Wet Leg, the British indie rock band, incorporated unconventional inspirations for the cover of their sophomore album. These included velvet worms sewn by guitarist Hester Chambers, a large wig from a music video, and even lizard-like gloves. The band settled in an Airbnb to finalize their artistic vision.
Lead singer Rhian Teasdale, who played a significant role in art direction along with Iris Luz and Lava La Rue, aimed for a cover that juxtaposed girlishness with a sense of repulsion. She believes this contrast creates an evocative effect, ultimately leading to a Grammy nomination for best album cover—the first such award in over half a century.
Other nominated covers for this prestigious award include Bad Bunny’s “Debí Tirar Más Fotos,” Tyler, the Creator’s “Chromakopia,” Perfume Genius’ “Glory,” and Djo’s “The Crux.” The award recognizes the art directors behind these projects, with recording artists included as nominees in several cases, except for “Glory.”
Historically, album covers were assessed within the best recording package category, which encompassed all physical materials. However, the Grammy Awards have separated these aspects to underscore the unique contributions of cover art in the digital era.
This shift helps all stakeholders appreciate the visual elements in music production. Photographer Neil Krug, whose work on “The Crux” earned him a nomination, emphasized that effective cover designs resonate deeply within the identity of a great record. The final composition of “Chromakopia” showcased Tyler, his face partially hidden by a mask, capturing a striking emotional essence.
The creative process for Tyler’s cover involved years of collaboration, allowing the team to explore a shared aesthetic inspired by surrealism and classic Hollywood. This familiarity enabled fluid interactions, as Tyler’s instinctive movements were harmonized with the photography.
Perfume Genius’s collaboration with art directors on “Glory” produced a visually rich scene, contrasting public and private identities. The cover’s energy was prioritized over depicting a specific narrative, allowing its openness to interpretation.
The “Moisturizer” cover features a striking, creature-like portrayal of Teasdale that captures a sense of tension, reflecting the album’s themes of love, longing, and at times, raw ferocity. Similarly, Djo’s album cover, which depicts a fictional hotel on a cinematic backlot, draws inspiration from atmospheric films and rich storytelling traditions.
Djo’s creative team focused on constructing a narrative scene for the album cover that incorporates various elements and characters to bring the hotel to life. The pensive aesthetic aims to resonate with multiple interpretations, reflecting complex emotions.
Bad Bunny’s “Debí Tirar Más Fotos” cover art highlights a nostalgic simplicity, featuring white plastic chairs and plantain trees, which symbolize cultural connections to the Caribbean. This minimalistic presentation reflects the album’s storytelling and broad themes of diaspora.
The Grammy rules permit nominations for albums that do not exist in physical formats, differentiating this category from others. Yet, this year’s nominees all have physical releases, highlighting the enduring relevance of vinyl culture in contemporary music experiences.
Voters will assess creativity and design in judging the nominees, with trophies awarded to winning art directors while certificates are issued to additional creative contributors.
Recent nominations have seen adjustments, highlighting the evolving nature of the new category, reflecting the complexity of collaborative projects within the music industry. For many creatives, recognition in this category represents a culmination of their effort to produce art that is both impactful and thought-provoking.
The 68th Grammy Awards are scheduled for February 1, 2026, at Crypto.com Arena in Los Angeles, airing live on CBS and streaming on Paramount. This will be an exciting event, further elevating the importance of album cover art alongside musical achievements.