Brit Awards 2026 Nominees

Today (January 21st, 2026), the full list of nominations for the 2026 BRIT Awards has been revealed.

This year’s ceremony will see the prestigious awards head to Manchester for the first time in its nearly 50-year history. Taking place at the Co-op Live arena on Saturday, February 28th, the evening will be anchored by Jack Whitehall, who returns to host for the sixth time. The move north reflects a banner year for the region, following Newcastle’s recent hosting of both the MOBOs and the Mercury Prize.

The Ascendance of Olvia Dean

Olivia Dean enters the 2026 ceremony as a global powerhouse, leading the pack with five nominations. Her sophomore album, 'The Art of Loving', has had a staggering year, becoming the first Number 1 album of 2026 and earning Platinum certification. Dean has already been confirmed as the first performer for the ceremony, a fitting tribute to a year where she became the first British solo female artist to top the albums and singles charts simultaneously since 2021 (with the hit 'Man I Need'). Fresh off being named 'Billboard’s 2025 Rookie of the Year', her presence in 'Artist of the Year' and 'Album of the Year' makes her the one to watch.

Her five nominations are a full-circle moment for the Haringey-born singer. Just ten years ago, she was a student at the BRIT School watching the awards from the crowd; now, she returns not just as a nominee, but as the artist defining the sound of British soul. This year, her work has resonated internationally, with 'The Art of Loving' breaking into the top five of the US Billboard 200, a rare feat for a UK soul artist.

Beyond the solo accolades, her double nomination in the 'Song of the Year' category highlights her versatility. She is recognised both for the infectious, self-assured groove of 'Man I Need' and her soul-stirring vocal turn on the Sam Fender collaboration 'Rein Me In'. Between her sold-out residency at the O2 Arena and her upcoming headline tour across Europe, 2026 is officially the summer of Olivia Dean.

The Return of the King: Dave

Leading alongside Dean is Dave, who returns with the "biblical" and universally acclaimed 'The Boy Who Played The Harp'. Released in October 2025, the record serves as a masterclass in storytelling, blending gospel influences with UK rap to explore faith, destiny, and his own heritage.

The album’s centrepiece, the title track, featuring live harp and sweeping orchestration, has been hailed as a landmark in British music history. Dave has secured three major nominations, including 'Artist of the Year' and 'Mastercard Album of the Year', further cementing his status as the most important and philosophically profound voice in British hip-hop. His return feels like a coronation, proving that even after a hiatus, his pen remains unmatched.

Sam Fender’s Newcastle Reign

Close behind with four nods is Sam Fender, the "Bard of North Shields." Following a prestigious Mercury Prize win for his third album 'People Watching', Fender is a heavyweight contender in the 'Artist of the Year', 'Mastercard Album of the Year', and 'Alternative/Rock Act' categories. The album, a raw exploration of grief and working-class pride, has resonated far beyond the Tyne, topping the charts for six consecutive weeks and becoming a cultural touchstone for a generation navigating a fractured Britain.

His collaborative effort with Olivia Dean, 'Rein Me In', is also a frontrunner for 'Song of the Year', showcasing the undeniable chemistry between two of the UK's biggest stars. This track, a soaring ballad that bridges the gap between Fender’s gritty indie-rock and Dean’s velvet soul, has become the defining duet of the decade.

Fender’s ability to combine stadium-sized anthems with intimate, soul-baring lyricism has made him the definitive rock voice of 2026. This year's nominations reflect a musician at the peak of his powers; from selling out three nights at St. James' Park to using his platform to champion grassroots venues, Sam Fender hasn't just conquered the charts, he has become the conscience of British rock. Whether he’s singing about the ghosts of his hometown or the complexities of modern masculinity, these four nominations prove that the boy from North Shields is arguably Britain's best and biggest musical export.

Pulp’s Historic Resurgence

Pulp’s Historic Resurgence in 2026 isn't just a nostalgia trip; it is a full-scale cultural reclamation. In one of the night’s most poignant storylines, the Sheffield veterans have secured a nomination for 'Group of the Year', their first BRIT nod in 30 years. The resurgence follows their first Number 1 album in over two decades, 'More', which was released in June 2025 to critical adoration.

Dedicated to their late bassist Steve Mackey, the album has introduced Jarvis Cocker’s signature wit, disco-inflected grooves, and "widescreen sway" to a whole new generation of fans who weren't even born during the height of 'Different Class'. This nomination marks a triumphant return since their infamous 1996 appearance, where Cocker’s stage invasion during Michael Jackson’s performance became the stuff of industry legend.

Today, the band feels more vital than ever, swapping the irony of the 90s for a profound, cinematic reflection on ageing, memory, and the enduring spirit of the "common people." Proving that Pulp’s observations on British life are as sharp and relevant as ever, their presence at the Co-op Live is set to be the emotional heartbeat of the ceremony. Whether they take home the trophy or not, the nomination itself serves as a long-overdue standing ovation for one of the most literate and beloved bands in the history of the awards.

Lily Allen’s Radical Re-entry

Lily Allen caps one of the most remarkable re-entries into British pop with three nominations, including 'Artist of the Year' and 'Mastercard Album of the Year'. After four albums, which had earned nine BRIT nominations between them (including a 2010 win), she stepped away to focus on acclaimed acting roles and podcasting. However, she returned in 2025 with 'West End Girl': a stark, synth-pop portrait of a failing open marriage that carries huge resonances with her own personal life.

The ultra-candid lyrics, unflinchingly detailing sex toys, hook-up apps, and heartbreakingly toxic relationship dynamics, ensured the record became the most discussed project of the year. By trading her signature ska-pop for a more mature, avant-garde electronic sound, Allen has proved she is still one of the most vital and fearless songwriters the UK has ever produced. Her return to the BRITs stage is a victory lap for an artist who refused to be written out of the narrative.

Geese: The Brooklyn Takeover

Nominated for 'International Group of the Year', the Brooklyn-based quartet Geese is being hailed as the "next big band from New York." Following the breakout brilliance of '3D Country', they returned in late 2025 with 'Getting Killed', their formidable third record. Tracked in just ten days in Los Angeles, the album is a chaotic masterpiece that trades classic rock tropes for what critics have called "a disdain for music itself."

By layering garage riffs over Ukrainian choir samples and hissing drum machines, 'Getting Killed' has revitalised the global indie-rock revival with a sound that is both sophisticated and feral. From the apocalyptic rage of 'Trinidad' to the religious imagery of their hit single 'Taxes', Geese bring a high-octane, art-punk energy to the ceremony that recalls the golden era of the New York scene while pushing it into a strange, new future.

Wolf Alice: The Gold Standard

With three nominations, including 'Mastercard Album of the Year' for 'The Clearing', Wolf Alice have officially set a new industry precedent. The band has now achieved the staggering feat of being Mercury-nominated for every one of their first four albums, and their 2026 BRIT nods for 'Group of the Year' and 'Alternative/Rock Act' prove they are in the form of their lives.

Gone is the brittle punk of their youth or the sludgy shoegaze of 'Visions of a Life'. In its place, 'The Clearing' offers a 1970s palette of harvest gold and russet-hued warmth. On 'Bloom Baby Bloom', Ellie Rowsell delivers a raspy, serenely self-assured vocal over Joff Oddie’s intricate guitar flourishes and Theo Ellis’s piercing basslines. “I bloom, baby bloom / Watch me, and you’ll see just what I’m worth,” Rowsell declares. It is the anthem of a band that has survived the madness of their twenties, the Mercury Prize wins, the BRIT Awards, the gruelling tours, and emerged not just unscathed, but certain of who they are.

The record is a masterclass in nuance. 'Thorns' serves as a spiritual successor to 'The Last Man on the Earth', turning the gaze inward to question our obsession with public vulnerability. Elsewhere, the album shuffles through styles with effortless grace: the Americana-tinged 'Passenger Seat' feels like Joni Mitchell meeting HAIM, while 'Just Two Girls' experiments with a folk-disco fusion that shouldn't work, yet somehow sparkles.

One of the album’s most poignant moments arrives with 'White Horses', which sees drummer Joel Amey take lead vocals for the first time in a decade. It’s a rustic, heartfelt reflection on heritage and identity that has quickly become a fan favourite. However, the emotional anchor is the closing track, 'The Sofa'. A delicate piano ballad, it grapples with the quiet reality of coming home after a global tour. “Feels a little like I’m stuck in Seven Sisters / North London, oh England / And maybe that’s okay,” Rowsell sings, finding beauty in the mundane act of rewatching 'Peep Show' for the thirteenth time. It’s a metaphor for the band itself: the dust has settled, and they are finally comfortable in their own skin.

Sleep Token: The Mainstream Ritual

The masked phenomenon known as Sleep Token has secured a spot in 'Group of the Year', marking a massive milestone for heavy music at a traditionally pop-centric ceremony. Their nomination is a testament to the power of mystery and the shifting tastes of the British public, signalling that "heavy" music is officially back in the spotlight and ready to claim its seat at the table.

This industry recognition follows a year of unprecedented chart dominance for the collective. The ethereal and haunting single 'Even in Arcadia' became a crossover sensation, while the seductive, R&B-infused grit of 'Caramel' defied genre expectations by hitting the Top 10 in the UK, a rare feat for a band of such sonic intensity. By seamlessly blending tech-metal, soul, and pop sensibilities, they have created a subculture that is impossible to ignore. Their viral success and sold-out "rituals" across the globe have finally converged with the mainstream’s highest honours, proving that the "worship" has truly gone global.

The New Era of Rock: The Last Dinner Party & Wet Leg

These two powerhouses continue their dominance in the 'Group of the Year' category, representing the incredible depth and commercial power of female-led British rock right now. The Last Dinner Party, last year's Rising Star winners, have lived up to the hype with a year of sold-out tours and a definitive debut album that feels like a Victorian-gothic fever dream. Their rise has been nothing short of theatrical, bringing a much-needed sense of spectacle and high-concept art back to the mainstream.

Meanwhile, Wet Leg, nominated for both 'Group of the Year' and 'Alternative/Rock Act', continue to capture the zeitgeist with their deadpan humour and infectious riffs. Since their self-titled debut took the world by storm, they have become the blueprint for indie-pop crossover success, proving that quirky, relatable storytelling can fill arenas. Together, these bands have reshaped the UK charts, proving that indie-rock is currently the most exciting and commercially viable genre in the country. Their presence at the BRITs is a testament to a shift in the industry where guitar music is once again fearless, feminine, and undeniably fun.

HAIM: The International Standard

Securing their spot in the 'International Group' category, the HAIM sisters return to the BRITs not just as nominees, but as the definitive queens of the global alternative scene. Their 2025 masterpiece, 'I Quit', marks a radical evolution that has made them one of the most talked-about international acts of the year.

Five years after their last record, the sisters shattered their own sonic boundaries with this sprawling, fifteen-track time capsule of the 1990s. The album opens with 'Gone', which brilliantly samples George Michael’s 'Freedom! ’90', repurposing that iconic gospel-inflected piano into a soaring anthem of sisterly independence. Complete with a choir and a psychedelic Danielle Haim guitar solo that drifts into the baggy rhythms of The Stone Roses, it’s a staggering statement of intent that justifies their heavyweight status at this year's ceremony.

The record’s ambitious reach is exactly why they are formidable contenders for the trophy this February. From the Americana roots of 'All Over Me', which carries a gritty, Alanis Morissette-esque snarl, to the glitchy, Björk-inspired snares of 'Million Years', HAIM have proven they can dominate any genre they touch. Whether they are leaning into these experimental textures or maintaining the razor-sharp pop sensibilities that have made them UK favourites for over a decade, the sisters continue to define the "cool" of the modern era. This nomination proves that "quitting" their old sound was the boldest move of their career, setting the stage for what could be their most triumphant BRITs appearance yet.

Tame Impala: The Architect of the Night

In September 2025, Kevin Parker finally ended a five-year silence with the announcement of his fifth studio album, 'Deadbeat'. Released in October, the record marks a seismic shift for Tame Impala, moving away from the sun-drenched psych-pop of 'The Slow Rush' and into the darker, sweat-streaked world of 90s acid house and Western Australia's "bush doof" rave culture. This radical transformation has earned Parker a heavyweight nomination for 'International Artist of the Year', proving his ability to reinvent the musical landscape once again.

The comeback began in July with 'End of Summer', a sprawling, seven-minute epic that traded guitar pedals for Roland TB-303 synths. Inspired by the "Second Summer of Love" in 1989, the track builds through a hypnotic rhythm that culminates in a euphoric rush, a bold statement of intent that signalled Parker was looking to the collective energy of the dancefloor. The album’s second single, 'Loser', felt more familiar to long-term fans; a cross between the high-fidelity funk of 'Currents' and the isolation of 'Lonerism', it saw Parker channelling an "endless bummer" with a music video starring Joe Keery (Djo) that quickly became a standout anthem for the disaffected.

However, it was the third single, 'Dracula', that provided the album's true "pop-bop" moment and cemented his BRIT nomination. Co-written with Sarah Aarons, the track is a neon-lit earworm where Parker sings, “Run from the sunlight, Dracula,” desperately trying to keep the party alive as the morning light turns blue. Beyond the gloss, 'Deadbeat' hides some of his most rewarding work, from the ethereal ambient-house of 'Piece of Heaven' to the gritty, breakbeat loops of 'My Old Ways'. Parker remains the gold standard for solo artistry, successfully bridging the gap between underground rave culture and global superstardom.

Conclusion

I’ve watched the BRITs for several years now and, like most things in the industry, it’s sometimes brilliant and sometimes awful. But looking back at the last few years, there’s been a definite shift. I’ve watched keenly as Wolf Alice beat out the likes of Coldplay, D-Block Europe, and Little Mix for 'Group of the Year' in 2022. I remember Catfish and the Bottlemen taking 'Breakthrough Artist' in 2016, Sam Fender sweeping the board in 2025, and Fontaines D.C. proving their global dominance by winning 'International Group' twice.

It’s always a great feeling to see the artists you actually care about get their flowers. This year feels particularly special because it's breaking the traditional mould in so many ways. Seeing a masked, heavy phenomenon like Sleep Token recognised in the mainstream is a huge moment for the alternative scene. Dave’s lyricism and storytelling are comfortably the best in UK Hip-Hop right now, and he deserves every bit of the praise he's receiving.

Then there’s Wolf Alice. For over a decade, they have consistently shown themselves to be one of Britain’s best bands; they deserve their flowers and then some. Combine that with Olivia Dean’s nothing-short-of-exceptional run over the last 12 months, and of course, Pulp giving us 'More', and you have a shortlist that feels genuinely vital.

"There is massive potential for this year to be one of the good ones. The move to Manchester’s Co-op Live feels like the perfect backdrop for a year where the music feels this loud, this diverse, and this authentic. However, it wouldn't be the BRITs without some head-scratching omissions. I’m personally shocked that Wunderhorse missed out on a 'Group' nod and that The Royston Club didn't get a look-in after the year they've had.

What do you think?