1. 'MAYHEM’ by Lady Gaga (2025) - Catherine
Despite accruing 45 Grammy Award nominations — and 14 wins — Lady Gaga has never received the highly coveted award for album of the year. Gaga’s “The Fame Monster” (2009) lost to Arcade Fire’s “The Suburbs” (2010); “Born this Way” (2011) lost to Adele’s “21” (2011); and “Love for Sale” (2021) lost to Jon Batiste’s “WE ARE” (2021). In her decade-spanning, era-defining career, the talented performer sits just an arm’s reach away from one of the most prestigious prizes in music, but with “MAYHEM” (2024), her fate is bound to change.
Although “MAYHEM” is not Gaga’s strongest album, the record finds Gaga at her most versatile, focused and celebratory. The album, despite its gothic imagery and morbid fascination, hones in on the transformative power of music, the absurd solemnity of mortal life and the medicinal properties of movement.
The question remains as to whether “MAYHEM” will finally find Gaga standing on the Grammys stage, holding the trophy in her hands by the end of the night. Based on the previous winners, including Taylor Swift’s musing “Midnights” (2022) and Beyoncé’s eclectic “COWBOY CARTER” (2024), the Recording Academy’s voting committee revels in a clear, concept-driven project — one that not only finds an artist at their best, but at their most performative. Taylor Swift framed “Midnights” as a collection of 13 sleepless nights, where she forsook sweet dreams for melancholic melodies. Beyoncé’s “COWBOY CARTER” served as act two of her trilogy and retold the history of Black contributors to country music. Like her contemporaries, on “MAYHEM,” Gaga does not settle for scattered, catchy tracks. Rather, she opts for a cohesive, ambitious narrative about mortality, desire and fame. Although Bad Bunny and Kendrick Lamar present an earnest threat to her campaign, Gaga’s commitment to an eerie aesthetic, chilling production and campy lyricism sets her apart from the competition: As the singer states in the music video for “Abracadabra” (2025), “the category is dance or die.
2. ‘DeBÍ TiRAR MáS FOToS’ by Bad Bunny (2025) – Hunter
Bad Bunny’s success appears to know no bounds. As the most-streamed artist on Spotify in 2025, a three-time Grammy winner and the upcoming headliner for the 2026 Super Bowl halftime show, he reigns dominant in the music scene. Despite his superstardom, Bad Bunny’s loyalty to his homeland, Puerto Rico, shines through his work and serves as a defining feature of his album “DeBÍ TiRAR MáS FOToS” (2025) — a stunningly emotional, danceable work that well-situates the Puerto Rican for winning his first album of the year award.
Throughout the record, Bad Bunny weaves together different kinds of love, spinning together love for his home, love for his partner, love for his family and the memories he has made. On the swooning “VOY A LLeVARTE PA PR” (2025), Bad Bunny employs his signature, seductive voice as he promises to take his lover to his homeland, reinforcing his desire to return to Puerto Rico. On “EL CLúB” (2025), he sings over a swaggering beat and deep, punchy bass. He masterfully shifts from thinking about his ex’s whereabouts to reminiscing about the brevity of time: “2019, un pestañeo y ahora estamo’ aquí / 2020, la última ve’ que yo fui feli’ / 2022, la última ve’ que yo te vi,” he sings.
For Bad Bunny, “DeBÍ TiRAR MáS FOToS” is both a love letter and a thesis, wherein he hones his craft with an album that carries emotional depth and unrelenting longevity. Although his status as a Spanish-language artist may put him at a disadvantage in the context of past Grammy winners, his resounding success — and solid contributions to the musical world — may push him toward making history at the Grammys this year.
3. ‘GNX’ by Kendrick Lamar (2024) – Hunter
With 22 previous Grammy wins, Kendrick Lamar is no stranger to extensive success. He arrived on the awards scene over a dozen years ago, earning a Grammy nomination for best new artist and album of the year in 2013 after the release of his record “good kid, m.A.A.d city” (2012). And in 2018, Lamar made history by winning a Pulitzer Prize in music in 2018 for his album “DAMN.” (2017), becoming the first non-classical and non-jazz artist to win the award. Known for his clever wordplay, societal critiques and innovative instrumentals, Lamar continued his streak of lauded albums with the surprise release of “GNX” (2025) last November.
“GNX” encompasses the lyrical prowess and slick instrumentals that reinforce Lamar’s longevity as one of the most effective and unique rappers of this generation. In “squabble up” (2024), he doubles down on his convictions, confidently rapping over a heavy-hitting, unconventional beat. On the immensely catchy, slickly romantic “luther” (2024), Lamar joins SZA to create a track that honors the late producer Luther Vandross and leans into the groovier side of the record: “If this world was mine, I’d take your dreams and make ’em multiply,” Lamar sings over a subtle, entrancing beat. Although “GNX” lacks the lyrical impact of Lamar’s previous works, it makes up for it with pure unabashedness, as the rapper finally takes a step back to appreciate the mountain of work he manufactured. By dissecting his own fame and protecting his peace while building and releasing tension with a razor-tongued edge, Lamar crafts an album that sits at the peak of his power. However, “GNX” falters in comparison to his previous works, as the album leans more heavily into well-deserved bragging than overarching societal insights. And given Lamar has not yet won album of the year, “GNX” does not appear to be the record to finally earn him the most-coveted award.
4. ‘Let God Sort Em Out’ by Clipse, Pusha T & Malice (2025) - Catherine
After a 15-year hiatus, the hip-hop duo comprising brothers Pusha T and Malice returned to rap with a brilliant, incisive 13-track record. Last nominated for the Grammys in 2003 for a feature on Justin Timberlake’s “Like I Love You” (2002), Clipse received four Grammy nominations of their own this year, solidifying their ascendancy.
“Let God Sort Em Out” (2025), produced entirely by Pharrell, progresses from grief to rage to utter elation. The opening track, “The Birds Don’t Sing” (2025) featuring John Legend, is a fiercely vulnerable ode to the brothers’ late parents, including evocative rap verses and a compelling chorus performed by Legend. Recalling his father’s character, Malice exclaims, “You lived for our fishin’ trips, damn, I had a dad / Mine taught discipline, mine taught structure / Mine didn’t mind when he had to pull a double.”
Legend is one of many collaborators on this album. Tyler, The Creator, Nas and Kendrick Lamar all joined the brothers on this project, adding their individual perspectives and artistic styles. The second track is a cutting collaboration with Lamar, “Chains & Whips” (2025). Throughout this spirited track, Pusha T mocks his observers’ jealousy, Malice relishes in the failure of his enemies and Lamar warns, “I don’t f*ck with the kumbaya sh*t.” “Chains & Whips” illustrates the sheer beauty of this record: It is a testament to the transformative, healing power of art. In another Grammys cycle, “Let God Sort Em Out” might be a clear contender for the esteemed album of the year prize — but this year, the competition is steep.
5. ‘Man’s Best Friend’ (2025) by Sabrina Carpenter - Catherine
Although Sabrina Carpenter appeared to fall from a shattered sky in 2024, landing with sparkling pumps and a perfect bombshell-blonde blowout on a spotlit stage, the pop starlet produced work for 10 years before her breakthrough. In fact, this is only her second year as a Grammy nominee. In 2025, Carpenter won best pop solo performance for “Espresso” (2024) and best pop vocal album for “Short n’ Sweet” (2024). A year later, Carpenter is sure to take home another gilded prize — however, it will not be for album of the year.
“Man’s Best Friend” (2025) is a humorous, divinely catchy collection of songs that showcases Carpenter’s growth. She transforms shy, sexual innuendoes like “My honeybee, come and get this pollen” from “Espresso” to expressive imagery like “Tears run down my thighs” from “Tears” (2025), she amplifies the folk-infused elements of “Please Please Please” (2024) on the Americana-inspired “Manchild” (2025) and she finds her footing on soft ballads such as “Don’t Worry I’ll Make You Worry” (2025) — a clear descendant of “Don’t Smile” (2024).
Despite Carpenter’s improvement, “Man’s Best Friend” offers a glimpse, though not a full realization, of her talent. On the record, Carpenter inserts sexual lyrics in peculiar places, which sometimes lessen the emotional tenor of her tracks. Additionally, Carpenter oscillates between country pop and Scandinavian disco, resulting in a disjointed sonic experience. Nevertheless, Carpenter need not be dismayed, after over a decade of perseverance, her day will certainly come.
6. ‘MUTT’ by Leon Thomas (2024) - Catherine
Etsy witches beware — Leon Thomas is a true master manifester. “[I] Feel like I just got off the stage at the Grammys,” are the first words spoken on “HOW FAST” (2024), the opening track of his 2024 album, “MUTT.” Although he is not a confirmed performer, Thomas has been nominated for six Grammy awards this year, including album of the year and best new artist.
After two decades in the entertainment industry, including on the Nickelodeon sitcom “Victorious” (2010-2013), Thomas has finally emerged as a major force in R&B music. His sophomore album “MUTT” is a bit meandering, but captivating at its peaks. “LUCID DREAMS (feat. Masego)” (2024) offers an atmospheric track filled with subtle yearning; “ANSWER YOUR PHONE” (2024) demonstrates Thomas’s vocal talent on a power ballad; and the title track features the earworm-hook, “She said, ‘Take your time, what’s the rush?’ Oh / I said, ‘Baby, I’m a dog, I’m a mutt’.”
Although a striking sonic collection, “MUTT” reveals moments of weakness. Thomas remains committed to experimental elements throughout the record, but at times falls prey to his creative aspirations. For instance, on “DANCING WITH DEMONS” (2024), an introductory sequence states “That boy is extremely dangerous / his powers are far too great for someone without a heart” — a cringe-inducing verse that detracts from the spirit of the song. Despite a few missteps, with “MUTT,” a true star has been unleashed.
7. ‘CHROMAKOPIA’ by Tyler, The Creator (2024) – Alex
While “CHROMAKOPIA” (2024) by Tyler, The Creator may be unlikely to win big at this year’s ceremony, it is not because his album is the worst of the bunch. “CHROMAKOPIA” was released over one year ago, and in the time since, Tyler toured the world, starred in a critically acclaimed movie and released another full album. So, forgive preoccupied Grammy voters if “CHROMAKOPIA” has not been at the front of their minds lately.
But those who choose to revisit Tyler’s eighth studio album will not be disappointed. “CHROMAKOPIA” is, surely, the rapper’s most personal and mature album to date. Ironically, Tyler wears a mask over his face in almost all the promotional content, despite being the most vulnerable and raw he has been in his career. Throughout the album, Tyler raps about his fears and insecurities — namely, his lack of a father figure growing up and how this manifested into apprehension regarding his future as a parent.
Even with its serious themes, “CHROMAKOPIA” is still imbued with Tyler’s signature sense of unabashed fun and creativity. From the blaring horns and thumping drums on “Sticky (feat. GloRilla, Sexyy Red & Lil Wayne)”(2024) to the pure bravado on “Thought I Was Dead (feat. ScHoolboy Q & Santigold)” (2024), there is never a dull moment on “CHROMAKOPIA.” While Tyler might not leave the Grammys a winner, it is certainly not because “CHROMAKOPIA” lacks quality.
8. ‘SWAG’ by Justin Bieber – amelia
Editing is an art form. Coco Chanel once famously advised that before leaving the house, everyone should remove one item from their outfit. Yet Justin Bieber, a longtime star whom Scott “Scooter” Braun (04C) discovered in 2008 on YouTube, failed to master this art on “SWAG” (2025). Spanning 21 tracks and including a sequel dubbed “SWAG II” (2025), the album, while genius, is more often excessive and disjointed.
Tracks like “DAISIES” (2025) and “GO BABY” (2025) highlight a softer side to Bieber, one that, while occasionally unveiled, remains mostly hidden throughout the record. Bieber’s true lyrical talent reveals itself when he writes from pure, genuine emotion and stumbles when intending to write catchy hits. Confusing tracks like “STANDING ON BUSINESS” (2025) show “SWAG” on its creative decline, as this track is not a song but rather an interpolated clip of Bieber’s viral standing on business meme and comedian Druski commenting on the event. While comical, as the duo would surely make for an entertaining podcast, the humorous track feels out of place on the record.
“DEVOTION” (2025), a standout track that features Dijon, is thematically reminiscent of Dijon’s “Skin” (2018). Mimicking Dijon’s soulful, scratchy sound, Bieber’s vocals in the track feel secondary to the overpowering swinging beat. Bieber clearly gained inspiration from Dijon on other tracks, like “GLORY VOICE MEMO” (2025). On this track, Bieber’s vocals are more powerful, balancing the song. What is baffling, however, is that this beautiful track only exists in a voice memo format, never becoming a full, finished project.
Spanning ten tracks too long, “SWAG” as an album could have benefited from critical editing. It is a project that did not need a part two, let alone a nomination for Album of the Year.
Amelia Bush (28C) is double-majoring in English and PPL (philosophy, politics and law). She is from Minneapolis, Minnesota, and enjoys walking around its many lakes. Outside of the Wheel, you can find her reading, scrapbooking, or attempting a New York Times crossword.
Catherine Goodman (26C) is the Managing Editor of Arts & Life and Editorial Board. She is a double major in English and Art History. She plans to pursue arts and culture journalism, with a special interest in criticism and feature writing. When she isn't listening to music or writing her column, you can find her baking specialty cakes or playing with her dog, Apollo.
Hunter Buchheit (he/him) (28B) is majoring in U.S. History and Business. He loves writing about music, Emory events and politics, and in his free time enjoys playing piano, running and spending hours crafting the perfect Spotify playlist.
