Note: A previous version of this article erroneously suggested that Beyoncé’s “Renaissance” should’ve been nominated at this year’s Grammy Awards. “Renaissance” was nominated for album of year at the 65th annual Grammy Awards. The mistake has since been corrected.
The Grammys. Some call it a popularity contest. Others call it the most important moment of their lives. And some people, AKA Taylor Swift, call it a guaranteed win.
Swift has dominated the music industry for just under two decades, releasing banger after banger after banger. With no end in sight, her career is definitely on a high right now. At this year’s Grammy Awards, Swift was nominated for album of the year for her work on “Midnights.”
“Midnights” is an objectively fine album. It’s in the running for one of, if not her weakest. Consisting of tracks that were rejected from or inspired by her previous albums, it was a perfect segue to her “Eras,” well, era. “Midnights” just lacks the same lyricism, consistency and general quality that most of her fans have come to know and love.
Swift’s album was up against several other amazing artists’ work. Two other nominees were the Queen of Coquette, cigarettes and Waffle House, Lana Del Rey, and the progenitor of SZAnesse, SZA.
So that was the scene on Grammys night: Swift’s “Midnights” against SZA’s “SOS” and Del Rey’s “Did You Know That There’s a Tunnel Under Ocean Blvd.”
“Midnights” is on a similar level as “SOS;” however, I’d argue that SZA’s album is more cohesive, with many of the songs having a voicemail-esque finish to them that ties everything together nicely. Notice the cohesion, something “Midnights” lacks.
“Did You Know That There’s a Tunnel Under Ocean Blvd,” on the other hand, is just absolutely more cinematic and poetic than Swift’s contribution. And it plays with interesting musical ideas like trap-esque beats so much better than “Midnights.” whilst still staying in its indie-pop-folk lane.
In short, “SOS” and “Midnights” had a fair fight. But Del Rey’s album curb stomped “Midnights” then took it out back and shot it, then set it on fire.
And yet “Midnights” took home the Grammy for album of the year.
It’s not the first time we’ve seen artists get snubbed. At last year’s Grammys, Harry Styles took home album of the year for “Harry’s House,” while “Renaissance” by Beyonce, the true champion, sat idly by.
“Renaissance” is just… a masterpiece. Beyoncé introduced the masses to house music. To music that pays homage to ballroom culture, featuring ballroom icons. Chef’s kiss.
Whereas “Harry’s House” was nothing more than an album made by Styles in which he piggybacked off of other artists’ energy.
That album of the year snub contributed to an ever-growing list of times that the Grammy’s have mishandled Beyonce’s work, and the work of POC artists in general.
Why? Who knows!
Some would say it’s because of Swift and artists like her are popular across multiple demographics. But then is the statement that the Grammys are a popularity contest and not a talent and skill contest true? Probably.
Is it a potential testament to the idea that even in 2024, white people can do the minimum and get praised while artists of color have to fight for equal attention? Probably.
But even ignoring all that, the simple fact of the matter is this: Swift didn’t deserve the win for “Midnights.”
Garrett McEntee is an 18-year-old English freshman from Benton.
