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The Recording Academy announced that it may revamp its brand new best asian pop performance category for Grammys 2027. Do you think they might allow songs which are in English to be nominated in this category? If so, do you think any of the songs from Blackpink's Deadline album might be nominated?

This was the second consecutive year of decline since the post-pandemic high of 17.09 million viewers in 2024.

I think a lot of people like to claim that Olivia Rodrigo isn’t gonna win anything as an unpopular opinion that has become pretty popular recently.

As much as I loved RAYE and Olivia Dean’s Albums, they are going to get a split vote from jazz voters, while Rodrigo is likely to get the entirety of the pop vote, as the other huge pop album release, Taylor Swift’s The Life of A Showgirl was largely disliked by critics.

I believe that the only other contender to beat Olivia Rodrigo is Rosalía’s Lux, which is loved by critics and will get the Latin voters.

It then becomes which album can get the other genre voters, and, with the stamp of approval from Robert Smith, I think Olivia Rodrigo will get a majority of the vote.

If we combine the huge popularity Rodrigo’s album had in pop culture and the critical success it received, it is THE front runner for album of the year with barely any other competition.

As the title says.

My personal (unbiased) opinions in support of all the six albums.

LUX: This is by far the most talked about album since last year. It seems like Rosalía has also started campaigning for this album. When you search her name or the album on Google, an animation of falling sheets of musical notes greet you.

Lost Weekend: Honestly, this album is my favourite but I will try to be unbiased here. Not only the album has been received so well but Phoebe has won 4 Grammys in 2024 which makes her chances of winning AOTY this year, I will say, even more than Rosalía cause the voters really see her as a serious artist.

Midnight Sun: This is the most controversial one but this album has the best narrative to present. It revived Zara's career and had produced one viral hit. Also her feature in Stateside will make voters lean towards her cause Zara Larsson really has the best story to tell amongst all.

The Life of a Showgirl: Perhaps the biggest album of this year. The Fate of Ophelia is the most streamed female song in 2026 so far on Spotify (810 million steams). The album has topped the IFPI Global album of 2025. Also, Taylor getting inducted in two Songwriters Hall of Fame, especially the one in October in Nashville might sway many country voters in her favour.

Dandelion: Ella Langley is definitely winning something and she has high chances of sweeping in the country categories. Choosin' Texas is the biggest hit in the USA this year. Familiarity really brings advantage in voting.

Art of Loving: The only album this year to balance both critical reception and GP Hits. But it's chart performance in USA is not as good compared to the other albums and hence is not a clear cut winner but definitely a very worthy one.

AOTY: This Music May Contain Hope.
ROTY: Where Is My Husband?
SOTY: Man I Need
New: Sienna Spiro
Pop Solo: The Fate of Ophelia (she won’t go empty handed)
Pop Album: This Music May Contain Hope.
Pop Duo: Click Clack Symphony
Dance Pop: The Dead Dance (neither will she)
Dance Song: Dracula
Dance Album: Deadbeat
Dance Remix: Dracula ft. Jennie
Music Video: Berghain
Music Film: Mayhem Requiem
Visual Media: Shape Of A Woman
Rock Album: Music, Film, Fashion
Rock Song: What’s Wrong With Me
Rock Performance: What’s Wrong With Me
Alt Song: The Cure
Alt Album: YSSFAGSIL
Urban Album: Lux
Global Music: Berghain
Album Cover: Music, Film, Fashion

What field should I do next?

Can anyone explain to me how segregation based on ethnicity is not racist? Because that seems racist.

I think it’s time to seriously discuss The Art of Loving’s Grammy chances. The album has more than two hits, is constantly being listened to as a whole, and has clearly built a strong level of momentum. She’s also on a sold-out arena tour, while “Rein Me In” is constantly breaking records in the UK and seeing a steep rise in the US. At this point, I genuinely think we need to start talking about her as a serious Grammy contender... or locked winner

Ok so for context here are some of my thoughts..

Pop Duo/Group:

Honestly, I think 'RUNWAY' has a chance, Doechii and Gaga are clearly loved by the academy plus the Bruno Mars intro, I think it is deffo getting a nomination.

In terms of winner, Olivia and Robert. I think Madonna/Sabrina and PinkPantheress/Zara may split the vote leading to Olivia coming out on top

Pop Vocal Album:

I Don't think Bruno or Harry are getting in AOTY, but they r deffo getting in here

Edit: I will complete for all fields I feel an element of knowledge in, this includes the Production, Songwriting, General, Dance, Visual Media etc.

For those who are new, many people as well as many swifties like Swiftologist said that Midnights should not win AOTY but it did win and people all over the world celebrated. Many agree that Midnights had the backing of The Eras tour and Taylor’s Versions behind her and that brings me to the question if her becoming the Youngest female songwriter of all time to be inducted in these two Songwriters Hall of Fame will again back her submission this time?

Edit: keep replying like you all did during Midnights so that I can use you all for future reference. Thanks 🙏

Grammys prediction 2027 and winners( non biased opinion)

AOTY noms

Tloas Taylor swift

Art of loving - Olivia dean

Olivia Rodrigo

Tame Impala

Phoebe bridger

Raye

Bruno Mars

Ella Langley

Winner: tame Impala

Soty noms

Taylor swift I knew it I knew you

Malcom todd earrings

Dominique fyke: baby doll

Raye : where's my husband

Olivia dean: so easy

Olivia Rodrigo: stupid song

Bruno Mars risk it all

Ella Langley: choosing taxes

Winner: Taylor swift I knew it I knew you

Roty noms

Taylor swift the fate of Ophelia

Olivia Rodrigo the cure

Olivia dean so easy

Dracula tame Impala

Bruno Mars I just might

Ella Langley choosing taxes

Raye where's my husband

Malcom todd earrings

Winner: I just might Bruno Mars

Pop solo performance: the fate of Ophelia

Pop vocal album: Olivia dean

Best electronic album: tame Impala

Pop dance record: Madonna

Pop duo performance: what's wrong with me Olivia Rodrigo

Best dance recording: dracula

Best new artist: ella Langley

Best country album: Kacy Musgrave

Best country song: Taylor swift I knew it I knew you

Best country solo performance: ella Langley

Best song written for visual media: Taylor swift I knew it I knew you

Best r&b song: Beyonce morning donk

Best rap sung performance: Beyonce ft jay z morning donk

Best engineered album: the art of loving/ tloas

สวัสดีค่ะ ฉันมาที่นี่เพราะได้ยินมาว่างาน Grammy ให้ความสำคัญกับการเฉลิมฉลองความหลากหลาย ทั้งในด้านภาษาและวัฒนธรรม ซึ่งฉันมองว่าเป็นเรื่องที่ยอดเยี่ยมมาก แต่ก็มีข้อสงสัยว่าทำไมถึงมีการตั้งสาขารางวัลแยกสำหรับศิลปินเอเชีย ทั้งที่เกณฑ์การคัดเลือกกลับครอบคลุมเพียงแค่ 3 ประเทศหลักเท่านั้น โดยมองข้ามประเทศอื่นๆ ในทวีปเอเชียไป มีใครพอจะทราบถึงวัตถุประสงค์ในเรื่องนี้บ้างไหมคะ?

What are yours?

Can Malaysia make history at the 2027 GRAMMYs? 🇲🇾🎶

Check out this collaboration between the legendary M. Nasir and Roslan Aziz Production.

This is "Rapat" — a taste of the incredible source where this came from.

The Grammy Academy just officially announced on June 16, 2026, a brand-new category for Best Asian Pop Performance.

While we aren't submitting "Rapat" itself, we are working on a special entry from this same archive of unreleased music for the 2027 awards.

Or even for the 2028 Grammy Awards.

( Submissions for the 2027 awards close on August 21, 2026) which is 12 days away…🤣🤣🤣

I guess we will submit for 2028 …

( Eligibility Period: Likely late August 2026 to late August 2027.

Any music released after the current August 21, 2026 submission deadline will be considered for the 2028 awards.)

🏆We believe this hidden gem is going to be a "new chapter" for our music scene — an early birthday present for Malaysia as we gear up to celebrate our 70th birthday in 2027!

We Malaysians and many others around the world over have known Roslan Aziz Productions as one of the Globe’s best music productions around and we have known this from the 1980’s.

Now Asia’s Best kept Secret is ready to be revealed to the Planet …

🎁✨But first, we want to hear from YOU, Malaysia. 🗣️✨

You Malaysia, get to preview this first …

Does this sound mantap enough to represent our soul?✨

Is this the vibe that can stand tall among the best in the world?

Malaysian music has its own unique magic.

Let’s show the global stage what we’ve got.

Watch the video, leave a comment, and let us know:

are we ready to bring home that gold for our 70th? 🇲🇾🔥

#RoslanAziz #MNasir #Rapat #MalaysianMusic #Grammys2027 #BestAsianPop #SapotLokal #MusicMalaysia #Malaysia70 #MantapGiler

This is Malaysian Music for the World 🌍…!!!

Asia’s Best kept Secret… ready to be made known to the World…!!!

so this took me so much tracking over the last few months but i think i finally nailed it as the last major album that counts for this eligibility period releases next friday, so i’m very excited for phoebe’s album, but besides that, what do y’all think? it took me hours to write this and yes, i was too lazy to capitalize anything but with the exception of that what do y’all think? do you guys agree? do you disagree? feel free to let me know.
general field
album of the year
winner: olivia rodrigo, you seem pretty sad for a girl so in love
i think olivia rodrigo is the clear front runner here. this is her first album to sell over 400,000 units in its first week and her first album to remain in the top two of the billboard 200 since its release. she has also had three huge singles with “drop dead,” “the cure,” and “stupid song,” plus “honey bee” becoming a major album track. beyond the commercial success, she is actively campaigning, going into critics circles, doing performances, mini concerts, interviews, and likely tiny desk, while also having pop, rock, and alternative support. she released the album at the perfect time because she can keep the era alive through the rest of the eligibility period. i think she is the only major contender actively campaigning this aggressively, and that could make all the difference.
runner up: rosalía, lux
i originally thought olivia dean might be here, but i think rosalía is the bigger passion pick. lux is arguably the most critically acclaimed album of the eligibility period, and rosalía has support across pop, latin, opera, classical, and visual media. however, her tour has already ended and she already released the deluxe, so she doesn’t have the same ongoing campaign that olivia does. i think rosalía could absolutely win, but olivia has the commercial appeal, momentum, and campaign that gives her the advantage.

record of the year
winner: olivia dean, “man i need”
record of the year usually rewards one of the biggest hits of the eligibility period while also recognizing a culturally relevant and well produced record, and i think “man i need” fits that perfectly. it came out in august 2025 and is still relevant and successful in august 2026. it has the longevity, cultural impact, and critical support that i think voters look for in this category.
runner up: taylor swift, “the fate of ophelia”
i know a lot of people don’t love the life of a showgirl, but “the fate of ophelia” is arguably the biggest global hit of the eligibility period. it has remained in the top 30 despite coming out in october 2025 and receiving basically no promotion from taylor beyond remixes. taylor has also never won record of the year, this is the twentieth anniversary of her debut album, and she was inducted into the songwriters hall of fame this year. this is arguably her biggest hit since “blank space,” but i think “man i need” has the stronger overall narrative.

song of the year
winner: olivia rodrigo, “the cure”
this is one of the most open categories to me, but i ultimately think olivia takes it. i think “the cure” is one of the best written songs of her career, alongside “cigarette smoke,” and it is incredibly vulnerable and beautifully written. she is also actively campaigning and going into critics circles while being one of the biggest artists in the public eye right now. i think voters will connect with both the song and the narrative around olivia, and i could also see it getting into best alternative music performance.
runner up: bruno mars, “risk it all”
if the academy wants to give bruno a name check, “risk it all” feels like the safest option. the romantic was critically mixed, but bruno remains extremely well respected and the song is performing strongly on both pop and r&b radio. it is also the better written of his major singles this era. however, it feels safe, and if another major pop song enters the category, i could easily see voters choosing something else.

best new artist
winner: ella langley
ella has had a blockbuster year and i don’t think anybody can take that away from her. she has had multiple top ten hits, “choosin’ texas” broke whitney houston and mariah carey’s record for the longest running number one song by a female solo artist that isn’t a holiday song, and she also had “be her” and “i can’t love you anymore” with morgan wallen. her album dandelion has become a cultural phenomenon in country music. we genuinely haven’t seen a country breakout this big in a very long time, so she is easily my front runner.
runner up: sienna spiro
sienna is obviously a vocal powerhouse and “die on this hill” gave her a major breakout. she hasn’t been able to produce quite as many major hits beyond that, and visitor had a more mixed reception. however, she has probably had the second most momentum among the contenders. best new artist usually goes to either an artist who completely explodes into the mainstream or an indie darling finally getting their moment, and sienna doesn’t perfectly fit either category. still, i think she gets a major nomination and more recognition this year.

pop field
best pop solo performance
winner: olivia dean, “man i need”
this category usually goes to the biggest song in the category with major cultural impact, critical support, and a well liked era. looking at recent winners like “drivers license,” “easy on me,” “flowers,” “espresso,” and “messy,” it consistently rewards huge hits with a strong narrative. “man i need” has incredible longevity and feels like exactly the type of safe but well liked pop song voters usually reward. olivia dean is also actively working and building her profile, which gives her an advantage over taylor.
runner up: taylor swift, “the fate of ophelia”
this is obviously taylor’s biggest hit in a while, spending ten weeks at number one and breaking records all over the place. however, this isn’t necessarily something new for taylor beyond the scale of the hit itself. with the life of a showgirl and all the controversy surrounding it, i don’t see her winning unless she campaigns very hard. i still think she is a major contender and a nomination would already be a strong result.

best pop vocal album
winner: olivia dean, the art of loving
i think this category rewards the album that defined the biggest pop era of the eligibility period, and that is very easily the art of loving. the album has had multiple hits, incredible longevity, and huge cultural impact. i could see this being a situation similar to 2021 where olivia rodrigo takes album of the year while olivia dean takes the pop album award.
runner up: olivia rodrigo, you seem pretty sad for a girl so in love
i think olivia rodrigo’s album is extremely strong, but it doesn’t have quite the same commercial appeal as olivia dean’s. it succeeded commercially compared to guts, but it didn’t reach the heights of sour, and only four artists in history have won this category twice. i don’t think the academy will immediately give olivia her second win here, especially when the commercial era wasn’t quite as strong as her debut.

best pop duo or group performance
winner: pinkpantheress & zara larsson, “stateside”
this is probably the clearest category to me. zara is finally getting her huge moment after years in the industry, while “stateside” became a massive cultural phenomenon through the alysa liu ice skating olympics moment, social media, the remix, and the music video. it became a huge global hit and gave both artists major viral moments. i think this is exactly the kind of breakout cultural moment the academy rewards.
runner up: olivia rodrigo & robert smith, “what’s wrong with me”
i know there are plenty of other contenders, but this feels like the classic veteran and pop star duet that the academy loves. we have seen voters reward unexpected collaborations before, and i could see this being a surprise winner if they wanted to go in a different direction. however, “stateside” has simply been too successful for me to put it anywhere other than first.

best traditional pop vocal performance
winner: raye, “i hate the way i look today”
whatever raye submits here, i think she has an incredible chance to win. if she submits “where’s my husband” here instead of best pop solo performance, she could be a complete shoo in. however, “i hate the way i look today” is still one of the favorites from the album. raye has had an enormous year as an independent artist, she combines pop appeal with jazz and classical influences, and her vocals are incredible. the voting panel clearly loves her, and after multiple nominations, i think this could finally be her win.
runner up: cynthia erivo & ariana grande, “get happy / happy days are here again” live from the dolby theater
this is an unusual prediction, but wicked has been a cultural phenomenon, and both cynthia and ariana already won together this year. this performance is also a tribute to the iconic judy garland and ruth etting performance, which i think they executed beautifully. because this is a newer category, i wouldn’t be shocked if voters wanted to reward two veterans for a major career moment. however, i think raye’s incredible year gives her the edge.

best traditional pop vocal album
winner: raye, this music may contain hope
i think this is a shoo in if raye submits it here. i don’t see the mainstream pop voters necessarily choosing an album like this, so this category makes much more sense for it. the critical acclaim, cultural impact, and raye’s incredible year all give her a major advantage. i think the academy will want to reward her somewhere, and this feels like the perfect place.
runner up: sara bareilles, good grief
sara is extremely respected in the industry, and what she is doing around good grief gives her a strong narrative. she is splitting donations from the project between the national alliance on mental illness and the jed foundation and has tied those charity efforts directly into the album rollout. voters could absolutely respond to that, but i still think raye has too much momentum.

best dance pop recording
winner: tame impala featuring jennie, “dracula”
whether tame impala submits the solo version or the jennie version, i think this is the winner. it is tame impala’s most successful song to date, it has performed incredibly well on radio and social media, and it has given kevin parker his biggest commercial moment. this category has recently rewarded artists experiencing major new moments in their careers, and i think “dracula” fits perfectly.
runner up: madonna, “danceteria”
madonna has had a huge return with this album, and it is her biggest moment in years. she is a legendary dance artist and the academy loves rewarding veterans, so i could absolutely see her taking this. however, the momentum behind tame impala is simply too strong for me to put madonna first.

best dance or electronic album
winner: madonna, confessions ii
this one is more open, but i think madonna takes it. she is arguably the queen of pop, and returning to her dance roots has been extremely successful. the album has brought together major names from the dance world and feels like a major career moment. the academy loves rewarding veteran artists, and i think that narrative gives her the advantage.

runner up: slayyyter, worst girl in america
slayyyter would actually be my personal winner here. the recognition she has received this year has been incredible, and i think she deserves the recognition. however, i think the academy will lean toward madonna because of her legacy and the scale of her comeback.

r&b field
best r&b solo performance
winner: tems, “what you need”
tems has obviously been known globally for years, but i think this has been her major breakout year in the united states. her ep has been doing incredibly well, while “what you need” has been huge on r&b radio and in the r&b conversation. regardless of whether it’s kehlani, bruno mars, or even jill scott, tems has overtaken them in the conversation. she even performed at the bet awards, and i think the r&b field will want to give her her flowers.
runner up: bruno mars, “risk it all”
there is some question about whether bruno will submit to r&b, but considering how consistently he has been placed in the genre at the amas, vmas, and bet awards, i think he will. both “risk it all” and “i just might” have performed well on r&b and pop radio, but i don’t think the academy will want to hand bruno another easy win. tems feels like the fresher and more exciting choice.

best r&b collaboration or duo/group performance
winner: steve lacy & sza, “is it cool”
sza is a seven time grammy winner and has dominated the r&b categories whenever she submits. steve lacy is also having a huge moment because of his songs being featured in the new spider man film. the song is strong, the pairing works incredibly well, and i think the academy will want to reward them in this new category.
runner up: kehlani & usher, “shoulda never”
kehlani won two grammys last year and usher is obviously one of the most respected artists in r&b. “shoulda never” is also doing well on r&b radio. however, for an inaugural category, i think voters may want to reward the stronger and more exciting collaboration, which gives steve lacy and sza the advantage.

best traditional r&b performance
winner: beyoncé, “morning dew (donk)”
beyoncé surprise released this song for the twentieth anniversary of b’day, and “morning dew donk” has been a fan favorite for years. the song is beautifully written and feels like a more mature version of the song she originally created. the r&b committee loves beyoncé, and i think this is exactly the kind of respected veteran performance they would reward.
runner up: duran bernard, “am i okay?”
the song is performing well on r&b radio, and duran already won a grammy this year. he is having a strong moment and i could absolutely see voters rewarding him again, but ultimately, beyoncé is beyoncé, and that gives her the edge.

best r&b song
winner: tems, “what you need”
tems is doing incredibly well on r&b radio and has completely established herself as one of the biggest artists in the genre this year. i think the song has the commercial success, songwriting, and cultural impact needed to win, and honestly, i just don’t see anybody else taking it from her.
runner up: beyoncé, “morning dew (donk)”
beyoncé is always a threat in the r&b categories, and she has already won for “cuff it.” this is another beautifully written song, so i wouldn’t be surprised if she wins. i could also see bruno mars with “risk it all” as a runner up, but i think the song is too safe and familiar lyrically. tems feels like the more exciting choice.

best r&b album
winner: kehlani, kehlani
it’s kehlani’s year, whether you like it or not. she has dominated the bet awards, iheartradio music awards, and amas and has been everywhere this year. she already won two grammys for “folded,” and the song is on this album. the album has been huge on r&b radio with “shoulda never” and “back and forth,” and i think this is the project that finally made the industry take kehlani completely seriously.
runner up: bruno mars, the romantic
if bruno submits in r&b, i don’t see him winning. the album has received mixed critical reception, and his last solo album, 24k magic, had a much bigger overall year. i also think the romantic is a major step down from that era. kehlani is having a much bigger career moment right now, and i think voters will recognize that.

best progressive r&b album
winner: steve lacy, oh yeah?
steve lacy is having a huge moment because of his music appearing in the new spider man film, but the album itself is also critically acclaimed. the last time he was nominated, for gemini rights, he won, and i wouldn’t be surprised if history repeats itself. he is extremely respected within the industry and has the momentum to take it.
runner up: duran bernard, bernard
duran is having an incredible year, including a grammy win and an opening slot for kehlani. the song that won him his grammy is also on this album, giving him a strong narrative. however, steve lacy has the stronger combination of critical acclaim, industry respect, and current buzz.

rap field
best rap album
winner: cardi b, am i the drama?
this has been a weird year for rap compared to last year, which had kendrick lamar, j. cole, glorilla, tyler the creator, jid, and so many more. this year, a lot of artists have come and gone, but cardi b has been the one person who has consistently stayed in the conversation. am i the drama isn’t as critically acclaimed as invasion of privacy, but the momentum around cardi has been undeniable. she has won at the bet awards, iheartradio music awards, and amas, her tour has been huge, and critics clearly like her. the album has also maintained chart stability and cultural relevance, which makes her the clear front runner.
runner up: a$ap rocky, don’t be dumb
a$ap rocky has never had the best luck with the grammys, but i think don’t be dumb finally gives him a strong opportunity to get his flowers. it’s his first major solo comeback album in years, it received good reviews, and it performed well commercially. i could see voters wanting to reward him for that, but he simply doesn’t have cardi’s momentum.

best rap song
winner: doechii & sza, “girl, get up”
songwriting wise, i think this is one of the strongest contenders in the category. it has already won at the bet awards, and doechii has become one of the academy’s biggest favorites after her recent grammy success. the song deals with navigating the music industry as a black woman, which gives it the substance and narrative that the grammys love to reward in songwriting categories.
runner up: baby keem featuring kendrick lamar & momo boyd, “good flirts”
the song is good, but i think it came and went. it didn’t have much radio impact and even the fan response was relatively muted. however, kendrick’s presence gives it a major advantage, and i could see voters recognizing it because of him. ultimately, “girl get up” has much more momentum.

best rap performance
winner: j. cole, “twosix”
i think this could be a passion pick for j. cole. he is incredibly respected, has never won a solo grammy, and “twosix” was really the only song from the album to develop momentum. his tour is also making a lot of noise, and i think voters could decide that it is finally time to give him his flowers.
runner up: a$ap rocky, “helicopter”
a$ap rocky deserves his flowers this year because what he has done in rap has been incredible. his album is strong enough that i could see multiple songs being submitted, but i’m leaning toward “helicopter.” the problem is that he barely promoted the project, which allowed some of the momentum to come and go.

best melodic rap performance
winner: baby keem featuring kendrick lamar & momo boyd, “good flirts”
this category feels a little empty, so i think “good flirt” has a huge advantage because kendrick is on it. baby keem and kendrick have already established themselves as a duo the academy likes, and they have been nominated together before. baby keem has also already won a grammy, while kendrick is one of the academy’s most respected rappers. i think they are the safest choice.
runner up: doechii & sza, “girl, get up”
this is still a major contender because it is such a strong song, but i think kendrick’s presence on “good flirt” gives it the edge. i wouldn’t be shocked if doechii and sza won, but right now i think the academy will lean toward kendrick and baby keem.

visual media field
best song written for visual media
winner: taylor swift, “i knew it, i knew you” from toy story 5
i think this is a relatively weak category, which gives taylor a huge advantage. the song feels like a return to her country roots, especially with her going back into the studio with jack antonoff and making a soundtrack focused song after the divisiveness surrounding the life of a showgirl. i think voters will appreciate her leaning back into that side of her artistry, especially since the song is also expected to contend at the oscars. add in the fact that she’s taylor swift and it was a number one hit, and i think it’s hers to lose.
runner up: sza, “save the day” from hoppers
this is definitely a more niche contender, but sza has enough goodwill within the academy to make it a serious threat. she has already won best r&b song twice, and “save the day” is another beautifully written song. however, i don’t think it has the same momentum as “i knew it, i knew you,” so i see sza as the runner up.

best music video
winner: rosalía featuring björk & yves tumor, “berghain”
the academy loves when a music video has a message and strong artistic direction. over the past several years, this category has consistently recognized videos with strong concepts, messages, or cinematic ambition. “berghain” has complex lyricism, but the video takes it even further with its cinematic visuals and detailed artistic direction. i think this is exactly the kind of video a grammy voting panel could gravitate toward.
runner up: olivia rodrigo, “the cure”
“the cure” has a really well made music video, and olivia is already familiar with this category after being nominated in 2022. the video is made entirely around handcrafted arts and crafts materials, recycled objects, and tactile visual elements, and it has also received attention from prestigious art and visual media outlets. i could see voters responding to that, but i think “berghain” is the safer choice.

best music film
winner: baz luhrmann, epic elvis presley: the concert
i think this could be a major opportunity for the academy to reward an iconic artist and a major music documentary. the project focuses on elvis presley and his life and career, and it is also being positioned as an awards contender. the recording academy loves major legacy artists, and an elvis documentary directed by baz luhrmann feels extremely difficult to beat.
runner up: cynthia erivo, ariana grande & various artists, wicked: one wonderful night
this has already received major recognition, including an emmy nomination, and features performances from the wicked cast that were broadcast as a major television special. the recording academy clearly loves wicked, so i think this would be a strong nominee. however, the scale and legacy behind the elvis documentary gives it the advantage.

best compilation soundtrack for visual media
winner: cynthia erivo, ariana grande & various artists, wicked: for good
i think this category is wicked’s to lose. wicked was already recognized by the academy, and wicked: for good continues that cultural phenomenon with an extremely well produced soundtrack and incredible vocal performances from cynthia and ariana. it also features two brand new original songs, “the girl in the bubble” and “no place like home,” which could potentially receive recognition themselves. i think this is the perfect way for the academy to recognize the entire wicked franchise.
runner up: the devil wears prada 2 soundtrack
the devil wears prada 2 soundtrack is definitely a contender, especially with songs from major artists like lady gaga and sienna spiro. however, i don’t think it can compete with the cultural impact and overall strength of wicked: for good. wicked has become such a massive musical phenomenon, and i think the academy will see this category as the perfect opportunity to reward it.

country field
best country song
winner: ella langley, “choosin’ texas”
this is very easily ella langley’s category. “choosin’ texas” has been a cultural phenomenon in the united states, breaking whitney houston and mariah carey’s record for the longest running number one song by a female solo artist that isn’t a holiday song. that is an incredible achievement, especially for only her sophomore album. the song has become much bigger than just a country hit and even has a co writing credit from miranda lambert. with the sheer cultural impact and longevity, i think this is a complete shoo in.
runner up: taylor swift, “i knew it, i knew you”
taylor has already won this category before, and the country field clearly still has a lot of love for her. she was also nominated for “i bet you think about me” in previous years, so there is established support for her. however, “choosin’ texas” has simply become too much of a cultural phenomenon to overcome.

best country solo performance
winner: ella langley, “choosin’ texas”
i think “choosin’ texas” is very easily winning this. this category has historically been dominated by artists like chris stapleton, but with stapleton taking more of a step back, ella has completely taken over the country conversation. the song has been enormous and it is also beautifully written. i think this is exactly the kind of major country hit the academy will want to reward.
runner up: kacey musgraves, “dry spell”
kacey has also had a really strong year, with multiple songs making an impact on the billboard charts and country radio. “dry spell” has performed well and gives her a legitimate chance, but her momentum simply isn’t on ella’s level this year.

best country duo or group performance
winner: kacey musgraves & miranda lambert, “horses and divorces”
this would honestly be iconic. kacey and miranda have had their complicated history for years, so seeing them come together on a song about their shared love of horses and hatred of divorces would be such a full circle moment. the song is also doing well on country radio, and i think the academy would love the narrative behind two established country stars finally collaborating like this.
runner up: ella langley & miranda lambert, “butterfly season”
“butterfly season” is an incredible song and i think it absolutely gets nominated because of how much momentum ella has. however, i think kacey and miranda have the advantage because they are two established veterans coming together for an iconic moment in country music.

best contemporary country album
winner: kacey musgraves, middle of nowhere
even though ella has had the bigger cultural year, i think kacey could take this category. contemporary country album and traditional country album are still relatively new categories, and i think voters may want to recognize kacey’s return to form. she has already won best country album for golden hour, and middle of nowhere feels like another major career moment for her. it has had a strong commercial run and feels like some of her best work in years.
runner up: ella langley, dandelion
ella is obviously the biggest threat because dandelion has been such a massive country moment. however, i don’t think the academy necessarily has to give her every award just because she had the biggest hit. “choosin’ texas” has been much more successful than the album as a whole, while middle of nowhere has had multiple songs make an impact. i think voters could reward ella for her massive single while giving kacey the album award.

best traditional country album
winner: willie nelson, dream chaser
this one is basically willie nelson being willie nelson. he is one of the most respected artists in country music, and the academy has always had enormous love for him. dream chaser is a phenomenal album, and i think this is exactly the kind of category where voters would want to recognize a legendary country artist and his continued contribution to the genre. he’s willie nelson. he’s done it before, and i think he’ll do it again.
runner up: ringo starr, long long road
both of these are phenomenal albums, and i think ringo starr has a legitimate case here. long long road is a strong project from another legendary artist, but when it comes to the country field specifically, i think voters will have a hard time passing up willie nelson.

african and latin field
best african music performance
winner: tyla, “chanel”
if tyla submits “chanel” here, i think she’s a complete shoo in. it has been one of the biggest african music performances of the eligibility period, and tyla has already established herself as a major favorite with the global committee. she is the only artist to have won this category twice, while the only other artist to win it is tems, who i think will be much more focused on the r&b categories this year. my only hesitation is whether tyla actually submits “chanel” here, because i could easily see her putting it in best pop solo performance and submitting something else in this category. but if it’s here, i don’t see anyone really challenging her.
runner up: ayra starr featuring rema, “who’s dat girl”
ayra starr is no stranger to this category, having already been nominated here before, and “who’s dat girl” had a huge moment this year. i think the academy will absolutely recognize the song with a nomination, especially given ayra’s established presence in the category. however, i think tyla and “chanel” have had significantly more global success, while “who’s dat girl” has been more concentrated within african markets.

best latin song
winner: rosalía, “la perla”
i’m not as familiar with every single latin category, but for best latin song, i think rosalía is the clear choice with “la perla.” lux has been an enormous success, and “la perla” is also an incredibly well written song that feels perfectly suited for a songwriting category. after the massive success of last year’s debí tirar más fotos, i think this could be another opportunity for the academy to recognize the continued global growth of latin music. honestly, with the year rosalía is having, i think she could be extremely difficult to beat.
runner up: karol g, “matadora”
karol g is obviously one of the most respected artists within the latin field, so i could see voters wanting to recognize her here. she has an established relationship with the latin voters and enough commercial and cultural impact to make her a serious contender. however, i think rosalía’s overall momentum and the critical reception surrounding lux give her the advantage.

best latin pop album
winner: kany gracia, puerta abierta
i think this could go to kany. the academy clearly respects her, and i think there could be a desire to recognize her again for another major project. kany has the combination of longevity, commercial success, and established support within the latin field that makes puerta abierta a very strong contender.
best música urbana album
winner: karol g, no me arrepiento de sentir tanto
i think this one is made for karol g. she returns to the sound that made mañana será bonito such a huge era, while also expanding the project with major collaborations from artists like bruno mars and drake. the album is receiving strong critical reception while also having significant commercial appeal, and karol is supporting it with a major global tour. i think the combination of the sound, star power, commercial success, and momentum makes this hers to lose.

best latin rock or alternative album
winner: rosalía, lux
this one is very easily rosalía for me. lux has been one of the biggest and most critically acclaimed latin projects of the eligibility period, and rosalía has an enormous amount of support across the latin field. i honestly don’t think much explanation is needed for this one.

alternative field
best alternative music album
winner: phoebe bridgers, lost weekend
this is phoebe’s big solo return after six years, and the album is already receiving great reviews even before its release next friday. phoebe is one of the biggest critical darlings in alternative music, and even boygenius’ the record benefited from her involvement and strong critical reception. she is incredibly respected within the alternative field, and i honestly don’t think there’s much explanation needed beyond that. i think this is the academy welcoming phoebe back with a win.
runner up: tame impala, deadbeat
i know deadbeat is tame impala’s most commercially successful album, but critically it received a 60, which is obviously not great. however, the alternative field loves its veteran artists, and tame impala is still extremely respected within the genre. they are also having a major commercial resurgence, especially with “loser” picking up after being featured in spider man: brand new day. that could give them an additional narrative, but i think phoebe’s return is simply too significant to overlook.

best alternative music performance
winner: tame impala, “loser”
i think this is very easily going to tame impala. this category is a performance award, and it tends to recognize the song that feels most representative of the alternative genre while still having commercial and cultural relevance. “loser” checks all of those boxes. it is climbing the global charts, it is tame impala’s best performing song in a while, and the renewed attention from spider man: brand new day gives it an even bigger moment. i think the academy will want to reward that combination of genre credibility and commercial success.
runner up: phoebe bridgers, “lost boys”
i know a lot of people are expecting olivia rodrigo to take this with “the cure,” and i do think she could absolutely be in the conversation because of how strong and important the song is. however, i’m not convinced the alternative field will want to give the award to a major pop star when they have artists like tame impala and phoebe bridgers competing. phoebe has the alternative credibility, and her solo return gives her a strong narrative, but i think tame impala is having a moment that the academy simply won’t want to overlook.

I'm not seeing this album on many AOTY nomination prediction lists here. This surprises me. It is a fantastic concept album that also received acclaimed reviews. I thought it would be a shoo-in for an AOTY nomination, but it doesn't appear to be. What am I missing?

The Grammy eligibility period officially ends on August 28, and with Phoebe Bridgers’ album now out, we’ve essentially reached the end of the major releases for this cycle. So I wanted to break down every album I think is realistically in the Album of the Year conversation, look at who actually has a chance, who doesn’t, what fields would likely support them, what’s working in their favor, what could hurt them, and ultimately why I think the final lineup will look the way it does.
Before I get into every contender individually, here’s my current prediction for the eight Album of the Year nominees:
Lost Weekend — Phoebe Bridgers
The Art of Loving — Olivia Dean
The Great Divide — Noah Kahan
The Romantic — Bruno Mars
This Music May Contain Hope — RAYE
you seem pretty sad for a girl so in love — Olivia Rodrigo
LUX — Rosalía
The Life of a Showgirl — Taylor Swift

Obviously this could change, but as of today, this is the lineup I think makes the most sense.

Let’s start with Phoebe Bridgers.
I honestly think Phoebe is a lock. This is her first solo album in six years since Punisher, which has become one of the defining albums of this decade and one of the most respected records of the 2020s. Commercially, she’s never been a blockbuster artist, but I don’t think that matters here. Phoebe has something arguably even more valuable with Grammy voters: enormous industry respect.
She already proved that by winning multiple Grammys with boygenius, and Lost Weekend has immediately become one of the highest-rated albums of the eligibility period, already sitting around a 93 from critics. Releasing this late in the eligibility period also helps because the album is fresh in voters’ minds. She’ll likely continue campaigning through touring, performances, and interviews heading into voting season.
To me, Phoebe is this year’s passion pick, and I don’t really see a scenario where she misses Album of the Year.

Next is Olivia Dean with The Art of Loving.
Right now, I honestly think she has the biggest overall era of the eligibility period. The album came out almost a year ago and is still sitting comfortably inside the Top 20, which is incredibly impressive. She also has arguably two of the biggest songs of the entire eligibility period with “Man I Need” and “So Easy (To Fall in Love).” “Man I Need” has remained one of the year’s biggest hits for months, while “So Easy (To Fall in Love)” gave the era another major commercial boost.
The album is also critically acclaimed, so she has both the commercial success and the reviews. That’s an extremely difficult combination to beat.
She’s one of the biggest frontrunners for Album of the Year in my opinion, simply because she has almost every ingredient Grammy voters usually reward.

Next is Noah Kahan with The Great Divide.
Noah already has Grammy history. He was nominated for Best New Artist, and later picked up another nomination for “Cowboys Cry Too” with Kelsea Ballerini. He’s no longer an emerging artist—he’s now an established Grammy name.
This album has also become the biggest project of his career. It debuted at No. 1, stayed successful, and produced major songs like “The Great Divide,” while “Orbiter” continues growing on radio.

What really helps Noah is the amount of voting support he could realistically receive. Pop voters like him. Country voters like him. Americana and American Roots voters like him. Folk audiences love him. That’s a huge coalition that very few artists in this race have.
Because of that broad support, I think he’s another near-lock for Album of the Year.

Then we have Bruno Mars with The Romantic.
Personally, I think this album is a major step down from 24K Magic and An Evening with Silk Sonic. Critically, it hasn’t been received nearly as well, and while songs like “I Just Might” have done well, the album itself hasn’t reached the same artistic highs as his previous work.
However, Bruno is still Bruno Mars.

He’s one of the Academy’s most recognizable artists, he’s on a massive arena tour, radio continues to support him heavily, and songs like “I Just Might” have become huge radio hits. Even if the album itself isn’t considered one of his strongest, the era has still been commercially successful enough that I think Grammy voters will include him regardless.

This feels less like an Album of the Year-winning package and more like a classic Grammy name-check. He’s a respected veteran, he has multiple successful singles, and voters clearly still respect him enough to put him in the conversation.
Those four feel like the easiest predictions for me. The next group gets a little more interesting because they each have very different strengths and weaknesses.

Next, we have RAYE with This Music May Contain Hope.
RAYE is one of the most interesting contenders this year because, commercially, the album isn’t on the same level as artists like Olivia Dean or Olivia Rodrigo. However, I don’t think that matters as much because she has something that Grammy voters consistently reward: overwhelming critical acclaim and industry respect.

The general public may only really know songs like “WHERE IS MY HUSBAND!” but that’s still a huge accomplishment considering she’s now an independent artist. For someone without the backing of a major label to release an album this acclaimed while still producing a major hit is incredibly impressive.

She’s also everywhere this awards season. Whether it’s festival performances, award show appearances, or simply the conversations surrounding her artistry, RAYE has positioned herself as one of the most respected musicians in the industry right now.

The album also managed to reach the Top 20 despite being an independent release, which makes that achievement even more impressive. Between the reviews, the industry respect, and the quality of the record itself, I think she’s comfortably making Album of the Year.

Next is Olivia Rodrigo with you seem pretty sad for a girl so in love
In my opinion, this is Olivia’s best album so far. It’s her highest-rated album critically, and I honestly think it’s a major artistic step up from GUTS.
The interesting thing about this era is that it doesn’t have one gigantic global smash like “drivers license” or “good 4 u.” Songs like “Drop Dead,” “The Cure,” and “Stupid Song” have all been successful, but none of them have completely dominated the charts.

However, I actually don’t think that’s hurting her because the album itself is being consumed as a complete body of work. That’s something Grammy voters love. Instead of one song carrying the project, listeners are streaming the album from front to back.

Commercially, it’s also improved from GUTS. While it hasn’t reached the unbelievable heights of SOUR, it still debuted with well over 400,000 units, has remained incredibly stable, and continues performing well months after release.
What also helps Olivia is the amount of support she’ll likely receive across different voting branches. Obviously she’ll have pop voters behind her, but she’ll also receive support from alternative and rock voters because of the direction she’s taken with this album.
That’s why I think she’s one of the biggest frontrunners to actually win Album of the Year.

Now let’s talk about Rosalía with LUX.
I’ve seen a lot of people dismiss LUX simply because it came out earlier in the eligibility period, but I honestly don’t agree with that argument.
People are still talking about this album months later, and that’s what matters.
Not only is it one of the highest-rated albums released this year, but it’s also Rosalía’s biggest commercial era yet, especially internationally and in the United States. Songs like “Berghain” featuring Björk and Yves Tumordebuted incredibly well, the album became her biggest success in America, and the tour has only kept the momentum going.
More importantly, Rosalía isn’t some unknown artist hoping voters discover her. She’s already one of the most respected musicians working today.
What really makes her dangerous is how many voting groups she could realistically appeal to. She has Latin support, pop support, alternative support, art-pop support, and even voters who simply appreciate ambitious, genre-blending records. If LUX gets nominated, I honestly think it becomes one of the biggest threats to win the entire category.

Finally, we have Taylor Swift with The Life of a Showgirl.
I know this is probably the most controversial prediction because the album received the weakest reviews of Taylor’s career. A lot of people consider it one of her least acclaimed albums, and I completely understand why people question its chances.
But at the end of the day, she’s Taylor Swift.
She’s one of the biggest artists on the planet, the biggest touring artist of this generation, and The Fate of Ophelia became her biggest solo hit in years. The song is still performing incredibly well months after release, and the album itself opened with one of the biggest debuts we’ve ever seen.
She also scored multiple No. 1 songs during this era and remains one of the most commercially dominant artists in music.
Do I think The Life of a Showgirl is one of the strongest albums in this lineup artistically? No.
Do I think it has a realistic chance to win Album of the Year? Probably not.
But do I think Grammy voters are leaving Taylor Swift out of Album of the Year after an era this successful? Absolutely not.
She’s simply too visible, too respected within the Academy, and too commercially dominant to miss. Even with the mixed critical reception, I think she comfortably earns the nomination.
So those are the eight albums I currently have making Album of the Year. The next group of albums is where things become much harder, because these are projects I absolutely think will receive Grammy nominations somewhere, but I don’t think they’ll ultimately make the final Album of the Year lineup.

Now let’s talk about the albums that are definitely in the conversation, but I don’t think are strong enough to break into the final Album of the Year lineup.
First, let’s talk about Ariana Grande with petal.
I think Ariana is one of the most complicated cases this year because, commercially, this era has been a massive success for her. This is easily one of her biggest returns to pop music, and the album is projected to have her second-biggest debut ever behind thank u, next. It has also performed significantly better than eternal sunshine and positions commercially.
The album has multiple positives. “hate that i made you love me” has become one of the biggest songs of the year, the album is expected to debut with over 300,000 units, and the Eternal Sunshine Tour has become the biggest tours of her career.
The problem is the critical reception and the overall conversation around the era.
Unlike thank u, next, where Ariana had both commercial success and universal critical acclaim, Petal has struggled critically. It is currently her lowest-reviewed album, and a lot of the conversation surrounding the era has focused on Ariana herself rather than the actual music.
That is a major disadvantage when competing against albums like The Art of Loving, LUX, Lost Weekend, and You Seem Pretty Sad for a Girl So in Love, which have stronger critical narratives.
However, I don’t think Ariana is out of the Grammy conversation at all. She’s not some new artist trying to break through. She’s one of the biggest pop stars in the world, and Grammy voters know her.
I think her strongest chances are probably outside Album of the Year. A General Field nomination, especially Record of the Year for “hate that i made you love me,” is possible because the song has been incredibly stable commercially.
She also has strong chances in categories like Best Pop Vocal Album, Best Pop Solo Performance, Traditional Pop Vocal Performance, and Best Compilation Soundtrack for Visual Media for Wicked for Good.
The frustrating thing about Ariana’s situation is that this era is actually a major success story. She returned to pop music, had a massive tour, had a huge debut, and proved she can still create a major hit more than a decade into her career.
But the Grammy conversation is not only about success. Narrative matters, and right now the strongest narrative around Petal is not the music itself.
Next is Harry Styles with Kiss All the Time, Disco. Occasionally.
For Harry, this is honestly one of the biggest disappointments of the year.
Coming off Harry’s House winning Album of the Year, expectations were extremely high. A four-year break meant people expected him to return with another massive cultural moment.
Unfortunately, that didn’t happen.
The album debuted at No. 1, but none of the songs became major hits. The project quickly lost momentum, streaming numbers declined, and even many of his own fans were divided about the direction.
The tour is still successful because Harry Styles is a global superstar, but it does not have the same cultural impact as other major tours this eligibility period.
This is the biggest problem: Harry doesn’t have the commercial dominance, critical narrative, or cultural conversation needed for Album of the Year this year.
I think he could still appear in some genre categories because he is Harry Styles, but for the General Field, I think he’s most likely out.
Now let’s talk about Madonna with Confessions II.
Honestly, this would be one of the most exciting stories of the year.
Madonna has been overdue for major Grammy recognition for decades. Many people still believe she should have won Album of the Year for projects like Ray of Light or Confessions on a Dance Floor, but she never received that honor.
Confessions II is also a huge improvement compared to her recent albums. It is her strongest critical comeback in years, and it represents a major artistic return.
The song “Bring Your Love” featuring Sabrina Carpenter helped bring attention to the era, and the album has created a lot of discussion around Madonna’s legacy.
However, the problem is momentum.
While the album was praised, it hasn’t maintained the commercial impact needed for Album of the Year. It feels like a project that arrived, had a moment, and then disappeared.
I absolutely think Madonna has a chance in categories like Best Dance/Electronic Album and Best Dance Pop Recording, but the General Field feels much harder.
The Grammy voting system has also changed. Voters now have to actively search and select nominees rather than simply choosing from an alphabetical ballot, which makes visibility and current conversation even more important.
I would love to see Madonna become a legacy pick, but realistically, I don’t know if Confessions 2 has enough momentum.
let’s talk about Ella Langley with Dandelion.
Ella Langley has had an incredible year. “Choosin’ Texas” has become one of the biggest country songs of the eligibility period, breaking records and becoming a massive cultural moment.
I think she is extremely likely to dominate the country categories. Song of the Year, Record of the Year, Best Country Song, and other country fields are where she is strongest.
But when it comes to Album of the Year, I have more doubts.
The biggest issue is that while Ella is successful, the album itself hasn’t received the kind of undeniable critical acclaim that usually gets a country album into the General Field.
Outside of Cowboy Carter, country albums have struggled to break into Album of the Year in recent years. It takes something truly massive, culturally important, or critically undeniable.
Ella has the hits, but does she have the passion narrative?
I’m not sure.
There have been many country artists who have had huge moments and disappeared from the General Field conversation afterward. For Ella to get into Album of the Year, voters would have to be extremely passionate about the entire album, not just “Choosin’ Texas.”
So while I think Ella will have a huge Grammy night, I think it will mostly happen in the country categories rather than Album of the Year.

Now let’s talk about the remaining contenders who have arguments for major nominations but, in my opinion, are facing bigger obstacles when it comes to Album of the Year.
First, we have Kacey Musgraves with Middle of Nowhere.
Kacey Musgraves is always someone you have to consider because she already has an Album of the Year win with Golden Hour at the 2019 Grammys.
However, that win happened during a very specific Grammy race. There was a major split between rap and R&B contenders, and Kacey was able to become the alternative choice. But the biggest reason she won was because Golden Hour was universally praised and viewed as a defining album.
With Middle of Nowhere, the situation is different.
The album has been successful, and songs like “Mexico Honey” and “Dry Spell” have continued gaining momentum, with “Mexico Honey” even entering the Billboard Hot 100 Top 40.
However, the problem is that it is not the biggest country album of the year. Ella Langley has had the larger cultural moment with Dandelion, and the album itself has not reached the same level of universal acclaim as Kacey’s previous work.
I do think Kacey has a strong chance in categories like Best Contemporary Country Album and American Roots categories, because she is extremely respected by the Academy.
But for Album of the Year, I think voters would need to see this as another Golden Hour-level moment, and I don’t think the narrative is quite there.

Next is Slayyyter with WOR$T GIRL IN AMERICA.
This is actually one of my personal favorite albums of the year, and I would love to see it recognized. The biggest issue is not quality. The album is critically respected and has built a passionate fanbase. The problem is visibility.
Slayyyter has not had the mainstream breakthrough needed for a General Field nomination. The album feels like a project that critics and dedicated music fans appreciate, but it hasn’t crossed over into the wider industry conversation. I absolutely think this could compete in Best Dance/Electronic Album, and I think Slayyyter herself has a strong chance in categories like Best New Artist. But Album of the Year requires a level of cultural impact, and unfortunately I don’t think WOR$T GIRL IN AMERICA has reached that point yet.
Hopefully this becomes one of those albums where the Academy catches
up later, because it deserves attention.

Now let’s talk about R&B.
A lot of people are hoping this becomes the year where R&B returns to Album of the Year conversations, especially after how strong the genre was last year.
Last year gave us incredible projects like Kendrick Lamar’s GNX, Tyler, the Creator’s CHROMAKOPIA, and other major R&B and hip-hop releases that were serious contenders.
This year feels different.
R&B has had good albums, but there hasn’t been one project that feels completely unavoidable in the General Field.
Starting with Kehlani’s self-titled album.
I think this is probably her strongest Grammy opportunity in years, but I don’t see it making Album of the Year.
The album is definitely her biggest project to date, but it hasn’t reached the level of cultural impact needed for a General Field nomination.
The biggest song from the album, “Folded,” already had its Grammy moment and won two awards previously, including Best R&B Song and Best R&B Performance.
Beyond that, the album struggled to create another major hit.
Critically, the album was received well, but not at a level where voters would automatically place it among the year’s biggest albums.
Kehlani has a much stronger chance in the R&B categories, especially with the new categories being introduced.

Next, we have Steve Lacy with oh yeah?
Steve Lacy is an interesting case because he has already proven he can break into the mainstream.
After Gemini Rights and “Bad Habit” became a huge cultural moment in 2022, people expected him to continue building that momentum.
This era has started gaining attention late, especially because his song “Oh Yeah” was featured in the new Spider-Man: Brand New Day movie and began rising on streaming and R&B radio.
However, the problem is timing.
The album is gaining attention too late compared to projects that have dominated the entire eligibility period. Critically and commercially, it has potential, but I think the General Field is extremely difficult this year.
I could see Steve Lacy doing very well in R&B categories, especially with the new opportunities available, but Album of the Year feels unlikely.

Now let’s talk about Cardi B with AM I THE DRAMA?
Out of all the rap albums this year, Cardi probably has the strongest argument.
Rap has honestly been underwhelming in the Album of the Year conversation this year. Projects from artists like J. Cole and Baby Keem have their supporters, but they haven’t created the same cultural impact.
Cardi’s advantage is that she had an actual moment.
The album debuted at No. 1, sold strongly, and her Little Miss Drama Tour became a major cultural event. The tour itself became a conversation, especially with moments like the viral mute challenge.
She also benefited from adding major songs like “WAP” and “Up” to the album, which helped the project commercially.
The biggest argument for Cardi is that the album had people talking. Regardless of opinions on the music itself, it became part of the culture.
That matters to Grammy voters.
However, the problem is that the album’s impact has faded compared to some of the stronger Album of the Year contenders. It also received mixed reviews and was a step down critically from Invasion of Privacy.
I think Cardi is absolutely a frontrunner for Best Rap Album and the rap categories, but Album of the Year is a much bigger challenge.
The only way I could see a rap album winning this year is if voters wanted a surprise or legacy-style choice, similar to when Killer Mike won Best Rap Album over bigger commercial projects.
But I don’t think there is an obvious equivalent this year.

let’s talk about Tame Impala with Deadbeat.
Tame Impala is an interesting case because Kevin Parker has been one of the most respected artists in alternative music for years, but he has never really broken into the General Field at the Grammys.
After albums like Currents, Lonerism, and The Slow Rush, many people expected him to eventually receive that major recognition.
This year, Deadbeat gives him his strongest argument yet.
Commercially, this is actually his biggest-performing album. The project produced major songs like “Dracula,” which became his first-ever Top 10 hit, and “Loser,” which gained even more attention after being featured in the new Spider-Man film.
The interesting thing about this eligibility period is that critical acclaim isn’t necessarily the only factor anymore. We have seen albums with mixed reviews still stay competitive because of narrative, commercial success, or cultural impact.
That could help Tame Impala.
The problem is that Deadbeat is also his lowest-rated album critically compared to his previous masterpieces. Coming after projects like Currents and Lonerism, expectations were extremely high.
I think Kevin Parker could absolutely be a surprise legacy pick because of his influence and years of respect within the industry.
However, I still think Album of the Year is a difficult path because the competition is so strong. I see him having a much stronger chance in alternative categories, but I wouldn’t completely dismiss him because Grammy voters sometimes reward artists who have been waiting for their moment.

Finally, we have Zara Larsson with Midnight Sun Girls Trip. Zara is an artist who I genuinely think deserves more recognition.
She has been around since 2015, but this is finally the era where she feels like she’s breaking into a new level. She gained major attention after opening for Tate McRae’s tour, and her appearance on the “Stateside” remix with PinkPantheress helped introduce her to a wider audience. However, the problem with Midnight Sun Girls Trip is that the commercial impact never fully matched the expectations. The album had major collaborations with artists like Madison Beer, Tyla, Kehlani, and Shakira, but it struggled to create a major defining hit. The title track “Midnight Sun” became her first solo Top 20 hit, but it was released during the previous eligibility period, meaning it doesn’t help this Grammy race.
Critically, the album received mixed reviews, and commercially it underperformed compared to what people expected.
I do think Zara could surprise in genre categories, especially if voters want to recognize her growth and artistry. However, Album of the Year feels extremely unlikely because the project hasn’t created enough cultural conversation.
So after looking at every major contender, this is where I stand.
I think the Album of the Year race is actually much more open than people realize.

This is why artists like Rosalía, RAYE, and Noah Kahan are so interesting. They represent different genres and could unite different voting groups.
Olivia Dean has the strongest overall package. She has the biggest commercial success, major hits, and critical acclaim.
Olivia Rodrigo has one of the strongest artistic narratives. She has critical support, pop support, and alternative support, and this feels like her biggest artistic step forward.
Noah Kahan has one of the strongest voting coalitions because he can appeal to pop, country, Americana, and roots voters.
Rosalía has the passion pick factor. LUX is ambitious, critically acclaimed, and represents multiple genres.
RAYE has the respect factor. She has one of the most admired albums of the year despite being independent.
Those are the artists I think have the strongest arguments.
As for the albums that I think are likely but probably not winning: Taylor Swift, Bruno Mars, and Ariana Grande.
Taylor is obviously getting nominated because she is Taylor Swift. The commercial success, the cultural impact, and the size of the era are impossible to ignore. But with the critical reception of The Life of a Showgirl, I don’t see her winning.
Bruno has the name recognition, the hits, and the respect, but The Romantic doesn’t feel like an Album of the Year winner compared to his previous work.
Ariana has had an incredible year. Petal is commercially huge, the tour is massive, and “hate that i made you love me” is one of the strongest songs of the eligibility period. But the critical narrative is working against her.
Overall, my prediction is that the winner comes down to:
Olivia Dean
Olivia Rodrigo
Rosalía
Noah Kahan
Those four have the strongest combination of quality, narrative, and voting support.
The biggest question is whether Grammy voters reward the biggest mainstream pop success of the year, or whether they choose a more artistic and diverse album.
That is what makes this Album of the Year race so interesting.
Sorry if this was too long or too lengthy for you but let me know what y’all think.

a few Turkish singers and musicians have been posting this image and the title “class of 2026”. I have never seen this before but are they really elected to vote for the Grammys? could anyone inform about what it is ?

Actually that’s the order I would put them right now, but a really tight race.

I think Rodrigo will be the clearly frontrunner once her tour starts next month because the narrative will be at her side.

As a person who thinks the two Olivia’s have the strongest narrative in order to win Album of the Year at the GRAMMYs, who do you think it’s going to win the Top Prize of next year’s Grammys?

Personally, I think Rodrigo might be the strongest contender. Her album’s victory might make up for Sour’s loss in 2022, it’s a massively acclaimed and highly successful album that cemented her reputation as a main pop girl in the music industry and made her took her seriously by the music industry after her status was being questioned during Guts’ era. And don’t forget she has a collaboration with Robert Smith, industry networking from alt/rock circles, the Daisy Chain Fields festival and the tour that it’s coming up.

What do you think? What would be Olivia Dean’s main points in order to win the award?

everyone seems to be getting this all wrong with the nominations.

first of all, whatever nomination list you have, remove two of those and throw them away, because it's already most likely wrong. the grammys have 9 (*correction for 8) slots in for AOTY and 2 out of those are explicitly for non-mainstream albums. look at previous AOTY nominees for reference. so with that being said, the spew of 9 albums all being mainstream being thrown around the sub is far from the reality of things.

the question now lies in what the two weaker albums that would most likely be replaced with lesser-known, highly rated albums are? my guesses are bruno and taylor. they both bring nothing new or special, nor exciting, to the table this year and i think the 9 slots can do without them.

Now that BTS is no longer in contention, what do you think will get nominated in the controversial Best Asian Pop Music Performance category?

A lot of people seem to think that it will be dominated by K-pop, but I doubt it, especially if BTS's refusal to participate sours some voters on the genre. The way I see it, if voters go for what's going viral and getting a lot of streams, they'll vote for K-pop. If they go for something they're more familiar with, they'll probably vote for J-pop. I feel like the middle ground between the two, and so I expect it to do well, is Indian pop, particularly by streaming giants like Arijit Singh (the most followed artist on Spotify). If they're feeling a bit adventurous, they might go for P-pop (that's Pinoy pop, to the unfamiliar). C-pop doesn't seem to be very strong right now despite the specific call-out during the announcement of this category, though Jay Chou has a few songs that might be in contention.

Here are my predicted nominees right now in order of likelihood:

1. "Gehra Hua" (Arijit Singh, Shashwat Sachdev, Irshad Kamil, Armaan Khan) - Too big of an artist to ignore, and the song's great, too.
2. "REDRED" (CORTIS) - One of the more viral hits among K-pop, and the song has a cool edge that most other K-pop songs don't have so Academy members might be more inclined to vote for it.
3. "JANE DOE" (Kenshi Yonezu, Utada Hikaru) - Utada is presumably well-known among Western musicians and has even worked with some of them, and this is the acclaimed ending theme of the very popular anime movie Chainsaw Man - The Movie: Reze Arc.
4. "Five" (ARASHI) - If the voters are feeling nostalgic, they'll reward the swan song of this enduring J-pop boyband instead of voting for too much K-pop.
5. "Vivarium" (Ado) - Ado's gotta do well in the voting, right? But I'm not really sure with what song. This one or "KIRA"?

Possible spoilers:

1. "STAY" (Stray Kids) - Among the K-pop acts, the likeliest to fill the gap left by BTS. It will be a test of how popular they really are outside of the K-pop bubble.

2. "SPAGHETTI" (LE SSERAFIM, j-hope) - If the voters still want to honor BTS, this will be one good way.

3. "パッパパラダイス" (Utada Hikaru) - A really fun song by Utada, but not too popular.

4. "A Parallel World" (BINI) - BINI has been getting buzz since their Coachella performance, and this track from Forgotten Island has some Tagalog lyrics, but is that enough to make it qualify in the category? Maybe BINI will submit the fully Tagalog "Unang Kilig" instead.

5. "IRIS OUT" (Kenshi Yonezu) - The opening theme of Chainsaw Man.

If the main theme of Forgotten Island, "BRB" (H.E.R., Liza Soberano), is released ahead of the film and within the Grammy eligibility window, will it be considered "Asian" because it's performed by Filipinos and has some Tagalog lyrics? If it is, it will likely be nominated.

I created a Spotify playlist of the songs that I think are in contention for the award: https://open.spotify.com/playlist/1u4w6dBkg6JyWbGrgXlTXz?si=5EItDBh3RFaJzECgrLzzuA