The 67th Grammy Awards ceremony, held on February 2nd, was a hot topic. From Beyoncé’s historic victory to Chappel Roan‘s impactful speech, the night was a thrill for pop culture enthusiasts. However, one moment disappointed Brazilian fans: Milton Nascimento, one of the most influential figures in international music history, was not allowed into the ceremony.
The 82-year-old singer, nominated for Best Jazz Vocal Album, flew to Los Angeles to attend the Grammys and even took photos alongside Esperanza Spalding (with whom he shared the nomination) on the red carpet. Yet, he was not invited to sit next to his musical partner at one of the event’s main tables. Frustrated by this disregard, Spalding carried a sign with Nascimento’s face and took to Instagram to protest his absence: “I’m not talking about a Grammy win. […] I’m mad this living legend wasn’t considered important enough to sit among the A-listers”, she wrote in the caption.
Later, the Brazilian publicly clarified that he was not barred from the event, as many had assumed. In reality, he had been assigned a separate seat in the stands because, in his words, he couldn’t sit with those the organization “wanted to appear on camera”. The singer’s team also shared that, due to his age, he could not attend and viewed the situation as a sign of disrespect toward his legacy.
Despite this clarification, fans and critics alike continued to protest the disrespect toward Latin and Black artists. To this day, Milton remains one of the most important composers and vocalists in world music — he even brought home a Grammy in 1998 for Nascimento (1997), winning Best Global Music Album. So, why wasn’t he considered important enough to the Record Academy?
Behind the genius: who is Milton Nascimento?
Carioca (native of Rio de Janeiro) by birth, Milton (or Bituca, as he is affectionately known) carries Minas Gerais in his heart. Son of a housekeeper, he was adopted as an infant by a music teacher and a broadcaster in Três Pontas, a small town in the state. It was under their care that he discovered his deep passion for music: as a young boy, he played his first musical notes on an accordion before quickly moving on to the guitar and piano.
In his teen years, Nascimento worked as a disc jockey before forming his first group, Luar de Prata. When he moved to Belo Horizonte, the state capital of Minas, he immersed himself in the city’s nightlife, singing in bars and eventually discovering his gift for songwriting. In this bohemian setting, he formed friendships with artists who would go on to become major figures in Brazilian culture: Lô Borges, Beto Guedes, Márcio Borges, and Fernando Brant. Together, they founded Clube da Esquina — a groundbreaking musical movement that blended Brazilian rhythms with influences from jazz, rock, and classical music.
Back in Rio de Janeiro, Bituca gained even more recognition when he became a finalist in the II Festival Internacional da Canção (International Song Festival), broadcast live by the country’s leading TV network in 1967. The song “Travessia” won second place in the national phase of the festival and also earned him the Best Performer award.
Amid Brazil’s military regime, he took on the role of an opposition voice. Through the compositions, he addressed themes such as black identity, catholic ideals, and a deep reverence for his homeland, facing censorship from the government, which violently suppressed any criticism of the regime. Despite these restrictions, he continued to compose deeply meaningful songs, using metaphors and poetic subtlety to bypass repression and express his worldview in compositions such as “Cais” e “Nada Será Como Antes“.
International career
In 1974, Milton Nascimento went to Los Angeles to record his first international album. Teaming up with American composer and saxophonist Wayne Shorter, he released the LP Native Dancer, which opened new horizons for Brazilian music. Throughout his career, he collaborated with renowned international artists such as Herbie Hancock, Pat Metheny, Paul Simon, Quincy Jones, and Sarah Vaughan.
Overall, Nascimento’s absence from the Grammy main stage is a stark reminder of how the industry often overlooks Latin and black artists, even those with undeniable influence. His legacy and music continue to transcend borders, proving that true artistry is timeless, even when institutions fail to recognize it.
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The article above was edited by Clarissa Palácio.
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