With millions of musicophiles expected to tune into the 68th Annual GRAMMY Awards on Sunday, Feb. 1, the typical flurry of speculation regarding who will be walking away with a coveted golden gramophone is sure to have hit the headlines by now.
Well, there’s no need to wonder anymore, because the opinion staff has donned our virtuoso thinking caps and put our musically inclined heads together to help you fill out your GRAMMY Awards bingo card. From rock royalty to K-Pop virality, these are our picks for who will win at this year’s awards show.
Associate Opinion Editor Maeva Elizabé
Record of the Year: ‘Manchild’ by Sabrina Carpenter
This girl has officially met the world, and she sure is leaving her mark on it.
A synthpop composition tastefully imbued with a generous helping of country flare, “Manchild” is as golden an example of a singer boldly staking their claim to a sound as Sabrina Carpenter’s own signature blonde locks. It’s catchy; it’s relatable; it’s witty, satirical and oh-so-cheeky. Seriously, what’s not to love about this No. 1 Billboard Hot 100 megahit? Carpenter has consistently proven her duality as a bubble gum pop princess fit to inherit the crown from the queen Dolly Parton herself, and that’s all I need to cast my vote for this charismatic bombshell femme. Her discography has set the stage for excellence — a stage she’s proceeding to perform on. Anyone who refuses to acknowledge her star quality is just plain stupid … or is it slow?
Associate Opinion Editor Joshua Abraham
Album of the Year: ‘Let God Sort Them Out’ by Clipse
After 15 years, hip-hop fans questioned if we even needed a Clipse reunion. That question was quickly answered with a resounding yes.
Brothers and rappers Pusha-T and Malice bring back authenticity in “Let God Sort Them Out,” a dynamic project exploring the impact of grief and the power art possesses to heal. Produced by the iconic Pharrell Williams, the album has resonated with a wide range of music appreciators, a feat that played a significant role in its commercial success. Even though the GRAMMYS seem to be biased against hip-hop in this category, I hope the Recording Academy comes to its senses and rewards this exemplary representation of immaculate storytelling.
Associate Opinion Editor Joshua Abraham
Song of the Year: ‘Golden’ by Huntrix
Was this the most overplayed song of 2025? Probably. But should that equate it being the most overhated song of last year? Not a chance.
It’s already difficult to create music for a movie; to not only do so, but on top of that make it one of the biggest songs in the world, one that unites every child, is a testament to the power of “Golden.” As a 22-year-old man, I felt truly empowered as I listened to this masterpiece during “KPop Demon Hunters” — and long after the credits rolled. This song has the goods, and I’m so glad it’s getting the recognition it deserves. Let’s hope the Recording Academy agrees.
Opinion Columnist Wyatt Pickering
Best New Artist: Addison Rae
“Why is a TikToker being nominated for Best New Artist?”
This is a question I often hear about Addison Rae, one of the most talented up-and-coming pop stars in recent memory. People severely underestimate the art of a successful rebrand, dismissing it as “inauthentic” in the case of this Diet Pepsi-loving nominee — whatever that means. Rae has as compelling a story for this award as we have seen in past winners such as Chappel Roan, and her fantastic debut album “Addison” backs it up.
Guess you’ve got to accept the pain and recognize the talent that is Ms. Addison Rae.
Opinion Columnist Sidney Uy
Best Compilation Soundtrack For Visual Media: ‘Sinners’
The Southern-gothic epic “Sinners” made film junkies fall in love with director Ryan Coogler all over again. The warm, yellow hues of a juke joint became the backdrop for a rich, energetic soundtrack. The mix of bloodcurdling screams on top of the infectious fusions of gospel, hip-hop and rock immersed viewers in an all-over body experience — especially in the one-shot scene of the iconic seance of the spirituals. Giving us the trembling, soul-soaked feeling of spiritual awe, “Sinners” lets us appreciate the enriching history of the Mississippi Delta and its cultural renaissance that has long been overshadowed. It remains the most memorable soundtrack in GRAMMY history, if not transcending the entire competition altogether.
Senior Opinion Columnist Isabella Garcia
Best Rock Album: ‘private music’ by Deftones
It’s rare I find an album without feeling the need to skip any tracks. And ever since I was caught up in the new generation of Deftones groupies through the despondent lust of “Sextape” and “Cherry Waves,” I became addicted to their signature sound of beauty and brutality.
“private music” threads a tone of melancholy with each track; it can only be described as the pain of nostalgia that drowns you in angst and romance. From the opening guitar chords of “my mind is a mountain” that hit you like a crashing wave to the haunting melody of “departing the body,” Deftones is unabashedly loud and evokes something intangible yet infinite — existing only in the flowing space between each note.
