Written by Amelia Butler and Charlotte Gregory
Album of the Year — Winner: “Harry’s House” by Harry Styles
Charlotte: This year, Beyoncé was robbed of “Album of the Year” once again. Although “Harry’s House” is a strong third album from Styles and its win of “Best Pop Album” is well-deserved, its worthiness of the Grammy’s most prestigious award doesn’t measure up to various other nominations. Most notably, Beyoncé’s.
Beyoncé’s “RENAISSANCE” is a masterpiece from start to finish. “I’M THAT GIRL” sucks listeners into the album with an incredible declaration of self-love. Beyoncé’s lyrics sizzle with confidence, as she reminds us of the power she wields in her industry. Each song is simply bop after bop, the album never reaching a weak point. “SUMMER RENAISSANCE,” with its addictive, synthy groove, is an epic closing track for the album.
Although this fantastic body of work deserved to take home “Album of the Year,” “RENAISSANCE” still managed to take home four awards: Best Dance/Electronic Recording, Best Dance/Electronic Album, Best R&B Performance and Best R&B Song, making Beyoncé the most decorated artist in Grammys history, with a whopping 32 awards. While Album of the Year is long overdue for Beyoncé, the 2023 Grammys was still an undeniably successful night for the singer.
Amelia: Styles’s victory over Bad Bunny’s “Un Verano Sin Ti” for “Album of the Year” raises the question of whether the decision was another glimpse into the racial biases commonly seen in the Grammys. “Harry’s House” is an undoubtedly impressive album, but “Un Verano Sin Ti” skyrocketed Bad Bunny to the height of Billboard fame with its record-breaking release and enthusiastic reception. The album was the first to chart in the top two places for its first six months and was the first entirely Spanish album to top the 2022 Billboard 200 Year-End Chart.
“Un Verano Sin Ti” is a bittersweet and reminiscent reggaeton masterpiece. The album begins with high energy hits such as “Me Porto Bonito” and “Tití Me Pregunto” that celebrate the freedom of summer and conjure feelings of bliss. Later tracks focus on heavier subjects such as discrimination and heartache in songs like “Andrea.” The album is completely sung in Spanish, but succeeds in being equally entertaining for all, as it is peppered with catchy choruses and meanings that transcend language barriers.
“Un Verano Sin Ti” is widely revered as an electric album, and it did not deserve to be overlooked. The album’s Latin roots make it unique from the other indie and pop nominations. Historically, the Grammys have not displayed enough inclusivity in general categories, with “Un Verano Sin Ti” becoming the first ever Spanish-language album to receive a nomination for “Album of the Year.” The majority of Grammys received by artists of color tend to be in smaller sub-genres and they are underrepresented in larger categories. Not all is lost, however, as Bad Bunny won “Best Música Urbana Album” after his explosive opening performance.
Song of the Year — Winner: “Just Like That” by Bonnie Raitt
Charlotte and Amelia: Bonnie Raitt’s win of Song of the Year for “Just Like That” was perhaps the most surprising twist of the night. The ballad is undeniably a beautiful song, with Raitt’s heartfelt vocals and gentle, acoustic guitar summoning feelings of comfort and peace. However, the song lacked a wow-factor and didn’t stand out from the rest. “Song of the Year” is a substantial award that should honor a track that is both musically outstanding and culturally significant. “Just Like That” fell short of fulfilling both. The song was slightly unremarkable, as its gentleness wasn’t supplemented by any attention-keeping details, unlike the engaging nature of “All Too Well.”
Taylor Swift’s “All Too Well (10 Minute Version)” is the track that should have claimed the title of “Song of the Year.” The original version of the song was released in 2012 on Swift’s fourth studio album, “Red.” The song contains gut-wrenching lyrics that take listeners through the start of a relationship all the way to its devastating end. The 2012 release of “All Too Well” is already a lengthy five minutes long, but the extended version of the track released in 2021 makes a great song even better. One would expect a song of such length to have weak points, but somehow, there is never a dull moment in “All Too Well (10 Minute Version).” The added lyrics are heartbreaking and vulnerable, creating a whole new story that is an emotional rollercoaster from start to finish. Swift’s vocals are raw and haunting, all the way from the opening lines of the song, the gut-punch of a bridge, to the echoing repetition that brings the song to an end.
Upon its release, the song quickly became a cultural phenomenon, and it is indisputably the defining song of the past year. With its unmatched songwriting and emotional intensity, this expanded version of “All Too Well” showcases Swift’s undeniable talent as a musician and secures her spot as one of the industry’s most skillful artists.
Best Pop Album — Winner: “Harry’s House” by Harry Styles
Charlotte and Amelia: “Harry’s House” taking the Grammy for “Best Pop Vocal Album” was an unsurprising but satisfying choice. The artist’s third album was a sensation right from its release date last May. It became the soundtrack of the summer, largely due to its positivity and feel-good nature, and tracks including “As It Was” and “Late Night Talking” featured prominently on social media and radio stations worldwide. “Harry’s House” blends several styles of pop that are distinct to the artist, from emotional ballads like “Matilda” and “Little Freak” to the funk-like melodies of “Music for a Sushi Restaurant” and “Cinema.” Styles takes listeners on a healing and celebratory journey, masterfully weaving heartfelt storytelling from start to finish.
The deep, moving lyricism of the album is what makes it stand out. For example, Lizzo’s “Special” is a fun, upbeat album that promises a wild time, but if you’re looking for an emotional listen, it won’t accomplish much. “Harry’s House,” in contrast, offers listeners a safe space to laugh, cry, celebrate and reflect. The album conjures images of late night drives, summer afternoons and self-exploration. Each track is impressive individually, but the album’s cohesive feel of emotional experiences sets it apart and rightfully earns it a deserved Grammy.
Best Rap Album — Winner: “Mr. Morale & the Big Steppers” by Kendrick Lamar
Charlotte and Amelia: A refreshingly and unapologetically honest album, Kendrick Lamar’s “Mr. Morale & the Big Steppers” is the clear winner of “Best Rap Album.” Lamar fills listeners in on his journey of self-reflection he took during this time. Lamar calls attention to struggles he has faced: “One-thousand eight-hundred and fifty-five days I’ve been goin’ through somethin,” referencing the time passed since his last album. Lamar has spoken publicly about having writer’s block, making his return even more impressive.
Lamar doesn’t shy away from revealing the inner-workings of his mind and raps candidly about controversial subjects like his rocky marriage, past trauma and fatherhood in songs such as “Worldwide Steppers” and “Father Time.” Lamar calls out his shortcomings and explores how his past has shaped his current self.
With countless new rappers emerging and a stream of often similar-sounding rap music being released, Lamar undeniably stands out. Instead of conforming to the typical boundaries of the genre, Lamar experiments with different musical elements. These decisions are deliberate, as Lamar utilizes out-of-the-box techniques to stress the hard-hitting messages of “Mr. Morale & the Big Steppers.” Overall, the album tells the story of both pain and healing, and Lamar’s impeccable delivery earns it the title of “Best Rap Album.”
Best Rock Song — Winner: “Broken Horses” by Brandi Carlile
Amelia: “Broken Horses” by Brandi Carlile claimed the Grammy for “Best Rock Song,” beating out several big names including the Red Hot Chili Peppers and Ozzy Osbourne. The emotionally-raw ballad exploring Carlile’s difficult upbringing is impressive but simply doesn’t compare to other nominated songs. Carlile’s signature country sound is featured heavily in “Broken Horses,” making the song stick out from the rest. Instead of the contrast shining a positive light on the song, however, “Broken Horses” seems like it should be in an entirely different category.
Although rock is a diverse genre that has many different sounds, Ozzy Osbourne’s “Patient Number 9” reflects the sound of iconic hard rock, a fitting choice for the category of “Best Rock Song.” The song starts out with Osbourne’s characteristic sound effects, sinister laughter and muffled conversation overlaid with eerie synth chords. Catchy riffs give way to ominous lyrics describing a trip to a mental institution, as the song is inspired by mental health struggles faced by Osbourne’s wife in the past. The song explores inner demons and mistreatment, as referenced in the line “Making friends with strangers inside my mind ’cause they seem to know me well.”
Although dealing with heavy subject matter, “Patient Number 9” is catchy due to its unique metal riffs and enticing vocals. Although more than seven minutes long, the song never fails to entertain, with multiple lengthy guitar solos and an attention-catching bridge distributed throughout. More than halfway through, Osbourn uses a sudden change in tempo to connect the first half of the song to the second, linking the initial tone of insanity and struggle to the desperation and hopelessness conveyed through the choruses and bridge. Overall, Osbourn continues to live up to his name as a hard rock and heavy metal icon, creating “Patient Number 9” that satisfies fans of the genre and is unmistakably noteworthy. These aspects make the song stand out from other nominated ones, including “Broken Horses,” that lack the intensity and strong storyline, making it deserving of “Best Rock Song.”
Charlotte: “Black Summer,” the lead single off of the Red Hot Chili Peppers’ latest album, “Unlimited Love,” is an action packed musical journey from start to finish. The song opens with guitarist John Frusciante’s distinctive guitar riffs, an astonishing musical moment considering that it marks Fusciante’s first feature in the band in 16 years, following his return to the group back in 2019. “Black Summer” starts off slow and buttery smooth and then picks up pace, introducing a pounding drum beat and addictive chorus. Following the chorus is an incredible guitar solo from Frusciante that fits seamlessly in between lead singer Anthony Kiedis’s hooking vocals, demonstrating the band members’ remarkable ability to bounce off one another and drive the song forward.
The title “Black Summer” is extremely fitting for the song, as it possesses a groovy, summer-like beat that is consistent throughout its four minute length, but it also contains a dark, edgy undertone that makes it such an addictive tune. The lyrics, too, are refreshingly sinister from the very start of the song: “A lazy rain am I / The skies refuse to cry / Cremation takes its piece of your supply.”
A perfect blend of grooviness and grittiness, “Black Summer” deserves the title of “Best Rock Song”. Other nominees, while still enjoyable tunes, fail to bring something new and refreshing to the genre like the Chili Peppers do. For example, Turnstile’s “BLACKOUT,” while upbeat and fast-paced, doesn’t offer anything we haven’t seen before. It lacks the stand-out quality that makes “Black Summer” such a worthy contender for “Best Rock Song.”
Best R&B Song — Winner: “CUFF IT” by Beyoncé
Charlotte: “CUFF IT” contains Beyoncé’s signature vocals and a bouncing beat that is the backbone of the song, but it doesn’t contain any new or exciting elements.
In contrast, PJ Morton’s “Please Don’t Walk Away” is a masterpiece that was snubbed of this win. Morton crafts a relatable story about heartbreak and his heartfelt lyrics make Beyoncé’s seem surface-level. The sweeping strings, soothing guitar and gentle horns give the song a timeless quality, making “Please Don’t Walk Away” a dream-like listen that easily deserves “Best R&B Song.”
Amelia: Beyoncé’s “CUFF IT” took home “Best R&B Song.” The song has a generic, over-produced quality that resembles her other songs. “Hrs & Hrs” by Muni Long, on the other hand, contains raw, breathtaking vocals and an enticing story.
The song begins with angelic vocals as she affectionately sings, “Yours, mine, ours / I could do this for hours,” setting a love-struck tone. The artist later recalls she would have given up on love if not for meeting her significant other. The intimate lyrics are supplemented by the song’s lofi-like beat, which perfectly compliment Long’s dreamy voice. The song is instantly captivating, and it should have claimed the title of “Best R&B Song.”
