2026 Annie Awards Nominations Celebrate the Best Soundtracks

[PopGeeks]

Canonical URL

https://popgeeks.com/2026-annie-awards-nominations/

The 2026 Annie Awards nominations are the gold standard for celebrating animation achievement, including the musical arts.
Read original article here:

2026 Annie Awards Nominations Celebrate the Best Soundtracks | PopGeeks.com Forum | Indie Games, Movies, TV, Tabletop & Comics

popgeeks.com

 

[Bruno]

A lot of people talk about animation style and story, but music does a lot of emotional work. When I think about animated movies I like, I remember the sound first. Seeing Elio and Zootopia 2 in the music list makes sense. Pixar usually does not miss when it comes to score choices. I am also happy to see KPop Demon Hunters getting attention. Some people dismiss it as loud or trendy, but the music fits the tone and audience very well. I also like that TV soundtracks are judged per episode. That feels more fair, because some episodes clearly put more effort into music than others. I watched Snoopy Presents with my family and the songs were simple but effective. They stayed in my head longer than expected. I hope more fans start paying attention to soundtrack awards, not just best picture or best animation. Music is not decoration. It is part of storytelling.

 

[TearStainedDreams]

I follow the Annies every year and I always feel they understand animation better than bigger award shows. The music categories are my favorite part. I work with audio a bit, so I notice when a score is lazy or when it actually supports the scene. Devil May Cry being nominated for TV music feels right. Power Glove knows how to push energy without drowning everything else. I also respect that international projects like Éiru and Little Amélie are here. It reminds me that animation is not just Hollywood and Japan. Some smaller productions do more interesting work with fewer resources. I am less excited about Zootopia 2 being everywhere, but I understand why it is here. Big studios have better access to top composers. Still, I hope one of the quieter films wins something. I like when awards surprise people instead of repeating the same names every year.

 

[Drake]

I honestly did not expect to see such a long list, but it shows how big animation has become. What stood out to me is how many different platforms are involved. Netflix, Apple, Disney, Adult Swim, even video games. Animation is not one lane anymore. I am rooting for Common Side Effects in TV categories.

 

[Death Dance]

I will be honest, I mostly came to look for KPop Demon Hunters. I enjoyed that movie more than I expected, especially the music. It knew exactly what kind of audience it wanted. Seeing it lead in nominations feels deserved. At the same time, I appreciate that the list is not just mainstream stuff. Shows like Éiru and films like Little Amélie probably will not be watched by everyone, but they deserve attention too. I like awards that mix popular and niche projects. It keeps things balanced. I am also happy that voice acting categories are still strong. Good voice work is easy to ignore when animation looks nice. Some performances carry entire scenes. I may not agree with every nomination, but overall this looks like a solid year for animation fans.

 

[Ryan Duckling]

Back then, animation awards were barely talked about. Now there are categories for almost every part of production. I paid attention to the FX nominations. Animated effects are often taken for granted, but they are hard to get right. Prehistoric Planet: Ice Age looks amazing, so I am glad it is recognized. I also noticed how many sequels are here. Elio, Zootopia 2, The Bad Guys 2. That tells me studios feel safer investing in animation now. Still, I hope new stories keep getting chances. That is why student films and indie features are important. They remind everyone that animation is not just franchises.

 

[Kurapikachu]

I mainly watch adult animation, so I focused on that section first. Bob’s Burgers and South Park being there feels expected, but I was more interested in newer shows. Common Side Effects keeps popping up, and I think that is a good sign. It does not rely on shock humor, and the music supports the mood instead of fighting it. I also appreciate that writing and editing categories exist. Those parts decide whether a show flows or feels messy. A lot of people blame animation quality when the real problem is pacing. Seeing Love, Death + Robots in storyboards and editing makes sense. That series lives and dies by visual planning. Even when an episode is not for me, I can still respect the work behind it.

 

[FlintTrooper88]

Glad to see the Annie Awards still put serious focus on music. Soundtracks in animation are usually treated like background filler, even though they control the mood more than dialogue does. The mix of nominees here feels balanced. Big studio films sit next to quieter international projects, and that matters. Little Amélie being nominated shows that softer, emotional scoring still has a place. Television music getting judged per episode also feels fair. Some shows clearly experiment more in certain episodes, and that work should be noticed. This list actually made me want to rewatch a few series just to pay attention to the sound design. That does not happen often with award news.

 

[Vaccine Vaccine Vaccine]

Nice to see animation awards that do not pretend everything is the same genre. Preschool shows, adult animation, indie films, and sponsored shorts all get their own space. That separation helps avoid pointless comparisons. The music categories stand out because they show how many different approaches exist. Orchestral, electronic, pop-driven, all sitting side by side. KPop Demon Hunters leading in nominations makes sense from a production standpoint. Sony and Netflix clearly invested a lot into the sound. At the same time, smaller projects being listed prevents the awards from feeling like a studio checklist.

 

[Farmboi231]

One thing that stands out is how global the nominations are. French, Japanese, Irish, Korean, and American studios all appear across categories. Animation really feels like an international space now, not just something led by Hollywood. That also shows in the music choices. Different cultures use rhythm and melody in very different ways, and animation benefits from that. Éiru being nominated is a good example. It does not sound like typical TV animation music, and that is a strength. Awards should encourage that kind of difference, not smooth it out.