Kendrick Lamar leads the 2026 Grammys nominee pack, but Lady Gaga, Bad Bunny and others are vying for their moment in the spotlight. But who will take home trophies on Feb. 1?
The competition is fierce. Kendrick Lamar’s dominance continues at the 2026 Grammy Awards, where he leads the nominations with nine. He’s followed closely by Lady Gaga, Jack Antonoff and Canadian record producer/songwriter Cirkut, who boast seven each. Then it’s Sabrina Carpenter, Bad Bunny, Leon Thomas and Serban Ghenea with six.
But who will win? Who will make history at the 68th Grammy Awards on Feb. 1?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 and Malice; “Mayhem,” Lady Gaga; “GNX,” Kendrick Lamar; “Mutt,” Leon Thomas; “Chromakopia,” Tyler, the Creator.
SHERMAN: Starting off with the big guns. Last year’s “Cowboy Carter” victory was long overdue for Beyoncé. That, and an evolving Recording Academy electorate, is enough to inspire hope that winners may soon be in sync with the current cultural zeitgeist. But change is slow, and it is most likely Lady Gaga will be awarded. “Mayhem” is a great album, but her victory will be more about narrative — recognizing a game-changing artist with her return-to-form record — instead of who should really win this year. That’s Bad Bunny’s “Debí Tirar Más Fotos.” (Let’s not forget all Latin Recording Academy members were invited to join the Recording Academy in 2025, but it is not clear how many can actually vote.) The world would love to see a Spanish-language album win for the very first time — Bad Bunny was once again the most streamed artist, globally, on Spotify last year.
There’s also “GNX,” which deserves the victory, as well. But the 2025 ceremony felt like Kendrick Lamar’s victory lap, and even with three rap albums nominated in the top spot, it’s not clear whether voters will give him the recognition he deserves.
LANDRUM: I understand the appeal of a breakthrough narrative here, especially with such a globally representative field. But this category tends to land with the project that moved most cleanly across multiple spaces without explanation. “GNX” stayed active across music, sports and everyday culture throughout the year. Let’s not forget that songs “luther” and “Squabble Up” sustained long-term engagement; “TV Off” entered everyday language with the “Mustard” catchphrase; and “Dodger Blue” extended the project into sports culture during the Los Angeles Dodgers’ championship run. Much respect to the other nominees here, but Lamar delivered a tightly structured album that circulated naturally. That kind of sustained presence usually carries more weight than momentum built around a single lane.Record of the year
“DtMF,” Bad Bunny; “Manchild,” Sabrina Carpenter; “Anxiety,” Doechii; “Wildflower,” Billie Eilish; “Abracadabra,” Lady Gaga; “luther,” Kendrick Lamar with SZA; “The Subway,” Chappell Roan; “APT.,” Rosé and Bruno Mars.
LANDRUM: If one song feels both inescapable and effortless, it’s “APT.” I look at what songs listeners — especially younger ones including my soon-to-be 6-year-old — still keep in rotation. The song easily translates across age groups, platforms and borders. Bruno Mars brought a proven sense of structure that voters respond to, while Rosé’s presence reflects the academy’s growing comfort with global pop influence. If this wins, which I believe will happen, Rosé would become the first K-pop artist to take the record of the year milestone. I think it’s time to make history.
SHERMAN: For all of the reasons you’ve listed above — as well as its total ubiquity and cultural meshing — “APT.” is the most likely candidate. But because record of the year is meant to highlight performance and production (as opposed to song of the year, which focuses on songwriting and composition), “luther” should win.
