The Grammys are supposed to represent the best accomplishments in the United States’ music industry. Artists such as Sabrina Carpenter, Lady Gaga, Kendrick Lamar, Bad Bunny and Doechii received many nominations, getting six, seven, nine, six and five respectively. But perhaps the most surprising nomination is the new pop phenomenon K-pop Demon Hunters, which also got five nominations.
Among all of the lists of artists and composers, some of the most anticipated nominations are found missing. Big names like Lorde, Tate McRae, Conan Gray and Role Model got a combined total of one nomination, being for McRae’s song “Just Keep Watching” from the F1 Movie, for the category Best Dance Pop Recording. But these albums should not be discounted. ‘So Close To What,’ ‘Virgin,’ ‘Wishbone,’ ‘Kansas Anymore’ and ‘Imaginal Disk’ are real feats of music.
Tate McRae just wrapped up her “Miss Possessive” Arena Tour, which started last March and finished on Nov. 8. Before this, McRae had been touring her previous album, “Think Later,” from April 2024 to Nov. 2024. Along with both tours and the release of singles like “Just Keep Watching” and “TIT FOR TAT,” she has been busy. This shouldn’t have discounted her from the Grammys, though; her latest album spans from dance-pop with songs like “Sports car” and “Revolving door” to a smoother, more lyrical sound on songs like “Nostalgia” and “Greenlight,” which blended to create a beautiful album. Along with this, McRae is an incredible performer and has streaming numbers in the hundreds of millions. Yet astonishingly, she got only one nomination. Conan Gray is not new to the music industry, either. Gray released his first EP, “Sunset Season,” in 2018, and he has only grown from there, recently performing at the VMA Awards. His newest album, “Wishbone,” is a powerful one. It discusses the ups and downs in Gray’s life, with hard-hitting lyrics and astonishing notes. Perhaps it is his lack of streams, only reaching in the tens of millions, as opposed to the hundreds that a lot of nominated artists have. While popularity does play a role in these nominations, it’s sad to see great pieces of art discounted because of a lack of streams.
Lorde’s highly anticipated fourth studio album, “Virgin,” was released on June 27, 2025, and received strong critical acclaim and commercial success. The album debuted at No. 2 on the Billboard 200 and topped charts in several countries. However, when the nominations for the Grammy Awards were announced, Lorde received zero nominations, a fact that was widely flagged as one of the year’s biggest snubs. This snub reflects a recurring pattern of overlooking artists who take creative risks in favor of safer, commercially dominant choices. In Lorde’s case, the omission feels especially egregious because her work consistently shapes the pop scene rather than merely following it. The Academy’s resistance to forward-leaning pop is obvious here, and “Virgin” deserved recognition for its quality and impact.
Tucker Pillsbury, known professionally as Role Model, had a breakout period with his sophomore album “Kansas Anymore,” released July 19th, 2024, followed by a deluxe edition in February 2025. The album marked a stylistic shift to more mature pop/folk-leaning songwriting, and one track, “Sally, When the Wine Runs Out,” went viral on TikTok and bolstered his profile. Despite the buzz and the fact that many expected him to contend for Best New Artist at the 2026 Grammys, Role Model received no nominations. Critically, the omission shows how disconnected the Best New Artist category has become from actual rising influence. His breakthrough year brought viral hits, a cohesive and emotionally sharp album and a rapidly growing fanbase. Leaving him off the ballot signals that the Academy undervalues modern pop storytellers who build their momentum authentically digital rather than traditional industry channels. Role Model’s artistry places him firmly among the most promising male musicians in pop. The Grammys’ failure to acknowledge that makes the category feel outdated and uninterested in the artists genuinely defining the new landscape.
The duo behind Magdalena Bay, Mica Tenenbaum and Matthew Lewin, have carved out a uniquely imaginative niche with “Imaginal Disk,” a sci-fi-inspired, deeply textured pop album that pushes beyond standard synth pop. Critics celebrated its bold concept, lush production and inventive songwriting. Yet, despite this acclaim, the duo did not receive a nomination at the 2026 Grammy Awards. “Imaginal Disk” being ignored by Grammy voters reinforces the long-standing bias against innovative, genre-fluid pop coming from outside the major-label mainstream; this oversight reflects the Academy’s ongoing reluctance to reward boundary-pushing work that challenges the conventional pop template. Magdalena Bay’s complete exclusion suggests that the Grammys still prioritize visibility over vision, overlooking artists who are actually shaping the future of pop music rather than repeating the past.
The omissions of Lorde, Tate McRae, Conan Gray, Role Model, and Magdelena Bay make one thing clear: the Grammys continue to favor visibility and commercial dominance over genuine artistic ambition and cultural impact. Each delivered sonically rich work, emotionally resonant and critically acclaimed, but their contributions fell to the wayside in comparison with mainstream popularity metrics and industry politicking. Their snubs reveal a deep issue within the Recording Academy: an ongoing reluctance to acknowledge innovative, risk-taking artists who are shaping the future of pop right now. Until the Grammys expand their definition of excellence beyond its streaming numbers and familiar industry pathways, they’re going to keep missing the exact music that pushes the art form forward.
