Listen here. The 2026 Grammy nominations were announced Friday morning, marking honors for artists such as Lady Gaga—who surpassed her own nomination record this year by getting seven, including album of the year. Super Bowl 2026 halftime performer Bad Bunny did well, scoring six of his own; so did last year’s headliner, Kendrick Lamar, who scooped up nine. Sabrina Carpenter is standing tall with a half-dozen nods, including for album, record, and song of the year—all three of the night’s biggest awards.
Sure, it’s an honor just to be nominated. But that doesn’t mean we can’t have strong opinions about those nominations, right?
Vanity Fair’s staff of cultural experts erupted with opinions while taking in the nods this morning: There was jubilation for Addison Rae’s best new artist nod, and a raised eyebrow at the total exclusion of Lorde from the list. There was also confusion: what exactly is the difference between a contemporary country album and a traditional country album? And while we love Doechii’s “Anxiety,” doesn’t that song feel like it’s been around for tens of years—how is it still eligible for Grammys?
No, we’re not inviting you into our Slack channel—members only! But below, find the VF staff’s hot (and correct) takes on the biggest snubs and surprises of the 2026 Grammy nominations.
SNUB: Lorde Gets Shut Out
Lorde is hardly a Grammy virgin, having won two awards for her debut song “Royals”. Since then, she’s had a complicated relationship with the Recording Academy. Her second album, Melodrama, was nominated for album of the year, but she was not asked to perform solo come Grammy night. Fans noticed, and that decision was swept up in the online discourse about how the Recording Academy treats female artists. Since then, Lorde has struggled to get recognition from the group. Her most recent album, Virgin, was seen as a return to form—and while it didn’t produce major hits like “Royals,” it felt in the same vein as Melodrama, an album with a loyal and dedicated fanbase that went on to become very influential in pop music. Sadly, Grammy voters weren’t feeling it for Lorde. She didn’t receive one nomination this morning, not even in the smaller categories. —John Ross
SURPRISE: Addison Rae Is in for Best New Artist
“Fame is a Gun,” and Addison Rae has it pointed at the best new artist category. Rae fell on, and then off, every prediction list for this award—but when the announcement was finally made, she clinched the nomination as pop music fans rejoiced. Though her album, Addison, was widely praised by critics, many thought the Grammy voters wouldn’t understand her brand of pop, and the many nods she makes to artists like Lana Del Rey and Britney Spears. Her origin story as a TikTok star, also didn’t help. But it turns out voters liked what she was doing. During the voting period, Rae happened to be on tour; she delivered solid live performances on The Tonight Show and at the Grammy museum, which could have put her over the top. Now please put your headphones on, and listen to one of the best pop albums of the year if you haven’t already. —JR
SNUB: Elton John & Brandi Carlile’s “Who Believes in Angels?” in Album of the Year
An album that was made in a factory for Grammy voters was surprisingly snubbed this morning—proof, perhaps, that as the Recording Academy expands its membership, some of these typical shoo-ins are going by the wayside. Elton John has never won album of the year, despite being nominated for the category three times, and the sentiment that he was owed another chance is why many expected his album with Brandi Carlile to be nominated. But this was a very crowded year in music, and unfortunately for Elton, the album never really took off. —JR
SNUB: “DAISIES” Was Not “Clocking” to Voters
Despite originating what Alex Warren deniers would call the song of the summer with “Daisies,” Justin Bieber got little love in the Grammys’ big three categories. His surprise R&B album SWAG came on the heels of Bieber’s infamous “standing on business” paparazzi video, offering prodigious instrumentation and an ode to the Rhode lip-gloss-carrier iPhone case—the makings of a great album. And though it was evidently great enough for album of the year, Bieber was blanked in record and song of the year. Maybe that snub is attributable to the subsequent release of his spotty (and shockingly long) SWAG II—evidence that sequels sometimes make things worse. —Abigail Sylvor Greenberg
SURPRISE: Harlequin Squeaks into Best Traditional Pop Album
Though it’s no surprise that Mayhem received its flowers on Grammy nomination day, I was a little worried that Gaga’s other most recent album would be left in the shadows of its highly panned companion film, Joker: Folie á Deux. The vocal performances on Harlequin are truly some of Gaga’s best work—including “Happy Mistake,” which I believe is one of her best songs to date. Now to rewatch her performance of “Happy Mistake” on Jimmy Kimmel to celebrate. —Brandon Leung
SNUB: Jade in Best New Artist
As a Mixer, I have been standing by this woman for 13 years—but the lack of recognition from this side of the pond has not gotten any easier to stomach. X Factor and Little Mix alum Jade Thirwall had one of the most impressive debuts I’ve seen in years: “Angel of My Dreams” is ambitious and unique.“Fantasy,” “Plastic Box,” “Midnight Cowboy,” “Self Sabotage,” “Lip Service”—the girl didn’t let us breathe! I have a huge respect for artists who fearlessly surrender themselves to their creativity and vision, and Jade is just that. Too bad the Grammys didn’t agree —BL
SURPRISE: KATSEYE Gets a “Gnarly” Best New Artist Nod
Demon hunters aren’t the only rising stars in the K-pop space. KATSEYE, the K-pop girl group whose formation was captured on the Netflix reality competition series Pop Star Academy, scored a surprise nomination for best new artist this year. Last summer, the world watched as Lara Raj, Manon Bannerman, Yoonchae, Daniela Avanzini, Megan Skiendiel, and Sophia Laforteza survived a rigorous multi-year audition process before being hand-selected to form the world’s first global K-Pop group. Since their debut, KATSEYE has been steadily rising, with a viral dance for their first single “Touch” taking TikTok by storm and Gap shrewdly hiring the diverse girl group to pose for a jean ad shortly after Sydney Sweeney’s American Eagle debacle. The momentum was clear when KATSEYE pulled off an unexpected win for Push Performance of the Year (whatever that is) at the VMAs in 2025. Still, a best new artist Grammy nod didn’t seem like a sure bet, given their humble reality television beginnings and the fact that other fresh-faced solo pop acts like Olivia Dean and Addison Rae seemed to dominate the discourse this year. But through a combination of talent, hard work, and certified bops, KATSEYE was able to convince the music industry to take them seriously. That’s “Gnarly.” — Chris Murphy
SURPRISE: PinkPantheress Breaks Through
Once, it was just her and her permanently shouldered purse against the world. Now PinkPantheress has finally scored her first-ever Grammy nominations: Illegal is up for best dance pop recording, and her mixtape Fancy That was nominated for best dance/electronic album. It’s a huge day for both her and Stateside addicts—her track, now remixed with Zara Larsson (also a long overdue nomination this round), lands just as both artists are catching a fresh lease on U.S. recognition and TikTok obsession. DJ Joe, The Dare to PinkPanthress’s Charli XCX—or maybe the tartan-clad Ryan Evans to her Sharpay, whatever your prerogative—also deserves credit for the Fancy That era that makes her latest work impossible to ignore. (Somehow, best new artist still passed her by—but we’ll take a win when we get one.) —Wengel Gemu
SNUB: A Big X for BigXThaPlug
In a lineage of outlaw country artists that includes Lil Nas X (2020), Jelly Roll (2024), and Shaboozey (2025), the Academy seemed primed to recognize yet another crossover country act this year: BigXThaPlug, the Texas rapper whose 2025 album I Hope You’re Happy won hearts, minds, and a place on the Billboard country charts. Indeed, the newly created best contemporary country album prize (which I’m inclined to nickname the Cowboy Carter Memorial Award) seemed designed with BigX in mind. But perhaps BigX proved a bridge too far for the Nashville voting block, because he didn’t make it onto the list. BigX also appeared on many best new artist prediction lists—but a roster of TikTok hitmakers (Olivia Dean, Lola Young) left no room for music’s favorite hip hop upstart turned Ella Langley collaborator. In fact, there was no room at all for rap or country in best new artist this year, and a total shutout of country in the show’s main prizes The Shaboozification of pop is over, it seems—at least for Grammy voters. —ASG
SNUB: Best New Artist Nominations Run Out For Role Model
Over the course of the last year, Role Model has convinced everyone from Charli xcx and Olivia Rodrigo to Natalie Portman and Kate Hudson to join him onstage while performing his viral, joy-infused hit, “Sally, When The Wine Runs Out.” But the extremely online singer/songwriter, whose name is actually Tucker Pillsbury, couldn’t charm his way into the highly sought after best new artist category this year. My guess is that the Recording Academy favored new kid on the rock block Sombr in place of Pillsbury’s more folk inspired pop-rock. Which is a huge bummer, considering Pillsbury—who released his first EP in 2017—really came into his own with his heartfelt breakup album Kansas Anymore, after making the risky leap from Soundcloud rapper to the mainstream. Don’t cry for Role Model: He has a role in Lena Dunham‘s upcoming rom-com, and a focus firmly on his next album. As he told Vanity Fair last year on the eve of his album release, “I’m happy with the music I’ve made and where my career is at. I feel like this is my happy ending—finally.” That said, I will be keeping an eye on Pillsbury’s cheeky “enemies list” on Instagram—because the Recording Academy might have just earned itself a spot on it. —Daniela Tijerina
SNUB: No Flipping Nominations for Benson Boone
The ubiquity of a pop song does not always translate into a Grammy nomination, much to my surprise, specifically with the case of Benson Boone’s “Mystical Magical.” We, as a people, have been inundated with this record on almost every platform possible, from Midwestern GRWMs and spoofs on TikTok to Spotify’s suspicious habit of repeatedly queuing this song after Radiohead. Because of this virtual inescapability, I had assumed Boone’s song would be nominated for either song or record of the year. I am happy to be wrong, though I fear the era of “moonbeam ice cream” is not yet over: there is still a chance that the Recording Academy could wheel out Benson Boone for a surprise performance at the Grammys, where he backflips continuously to this song. My guess is that I was not the only one for whom this ice cream flavor has run dry. —Wisdom Iheanyichukwu
SURPRISE: What Does “Traditional” and “Contemporary” Country Even Mean?
Over the last few years, country music’s long-running war between cowboys and city slickers reached new levels of intensity, as Morgan Wallen and Zach Bryan became megastars while Beyoncé and Post Malone entered the genre. This divide led to some upsets during awards ceremonies, and even Beyoncé was memorably surprised when she took home the country trophy last year. For the 2026 Grammys, a new split between “traditional country” and “contemporary country” was meant to address some hurt feelings—but though they may have made sense in theory, the biggest surprise is that these new categories are incredibly arbitrary in practice.
Wallen and Bryan both declined to submit their most recent albums for Grammy eligibility, and no further pop stars made an entry into the genre. So the divide is mainly one of vibes. Willie Nelson and his son Lukas Nelson are both on the traditional side. So is their friend and acolyte Margo Price. Considering their attitudes towards major-label Nashville, that all makes sense. Kelsea Ballerini and Eric Church wound up in a logical place on the contemporary side, too. But it’s hard to see how Tyler Childers is considered contemporary when similarly twangy artists Zach Top and Charley Crockett are not. And every Miranda Lambert album focuses on blowing up the binary between traditional and pop country, so either outcome wouldn’t feel quite right for her. In the end, there’s not a bad album in this bunch—even Jelly Roll’s occasionally baffling country-rap extravaganza Beautifully Broken is worth a listen—so I suppose I can be satisfied knowing that there will be two big country moments on stage during this February’s show. —Erin Vanderhoof
SURPRISE: Knocking on EGOT’s Door
How about that: Timothée Chalamet just earned his first Grammy nomination for the music of A Complete Unknown. The actor’s rise to the Grammys has been fated ever since that viral “Statistics” video where he first showcased his musical prowess. As a big fan of Bob Dylan, I was very excited for the Dylan Disease (no one calls it that) to take over a new generation thanks to Chalamet’s amazing portrayal of him in the film. Now I implore the Recording Academy, on behalf of all fans of Muad’Dib, to do what the Academy of Motion Picture Arts and Sciences has failed to do and make sure Chalamet does not go home empty-handed that night. When Vogue recently asked if Chalamet would ever return to television, he responded with a simple “No.” That said, an EGOT could still be in his future if Emmy voters agree to revisit his 2012 stint in Homeland and reward him with a retroactive award. (They do that, right?) —WI
Wengel Gemu, Wisdom Iheanyichukwu, Brandon Leung, Chris Murphy, John Ross, Abigail Sylvor Greenberg, Daniela Tijerina, Erin Vanderhoof, Kase Wickman
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