The past year of music was defined by genre fluidity, cultural crossover, and a renewed emphasis on legacy. Hip-hop continued to assert its artistic weight, with Kendrick Lamar once again dominating major categories, while pop remained expansive and unpredictable, fueled by artists like Lady Gaga, Sabrina Carpenter, and Billie Eilish pushing their signature sounds in new directions. Latin music’s global influence was impossible to ignore, as evidenced by Bad Bunny’s six nominations.
Across the nominations, a clear pattern has emerged: The Recording Academy appears increasingly willing to recognize genre-blurring projects, long-overlooked veterans, and culturally-resonant moments, rather than chart performance alone. While debates about fairness and snubs will surround any award, this shift suggests an Academy that is slowly adapting to how music is made, consumed, and valued in the streaming era. Watch the 68th Grammy Awards this upcoming Sunday, Feb. 1.
Record of the year
Nominations:
“Abracadabra” — Lady Gaga
“Luther” — Kendrick Lamar with SZA
“APT.” — ROSÉ and Bruno Mars
“DtMF” — Bad Bunny
“Manchild” — Sabrina Carpenter
“Anxiety” — Doechii
“WILDFLOWER” — Billie Eilish
“The Subway” — Chappell Roan
Should win: “Luther” — Kendrick Lamar with SZA
Will win: “APT.” — ROSÉ and Bruno Mars
The competition for record of the year comes down to a balance between technical excellence and cultural impact — features reflected in this year’s batch of nominees. Cultural impact, in this case, is defined less by chart dominance and more by a song’s ability to shape conversation, soundtrack shared moments, and maintain emotional resonance long after its initial release. One nomination embodies that balance with particular clarity and depth. Kendrick Lamar and SZA’s “luther” is the most musically and historically rich entry in the field, anchoring its genre-blurring sound in an interpolation of Cheryl Lynn and Luther Vandross’s “If This World Were Mine,” a song written by Marvin Gaye. Its cinematic pacing — driven by deliberate structural restraint and a slowly unfolding emotional arc — and meticulous production make “luther” the most deserving record of the year selection. Still, I think that “APT.” is awaiting its Grammy moment, with its turbo-charged, catchy, pop energy — amplified by its viral reach — giving the track a clear advantage. A win for “APT.” would also bestow the first Big Four victory to a K-pop artist, which may make this a compelling choice for the Recording Academy. Plus, this win would make Bruno Mars the first four-time record of the year winner.
-Kaitlyn Lots, Senior Staff Writer
Album of the year
Nominations:
“DeBÍ TiRAR MáS FOToS” — Bad Bunny
“MAYHEM” — Lady Gaga
“GNX” — Kendrick Lamar
“SWAG” — Justin Bieber
“Man’s Best Friend” — Sabrina Carpenter
“Let God Sort Em Out” — Clipse, Pusha T, and Malice
“MUTT” — Leon Thomas
“CHROMAKOPIA” — Tyler, The Creator
Should win: “DeBÍ TiRAR MáS FOToS” — Bad Bunny
Will win: “GNX” — Kendrick Lamar
No matter the outcome, the Academy’s album of the year will make history in 2026. For the first time in six years — since Billie Eilish’s win for “WHEN WE ALL FALL ASLEEP, WHERE DO WE GO?” in 2020 — no previous winners are in the running, so every possible outcome will be a first. To me, Bad Bunny’s “DeBÍ TiRAR MáS FOToS” feels like the boldest and most artistically intentional choice. As a Spanish-language album with Puerto Rican roots, it helped define and propel Latin music’s global dominance this year, demonstrating both cultural impact and artistic ambition that make it a standout pick for album of the year. If Bad Bunny wins, it would make him the first artist to win this category with a fully Spanish record, and I do think that the expanded and increasingly diverse Grammy-voting body would be more likely than ever to spotlight an international album. However, Kendrick Lamar’s “GNX” almost feels like it’s overdue for a Grammy. It has been over two decades since a hip-hop project won in this category, and Lamar has been nominated five times without a win. With “GNX,” the Academy has the chance to finally correct both of these oversights, which makes it the safest prediction.
-Kaitlyn Lots, Senior Staff Writer
Song of the year
Nominations:
“APT.” — ROSÉ and Bruno Mars
“Golden” — EJAE, Audrey Nuna, and REI AMI
“Luther” — Kendrick Lamar with SZA
“Abracadabra” — Lady Gaga
“Anxiety” — Doechii
“DtMF” — Bad Bunny
“Manchild” — Sabina Carpenter
“WILDFLOWER” — Billie Eilish
Should win: “Luther” — Kendrick Lamar with SZA
Will win: “APT.” — ROSÉ and Bruno Mars
This year’s song of the year category has a fascinating mix of massive pop hits, cinematic K-pop, and tracks that push the boundaries of their respective genres, from ROSÉ and Bruno Mars’ polished pop craftsmanship in “APT.” and the global K-pop triumph of “Golden,” to Kendrick Lamar and SZA’s innovative R&B and hip-hop fusion in “luther.” “Luther” stands out for its meticulous songwriting: The lyrics weave a complex narrative, the phrasing and cadence are carefully constructed, and the interpolation of classic R&B melodies is seamlessly integrated into a modern composition. “APT.,” on the other hand, is irresistibly catchy and has mainstream appeal, and if it wins, Bruno Mars and co-writer Christopher Brody Brown would become the first three-time winners in the category’s history. “Golden” also has strong momentum, having received an Oscar nomination for best original song, and could carry that recognition into the Grammys. While “WILDFLOWER” showcases emotional depth and lyrical nuance, and “Manchild” impresses with its inventive melodies and clever song structure, neither have achieved the level of cultural visibility or mainstream attention as my perceived two frontrunners. Ultimately, song of the year is a tug-of-war between technical craft and cultural reach — some voters prioritize meticulous songwriting and clever composition, while others reward how widely a track resonates with listeners. This split is part of what makes the category so unpredictable.
-Kaitlyn Lots, Senior Staff Writer
Best new artist
Nominations:
Olivia Dean
Leon Thomas
Lola Young
KATSEYE
The Marías
Addison Rae
sombr
Alex Warren
Should win: Olivia Dean
Will win: Leon Thomas
Best new artist, in my opinion, represents a mix of breakout impact and long-term potential, and so many of this year’s nominees showcase this. Leon Thomas has the strongest industry backing by far, earning six total nominations, including album of the year and best R&B album for “MUTT.” His smooth, old-school R&B sound reminds me of the ’70s sound throwbacks that the Recording Academy has always loved, as evidenced by Silk Sonic’s record and song of the year sweep at the 64th Grammy Awards. Olivia Dean, meanwhile, faces a slight timing challenge: Her album “The Art of Loving” dropped just after the eligibility cutoff, and her hit single “Man I Need” arrived only 16 days before the end of the voting period. Because of this, Grammy voters had less time to fully engage with her work, which may have limited her chances in categories like record or song of the year. Still, Dean is a strong contender for best new artist — her stylish, radio-dominant single maintained a consistent presence throughout the voting window, and with the last eight winners in this category being female solo artists, she clearly has momentum on her side.
-Kaitlyn Lots, Senior Staff Writer
Best pop vocal album
Nominations:
“SWAG” — Justin Bieber
“Man’s Best Friend” — Sabrina Carpenter
“MAYHEM” — Lady Gaga
“Something Beautiful” — Miley Cyrus
“I’ve Tried Everything But Therapy (Part 2)” — Teddy Swims
Should win: “MAYHEM” — Lady Gaga
Will win: “MAYHEM” — Lady Gaga
Best pop vocal album is where the Recording Academy rewards polish, vocal performance, and sustained pop dominance, and this is very evident in this year’s nominees. Sabrina Carpenter enters as the defending champion after winning last year with “Short n’ Sweet,” and a second consecutive win would make her the first artist ever to take this category in back-to-back years. Justin Bieber’s “SWAG” showcases his continued evolution from a teen pop star to a credible pop and R&B performer, and while his appeal remains massive, his slim Grammy tally makes it feel like he may be deserving of some recognition. Ultimately, Lady Gaga seems to have the clearest path to me. “MAYHEM” stands out for its bold production, genre-blending sound, and meticulous songwriting, and a win here would make Gaga a two-time winner alongside Adele, Taylor Swift, and Kelly Clarkson.
Best pop solo performance
Nominations:
“Daisies” — Justin Bieber
“Manchild” — Sabrina Carpenter
“Disease” — Lady Gaga
“The Subway” — Chappell Roan
“Messy” — Lola Young
Should Win: “The Subway” — Chappell Roan
Will Win: “Manchild” — Sabrina Carpenter
A category seemingly drawn straight from the Billboard Hot 100, best pop solo performance rewards the songs we hear on the radio every day, the songs we can’t get out of our heads, and the songs that are bound to show up on someone’s Spotify playlist no matter where you go. As The UCSD Guardian’s resident Sabrina Carpenter fan, I’m not biased when I say she has a chance at winning this award two years in a row with her feel-good country-pop smash hit “Manchild,” which is also up for record of the year, song of the year, and best music video. However, Chappell Roan’s “The Subway” might just be one of the best pop singles in recent memory; its tale of yearning is relatable to anyone who’s gone through heartbreak, while its powerful bridge harkens back to the style of music popular in the ’90s. Although Lady Gaga’s “Disease” stood out as one of my favorite innovative pop songs of the year, its lack of any other nominations seems to indicate indifference among the members of the Academy; Gaga has a stronger chance of success in the album fields anyway.
-Tara Vatandoust, A&E Editorial Assistant
Best contemporary country album
Nominations:
“Snipe Hunter” — Tyler Childers
“Evangeline vs. The Machine” — Eric Church
“Beautifully Broken” — Jelly Roll
“PATTERNS” — Kelsea Ballerini
“Postcards From Texas” — Miranda Lambert
Should win: “Evangeline vs. The Machine” — Eric Church
Will win: “Beautifully Broken” — Jelly Roll
This year’s best contemporary country album nominees strongly highlight how artists are currently navigating the balance between traditional roots and modern innovation in the genre. Eric Church’s “Evangeline vs. The Machine” feels like the most artistically daring entry, blending rock and electronic influences with introspective storytelling to expand what country can be. Despite being a continuous favorite at the Country Music Association and Academy of Country Music Awards, Church has never won a Grammy; after more than 20 years of pushing the boundaries of country music, this feels like a moment for the Recording Academy to finally recognize his impact. Tyler Childers also has yet to win a Grammy despite years of acclaim, and his album “Snipe Hunter” is now facing its first major awards test. Still, Jelly Roll’s “Beautifully Broken” has momentum on its side, thanks to topping the Billboard 200, earning widespread streaming numbers, and generating radio hits across both pop and country formats. Its crossover appeal makes it the superior pick for voters.
-Kaitlyn Lots, Senior Staff Writer
