After 50 years, Grammy turns the spotlight on album covers

For the first time in more than five decades, the Grammy Awards have revived the Best Album Cover category. In a streaming-dominated age, album art remains the first visual cue a listener encounters — on a vinyl sleeve, CD jacket or digital thumbnail. “That image has the power to frame perception, evoke mood and embed memory. It can even influence collector behaviour,” musicians say. With vinyl witnessing a steady resurgence among listeners who value artwork as a tangible extension of an album’s ethos, cover art has reclaimed its place at the centre of physical music culture.

‘Young creators may now think of designing album covers for a living’
For Bindu, the category’s revival sends a clear signal. “It challenges the idea that album covers are dispensable,” she says, adding that recognition could lead to better crediting and fairer pay for visual collaborators. “Young creators might now see album cover design as a viable profession.” Ricky agrees, and says “Growing up, I loved flipping through physical albums, reading liner notes, learning about the making of the album and everyone involved. That experience has almost disappeared today.”

‘Sometimes you remember the cover more than the music’
In the streaming era,where album art is often reduced to a thumbnail, Singer-songwriter Bindu Subramaniam believes its role has evolved rather than diminished. “Discovery today happens through algorithms, but album art still pushes the story forward,” she says. Three-time Grammy winner Ricky Kej agrees, noting that in a digital-first landscape, visuals remain the listener’s entry point. “The first thing you see on Spotify or Apple Music is the album cover. Sometimes, that image becomes your window into the music — and even more memorable than the songs.”

‘AI is good, but the human element is what makes it authentic’
On the growing use of AI in visual design, Bindu says, “I’m not against AI, but there has to be a human element for authenticity.” Meanwhile, musician Bruce Lee Mani, of Thermal and a Quarter, believes the creative process itself is irreplaceable. “For human beings, the process is more important than the output; that involvement is where the magic is,” he explains, adding, “We’ve always been very involved in how our covers represent the band’s heritage and the music inside.” Ricky acknowledges the growing blur between human and AI-generated work. “I don’t mind if an AI-generated album cover wins, as long as it truly represents the music,” he says.

‘Album art is a key part of a musician’s storytelling’
For artist and album cover designer Rakesh PK, the recognition feels affirming. “We didn’t even know a category like this existed,” says the artist, who has worked on the album cover for The Down Troddence. Ricky sees the return of Best Album Cover as a natural evolution in a digital-first music world. “The Grammys have always had a category for Best Album Package, and that was important,” he says. Bindu believes album art is inseparable from music itself. “Every piece of the story matters, and album art is critical to conveying it properly.” The sentiment resonates globally. According to AP, photographer Neil Krug, nominated for Djo’s The Crux, notes that when a cover works, “it becomes part of the language and fabric of what makes a great record.”

Album covers nominated

• Wet Leg's Moisturizer
• Bad Bunny's Debí Tirar Más Fotos
• Tyler, The Creator's Chromakopia
• Perfume Genius' Glory
• Djo's The Crux