The Grammy's New Album Cover Category Marks a Milestone for Visual Artists

With the introduction of a new Grammy category recognising album cover design, the Recording Academy has taken a significant step towards honouring the visual artists who help shape the listening experience.

At Kalai Gallery, this moment represents more than an industry change, it affirms a core belief that has guided our mission since the beginning: the intersection of art and music.

When I founded Kalai Gallery, it was built on the principle that creative disciplines do not stand alone. Just as architecture relies on design, music and visual art exist in a shared space. Album covers are not just packaging, they set the mood, create atmosphere, and open the door to the sonic world that follows. They are often the first impression a listener encounters, shaping perception before a single note is heard.This new Grammy category is a meaningful victory for those who see the deep connection between visual and musical storytelling. It is a win for the Kalai Artists and for those who believe in the power of collaboration between sound and image.

At Kalai Gallery, we represent multidisciplinary artists who are carefully selected for their ability to move fluidly between fashion, music, and art. One of our artists, Lee Estelle, created the cover for Konyikeh’s album Problem With Authority (pictured above). The visual themes in her artwork are echoed in the single Sit Down and Lie to Me, forming a rich, immersive narrative that links music and image. This kind of partnership, where a musician chooses to work closely with an artist to craft a cohesive experience, is the future of creative collaboration.

Another Kalai artist, Skwaam who works in the intersection of art and music states that

“The reason I make album covers is based on how I listen to music. I always imagine the music playing out as animated visuals”

Skwaam’s connection to album art began in the 1990s and early 2000s, a time when physical music formats were still central to how people listened to and experienced music. As a child of that era, he found great excitement in picking up a CD, carefully studying the cover, and exploring the tracklist one song at a time. This early relationship with music packaging helped shape his belief that album artwork is far more than decoration. It is an invitation, capable of capturing a potential listener’s attention and drawing them to a new artist.

One of Skwaam’s most impactful opportunities emerged following his fan-made artwork for Frisco’s single Red Cardfeaturing BBK, which gained widespread attention on social media and significantly boosted his visibility. That commission led to further work when Jammer contacted him to create visuals for several singles from his upcoming album. The concept was centred around a cosmic theme, designed to give listeners the feeling of stepping into another universe. This vision was expressed through vivid colours and imaginative visuals that reflected the tone of the music. Skwaam’s creative approach focuses on understanding the core message behind the music and continuing that narrative visually across the entire project. In his view, the role of an album cover artist is to translate sound into a visual form that carries the same emotional weight as the music itself.

A similar philosophy guided his work on the tour poster for Kojey Radical. Like album artwork, a tour poster is a symbol about what the audience can expect from the performance. Skwaam aimed to express the richness and warmth of Kojey’s music through golden tones and bright highlights. The poster also alludes to Kojey’s personal inspirations, including his mother and his son, while remaining bold enough to spark the interest of those who may not yet be familiar with his work.

When asked about a personal favourite, Skwaam mentions the artwork for Josiah’s album The Gift TOGO. He is particularly proud of its raw energy and its stylistic nod to vintage cinema. The artwork draws inspiration from classic Blaxploitation film posters, using grainy textures, bold colour palettes, and powerful composition. It captures the essence of the album, particularly the title track, with a visual identity that feels timeless and direct.

The recent introduction of a Grammy category for Best Album Cover Design represents an important cultural moment. It acknowledges the essential role that visual artists play in shaping how music is presented, understood and remembered. These creatives have long contributed to the emotional and conceptual framing of music, often without formal recognition. This new category is not simply an award but a recognition of the deep collaboration between musicians and visual artists, a relationship that has always existed and is now being honoured properly. This change is also expected to encourage music companies and major labels to allocate larger budgets and provide fairer compensation to visual artists.