariana Grande, Nicki Minaj, the Weeknd, Lil Nas X, Justin Bieber between them), although "We Love Who We Love" was helmed with longtime Sheeran collaborator Johnny Mac.

Their contributions can't be understated, but there's no question that this is Smith's story. "It feels like emotional, sexual and spiritual liberation," they said of the album when it was announced last fall. "Oddly, it feels like my first-ever record. And it feels like a coming of age." With songs that are both sacred and profane, with R&B and pop and disco and chorales, "Gloria" is all of that and more.

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Sam Smith's 'Gloria' Is a Glorious Creative Rebirth, Ranging From the Sacred to the Profane: Album Review

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With R&B and pop and disco and chorales, Sam Smith has reinvented their career with the wide-ranging 'Gloria.'

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The review of Sam Smith's "In the Lonely Hour" highly praises Smith's unique vocal style and genre-blending skills, particularly in Soul, Pop, and Garage. It praises the emotional depth of tracks like "Good Thing" and "I'm not the only One," drawing comparisons to Soul legends. The review commends Smith ability to storytelling concluding with strong recommendation for fans worldwide.

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A really important British singer!
Brit Award winner Samuel Frederick 'Sam' Smith is the name on every ones lips and this is because of his distinctive vocal style and how interesting he makes his tracks which can mix up Soul, Pop and even Drum 'n' Bass and 2-Step Garage. 'In the lonely Hour' is his highly anticipated debut album and follow-up to his extended play EP 'Nirvana'.

I have to say what an album it is, starting off with his brilliant and well received single 'Money on my Mind' Which is the second to be released of the record. This song is lead by a Garage beat and Sam's vocals which are high pitched in moments. Most people would love this track but I can see why some people wouldn't because Sam's tone when he get's going is a love or hate thing, which I have personally come to love. This is a great track to listen to on your Walkman while your out and about and has a great groove to it.

The second track 'Good Thing' is a track that even Al Green or any Soul legend would be happy to call their own it is slow but has real emotion to it that Sam really brings across well. Like in his new single 'Stay with Me' which is the third track on the album and a really stand out song. This really sounds like a classic Northern Soul track and the feeling is so amazing, it also has almost a Celtic feel half way through showing Sam is not afraid to mix things up. I think this is a song that will go down in history and will not be forgotten. It's a simple little song but it doesn't need anything more than it's got and that is what makes it so good.

'Leave your Lover' is an emotional ballad which has a nice flow to it. It is a traditional Pop love song that is very nice to listen to and again shows off what Sam Smith is best at. 'I'm not the only One' has a Marvin Gaye feel, you can imagine Sam singing 'Dock of the Bay' really well and I like the fact he puts his influences into his music and the quite underlining piano really makes the track. If you like classic Soul material you will absolutely love this song. 'I told you Now' is a cut down track that in places is just very quiet piano and acoustic guitar letting the vocals tell the story of it, this track really needs no more said than this.

'Like I Can' is slightly more upbeat and almost a Diva Esq. Soul song which Sam really makes his own. I like the whole story telling theme that goes throughout each song on the album and the fact his constant reinventing himself on each track is present but keeping to his own formula. I would love to see someone like Anastasia doing a cover of this song. I think it would really work for her, not that it doesn't work for Sam. 'Life Support' is one of my favourite songs on the album, I really like his change from normal vocals to falsetto vocals. This is a style I have always been keen on and Sam really pulls off well. This song has a lovely melody and you can really feel what he is singing about and can relate to it really well.

'Not in that Way' is a nice quite interlude to the record and leads on nicely to the first single to be released off 'In the lonely Hour' the brilliant 'Lay me Down' a song that kind of brought Sam to the attention of many people in the UK. This song is just a beautiful love ballad, that you just can't help falling in love with. 'Restart' is the surprise to the album with it's slow down house groove, and 90's feeling chart Soul feel. I really like this song and wonder why it is was so late on the album. I could hear this being played in an Urban club on a Friday night and groove to it, along with Bobby Brown, PM Dawn and even Prince tracks.

I really love this song and would buy the album just to get this track. It even has a little bit of a Luther Vandross feel to it which is great and a 90's sounding break down near the end. The acoustic version of 'Latch' is a nice addition to the album, but it's the radio friendly 'La, La, La' that stands out and makes you want to hit the dance floor. Sam ends the album with 'Make it to Me' another great Soul / Pop ballad and you realise this is an album you must have in your collection if your into Northern Soul and great Pop vocals and their is no wonder why so many people have been waiting for it with baited breath. I will be checking out Sam Smith more in the future. I really loved this album and it's one I must have in my collection.
Review by Dan Devour Check Out! the Video for 'Stay with Me' Below...

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A really important British singer! Brit Award winner Samuel Frederick 'Sam' Smith is the name on every ones lips and this is because of his distinctive vocal style and how interesting he makes his tracks which can mix up Soul, Pop and even Drum 'n' Bass and 2-Step Garage.

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Such reviews underscore Sam Smith stardom image and public persona. They have a distinct and emotionally resonant vocal style, which demonstrates their genre-blending versatility.

It further highlights their ability to evoke powerful emotions that connect with their audience on a personal level, contributing to their popularity and acclaim in the music industry.

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These explores themes of love and songwriting among young British artists which Sam Smith and Ed Sheeran participated in shedding light on their creative skills and aspirations for crafting compelling music.

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There's a new viral video making the rounds featuring British R&B supernova Sam Smith performing a slowed-down live cover of Whitney Houston's " How Will I Know." Smith's version is a funeral dirge, slow and inconsolably sad. He isn't reinventing this once-joyous song; he's sifting through its wreckage. The video is a revelation - Smith's voice is an increasingly supple and wondrous instrument - and also a mistake. Some songs weren't meant to be sad.
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Smith's debut album, "In the Lonely Hour," dropped last week; "x," the likely star-making release from countryman Ed Sheeran, follows this week. Both men are earnest British upstarts with soul-singer voices and a fair amount of stateside buzz. Both have made thoroughly decent, deeply mild albums about navigating fame and love in their early 20s.

"In the Lonely Hour" shows off every facet of Smith's voice to goose-pimple-raising effect, but it resembles one of those anodyne, anonymous debut discs "American Idol" winners used to make.

Smith was signed to a major-
label deal partly on the strength of "Latch," a garage-pop club-turned-mainstream hit for Disclosure. He co-wrote the song and supplied vocals. "Lonely Hour," an unofficial concept album about unrequited love, is more interested in middle-of-the-road balladry and over-the-top big drama signifiers than in even modestly adventurous pop songs. (This is an album that, when contemplating the use of a gospel choir, asks why not two gospel choirs.)

It's impossible not to be moved by Smith's breathy, quavery voice, which functions as one of nature's purest torture-delivery devices. It's also impossible not to want something more from him - and for him - than this tragically pretty collection, which offers several moments of great beauty (the technicolor weepiness of "Stay With Me," "Good Thing") and too many interchangeable ballads.

Smith, 22, has been telling interviewers that he hasn't been involved in an actual romantic relationship, which would explain why "In the Lonely Hour" relies on falsettos, "Psycho" shower scene violins and gospel choirs to evoke a depth of feeling that, at least on some subterranean level, feels unearned.

The most convincing track is the opener, "Money on My Mind," an uncharacteristically synth-heavy pop song that seems engineered to sound great coming out of a minivan. It's about Smith's record deal. "Please, can you make this work for me?" Smith asks an anonymous record-label person. "I'm not a puppet / I will work against your strings." Smith is far too mild to convincingly rage against the machine, but it's heartening to see him push, however politely, at the outer reaches of his sound.

Sheeran does much the same thing on his inescapable new hit "Sing," a collaboration with the equally inescapable Pharrell. "Sing" takes almost all the sounds Sheeran occasionally dabbles in - folk, soul, scaled-down hip-hop rhythms, sing-talking really fast over a beat - and tackles them all at once. Sheeran's love of rapping previously made its presence known in awkward ways, sometimes in the middle of proper folk songs - as if he wanted to be Damien Rice but decided halfway through to settle for Jason Mraz. But everything on "x" is more accomplished, more assured and interesting than on Sheeran's full-length 2011 debut, "+."

Sheeran was a successful singer-songwriter following that album's release, before he was all but adopted by Taylor Swift the next year. He co-wrote and sang on her hit "Everything Has Changed," and she later took him on tour as an opening act.

Sheeran, 23, travels much of the same territory as Smith - isolation, unrequited love, the generalized angst of early adulthood - but if "Lonely Hour" is the work of an emotional savant, "x" (meaning "multiply") feels more like the work of a skillful careerist. Sheeran's real life (he's a well-connected striver, no offense intended, who once lived in Courteney Cox's Malibu beach house) almost has to be more exciting than the life of the fake Ed Sheeran who lives in the songs of "x," someone who likes to sit on the couch and get wasted when he isn't out on the road making bad romantic choices.

"X" paints a portrait of an Everyman so patient and sensitive that he makes the singer-songwriters of the '70s seem like war criminals. He will love you desperately forever. Unless you just want to be friends, in which case he will counsel you on body image (don't freak out because you're fat, he advises the titular "Nina": "We can all be loved the way that God made us") and watch YouTube cat videos with you.

Even when Sheeran gets mad, he's not really mad, just disappointed ("I wasn't looking for a promise or commitment / But it was never just fun and I thought you were different," Sheeran tells a faithless ex who is possibly Ellie Goulding on the slinky, Timberlake-ian "Don't").

On "x," everything hits just right. He knows just how far to push his ballads, which have a natural inclination toward mush: "Tenerife Sea" is lush and gorgeous, its vocals stacked to the heavens. The delicate guitar ballad "Thinking Out Loud" is a blatant and mercilessly effective bid for "I'll Be"-style wedding-song immortality ("Honey, your soul can never grow old / It's evergreen").

Sheeran grounds his guy-next-door devotionals in enough practical detail - someone's always hung over or lost or eating pizza - to make them seem hyperreal. Smith's tales of woe are more unformed, almost aspirational, as if plucked from his "romantic misery" Pinterest board. They're not fantasies, exactly, just heartbreaks that haven't happened yet.

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Sam Smith and Ed Sheeran - young Brits in search of love and slightly better songs

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There's a new viral video making the rounds featuring British R&B supernova Sam Smith performing a slowed-down live cover of Whitney Houston's "How Will I Know." Smith's version is a funeral dirge, sl...

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Piers Morgan's reaction was brought into mainstream media. It highlights his views regarding differences in perspective or values and the ongoing conversation about artistic expression and boundaries in the music industry.

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Piers Morgan Reacts To Sam Smith's "Disgusting and Vulgar" Tour

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Fans are given into Sam smith personality offering a lighthearted and endearing glimpse into their sense of humour, further adding to their public image while connecting with fans humanizing their stardom image.

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 Musical Brilliance: The Turning Point in Stardom.

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 Musical Brilliance: The Turning Point in Stardom.

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"In the Lonely Hour," released on May 26, 2014, is a 10-track debut that received multiple Grammy Awards, including Record of the Year and Best Pop Vocal Album. The themes are centred around heartbreak and unrequited love, solidifying their status as a standout artist with potential for a highly successful music career.

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Share your videos with friends, family, and the world

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Among many interviews Sam Smith have agreed to, this interview really reflects their evolving persona, their stardom image transformation that challenges societal norms, and the profound impact of self-discovery, self-acceptance and positive body image.

It is a testament that Sam uses their platform for positivity, helping people overcome similar issues and inspiring others, promoting an inclusive standard of beauty in the music industry.

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Sam Smith x Jameela Jamil on body image and self acceptance | I Weigh Interviews

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Here , we witness a remarkable shift in Sam Smith public persona compared with their earlier interviews during their career. They express self-assured confidence, openly discussing their personal journey and experience. This suggests they have matured and transformed with their unwavering commitment to authenticity, inspiring positive change.

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Sam Smith Extended Interview | ‘The Jennifer Hudson Show’

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Sam Smith has opened up about their non-binary journey and their style evolution.

Back in 2019, the Unholy singer came out as non-binary and genderqueer during an interview with Jameela Jamil.

"I've always had a little bit of a war going within my body and my mind. I do think like a woman sometimes, in my head. Sometimes I've questioned, 'Do I want a sex change?' and it's something I still think about, like: 'Do I want to?'" they said.

"But I don't think it is. When I saw the words' non-binary' and 'genderqueer' and I read into it, and I heard this person speaking, I was like 'Fuck, that's me.'"

Since that fateful day, Smith has remained an open book regarding their gender identity journey.

In a recent interview with GQ UK, the 30-year-old revealed that they always identified as non-binary despite being labelled as "a gay male".

"That's never really been me. I've always felt queer. I've always felt non-binary trans. My whole life," they explained.

"And it wasn't until I had to sit in interviews every day and tell people my story again and again and again that I realised this narrative that was being created was only a small fraction of who I was."

Smith also opened up about their fashion evolution and trying out "masc dressing" at the start of their career.

"This is what I think people don't understand: that the first five years of my career, I almost felt like I was a woman, at times, dressing up in male clothing," they explained.

"It didn't feel like I was regressing in any way. I just felt like I was trying new things out."

Smith went on to say that after a while, they started to feel trapped with their masc-centred style.

"Like, 'Oh, wow, people think this is who I am and what I've always been. And so if I change this now and go a bit more experimental with my clothes, it's gonna ruin this brand that's been created,' you know? So that was weighing on my shoulders for a few years," they explained.

Towards the end of their interview, the young talent opened up about their upcoming music - which they described as "emotionally, spiritually, and sexually liberated."

"I'm really excited to go into these rooms and - and, and, and - show people that I've come out of this, all of this, OK. And happy. And really quite excited about the rest of my life with... with me," they added.

Check out Sam Smith's music video for their new single, Unholy featuring Kim Petras, here or below.

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Sam Smith breaks silence on their non-binary journey: "I've always felt gender non-conforming"

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Grammy winner Sam Smith has opened up about their non-binary journey and their style evolution over the years.

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Sam Smith has come out as non-binary saying he feels "like a woman sometimes" and has considered having a sex change.

He was speaking to actress Jameela Jamil about fame, body image and confidence.

"I've always had a little bit of a war going within my body and my mind," Sam said in the interview.

"I do think like a woman sometimes, in my head. Sometimes I've questioned 'Do I want a sex change?'

"It's something I still think about, like, 'Do I want to?'"

Many non-binary people don't identify as either male or female and use the pronouns they or them instead of he or she.

The BBC is not responsible for the content of external sites.

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Sam says listening to conversations about being non-binary made him realise that was how he identified.

"I'm not male or female, I think I flow somewhere in between. It's all on the spectrum," he says.

He added that he had always resented being "feminine in many ways" and describes being non-binary as being "your own special creation".

'Existing between genders'

"I knew I was different until the age of 21," China, who lives in Leeds and identifies as non-binary, tells Radio 1 Newsbeat.

China, like Sam, says that discovering other people who identified as non-binary helped them understand how they perceived their gender.

"When I started started studying gender as part of my English degree it hit me like a thunderbolt - I was non-binary.

"I've always existed between the two genders.

"When you find out that there are actual terms around it, it's real, it's political and scientific you get attached to it."

But non-binary people like China and writer Jamie Windust say that they face daily scrutiny from other people.

'Fetishised'

"I don't mind the questions but context is important," Jamie tells Newsbeat.

"With most people they don't have that context, we'll just be talking and having a normal conversation and it'll go from zero to 100 and they'll ask something really bizarre about myself - usually about my body.

"You only need to know that if we're having sex."

In his interview with Jameela Jamil, Sam Smith says he has dated men who identify as heterosexual and believes "you fall in love with people, not genitals".

But both China and Jamie say that dating as a non-binary person can be a complicated experience.

"It feels like I'm something for people to tick off the list or to experience. That can be quite damaging when it comes to building a relationship," says Jamie.

They say non-binary people can be "fetishised" by people who just want to broaden their sexual experiences.

Sam Smith has previously dated model Jonathon Ziezel and 13 Reason Why actor Brandon Flynn - although he has not spoken about how his non-binary identity has affected his love life.

But he does say coming out as non-binary has helped him become happier with his own body image.

"I am feminine in many ways and I've always resented that," he says.

"I'll never look like that because there's a bit of a woman in me who won't let me look like that. I put on weight in places women put on weight.

"That spring-boarded everything actually. That's me looking at myself and thinking maybe I'm not a man, maybe I'm not a woman, maybe I'm just me."

Justice League actor Ezra Miller came out as non-binary in 2018 and Miley Cyrus has previously described herself as gender-neutral.

Follow Newsbeat on Instagram, Facebook and Twitter.

Listen to Newsbeat live at 12:45 and 17:45 every weekday on BBC Radio 1 and 1Xtra - if you miss us you can listen back here.

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Sam Smith comes out as non-binary: 'I'm not male or female'

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The singer says realising he doesn't identify as either gender has improved his body confidence.

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Inspirational Public persona and  evolving fashion sense!!

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Inspirational Public persona and  evolving fashion sense!!

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Sam Smith's fashion style has evolved throughout their music career. Their music attests to this as they have evolved during each stage of their music mile-stones. Their changing style reflects a shift in their public persona.

Changes in fashion can be seen in traditional and understated appearance to a more flamboyant and gender-fluid fashion sense. It signifies their fashion sense and suggests they are becoming comfortable and confident in themselves as an individual compared to their troubled past expressing their non-binary identity and advocating for LGBTQ+ rights. they are a champion of openness, boldness, and authenticity while challenging societal norms and establishing themselves as an influential LGBTQ+, inspiring others to follow suit.

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Sam Smith's rebellion is a response to actions or statements made by individuals who may hold conservative or traditional views towards their stardom status, challenging societal norms. This can be seen as empowering for their fan base and also controversial for those who resist change.

It also highlights a broader impact of public figures in influencing societal discussions surrounding gender identity and self-expression.

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Sam Smith’s is pissing off all the right people

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The singer has been picking up controversy left, right and centre from all the right people

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16.6K Likes, 1.8K Comments. TikTok video from StreetSpiritualityy (@streetspiritualityy): "#samsmith #concert #fyp #fypシ #viral #woke #woketok #lgtbq🏳️‍🌈". sam smith. original sound - StreetSpiritualityy.

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Fans often express nostalgia for the "old Sam" by commenting on different social media platforms. They compare the old Sam public persona and lament their shift in themes of love and emotions to bolder and more sexual content, which is expressed during their performances, lyrics, and videos.

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264.3K Likes, 7.3K Comments. TikTok video from Cristina (@cristinacosmad): "The moment everyone waited for . #samsmith #gloriatour #unholy #unholysamsmith". original sound - Cristina.

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Sam Smith brings a glitzy Eurovision of hell to the O2 Arena - review

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Tabloid-outrage-sparking show livens up the singer's sedate reputation with racier fare

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Log into Facebook to start sharing and connecting with your friends, family, and people you know.

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Sam Smith's body image attracted many critics and attention, which revealed complexities surrounding their public persona. While many supporters commend Smith's public journey as a powerful statement of self-love and body positivity, critics, on the other hand, suggest it is glorifying an unhealthy lifestyle. This represents a duality in perception and influences more layers to Smith's evolving public persona, and while they did put on body weight contributes to ongoing societal debate about body standards and image.

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Sam Online presence influences his stardom image.

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Sam Online presence influences his stardom image.

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Sam Smith's online participation is instrumental in crafting a compelling and multifaceted public persona. This helps in playing a pivotal role in their stardom image. They have an Instagram following of 14.6 million. Their platform is to express themselves and artistic growth, advocating for LGBTQ+ issues, which helps their audience to connect with them, reinforcing their image as a socially conscious artist. Equally, their ticktock platform has 8.8M followers, and YouTube has 16.4M subscribers, which serves as a platform to connect and communicate with their fans through personal insights, music updates, social advocacy, and cultural advocacy further solidifying their reputation as an artist committed to positive societal change.

Sam Smith additionally have an official website, which operates as a central hub offering official information about them. This is beneficial for Sam's public persona as it maintains a consistent brand image that enables direct fan engagement.

Thier social media platforms collectively permit Smith to showcase their ever-evolving style and artistic direction, representing the complexity of their public and private persona.

This dynamic and multifaceted online presence profoundly influences their fan base, further attracting attention and fans who connect with their music and social and cultural advocacy.

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Sam Smith is a perfect example of what degenerate Hollywood culture does to people. 

It makes celebrities vulgar, hyper-sexualised and obsessed with wearing their sexuality like a costume and shoving it in everyone’s face. 

And to make matters worse, kids look up to this man!

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Sam Smith is a perfect example of what degenerate Hollywood culture does to people. 

It makes celebrities vulgar, hyper-sexualised and obsessed with wearing their sexuality like a costume and shoving it in everyone’s face. 

And to make matters worse, kids look up to this man! https://t.co/0xpUryCl3a

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Sam Smith is a perfect example of what degenerate Hollywood culture does to people.

It makes celebrities vulgar, hyper-sexualised and obsessed with wearing their sexuality like a costume and shoving it in everyone’s face.

And to make matters worse, kids look up to this man! pic.twitter.com/0xpUryCl3a
— Dominique Samuels (@Dominiquetaegon) January 28, 2023

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Sam Smith is a perfect example of what degenerate Hollywood culture does to people. 

It makes celebrities vulgar, hyper-sexualised and obsessed with wearing their sexuality like a costume and shoving it in everyone’s face. 

And to make matters worse, kids look up to this man! https://t.co/0xpUryCl3a

# data[].attributes.attachment_link.metadata.attachment_props.original_text
Sam Smith is a perfect example of what degenerate Hollywood culture does to people. 

It makes celebrities vulgar, hyper-sexualised and obsessed with wearing their sexuality like a costume and shoving it in everyone’s face. 

And to make matters worse, kids look up to this man! https://t.co/0xpUryCl3a

# data[].attributes.attachment_link.metadata.attachment_props.text
Sam Smith is a perfect example of what degenerate Hollywood culture does to people. 

It makes celebrities vulgar, hyper-sexualised and obsessed with wearing their sexuality like a costume and shoving it in everyone’s face. 

And to make matters worse, kids look up to this man!

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Emotions Evoked from “Too Good at Goodbyes” Song by Sam Smith.

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Emotions Evoked from “Too Good at Goodbyes” Song by Sam Smith.

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Sam Smith have the ability to create emotionally resonant music, which is a critical factor in their popularity and success as an artist, as people can connect from all backgrounds, cultures and languages beyond borders.

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Sam participated in the "Carpool Karaoke" video with Fifth Harmony. They express themselves as a down-to-earth, humorous, talented young artist who values collaboration, and authenticity. This aids in their public persona because it is relatable. Their vocal prowess, friendly demeanour, and evolving fashion sense and style collectively contribute to their enduring stardom image and popularity.

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Carpool Karaoke w/ Sam Smith ft. Fifth Harmony

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As someone who's been in the industry for over a decade, Sam Smith is no stranger to personal, musical, and stylistic evolutions. Each era has been reflected not only through songwriting and music but also through their clothes, thanks to their ever-changing, experimental style.

Early in Sam Smith's career, we saw them experiment with various colors, fabrics, and patterns. These were usually in a stand-out piece, whether a fuschia blazer or a silk shirt under a suit, that allowed them to be whimsical and bright to elevate their style. When Sam Smith came out as non-binary, they began to bend the concepts of gender within their personal style, especially on the red carpet. They used more accessories, incorporating delicate and intentional jewelry pieces into each look, sometimes pairing them with high-heeled shoes and designer bags. In their latest red carpet looks in 2023, Sam has started to experiment with more avant-garde looks that play with shapes.

As the years have progressed, we've seen a soft and experimental personal style turn daring and provocative. From the fiery-red look from the 2023 Grammys all the way back to the textured blazer they wore during the 2014 Brit Awards. Here, we revisit some of Sam Smith's outfits to see how their style has evolved over the years.

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Sam Smith's Style Has Always Been About Experimentation

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With a touch of risk-taking and a healthy dose of experimentation, Sam Smith's style always stands out.

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Background

Samuel Frederick Smith, popularly known as Sam Smith, was born in Cambridgeshire, England, to Kate Cassidy and Frederick Smith, on May 19, 1992. Their pronouns are they/them, and they identify as non-binary. Their father worked as a truck driver and greengrocer, and their mother was a banker. Their parents prod them to sing after Smith sang a cover of Whitney Houston's 'My Love Is Your Love.' Following vocal training, Smith started performing in regional theater shows. Additionally, he participated in a jazz ensemble, the Cantate Youth Choir, and Bishop's Stortford Junior Operatics, now known as Bishops Stortford Musical Theatre Society.

Smith and their family relocated to London when he was 18 to pursue new opportunities. Their collaboration with Disclosure on the song 'Latch,' which featured the singer's ethereal falsetto, gave them their first major break. The song naturally got popular right away. Then, in 2013, Smith issued their debut album, "In the Lonely Hour." The difficulties the vocalist had in their personal life as a homosexual man served as inspiration for the record. They tweeted in 2009 that they identify as non-binary and that their pronouns are they/them.

They have worked with several notable musicians throughout the years, including Calvin Harris, Normani, Clean Bandit, Timbaland, and Summer Walker. The Brit Awards, Billboard Music Awards, American Music Awards, Golden Globe, four Grammys, and an Oscar are just a few of the honors Smith has received. Smith has had a remarkable career thus far, and it appears as if things can only get better.

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Sam Smith - Age, Bio, Birthday, Family, Net Worth | National Today

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Sam Smith had taken the world by storm at 22 and continues to make waves even. Here are some facts about the iconic singer that will make you love them even more.

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Sam Smith (@samsmith) on TikTok | 126.7M Likes. 8.8M Followers. IN THE CITY ⚓️.Watch the latest video from Sam Smith (@samsmith).

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Sam Smith's Official YouTube Channel IN THE CITY out now https://charlixcx.lnk.to/InTheCity DESIRE out now https://calvinharris.lnk.to/Desire MAN I AM out now https://barbiethealbum.lnk.to/SamSmith GLORIA is out now 💛 http://samsmith.world/GloriaYP GLORIA - THE TOUR 💛 http://samsmith.world/GloriaTour Listen to Sam Smith's Complete Collection here: http://samsmith.world/CatalogueID Stay up to date with Sam Smith music, tours and exclusives here: http://samsmith.world/RegisterID Follow Sam Smith: TikTok https://www.tiktok.com/@samsmith Instagram http://instagram.com/samsmith Twitter http://twitter.com/samsmith Facebook http://facebook.com/samsmithworld

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Smith collaborated with Madonna on a club anthem 'Vulgar' showing solidarity with Pride month. The lyrics were blunt and bold, Madonna chanting her verse: “If you fuck with Sam tonight, you’re fucking with me, So watch what you say or I’ll split your banana.” Fans went wild expressing solidarity and unity. This marked a pivotal journey is Sam's life. They wanted to express their sexual identity, connecting to a wider audience and others resonated and expressed confidence in their identity. Their approach through music inspired and uplifted the Pride community to confidently express their identity without prejudice.

Further, Sam expressed the need to make a statement not only for their own emotional wellbeing and internal image but for the world to know, and they endeavoured to express this through his music.

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Sam Smith And Madonna Have A Bold Message For Their Critics On ‘Vulgar’ New Collab

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The two controversial artists have come together to release their new fearless club anthem.

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In The Lonely Hour Album 2014

The album continues to express devastation in search for meaningful love, abhorring deceitful unfaithfulness but equally expressing a willingness to stay in relationships knowing there is disloyalty and chaos ravishing their peace of mind and soul. Sam speaks they would still stay in a relationship knowing their partner is having an affair, but argues that their spiritually tortured personalities actually make them a perfect match, “We both have demons that we can’t stand/I love your demons, like devils can” entrapping themself in unhealthy relationships. This will reinforce ongoing emotional abuse and pain, betrayal and loss of trust. One perspective can be seen in the fact they unapologetically express their deep sadness and their acceptance of aspects that cause them sadness as a cry for help. Perhaps their continuous myriad of low emotions are a way of them screaming for help. Even though their audience is listening and resonating with their music, they are sound deaf because who has returned his effort to help them through their demons.

Their album and much of their music echo the fear of loneliness, so acceptance of anything lower than what Sam would want in their life is reluctantly welcomed.

Sam Smith has had a spiral of personal issues showing dependency, emotional distress, anxiety, feelings of insecurity and depression but has nonetheless withstood their inner demons and celebrated the choices they have made in their life. They have become an inspiration for people who resonate with them. Their challenges has helped people overcome theirs and are celebrated among diverse communities contributing to Pride and Music. It is apparent that their trauma during different stages of their life has manifested emotionally, mentally, and psychologically that can lead to long-term damage to their well-being and overall quality of life. Thus, he has a talent for connecting to their wider audience through their soulful music and anyone who has been on similar life journeys can easily connect with their personal life journey and music and likely relate to the forlorn feelings Smith invokes.

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Sam Smith's debut album is titled In the Lonely Hour. But it could just have easily been called It's a Sad, Sad, Sad, Sad World.

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The theme of desperation becomes more apparent in this album. Their search for love and not a mere one-night stand is only a temporary fix to his unhappiness “Guess it’s true, I’m not very good at a one-night stand/ … This ain’t love, it’s clear to see/But darling, stay with me/ …'

The words and the lyrics they used were to convey their inner deep feelings, representing their state of mind during this time. Their album did just this! Sam articulated their emotions and sense of insecurity by loving someone who did not love them back, confirming this 'in the lonely hour.' speaking with thefader.com that this song was explicit about the man who didn't love him back, in their words, It’s about a guy and that’s what I wanted people to know—I want to be clear that that’s what it’s about.”

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Teaming up with Disclosure for a second time, Smith approached this song with a soulful and meaningful powerful presence, asking "Can I lay by your side, next to you, and make sure you're alright?" Their impressive vocals rooted more towards traditional American soul and gospel music and emphasising romance and love that sounds equally spiritual.

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The album further echoes a sense of loss, suggesting Sam has lowered their standards and is engaging in an unhealthy thought pattern, a diminished sense of self-esteem, distracting themself from their self-worth, and they are worthy of true love who will offer them what they deeply desire, someone who will put them first and love them as they want to be loved, “I will give you all of me/Just leave your lover, leave him for me.' This portrays their state of mind and desperation even though it will cost them their happiness, and inner security and peace.

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Sam Smith - Leave Your Lover (Official Video)

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During the pandemic of coronavirus 2020, Sam Smith changed the name 3rd album, excluding the word 'die' during the pandemic due to countless lives that were lost. They felt it was insensitive to name their album the original title. This expressed compassion and presented a different Sam that is outgrowing their internal struggles as highlighted in their previous albums rather they are expressing a mature version of themself that the audience can connect with.

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Sam Smith: Love Goes review | Alexis Petridis’s album of the week

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Smith attempts to mix despair with euphoria on an album that delivers plenty of gloom but not much glitter

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In a 2014 interview with Fader, Sam revealed that their debut album, 'In the Lonely Hour,' was inspired by one of the many unrequited relationships with other men they had been in relationships with.

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From the magazine: ISSUE 92, June/July 2014. This is the third of four covers from our annual Summer Music issue.
Sun ping-pongs off the skyline beneath the 11th floor of a hotel in West Berlin as Sam Smith cups his cappuccino and counts the cities he's visited in the last 10 days: New York, Chicago, Toronto, Los Angeles, Sydney, London and Amsterdam. Dissecting differences between European and American audiences, he talks blithely, with an appreciable daze incurred from crossing so many datelines. His sea blue eyes dart between his hands and the view of Kurfürstendamm, which rolls on endlessly. "I'm sorry, I just have to take a picture of this," he says, pulling out his iPhone. He filters the photo and Instagrams it immediately. Moments like this remind you of Smith's age; it's easy to forget that he's only 22. Most of the time, he seems far beyond his years, with a 6'4" frame, a polite eloquence and a subtle, mischievous charm that stems from a near lifetime of professional grooming.

Born in the rural county of Cambridgeshire, England, Smith was placed in formal vocal training with a local jazz singer at the age of 8, after his parents heard him singing along to Whitney Houston's "My Love Is Your Love" one morning on the drive to his Catholic primary school. Much of his childhood and adolescence, thereafter, was spent in theater rehearsals; his mother, then a prominent banker in London, often asked her son to perform for friends and associates at dinner parties. From the age of 12, Smith's career was handled by six different managers, with guarantees of fame that never came to pass. Meanwhile, burgeoning reality TV singing competitions like American Idol and Britain's Got Talent were rocketing common folk with uncommon voices to stardom. When he was 16, his mother was fired from her job for "gross misconduct," after supposedly spending too much company time on his budding pop career. (Smith denies his mother's over-involvement.) His formative years were spent pursuing fame, but it eluded him, leaving him with a persistent desire for the things he couldn't have-love included.

Smith moved to London at the age of 18 and tended bar in Essex, where he met songwriter Jimmy Napes. Together, they wrote "Lay Me Down," a forlorn ballad that Napes forwarded to Disclosure's managers in 2012. Smith was still unsigned at the time, but co-wrote "Latch" that same year, a collaboration with the house duo that featured his brawny and luscious falsetto. That voice provided a runway for "Latch" to crack the UK Top 20 and charmed Capitol Records president Nick Raphael, who signed him. It was a breakthrough made possible by something Smith hadn't yet explored musically: contrast. His voice is inherently traditional and lends itself to old standards; he has covered Judy Garland, Frank Sinatra and Chaka Khan to great effect. But pairing up with Disclosure (and later, with Naughty Boy on the #1 UK hit "La La La") added a contemporary edge to Sam Smith that made him sound, for once, as young as his age. Suddenly, he was relevant.

His debut album, In the Lonely Hour, is richly and deliberately pop, as expected from an artist who's long been made-up for the masses. The production is taut, and Smith's nuanced delivery is spotless. His honeyed tone injects illusions of joy on sorrowful songs like "Leave Your Lover," in which he begs an object of affection to do just that, and "Stay With Me," another pleading track about a one-night stand. Whitney Houston, an idol of his, created a similar emotive effect with her voice but from a different path. She was a girl from hardscrabble Newark whose vocal punch came straight from the church; her ability to make pop songs sound both sad and rhapsodic was the brilliance of her gospel roots. Much of the soulful inflections in Smith's singing, however, stem from study and emulation. But on record, that's still impactful, and the album's confessionals sound like hymns of unrequited love, with coils of precariousness and languishing heartache.

For a vocalist so dynamic, his speaking voice is without affect. Years of theater training can do that to an artist's speech, rinsing distinguishing tics like regional dialects, of which Smith has none. The person behind his voice remains largely a mystery, too. That anonymity has been part of Smith's major-label manicuring-he's been packaged so that his singing voice speaks for itself. But fame often demands a sacrifice of privacy. Earlier this year, tabloids linked Smith with model Daisy Lowe (he publicly confirmed their relationship was platonic), while the romantically ambiguous video for "Leave Your Lover" has many commenters questioning his sexuality. For a singer so readily associated with the love songs, he has remained vague on who he's singing about-until now. Today, with refreshing candor, Smith speaks about dreams of stardom, love songs and the man who inspired them.

How did you get started with music? My mum put me in vocal lessons once a week with a jazz singer named Joanna Eden. I remember our first lesson: I sang Frank Sinatra's "Come Fly With Me" and "Get Happy" by Judy Garland. You know when your parents say you are good at something? You are just like, "Yeah, whatever." But when my teacher said, "You've got something here"-I had never received a compliment for anything, because I was always quite average. For someone to hear my voice and be like, "Wow"-I really fed off that.

When did you start performing for audiences? I bought an amplifier when I was 11 years old. We had a conservatory in our house, which has, like, three really high stairs going up to a kind of stage area. Whenever my mum had dinner parties and when she was drunk, she used to make me go up on the stage and sing to everyone. I did, for some absurd reason.

Did you like it? I did. At first, I used to be like, "Mum, no," but she wasn't a pushy parent. It was actually my dad that used to push me. I think she was just very proud that her son could sing. But instead of going home from school and chilling and watching TV, I'd go and turn on the mic, and just sing to backing tracks by myself. Then I started doing musical theater, and backup singing for my jazz teacher. I used to go to jazz clubs, and my teacher would bring me out to sing "Feeling Good" with her as a duet. I was 15 or 16. I got thrown in the deep end sometimes.

A lot of talent managers took interest in you when you were young. When I was 14 or 15, I was promised stardom. It was sad, actually. [My managers] would literally say, "You're going to be this famous by next year." I was thinking, "Great, I can leave school at 16." They'd tell me things, and I'd go to school the next day and I'd be like, "I'm going to be doing this in a few months, I'm going to be singing a song with this person." It never materialized, and I looked like a complete idiot. I remember when Lady Gaga was coming out, watching her and hearing her story of how she hustled in New York for everything. I remember thinking "Right, that's what I need to do." I left the management and I started writing music. I moved to London and wrote a song called "Little Sailor," and one of the lyrics was Six different managers all filled with good intent/ Promised me the world but I haven't seen anything yet. It was a song to myself to say, "Hold out for one more year, and if you're still being let down and you're still being promised the world and nothing's happening, life's too short. Go and travel and be a 20-year-old boy."

What was it like growing up around strong women, between your mother and your two sisters? Well, my great aunts were some of the first-ever female bankers in London, and my mum was, too; she was the provider for the family. My dad was a house husband, so the roles of women in my family were so strong. The guys are amazing in our family, but they are more feminine. The females are the providers, which has turned me into a complete feminist. When I was young, my mum and dad use to have me and my sisters come downstairs to dinner parties, and we used to sit at the table with groups of my mum's work friends. I'd watch my mum hold her own until the very end with these men, who were hard businessmen. Just watching her has turned me into someone who really fights for things I believe in, and who has a lot confidence in what I do. There's a lot of independence, which has left me a bit lonely every now and then.

There are reports that your mother lost her job due to over-involvement in your career. Was she a stage mom? It was the most horrible situation. My mum was working in London-she was very powerful. There's so much to it. My mum is a very honest person and she did nothing wrong. When I was a kid, we lived in a big house in the countryside. We called it "the pink house." We had a swimming pool, we had all these amazing things. If my mum spent an hour a day on me, we wouldn't be living in that house. Also, if my mum was managing me, then what the fuck was my dad doing? My dad was with me all day, every day. That was my dad's job. I didn't have a pop career. I was in school every day from seven in the morning until five at night. All I had time to do was record some songs. The only thing I got mad about was that my mum was being presented as a stage mom. It actually takes away from me. The reason I'm in Berlin right now with you-yes, my mom and dad had a massive reason to do with that, but this is my work. This is me moving to London, and me singing and honing my craft. This is my choice. This is my passion and my drive.

With all your time spent focused on music, do you feel you had a proper adolescence? I was doing shows every day, or I'd be doing rehearsals for shows. So no, every single day after school I'd go to rehearsals and then sleep. I remember the first time I drank was at an after-school party when I was 16. When I turned 17, I stopped doing musical theater and I was making up for lost time a little bit. I went a bit mental. I remember my friends all wanted to go to bars and I just wanted to be a street rat and sit on the streets and drink because I never got to do that.

You sing a lot about love and relationships. What's been your experience with love? I've never been in a relationship before. I've only been in unrequited relationships where people haven't loved me back. I guess I'm a little bit attracted to that in a bad way. In the Lonely Hour is about a guy that I fell in love with last year, and he didn't love me back. I think I'm over it now, but I was in a very dark place. I kept feeling lonely in the fact that I hadn't felt love before. I've felt the bad things. And what's a more powerful emotion: pain or happiness?

Does he know he largely inspired the album? He does. I told him about it recently, and obviously it was never going to go the way I wanted it to go, because he doesn't love me. But it was good as a form of closure, to get it off my chest and tell him. I feel better for it. I feel almost like I signed off this part of my life where I keep giving myself to guys who are never going to love me back. It feels good to have interviews like this, to chat about it and put stuff to bed. It's all there now, and I can move on and hopefully find a guy who can love me the way I love him.

This is the first time you're speaking publicly about him. How comfortable are you to be open in this way now? I am comfortable with myself, and my life is amazing in that respect. I'm very comfortable and happy with everything. I just wanted to talk about him and have it out there. It's about a guy and that's what I wanted people to know-I want to be clear that that's what it's about. I've been treated as normal as anyone in my life; I've had no issues. I do know that some people have issues in life, but I haven't, and it's as normal as my right arm. I want to make it a normality because this is a non-issue. People wouldn't ask a straight person these questions. I've tried to be clever with this album, because it's also important to me that my music reaches everybody. I've made my music so that it could be about anything and everybody- whether it's a guy, a female or a goat-and everybody can relate to that. I'm not in this industry to talk about my personal life unless it's in a musical form.

Why do you think people are so curious about your sexuality? In the short time I've lived on this Earth, all I've seen are boxes. People put things in boxes; it makes it easier to digest information. People say I'm the new Adele. Why is [my sexuality] a talking point? I'm singing, I'm making music, I'm performing my music-that's what should be the talking point. If I come on record and start speaking about it in an interview, then mark my words, that's your time to chip in; I've given you the passcode to my business and to my personal life. But I am an artist, and in interviews, speaking like this, it's not my idea of art; it's just my idea of exchange, talking human to human. It shouldn't be an issue, but it will be an issue. It's always an issue.

Do you worry about future relationships being brought into the spotlight because of your fame? I do worry about it. But I also have a very strong head on my shoulders and I'm not willing to be someone I'm not for the sake of other people.

Are you ready for what fame brings? At 22, you're still very much figuring out your identity. You know what? I don't know [who I am] and I'm really not trying to pretend like I know. I don't know who I am. Did you know who you were at 22? I'm still trying to work out who I want to be. I know I want to be a singer, and it makes me feel good. Even going back to the writing thing-sometimes I go into the session and want to be like Beyoncé, so I try to do Beyoncé songs. But the only songs that work are the ones where I'm being myself. That moment never lasts though. Two years ago, I thought I was going to be a guy who was going to love parties and love mixing with stars, and be that kind of guy who soaks up the whole fame side of it. But the more I get into this, it's the only part that makes me uncomfortable.

Part of being a pop star is opening yourself up to a lot of criticism. For female artists, that often involves their bodies. Do you experience that same kind of criticism? I do, actually. I got a comment on my Instagram recently-I posted a picture and someone said, "He's getting fatter and fatter." It boggles my mind. I can see why people would go crazy. I do care about the way I look; I used to be really, really big as a child, so my weight is something that I have always been very conscious of and sensitive about. But I don't give a shit. I just need to have the best body I can and feel confident in that. I've had some horrible things said to me in my life, so I'm quite immune to things like that.

You represent a return of the virtuosic vocalist in popular music, much like artists you've idolized did in their time-Whitney Houston, Luther Vandross. Is that important to you? That's why I make the music I make. I want to make the music that's not there anymore. I'm so passionate about the singing voice. I genuinely feel like there's a snobbery in the industry where people feel like playing an instrument makes you a better songwriter or musician. What I'm trying to do actually with my album is show that it's my voice that's leading. It's my voice that's the instrument. It's hard, it's difficult-I watch artists around me that have 200 fans waiting outside of hotels and venues for them and they can't sing.

Does that make you angry? It makes me angry because the music isn't there. I'm part of that MTV generation. I care about what someone wears when they go to the studio. All I'm asking for is a balance between people who can make thousands of girls scream, and people who can deliver and make music that can stand the test of time. Some of these artists today-as famous people they will stand the test of time, but their music will not. If we don't have music that will last, what is the little kid sitting in the countryside in a pink house a hundred years down the line going to listen to for inspiration?

Where do you see yourself in 10 years? What do you want? I want to grow down a bit over the next few years. It's quite strange to say, but I feel like I've got quite an old head on my shoulders. I want to let go and have fun a bit more. But I want to be wise. I want to see the world. I want to be rich in all the foods I've tasted and all the places I've been and all the people I've kissed. I want to be rich in every single way.

Do you think fame will allow you to do that? I think it will. I hope it will to some extent. And if it doesn't, I'll be really disappointed because, in my head, fame and success were going to bring some magical things. I'm still hopeful for that.

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Sam Smith expressed anxiety due to their sexual orientation, but their music helped them through their anxiety and to become more self-aware and accepting of their sexual preferences. This has resonated with many of their audiences and has allowed them to become more confident in their sexual choice by connecting to Sam's social struggles.

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In her bi-weekly column, Social Anxiety, Emilie Friedlander peeks underneath the artifacts of contemporary culture to question what it all really means. This week, The FADER's executive editor Jessica Robertson steps in for a special guest edition.
I spent time with Sam Smith over two days in Berlin earlier this year, for one of our four FADER 92 Summer Music Issue cover stories. He was two weeks shy of his 22nd birthday, in the throes of a compact European tour in support of his debut album, In the Lonely Hour. By the time we met at his hotel in Kurfürstendamm, Smith had already told reporters the story behind the inspiration for the album: he'd fallen in love with someone who didn't love him back. We talked at length about love and relationships, and Smith spoke of the former with the wide-eyed innocence of someone who'd internalized an idealized version of that emotion. It made sense: a self-professed romantic, he was young and inexperienced. I, two weeks shy of turning 31, opened up to him in return, even sharing with him that most of my own relationships, significant or otherwise, have been with women. It wasn't until we revisited the subject of unrequited love in a follow-up interview that, for the first time, Smith stopped using gender-neutral pronouns ("someone") when discussing the object of his affection, and instead, said "he."

It wasn't momentous. After he revealed that he'd been in love with a man, the conversation continued openly and rather casually. He never labeled himself "gay," nor did he proclaim this revelation a "coming out"; he'd already done that in his personal life. (The FADER, in turn, didn't categorize Smith as "gay" or use the phrase "coming out" in the story; I personally still wouldn't, unless he chose that as his label.) Smith stressed that he was comfortable with his sexuality, and expressed a desire to present it to the public as a "normality"-something that needs no discussion or special attention. "I've been treated as normal as anyone in my life; I've had no issues," he said. "I do know that some people have issues in life, but I haven't, and it's as normal as my right arm. I want to make it a normality because this is a non-issue. People wouldn't ask a straight person these questions."

Smith assumes some privilege here; it's easier to normalize queerness by making it a "non-issue" when acceptance is what you've always known. In many ways, I can identify with him. I assume a lot of privilege, too; I'm a thin, white, blonde-haired, blue-eyed, college-educated, able-bodied, young-ish woman, who, physically, aligns with the socially constructed idea of femininity. This privilege often allows me to "pass" as heterosexual, an orientation that comes along with an even greater degree of social privilege. For that reason alone, I'm often quick to note my sexual orientation to others whenever the subject of sexuality is broached. While, like Smith, I'd say being gay feels normal, there's a paradox at play here, one of which Smith, like any queer person with a public platform, is surely well aware: queer visibility and activism are imperative to equality. But visibility-publicly acknowledging oneself to be different-runs contrary to the ideal of cultural assimilation. In fact, it's the opposite of blending in.

What Smith exhibits, in part, is post-gay ideology, "post-gay" being a term coined by British journalist Paul Burston in 1994 to connote the willful disassociation from certain stereotypes within gay culture. In an academic article for Princeton University, Canadian sociology professor Amin Ghaziani points out that the term found an American audience four years later, when O ut Magazine editor James Collard employed the phrase to assert that gays need no longer define themselves by their sexuality. Post-gay ideology is often used as a means of cultural assimilation (i.e. we're all the same on the inside!), and is rife in current popular culture. Television shows like Showtime's Queer as Folk and The L Word, for example, which were built around their, well, gayness, have been supplanted by shows like HBO's Looking, ABC's Modern Family or FOX's Glee, where gay characters appear in the storylines, but sexuality isn't the story. While the march for equality necessitates some variance of post-gay ideology, considering queerness a non-issue (because, well, look how far we've come!) can become synonymous with a kind of status quo politics. It does little to advance the cause of activists engaged in the battle for gay rights; nor does it do anything for those who, unlike Smith, currently face real issues surrounding their queerness.

Last week, Gawker writer Rich Juzwiack dissected some recent comments Smith made about popular dating and hook-up apps like Tinder and Grindr, the latter of which is for exclusive use by gay men. In the interview in question, Smith said he doesn't use either app, preferring in-person interaction to technology where matters of romance or love or sex are concerned. Juzwiack astutely noted that, while it's perfectly fine for Smith-or anyone, really-to prefer one approach to dating over the other, "the anti-app/anti-hookup stance also falls in line with the greater conservatism guiding Smith's presentation to the world as a gay man. His philosophy is, in short, to be gay, but not too gay." According to Juzwiack, Smith's desire to disassociate himself from Grindr is not just a disassociation from technology; it's a disassociation from the hook-up culture and hyper-sexualized stigma surrounding gay men.

Conflicted by the Juzwiack article, I asked S. Pearl Brilmyer, an assistant professor of English at the University of Oregon, who specializes in queer studies, to share some of her own thoughts about post-gay ideology, and, in particular, Smith's desire that his sexuality be viewed as "normal." Brilmyer came back to me with the suggestion that asserting one's sexuality as a "non-issue" is an attitude more in keeping with an ideology called homonormativity, one which doesn't seek to protest social and cultural norms so much as uphold them. To understand homonormativity, it's important to understand heteronormativity. The latter is an ideological assumption that everyone is straight, and that their behavior aligns with their gender, which aligns with their biological sex. For example, it's the assumption that any biological male will have sex exclusively with biological females, and act masculine, as the social construction of gender dictates. Conversely, women will sleep exclusively with men and act feminine. Homonormativity, unlike heteronormativity, does not assume that everyone is gay, but it applies heteronormative standards to the queer community. This gay ideology relies heavily on cultural assimilation, disassociation from gay stereotypes and acting in ways more socially accepted as normal. It's particularly tied to capitalist consumption and middle class sensibilities: the belief, for example, that people can sleep with people of whichever gender they prefer, but that they should still strive for marriage, a home in the suburbs and family life. In other words, queers should act straighter. Brilmyer writes in her email to me:
"[Homonormativity] is very harmful in that it perpetuates the notion that normality is a precondition for equality. Of course, the desire to present gay culture as 'normal' stems from the desire to further the cause-to persuade those who might be threatened by those who are different from them by convincing them that those who appear different are really 'the same.' (And, to be sure, this can be an effective strategy.) But in the process, it erases the very difference it sets out to defend. To me, the question is less, 'If [gayness] is treated as a non-issue, does it become a non-issue?,' than 'How can we recognize difference (all the issues!) while still advocating for equality? How can we convince others that we should end discrimination not because everyone is really deep down "the same" but precisely because they are different and we want to preserve that difference-and allow yet more differences to emerge?'"
It's unrealistic to think that Smith, or those like him-public figures in position of significant influence-could represent all things to all people. He is, in some ways, a scapegoat; he's young and inexperienced, and cannot help his privileged background. His neutrality, while not inherently right or wrong, may also be something of a professional mask; he's a rising pop star, after all, and considering the significant major label money interests at play, it's quite possible his gay public presentation is very different from who he really is in his personal life. But there's a pitfall of being a public figure and opting for normalization, one which Brilmyer summed up pretty brilliantly for me in her email: "Even if that's what he genuinely wants, why not use his position of privilege to tell the world that it's OK if you don't want that, if your desires are weird, if your family doesn't accept you, if you can't get a job because of your gender presentation? Should equality be awarded only to those who are 'like' the majority (or those in power), and thus, should we encourage queer people everywhere to not make their sexuality 'an issue,' so that they will appear less threatening? Or should we channel our energies into fighting for rights for those who haven't or are never going to be 'treated as normal' because of their race, sexuality, promiscuity, gender identity, etc.?"

While it may be unfair to expect Smith to meet all expectations thrust upon him by the public-especially at such a young age-they're questions he'll inevitably have to grapple with as he continues to define himself in the public eye. Before he can answer to his critics, he needs to answer to himself. That takes a whole lot of learning and a whole lot of living, which Smith has really only just begun.

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Social Anxiety: Sam Smith and the Complicated Matter of "Normalizing" Gayness

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The British pop singer says his sexuality is a "non-issue," but what does that do for the queer community?

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Sam Smiths albums address Pride in sexuality, sexual orientation and gender identity, followed by much sadness about being unlucky in love and personal experience about love and rejection. Only one song 'Money on My Mind,' from their album didn't address their underlying insecurity and blatant sadness was relating to their love for music, that it is not driven by money or fame, rather love for music, “I don’t have/Money on my mind/Money on my mind/I do it for/I do it for the love”.

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Sam Smith supports numerous charities that help people worldwide. This aids their stardom public image as people can connect with their charitable nature and their compassionate outlook.

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Profile of Sam Smith's support for charities including Comic Relief, MusiCares, and Children in Need. We have 18 articles about Sam Smith's philanthropy.