The Grammys are the VMAs’ older, slightly snobbier cousin – the one who insists on being taken seriously while still fully enjoying the mess. This year’s ceremony in Los Angeles delivered exactly that – career coronations, eyebrow-raising wins, and just enough questionable decisions to keep the discourse alive without completely setting it on fire.
A sincere round of applause for whoever decided Harry Styles should enter the room to Where Is My Husband. A choice so specific, so self-aware, and so perfectly timed, it briefly made the Grammys feel fun. Whoever signed off on that moment is definitely not being paid enough.
Zara Larsson got the pre-show treatment – also read as, “here’s a stage, but not the stage,” which made me feel personally attacked, considering she’s been putting out hits that dominated TikTok feeds, trends, and playlists across the globe. (Before you ask, yes, I am unashamedly one of those people who stop mid-scroll to do the Lush Life dance every time the song plays.)
And then there was Alex Warren, who hit a very real tech error onstage and handled it like someone who’s already been through worse. No panic, no awkward filler – just calm, charm, and the quiet confirmation that he is exactly where he belongs.
Kendrick Lamar arrived like a man already carved into marble, Bad Bunny made history without breaking a sweat, and Billie Eilish reminded everyone that even on a quieter Grammy night, she’s still one of the Academy’s most trusted bets.
Was it just me, or did others also feel a little like a proud mom as so many artists used their moments to speak out against ICE? Standing up, speaking up, and reminding everyone that being on the Grammy stage can mean showing up for what matters.
The Big Winners (and the Subtext)
Kendrick Lamar dominated the evening with five wins, including Record of the Year for Luther with SZA and Best Rap Album for GNX. At this point, Kendrick doesn’t compete – he collects. Every win felt less like a surprise and more like the Academy fulfilling a responsibility they take very seriously.
Still, Album of the Year went to Bad Bunny for Debí Tirar Más Fotos, a win that caused a brief pause in the room before settling into logic. Puerto Rico stays winning, and Benito once again proved that global impact doesn’t need translation – or theatrics.
Billie Eilish took home Song of the Year for Wildflower, a warm, deserved win that felt very Grammys-coded. The song itself is delicate and haunting, capturing the push-and-pull of fleeting love in a way only Billie can – soft, precise, and quietly devastating.
Pop Girls Doing Pop Things
Lady Gaga’s Mayhem era was fully validated. She won Best Pop Vocal Album and Best Dance/Pop Recording for Abracadabra, while long-time collaborator Cirkut picked up Producer of the Year. Reinvention was rewarded, camp was encouraged, and Gaga remained exactly where she’s always been – at the top.
Sabrina Carpenter was everywhere without technically winning everywhere, which somehow still felt correct in the moment. Multiple nominations, total cultural saturation, and not a single desperate beat – pop stardom really is her cardio.
Lola Young won Best Pop Solo Performance for Messy, quietly pulling off one of the night’s most satisfying wins – the kind that doesn’t dominate headlines but absolutely shifts perception.
Best New Artist, Calm and Correct
Olivia Dean won Best New Artist, continuing the Academy’s fondness for artists who feel tasteful, grounded, and suspiciously unbothered. No gimmicks, no chaos – just vocals, confidence, and timing that worked. (And can we take a moment to talk about that red dress?)
Rock, Alternative, and the Veterans’ Lounge
Rock leaned intense. Turnstile cleaned up with Best Rock Album and Best Metal Performance, while Nine Inch Nails took Best Rock Song, proving industrial angst never really goes out of style.
In alternative, The Cure won Best Alternative Album and Best Alternative Performance, finally picking up their first Grammys after a 50-year career. Less a shock, more a respectful correction.
R&B, Rap, and People Who Can Actually Sing
Kehlani earned Best R&B Performance and Best R&B Song for Folded, a subtle sweep that made complete sense. Leon Thomas won Best R&B Album for Mutt, officially closing the chapter on him being criminally underrated.
Rap stayed competitive but predictable – Kendrick continued his run, Clipse had a moment, and Doechii’s Anxiety won Best Music Video, because vision still matters.
The Snubs (Polite, Documented, and Still Felt)
This was one of those Grammy years where no one was outright robbed, but several artists were very clearly expected to leave with something and didn’t.
Sabrina Carpenter was the most obvious case. She went 0 for 6 on the night after a year where Manchild was unavoidable – radio, charts, culture, airports. Losing Best Pop Solo Performance to Messy stung a little more, given that Manchild was also nominated in the Big Four. A huge year, a huge performance, and no trophies to show for it.
Leon Thomas, despite winning Best R&B Album, was the only Best New Artist nominee with an additional Big Four nod (Album of the Year), yet didn’t take the debut prize many assumed was his.
Sombr leveled up quickly, landed major nominations, and still left empty-handed – momentum just slightly out of sync with ballots.
Benson Boone continued his breakout run with nominations and visibility, but no wins. Not a snub so much as the Grammys doing what they often do – waiting an extra cycle before committing.
Sienna Spiro arrived with real buzz and critical backing, especially in categories that love an emerging voice, and still walked away without a trophy. Consider it a soft overlook rather than a rejection.
And then there were the quiet disappointments: Darren Criss losing Best Musical Theatre Album despite a Tony-winning year, and Trevor Noah not converting hosting duties into a narration win, losing instead to the Dalai Lama, which feels difficult to dispute.
No injustice, just a reminder that the Grammys rarely move in straight lines.
The Bottom Line
The 2026 Grammys weren’t about chaos – they were about confirmation. Kendrick’s reign was affirmed, Bad Bunny expanded what “mainstream” even means, Gaga proved reinvention still pays, and the Academy showed occasional flashes of self-awareness (see: Harry Styles’ entrance). But this evening also proved that being on the stage can mean standing up for what matters, and that even in a room full of glitz, glamour, and politics, your voice – be it musical or political – can resonate louder than any trophy.
So the Grammys? A little smug? Of course. Still completely irresistible? Unfortunately, yes.
ICE out. I mean, peace out.