Shure Takes Center Stage at the Grammy Awards with Industry-Leading Wireless and Microphone Innovation

LOS ANGELES, Feb. 11, 2026 — At this year’s GRAMMY^® Awards, Shure microphones and wireless technology again played a crucial role in delivering pristine audio to millions of viewers around the world. With ATK providing all wireless gear for this year’s production, and longtime audio partners returning to the show, the ceremony showcased the reliability, sonic consistency, and broadcast-ready performance of Shure’s Axient^® Digital Wireless System, Axient Digital PSM, and PSM^® 1000 in-ear monitoring systems, and an extensive roster of Shure vocal microphones.

Shure Wireless Powers the Broadcast

Building on years of partnership with the GRAMMY production team, Shure equipment supported the show’s full spectrum of live performances and presenter moments. The engineering team deployed Axient® Digital transmitters and a set of AD4Q receivers—expanded from previous years to accommodate additional channels—ensuring seamless operation in the RF-dense environment of L.A.’s Crypto.com Arena.

Shure remained the in-ear wireless system of choice for artists throughout the night. Host Trevor Noah once again relied on Axient Digital PSM for his IFB, configured in spatial diversity mode by Steve Vaughn, Radio Frequency Coordinator.

Headline Performers Trust Shure

A wide range of GRAMMY performers selected Shure Axient Digital handhelds and vocal microphone capsules for their live sets:

• Tyler, The Creator – SM39 Headset Microphone
• Lady Gaga – SM39
• Bruno Mars – BETA® 58A
• Reba McEntire – Nexadyne™ 8/S
• KATSEYE – Nexadyne 8/S
• Leon Thomas – BETA 58A
• Lucky Daye – SM58®
• Raphael Saadiq – SM58
• Anthony Hamilton – SM58
• Jon Batiste – SM58
• Rosé – BETA 58A
• Olivia Dean – SM58 (wired)
• Sombr. – Customized Chrome SM58

Additional artists—including Sabrina Carpenter, Lola Young, The Marias, John Legend, and Pharrell Williams—also performed with Axient Digital wireless handhelds.

Shure SM39 Earns High Praise from GRAMMY Engineers for Game‑Changing Sound

This year saw expanded use of the Shure SM39, with several performers choosing the headset microphone for its clarity, warmth, and vocal isolation. GRAMMY Music Broadcast Mixer John Harris shared praise:

“This year’s GRAMMY Awards brought the usual challenges, and in our first audio meeting I learned that what was likely to be my toughest segment—Lady Gaga—came with a curveball: she wanted to wear a headset mic. Aaaagh! Headsets are always a compromise. They never behave or sound like a handheld, and I was sure this would be an uphill battle.

During the first run‑through, I didn’t look up at the video—just listened—and thought, ‘Great, she’s not using the headset.’ But she was. It was tucked into her very elaborate costume, right against her mouth, and it sounded fantastic. No wild EQ, no easing off the compressors because of proximity issues, none of the density or breath noise headsets usually create. It was amazing. I found out it was the new Shure SM39. Revolutionary. Game‑changing high‑end performance. No idea how they pulled it off.”

Jamie Pollock, FOH Engineer, added, “I was extremely impressed with the vocal quality I was able to achieve with the Shure SM39 across multiple artists at the 68th Grammy Awards. Consistently this microphone gave me a clear “up front” sound that I could place into a mix quickly. I was able to preserve dynamics and found myself using less processing to control unwanted artifacts.”

Shure Nexadyne Showcases Exceptional Clarity Across Diverse Vocal Styles

The next generation Nexadyne™ 8/S capsule also continued its rapid adoption among top artists. With both Reba and KATSEYE performing on Nexadyne 8/S, the engineering team reported exceptional vocal presence and consistency throughout the broadcast. KATSEYE Monitor Engineer Nathan Langford shared his experience with Nexadyne:

“When it comes to selecting a capsule for six unique voices performing a wide range of genres and styles, I’ve found that Nexadyne brings a consistent tonal character to all members of KATSEYE. The top end, which is paramount for the vocal in the mix, especially the female voice, remains smooth and present. I didn’t want a variety of different capsules on stage that might suit each unique voice individually; I wanted one capsule that could capture all six voices the way they need to be heard, whether they’re singing, rapping, or shouting into the mic.”

Nathan continued, “The rejection we get from the Nexadyne 8/S is critical for a variety of reasons. One of them is that all six members are often in close proximity to one another on stage, so I look for every dB of side rejection I can get. Six open vocal mics on a stage can be challenging, so the rejection we’re able to achieve is essential to keeping mics ‘closed’ with the use of expanders and primary source enhancers. Maintaining sonic quality while delivering the technical performance a supercardioid microphone must have is ultimately what I’ve found in the Nexadyne 8/S.”

A Trusted Workflow and Familiar Crew

The GRAMMY Awards brought back the same core audio team as last year, ensuring complete continuity across RF management, mixing, and FOH operations. ATK provided all wireless gear for the broadcast, while Soundtronics furnished microphone and antenna infrastructure.

“Seeing several artists using our latest headset, our latest wireless capsules, the Axient Digital PSM system, and a standard wired SM58 on Grammy Awards is so rewarding. The demand for quality at this show is high. We are thankful that so many artists and engineers trust and rely on Shure products,” shared Ryan Smith, Manager of Artist Relations at Shure.