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  • Grammys 2026 Winners: See the Full List – Our Culture

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    The 68th annual Grammy Awards took place on Sunday, February 1, at the Crypto.com Arena in Los Angeles. Kendrick Lamar, who led the pack with nine nominations, walked away with four trophies, while Bad Bunny’s Debí Tirar Más Fotos became the first-ever fully Spanish-language album to win Album of the Year.

    Lady Gaga took home three Grammys, including Best Pop Vocal Album for MAYHEM, Best Dance Pop Recording for ‘Abracadabra’, and Best Remixed Recording (for Gesaffelstein’s remix of ‘Abracadabra’). Olivia Dean was named Best New Artist, while The Cure, Turnstile, Lola Young, and more won their first-ever Grammys. The first-ever Grammy for Best Album Coverwent to Tyler, the Creator’s CHROMAKOPIA.

    Check out the full list of winners below.

    Album of the Year
    Bad Bunny – Debí Tirar Más Fotos
    Clipse, Pusha T & Malice – Let God Sort Em Out
    Justin Bieber – Swag
    Kendrick Lamar – GNX
    Lady Gaga – Mayhem
    Leon Thomas – Mutt
    Sabrina Carpenter – Man’s Best Friend
    Tyler, the Creator – Chromakopia

    Record of the Year
    Bad Bunny – DTMF
    Billie Eilish – Wildflower
    Chappell Roan – The Subway
    Doechii – Anxiety
    Kendrick Lamar & SZA – Luther
    Lady Gaga – Abracadabra
    Rosé & Bruno Mars – Apt.
    Sabrina Carpenter – Manchild

    Song of the Year
    Bad Bunny – DTMF
    Billie Eilish – Wildflower
    Doechii – Anxiety
    Huntr/x – Golden
    Kendrick Lamar & SZA – Luther
    Lady Gaga – Abracadabra
    Rosé & Bruno Mars – Apt.
    Sabrina Carpenter – Manchild

    Best Pop Solo Performance
    Chappell Roan – The Subway
    Justin Bieber – Daisies
    Lady Gaga – Disease
    Lola Young – Messy
    Sabrina Carpenter – Manchild

    Best Pop Vocal Album
    Justin Bieber – Swag
    Lady Gaga – Mayhem
    Miley Cyrus – Something Beautiful
    Sabrina Carpenter – Man’s Best Friend
    Teddy Swims – I’ve Tried Everything but Therapy (Part 2)

    Best Contemporary Country Album
    Eric Church – Evangeline vs. the Machine
    Jelly Roll – Beautifully Broken
    Kelsea Ballerini – Patterns
    Miranda Lambert – Postcards From Texas
    Tyler Childers – Snipe Hunter

    Best Música Urbana Album
    Bad Bunny – Debí Tirar Más Fotos
    Feid – Ferxxo Vol X: Sagrado
    J Balvin – Mixteip
    Nicki Nicole – Naiki
    Trueno – EUB Deluxe
    Yandel – Sinfónico (En Vivo)

    Best New Artist
    Addison Rae
    Alex Warren
    Katseye
    Leon Thomas
    Lola Young
    The Marías
    Olivia Dean
    Sombr

    Best Rap Album
    Clipse, Pusha T & Malice – Let God Sort Em Out
    Glorilla – Glorious
    JID – God Does Like Ugly
    Kendrick Lamar – GNX
    Tyler, the Creator – Chromakopia

    Producer of the Year, Non-Classical
    Blake Mills
    Cirkut
    Dan Auerbach
    Dijon
    Sounwave

    Songwriter of the Year, Non-Classical
    Amy Allen
    Edgar Barrera
    Jessie Jo Dillon
    Laura Veltz
    Tobias Jesso Jr.

    Best Pop/Duo Group Performance
    Cynthia Erivo & Ariana Grande – Defying Gravity
    Huntr/x – Golden
    Katseye – Gabriela
    Rosé & Bruno Mars – Apt.
    SZA With Kendrick Lamar – 30 for 30

    Best Dance/Electronic Recording
    Disclosure & Anderson .Paak – No Cap
    Fred Again.., Skepta & PlaqueBoyMax – Victory Lap
    Kaytranada – Space Invader
    Skrillex – Voltage
    Tame Impala – End of Summer

    Best Dance Pop Recording
    Lady Gaga – Abracadabra
    PinkPantheress – Illegal
    Selena Gomez & Benny Blanco – Bluest Flame
    Tate McRae – Just Keep Watching (From F1® the Movie)
    Zara Larsson – Midnight Sun

    Best Dance/Electronic Album
    FKA twigs – Eusexua
    Fred Again.. – Ten Days
    PinkPantheress – Fancy That
    Rüfüs Du Sol – Inhale / Exhale
    Skrillex – F*ck U Skrillex You Think Ur Andy Warhol but Ur Not!! <3

    Best Remixed Recording
    The Chemical Brothers & Chris Lake – Galvanize (Chris Lake Remix)
    Huntr/x & David Guetta – Golden (David Guetta Rem/x)
    Lady Gaga & Gesaffelstein – Abracadabra (Gesaffelstein Remix)
    Mariah Carey & Kaytranada – Don’t Forget About Us (Kaytranada Remix)
    Soul II Soul – A Dreams a Dream (Ron Trent Refix)

    Best Rock Performance
    Amyl and the Sniffers – U Should Not Be Doing That
    Hayley Williams – Mirtazapine
    Linkin Park – The Emptiness Machine
    Turnstile – Never Enough
    Yungblud, Nuno Bettencourt & Frank Bello Featuring Adam Wakeman & II – Changes (Live From Villa Park / Back to the Beginning)

    Best Metal Performance
    Dream Theater – Night Terror
    Ghost – Lachryma
    Sleep Token – Emergence
    Spiritbox – Soft Spine
    Turnstile – Birds

    Best Rock Song
    Hayley Williams – Glum
    Nine Inch Nails – As Alive as You Need Me to Be
    Sleep Token – Caramel
    Turnstile – Never Enough
    Yungblud – Zombie

    Best Rock Album
    Deftones – Private Music
    Haim – I Quit
    Linkin Park – From Zero
    Turnstile – Never Enough
    Yungblud – Idols

    Best Alternative Music Performance
    Bon Iver – Everything Is Peaceful Love
    The Cure – Alone
    Hayley Williams – Parachute
    Turnstile – Seein’ Stars
    Wet Leg – Mangetout

    Best Alternative Music Album
    Bon Iver – SABLE, fABLE
    The Cure – Songs of a Lost World
    Hayley Williams – Ego Death at a Bachelorette Party
    Tyler, the Creator – Don’t Tap the Glass
    Wet Leg – Moisturizer

    Best R&B Performance
    Chris Brown Featuring Bryson Tiller – It Depends
    Justin Bieber – Yukon
    Kehlani – Folded
    Leon Thomas – Mutt (Live from NPR’s Tiny Desk)
    Summer Walker – Heart of a Woman

    Best Traditional R&B Performance
    Durand Bernarr – Here We Are
    Lalah Hathaway – Uptown
    Ledisi – Love You Too
    Leon Thomas – Vibes Don’t Lie
    SZA – Crybaby

    Best R&B Song
    Chris Brown Featuring Bryson Tiller – It Depends
    Durand Bernarr – Overqualified
    Kehlani – Folded
    Leon Thomas – Yes It Is
    Summer Walker – Heart of a Woman

    Best Progressive R&B Album
    Bilal – Adjust Brightness
    Destin Conrad – Love on Digital
    Durand Bernarr – Bloom
    Flo – Access All Areas
    Terrace Martin & Kenyon Dixon – Come as You Are

    Best R&B Album
    Coco Jones – Why Not More?
    Giveon – Beloved
    Ledisi – The Crown
    Leon Thomas – Mutt
    Teyana Taylor – Escape Room

    Best Rap Performance
    Cardi B – Outside
    Clipse, Kendrick Lamar, Pusha T & Malice – Chains & Whips
    Doechii – Anxiety
    Kendrick Lamar Featuring Lefty Gunplay – TV Off
    Tyler, the Creator Featuring Teezo Touchdown – Darling, I

    Best Melodic Rap Performance
    Fridayy & Meek Mill – Proud of Me
    JID, Ty Dolla $ign & 6lack – Wholeheartedly
    Kendrick Lamar & SZA – Luther
    PartyNextDoor & Drake – Somebody Loves Me
    Terrace Martin & Kenyon Dixon Featuring Rapsody – WeMaj

    Best Spoken Word Poetry Album
    Marc Marcel – Black Shaman
    Omari Hardwick & Anthony Hamilton – Pages
    Queen Sheba – A Hurricane in Heels: Healed People Don’t Act Like That (Partially Recorded Live @City Winery & Other Places)
    Saul Williams & Carlos Niño & Friends – Saul Williams Meets Carlos Niño & Friends at Treepeople (Live)
    Mad Skillz – Words for Days, Vol. 1

    Best Jazz Performance
    Chick Corea, Christian McBride & Brian Blade – Windows (Live)
    Lakecia Benjamin Featuring Immanuel Wilkins & Mark Whitfield – Noble Rise
    Michael Mayo – Four
    Nicole Zuraitis, Dan Pugach & Tom Scott Featuring Idan Morim, Keyon Harrold, Rachel Eckroth & Sam Weber – All Stars Lead to You (Live)
    Samara Joy – Peace of Mind / Dreams Come True

    Best Jazz Vocal Album
    Dee Dee Bridgewater & Bill Charlap – Elemental
    Michael Mayo – Fly
    Nicole Zuraitis, Dan Pugach & Tom Scott Featuring Idan Morim, Keyon Harrold, Rachel Eckroth & Sam Weber – Live at Vic’s Las Vegas
    Samara Joy – Portrait
    Terri Lyne Carrington & Christie Dashiell – We Insist 2025!

    Best Jazz Instrumental Album
    Branford Marsalis Quartet – Belonging
    Chick Corea, Christian McBride & Brian Blade – Trilogy 3 (Live)
    John Patitucci Featuring Chris Potter & Brian Blade – Spirit Fall
    Sullivan Fortner – Southern Nights
    Yellowjackets – Fasten Up

    Best Large Jazz Ensemble Album
    Christian McBride – Without Further Ado, Vol 1
    Danilo Pérez & Bohuslän Big Band – Lumen
    Deborah Silver & The Count Basie Orchestra – Basie Rocks!
    Kenny Wheeler Legacy Featuring The Royal Academy of Music Jazz Orchestra & Frost Jazz Orchestra – Some Days Are Better: The Lost Scores
    Sun Ra Arkestra – Lights on a Satellite

    Best Latin Jazz Album
    Arturo O’Farrill – The Original Influencers: Dizzy, Chano & Chico (Live at Town Hall)
    Arturo O’Farrill & The Afro Latin Jazz Orchestra – Mundoagua – Celebrating Carla Bley
    Gonzalo Rubalcaba, Yainer Horta & Joey Calveiro – A Tribute to Benny Moré and Nat King Cole
    Miguel Zenón Quartet – Vanguardia Subterránea: Live at the Village Vanguard
    Paquito D’Rivera – Madrid-New York Connection Band – La Fleur de Cayenne

    Best Alternative Jazz Album
    Ambrose Akinmusire – Honey From a Winter Stone
    Brad Mehldau – Ride into the Sun
    Immanuel Wilkins – Blues Blood
    Nate Smith – Live-Action
    Robert Glasper – Keys to the City Volume One

    Best Traditional Pop Vocal Album
    Barbra Streisand – The Secret of Life: Partners, Volume 2
    Elton John & Brandi Carlile – Who Believes in Angels?
    Jennifer Hudson – The Gift of Love
    Lady Gaga – Harlequin
    Laila Biali – Wintersongs
    Laufey – A Matter of Time

    Best Contemporary Instrumental Album
    Arkai – Brightside
    Béla Fleck, Edmar Castañeda & Antonio Sánchez – BEATrio
    Bob James & Dave Koz – Just Us
    Charu Suri – Shayan
    Gerald Clayton – Ones & Twos

    Best Musical Theater Album
    Buena Vista Social Club
    Death Becomes Her
    Gypsy
    Just in Time
    Maybe Happy Ending

    Best Country Solo Performance
    Chris Stapleton – Bad as I Used to Be (From F1® the Movie)
    Lainey Wilson – Somewhere Over Laredo
    Shaboozey – Good News
    Tyler Childers – Nose on the Grindstone
    Zach Top – I Never Lie

    Best Country Duo/Group Performance
    George Strait Featuring Chris Stapleton – Honky Tonk Hall of Fame
    Margo Price Featuring Tyler Childers – Love Me Like You Used to Do
    Miranda Lambert & Chris Stapleton – A Song to Sing
    Reba McEntire, Miranda Lambert & Lainey Wilson – Trailblazer
    Shaboozey & Jelly Roll – Amen

    Best Country Song
    Lainey Wilson – Somewhere Over Laredo
    Miranda Lambert & Chris Stapleton – A Song to Sing
    Shaboozey – Good News
    Tyler Childers – Bitin’ List
    Zach Top – I Never Lie

    Best Traditional Country Album
    Charley Crockett – Dollar a Day
    Lukas Nelson – American Romance
    Margo Price – Hard Headed Woman
    Willie Nelson – Oh What a Beautiful World
    Zach Top – Ain’t in It for My Health

    Best American Roots Performance
    Alison Krauss & Union Station – Richmond on the James
    I’m With Her – Ancient Light
    Jason Isbell – Crimson and Clay
    Jon Batiste Featuring Randy Newman – Lonely Avenue
    Mavis Staples – Beautiful Strangers

    Best Americana Performance
    Jesse Welles – Horses
    Maggie Rose & Grace Potter – Poison in My Well
    Mavis Staples – Godspeed
    Molly Tuttle – That’s Gonna Leave a Mark
    Sierra Hull – Boom

    Best American Roots Song
    I’m With Her – Ancient Light
    Jason Isbell – Foxes in the Snow
    Jesse Welles – Middle
    Jon Batiste – Big Money
    Sierra Hull – Spitfire

    Best Americana Album
    Jesse Welles – Middle
    Jon Batiste – Big Money
    Larkin Poe – Bloom
    Molly Tuttle – So Long Little Miss Sunshine
    Willie Nelson – Last Leaf on the Tree

    Best Bluegrass Album
    Alison Krauss & Union Station – Arcadia
    Billy Strings – Highway Prayers
    Michael Cleveland & Jason Carter – Carter & Cleveland
    Sierra Hull – A Tip Toe High Wire
    The Steeldrivers – Outrun

    Best Traditional Blues Album
    Buddy Guy – Ain’t Done With the Blues
    Charlie Musselwhite – Look Out Highway
    Kenny Wayne Shepherd & Bobby Rush – Young Fashioned Ways
    Maria Muldaur – One Hour Mama: The Blues of Victoria Spivey
    Taj Mahal & Keb’ Mo’ – Room on the Porch

    Best Contemporary Blues Album
    Eric Gales – A Tribute to LJK
    Joe Bonamassa – Breakthrough
    Robert Randolph – Preacher Kids
    Samantha Fish – Paper Doll
    Southern Avenue – Family

    Best Folk Album
    I’m With Her – Wild and Clear and Blue
    Jason Isbell – Foxes in the Snow
    Jesse Welles – Under the Powerlines (Live April 2024 – September 2024)
    Patty Griffin – Crown of Roses
    Rhiannon Giddens & Justin Robinson – What Did the Blackbird Say to the Crow

    Best Regional Roots Music Album
    Corey Henry & The Treme Funktet – Live at Vaughan’s
    Kyle Roussel – Church of New Orleans
    Preservation Brass & Preservation Hall Jazz Band – For Fat Man
    Trombone Shorty & New Breed Brass Band – Second Line Sunday
    Various Artists – A Tribute to the King of Zydeco

    Best Gospel Performance/Song
    Cece Winans & Shirley Caesar – Come Jesus Come
    Jonathan McReynolds & Jamal Roberts – Still (Live)
    Kirk Franklin – Do It Again
    Pastor Mike Jr. – Amen
    Tasha Cobbs Leonard & John Legend – Church

    Best Contemporary Christian Music Performance/Song
    Brandon Lake & Jelly Roll – Hard Fought Hallelujah
    Darrel Walls & PJ Morton – Amazing
    Elevation Worship, Chris Brown & Brandon Lake – I Know a Name
    Forrest Frank – Your Way’s Better
    Lecrae, Killer Mike & T.I. – Headphones

    Best Gospel Album
    Darrel Walls & PJ Morton – Heart of Mine
    Tamela Mann – Live Breathe Fight
    Tasha Cobbs Leonard – Tasha
    Tye Tribbett – Only on the Road (Live)
    Yolanda Adams – Sunny Days

    Best Contemporary Christian Music Album
    Brandon Lake – King of Hearts
    Forrest Frank – Child of God II
    Israel & New Breed – Coritos, Vol. 1
    Lecrae – Reconstruction
    Tauren Wells – Let the Church Sing

    Best Roots Gospel Album
    The Brooklyn Tabernacle Choir – I Will Not Be Moved (Live)
    Candi Staton – Back to My Roots
    Gaither Vocal Band – Then Came the Morning
    The Isaacs – Praise & Worship: More Than a Hollow Hallelujah
    Karen Peck & New River – Good Answers

    Best Latin Pop Album
    Alejandro Sanz – ¿Y Ahora Qué?
    Andrés Cepeda – Bogotá (Deluxe)
    Karol G – Tropicoqueta
    Natalia Lafourcade – Cancionera
    Rauw Alejandro – Cosa Nuestra

    Best Latin Rock or Alternative Album
    Aterciopelados – Genes Rebeldes
    Bomba Estéreo, Rawayana & Astropical – Astropical
    Ca7riel & Paco Amoroso – Papota
    Fito Páez – Novela
    Los Wizzards – Algorhythm

    Best Música Mexicana Album (Including Tejano)
    Bobby Pulido – Bobby Pulido & Friends Una Tuya Y una Mía – Por la Puerta Grande (En Vivo)
    Carín León – Palabra de To’s (Seca)
    Fuerza Regida & Grupo Frontera – Mala Mía
    Grupo Frontera – Y Lo Que Viene
    Paola Jara – Sin Rodeos

    Best Tropical Latin Album
    Alain Pérez – Bingo
    Gilberto Santa Rosa – Debut y Segunda Tanda, Vol. 2
    Gloria Estefan – Raíces
    Grupo Niche – Clásicos 1.0
    Rubén Blades Featuring Roberto Delgado & Orquesta – Fotografías

    Best Global Music Performance
    Angélique Kidjo – Jerusalema
    Anoushka Shankar Featuring Alam Khan & Sarathy Korwar – Daybreak
    Bad Bunny – Eoo
    Ciro Hurtado – Cantando en el Camino
    Shakti – Shrini’s Dream (Live)
    Yeisy Rojas – Inmigrante y Que?

    Best African Music Performance
    Ayra Starr & Wizkid – Gimme Dat
    Burna Boy – Love
    Davido Featuring Omah Lay – With You
    Eddy Kenzo & Mehran Matin – Hope & Love
    Tyla – Push 2 Start

    Best Global Music Album
    Anoushka Shankar Featuring Alam Khan & Sarathy Korwar – Chapter III: We Return to Light
    Burna Boy – No Sign of Weakness
    Caetano Veloso & Maria Bethânia – Caetano e Bethânia Ao Vivo
    Shakti – Mind Explosion (50th Anniversary Tour Live)
    Siddhant Bhatia – Sounds of Kumbha
    Youssou N’Dour – Éclairer le monde – Light the World

    Best Reggae Album
    Jesse Royal – No Place Like Home
    Keznamdi – Blxxd & Fyah
    Lila Iké – Treasure Self Love
    Mortimer – From Within
    Vybz Kartel – Heart & Soul

    Best New Age, Ambient, or Chant Album
    Carla Patullo – Nomadica
    Cheryl B. Engelhardt & Gem – According to the Moon
    Chris Redding – The Colors in My Mind
    Jahnavi Harrison – Into the Forest
    Kirsten Agresta-Copely – Kuruvinda

    Best Children’s Music Album
    Flor Bromley – Herstory
    Fyütch & Aura V – Harmony
    Joanie Leeds & Joya – Ageless: 100 Years Young
    Mega Ran – Buddy’s Magic Tree House
    Tori Amos – The Music of Tori and the Muses

    Best Comedy Album
    Ali Wong – Single Lady
    Bill Burr – Drop Dead Years
    Jamie Foxx – What Had Happened Was…
    Nate Bargatze – Your Friend, Nate Bargatze
    Sarah Silverman – PostMortem

    Best Audio Book, Narration, and Storytelling Recording
    Dalai Lama – Meditations: The Reflections of His Holiness the Dalai Lama
    Fab Morvan – You Know It’s True: The Real Story of Milli Vanilli
    Kathy Garver – Elvis, Rocky & Me: The Carol Connors Story
    Ketanji Brown Jackson – Lovely One: A Memoir
    Trevor Noah – Into the Uncut Grass

    Best Compilation Soundtrack for Visual Media
    Timothée Chalamet – A Complete Unknown
    Various Artists – F1® the Album
    Various Artists – KPop Demon Hunters
    Various Artists – Sinners
    Various Artists – Wicked

    Best Score Soundtrack for Visual Media (Includes Film and Television)
    John Powell – How to Train Your Dragon
    John Powell & Stephen Schwartz – Wicked
    Kris Bowers – The Wild Robot
    Ludwig Göransson – Sinners
    Theodore Shapiro – Severance: Season 2

    Best Score Soundtrack for Video Games and Other Interactive Media
    Austin Wintory – Sword of the Sea
    Gordy Haab – Indiana Jones and the Great Circle
    Pinar Toprak – Avatar: Frontiers of Pandora – Secrets of the Spires
    Wilbert Roget, II – Helldivers 2
    Wilbert Roget, II & Cody Matthew Johnson – Star Wars Outlaws: Wild Card & A Pirate’s Fortune

    Best Song Written for Visual Media
    Elton John & Brandi Carlile – Never Too Late (From the Film “Elton John: Never Too Late”)
    Huntr/x – Golden
    Jayme Lawson – Pale, Pale Moon
    Miles Caton – I Lied to You
    Nine Inch Nails – As Alive as You Need Me to Be
    Rod Wave – Sinners

    Best Music Video
    Clipse – So Be It
    Doechii – Anxiety
    OK Go – Love
    Sabrina Carpenter – Manchild
    Sade – Young Lion

    Best Music Film
    Devo – Devo
    Diane Warren – Relentless
    John Williams – Music by John Williams
    Pharrell Williams – Piece by Piece
    Raye – Live at the Royal Albert Hall

    Best Recording Package
    Bruce Springsteen – Tracks II: The Lost Albums
    Duran Duran – Danse Macabre: De Luxe
    Mac Miller – Balloonerism
    Mac Miller – The Spins (Picture Disc Vinyl)
    OK Go – And the Adjacent Possible
    Tsunami – Loud Is As
    Various Artists – Sequoia

    Best Album Cover
    Bad Bunny – Debí Tirar Más Fotos
    Djo – The Crux
    Perfume Genius – Glory
    Tyler, the Creator – Chromakopia
    Wet Leg – Moisturizer

    Best Album Notes
    Amanda Ekery – Árabe
    Buck Owens and His Buckaroos – Adios, Farewell, Goodbye, Good Luck, So Long: On Stage 1964-1974
    Anouar Brahem, Anja Lechner, Django Bates & Dave Holland – After the Last Sky
    Miles Davis – Miles ’55: The Prestige Recordings
    Sly and the Family Stone – The First Family: Live at the Winchester Cathedral 1967
    Wilco – A Ghost Is Born (Expanded Edition)

    Best Historical Album
    Doc Pomus – You Can’t Hip a Square: The Doc Pomus Songwriting Demos
    Joni Mitchell – Joni Mitchell Archives, Vol. 4: The Asylum Years (1976-1980)
    Nick Drake – The Making of Five Leaves Left
    Various Artists – Roots Rocking Zimbabwe – The Modern Sound of Harare’ Townships 1975-1980 (Analog Africa No.41)
    Various Artists – Super Disco Pirata – De Tepito Para el Mundo 1965-1980 (Analog Africa No.39)

    Best Engineered Album, Non-Classical
    Alison Krauss & Union Station – Arcadia
    Cam – All Things Light
    Japanese Breakfast – For Melancholy Brunettes (& Sad Women)
    Pino Palladino & Blake Mills – That Wasn’t a Dream

    Best Engineered Album, Classical
    Andris Nelsons, Kristine Opolais, Günther Groissböck, Peter Hoare, Brenden Gunnell & Boston Symphony Orchestra – Shostakovich: Lady Macbeth of Mtsensk District
    The Cleveland Orchestra & Franz Welser-Möst – Eastman: Symphony No. 2 – Tchaikovsky: Symphony No. 2
    Sandbox Percussion – Cerrone: Don’t Look Down
    Third Coast Percussion – Standard Stoppages
    Trio Mediæval – Yule

    Producer of the Year, Classical
    Blanton Alspaugh
    Dmitriy Lipay
    Elaine Martone
    Morten Lindberg
    Sergei Kvitko

    Best Immersive Audio Album
    Duckwrth – All American F**k Boy
    Justin Gray – Immersed
    Tearjerkers – Tearjerkers
    Trio Mediæval – Yule
    Various Artists – An Immersive Tribute to Astor Piazzolla (Live)

    Best Instrumental Composition
    John Powell & Stephen Schwartz – Train to Emerald City
    Ludwig Göransson Featuring Miles Caton – Why You Here / Before the Sun Went Down (From “Sinners” Score)
    Miho Hazama, Danish Radio Big Band & Danish National Symphony Orchestra – Live Life This Day: Movement I
    Nordkraft Big Band, Remy Le Boeuf & Danielle Wertz – First Snow
    Sierra Hull – Lord, That’s a Long Way
    Zain Effendi – Opening

    Best Arrangement, Instrumental or A Cappella
    Cynthia Erivo – Be Okay
    Nordkraft Big Band & Remy Le Boeuf – A Child Is Born
    The Westerlies – Fight On
    The 8-Bit Big Band – Super Mario Praise Break

    Best Arrangement, Instruments and Vocals
    Cody Fry – What a Wonderful World
    Jacob Collier – Keep an Eye on Summer
    Lawrence – Something in the Water (Acoustic-ish)
    Nate Smith & Säje – Big Fish
    Seth MacFarlane – How Did She Look?

    Best Orchestral Performance
    Andris Nelsons & Boston Symphony Orchestra – Messiaen: Turangalîla-Symphonie
    Esa-Pekka Salonen – San Francisco Symphony – Stravinsky: Symphony in Three Movements
    Gustavo Dudamel & Simón Bolívar Symphony Orchestra of Venezuela – Ravel: Boléro, M. 81
    Michael Repper & National Philharmonic – Samuel Coleridge-Taylor: Toussaint L’Ouverture, Op. 46 – Ballade Op. 4 – Suites From “24 Negro Melodies”
    Yannick Nézet-Séguin & The Philadelphia Orchestra – Still & Bonds: Symphonies & Variations

    Best Opera Recording
    Alan Pierson, The Choir of Trinity Wall Street & Silvana Quartet – Kouyoumdjian: Adoration (Live)
    American Composers Orchestra & Carolyn Kuan – Huang Ruo: An American Soldier
    Emily D’Angelo, Ellie Dehn, Ben Bliss, Kyle Miller, Greer Grimsley, The Metropolitan Opera Orchestra, The Metropolitan Opera Chorus & Yannick Nézet-Séguin – Tesori: Grounded (Live)
    Houston Grand Opera, Kwamé Ryan, Janai Brugger, Jamie Barton & J’Nai Bridges – Jake Heggie: Intelligence
    Irish National Opera & Elaine Kelly – O’Halloran: Trade / Mary Motorhead

    Best Choral Performance
    Anne Akiko Meyers, Los Angeles Master Chorale & Grant Gershon – Billy Childs: In the Arms of the Beloved
    The Clarion Choir & Steven Fox – Requiem of Light
    Conspirare & Craig Hella Johnson- Advena: Liturgies for a Broken World
    The Crossing & David Nally – David Lang: Poor Hymnal
    Los Angeles Philharmonic, Gustavo Dudamel & Alisa Weilerstein – Gabriela Ortiz: Yanga

    Best Chamber Music/Small Ensemble Performance
    Alan Pierson & Alarm Will Sound – Donnacha Dennehy: Land of Winter
    Lili Haydn & Paul Cantelon – Lullabies for the Brokenhearted
    Mak Grgić & Mateusz Kowalski – Slavic Sessions – Slavic Sessions
    Neave Trio – La mer: French Piano Trios
    Third Coast Percussion – Standard Stoppages

    Best Classical Vocal Solo Album
    Allison Charney & Benjamin Loeb – Alike – My Mother’s Dream
    Amanda Forsythe, Robert Mealy, Paul O’Dette & Stephen Stubbs – Telemann: Ino – Opera Arias for Soprano
    Devony Smith, Danny Zelibor & Michael Nicolas – In This Short Life
    Sidney Outlaw & Warren Jones – Black Pierrot
    Susan Narucki & Curtis Macomber – Kurtág: Kafka Fragments
    Theo Hoffman & Steven Blier – Schubert Beatles

    Best Classical Compendium
    Christina Sandsengen – Tombeaux
    Janai Brugger, Isolde Fair, MB Gordy & Starr Parodi – Seven Seasons
    Los Angeles Philharmonic, Gustavo Dudamel & Alisa Weilerstein – Gabriela Ortiz: Yanga
    Sandbox Percussion – Cerrone: Don’t Look Down
    Will Liverman – The Dunbar/Moore Sessions, Vol. II

    Best Contemporary Classical Composition
    Christopher Cerrone – Cerrone: Don’t Look Down
    Donnacha Dennehy – Dennehy: Land of Winter
    Gabriela Ortiz – Ortiz: Dzonot
    Shawn E. Okpebholo – Okpebholo: Songs in Flight
    Tania León – León: Raíces (Origins)

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    Konstantinos Pappis

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  • How to Watch the Grammys 2026 Live

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    For the second year in a row, Kendrick Lamar, with nine nominations, is poised to dominate at Grammys 2026, after winning record and song of the year in 2025 for “Not Like Us.” His sixth studio album, GNX, is in competition for best album of the year with fellow past and soon-to-be future Super Bowl headliners Lady Gaga and Bad Bunny, whose albums Mayhem and Debí Tirar Más Fotos (“I Should Have Taken More Photos”) are up for seven and six nominations, respectively.

    The heated rivalry in that category isn’t the only reason for watching the Grammys live. Among the snubs and surprises of the 2026 Grammy nominations was the inclusion of Justin Bieber’s four-time-nominated surprise summer album, Swag, songs from which he’ll perform at his first Grammys in four years. Joining Bieber on the Grammys stage, although presumably not at the same time, will be all eight of the best new artist nominees: Olivia Dean, Katseye, the Marías, Addison Rae, Sombr, Leon Thomas, Alex Warren, and Lola Young.

    Speaking of fresh blood, a pair of new categories are coming to the Grammys: best traditional country album—where nominees range from Willie Nelson to Margo Price—and best album cover, which could go to Bad Bunny, Tyler the Creator, Perfume Genius, Djo, or the British indie pop group Wet Leg.

    But some traditions remain: the Grammys 2026 will be hosted by former Daily Show host Trevor Noah, who returns for his sixth and—as the Recording Academy confirmed—final stint as emcee. During last year’s well-received telecast, the Grammys raised funds for the California wildfires, but has yet to announce a philanthropic cause for this year’s show.

    With that, it’s time to make like Addison Rae and put your headphones on in preparation for music’s biggest night. Ahead, a breakdown of where to watch the Grammys 2026 and which A-list musicians are expected to make a splash on stage.

    How to Watch the Grammys

    The 2026 Grammys air live on Sunday, February 1, on CBS and Paramount+. This year’s broadcast will also be available to stream online at cbs.com, through the CBS app, or via the Recording Academy’s social channels. Streaming options for those without a cable login include Hulu + Live TV, YouTube TV, DirectTV Stream, Sling TV, and FuboTV, many of which come with free-trial periods.

    If you’re interested in watching the Grammys live, you may also want to tune in to the annual Grammy Awards Premiere Ceremony, where the first and majority of awards are handed out. This event will stream live from Peacock Theater in Los Angeles hours before the proper show at 3:30 p.m. ET/12:30 p.m. PT on the Recording Academy’s YouTube channel and on live.grammy.com. Glee alum Darren Criss will host the ceremony and perform with his costar in Broadway’s Maybe Happy Ending, Helen J. Shen, with more performances from artists such as Zara Larsson and nominated musician Grace Potter.

    Who Is Performing at the Grammys?

    Sabrina Carpenter enters the 2026 Grammys with a half-dozen nods, including for album, record, and song of the year—all three of the night’s biggest awards—and was the first artist to join the awards show’s stacked performer lineup. She’ll be joined by Bieber, Gaga, the best new artist slate, and Let God Sort ‘Em Out collaborators Clipse and Pharrell Williams.

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    Savannah Walsh

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  • HUNTR/X, Art Garfunkel, Clipse and more light up pre-Grammy gala hosted by Clive Davis

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    LOS ANGELES — The music world lost a giant when heavy metal icon Ozzy Osbourne died last summer. So, what better way to kick off the famed Clive Davis pre-Grammys gala Saturday night than with a tribute to the prince of darkness?

    MGK (formerly known as Machine Gun Kelly) and country star Jelly Roll began the night of live music and tributes with Osbourne’s “I Don’t Wanna Stop” and “Mama, I’m Coming Home,” respectively, at the Beverly Hilton in Beverly Hills, Calif.

    “Rest in peace, Ozzy,” MGK said. “Bring it home, Jelly.”

    Performances followed fast and furious from there: Alex Warren brought his “Ordinary” hit; sombr did “12 to 12”; Clipse and John Legend’s “The Birds Don’t Sing” told a soulful story. Olivia Dean, a top contender for best new artist at the 2026 Grammys, sang “Man I Need.”

    Greatest of all? The trio HUNTR/X doing “Golden” from “Kpop Demon Hunters,” a fictional girl group built of very real singers Ejae (the voice of Rumi), Audrey Nuna (Mira), and Rei Ami (Zoey), for a full-throated vocal performance.

    Before the 93-year-old famed music executive Davis emerged on stage in a sequined suit to host his annual gala, Recording Academy President and CEO Harvey Mason jr. announced that the date of the event, Jan. 31, had been dubbed “Clive Davis Day” by the city of Beverly Hills, where it was held.

    “I think you’re gonna have an incredible time this evening,” Davis told his audience, an understatement if there ever was one, before shouting out some of the big names seated before him: Joni Mitchell, Nancy Pelosi, Berry Gordy and Brandi Carlile among them.

    A midshow tribute to Bernie Taupin, Elton John’s principal collaborator and lyricist, got people dancing; Darren Criss launched into “Benny and the Jets.” Laufey joined him for the duet “Don’t Go Breaking My Heart.”

    Republic Records founders, CEO Monte Lipman and COO Avery Lipman, were honored with the 2026 Grammy Salute to Industry Icons Award at the star-studded event and used their speeches to spotlight Universal Music Group’s entrepreneurial spirit. Even Stevie Wonder sang their praises.

    The brothers have been celebrated as titans of their industry; Republic Records is routinely viewed as one of the most influential labels in the music business.

    Davis’ gala, the incredibly popular and equally exclusive event, struck a different tone this year than last, when it was transformed to refocus on relief efforts following the devastating Los Angeles-area wildfires.

    Outside, a small group of protesters, with a megaphone, held an anti-immigration enforcement demonstration. The Beverly Hilton is a part of Hilton Worldwide; recently, protesters have held demonstrations in NYC and Minneapolis, wearing shirts that read “Hilton houses ICE” and calling for Hilton to stop federal immigration officers from staying there.

    Inside, music was at the center: Jennifer Hudson paid homage to the late Roberta Flack with “The First Time Ever I Saw Your Face.” The duo Dan + Shay did the same for Art Garfunkel, who later closed the stage with “Bridge Over Troubled Water.”

    Before he performed, Garfunkel told the room his song was styled after Phil Spector’s production on “Ol’ Man River,” where the biggest orchestration is saved for the last line. Davis was an early believer in the unusual idea.

    Gaining admittance to Davis’ event is notoriously challenging. The A-listers who made the cut this year included Diplo, Karol G, Pharrell Williams, Rita Wilson, Dave Grohl, Diane Warren, Sharon Osbourne, Yungblud, Colman Domingo, Teyana Taylor, Jeff Goldblum, Gladys Knight, Madison Beer, Cameron Crowe, Lana Del Rey, Shaboozey, Max Martin, Leon Thomas, Bebe Rexha and Jack Antonoff.

    Don Lemon, too, received one of Davis’ coveted shout-outs. The independent journalist was released from custody Friday after he was arrested and hit with federal civil rights charges over his coverage of an anti-immigration enforcement protest that disrupted a service at a Minnesota church. When he stood from his seat to wave to the crowd, he was met with a standing ovation.

    Early on in the evening, a video message from President Barack Obama played on screen. “Clive’s talent has always been seeing and hearing what other people don’t,” he said, then listed a few of the artists Davis helped launch: “Janis Joplin, Bruce Springsteen, Whitney Houston.”

    It is an impressive list and further evidence of what makes Davis’ party a highlight of every Grammy week. There’s a lot of talent in the room, and at its heart is the man who knows how to recognize it. Or, as Gayle King said when she quoted Warren at the top of the show: “He’s the best friend a song ever had.”

    ___

    The 68th Grammy Awards will be held Feb. 1 at Crypto.com Arena in Los Angeles. The show will air on CBS and stream on Paramount+. For more coverage of this year’s Grammy Awards, visit: www.apnews.com/hub/grammy-awards

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    Archivist and music historian Alex Palao worked to restore old tapes by “Sly and Family Stone” that gathered dust for decades. He co-produced the live album called “The First Family: Live at the Winchester Cathedral 1967.” He is now nominated for “Best Album Notes” at Sunday’s Grammy Awards. CBS News San Francisco’s Max Darrow has the story.

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  • 2026 Grammy nominees: Full list and how to watch the Grammys

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    The 68th annual Grammy Awards will take place Sunday with a dramatically different tone than last year.

    The 2025 award show was completely reimagined and refocused to relief efforts following the devastating Los Angeles-area wildfires. In 2026, focus has been placed once again on the music, where Kendrick Lamar, Lady Gaga, Bad Bunny and more will go head-to-head.

    Comedian Trevor Noah will host for a sixth and final year and history could be made when some of the biggest names in music gather. Here’s some key things to know ahead of Sunday’s show at the Crypto.com Arena.

    How to watch the show and red carpet

    The main show will air live on CBS beginning at 8 p.m. Eastern on Feb. 1.

    The Grammys can also be watched through live TV streaming services that include CBS in their lineup, like Hulu + Live TV, YouTube TV and FuboTV.

    Paramount+ premium plan subscribers will be able to stream the Grammys live; Paramount+ essential subscribers will have on-demand access the next day.

    The premiere ceremony will take place just ahead of the Grammys’ ceremony at 3:30 p.m. Eastern, 12:30 p.m. Pacific at the Peacock Theater in Los Angeles. It can be streamed at the Recording Academy’s YouTube channel and on live.GRAMMY.com.

    The Associated Press will stream a four-hour red carpet show with interviews and fashion footage. It will be streamed on YouTube and APNews.com ahead of the Grammys on Sunday.

    Who’s nominated at the 2025 Grammys

    Kendrick Lamar leads the 2026 Grammy Award nominations with nine. Lady Gaga, Jack Antonoff and Canadian record producer/songwriter Cirkut follow with seven nominations each.

    Sabrina Carpenter, Bad Bunny, Leon Thomas and Serban Ghenea all boast six nominations. Andrew Watt, Clipse, Doechii, Sounwave, SZA, Turnstile and Tyler, the Creator have five each.

    Who’s attending and performing at the Grammys

    Doechii, Harry Styles, Carole King, Chappell Roan, Charli xcx, Jeff Goldblum, Karol G, Lainey Wilson, Marcello Hernández, Nikki Glaser, Q-Tip, Queen Latifah and Teyana Taylor will present at the 2026 Grammys.

    Performers include Justin Bieber, Clipse, Pharrell Williams, Sabrina Carpenter Bruno Mars, Rosé, Tyler, the Creator, Lady Gaga and all eight of the this year’s best new artist nominees: Leon Thomas, Olivia Dean, global girl group Katseye, The Marías, Addison Rae, sombr, Alex Warren and Lola Young.

    Reba McEntire, Brandy Clark and Lukas Nelson will take the stage for the in memoriam. Ms. Lauryn Hill will pay tribute to D’Angelo and Roberta Flack. Post Malone, Andrew Watt, Chad Smith, Duff McKagan and Slash will honor Ozzy Osbourne.

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    For more coverage of this year’s Grammy Awards, visit: www.apnews.com/GrammyAwards

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    Maria Sherman | The Associated Press

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  • Mariah Carey’s secret grunge album part of tribute at MusiCares event

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    LOS ANGELES — Mariah Carey has blended pop, R&B, gospel and hip-hop into hit songs over five decades. But it was hearing a couple of cuts off her 1990s secret grunge album that had the superstar on her feet clapping.

    Foo Fighters blasted through “Someone’s Ugly Daughter” with Taylor Momsen on lead vocals. They followed up with “Love is a Scam” as Carey sang along from her front table.

    Carey was honored for her musical achievements and philanthropic efforts as MusiCares Person of the Year on Friday night, two days before the Grammy Awards. The award is given in the week ahead of the Grammys by MusiCares, a charity that supports musicians in need.

    “She is one of one,” longtime collaborator Babyface said. “Mariah, you are every songwriter and producer’s dream. You strike a lot of gold. You are a blueprint of a great songwriter.”

    Back in 1995, Carey secretly recorded and co-produced the grunge album “Someone’s Ugly Daughter” with her friend Clarissa Dane under the name Chick. It wasn’t until her 2020 memoir that Carey revealed she was behind the project, singing background vocals while Dane handled lead.

    Of all the songs performed at the Los Angeles Convention Center, Carey seemed to enjoy Foo Fighters’ blast from the past the most.

    Stevie Wonder didn’t perform, but he took the stage to tell Carey, “The greatest thing about you and I is we have respect and love for each other.”

    Grammy nominee Teddy Swims tackled “Without You,” the Harry Nilsson power ballad that Carey took to No. 1 in 1994.

    “That was really terrifying,” he said.

    British girl group Flo harmonized on “Dream Lover,” Billy Porter lent his unique interpretation to “Always Be My Baby,” and Jennifer Hudson opened with “I Don’t Wanna Cry” before seguing into “Vision of Love.”

    Surprise guest Busta Rhymes teamed with Chanté Moore and Spliff Star to perform “I Know What You Want.”

    John Legend sat behind the piano for “Hero” after Charlie Puth sang “I Still Believe” in the round. Grammy nominee Laufey sang “It’s Like That,” and, in a nod to Carey’s favorite color, Adam Lambert wore a lavender jacket while performing “Can’t Let Go.” Kesha sang “Obsessed” behind sunglasses. Maggie Rogers performed “Honey,” and then told Carey, “You’re the coolest.”

    Tables had metallic butterflies tucked in the lavender rose centerpieces, while pats of butter were in the shape of tiny butterflies. Carey’s sixth studio album “Butterfly” came out in 1997.

    Dripping with diamonds on her necklace, earrings and bracelets, Carey did more singing at her table than she did onstage.

    Traditionally, the honoree performs some of their biggest hits at the end of what is usually a three-hour concert. This year, the show wrapped in just under two hours, with Jon Batiste leading some of the performers in Carey’s holiday classic “All I Want for Christmas Is You.” The guest of honor was led on stage and sang along for about 90 seconds of the finale.

    Perhaps Carey was saving her five-octave range for next Friday, when she’s set to perform as part of the Milan Cortina Olympics opening ceremony in Italy, followed by a show in Abu Dhabi the next day.

    Befitting her diva status, Carey was guided to the podium trailed by a woman carrying the train of her sheer black lace dress.

    “Ah, tonight has been sublime,” she said. “To hear my songs reimagined by some of the world’s greatest artists, it’s surreal. When I was a little girl scribbling lyrics in my notebook late at night, I could only dream of someone hearing those words and relating to them.”

    Carey seemed genuinely touched by the honor, which has previously been bestowed on such artists as Bruce Springsteen, Barbra Streisand, Berry Gordy and Smokey Robinson, Joni Mitchell, Dolly Parton and Tom Petty. She told the crowd it was “one of the most profound moments of my life and career.”

    “Oh my gosh!” Carey said. “I got a chance to sit there and listen and feel very just blessed to be here. So much love, so much music. It’s overwhelming in the best possible way.”

    ___

    The 68th Grammy Awards will be held Sunday. The show will air on CBS and stream on Paramount+. For more coverage of this year’s Grammy Awards visit: www.apnews.com/hub/grammy-awards

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  • A Closer Look at the Grammys’ Top Nominees

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    Shane Boose, who records and performs as Sombr, struck a chord with “Back to Friends,” a song tracking the emotional mess of a fractured situationship.

    But before he landed on the song, the native New Yorker was adrift in Los Angeles, “falling in with the wrong crowds” and becoming “a loser” — a term he defines, opaquely, as “the person my mom tells me not to become.”

    He found the right collaborator, and now he has his first Grammy nod, for best new artist.

    Read More ›

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    The New York Times

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  • Alex Warren on grief, leaving home and living out of his car on journey to music career

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    Alex Warren’s hit song “Ordinary,” a love letter to his wife, became Billboard’s song of the summer in 2025. He spoke to “CBS Mornings” about his music journey and the challenges that came along the way, including losing his father to cancer at a young age. Natalie Morales reports.

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  • All of Taylor Swift’s Grammys Red-Carpet Looks Through the Years

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    It’s an honor just to be nominated, but winning at the Grammy Awards isn’t so bad either. Just ask Taylor Swift, she knows. Trophies are forever, but so are red-carpet photos, and looking back on what artists like Swift chose to wear over the years is something of a sartorial time capsule.

    Swift, who attended her first Grammy Awards ceremony in 2008 as a 19-year-old nominee for best new artist (she was up against Ledisi, Feist, Paramore, and Amy Winehouse, who ultimately won the category), has won 14 Grammys total. She has been honored with the album-of-the-year award a record-setting four times, with her latest win in 2024, for the album Midnights, breaking the tie she’d previously held in the category with Frank Sinatra, Stevie Wonder, and Paul Simon.

    Though Swift’s latest effort, The Life of a Showgirl, isn’t eligible for the awards this year due to its October release date, she may still be a guest at the ceremony. In celebration of the Grammys 2026, revisit Swift’s Grammys looks, from the ethereal pale purple strapless Sandy Spika gown she wore for her first time at the ceremony in 2008, to her 2025 choice of a sparkly red custom Vivienne Westwood look accessorized with a tiny “T” charm on a chain—perhaps a nod to fiancé Travis Kelce—codesigned with Lorraine Schwartz, coyly adorning her thigh.

    Ahead, take a walk down memory lane and see all 12 dresses that Taylor Swift has worn to the Grammy Awards over the years.

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    Kase Wickman

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  • What to Stream: ‘Bridgerton,’ the Grammys, Chevy Chase, Rose Byrne and ‘The Wrecking Crew’

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    Kendrick Lamar and Bad Bunny live at the Grammy Awards and Rose Byrne’s Oscar-nominated performance in “If I Had Legs I’d Kick You” are some of the new television, films, music and games headed to a device near you.

    Also among the streaming offerings worth your time this week, as selected by The Associated Press’ entertainment journalists: Highguard is the latest entry in the ever-growing field of multiplayer shooters, Jason Momoa and Dave Bautista star in “The Wrecking Crew” and the third season of “Shrinking” checks in on Apple TV.

    — If you haven’t seen Rose Byrne’s Oscar-nominated performance in “If I Had Legs I’d Kick You,” Mary Bronstein’s psychological drama arrives Friday, Jan. 30 on HBO Max. Byrne plays the stressed-out mother of a young, unseen child who’s struggling with a mystery illness. In her review, the AP’s Jocelyn Noveck wrote that the film “has given Byrne, an actor of effortless appeal in lighter films, a chance to display versatility and grit in surely the toughest dramatic role of her career.”

    — Jason Momoa and Dave Bautista star in “The Wrecking Crew” (Prime Video, Wednesday) as estranged half brothers who reunite after their father’s mysterious death. The action comedy is directed by Angel Manuel Soto, who made 2023’s “Blue Beetle.”

    — Ira Sachs’ “Peter Hujar’s Day,” the lead nominee to the Independent Film Spirit Awards, is a marvel of historical yet intimate dramatic resurrection. The film (Criterion Channel, Tuesday) is based on a transcript from a 1974 interview by the writer Linda Rosenkrantz (Rebecca Hall) and her friend, the photographer Peter Hujar (Ben Whishaw). Rosenkrantz had planned a book about how artists spend their time. But the book never happened, and Sachs, after coming across the transcripts, dramatizes their dialogue.

    — In “I’m Chevy Chase and You’re Not,” the filmmaker Marina Zenovich profiles the irascible “Saturday Night Live” and “Fletch” star. For the film (HBO Max, Saturday, Jan. 31), Zenovich interviews the complicated and sometimes combative comedian about his career, with glimpses of his daily life. Perspectives are offered by Dan Aykroyd, Beverly D’Angelo, Goldie Hawn, Lorne Michaels, Ryan Reynolds and Martin Short.

    — AP Film Writer Jake Coyle

    — ’Tis the season — the 2026 Grammy Awards season, that is. On Sunday Feb. 1, the 68th annual award show will air live on CBS. Watch as Kendrick Lamar, Bad Bunny, Lady Gaga and many more go head-to-head in the top prize categories. Plus, the show doubles as a kind of bespoke live concert viewing experience — and who doesn’t like that? The 2026 Grammys can also be watched through live TV streaming services that include CBS in their lineup, like Hulu + Live TV, YouTube TV and FuboTV. Paramount+ premium plan subscribers will be able to stream the Grammys live; Paramount+ essential subscribers will have on-demand access the next day.

    — California power pop-punk bands Joyce Manor return with their seventh full-length album Friday, the all-too-appropriately titled “I Used to Go to This Bar.” Spoken like a gently aging band whose penchant for hooks knows no bounds.

    — AP Music Writer Maria Sherman

    — Benedict, the second eldest Bridgerton, takes center stage in season 4 of the Netflix romance series, It’s about the love stories of a large family in London during the Regency Era. Season 4 has “Cinderella” vibes with Luke Thompson’s Benedict looking for an enchanting “woman in silver” who is actually Sophie, a housemaid (Yerin Ha) working for his family. Part 1 drops Thursday with the remaining episodes arriving in February.

    — The third season of “Shrinking” checks in Wednesday on Apple TV. The series follows Jason Segel as a therapist named Jimmy, a widowed dad to a teenage girl, who shares a practice with characters played by Harrison Ford and Jessica Williams. Between Jimmy’s colleagues, neighbors and friends, he forms a new kind of family. Season 3 features guest stars Michael J. Fox, Jeff Daniels, Sherry Cola, Isabella Gomez, and Candice Bergen.

    — School’s back in session. “School Spirits” starring Peyton List, that is. The Paramount+ series also returns for a third season on Wednesday. List stars as a teen trapped in the afterlife which happens to be her high school. She’s there with other ghosts who are also former students that help Maddie to investigate the circumstances surrounding her death.

    — Kaley Cuoco and Sam Claflin star in a new mystery for MGM+ called “Vanished.” Cuoco plays a woman whose boyfriend (Claflin) goes missing on a train to France. The four-part limited-series premieres Sunday, Feb. 1.

    — Alicia Rancilio

    — Highguard is the latest entry in the ever-growing field of multiplayer shooters, offering yet another way to get online with your friends and blow stuff up. In this case, you are Wardens — “arcane gunslingers sent to battle for control of a mythical continent.” Judging by the trailer, you’ll be able to ride mythical beasts and wield magical powers along with the typical arsenal of weapons. It comes from a new studio called Wildlight Entertainment, whose founders have worked on hits like Call of Duty, Apex Legends and Titanfall. And it’s free-to-play, so you might as well give it a shot Monday on PlayStation 5, Xbox X/S on PC.

    — Bandai Namco’s Code Vein, from 2019, tried to answer the question: What if you took the demanding combat of Dark Souls and added vampires? The bloodsuckers — known here as Revenants — are back in Code Vein II, but a mysterious force is turning them into mindless monstrosities. Your job is to travel back in time and prevent the damage before all the Revenants get stupid. The good news is that you can still drain blood from your enemies and use it to upgrade your own fighting skills. Quench your thirst Friday, Jan. 30, on PlayStation 5, Xbox X/S or PC.

    — Lou Kesten

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  • How to watch the 2026 Grammys, where Kendrick Lamar, Bad Bunny and Lady Gaga go head-to-head

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    NEW YORK — 1. The 2026 Grammy Awards are right around the corner. Who will win big?

    The 68th annual Grammy Awards will take place Feb. 1 at the Crypto.com Arena in Los Angeles. This year marks a return to normalcy after the 2025 award show was altered to focus on supporting relief efforts following the devastating Los Angeles-area wildfires.

    “I think we will see some history-making moments,” Recording Academy CEO and President Harvey Mason jr. told The Associated Press. “With artists being nominated in categories they haven’t been previously nominated in, and a new crop of talent coming through the system this year — I think we’re going to see some really exciting results.”

    Here’s what you need to know about the 2026 Grammys, including how to stream and where you can see music’s biggest stars walking the red carpet.

    The main show will air live on CBS beginning at 8 p.m. Eastern on Feb. 1.

    The Grammys can also be watched through live TV streaming services that include CBS in their lineup, like Hulu + Live TV, YouTube TV and FuboTV.

    Paramount+ premium plan subscribers will be able to stream the Grammys live; Paramount+ essential subscribers will have on-demand access the next day.

    The premiere ceremony will take place just ahead of the Grammys’ ceremony at 3:30 p.m. Eastern, 12:30 p.m. Pacific at the Peacock Theater in Los Angeles. It can be streamed at the Recording Academy’s YouTube channel and on live.GRAMMY.com.

    Comedian Trevor Noah will host the show for the sixth consecutive time — and it will be his last.

    “I am beyond thrilled to welcome Trevor Noah back to host the Grammys for his sixth, and sadly, final time,” Grammys’ executive producer Ben Winston said in a statement. “He’s been the most phenomenal host of the show. He’s so smart, so funny, and such a true fan of the artists and music. His impact on the show has been truly spectacular, and we can’t wait to do it together one last time.”

    The only other people to host six or more Grammy telecasts were musical artists: Andy Williams hosted seven shows, followed by John Denver with six. Noah previously tied LL Cool J, with five.

    Noah himself is a four-time Grammy nominee and is up this year in the audio book, narration, and storytelling recording category for “Into The Uncut Grass,” a children’s story.

    “He’s a special host. He really finds the right balance between being funny and smart and knowledgeable but also being a fan of music. And I love that. It’s so hard to find that combination,” Mason jr. said.

    As for his departure? “Every person at some point in their career, they decide they want to do something else,” Mason jr. said. “And we’re so appreciative of the years that we got from Trevor. He’s really helped define the show and make the show what it’s become over the last six years.”

    The Associated Press will stream a four-hour red carpet show with interviews and fashion footage. It will be streamed on YouTube and APNews.com.

    Kendrick Lamar leads the nominations with nine total. He’s up for record, song and album of the year — marking the third time he’s had simultaneous nominations in those big categories — as well as pop duo/group performance, melodic rap performance, rap song and rap album. He’s also nominated twice in the rap performance category.

    Lady Gaga, Jack Antonoff and Canadian record producer/songwriter Cirkut follow Lamar with seven nominations each.

    Sabrina Carpenter, Bad Bunny, Leon Thomas and Serban Ghenea all boast six nominations. Andrew Watt, Clipse, Doechii, Sounwave, SZA, Turnstile and Tyler, the Creator have five each.

    And in the best new artist category, Thomas, global girl group Katseye, Olivia Dean, The Marías, Addison Rae, sombr, Alex Warren and Lola Young will go head-to-head.

    There are a number of first-time nominees as well this year, including Tate McRae, Zara Larsson, PinkPantheress, JID and … Timothée Chalamet. You read that correctly.

    ___

    For more coverage of this year’s Grammy Awards, visit: www.apnews.com/hub/grammy-awards

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  • Kim Gordon returns with defiant new solo album, ‘Play Me’: ‘It does feel like an evolution’

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    NEW YORK — Ten years ago, Kim Gordon — a revolutionary force in the alternative rock band Sonic Youth, the ’80s New York no wave scene and the space between art and noise — debuted solo music. At the time, she was already decades into a celebrated, mixed-medium creative career.

    The midtempo “Murdered Out” was her first single, where clangorous, overdubbed guitars met the unmistakable rasp of her deadpan intonations. It was a surprise from an experimentalist well-versed in the unexpected: The song took inspiration from Los Angeles car culture, and its main collaborator was the producer Justin Raisen, then best known for his pop work with Sky Ferreira and Charli XCX. Their partnership has continued in the decade since, and on March 13, Gordon will drop her third solo album, “Play Me,” announced Wednesday alongside the release of a hazy, transcendent single, “Not Today.”

    “It was a happy accident,” she says of her continued work with Raisen. “In the beginning, I was somewhat skeptical of working with a producer and collaborator, really. But it’s turned out to be incredibly freeing.”

    “Play Me” follows Gordon’s critically lauded, beat-heavy 2024 album “The Collective,” a noisy body of work that featured oddball trap blasts. It earned her two Grammy nominations — a career first — for alternative music album and alternative music performance. Those were for the song “Bye Bye,” with its eerie, dissonant beat originally written for rapper Playboi Carti. For “Play Me,” Gordon reimagined the track for the closer, “Bye Bye 25!” She says it was the result of her thinking about the rap world, where revisiting and remixing is commonplace.

    “I came up with the idea of using these words that Trump had sort of ‘banned’ in his mind,” she says of the new song’s lyrics. (An example: “Injustice / Opportunity / Dietary guidelines / Housing for the future.” President Donald Trump’s administration associates the terms with diversity, equity and inclusion initiatives, which it has vowed to root out across the government.) For Gordon, because it became “more conceptual … the remake doesn’t seem as anxiety-provoking as the original.”

    There is a connective spirit between “The Collective” and “Play Me” — a shared confrontation, propulsive production and songs that possess a keen ability to process and reflect the world around Gordon. “It does feel kind of like an evolution,” she says of this album next to her last. “It’s sort of a more focused record, and immediate.” The songs are shorter and attentive.

    Or, to put it more simply: “I like beats and that inspires me more than melodies,” she says. “Beats and space.”

    That palette drives “Play Me,” a foundation in which staccato lyricism transforms and offers astute criticism. Consider the title track, which challenges passive listening and the devaluation of music in the age of streaming. She names Spotify playlist titles, imagined genres defined by mood rather than music. “Rich popular girl / Villain mode” she speak-sings, “Jazz and background / Chillin’ after work.”

    “It’s just representative of, you know, this era we’re in, this culture of convenience,” she says. “Music always represented a certain amount of freedom to me, and it feels like that’s kind of been blanketed over.”

    Sonically, it is a message delivered atop a ’70s groove, placing it in conversation with an era unshackled from these digital technologies.

    The title, too, “is playing off the sort of passive nature of listening to music,” she says, “But also it could be seen as defiant. Like, I dare you to play me.”

    There’s also the blown-out “Subcon,” which examines the world’s growing billionaire class and their fascination with space colonialization in a period of economic insecurity. In the song, Gordon’s lyrical abstractions highlight the absurdity, taking aim at technocrats.

    “I find reality inspirational, no matter how bad it is,” she says. Where some artists might veer away from the news, Gordon tackles truth. “I’m not sure what music is supposed to be. So, I’m just doing my version of it.”

    In the end, she hopes listeners are “somewhat thrilled by” the album.

    “’This is the music that I’ve wanted to hear,’ kind of feeling. Does that sound egotistical? I don’t know,” she laughs. If it is, it is earned.

    1. “Play Me”

    2. “Girl with a Look”

    3. “No Hands”

    4. “Black Out”

    5. “Dirty Tech”

    6. “Not Today”

    7. “Busy Bee”

    8. “Square Jaw”

    9. “Subcon”

    10. “Post Empire”

    11. “Nail Bitter”

    12. “Bye Bye 25!”

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  • Sonia De Los Santos cancels Kennedy Center shows, citing unwelcoming climate

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    NEW YORK — Grammy-nominated singer-songwriter Sonia De Los Santos is the latest performer to cancel an appearance at the Kennedy Center in Washington. She had been scheduled to give two concerts for young people on Feb. 7, followed by a “creative conversation” with the audience.

    De Los Santos, a Mexican American whose 2018 release “¡Alegría!” received a Latin Grammy nomination for best children’s album, cited her background as a reason for calling off the shows.

    “As an artist, I treasure the freedom to create and share my music, and for many years I have used this privilege to uplift the stories of immigrants in this country,” she wrote Thursday on Instagram. “Unfortunately, I do not feel that the current climate at this beloved venue represents a welcoming space for myself, my band, or our audience.”

    In an email to The Associated Press, De Los Santos shared her Instagram statement and said she would have no additional comment. Kennedy Center spokesperson Roma Daravi challenged De Los Santos’ citing of immigration policy.

    “This country was built on legal immigrants and as a first generation American, I find her statement highly offensive,” Daravi wrote in an email. “Refusing to engage with an institution open to everyone is, in fact, a step towards discrimination.”

    Artists ranging from “Hamilton” creator Lin-Manuel Miranda to rock star Peter Wolf have called off events at the Kennedy Center since President Donald Trump ousted the previous leadership early last year and arranged for himself to head the board of trustees. Trump has highlighted the Kennedy Center in his wide-ranging fight against what he calls “woke” bias at cultural institutions.

    The board’s decision in December to rebrand the venue the Trump-Kennedy Center, a change that scholars say can only be enacted through Congress, led to a new wave of cancellations. Jazz musician Chuck Redd called off a planned Christmas Eve show, and the jazz group The Cookers withdrew from their New Year’s Eve concerts.

    Last week, the Grammy-winning banjo player Bela Fleck announced that he had canceled three scheduled appearances next month with the National Symphony Orchestra, writing on social media that playing at the center had become “charged and political.” Ric Grenell, a diplomat and Trump ally whom the president appointed to lead the center, wrote on X that Fleck had “made it political and caved to the woke mob.”

    Other recent withdrawals include “Wicked” composer Stephen Schwartz, who had been expected to host an opera gala in the spring, and the variety show Asian AF, whose shows in May were listed as canceled on the Kennedy Center website, then removed entirely. Daravi cited a “scheduling conflict.” A representative for Asian AF did not immediately responds to requests for comment.

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  • Bad Bunny could make history at the 2026 Grammys. For Latino culture, he already has

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    NEW YORK — The Puerto Rican superstar Bad Bunny has redefined what it means to be a global giant — and he may once again make history at the 2026 Grammy Awards.

    The artist born Benito Antonio Martínez Ocasio is up for six awards at the Feb. 1 show, becoming the first Spanish-language artist to be nominated for album, song and record of the year simultaneously. His critically acclaimed album, “Debí Tirar Más Fotos,” is only the second Spanish-language record to be nominated for album of the year. The first? Well, that also belonged to Bad Bunny, 2022’s “Un Verano Sin Ti.”

    Win or lose, experts say Bad Bunny’s Grammy nominations mark a symbolic moment for Latinos. Just a week later, after all, he’ll headline the Super Bowl halftime show.

    Vanessa Díaz, associate professor of Chicano and Latino studies at Loyola Marymount University and co-author of “P FKN R: How Bad Bunny Became the Global Voice of Puerto Rican Resistance,” says Bad Bunny’s nods extend beyond his own art and serve as a “very welcome recognition of Latin music that is growing.”

    “Music from the Spanish-speaking Caribbean has been shaping global music tastes since the 19th century,” adds Albert Laguna, associate professor of ethnicity, race and migration and American studies at Yale. “Bad Bunny is another link in a much longer chain of the popularity of Caribbean music on a global stage.”

    Much of this music — particularly Latin trap and reggaetón, the genres Bad Bunny got his start in and continues to use in his new work — has been historically criminalized in Puerto Rico, not unlike hip-hop in the United States. Reggaetón in particular, Díaz points out, “comes from the most marginalized communities in Puerto Rico. And so, the fact that Bad Bunny is receiving nominations in three main categories, and this is an artist who came up with trap … is the most groundbreaking thing about the entire situation.”

    Petra Rivera-Rideau, associate professor of American studies at Wellesley College and co-author of “P FKN R,” says that element is particularly noteworthy because institutions often ignore marginalized genres — including at the Latin Grammys, a sister award show to the Grammys.

    A victory in the major categories could have “profound, symbolic meaning,” she says. But with a caveat: “I’m interested to see if this is going to open doors for other people.” After all, Bad Bunny himself isn’t immune to the Recording Academy’s institutional biases: He already has three career Grammys, but all have been in música urbana categories — despite the fact that he is the most streamed artist on the planet.

    Across “Debí Tirar Más Fotos,” Bad Bunny and his producers weave traditional Puerto Rican folkloric styles into a hyper-contemporary context. Latin trap and reggaetón aren’t abandoned but fused with música jíbara, salsa, bomba, plena and even aguinaldo, a kind of Christmas music, in “Pitorro de Coco.” While Bad Bunny’s previous albums also fused different genres — including bossa nova, mambo, rock, merengue and more — this album’s melange was more homegrown.

    Laguna sees “Debí Tirar Más Fotos” as a direct challenge to the prevailing “formula for global pop stardom,” which he describes as an artist making it locally, gaining traction and then “watering down” their sound into something commercial and palatable for a global audience.

    “Bad Bunny went in the opposite direction. It’s his most Puerto Rican album ever,” says Laguna. He hopes it will communicate to other artists that they, too, can look to their ancestry and history for artmaking.

    “There’s so much amazing Latin music that has been overlooked and that’s part of what is so beautiful about this moment,” says Díaz. “And that’s why it feels like a win for all Latinos.”

    The timing of the album’s release and recognition, too, feels consequential. “The U.S. has a history of othering Latinos, othering the Spanish language. … We’re in a moment where that feels extremely acute,” she continues. “For a community that is being targeted on such a deep level, it is a little bit of light, a little bit of faith that we can still carve out our place here.”

    Latinos and the Spanish-speaking community in the U.S. have grown increasingly wary amid growing anti-immigrant sentiment and raids, as President Donald Trump’s immigration policies and executive actions have vastly expanded who is eligible for deportation and routine hearings have turned into deportation traps for migrants.

    In an interview with i-D Magazine earlier this year, Bad Bunny mentioned that concerns around the mass deportations of Latinos factored into his decision not to tour in the continental U.S. ( Hundreds of people have been detained in Puerto Rico itself since large-scale arrests began in late January.)

    “The content of the lyrics — which are so steeped in the history of Puerto Rico, political histories, tourism and gentrification — there’s so much rich political and historical content,” Díaz adds. “This album is historic even without a Grammy win.”

    But if Bad Bunny does win, Díaz says, it will be “akin to Halle Berry being the first Black woman to win an Oscar. That was a watershed moment. Or Rita Moreno being the first Latina to win.”

    Beyond that, Laguna says the politics of the album are not exclusive to Puerto Rican or even Latino identity — “the lyrics on this album align with global struggles,” he says. Take, for example, “Lo que le pasó a Hawaii” (“What happened to Hawaii”), a rallying cry for cultural autonomy in an era of neocolonialization.

    Rivera-Rideau says one of the reasons “Debí Tirar Más Fotos” has resonated is not just the political implications of using folkloric music in addition to música urbana, but its sound. The traditional genres are “a lot more digestible” to listeners who embrace the antiquated taboos surrounding Latin trap and scoff at reggaetón’s sexuality. As a result, the combination of sounds makes for an album that is “popular across generations,” she says.

    But it only works because it is “musically really interesting. If it was just traditional music, and that’s only what people cared about, it wouldn’t have done as well as it did,” she explains. “Musically, it is super innovative and makes accessible a lot of these older genres that people in Puerto Rico listen to, but he’s been able to globalize these very local genres in a way that no one else has.”

    That intergenerational appeal was a feature of Bad Bunny’s landmark Puerto Rican residency, with the age and global diversity of its audience.

    “A lot of people feel like this is a tense moment, it’s a difficult moment. And here’s someone giving us a sonic language in which to narrate this complex present,” Laguna says. “There’s pleasure, in political critique, that the music makes possible in a beautiful way. And I think that’s very much welcomed.”

    ___

    The 68th Grammy Awards will be held Feb. 1, 2026, at Crypto.com Arena in Los Angeles. The show will air on CBS and stream on Paramount+. For more coverage, visit https://apnews.com/hub/grammy-awards.

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  • The Grammys split country album category into traditional and contemporary

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    NEW YORK — Flashback to February. It’s the 2025 Grammys, and Beyoncé has made history. Not only was she finally awarded the top prize of album of the year, but she also became the first Black woman to win best country album, for “Cowboy Carter.” Recent changes by the Recording Academy have made it even more monumental: She might be the last person to ever win the award.

    In June, the Academy announced that the Grammys’ country album title was splitting into two categories. A new award was created, traditional country album. The preexisting country album category has been redefined and is now contemporary country album, reflecting the genre’s ongoing sonic evolutions.

    The decision was divisive: Some viewed it as backlash to Beyoncé’s win. Others welcomed the addition of a new award and the creative doors it might open. Some questioned how the categories would be defined in a genre where the word “traditional” is loaded.

    Here’s everything you need to know about the change — and what it could signify in the future.

    Charles L. Hughes, Rhodes College professor and author of “Country Soul,” says Beyoncé’s victory was a welcomed surprise, despite being obviously worthy. That’s because her album inspired a larger conversation about reclamation, standing in opposition to the music industry’s rigid power structures and “indicated how significant this historical question remains of whether or not Black folks have equal access to success in a genre of music that bears such strong Black influences and has from the very beginning,” Hughes said.

    He believes the decision to alter the country album categories was not in direct response to her win — “I think it is a more complicated story,” he says — but the timing might’ve been less than ideal, emboldening fans to view it as reactionary. He hopes the changes will open the category to more diversity of sounds and “whether this leads to a broader opening and opportunity for Black artists, especially Black women in country music,” he posits.

    Francesca T. Royster, a DePaul University professor and author of “Black Country Music: Listening for Revolutions,” views Beyoncé’s victory as positively connected to this change. She wonders if artists — particularly artists of color, who never had their music recognized in country music categories, think of artists like “Millie Jackson or Candi Staton, Bobby Womack” — would now see their work recognized. “Having these two categories just allows for more experimentation and maybe less of a double standard,” she says, “in terms of artists who are often held to higher standards to conform to, or be recognizable as, meeting an idea about what country music is.”

    “It makes sense that the Grammy categories for country would become a little bit more expansive,” she says, “because I think the music is more expansive and the audience is also more expansive than it’s ever been.”

    According to the Recording Academy’s rule book, the traditional country category is defined by “country recordings that adhere to the more traditional sound structures of the country genre, including rhythm and singing style, lyrical content, as well as traditional country instrumentation.”

    Those are: acoustic guitar, steel guitar, fiddle, banjo, mandolin, piano, electric guitar and live drums. This is also where subgenres like outlaw country, Western and Western swing would fit.

    The contemporary country category description is a bit more conceptual. The rule book states that albums eligible in this category “utilize a stylistic intention, song structure, lyrical content, and/or musical presentation to create a sensibility that reflects the broad spectrum of contemporary country style and culture.”

    The hope is that those titles are “relevant to the legacy of country music’s culture, while also engaging in more contemporary music forms.”

    The questions Hughes poses: “Whose tradition are we talking about?” And how is “country music’s culture” defined?

    “It’s almost tautology. ‘Well, it’s traditional country if it sounds like traditional country,’” he says.

    In that reading, contemporary country could simply account for everything else.

    Royster says both categories seem to “speak to an aesthetic as well as political agenda, many agendas.” To her, the traditional category would appeal to artists who believe that “this is a past form that needs to … continue to be recognized and respected.” Similarly, the contemporary category is “linked to the culture of country but is also expansive.”

    “In both cases, there’s a kind of story behind the story.”

    Adding a new genre category is not unique to country music. Consider a sister genre, R&B. In 1999, the Recording Academy also introduced a traditional category to the R&B field to spotlight artists who chose to hybridize the genre as well as those who prefer nostalgic structures.

    It didn’t stay stagnant from there: In 2021, the Academy changed the best urban contemporary album category to best progressive R&B album, to spotlight those records that weave R&B with other genres.

    In the contemporary country album category, Kelsea Ballerini’s “Patterns” faces off against Tyler Childers’ “Snipe Hunter,” Eric Church’s “Evangeline vs. the Machine,” Jelly Roll’s “Beautifully Broken,” and Miranda Lambert’s “Postcards from Texas.”

    In the traditional category, it is Charley Crockett’s “Dollar a Day,” Lukas Nelson’s “American Romance,” Willie Nelson’s “Oh What a Beautiful World,” Margo Price’s “Hard Headed Woman,” and Zach Top’s “Ain’t In It For My Health.”

    Royster wonders if with this first year of nominees, “there’s less risk in terms of recognizing the kind of ‘country-ness’ of these artists.” Royster views the lineup as “artists (whose) country creds would still be recognized even if they’re also bringing in other elements. I would hope in the future there might be more room in the category.”

    For Hughes, the nominees further confuse the distinctions. Consider this example: Zach Top’s album borrows heavily from George Strait’s sound, which emerged in the ‘70s as a mesh of honky-tonk traditions and contemporary country. Hip-hop also emerged in the ’70s. They were simultaneous. “But I have a feeling we won’t be seeing a lot of hip-hop-inspired artists in the traditional category,” he says.

    But that doesn’t mean it might not evolve in the future. “If the Grammys fundamentally exist to give people recognition,” he says, “The more, the merrier.”

    “Anytime the pipe widens, more water gets through. And this was the pipe widening, baby,” Jelly Roll, who is nominated in the inaugural best contemporary country album category, told The Associated Press. “I love it. I’m happy. I’m a fan of both sides. It encourages me to maybe make a traditional country album one day, you know? So, this is cool.”

    Three-time Grammy award winner Brad Paisley has a similar stance: There’s a benefit to having more country music recognitions.

    “Awards are really tools to sort of get awareness for something that you made, you know?” he said. “They’re never the goal. It’s always more like, ‘Oh, cool, this might make more people listen to it.’ … If this means they got to make more little gold gramophone statues to give out, and two people get them versus one, great.”

    That said: Paisley’s not sure which category he would fall into, or if the division could color an artist’s creative decisions. “I’d almost have to think it through like, ‘No, no, we’re going for the Grammy on this. I better not do this on this record or something.’ But hopefully that doesn’t ever enter into it,” he says.

    Hopefully, it’s just a panel decided who belongs in which category, “and then two people get to go home happy versus one. And that’s good in my book,” he said.

    ___

    The 68th Grammy Awards will be held Feb. 1, 2026, at Crypto.com Arena in Los Angeles. The show will air on CBS and stream on Paramount+. For more coverage, visit https://apnews.com/hub/grammy-awards.

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  • Catholic clergy are ecstatic about Rosalía’s songs of faith in her new album ‘Lux’

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    BARCELONA, Spain (AP) — And Rosalía said, “Let there be Lux.”

    Rosalía, the global Spanish pop star loved by millions for fusing flamenco with Latin hip-hop and reggaeton, has amazed her fans with a radical shift.

    The singer and songwriter’s new album, “Lux” (“Light” in Latin), is unabashedly spiritual. Fifteen songs, sung in 13 different languages, including fragments in Latin, Arabic and Hebrew, are laden with a yearning for the divine.

    And it is receiving praise from on high.

    Xabier Gómez García, bishop of Sant Feliu de Llobregat which includes Rosalía’s hometown of Sant Esteve Sesrovires near Barcelona, was one of the first church leaders to laud her work in an open letter to his flock. Rosalía’s grandmother regularly attends mass in Sant Esteve Sesrovires, according to the diocese.

    In an interview with The Associated Press, Gómez said that while some of her songs were “provocative,” Rosalía “speaks with absolute freedom and without hang-ups about what she feels God to be, and the desire, the thirst (to know God).”

    “When I listened to ‘Lux’ and Rosalía speaking about her the context of her album and the creative process, I found myself faced with a process and a work that transcended the musical. Here was a spiritual search through the testimonies of women of immense spiritual maturity,” he said.

    From her opening lyrics sung over piano and mournful cello, “Who could live between the two/ First love the world and later love God,” Rosalía announces that this album is a rupture from its Grammy-winning predecessors. “El mal querer (¨The Bad Loving” in Spanish) and “ Motomami ” had established Rosalía as one of the leading artists in the Spanish music world with her experimental urban beats.

    Despite — or thanks to — its diversity of styles and song forms, ranging from classical strings, snippets of electronica with a cameo by Björk, a boys’ choir from a thousand-year-old monastery, an aria-like song in Italian, a Portuguese fado and, of course, modern flamenco and hip-hop beats, “Lux” is off to a powerful start among listeners. It has four songs in Spotify’s Top 50 global chart for this week, more than any artist, including Taylor Swift.

    Madonna has declared herself a fan of “Lux,” and composer Andrew Lloyd Webber has lavishly called it the “album of the decade.”

    Turning inwards

    Rosalía, 33, has said that after her success in more popular music forms, she let her long-held longing for the spiritual guide her in making “Lux.”

    “In the end, in an age that seems not to be the age of faith or certainty or truth, there is more need than ever for a faith, or a certainty, or a truth,” she told reporters in Mexico City last month.

    She said that she was guided by the concept that “an artist doubts less of his vocation when he works in the service of God than when he works in the service of him or herself.”

    Rosalía apparently has not had a revelatory “come-to-Jesus” moment common among evangelical believers in America. Like many Spaniards, she grew up in a once staunchly Catholic Spain that has quickly secularized in recent decades, especially among the younger generations, leaving churches mostly to elderly parishioners.

    Even her early music flirted with medieval religious poetry, including one video clip from 2017 when she set a poem by 16th-century Spanish poet Saint John of the Cross to music.

    While embracing Catholic symbols and expressing a fascination with female saints, Rosalía seems to eschew strictly organized practice and draws inspiration from other religions, as well. “Lux” responds to that diversity of interest, at one point quoting a Sufi poetess.

    “I have read much more than I did years ago, reading many hagiographies of feminine saints from around the world,” she said. “They accompanied me throughout this process.”

    Her style has also morphed. Gone are the hip-hop fashion and long fake nails Rosalía sported only a few years ago when she took the Latin Grammys by storm. Contrast that now with her look on the “Lux” album cover, where she is dressed in a solid white nun’s veil with her arms apparently trapped inside a white top, her gaze averted.

    Vatican’s culture cardinal joins the fan club

    Despite the potentially controversial move of comparing God to an obsessed lover in the song “Dios es un stalker” (“God Is a Stalker” in Spanish), Rosalía has won over the equivalent of the Vatican’s culture minister.

    Cardinal José Tolentino de Mendonça, prefect of the Vatican Dicastery for Culture and Education, told Spanish news agency EFE this month that Rosalía has detected a wider dissatisfaction with the secular world.

    “When a creator like Rosalía speaks of spirituality,” he said, “it means that she captures a profound need in contemporary culture to approach spirituality, to cultivate an inner life.”

    Among the songs about faith, Rosalía found the time to deliver tunes like “La Perla” (“The Pearl” in Spanish) that dishes out scorn for a former lover.

    That deft mix of both high and pop culture is part of the allure of “Lux,” said Josep Oton, professor of religious history for the ISCREB theology school in Barcelona.

    “She has succeeded in making popular music with very deep cultural roots,” Oton told the AP. “Anyone can listen to it, and people with different backgrounds can take away different things. It is pop music, but it is profound.”

    Interpreting ‘Lux’

    “Lux” can be intimidating for listeners, both due to its elaborate orchestration and smattering of esoteric lyrics that Rosalía was inspired to write after reading medieval mystical poets and their accounts of undergoing a transformative union with God through deep prayer and meditation.

    In the exhilarating “Reliquia” (“Relic” in Spanish), Rosalía compares herself to female saints, listing the parts of her body and life she has left in cities around the world as relics for others’ keeping. Her “Mio Cristo Piange Diamanti,” (“My Christ Weeps Diamonds” in Italian), brims with the extravagant Baroque image of the jewels dripping from the eyes of the Messiah.

    In “Divinize,” Rosalía sings of the “divina buidor” (“divine emptiness” in Catalan), a central concept of medieval mysticism which focused on how the soul must experience abandonment to open a space where God can enter.

    Victoria Cirlot, professor of humanities at Barcelona’s Pompeu Fabra University and expert in medieval feminine mystical tradition, liked “Lux” for its ability to introduce complex religious concepts to the general public, while noting it is “a minimalist” sample of the mystical tradition.

    Cirlot said the moving “La Yugular” (“The Jugular” in Spanish) is rich in mystical thought because the throat, the home of the voice and the breath, is associated in many religious traditions as the body’s door to the divine.

    But, for Cirlot, it’s the entire package that makes “Lux” so impactful.

    “Rosalía is not just a great singer; she is a great actress, and her body language is full of these mystical gestures like contorting her face in an expression of ecstasy, of staring into nothing,” Cirlot said. “And then we have her amazing voice, which creates a sense of flight.”

    ___

    AP writer Berenice Bautista contributed from Mexico City.

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  • Rosalía’s ‘Lux’ enraptures Vatican cardinal and bishops with its songs of faith

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    BARCELONA, Spain — And Rosalía said, “Let there be Lux.”

    Rosalía, the global Spanish pop star loved by millions for fusing flamenco with Latin hip-hop and reggaeton, has amazed her fans with a radical shift.

    The singer and songwriter’s new album, “Lux” (“Light” in Latin), is unabashedly spiritual. Fifteen songs, sung in 13 different languages, including fragments in Latin, Arabic and Hebrew, are laden with a yearning for the divine.

    And it is receiving praise from on high.

    Xabier Gómez García, bishop of Sant Feliu de Llobregat which includes Rosalía’s hometown of Sant Esteve Sesrovires near Barcelona, was one of the first church leaders to laud her work in an open letter to his flock. Rosalía’s grandmother regularly attends mass in Sant Esteve Sesrovires, according to the diocese.

    In an interview with The Associated Press, Gómez said that while some of her songs were “provocative,” Rosalía “speaks with absolute freedom and without hang-ups about what she feels God to be, and the desire, the thirst (to know God).”

    “When I listened to ‘Lux’ and Rosalía speaking about her the context of her album and the creative process, I found myself faced with a process and a work that transcended the musical. Here was a spiritual search through the testimonies of women of immense spiritual maturity,” he said.

    From her opening lyrics sung over piano and mournful cello, “Who could live between the two/ First love the world and later love God,” Rosalía announces that this album is a rupture from its Grammy-winning predecessors. “El mal querer (¨The Bad Loving” in Spanish) and “ Motomami ” had established Rosalía as one of the leading artists in the Spanish music world with her experimental urban beats.

    Despite — or thanks to — its diversity of styles and song forms, ranging from classical strings, snippets of electronica with a cameo by Björk, a boys’ choir from a thousand-year-old monastery, an aria-like song in Italian, a Portuguese fado and, of course, modern flamenco and hip-hop beats, “Lux” is off to a powerful start among listeners. It has four songs in Spotify’s Top 50 global chart for this week, more than any artist, including Taylor Swift.

    Madonna has declared herself a fan of “Lux,” and composer Andrew Lloyd Webber has lavishly called it the “album of the decade.”

    Rosalía, 33, has said that after her success in more popular music forms, she let her long-held longing for the spiritual guide her in making “Lux.”

    “In the end, in an age that seems not to be the age of faith or certainty or truth, there is more need than ever for a faith, or a certainty, or a truth,” she told reporters in Mexico City last month.

    She said that she was guided by the concept that “an artist doubts less of his vocation when he works in the service of God than when he works in the service of him or herself.”

    Rosalía apparently has not had a revelatory “come-to-Jesus” moment common among evangelical believers in America. Like many Spaniards, she grew up in a once staunchly Catholic Spain that has quickly secularized in recent decades, especially among the younger generations, leaving churches mostly to elderly parishioners.

    Even her early music flirted with medieval religious poetry, including one video clip from 2017 when she set a poem by 16th-century Spanish poet Saint John of the Cross to music.

    While embracing Catholic symbols and expressing a fascination with female saints, Rosalía seems to eschew strictly organized practice and draws inspiration from other religions, as well. “Lux” responds to that diversity of interest, at one point quoting a Sufi poetess.

    “I have read much more than I did years ago, reading many hagiographies of feminine saints from around the world,” she said. “They accompanied me throughout this process.”

    Her style has also morphed. Gone are the hip-hop fashion and long fake nails Rosalía sported only a few years ago when she took the Latin Grammys by storm. Contrast that now with her look on the “Lux” album cover, where she is dressed in a solid white nun’s veil with her arms apparently trapped inside a white top, her gaze averted.

    Despite the potentially controversial move of comparing God to an obsessed lover in the song “Dios es un stalker” (“God Is a Stalker” in Spanish), Rosalía has won over the equivalent of the Vatican’s culture minister.

    Cardinal José Tolentino de Mendonça, prefect of the Vatican Dicastery for Culture and Education, told Spanish news agency EFE this month that Rosalía has detected a wider dissatisfaction with the secular world.

    “When a creator like Rosalía speaks of spirituality,” he said, “it means that she captures a profound need in contemporary culture to approach spirituality, to cultivate an inner life.”

    Among the songs about faith, Rosalía found the time to deliver tunes like “La Perla” (“The Pearl” in Spanish) that dishes out scorn for a former lover.

    That deft mix of both high and pop culture is part of the allure of “Lux,” said Josep Oton, professor of religious history for the ISCREB theology school in Barcelona.

    “She has succeeded in making popular music with very deep cultural roots,” Oton told the AP. “Anyone can listen to it, and people with different backgrounds can take away different things. It is pop music, but it is profound.”

    “Lux” can be intimidating for listeners, both due to its elaborate orchestration and smattering of esoteric lyrics that Rosalía was inspired to write after reading medieval mystical poets and their accounts of undergoing a transformative union with God through deep prayer and meditation.

    In the exhilarating “Reliquia” (“Relic” in Spanish), Rosalía compares herself to female saints, listing the parts of her body and life she has left in cities around the world as relics for others’ keeping. Her “Mio Cristo Piange Diamanti,” (“My Christ Weeps Diamonds” in Italian), brims with the extravagant Baroque image of the jewels dripping from the eyes of the Messiah.

    In “Divinize,” Rosalía sings of the “divina buidor” (“divine emptiness” in Catalan), a central concept of medieval mysticism which focused on how the soul must experience abandonment to open a space where God can enter.

    Victoria Cirlot, professor of humanities at Barcelona’s Pompeu Fabra University and expert in medieval feminine mystical tradition, liked “Lux” for its ability to introduce complex religious concepts to the general public, while noting it is “a minimalist” sample of the mystical tradition.

    Cirlot said the moving “La Yugular” (“The Jugular” in Spanish) is rich in mystical thought because the throat, the home of the voice and the breath, is associated in many religious traditions as the body’s door to the divine.

    But, for Cirlot, it’s the entire package that makes “Lux” so impactful.

    “Rosalía is not just a great singer; she is a great actress, and her body language is full of these mystical gestures like contorting her face in an expression of ecstasy, of staring into nothing,” Cirlot said. “And then we have her amazing voice, which creates a sense of flight.”

    ___

    AP writer Berenice Bautista contributed from Mexico City.

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  • Grammy voting, explained: How nominees and winners are picked

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    NEW YORK (AP) — The Recording Academy will announce the 2026 Grammy Award nominees on Friday. It’s as good a reason as any to take a beat and examine how the institution makes it decisions. Who selects the nominees? Who votes? Can anyone nominate any recorded release for a Grammy?

    We’ve got you covered. Read on to get a crash course on how Grammy voting works.

    How does Grammy voting work?

    Members of the Recording Academy and record labels submit artists in certain categories, which are then vetted for eligibility. Currently, there are 95 Grammy Award categories.

    After submissions have been screened, voting members help determine who the final nominations will be — typically in the fall — using a membership dashboard. They can only vote for music that has been submitted and vetted.

    Once the nominees are determined and announced in November, a period of final round voting takes place. This cycle, that runs from Dec. 12 through Jan. 5.

    Winners are announced live at the award show in February.

    And don’t get it twisted — voting members do not vote in all 95 categories. They’re permitted to vote in up to 10 categories across three genre fields, as well as the six general field categories, which include record, album, song, producer, non-classical and songwriter, non-classical of the year, and best new artist. That allows experts to focus on their expertise.

    How does someone become a voting member?

    There are three types of Recording Academy memberships: Grammy U, professional and voting memberships. The latter includes performers, songwriters, producers, engineers, instrumentalists and beyond. Those are the members who determine Grammy winners each year.

    Voting members have to provide a proof of a primary career in music, two recommendations and certain verifiable credits.

    But there are a few ways around some of those requirements: If you are a current year’s Grammy winner or nominee, you do not need to provide a recommendation from someone in the industry. If you’ve been nominated for a Grammy in the last five years, you do not need to provide proof of your credits.

    What determines Grammy eligibility?

    Entries must adhere to the specific qualifications of the categories they are submitted into. Rules and guidelines can be found at Grammy.com.

    There are also frequent changes made to categories and fields. In 2026, there have been a few: best country album has been divided into best contemporary country album and best traditional country album. The best recording package and the best boxed or special limited edition package categories have also been combined into the best recording package category, with best album cover spun out on its own.

    Most importantly: Recordings and music videos must also be submitted within the Grammy eligibility window, which for the 2026 award show means work released between Aug. 31, 2024 – Aug. 30, 2025.

    How does a musician qualify for best new artist?

    The category of new artist is constantly evolving, trying to capture the zeitgeist each year as the process of categorizing fame gets more complicated. The Grammy rules currently say nominations hinge on whether “the artist had attained a breakthrough or prominence” — and it delegates that determination to a screening committee. Eligible artists must have released at least five singles or one album, but there is no longer a maximum. That’s why someone like, say, Sabrina Carpenter — who broke out in the summer of “Espresso” — found herself up for the best new artist trophy in 2025 despite being on her sixth full-length release.

    And this year, the category has also been expanded to include acts who were featured on previous album of the year nominees, so long as they fall below 20% of the album’s music.

    When are the 2026 Grammys?

    The Grammys will be held Feb. 1 at Crypto.com Arena in Los Angeles, with nominations announced on Friday. It will be broadcast live on CBS and can be streamed on demand via Paramount+.

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  • The 2026 Rock, Metal and Alternative Music Grammy Nominees

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    The 2026 Grammy Awards are on the way, and the full tally of nominations have been released. It always makes for a big event to see which artists the Academy decides to highlight with the awards, and this year brought plenty of solid rock, metal and alternative sounds to showcase.

    So, who’s going to be up for Grammy honors in the rock, metal and alternative artists category? View the full list in the heavy music categories below.

    Best Rock Song
    “As Alive As You Need Me to Be” – Nine Inch Nails
    “Caramel” – Sleep Token
    “Glum” – Hayley Williams
    “Never Enough” – Turnstile
    “Zombie” – Yungblud

    Best Rock Performance
    “U Should Not Be Doing That” – Amyl and the Sniffers
    “The Emptiness Machine” – Linkin Park
    “Never Enough” – Turnstile
    “Mirtazapine” – Hayley Williams
    “Changes” (Live From Villa Park) – Yungblud featuring Nino Bettencourt, Frank Bello, Adam Wakeman, II (Sleep Token)

    Best Rock Album
    Private Music – Deftones
    I Quit – Haim
    From Zero – Linkin Park
    Never Enough – Turnstile
    Idols – Yungblud

    Best Metal Performance
    “Night Terror” – Dream Theater
    “Lachryma” – Ghost
    “Emergence” – Sleep Token
    “Soft Spine” – Spiritbox
    “Birds” – Turnstile

    Best Alternative Music Album
    Sable, Fable – Bon Iver
    Songs of a Lost World – The Cure
    Don’t Tap the Glass – Tyler, the Creator
    Moisturizer – Wet Leg
    Ego Death at a Bachelorette Party – Hayley Williams

    Best Alternative Music Performance
    “Everything Is Peaceful Love” – Bon Iver
    “Alone” – The Cure
    “Seein’ Stars” – Turnstile
    “Mangetout” – Wet Leg
    “Parachute” – Hayley Williams

    More on the 68th Awards

    The 68th Grammy Awards ceremony is set for Sunday, Feb. 1 at the Crypto.com Arena in Los Angeles. Nominations were taken from Aug. 31, 2024 through Aug. 30, 2025. So, during that timeframe, Recording Academy members and record companies entered recordings and music videos that they thought would be worthy of a Grammy.

    “The mission of the Recording Academy is to recognize excellence in the recording arts and sciences, cultivate the well-being of the music community, and ensure that music remains an indelible part of our culture,” the Recording Academy notes on their website.

    Anne Erickson started her radio career shortly after graduating from Michigan State University and has worked on-air in Detroit, Flint, Toledo, Lansing and beyond. As someone who absolutely loves rock, metal and alt music, she instantly fell in love with radio and hasn’t looked back. When she’s not working, Anne makes her own music with her band, Upon Wings, and she also loves cheering on her favorite Detroit and Michigan sports teams, especially Lions and MSU football. Anne is also an award-winning journalist, and her byline has run in a variety of national publications. You can also hear her weekends on WRIF.

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    Anne Erickson

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  • 2026 Grammy Awards nominations: Kendrick Lamar leads list of music contenders – National | Globalnews.ca

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    The list of nominations for the 2026 Grammy Awards has been revealed, and red-hot rapper Kendrick Lamar is leading the pack.

    Lamar is up for nine trophies at the February ceremony: record, song and album of the year — marking the third time he’s had simultaneous nominations in those big categories — as well as pop duo/group performance, melodic rap performance, rap song and rap album. He’s also nominated twice in the rap performance category.

    The Not Like Us rapper has 22 Grammy career wins and 66 nominations in total. His album GNX is his fifth consecutive studio album to be nominated for album of the year, something no other artist has ever done. If it wins, it will be his first win in the category. And it will be only the third rap album to win the top prize, following Outkast in 2004 for Speakerboxxx/The Love Below and Lauryn Hill in 1999 for The Miseducation of Lauryn Hill.

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    Lamar’s nine nominations for his album GNX are part of a wave of hip-hop albums competing in the top categories, including Tyler, the Creator’s Chromakopia and Let God Sort Em Out from Clipse, Pusha T and Malice.

    Lady Gaga, Jack Antonoff and Canadian record producer/songwriter Cirkut follow Lamar with seven nominations each.

    Cirkut is up for both record and song of the year, twice — for Lady Gaga’s Abracadabra and Rosé and Bruno Mars’ APT. — as well as album of the year and best dance pop recording.


    Other top nominees include Bad Bunny, Sabrina Carpenter, Leon Thomas and Justin Bieber.

    Bad Bunny’s Debí Tirar Más Fotos is only the second time an all-Spanish language album has been nominated for the top prize. This comes three years after Bad Bunny’s release, Un Verano Sin Ti, became the first Spanish-language album to earn a nomination in the album of the year category.

    This year’s nominees were announced during a video livestream with a host of talent, including Doechii, Gayle King, Karol G, Lizzo, Mumford & Sons, Sabrina Carpenter, Sam Smith, David Foster, Chappell Roan and more.

    Only recordings commercially released in the U.S. between Aug. 31, 2024, through Aug. 30, 2025, were eligible for nominations.

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    The Grammy Awards made a change this year to the best country album category, following Beyoncé’s historic win of best album and best country album at the 2025 Grammy Awards for Cowboy Carter. The category has now been divided into two, with the creation of a best traditional country album category. The existing best country album category has been renamed best contemporary country album.

    The 2026 Grammy Awards will take place on Feb. 1 live from the Crypto.com Arena in Los Angeles. A host is yet to be announced.

    Find a list of the nominees in the major categories below.

    —

    Album of the Year

    Debí Tirar Más Fotos, Bad Bunny
    Swag, Justin Bieber
    Man’s Best Friend, Sabrina Carpenter
    Let God Sort Em Out, Clipse, Pusha T & Malice
    Mayhem, Lady Gaga
    GNX, Kendrick Lamar
    Mutt, Leon Thomas
    Chromakopia, Tyler, the Creator

    Record of the Year

    DtMF, Bad Bunny
    Manchild, Sabrina Carpenter
    Anxiety, Doechii
    Wildflower, Billie Eilish
    Abracadabra, Lady Gaga
    Luther, Kendrick Lamar & SZA
    APT., Rose & Bruno Mars
    The Subway, Chappell Roan

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    Song of the Year

    Abracadabra, Lady Gaga
    Anxiety, Doechii
    APT., Rose & Bruno Mars
    DtMF, Bad Bunny
    Golden [From KPop Demon Hunters], HUNTR/X: EJAE, Audrey Nuna, Rei Ami
    Luther, Kendrick Lamar & SZA
    Manchild, Sabrina Carpenter
    Wildflower, Billie Eilish

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    Best Music Video

    Young Lion, Sade
    Manchild, Sabrina Carpenter
    So Be It, Clipse
    Anxiety, Doechii
    Love, OK Go

    Best Pop Solo Performance

    Daisies, Justin Bieber
    Manchild, Sabrina Carpenter
    Disease, Lady Gaga
    The Subway, Chappell Roan
    Messy, Lola Young

    Best Pop Duo/Group Performance

    Defying Gravity, Cynthia Erivo & Ariana Grande
    Golden [From KPop Demon Hunters], HUNTER/X: EJAE, Audrey Nuna, Rei Ami
    Gabriela, Katseye
    APT., Rose, Bruno Mars
    30 for 30, SZA & Kendrick Lamar

    Best Pop Vocal Album

    Swag, Justin Bieber
    Man’s Best Friend, Sabrina Carpenter
    Something Beautiful, Miley Cyrus
    Mayhem, Lady Gaga
    I’ve Tried Everything But Therapy (Part 2), Teddy Swims

    Best New Artist

    Olivia Dean
    Katseye
    The Marias
    Addison Rae
    Sombr
    Lola Young
    Leon Thomas
    Alex Warren

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    Best Rap Performance

    Outside, Cardi B
    Chains & Whips, Clipse, Pusha T & Malice Featuring Kendrick Lamar & Pharrell Williams
    Anxiety, Doechii
    TV Off, Kendrick Lamar Featuring Lefty Gunplay
    Darling, I, Tyler, the Creator Featuring Teezo Touchdown

    Best Melodic Rap Performance

    Proud of Me, Fridayy Featuring Meek Mill
    Wholeheartedly, JID Featuring Ty Dolla $ign & 6Lack
    Luther, Kendrick Lamar & SZA
    WeMaj, Terrace Martin & Kenyon Dixon Featuring Rapsody
    Somebody Loves Me, Partynextdoor & Drake

    Best Rap Song

    Anxiety, Doechii
    The Birds Don’t Sing, Clipse, Pusha T & Malice Featuring John Legend & Voices of Fire
    Sticky, Tyler, the Creator Featuring GloRilla, Sexyy Red & Lil Wayne
    TGIF, GloRilla
    TV Off, Kendrick Lamar Featuring Lefty Gunplay

    Best Rap Album

    Let God Sort Em Out, Clipse, Pusha T & Malice
    Glorious, GloRilla
    God Does Like Ugly, JID
    GNX, Kendrick Lamar
    Chromakopia, Tyler, the Creator

    Best R&B Performance

    Yukon, Justin Bieber
    It Depends, Chris Brown Featuring Bryson Tiller
    Folded, Kehlani
    Mutt (Live From NPR’s Tiny Desk), Leon Thomas
    Heart of a Woman, Summer Walker

    Best Traditional R&B Performance

    Here We Are, Durand Bernarr
    Uptown, Lalah Hathaway
    Love You Too, Ledisi
    Crybaby, SZA
    Vibes Don’t Lie, Leon Thomas

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    Best R&B Song

    Trending Now

    Folded, Kehlani
    Heart of a Woman, Summer Walker
    It Depends, Chris Brown Featuring Bryson Tiller
    Overqualified, Durand Bernarr
    Yes It Is, Leon Thomas

    Best R&B Album

    Beloved, Giveon
    Why Not More?, Coco Jones
    The Crown, Ledisi
    Escape Room, Teyana Taylor
    Mutt, Leon Thomas

    Best Dance Pop Recording

    Bluest Flame, Selena Gomez & Benny Blanco
    Abracadabra, Lady Gaga
    Midnight Sun, Zara Larsson
    Jus Keep Watching, Tate McRae
    Illegal, PinkPantheress

    Best Dance/Electronic Music Album

    Eusexua, FKA Twigs
    Ten Days, Fred Again..
    Fancy That, PinkPantheress
    Inhale / Exhale, Rüfüs Du Sol
    F*** U Skrillex You Think Ur Andy Warhol But Ur Not!! <3 , Skrillex

    Best Rock Album

    Private Music, Deftones
    I Quit, Haim
    From Zero, Linkin Park
    Never Enough, Turnstile
    Idols, Yungblud


    Click to play video: '2026 Grammy Awards: Osbourne family pay tribute to Ozzy, announce rock and metal nominees'


    2026 Grammy Awards: Osbourne family pay tribute to Ozzy, announce rock and metal nominees


    Best Rock Song

    As Alive as You Need Me to Be, Nine Inch Nails
    Caramel, Sleep Token
    Glum, Hayle Williams
    Never Enough, Turnstile
    Zombie, Yungblud

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    Best Rock Performance

    U Should Not Be Doing That, Amyl and the Sniffers
    The Emptiness Machine, Linkin Park
    Never Enough, Turnstile
    Mirtazapine, Hayley Williams
    Changes (Live From Villa Park) Back to the Beginning, Yungblud Featuring Nuno Bettencourt, Frank Bello, Adam Wakeman, II

    Best Metal Performance

    Night Terror, Dream Theater
    Lachryma, Ghost
    Emergence, Sleep Token
    Soft Spine, Spiritbox
    Birds, Turnstile

    Best Alternative Music Album

    Sable, Fable, Bon Iver
    Songs of a Lost World, The Cure
    Don’t Tap the Glass, Tyler, the Creator
    Moisturizer, Wet Leg
    Ego Death at a Bachelorette Party, Hayley Williams

    Best Contemporary Country Album

    Patterns, Kelsea Ballerini
    Snipe Hunter, Tyler Childers
    Evangeline vs. the Machine, Eric Church
    Beautifully Broken, Jelly Roll
    Postcards From Texas, Miranda Lambert

    Best Traditional Country Album

    Dollar a Day, Charley Crockett
    American Romance, Lukas Nelson
    Oh What a Beautiful World, Willie Nelson
    Hard Headed Woman, Margo Price
    Ain’t in It for My Health, Zach Top

    Best Country Solo Performance

    Nose on the Grindstone, Tyler Childers
    Good News, Shaboozey
    Bad as I Used to Be, Chris Stapleton
    I Never Lie, Zach Top
    Somewhere Over Laredo, Lainey Wilson

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    Best Country Duo/Group Performance

    A Song to Sing, Miranda Lambert And Chris Stapleton
    Trailblazer, Reba McEntire, Miranda Lambert, Lainey Wilson
    Love Me Like You Used to Do, Margo Price & Tyler Childers
    Amen, Shaboozey & Jelly Roll
    Honky Tonk Hall of Fame, George Strait, Chris Stapleton

    Best Country Song

    Bitin’ List, Tyler Childers
    Good News, Shaboozey
    I Never Lie, Zach Top
    Somewhere Over Laredo, Lainey Wilson
    A Song to Sing, Miranda Lambert And Chris Stapleton

    Best Latin Pop Album

    Cosa Nuestra, Rauw Alejandro
    Bogotá (Deluxe), Andrés Cepeda
    Tropicoqueta, Karol G
    Cancionera, Natalia Lafourcade
    ¿Y ahora qué?, Alejandro Sanz

    Best Comedy Album

    Drop Dead Years, Bill Burr
    PostMortem, Sarah Silverman
    Single Lady, Ali Wong
    What Had Happened Was…, Jamie Foxx
    Your Friend, Nate Bargatze, Nate Bargatze

    Best Musical Theatre Album

    Buena Vista Social Club
    Death Becomes Her
    Gypsy
    Just In Time
    Maybe Happy Ending

    —

    For a complete list of the 2026 Grammy nominees, visit the official Grammy Awards website.

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    — With files from The Associated Press

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    Katie Scott

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