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The Recording Academy released the 2026 GRAMMYs nominations last Friday, and let’s just say The Daily Orange staff has some thoughts. From Lorde getting snubbed to potential best new artists of the year and Bad Bunny’s dominance, read our takes below.

Henry Daley
Asst. Sports Digital Editor

There are other deserving candidates up for Best New Artist, but this is Olivia Dean’s moment. With her sophomore album “The Art of Loving” and smash hit “Man I Need,” the London-born singer became the first British solo female artist to claim the United Kingdom’s No. 1 album and single simultaneously since Adele in 2021. Dean rocketed to the top of the UK music scene after her debut album, “Messy,” in 2023.

Elsewhere, Leon Thomas should take home an award in an R&B category for his standout sophomore album, “MUTT.” For Record of the Year, Kendrick Lamar and SZA’s “luther” is a strong contender, while Billie Eilish’s “WILDFLOWER” is a dark horse to win. It’s also nice to see KATSEYE and HUNTR/X’s “Golden” receive multiple nominations.

Griffin Uribe Brown
Social Media Editor

Bad Bunny should dominate at the Grammys this year. His genre-shattering music is making history and became the soundtrack of the current political moment after he secured a deserved Super Bowl LX appearance. Album of the Year and Record of the Year wins for the artist’s “DeBÍ TiRAR MáS FOToS” and its single, “DtMF,” are beyond deserved — and would give the Puerto Rican artist the critical acclaim he warrants for his improbable rise to the top of mainstream pop.

There’s a strong case to be made for The Marías for Best New Artist. I wouldn’t be surprised to see Grammy-favorite Tyler, The Creator’s “CHROMAKOPIA” win Best Rap Album (although it’s arguably not a rap album). It is Tyler’s most mature album to date and made for a memorable fall soundtrack last year. Meanwhile, the innovative music for the movie “Sinners” deserves to pick up the Best Song Written for Visual Media award for its deeply moving soundtrack.

Rosina Boehm
Managing Editor

The Marías aren’t going to be in the conversation for Best New Artist, but they should be. Yes, the bilingual indie band has been making music for 10 years, but this is their breakout year. Since I watched their NPR Tiny Desk Concert last October, I’ve been obsessed. María Zardoya’s vocals are addictive. Between “No One Noticed” on their 2024 album and 2025 singles “Back To Me” and “Nobody New,” this standout year for The Marías provided emotional ballads with soothing sounds.

While I see Olivia Dean winning this category, I can’t ignore the music that’s hypnotized me this past year. Beyond Best New Artist, I see Kendrick Lamar or Bad Bunny having the best night. The 2025 and 2026 Super Bowl halftime show performers, respectively, are getting the praise they deserve.

Kendall Luther
Editor-in-Chief

Despite a dedicated TikTok campaign last fall, Role Model failed to rack up the votes for PEOPLE’s Sexiest Musician — something he proudly “cared more” about than a Grammy. This fall, it appears Tucker Pillsbury was also snubbed for the latter.

After the release of “Kansas Anymore,” Role Model has been everywhere, from Saturday Night Live to University Union’s Block Party. As a fan since 2019, I can attest to his evolution from rap-heavy mixtapes to folk Americana-inspired tracks, with powerful storytelling that his earlier songs lacked. When I saw him live at Outside Lands in 2022, the crowd seemed distracted or bored.

Don’t worry, the packed pit knew all the words this year. Pillsbury has kept fans guessing which special guest will dance onstage in “Sally, When The Wine Runs Out” — which earned him his first No. 1 on a Billboard chart — and engaged through his social media alias, @saintlaurentcowboy. These viral pop culture moments, along with the album’s beloved tracks, should’ve made him a shoo-in for a Best New Artist nomination.

He may not get a Grammy, but at least he finally got his flowers from PEOPLE as the first-ever Sexiest Man Alive Centerfold.

Delia Sara Rangel
News Editor

The biggest snub of this year’s nominations was undoubtedly Lorde. Her long-awaited comeback album, “Virgin,” marked a triumphant return, debuting at No. 2 on the Billboard 200 album chart. The album was a nostalgic ode to her Grammy award-winning “Pure Heroine” and “Melodrama” roots, but that didn’t seem to matter to the Recording Academy.

The New Zealand artist’s absence from major (and all) categories feels especially jarring given her influence on the pop landscape and other nominated artists. She even holds the headlining spot at next year’s Lollapalooza Chile, next to nominees Sabrina Carpenter and Chappell Roan.

While “Virgin” is about Lorde’s journey of self-discovery and acceptance regardless of “medals (she’s) won,” it still deserved a nomination.

But don’t worry, Lorde, “Virgin” won album of the year in my household.

Mia Jones
Culture Editor

Addison Rae’s debut album, “Addison,” was the soundtrack to my corporate America, New York City summer. On the way to countless meetings and many coffee breaks, I strutted down Fifth Avenue like a superstar. Her album made me feel like a Madonna-esque pop idol instead of a soon-to-be college graduate trying to find her way around a new city.

Rae successfully migrated from TikTok dances to music and is uniquely herself, pink hair and all. She’s created her own sound that’s very 2000s pop with songs like “New York,” “Aquamarine” and “Headphones On.” Rae has made it clear that pop girlies are officially back.

Now, the icon is nominated for Best New Artist. I’d say she’s earned it, alongside other stars who have been dominating in music this year while building their careers, like Olivia Dean and KATSEYE.

Rae has always been the vibe (even in her “Obsessed” days), and that’s part of what will hopefully earn her that Grammy in February.

Cam McGraw
Asst. Culture Copy Editor

The Album of the Year category is packed with fresh talent, but Clipse ultimately deserves the spotlight with “Let God Sort Em Out.” It’s been 16 years since brothers Pusha T and Malice last collaborated on a record, but their chemistry and production remain flawless. Tracks like “P.O.V.” and “Ace Trumpets” showcase a return to their signature coke-rap style, while other tracks explore deeper themes of grief and spirituality.

It pains me to admit that Ludwig Göransson — one of the decade’s most impactful composers — may have been outdone by Theodore Shapiro in “Severance” Season 2. It’s rare for a score/soundtrack to become a true storytelling force, but pieces like “Love Spreads” and “I’ll Be Seeing You” lingered with me long after viewing. The decision was ultimately sealed by the finale’s use of Mel Tormé’s “The Windmills of Your Mind,” a moment that may very well be among the best song placements in TV history.

Cole Ross
Senior Staff Designer

You already know it’s time my girl GloRilla took home her first Grammy award. As the only woman nominated for Best Rap Album, a win in this category would be a statement for the rising star.

Glo previously claimed the summer of 2024 with smash hits “Wanna Be (with Megan Thee Stallion)” and “TGIF,” the lead single for what was then her unannounced debut project. That fall, Glo dropped the single “HOLLON,” and eventually her critically recognized first album, “GLORIOUS.”

Big Glo — as her loyal fans call her — is a superstar of this generation. Her recognition and nominations are deserved, as she continues to bless the industry with music that’s easy to lose yourself in.

Along with her nomination for Best Rap Album, Glo is nominated in the Best Rap Song category for both “TGIF” and for her feature on Tyler, The Creator’s “Sticky.” Let’s just say, when GloRilla wins a Grammy this year, you can expect the world to scream “Yeah Glo!” and an afterparty that lasts until the following Friday at 7 p.m. Put simply, the Grammys just need to sit back and let her cook. I hope this article pops up on Glo’s news feed after her dub.

Published on November 12, 2025 at 9:46 pm