Grammys introduce long overdue “Best Album Cover” category

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The Grammy’s newly introduced category of Best Album Cover is a long overdue ode to the

artwork which is many listeners first impression of an album: the colours, themes and overall vibes of the record. When a cover compliments these elements it’s satisfying, and similarly jarring when it doesn’t. An album cover helps to materialise the imagery within the songs – something to shape a listening experience around. Whether it’s seasonal aesthetics, an outfit choice or facial expression, it all amounts to a single image that encapsulates the visual representation of an album. Much like the tracklist and its order, it’s all a conscious choice — although, not always the right one.

The artworks nominated for the new award range from complex to simplistic but striking-

Bad Bunny is notably missing a human subject or text in his cover, favouring cultural natural beauty. Alternatively, CHROMAKOPIA’s intense focus on a human subject illustrates the album’s themes of identity and the split between the private and public self by wearing a mask of his own face.

Album covers have been a mixed bag over recent years. While some are gorgeous artwork, some are a mess of photoshop and AI. For highlights, I instantly think of my own favourite album, Melodrama by Lorde. The beautiful oil painting, blending colours of navy, yellow

and orange references the album’s fourth track, ‘The Louvre.’ Real effort put into an album cover shines through, like Weyes Blood’s Titanic Rising, where the photoshoot actually took place underwater. Some album covers perfectly compliment titles, like Currents by Tame Impala. Taylor Swift’s folklore and evermore covers encapsulate the melancholic yet comforting sound of the records.

Certain album covers and visuals can transcend an album and seep into popular culture – namely, Charli XCX’s smash hit record brat. The image’s impact was monumental to the summer of 2024, literally dubbed as ‘brat summer.’ The fluorescent lime colour and large

lowercase font are recognisable to the artist and album at a glance.

Other album covers of recent years, however, have been frankly embarrassing. Drake’s Certified Lover Boy only really prompts one question: why? Worse than the pettiness in Nicki Minaj’s diss track cover against Megan Thee Stallion, Big Foot, is the inauthentic use of AI. While some covers are purposeful, they can still appear off-putting. The use of overtly sexual images or nudity in album covers can adverse listeners from the music itself.

There’s a line to walk for album covers and whether they compliment or overpower the

music. This new Grammy’s category, though, appreciates the extra sensory layer which

enhances a listening experience, as it deserves.

Edited by Gabriella Whiston