Men rule the Grammys as women see hard drop in wins at 2026 awards

In her acceptance speech for best pop vocal album at the 68th Grammy Awards ceremony last night, Lady Gaga shone a light on the challenges that women face in studios. “It can be hard,” she said. “So, I urge you to always listen to yourself and … fight for your songs, fight for yourself as a producer. Make sure that you are heard, loudly,” she continued, placing the onus on women to take control of the fight for equality in music.

Many well-established and new female superstars were indeed heard loudly last night in the broadcast, which clearly made sure to display gender balance in front of the camera. However, when it comes to awards, nominations and the wider industry the picture is much different.

Working with my business partner, strategist Richard Addy, I looked at gender representation across all 95 of this year’s Grammy categories. Our analysis reveals that women and female bands sustained a dramatic fall in winners compared to last year. They received less than a quarter of all Grammys (23%), a 14 percentage point drop from last year’s high of 37% and the lowest level since 2022.

This fall has been partly a reflection of women’s declining recognition as Grammy nominees. Women’s representation peaked at under a third (28%) of all nominations last year, and this year just one in four nominations (24%) were given to women.

Despite Lady Gaga’s encouraging words for women to own their music as producers, their fight for a seat at the producers’ table is yet to yield results. Since its introduction 51 years ago, no woman has ever won the coveted Grammy for producer of the year, non-classical. Last year, Alissia became only the tenth woman to even earn a nomination in the category but lost out to Daniel Nigro. This year, all five nominees were male.

Addy and I have previously conducted a year-long data-led investigation of over 9,700 Grammy nominations and over 2,200 wins between 2017, revealing that it takes a village of men to raise a superstar, female or male. The winners of record, album and song of the year – three of the four most coveted Grammy awards – typically come on stage to collect their trophy alone.

In reality, however, they share their award with numerous producers, engineers and mixers, who are overwhelmingly male. So music icons like Beyoncé or Taylor Swift collecting their individual awards masks the male dominated structures behind these wins. For example, Bad Bunny, this year’s album of the year winner, has received it alongside 12 male producers, songwriters and technicians who were not on stage with him.

Despite women’s consistently high visibility at the Recording Academy nominee announcements and broadcasts over the year, their recognition across the Grammys has remained peripheral compared to men’s. Since 2017, 76% of nominations and wins across all categories have been awarded to men. By contrast, women have been nominated for and won only one in five Grammys in the same period.

Research consistently shows that the reasons women remain marginalised in the Grammys and in music more generally, are deeply structural and multifaceted.

Although the Recording Academy’s mission is to advance a strong culture of diversity, inclusion, belonging and respect in the music industry, women remain marginalised as Recording Academy members. The proportion of Grammy voting members who are women has grown from 21% (2018) to 28% (2024). But this growth rate will only deliver gender parity in 2051.

This slow growth is likely linked to 69% of voting members being songwriters, composers, producers and engineers, roles in which women’s marginalisation has repeatedly been reported to be highest. For example, the latest Inclusion In the Recording Studio report from from USC Annenberg Initiative revealed the overall ratio of men to women songwriters in Billboard Hot 100 year-end charts across 13 years is 6.2 to 1.

Our assessment of 67 academic papers and reports in our report, The Missing Voices of Women in Music and Music News, revealed that gender discrimination, sexual harassment and sexual violence consistently hinder women’s success in music, as do pay gaps, women’s cultural exclusion from the “boys club” and limited discovery and promotional opportunities. According to Be The Change: Gender equity in music, a 2024 report from consultancy Midia based on research conducted across 133 countries 60% of women in the music industry have experienced sexual harassment while one in five women have survived sexual assault.

The evidence points to a reality in which no matter women’s talent or determination to succeed, they will only be able to do so if the music industry changes. Until then, we are unlikely to see women achieving recognition parity at the Grammys or any other music awards.

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Luba Kassova is a co-founder of AKAS, an audience strategy consultancy which works with primarily purpose led not-for-profit organisations. In the past AKAS has received funding from the Gates Foundation for researching the Missing Perspectives of Women reports published between 2020 and 2025. The research of 2026 Grammy nominations and winners, which will form the backbone of a forthcoming report, has not received any external funding.