2026 Grammy Awards Odds and Predictions

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The 68th Grammy Awards are almost here, which means it’s time for music fans to argue loudly, artists to pretend they’re shocked, and bettors to look for value before the trophies start getting handed out. As always, the Grammys bring together commercial juggernauts, critical darlings, and a few wild cards that somehow sneak into the conversation every year. Whether you’re tuning in for the performances, the speeches, or just to see who gets snubbed, there’s plenty to unpack heading into music’s biggest night.

From Album of the Year all the way down to Best Rock Album, this year’s major categories are loaded with star power and real debate. Below, we break down the latest odds and make predictions for the biggest Grammy awards on the board, highlighting where the favorites make sense and where underdogs might be worth a look. If you’re betting the Grammys or just want a sharper read on how this thing could shake out, you’re in the right place as we’re on top of the latest Entertainment odds and predictions for this event.

When Are The Grammy Awards?

The 2026 Grammy Awards will go down on Sunday, February 9, 2026, at Crypto.com Arena in Los Angeles, California. The show kicks off at 8 PM ET.

Where To Watch Grammy Awards?

Catch the Grammy Awards live on CBS or stream it online through Paramount+. Many top streaming services – including Hulu Live TV, YouTube TV, and Sling TV – also provide access to CBS’s live broadcast.

Who Is Hosting The Grammy Awards?

This year’s ceremony will be hosted by Trevor Noah, bringing his comedic flair to the stage once again. Kenan hosted last year’s Grammys, as well, and you can catch his monologue below:

Who Are This Year’s Grammy Awards Performers?

The lineup for the 68th Grammy Awards will reportedly have the following performers:

• Sabrina Carpenter
• Clipse
• Pharrell Williams
• and many more!

Grammy Awards Odds

Check out the latest Grammy Awards odds, courtesy of the top online betting sites:

The 68th Grammy Awards betting odds feature some large favorites in each major category. The largest favorite on the night is KPop Demon Hunters for the category – Song of the Year. Yet, we do think there could be at least one upset during this year’s award show. Continue reading our 2026 Grammy Award analysis.

And, if you enjoy betting on sports, then check out the industry’s top handicappers for exclusive picks spanning all major professional and collegiate sports.

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Grammy Awards Predictions

Check out our predictions for the 68th Grammy Awards, including where the value may lie if you’re looking to go beyond the favorites.

Album of the Year

• Bad Bunny – DeBÍ TiRAR MáS FOToS (-200)
• Lady Gaga – Mayhem
• Kendrick Lamar – GNX
• Sabrina Carpenter – Man’s Best Friend
• Tyler the Creator – CHROMAKOPIA
• Leon Thomas – MUTT
• Clipse – Let God Sort Em Out (ft. Pusha T & Malice)
• Justin Bieber – SWAG

Album of the Year is always the Grammys’ headline act, and this year’s race actually lives up to it. Bad Bunny’s DeBÍ TiRAR MáS FOToS enters as the betting favorite after a massive year that saw the album dominate streaming charts across multiple regions. The project blends reggaeton, Latin trap, and pop influences without playing it safe, and it managed to feel both experimental and widely accessible. That combination alone puts it firmly in the Grammy conversation.

Beyond numbers, the album’s reach matters. Bad Bunny continues to operate on a level very few artists can match, where his releases feel like global events rather than regional successes. The Recording Academy has steadily moved toward recognizing albums with international influence, and this project fits squarely into that trend. Add in Bad Bunny’s existing Grammy credibility, and voters aren’t taking much of a leap by rewarding him again.

Of course, Album of the Year rarely comes without a real challenger. Kendrick Lamar’s GNX represents the kind of album that historically resonates with Grammy voters when they want to reward depth and intention. Kendrick’s past success with the Academy, paired with his reputation for cohesive, message-driven projects, makes him the most realistic alternative if voters decide to prioritize artistic legacy over cultural dominance.

Still, this feels like a year where the Grammys lean into the moment rather than the résumé. DeBÍ TiRAR MáS FOToS was unavoidable, and it captured the sound and direction of the year better than any album in the field. The Academy has shown a growing willingness to reward albums that reflect where music is going, not just where it’s been, and Bad Bunny sits right at the center of that shift. Kendrick Lamar always commands respect, but this feels like Bad Bunny’s award to lose, with cultural impact and global relevance tipping the scales in his favor.

Bet: Bad Bunny – DeBÍ TiRAR MáS FOToS (-200)

Best Rock Album

• Deftones – Private Music (-250)
• Haim – I Quit (+350)
• Linkin Park – From Zero (+700)
• Yungblud – Idols (+600)
• Turnstile – Never Enough (+800)

Best Rock Album is one of the few Grammy categories where legacy still carries real weight, and that’s why Deftones’ Private Music enters the night as the betting favorite. The band has managed something rare: staying relevant decades into their career without sounding stuck in the past. Private Music was well-received by critics and fans alike, and it fits neatly into the Grammys’ long history of rewarding established rock acts that continue to evolve rather than coast.

Deftones also benefit from familiarity. Grammy voters know who they are, they know the sound, and they know the band’s place in modern rock history. When this category leans conservative, it often lands on artists like this, bands with a clear lineage and a proven track record. From a pure odds perspective, it makes sense that Deftones sit at the top of the board.

But Turnstile’s Never Enough brings something different to the table, and it’s exactly the kind of difference that can matter here. Turnstile have been pushing hardcore into the mainstream without sanding down its edges, and this album continued that trajectory. It blends punk, hardcore, and alternative elements in a way that feels modern and urgent, while still staying true to the band’s roots. Critically, it was one of the most talked-about rock releases of the year.

That’s why Turnstile is the pick. While Deftones feel like the safe choice, Never Enough represents where rock is actually going, not just where it’s been. The Grammys don’t always get credit for it, but this category does occasionally reward forward momentum over legacy, and Turnstile fits that mold perfectly. If voters want to send a message about the future of rock, this is the album that does it.

Bet: Turnstile – Never Enough (+800)

Best New Artist

• Olivia Dean (-300)
• Leon Thomas (+200)
• Alex Warren (+1400)
• KATSEYE (+1400)
• Sombr (+1600)
• Addison Rae (+2000)
• Lola Young (+2800)
• The Marias (+2800)

Best New Artist is always one of the weirdest Grammy categories, mostly because “new” is doing a lot of heavy lifting. Olivia Dean enters as a slight favorite after a year that felt like a proper arrival rather than a sudden breakout. Her blend of soul and pop earned widespread critical praise, and she’s reached that stage where the industry clearly views her as a long-term fixture rather than a rising curiosity.

Leon Thomas sits right behind her and makes plenty of sense as a contender. He’s had a strong year creatively, and his background as a songwriter and producer gives him credibility that goes beyond just chart performance. If voters are looking to reward musicianship and versatility, Thomas checks a lot of boxes.

But this category always gets messy once you zoom out. Take The Marías, for example. They’ve been releasing music since 2016, built a dedicated fanbase, and toured extensively over the better part of a decade. Calling them a “new artist” at this point stretches the definition to the breaking point, and situations like that are exactly why this award often turns into more of a timing contest than a true discovery prize.

That’s where Sombr stands out and why he gets the pick. The 20-year-old New York artist genuinely feels new in the way this category is supposed to represent. His debut album I Barely Know Her landed in 2025 and immediately connected, with tracks like “Back to Friends” and “Undressed” gaining real chart traction and viral momentum. He wrote and co-produced much of the project himself, and his rise came fast, organically, and without the sense of a long industry rollout. Best New Artist is at its best when it captures a true breakout moment, and in this field, Sombr fits that definition better than anyone else.

Bet: Sombr (+1600)

Record of the Year

• Kendrick Lamar – luther (ft. SZA) (-150)
• ROSÉ & Bruno Mars – APT. (+250)
• Bad Bunny – DtMF (+350)
• Lady Gaga – Abracadabra (+350)
• Billie Eilish – WILDFLOWER (+1400)
• Doechii – Anxiety (+2000)
• Chappell Roan – The Subway (+2800)

Record of the Year is one of the most misunderstood Grammy categories, but it’s also one of the most consistent once you know what voters care about. This award isn’t about songwriting alone or album impact. It’s about the overall recording. Performance, production, arrangement, and how cleanly a song comes together as a finished product all matter here. That’s why polished, radio-ready tracks with strong production tend to rise to the top.

That context makes Kendrick Lamar’s luther featuring SZA an easy song to understand as a frontrunner. It pairs two artists with deep Grammy credibility, blends sharp lyricism with smooth, modern production, and feels intentionally crafted rather than rushed. The track performed well commercially, but more importantly, it sounds like something built to last beyond a single chart run, which tends to play well with voters in this category.

Still, there are real challengers. Lady Gaga’s Abracadabra brings classic pop theatrics and pristine production, while Bad Bunny’s DtMF reflects the Grammys’ growing openness to global hits with massive reach. Even Billie Eilish remains a constant threat in categories like this, as her recordings consistently emphasize atmosphere and sonic detail, two things voters reward heavily when splitting hairs.

In the end, Kendrick Lamar’s luther feels like the safest and strongest pick. It checks every box this category tends to reward: elite production, a flawless vocal performance, and a sense of intentional craft from start to finish. While other songs may feel bigger in the moment, luther sounds like the kind of recording that holds up years from now, and that long-term polish is exactly what Record of the Year voters usually lean toward.

Bet: Kendrick Lamar – luther ft. SZA (-150)

Song of the Year

• KPop Demon Hunters – Golden (-400)
• Kendrick Lamar – luther (ft. SZA) (+300)
• Bad Bunny – DtMF (+900)
• Lady Gaga – Abracadabra (+1000)
• Billie Eilish – WILDFLOWER (+1200)
• ROSÉ & Bruno Mars – APT. (+1400)
• Sabrina Carpenter – Manchild (+2500)
• Doechii – Anxiety (+2800)

Song of the Year is the Grammy category where the spotlight shifts fully onto the writing itself. This award is about composition, not production tricks or chart dominance. Lyrics, melody, and emotional resonance matter more than how big the song felt on release day. Historically, this category rewards songs that stand on their own when stripped down to words and chords.

That framing explains why KPop Demon Hunters’ Golden sits as the heavy favorite. The song connects immediately, with a simple but effective structure and a hook that feels deliberately crafted rather than engineered for trends. It resonated across platforms, crossed genre boundaries, and became more than just a momentary hit, which is exactly the type of trajectory Song of the Year winners tend to have.

There are quality alternatives. Kendrick Lamar’s luther featuring SZA brings layered lyricism and emotional depth, while Billie Eilish’s WILDFLOWER leans into vulnerability and introspection, a lane Grammy voters often appreciate. Lady Gaga’s Abracadabra and **ROSÉ & Bruno Mars’ APT. ** offer more traditional pop songwriting appeal, while longer shots like Doechii’s Anxiety and Bad Bunny’s DtMF add stylistic range to a crowded field.

Still, the pick is Golden. Song of the Year often goes to the track that balances accessibility with staying power, and Golden hits that sweet spot better than anything else nominated. It works across audiences, holds up outside its original context, and feels like a song that will still make sense years from now. When this category favors clarity and universal appeal over complexity, Golden is usually the one holding the trophy at the end of the night.

There’s no value here, but there is clarity.

Bet: KPop Demon Hunters – Golden (-400)

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