At the 2026 Hollywood Movie Awards, a festival recognized for highlighting both established voices and emerging industry shifts, one panel captured a growing reality across film, television, and new media. Titled “Short, Creative, Profitable: How Vertical Dramas Escaped—and Are Reinventing—the Studio System,” the discussion examined how vertical storytelling is rapidly reshaping production, casting, and career pathways.

Panelists included:

• Walid Chaya — Actor and Director of Studio For Performing Arts LA
• Paul Ruddy — FlareFlow and Hollywood Casting Director
• Jenny Rosen — DramaBox
• Yoko Chen — GoodShort

The panel was hosted by Jamie Miller alongside Hollywood Movie Awards founder and festival director Matt Beurois, celebrating the festival’s 9th year.

While the conversation covered platform strategy, audience behavior, and data-driven development, the discussion was notably grounded in how these changes affect actors. From that vantage point, Walid Chaya framed vertical drama not as a short-form experiment, but as a structural evolution—one that echoes Hollywood’s past while pointing toward its future.

Following the panel, we spoke further with Chaya to dig deeper into the implications for performers. Chaya drew a parallel to Hollywood’s Golden Age, when studios signed actors to long-term contracts and built careers through steady output and visibility. In his view, many vertical drama companies are now reviving that model in a modern form—signing actors exclusively for extended periods and producing multiple series back-to-back within a single platform ecosystem. The difference, he noted, is that today’s “studio system” lives on mobile screens rather than sound stages.

That perspective aligned with insights from the other panelists. Executives from GoodShort and DramaBox discussed how vertical platforms rely heavily on real-time audience behavior—completion rates, retention, and repeat viewing—to guide creative decisions. As reported by The Wrap, this data-centric approach allows vertical dramas to evolve quickly, refining stories based on what audiences actually watch rather than on traditional greenlight cycles.

From the platform side, Jenny Rosen and Yoko Chen emphasized that vertical dramas are competing not just with other scripted content, but with social media itself. In a scroll-first environment, they noted, storytelling must deliver immediate impact—often within the first few seconds—to stop a viewer’s thumb. That reality shapes everything from openings and pacing to heightened emotional stakes, favoring bold hooks and rapid escalation designed to grab attention instantly.

Paul Ruddy spoke to the scale and trajectory of the space from a casting and production standpoint. Drawing on his experience working across vertical dramas as well as film and television, he highlighted the sheer volume of projects now being produced and the consistency of demand for talent. Ruddy framed vertical drama as an industry still in its early chapters—one that has already proven its viability, but will continue to mature as infrastructure, resources, and professional standards evolve alongside the growth.

The panel also placed the U.S. vertical boom within a global context. According to the U.S. International Trade Administration, China’s short-form drama market reached an estimated 50 billion RMB (roughly $7–8 billion USD) in 2024, making it one of the fastest-growing sectors in entertainment. That scale has influenced how Western platforms approach volume, pacing, and talent development.

Audience insights further explain the momentum. Business Insider has reported that U.S. micro-drama viewers skew heavily female, with a significant portion of the audience aged 35 and older—a demographic long underserved by traditional scripted television. This clarity allows platforms to align storytelling, casting, and genre choices with proven demand.

Importantly, the panel remained clear-eyed about where the industry stands. While some vertical productions have gone union, a dedicated SAG-AFTRA agreement tailored specifically to vertical dramas is still in high demand. As several panelists acknowledged, labor frameworks are evolving alongside a format that has already found its audience.

Within the broader context of the Hollywood Movie Awards—an international festival that has welcomed artists such as William Baldwin, Michael Shannon, Scott Adkins, and Alex Pettyfer, the panel reinforced the festival’s role as a space for meaningful industry dialogue. Under Matt Beurois’s leadership, HMA continues to create room for conversations that connect emerging formats with working professionals across the entertainment landscape.

By the end of the panel, one takeaway stood out: vertical dramas are not replacing film or television, but they are redefining how stories are tested, talent is developed, and careers are sustained. At the Hollywood Movie Awards, this panel made clear that vertical storytelling is no longer on the margins, it is firmly part of the industry conversation.

The Hollywood Movie Awards continues to serve as a vital platform for forward-looking industry conversations, bringing together filmmakers, talent, and innovators shaping where storytelling is headed next. For more on upcoming panels, events, and festival updates, visit facebook.com/hollywoodartandmovieawards.

At just 14 years old, Julián David, professionally known as Julda, is emerging as one of the most exciting young music sensations in Colombia and across Latin America. Based in Medellín, Julda is already the talk of the town in schools, digital spaces, and youth culture circles. As he prepares to release his first new song of 2026, “I Need Your Love,” an upbeat track set to premiere on YouTube on February 12, 2026, in Medellín, Colombia, Julda is stepping into a defining new chapter of his artistic journey. With natural charisma, a strong personal identity, and a message rooted in faith and discipline, he represents a new generation of artists who connect deeply with their audience while staying grounded in values.

Massive Digital Impact in Just Two Years

In less than two years, Julda has achieved digital milestones that many artists aspire to for a lifetime. His YouTube channel has crossed 720,000 subscribers and over 300 million views, proving the scale of his reach and the loyalty of his audience. On TikTok, Julda manages three active accounts with a combined following of more than 600,000, while his Instagram community exceeds 300,000 followers. Across all platforms, his brand is being positioned consistently, reflecting a clear long-term strategy rather than momentary virality.

A Journey Built with Family and Trust

Julda describes his journey so far as an “exceptional job,” marked by learning, growth, and gratitude. A key strength behind his rise is his close-knit support system. His father, manager, and producer are all integral to his career, working together to guide his artistic and professional development. Alongside them are loyal friends and partners who help turn ideas into reality. This family-led structure has allowed Julda to navigate the music industry with confidence, balance, and protection at such a young age.

“I Need Your Love”: A New Era Begins in 2026

“I Need Your Love” marks Julda’s first official release of 2026, capturing an upbeat, feel-good vibe that reflects his youthful energy and emotional depth. Scheduled for release on February 12, 2026, on YouTube, the song will debut from Medellín, Colombia, the city that continues to shape his sound, identity, and creative vision. More than just a new track, the release represents growth, evolution, and Julda’s commitment to creating music that connects emotionally with the new generation.

The Birth of the Julda Brand

The Julda brand officially took shape when he partnered with his record label, Lai Music. Together with his team, strategic decisions were made around his image, musical direction, and brand identity. From defining the kind of music he wanted to create to choosing visual elements, everything was intentional. One element stood out immediately, red, his favorite color, which now defines his brand. For Julda, red symbolizes emotion and connection, and as he says, “Red will bring you closer to love.”

Music for Everyone, Beyond Social Boundaries

Julda’s music is created with inclusivity at its core. His lyrics are written for everyone, regardless of social or economic background. Available on all major digital platforms, including Spotify, YouTube, TikTok, and Instagram, his music is the heart of his business model. Releases like “I Need Your Love” reinforce his mission to deliver accessible, uplifting music that resonates across cultures and communities.

Inspiration Through Discipline, Faith, and Consistency

Julda hopes his story inspires others to fight for their dreams. His message is clear: success depends on work, discipline, and consistency every single day. He openly acknowledges that there are moments when moving forward feels difficult, but believes those tough days are the most important for growth. His outlook is deeply spiritual, and faith plays a central role in his life. One of the strongest lessons he shares is to never stop praying and trusting that God listens and always wants what is best.

Standing Apart from His Generation

What truly sets Julda apart from his peers is his mindset. At just 14, he is committed to continuous learning, constant creation, and spiritual growth. While he admires artists like Feid for the way they have built their careers and brands, Julda remains focused on his own path. His personal philosophy is summed up in his defining quote: “I don’t imitate, I transmit.”

A Vision Guided by God and Purpose

Looking toward the future, Julda’s vision is both humble and powerful. He hopes his family remains well, that his global music project continues to grow, and that God remains by his side throughout the journey. With millions already reached and “I Need Your Love” setting the tone for 2026, Julda is not just a rising star, he is a symbol of a new generation driven by faith, discipline, and purpose, ready to shape the future of Latin music.

The 83rd Golden Globe Awards stood out as a celebration of courageous narratives, diverse perspectives, and breakthrough achievements in film and television. While the Globes frequently distribute honors broadly, the 2026 ceremony highlighted strong frontrunners and a clear emphasis on culturally resonant work.

One Battle After Another led the film categories with the most wins, securing Best Motion Picture – Musical or Comedy, along with awards for Paul Thomas Anderson’s direction, screenplay, and additional honors like supporting acting. The director’s politically sharp yet intimate film solidified its position as a major Oscar contender. In his speech, Anderson commended studios for granting filmmakers artistic liberty and embracing bold choices in today’s landscape.

On the television front, Netflix’s gripping limited series Adolescence — which delves into youth extremism and online misogyny — dominated with Best Limited Series and several acting wins. Its impact reflected a rising demand for unflinching, thought-provoking content that confronts difficult societal issues.

HBO’s The Pitt took home Best Television Series – Drama, while Noah Wyle earned his long-overdue first Golden Globe for his authentic, intense performance in the realistic medical series, proving the lasting appeal of strong procedural drama

A prominent motif throughout the evening was long-awaited first-time wins. Timothée Chalamet claimed his inaugural Globe for his role in Marty Supreme, calling the moment especially significant after earlier nominations. Rhea Seehorn broke through with her win for **Pluribus**, following years of praise without prior major awards. Jessie Buckley further established her status as a powerfully emotive actor with her victory for Hamnet.

Global storytelling received strong recognition too. Wagner Moura became the first Brazilian man to win Best Actor in a Motion Picture – Drama for The Secret Agent, which also claimed Best Non-English Language Film, signaling the Globes’ growing embrace of international and varied voices.

The night also mirrored industry dynamics: Warner Bros. Discovery led with multiple victories amid speculation about corporate changes, while Netflix reinforced its streaming dominance, especially in TV and limited formats.

Comedian Nikki Glaser hosted with a mix of sharp wit and heartfelt moments, including a touching closing remembrance of the late Rob Reiner that brought quiet emotion to the glamorous event.

In the end, the 2026 Golden Globes prioritized depth over flash, honoring raw honesty, artistic daring, and stories that mirror our evolving world. As the awards season progresses, this ceremony has established a compelling benchmark for genuine acclaim in entertainment.

Renowned Iranian director Bahram Beyzaie, celebrated for his 1989 masterpiece Bashu, the Little Stranger—which received a restoration showcase and acclaim at the 2025 Venice Film Festival—has died at age 87.

Beyzaie passed away on December 26, his birthday, in California from cancer complications. At the time, he was serving as a lecturer in Iranian Studies at Stanford University.

Born in Tehran in December 1938, Beyzaie emerged as a key figure in the Iranian New Wave movement. His notable films include Downpour (1972), Bashu, the Little Stranger (1989), and Killing Mad Dogs (2001).

He co-founded several influential organizations, such as the Center for Progressive Filmmakers in Iran, the Iranian Writers Association, and the Society of Dramatic Authors and Composers. Beyzaie also chaired the Dramatic Arts Department at the University of Tehran until he was compelled to step down after the 1979 Islamic Revolution, which additionally led to government bans on his works.

In 2010, Beyzaie relocated to the United States, joining Stanford University as a lecturer in Iranian Studies.

Members of the Iranian diaspora filmmaking community have paid tribute to him. Oscar-winning director Asghar Farhadi posted on social media: “Bahram Beyzaie, my great teacher, whose works, words, and above all, his love for the culture of this land I have followed with all my heart, has now left this world in exile. I have truly never known a more Iranian person than Bahram Beyzaie in this day and age, and how bitter it is that this most Iranian of Iranians, thousands of miles away from Iran, turns a blind eye to the world.”

The pair enjoyed a meal with friends at Everest Lounge on St Mary’s Road on Saturday night, while in the area to catch a theater show. Owner Pradip Karanjit reported that his team was “completely awestruck,” but the celebrities kept things understated and casual during their visit.

Even though the place was packed, the staff managed to seat the group. According to Karanjit, the actors came off as an ordinary young couple rather than big names, simply savoring their dinner.

Tom Holland went for chicken tikka masala served with pilau rice and garlic naan, whereas Zendaya picked vegetarian dishes like chana saag bengan, a paneer shaslik appetizer, and saag aloo. The vibe stayed relaxed and efficient, with the initial shock turning into seamless service.

Karanjit wasn’t there during the visit and only found out via a flurry of calls. “My phone was buzzing nonstop,” he noted, explaining that he verified the story by phoning the restaurant. Though bummed to have missed it, he called the event unforgettable for the employees and the local community.

The couple was nearby to see a performance of The Sound of Music at Leicester’s Curve theatre. Holland has returned to the venue before, including for My Fair Lady in 2024.

A Curve representative expressed delight at hosting them again, highlighting Holland’s ongoing enthusiasm for live theater. Performers have said such appearances energize the cast and affirm the theater’s appeal.

Famous for their Spider-Man roles, Zendaya has also shone in projects like Dune, Challengers, Malcolm and Marie, and Euphoria. Holland started on the West End stage before starring in blockbuster franchises.

For those at Everest Lounge, the night brought a special Hollywood encounter, memorable for its down-to-earth charm rather than any fanfare.

Timothée Chalamet is not an actor who does things halfway. For his latest film, Marty Supreme, he did not just learn table tennis. He lived it. What began as a script sent his way in 2018 turned into nearly seven years of on-and-off training, shaping both his performance and his mindset.

“In all my downtime, I would train as much as possible,” Chalamet says, speaking with the calm confidence of someone who truly enjoyed the grind. The commitment paid off. His portrayal of Marty Mauser, a semi-fictionalised version of post-war table tennis legend Marty Reisman, has already earned him best actor nominations at major awards shows, with Oscar buzz building steadily.

For Chalamet, preparation is a responsibility, not a choice. Much like the five years he spent learning guitar for his Bob Dylan biopic, A Complete Unknown, mastering table tennis was about authenticity. “If you are a ping pong aficionado, it has to look believable to you on screen,” he explains. Anything less would feel dishonest.

That dedication followed him everywhere. He travelled with a table tennis table while filming Dune in the desert and played between takes on Wonka. Even at the Cannes Film Festival, Chalamet found time to practise, training with friends at a cliffside Airbnb overlooking the French Riviera. It is a memory he recalls with visible fondness.

“I get to live this awesome life where I work on projects that are near and dear to my heart,” he reflects. “There are worse things in life than having to learn guitar or table tennis at a high level.”

Marty Supreme tells the story of ambition, obsession, and youthful foolishness. Chalamet’s character is talented but flawed, driven by ego and poor decisions, including questionable moral choices that threaten his career and personal relationships. Yet Chalamet sees the character with empathy.

“When you are in your early twenties, you are an idiot,” he laughs. “This movie is largely about being an idiot in your early twenties, especially when you are singularly obsessed with one thing.”

That theme resonates as Chalamet approaches a milestone of his own. He turns 30 on 27 December, just one day after Marty Supreme opens in cinemas. Looking back on his twenties, a decade that included two Oscar nominations, he describes the experience as surreal.

“I feel like I am living in a dream,” he says. “I am on top of a hotel in London talking about a film I am deeply passionate about.”

That dreamlike confidence was on full display earlier this year when Chalamet declared, during an awards acceptance speech, that he is “really in pursuit of greatness.” The comment drew attention for its boldness, but Chalamet stands by it. He openly admires figures like Daniel Day-Lewis, Marlon Brando, Viola Davis, Michael Jordan, and Michael Phelps, people who, in his eyes, redefined excellence in their fields.

Yet behind the ambition is vulnerability. “My confidence ebbs and flows,” he admits. “If things are going well, you feel great. If not, the world is falling apart.” Approaching 30, he says, has brought a desire to be more grounded and kinder to himself and others who are still figuring things out.

One thing Chalamet remains unwavering about is his love for cinema. At a time when streaming platforms dominate the industry, Marty Supreme has been made for a full theatrical release. Chalamet believes that matters.

“I do think cinemas will survive and thrive,” he says. “But it is our responsibility to bring films to people, not ask people to chase tradition.”

To that end, he has embraced an unconventional promotional tour. From fake leaked Zoom calls to colour-coordinated premiere outfits with girlfriend Kylie Jenner and even his mother, Chalamet has leaned into creativity. He has also been gifting Marty Supreme jackets to people he considers true greats, including Frank Ocean, Tom Brady, and young football star Lamine Yamal.

When asked which Brit deserves one, his answer surprises. After a pause, he says simply, “Susan Boyle.”

The actor recalls being deeply moved by Boyle’s 2009 Britain’s Got Talent audition. “She dreamt bigger than all of us,” he says. “Who was not moved by that?”

As Timothée Chalamet prepares to leave his twenties behind, it is clear he is still dreaming, just with sharper focus, deeper intention, and the same relentless dedication that took him from indie darling to global star.

Marty Supreme is released in cinemas on Boxing Day.

Vogue announced on December 10 that Beyoncé, Nicole Kidman, and Venus Williams will join Anna Wintour as co-chairs for the 2026 Met Gala, the prestigious fundraiser for the Metropolitan Museum of Art’s Costume Institute.

This event will signify Beyoncé’s return to the Met steps after a 10-year absence—her previous appearance was in 2016 for the “Manus x Machina: Fashion in an Age of Technology” theme, where she donned Givenchy Haute Couture. In contrast, Kidman and Williams are frequent attendees, having both appeared at the most recent gala in May, themed around Black dandyism and titled “Tailored for You.”

For Wintour, the 2026 gala marks her first since relinquishing her role as Vogue’s editor-in-chief earlier this year, though she continues as Condé Nast’s global chief content officer and Vogue’s global editorial director. She has overseen the Met Gala since 1995 and is known for having the ultimate approval on guest lists, per reports.

Vogue also unveiled the 2026 Host Committee, led by co-chairs Anthony Vaccarello and Zoë Kravitz. Members include Sabrina Carpenter, Doja Cat, Gwendoline Christie, Alex Consani, Misty Copeland, Elizabeth Debicki, Lena Dunham, Paloma Elsesser, LISA, Chloe Malle, Sam Smith, Teyana Taylor, Lauren Wasser, Anna Weyant, A’ja Wilson, and Yseult, with more names to be revealed later.

Is the 2026 Met Gala Theme and Dress Code Revealed?

The Costume Institute recently introduced its spring 2026 exhibition, “Costume Art,” curated by Andrew Bolton. This show, exploring the interplay between clothing and the human body, will shape the gala’s direction, but the specific dress code remains unannounced.

Structured around various body themes, such as “The Naked Body,” “The Pregnant Body,” and “The Aging Body”—the exhibition will showcase items from The Met’s extensive collections, blending historical and modern garments with artworks. As Bolton stated, the goal is to highlight “the centrality of the dressed body within the museum, connecting artistic representations of the body with fashion as an embodied art form.”

“Costume Art” inaugurates The Met’s new Condé Nast Galleries, a spacious 12,000-square-foot area adjacent to the Great Hall. It opens to visitors soon after the gala, from May 10, 2026, to January 10, 2027.

More updates, particularly the official dress code for the 2026 Met Gala, are expected in the coming months.

Jess Glynne’s 2015 chart-topper “Hold My Hand” has been crowned TikTok’s UK Song of the Year, propelled by the massively viral “nothing beats a Jet2holiday” trend. Long featured in ads for the British holiday company Jet2, the upbeat track exploded on TikTok this year as users paired it with humorous videos of travel disasters, holiday blunders, and chaotic mishaps. After earlier earning TikTok’s UK and global Song of the Summer titles, the song has now soundtracked around 6.6 million videos on the platform. Originally released over 10 years ago as Glynne’s first solo No. 1 single, the song’s resurgence highlights TikTok’s power to breathe new life into classic hits.

Glynne’s Reaction: ‘Insane’ and ‘Blessed’

The 36-year-old London-born singer shared her excitement with BBC Newsbeat, saying she feels “blessed” by the accolade.

“It’s incredible to think that a decade on, a song so personal to me—and key to my breakthrough as a solo artist—is being celebrated all over again this year. It’s been insane,” she said.

Glynne described the trend as giving “Hold My Hand” a fresh “new lease of life,” adding that the happiness it brings makes it one of her top songs to perform live.

She even recounted a personal anecdote: hearing her own track playing on a Jet2 flight to Corfu with her family. “I got a bit nervous sitting up front next to my mum—it was pretty funny,” she laughed. While the meme dominated feeds, Glynne’s own TikTok habits lean toward cooking tutorials, cat videos, and funny falls. Her favorite trend clips include parents coaching kids to mimic the iconic “nothing beats a Jet2holiday” voiceover, plus one standout video of a traveler revealing a comically tiny hotel window, “like a prison cell,” which cracked her up. The singer emphasized social media’s value for artists, noting how the trend has introduced the song to a younger audience discovering it for the first time.

Career Highlights and Broader Impact

Glynne first gained fame in 2014 with features on Clean Bandit’s “Rather Be” and Route 94’s “My Love,” both UK No. 1s. Her 2015 debut album *I Cry When I Laugh* topped the charts, followed by *Always In Between* (2018) and her self-titled third album (2024), which reached No. 6.

Despite its ubiquity on TikTok, where videos using the audio have racked up over 80 billion views, “Hold My Hand” did not re-chart on the UK singles list in 2025. It ranked second on TikTok’s global top 20 songs of the year.

TikTok calculates these awards based on video usage and artist engagement.The platform revived several older tracks in 2025, including Rihanna’s 2007 “Breakin’ Dishes,” Radiohead’s 1997 “Let Down,” and Black Eyed Peas’ 2010 “Rock That Body.” Globally, the top spot went to Connie Francis’ 1962 classic “Pretty Little Baby,” used in over 28 million wholesome pet and family videos, even 60 years after release.

After a four-year hiatus, HBO’s groundbreaking teen drama Euphoria is finally set to premiere its third season in April 2025. At a recent event in London, series creator Sam Levinson gave fans the most detailed look yet at what’s coming, promising the show’s “most ambitious and emotionally layered” installment to date, complete with a five-year time jump that thrusts the characters into full adulthood.

“It made sense creatively,” Levinson explained. “If they’d gone to college, they’d be graduating around now. We get to see who they’ve actually become as grown-ups.”

The core ensemble Zendaya (Rue), Sydney Sweeney (Cassie), Jacob Elordi (Nate), Hunter Schafer (Jules), Alexa Demie (Maddy), and Maude Apatow (Lexi) is back, now joined by surprising new additions including singer Rosalía and internet personality Trisha Paytas.

Zendaya’s Rue remains the emotional center. Levinson revealed she’s now living south of the border in Mexico, desperately trying to settle a dangerous debt with Laurie (Martha Kelly), the eerily composed drug supplier from Season 2. “She’s looking for creative and risky ways to pay it back,” he teased.

Cassie and Nate, meanwhile, appear to have the perfect suburban life: engaged and seemingly settled. But beneath the surface, Cassie is spiraling into severe social-media addiction and crippling envy as she scrolls through her old friends’ highlight reels. Levinson promised their upcoming wedding will be “one fans will “never forget” which, in Euphoria terms, almost certainly means total mayhem.

Elsewhere:

• Jules is studying painting at art school and trying to launch her career as an artist.
• Maddy has landed a job at a high-powered Hollywood talent agency.
• Lexi is working as an assistant to a veteran showrunner, portrayed by Sharon Stone.

Several familiar faces will be absent. Barbie Ferreira (Kat) departed after Season 2, while Austin Abrams, Algee Smith, and Storm Reid are not returning for Season 3. The loss of Angus Cloud, who played the beloved Fezco and tragically died in July 2023 at age 25, casts the longest shadow. Production delays caused by Hollywood strikes and Cloud’s passing pushed filming far behind its original late-2023 start date. Cast and crew have said Fezco was intended to have a major arc this season, and his absence has deeply affected both the story and the show’s overall spirit. How (or if) the series will address Fezco’s fate remains undisclosed.

Despite the challenges, Euphoria continues to rank among HBO’s biggest hits, currently the network’s fourth most-watched series ever, trailing only Game of Thrones, The Last of Us, and House of the Dragon. Zendaya has already won two Emmys and a Golden Globe for her raw performance as Rue, and Colman Domingo earned an Emmy for his supporting role as Ali.

Confident in the new direction, Levinson declared, “I truly believe this is our strongest season yet.”

With a bold time jump, provocative new cast members, and stories that trade high-school hallways for the messy realities of early adulthood, Euphoria Season 3 looks ready to prove that growing up doesn’t mean the chaos, beauty, or brutality goes away—it just gets more complicated.

The Brit Awards Critics’ Choice (formerly Rising Star) has an unmatched track record for spotting future superstars. From Adele and Sam Smith to Florence + the Machine, Sam Fender and last year’s winner Myles Smith, almost every recipient has gone on to global success. The 2026 shortlist—Sienna Spiro, Rose Gray and Jacob Alon, continues that tradition, with three distinctly different talents now firmly in the spotlight.

The announcement comes just months before the Brits make history by moving outside London for the first time in almost 50 years, with the 2026 ceremony taking place in Manchester on 28 February.

Rose Gray – Dance-Pop Firestarter

The 28-year-old east Londoner could barely process the news at first. “I genuinely thought my team were winding me up,” she laughed.

A BRIT School graduate (alongside alumni like Amy Winehouse and Raye), Gray burst into 2025 with her punchy, euphoric debut album Louder, Please. Rooted in ’90s rave nostalgia and unapologetic club energy, the record turned heads and earned her opening slots for Kesha in North America, plus shows with Sugababes and Confidence Man.

With only one album behind her, Gray insists she’s just getting started and the Critics’ Choice nod feels like rocket fuel.

Sienna Spiro – The 20-Year-Old Chart Conqueror

Still only 20, Sienna Spiro has already landed a UK Top 10 single with “Die On This Hill” and released the acclaimed debut EP Sink Now, Swim Later.

Her voice soulful, intimate yet commanding, pairs with lyrics that feel like diary entries set to sweeping, cinematic production. When the nomination was confirmed, the emotion hit hard: “I was so overwhelmed I actually felt sick,” she admitted.

For fans and industry insiders alike, Spiro feels like the heir to Britain’s great confessional pop tradition, blending raw vulnerability with serious commercial clout.

Jacob Alon – Modern Folk’s Poetic Voice

Edinburgh-raised and non-binary, Jacob Alon found their creative home again in the city’s folk scene after a challenging stint in London.

Their debut album In Limerence earned a Mercury Prize shortlist and widespread praise for its tender guitar work and unflinchingly personal lyrics. Winning BBC Introducing Artist of the Year in 2025 was a landmark not just for Alon’s career but for queer and non-binary visibility in British music.

Quietly powerful and deeply introspective, Alon’s inclusion on the Critics’ Choice list signals that folk storytelling updated for a new generation is very much part of the UK’s future.

A Prize That Changes Everything

Reverting to its original “Critics’ Choice” name for 2026, the award continues to champion artists on the cusp of breakthrough. This year’s trio couldn’t better reflect where British music is heading: bolder, more diverse, and fiercely authentic.

Whoever lifts the trophy in Manchester, all three Sienna Spiro, Rose Gray and Jacob Alon, are about to step into a much bigger story. 2026 is their year.