What the 2016 Grammy Nominees Represent
The 2016 Grammy nominees reflect the recorded-music landscape of 2015, captured during the eligibility period running from October 1, 2014, to September 30, 2015. These nominations illustrate how genre boundaries, streaming-era consumption, and long-form projects like albums coexist within the Recording Academy’s rules. This evergreen explainer breaks down how nominees are determined, which major awards are most predictive of eventual wins, and how the 2016 class fits into longer-term patterns in recording and production quality recognized by the Grammys.
Genre Categories and Nominees by Field
Below are the major and genre-specific nominees for the 2016 ceremony. While not exhaustive of every minor category, this set captures the most visible General Field and genre fields that typically shape coverage and discussion.
Record of the Year
| Nominee | Artist(s) | Writer/Song Credit | Label |
|---|---|---|---|
| Formation | Beyoncé | Michael L. Williams II, Beyoncé Knowles, Terrance Monique Boykin | Parkwood/Columbia |
| Hello | Adele | Adele Adkins, Greg Kurstin | XL/Columbia |
| Sorry | Justin Bieber | Justin Bieber, Julia Michaels, Justin Tranter, Skrillex | Def Jam |
| Can't Feel My Face | The Weeknd | Max Martin, Savan Kotecha, Peter Svensson, Abel Tesfaye | Republic |
| Work (Remix) | Rihanna ft. Drake | Robyn Fenty, Aubrey Graham, Ernest Dion Wilson, Badriia Bourelly | Westbury/Def Jam |
Album of the Year
| Nominee | Artist(s) | Label | Key Notes |
|---|---|---|---|
| 1989 | Taylor Swift | Big Machine | Pop transition, commercial peak |
| To Pimp a Butterfly | Kendrick Lamar | Top Dawg/Aftermath/Interscope | Jazz, funk, and hip-hop influences |
| Purpose | Justin Bieber | Def Jam | Electronic and R&B direction |
| Pure Comedy | Father John Misty | Bella Union | Art-rock, conceptual depth |
| DAMN. | Kendrick Lamar | Top Dawg/Aftermath/Interscope | Compressed, groove-driven production |
Song of the Year
| Nominee | Artist(s) | Writer(s) | Publisher/Label |
|---|---|---|---|
| Formation | Beyoncé | Williams, Knowles, Boykin | SESAC/Parkwood |
| Hello | Adele | Adkins, Kurstin | Columbia/XL |
| Sorry | Justin Bieber | Bieber, Michaels, Tranter, Skrillex | Def Jam |
| Can't Feel My Face | The Weeknd | Martin, Kotecha, Svensson, Tesfaye | Republic |
| Work (Remix) | Rihanna ft. Drake | Fenty, Graham, Wilson, Bourelly | Westbury/Def Jam |
Best New Artist
| Nominee | Label/Manager Notes | Context |
|---|---|---|
| Alabama Shakes | ATO/Latte | Soul/rock crossover presence |
| James Bay | Republic | Singer-songwriter with guitar-forward pop-blues |
| The Weeknd | Republic/XO | R&B/alternative pop projection |
| Courtney Barnett | Marathon Artists/Milk! Records | Australian indie approach |
| Maren Morris | Columbia Nashville | Country crossover momentum |
How Grammy Nominees Are Selected
Nominees are proposed by Academy voting members within their fields and subjected to genre-specific screening committees. Final nomination ballots are distributed to voting members, who choose among the eligible entries in each category. The general field (Record, Album, Song, and Best New Artist) is decided by all voting members, while genre fields are determined by committees and peer review. Eligibility depends on release dates within the eligibility year, proper label reporting, and compliance with content and format rules. Streaming and physical sales both factor into a project’s chart performance and cultural footprint, but nominations are not directly tied to streaming metrics in real time; rather, they reflect a mix of artistic impact, commercial reach, and technical eligibility.
Defining the General Field Awards
Within the General Field—Record of the Year, Album of the Year, Song of the Year, and Best New Artist—nominations carry particular weight because they are voted on by the entire Academy membership rather than specialized committees. For context, Record of the Year typically rewards an individual track’s performance and production, Album of the Year evaluates a cohesive body of work, and Song of the Year focuses on songwriting irrespective of performer. Best New Artist measures impact and breakthrough within the eligibility period. Because the field reflects the broad cross-section of the Academy, these categories often highlight recordings that balance artistic merit and wider recognition.
Key Context and Notable Trends at the 58th Grammy Awards
At the 2016 ceremony, Beyoncé led all artists with significant nominations and wins, underscoring the cultural and artistic impact of her project. Kendrick Lamar’s multiple nominations across genre and General Field categories highlighted the increasing weight given to conceptually dense hip-hop and R&B projects. Adele’s return with a clear pop-soul focus and Taylor Swift’s fully pop-oriented pivot illustrated how artists manage genre transitions within a single eligibility window. Meanwhile, several rock, folk, and Americana projects showed that deeply detailed, lower-charting albums could still earn recognition, reflecting the Grammys’ longstanding interest in craftsmanship beyond pure commercial performance.
Comparative Snapshot: 2016 General Field Nominees and Notable Records
| Category | Nominee(s) | Notable Context | Source Type |
|---|---|---|---|
| Record of the Year | Beyoncé – Formation | Cultural and political resonance; major push in the field | Trade and mainstream coverage |
| Album of the Year | Kendrick Lamar – DAMN. | Commercial and critical milestone; genre range | Critical consensus and sales data |
| Song of the Year | Beyoncé – Formation | Wrote and composed by team including Beyoncé; award for songwriting | Academy filing details |
| Best New Artist | The Weeknd | R&B/pop project recognized as breakthrough | Label information and eligibility records |
Evaluating Impact: What Wins and Nominations Signal
Grammy nominations often correlate with sustained streaming, radio airplay, and critical acclaim over an 11-month eligibility window. While a nomination is not a guarantee of commercial breakout, it frequently amplifies catalog streams and supports long-term catalog value. Wins in General Field categories—particularly Album of the Year and Record of the Year—have historically preceded measurable increases in consumption and catalog reevaluation. Genre-specific nominations, meanwhile, strengthen an artist’s positioning within a particular community, sometimes translating into touring momentum and licensing opportunities. The 2016 class exemplifies how projects that balance formal craftsmanship with clear narrative or emotional themes can perform well across both committee and voter evaluations.
FAQ
Reader questions
What determines Grammy eligibility for a given year?
Eligibility is based on release dates within the eligibility year (October 1 of the prior year through September 30 of the award year), format requirements, and proper label reporting. Streaming windows, vinyl and CD releases, and digital sales are all considered when determining whether a project meets criteria.
Do streaming numbers directly decide Grammy nominees?
Streaming data informs a project’s visibility and commercial profile but does not directly dictate nominations. Committees and voting members weigh a range of signals, including production quality, performance, cultural impact, and eligibility compliance.
What is the difference between Record of the Year and Song of the Year?
Record of the Year focuses on a specific track’s performance and production, including the artist and production team. Song of the Year honors the composition itself—songwriters and composers—regardless of which recording of the song earns the nomination or win.
Why do some years see repeats or multiple nominations for the same artist? When a body of work spans multiple categories or an artist has several eligible recordings in a single year, it’s possible to see repeats. Committees assess each entry against category rules, which can result in multiple nods for a single artist or project. Are Grammy categories consistent every year?
The core General Field and most genre categories remain stable, but the Academy may adjust or retire categories to reflect changes in the music industry. New categories occasionally appear, while others may be merged or renamed over time.