Alex Warren nominated for Best New Artist but not Role Model? Really?
When nominations for the 68th Grammy Awards appeared on my Instagram feed, I found myself confused about the selection. There was the expected mix of known names and the up-and-comers who’ve taken over the music scene this year. Despite this, it seems the Grammys don’t understand what’s popular anymore.
When some of this year’s music was first released, I was disappointed. But somewhere between long car rides and TikTok trends, many songs grew on me, such as “Daisies” by Justin Bieber and “No One Noticed” by The Marías. To me, Best New Artist is the most exciting Grammys category. It always feels fresh and unpredictable, but this year it did just the opposite. Instead of being about a new discovery in the music world, this year’s lineup does not give us an accurate look at what’s new.
Many of the artists nominated are first-time releases this year, but it’s disappointing that young artists who have been nominated in the past can’t have a second chance at this award after producing something new and more successful.
[Guillermo del Toro gives new life to ‘Frankenstein’ in latest adaptation]
The Grammys have always defined the “best” of the industry. But a few artists who really shaped what people were listening to this year are nowhere to be found on the nominations list. Where is Gracie Abrams? Her album, The Secret of Us, debuted at No. 2 on the U.S. Billboard 200, and her single “That’s So True” hit No. 4 on the Billboard Global 200. She also wrapped up her sold-out world tour, so it feels impossible that someone with that kind of fanbase got skipped.
Same with pop powerhouse Tate McRae. Her album, So Close To What, debuted No. 1 on the U.S. Billboard 200, and her dance performances have taken over everyone’s feeds.
And seriously, wasn’t Billie Eilish’s “Wildflower” a 2024 track? Why is it being discussed again?
The timing of some nominations feels messy, and makes me wonder if the Grammys are so focused on drawing a wide audience by nominating major past winners such as Eilish that they’re forgetting to keep up with pop culture itself and nominate newcomers. It seems the Recording Academy is too distracted by chasing trends — “Wildflower” went viral online — that the public is already attached to, it’s overlooking the music breaking through right now.
It’s the same issue that makes the Best New Artist lineup feel less exciting. Instead of recognizing who is actually pushing the music industry in a new direction, the Grammys seem to be stuck rewarding who already has.
Take Wicked, for example. The movie has been a huge cultural moment this year, with its marketing taking over everything from Dunkin’ drinks to eyeshadow palettes, so its soundtrack nominations make sense.
But it feels like the Grammys are giving awards to what’s most talked about, rather than the actual sounds, messages and talent. Everyone loves a big pop culture moment to bond over, especially one that allows you to belt “Defying Gravity,” but highly marketed music can overshadow smaller albums and artists that truly deserve the same amount of attention.
The dance-pop category is packed with familiar names such as Lady Gaga and Selena Gomez, which feels nostalgic because of their early 2000s fame, but also predictable as Grammys favorites.
[Nia Sioux’s ‘Bottom of the Pyramid’ is a powerful, but unsurprising strike at ‘Dance Moms’]
Album of the Year might be the one category that feels strong and competitive. Between Kendrick Lamar, Sabrina Carpenter and Bad Bunny, the nominations reflect the breadth of today’s popular music.
The Grammys attempt to reflect pop culture, but sometimes can’t find the artists who really define the industry. Music going viral because of social media trends and marketing tactics seem to be defining many of this year’s nominations.
