November means a lot for many different people around the world. But for music fans, it’s the beginning of the most wonderful time of the year: Grammy season.
On Nov. 4 the Recording Academy released the nominations for the 2026 Grammy Award ceremony. Two new categories have been added to the 68th edition of music’s biggest night, those being Best Album Cover and Best Traditional Country Album, the latter splitting what was Best Country Album into two parts.
While there are 95 total awards up for grabs during the ceremony, the most eyes are going to be on the ‘big four’: Best New Artist, Song of the Year, Record of the Year and Album of the Year.
When reading the nominations for the first time, Best New Artist was the first category of the four to really catch my eye. Last year, it was primarily a two-horse race between Chappell Roan and Sabrina Carpenter, with Roan taking home the award.
This year, it’s more of an even playing field.
Like always, you have the longshots. This year, they are The Marias, Addison Rae and Sombr. Each of them has a catalogue that can earn them the award in a vacuum, but I just don’t see them breaking through and taking it home. Those who have better odds are KATSEYE and Lola Young.
And of course, you have your headliners. This year, those are Alex Warren, Olivia Dean and Leon Thomas. While Warren’s year has been loudly broadcast, Dean’s and Thomas’ have quietly flown under the radar. Each of them are slowly becoming stars in the field of pop and R&B music, respectively.
Thomas has also scored a nomination in the biggest category of them all: Album of The Year.
Thomas scored his first-ever nomination in the category with his album “Mutt.” A shocker to say the least, but not the only unexpected nomination. Justin Bieber’s “Swag” and Pusha T, Clipse and Malice’s “Let God Sort ‘em out” both scored nominations. A warm surprise, but a surprise nonetheless.
Rounding out the field are nominees who are very expected. Bad Bunny’s “DeBÍ TiRAR MáS FOToS,” Sabrina Carpenter’s “Man’s Best Friend,” Kendrick Lamar’s “GNX,” Tyler, the Creator’s “Chromakopia” and Lady Gaga’s “Mayhem” rounded out the field.
This group is one of the most entertaining ones we’ve seen in a while. A stunning 149 career nominations between the four blue bloods and 57 total between the newcomers. You have your Davids and Goliaths. Hallmarks of an entertaining ceremony.
But there is one album that I am astonished hasn’t made it to the marquee of music’s biggest night. Abel Tesfaye, aka The Weeknd’s “Hurry Up Tomorrow.”
His final project under The Weeknd moniker, Tesfaye knocked the album out of the park. The album debuted at No. 1 on the Billboard top 200 and lead single “Timeless” peaked at No. 3 on the Hot 100 charts. Despite its accolades, the album is nowhere to be seen on the nomination list.
Rounding out the top four categories are two similar but also different categories in Record of the Year and Song of the Year.
Like most years, the nominations for these two are very similar. Bad Bunny’s “DtMF,” Sabrina Carpenter’s “Manchild,” Billie Eilish’s “Wildflower,” Lady Gaga’s “Abracadabra,” Kendrick Lamar and SZA’s “Luther,” Doechii’s “Anxiety” and ROSÉ and Bruno Mars’ “APT.” all share nominations between the two categories.
The two outliers? “Golden” from the “KPop Demon Hunters” soundtrack earned itself the nod in Song of the Year, and Chappell Roan’s “The Subway” earned a nod in Record of the Year.
While the two focus on different aspects of making a song, The Academy has a history of doubling up on the two categories. Three of the last five winners have taken home both awards. I don’t believe that trend will change this year.
Surprising debuts, long overdue recognition and continued dominance remind us why the Grammys continue to draw eyes year after year, as they should. They celebrate commercial success, but they also represent shifting tastes, risks and reinvention that make music the gift that keeps on giving.
Whether the awards land in the hands of newcomers or veterans, the 68th ceremony promises a showcase of artistry on the highest level. One that reflects the unpredictability of the year in music itself.
