The Recording Academy recently announced the nominations for the 2026 Grammys, which will be held on February 1, 2026. The upcoming event marks the 68th installment of the annual award show. Despite its storied history, the Best Dance/Electronic categories are relatively new.

Best Dance/Electronic Recording was introduced in 1998, with Best Dance/Electronic Album later created in 2005. Artists who have won Grammys for the Best Dance/Electronic categories include Donna Summer, Giorgio Moroder, Justice, Charli XCX, Daft Punk and Dua Lipa. In 2024, the Recording Academy added the Grammy Award for Best Dance Pop Recording to combat a long-standing issue in which dance-leaning pop artists were competing against more authentic dance music artists. In this article, only the Best Dance/Electronic categories are examined as they are more pertinent to the overall dance music scene.

The Best Dance/Electronic Recording Nominees:

Disclosure & Anderson .Paak - “No Cap”

Fred again.., Skepta and PlaqueBoyMax - “Victory Lap”

Kaytranada - “Space Invader”Skrillex - “Voltage”

Tame Impala - “End of Summer”

The Best Dance/Electronic Album Nominees:

FKA Twigs - Eusexua

Fred again.. - Ten Days

PinkPantheress - Fancy That

Rüfüs Du Sol - Inhale / Exhale

Skrillex - F*ck U Skrillex You Think Ur Andy Warhol But Ur Not!! <3

What do the nominations tell us about the Grammys? Who was snubbed in the categories? And what does it all mean for dance music? To understand, it’s necessary to unpack the records themselves.

What to Know About the Recordings

“No Cap” by Disclosure is groovy, funky and energetic. The earworm features bubbly basslines, Anderson .Paak’s smooth yet gritty vocals, playful synths and a drop sure to ignite any dance floor.

Fred again.., Skepta and PlaqueBoyMax team up for “Victory Lap,” a crossover track that fuses 140 BPM dubstep with grime and hip-hop. The song boasts grime icon Skepta’s bold and crisp vocals, Fred again..’s deep-sounding electronic production and PlaqueBoyMax’s energetic, sharp vocals.

In true Kaytranada style, he delivers his signature sultry, silky and slick sound on “Space Invader.” His expert production is complemented by powerful, captivating singing. Kaytranada is known for fusing traditional hip-hop and R&B with dance music, and “Space Invader” shows just how masterful he is at doing so.

“Voltage” begins with shimmering soundscapes and twinkling synths. The raw, dynamic vocals of Skrillex follow, as he sings about believing in our inner “voltage” and breaking down barriers. Then comes the drop, which explodes with energy and is produced in the same “brostep” style that made the powerhouse producer famous in late 2010. The track’s juxtaposition of lighthearted tunes and mind-melting bass is synonymous with blending chaos with clarity.

Thumping basslines, glittering synths, airy melodies and Tame Impala’s dreamy vocals can be heard on “End of Summer.” The record is sonically layered, creating a sublime atmosphere.

Who Was Snubbed in the Recordings Category

Dom Dolla - “Dreamin (feat. Daya)”

The groove-inducing track hit the charts this year, even securing No. 5 on the Billboard Hot Dance/Electronic Songs chart in February. The widely-played song features an infectious bassline, hypnotic beats and Daya’s honeyed vocals, making it perfect for grooving on the dance floor with friends.

Now that we understand the nominated songs and who was snubbed in the category, let's take a look at the albums.

What to Know About the Albums

In an interview with British Vogue, FKA Twigs described Eusexua as “a love letter to how dance music makes me feel,” as opposed to categorizing it as simply dance. Her sentiment rings true as the album is so much more than that. It’s avant-garde, genre-defying, complex, exquisite and full of surprises. She flexes her celestial and seductive vocals throughout the LP. Indeed, Eusexua pushes the music scene forward.

On the nominated album, Fred again.. explores the highs and lows he experienced throughout 10 days. Similar to the era of his Actual Life albums, Ten Days is raw, emotionally charged and experiments with different styles that lend itself to both the dance floor and at-home listening.

Fancy That is PinkPantheress’ nostalgic, high-energy and bold sonic world. The musical storyteller seamlessly takes listeners through UK garage, jungle, emo-influences and more. The mixtape marks an impressive progression from PinkPantheress’ previous releases.

Rüfüs Du Sol stuns with Inhale / Exhale, which explores themes of love and belonging. The album is emotive, diaphanous and cohesive throughout its 15 tracks. Inhale / Exhale was created with both analog and electronic instrumentation, exemplifying the band’s continued ability to blend organic and electronic music.

F*ck U Skrillex You Think Ur Andy Warhol But Ur Not!! <3 is chaotic, in-your-face, brazen and unrelenting—yet, it works. The continuously mixed 34-track body of work combines the “brostep” style that Skrillex created with dubstep, trap, UK garage and drum’n’bass. The album reminds listeners why he’s considered one of the top names in dance music.

Who Was Snubbed in the Albums Category

Anyma - The End of Genesys

The techno tastemaker takes listeners on a cinematic journey through The End of Genesys. The album dives into the ever-evolving relationship between humanity, technology and consciousness—and their coexistence—through ominous sounds, spellbinding synths, foreboding beats, smoldering vocals, otherworldly soundscapes and more.

DJ Koze - Music Can Hear Us

The album is a masterclass in experimentation—and the beauty that can come of it. It’s quirky, sonically diverse, whimsical and eccentric. DJ Koze plays by his own rules on Music Can Hear Us, allowing him to create a stunning body of work.

Knock2 - Nolimit

Want to stomp around on the dance floor? Then turn on Nolimit. The bass is relentless, with tracks ranging from headbanging heaters to booty-shaking songs. There are three slower records on the 17-track album, giving ravers a break from how hard they’ll be dancing.

LP Giobbi - Dotr

Piano house maven LP Giobbi created Dotr while grieving the deaths of three people very close to her who passed in quick succession. Despite its somber origins, the 17-track album remains ready for the dance floor, featuring groovy beats, powerful and soulful vocals, elated melodies, glistening synths and driving bass.

_{Ninajirachi - I Love My Computer}

Ninajirachi pushes sonic boundaries with intricate production on I Love My Computer. The sound designer moves through tech-house, speed garage, EDM, hyperpop and dubstep with ease on her debut album. In an era saturated with many of the same sounds, I Love My Computer proves refreshing.

Zeds Dead - Return to the Spectrum of Intergalactic Happiness

The duo is acclaimed for fusing bass music with drum’n’bass, hip-hop and house, and they do it once again on their latest album. Zeds Dead showcases its production mastery on the LP, which transports listeners into a kaleidoscopic dimension.

What It All Means

Now we know the music, but what does it tell us about the Grammys and dance music?

It tells us that the Grammys continues to play it safe…for the most part. Sonically, the Recording Academy has chosen to nominate primarily artists whose music appeals to a broad audience. Each of the songs up for best recording is by an artist many mainstream music listeners are familiar with. That doesn’t mean the songs aren’t well-produced or worthy of their nominations, but it shows that the Grammys continue to have a myopic view of what success in dance music means.

When it comes to the recording category, it’s surprising that “Dreamin (feat. Daya)” by Dom Dolla didn’t make the cut. Not only has the song been played by artists worldwide, but Dom Dolla has been integral in creating the new wave of tech house that has been popular in recent years. And it’s not like he lacks mainstream appeal, as his contribution to the F1 The Album film soundtrack has brought him into that world.

As of November 20, 2025, “Dreamin (feat. Daya)” has more than 69.3 million streams, coming in higher than four of the five recording nominees—Fred again.. reigns supreme at 127.6 million. “Space Invader,” the lowest-streamed track of the nominees, only has 6.5 million streams. While “Space Invader” is undoubtedly an impressive track and worthy of being nominated, does this discrepancy in the number of streams show that mainstream familiarity is more important to the Grammys than what’s currently hot in dance music? If the Grammys chose nominees based on what’s popular in the scene, Afro house and hard techno artists would be represented at the awards show.

The album category also caters to the mainstream audience, with Eusexua by FKA Twigs being the exception. The six LPs listed in this article as being snubbed don’t fit into the mainstream mold. Take Anyma, for instance. Melodic techno is currently booming in dance music, which could have made him an ideal nominee if the Grammys were focused on the actual dance music scene instead of broad appeal. And perhaps the latest LPs by DJ Koze and Ninajirachi are too unconventional for the masses, despite how beautiful they each are. Knock2, LP Giobbi and Zeds Dead also flex their production prowess, but their music may resonate more with dance music lovers than the general music audience.

While these six albums prove to be expertly crafted, one could argue that those not familiar with dance music haven’t heard of many, if not all, of the artists. Does that mean those albums aren’t produced to the Grammy’s standards or that they’re not as widely recognized by the general population? I think the latter.

This isn’t to say that the Recording Academy is wrong in who they selected. For example, Eusexua by FKA Twigs is exceptionally innovative and expertly produced, making it more than deserving of its nomination. But given the Grammys' preference for music with broad appeal, we’re beginning to see the same artists nominated year after year.

Aside from PinkPantheress, every album artist and every recording artist listed first on the song’s credits has previously been nominated for a Grammy. FKA Twigs has two previous nominations, which is the fewest of the bunch, while Skrillex already has 18 nominations and nine wins to his name. Even though there are 10 slots between the two categories and two artists hold a nomination in both categories, seven of this year’s artists up for the awards have previously been nominated for a Grammy. Are there really that few artists in dance music who are skilled enough to be nominated for a Grammy? Absolutely not. The genre is plentiful with talent.

So, what does this all mean?

It means the Grammys continue to fall short in their understanding of dance music.

As previously stated, dance music that appeals to the masses isn’t always indicative of what’s popular in the scene, nor does it necessarily represent the most forward-thinking sounds of the time. Failing to recognize both not only leaves many talented artists unaccounted for, but it also ignores dance music’s culture.

Instead of always looking to the mainstream, the Grammys should also consider the underground, which is known for creativity and experimentation. The underground creates the sounds that drive what’s next in dance music. It’s the pulse of the scene.

There have been instances where the Grammys have recognized the underground, but it has primarily been for artists considered at the top of the “underground.” The term “underground” is used very loosely here, as it includes producers such as Daft Punk, The Chemical Brothers, Basement Jaxx and Kraftwerk—none of whom are underground, as those not familiar with dance music can attest to their acclaim.

The Recording Academy has gotten it right a few times, though. Louie Vega has received seven Grammy nominations and claimed one win. Fatboy Slim has also represented the underground at the awards ceremony multiple times, although some may argue that he’s a highly renowned name within that space.

It’s important to note that the underground tends to be home to a more diverse group of artists than mainstream dance music. Dance music was founded by Black, Latino and LGBTQIA+ communities. Since its inception, the scene has become white-washed, as it is now primarily dominated by white cis men—a demographic that the Grammys has historically nominated more than others. Although the Recording Academy has recently started recognizing more diverse talent, it still has room for improvement.

However, if the Grammys continue to look for dance music that captures broad appeal, then they will continue to find mainly white cis men. This demographic dominates the mainstream scene because of systemic inequality within the industry, which tends to favor white cis men and offer them more opportunities than marginalized communities. (This is a complex issue that deserves its own article.)

Unless the Grammys’ goal is to nominate the same artists and sounds continuously, then why haven’t they strayed too far from their comfort zone? It can’t be because finding music is too difficult in this digital age. I’m not saying the Recording Academy needs to go warehouse-hopping in Bushwick, Brooklyn, until 4 a.m. to find new music, but why not look beyond the surface?

The best in dance music isn’t limited to the artists headlining the mainstage, with fireworks popping off when the beat drops. Sometimes the best can be heard in a dark room that’s only illuminated by a few red lights. Dance music was born in the underground. It was counter-culture. It was a vehicle for self-expression. It was a safe space. And it still is all of these things to this day. We can celebrate the mainstream, but why not also honor those who are making music in ways never heard before?

If the Grammys are meant to recognize excellence in music, they need to understand the world of dance music better to award it justly.