For most recording artists, the Grammys are the pinnacle of achievement in music.

Naturally, the 68th Annual Grammy Awards celebrated a wide variety of songs and albums from popular genres such as country and dance to more niche fields recognizing classical and new age music. Even if they did not win their category, hundreds of artists were able to revel in the experience of being nominated.

The Daily Bruin’s Reid Sperisen spoke to several nominated musicians and songwriters about the recordings that brought them to music’s biggest night.

These interviews have been edited for length and clarity.

Best Classical Compendium

Daily Bruin: You were speaking about the tragedies that have influenced your work on this music and also the “Seven Seasons” of tragedy. How has your relationship with those compositions evolved since this music was released last year?

Starr Parodi: We have lived every single movement of this work. It’s a wonderful collaboration with Kitt Wakeley, and he was so patient with us. When we lost everything, we lost the ability to finish it. But, thankfully, we saved the hard drive so we were able to finish it.

But, the day of innocence, I can tell you that morning felt like a typical morning where we were set up to do a session, and then when we opened the door and saw the smoke. Our house was gone within three hours. It felt like we were in the day of tragedy, and then we were in the day of disbelief, and we couldn’t figure out what was happening – and the day of confusion, and then the day of why. That’s where I’m living right now. I’m living between the day of why, reflection and hope.

Jeff Fair: That’s exactly what I was going to say. Those are the three things that we’re going through at this point, a year later.

[Related: Grammys 2026 Q&A: Award winners discuss creative inspiration, impact of academy recognition]

Best Dance/Electronic Album

DB: You’ve been nominated in the Best Dance/Electronic Album category twice before for your albums “SOLACE” and “Surrender.” How does your nomination today for “Inhale / Exhale” feel different, especially with the evolution of your music from album to album?

Tyrone Lindqvist (of RÜFÜS DU SOL): We are so lucky to be nominated at all, especially for this category. We’ve always loved albums like we love songs. We love tracks, but I think our bread and butter and where our heart is firing the most is definitely in albums and bodies of work. We had a lot of fun making this one. It was 15 songs, and it was an opportunity to stretch ourselves a little bit. We’re just really, really grateful to be a part of this nomination and among other great acts, too.

Best Country Song

DB: The song that you’re nominated for, “Somewhere Over Laredo,” interpolates the melody of “Over the Rainbow” from “The Wizard of Oz.” Can you talk a little bit about the process of integrating such an iconic piece of music into this particular track?

Andy Albert (co-writer of Lainey Wilson): When we started with the idea – obviously the title is a homophone to the original – but we wanted to start with the “somewhere” and then let the melody go somewhere else to make it its own song and its own story.

Trannie Anderson (co-writer of Lainey Wilson): When we first started writing this song, we wanted people to think of “Over the Rainbow,” but only this much, because we wanted to put our own country spin on the melody as well. Adding some different chords played with the melody was a very intentional choice. We wanted to also add some lyrics that pointed back to “Over the Rainbow,” like, instead of “bluebirds fly,” we said “blackbirds fly.” It was a very fun song to craft.

[Related: Grammys 2026: 68th Grammy Awards serves as message of unity, sees Bad Bunny win big]

Best New Age, Ambient, or Chant Album

DB: You’re nominated for “According To The Moon.”Can you speak a little bit to the process of working on and recording this album in collaboration with Cheryl B. Engelhardt?

Ion Zanca (of Dallas String Quartet): We have worked with Cheryl before, and we know her very well. We’re good friends. When this project came along, we shared some of the same producers, and we really loved the genre. We normally do more classical, more crossover music, but this new age is very intriguing because it’s so different than what we’ve done in the past.

Best Engineered Album, Non-Classical

DB: With your album that’s nominated this year, “All Things Light,” how did the process of working on “COWBOY CARTER” last year shape your creative process for developing this record?

Cam: I was making “All Things Light” at the same time that I was helping contribute to “COWBOY CARTER.” I felt inspired. I felt freer. Knowing that somebody at the top is making art for a reason, and not purely for sell-out reasons or whatever. She’s (Beyoncé) not doing that. She’s pushing boundaries, educating people and has a reason, so I felt very inspired to commit myself to what I already wanted to do.