The Grammys ignore game-changing artists

By Kaitlyn Seawood

Every year, the Grammy Awards claim to honor excellence in music. However, this season’s decision to award Beyoncé’s ‘Cowboy Carter’ with the Album of the Year Award at the 2025 Grammys raises concerns about favoritism within the Recording Academy. Rather than spotlighting groundbreaking work, the Grammys once again appear to have chosen the safe, familiar option, sidelining voices that are reshaping the musical landscape.

Chappell Roan: An artist for the people

Among this year’s nominees, Chappell Roan stood out as more than just a musician — she is an artist who transforms her lived experiences into innovative music while using her platform to call for change. Drawing inspiration from her small-town upbringing in Missouri, Roan’s music blends theatrical pop with raw storytelling, making her one of the most unique voices in the industry today. Roan’s “The Rise and Fall of a Midwest Princess” became a breakout success, peaking at No. 2 on the Billboard 200, and with over 1 billion streams, her album was a testament to the power of authenticity and artistic risk-taking.

During her acceptance speech for the Best New Artist Award, she did not just celebrate her win — she used her platform to call out industry injustices and uplift her peers. In contrast, Beyoncé’s Album of the Year Award acceptance speech felt self-centered, as she simply remarked, “It’s been a long time,” referencing this as her first win in the category. While some may view it as long overdue, Beyoncé’s comment came across as self-centered next to Roan’s message of collective empowerment.

Roan isn’t just creating music — she is fighting for a more just and diverse industry. Her commitment to fairness and inclusivity has resonated with audiences, making her not just a musician, but a movement.

Overlooked nominees

In a field brimming with creativity, artists like Billie Eilish, Sabrina Carpenter and Charli XCX also stood out. “Hit Me Hard and Soft” was a bold shift for Eilish, blending alt-pop, electronic and orchestral elements. Songs like “Lunch” and “Birds of a Feather” became viral hits, proving her ability to push pop music forward.

Sabrina Carpenter’s “Short n’ Sweet” mixed catchy pop hooks with strong storytelling, with viral hits like “Espresso” and “Please Please Please” dominating streaming platforms. Charli XCX’s “Brat” pushed the hyperpop genre into the mainstream, earning widespread critical acclaim and proving her ability to evolve, while maintaining mass appeal.

These artists received strong praise from major publications like Rolling Stone for breaking new ground — exactly what Album of the Year should recognize. Yet, the Grammys still favored tradition over true innovation.

A predictable outcome

Taylor Swift went 0-6 this year, marking the first time she’s been blanked with six or more nominations. However, it’s hard to view it as a snub, as voters likely chose to share the wealth, acknowledging her record-breaking number of Album of the Year wins. 

My Grammy predictions reflected a mix of hope and compromise, recognizing the fierce competition and immense talent. While Beyoncé and Swift had strong albums, I would have been content with any other nominee winning Album of the Year, as their success did not surpass the impact of the others.

On a more positive note, Doechii’s win for Best Rap Album was a refreshing and much-needed departure from the norm. As only the third Black woman to secure the award, her victory proved that the Grammys have the power to spotlight innovative talent when they prioritize true merit. 

I was also neither surprised nor disappointed by Kendrick Lamar’s wins for Record of the Year and Song of the Year for the track “Not Like Us”—both felt deserved and fitting in light of his artistic impact in 2024, as well as Lady Gaga and Bruno Mars’ success for Best Duo.

Beyoncé’s Album of the Year win at the 67th annual Grammy Awards reflects the Academy’s ongoing tendency to reward established names over groundbreaking artistry. To truly honor excellence, the Grammys must break this cycle and focus on recognizing artists who are pushing music forward rather than reinforcing the status quo.

Kaitlyn Seawood is a senior journalism major