Shure strikes a high note at 67th GRAMMY Awards

The Crypto.com Arena was abuzz ahead of the 67th GRAMMY Awards. The evening wasn’t just about celebrating the biggest names in music, it was also an opportunity to show solidarity and support for the Los Angeles community, which is still recovering from the devastating fires in January. This made the evening's performances, songs and moments of remembrance even more meaningful for audiences around the world.

The audio production teams worked diligently to provide a transparent audio experience with the support of Shure wireless systems, including 46 channels of Shure Axient Digital microphones, 24 channels of PSM 1000 in-ear monitoring systems with 150 receiver packs, and a channel of Axient Digital PSM Digital In-Ear Monitor System used for host Trevor Noah’s IFB (interruptible foldback).

“Shure has been supporting the GRAMMY Awards for over 40 years, ensuring the audio quality is clear and reliable, and helping artists sound their best for the broadcast’s millions of viewers,” said Michael Abbott, audio producer for the 67th GRAMMY Awards.

The GRAMMY Premiere Ceremony also included 20 channels of Shure Axient Digital Microphones and 13 channels of Axient Digital PSM.

Dustin DeLuna, monitor engineer for the Premiere Ceremony, said, “This was my second time using the Axient Digital PSMs on a large format show and they did not disappoint. Again, the RF (radio frequency) transmission is far superior to anything I’ve ever used. Many compliments came in the form of high-fives and hugs. Simply put, it’s permanently on my request list for gear."

Days before the televised GRAMMY Awards, the 2025 MusiCares Persons of The Year was awarded to Grateful Dead, with performances from Dead & Company, My Morning Jacket, Bruce Hornsby, Dwight Yoakam, Zac Brown, Marcus King, Maggie Rose, Billy Strings, The War on Drugs, Norah Jones, Maren Morris and Noah Kahan. Every performance, including a legendary drum-off between Mick Fleetwood and Stewart Copeland, was captured with Shure Nexadyne instrument microphones.

Larry Reed, audio mixer, said, “The rugged Supercardioid Dynamic Tom Microphone, MXN6, with its securely attached mounting hardware, stayed in place no matter how hard the drummer played. The adjustable length and large diaphragm design significantly enhanced the mic position and stability. The EQ curves on both the Supercardioid Dynamic Kick Drum Microphone, MXN2, and the MXN6 tom mic naturally replicated the tonal shaping I used to achieve with external EQ. With excellent off-axis rejection, the need for additional gating and EQ was minimal. Overall, these mics are a turnkey solution for any drum kit, and I can confidently say that I’ve found my new go-to drum mics.”

Best New Artist winner, Chappell Roan, also performed with Shure’s new Nexadyne 8/S Supercardioid Dynamic Vocal Microphone capsule and Axient Digital for her performance of the hit Pink Pony Club.

Malcom Gil, Chappell Roan’s monitor engineer, shared, “The Shure Nexadyne isolates vocals in a unique way, making it easier to place them in the mix. I also believe it gives the artist greater vocal control.”

Frequency coordination also reportedly plays a crucial role in handling the vast array of wireless technology utilised during the GRAMMYs. Operating in the frequency-saturated environment of downtown Los Angeles, Stephen Vaughn, Soundtronic’s RF coordinator, managed this vital task using Axient Digital and Wireless Workbench for monitoring.

“We used the Axient Digital PSM system on the host for an IFB in narrow band, 40mW, in spatial diversity mode with antennas backstage and stage right. We had solid coverage throughout the arena bowl. We were also pleased with the sound quality of the ADXR pack. We are looking forward to taking advantage of WMAS mode on future events.”

In addition to Vaughn and Abbott, the evening's team featured Front of House (FOH) music mixer Jamie Pollock, broadcast A1 Tom Holmes, and music mixers Eric Schilling and John Harris. Front of House was supervised by FOH production mixer and ATK project manager, Jeff Peterson.

Soundtronics provided microphone and antenna infrastructure. ATK provided in-ear monitoring systems for the award show, as well as all the wireless equipment used at the GRAMMY Premiere Ceremony.

The award show kicked off with a joyful performance of Randy Newman’s I Love LA, performed by Dawes, joined by Brittany Howard, St. Vincent, Sheryl Crow, John Legend and Brad Paisley. Taylor Goldsmith, lead vocalist of Dawes, sang into a Shure SM58 microphone capsule on an Axient Digital (AD2) transmitter. Brittany Howard, Best Alternative Music Nominee, trusted a Shure BETA 87A capsule on an AD2 transmitter. Brad Paisley ripped into his Telecaster while singing into a Shure BETA 58A capsule on an AD2 transmitter. The other esteemed performers on stage also trusted wireless AD2 transmitters.

During a moving tribute to Quincy Jones, Stevie Wonder performed with an SM58 on an AD2 transmitter. Stevie was accompanied by Herbie Hancock who also relied on an SM58 / AD2, along with Shure SE846 Sound Isolating Earphones.

Bruno Mars and Lady Gaga shared the stage to sing The Mamas and the Papas’ hit California Dreamin. Bruno Mars sang with a BETA 58A capsule on an AD2 transmitter.

Throughout the night, more star-studded performances relied on Shure Axient Digital Wireless, including Billie Eilish, Sabrina Carpenter, Lainey Wilson, Benson Boone and his backup singers, and Teddy Swims.

“The GRAMMY Awards continue to take their production to new heights, and we are glad to be able to support the talented audio professionals and artists that make the Award Show and Premiere Ceremony so memorable,” shared Jenn Liang-Chaboud, manager of entertainment relations at Shure. “Emerging artists and industry veterans alike trust our wireless innovations and mic capsules to capture their performances on music’s biggest stage.”