Pre-Grammy’s Thoughts

The 67th Grammy Awards are set for this Sunday, February 2nd. Comedian Trevor Noah is returning to host the ceremony for the fifth consecutive year. As always the top categories are packed with talent, including industry titans and newcomers. Many of the artists are up for multiple awards across the General Field and genre specific categories. All nominees’ projects were released during the eligibility period of September 16th, 2023 through August 30th, 2024.

Album Of The Year

The eight artists nominated for album of the year are: André 3000, Beyoncé, Sabrina Carpenter, Charli xcx, Jacob Collier, Billie Eilish, Chappell Roan and Taylor Swift.

New Blue Sun by André 3000

Many anticipated that the first solo album from one half of the iconic duo Outkast to be a rap or hip-hop record, instead André 3000 surprised fans by dropping an eight track flute based album with zero lyrics. A label on the album’s packaging reads “Warning: no bars” letting fans know exactly what they should expect from the 87 minute listening journey. André 3000 is aware of the preconceived notions about what solo music from him should sound like, titling the opening track “I Swear, I Really Wanted to Make a ‘Rap’ Album But This Is Literally the Way the Wind Blew Me This Time.” The shortest track comes in at three minutes and forty nine seconds and the longest is seventeen minutes and eleven seconds, the remaining six tracks are also on the longer side. All of the tracks are affixed with quirky lengthy titles. The album was released on November 17th, 2023. It debuted on the Billboard 200 Chart at number 34 the week of November 26th, 2023.

Though I have heard and am a fan of Outkast’s hits “Hey Ya!” and “Ms. Jackson,” I went into this album aware that it would be different from what I have heard from him previously. For me the album was a pleasant listening experience and the album was one I wouldn’t mind returning to in the future. Given the lengths and sonic cohesion of the tracks, it often felt like I was listening to one big song. I genuinely could not tell when one track ended and another began, I frequently checked to see if I was still in the middle of a track or had entered into a new one. The grounding flute instrumentals were very soothing to me and made me feel as if I had been transported to a spa. Overall, I enjoyed listening to this album though it is different from what I primarily listen to.

Favorite Tracks: “The Slang Word P(*)ssy Rolls Off The Tongue With Far Better Ease Than The Proper Word Vagina. Do You Agree?,” “That Night In Hawaii When I Turned Into A Panther And Started Making These Low Register Purring Tones That I Couldn’t Control…Sh¥t Was Wild” and “Ninety Three ‘Til Infinity And Beyoncé.”

COWBOY CARTER by Beyoncé

The second of Beyoncé’s genre specific projects, the first being 2022’s RENAISSANCE, act ii COWBOY CARTER sees Queen Bee tackling the country genre headfirst. Beyoncé first dipped her toes into the country music scene with “Daddy Lessons” off of her 2016 album Lemonade. The 27 track album was released on March 29th, 2024. The album debuted at the top spot on the Billboard 200 Chart the week of April 13th, 2024, staying there for two weeks.

I am a fan of Beyoncé (she was my second most listened to artist last year on Spotify) and was very excited to listen to this album after hearing the singles “TEXAS HOLD ‘EM” and “16 CARRIAGES.” I was not disappointed when the album finally arrived in late March of last year.

Beyoncé opens the album with the track “AMERIICAN REQUIEM” that references her infamous performance of “Daddy Lessons” with the country group The Chicks at the 2016 Country Music Association Awards. The pairing of The Chicks, no strangers to backlash within the very insular community of country music thanks to their bold and unapologetic anti-war comments in 2003, and Beyoncé, a Black female artist, proved to be too much for some people, sparking immediate backlash online and in the room. She sings on the first chorus “It’s a lot of talkin’ goin’ on/While I sing my song/Can you hear me?/I said, ‘Do you hear me?’” She asserts her right to the genre on the second verse with the lyrics:

“The grandbaby of a moonshine man/Gadsden, Alabama/Got folk down in Galveston, rooted in Louisiana/Used to say I spoke too country/And the rejection came, said I wasn’t country ‘nough/Said I wouldn’t saddle up, but/If that ain’t country, tell me what is?/Plant my bare feet on solid ground for years/They don’t, don’t know how hard I had to fight for this/When I sang my song.”

Given her roots, Beyoncé has every right to create music centered in the country genre. Even if she didn’t have family history rooted in the south, which has long harbored the country music scene, she would still have every right to release country music because artists should be allowed to experiment with various genres regardless of their identity, so long as they keep it authentic to their experiences. The country music industry has historically had an issue with anyone that is not a straight, white man making country music. This has always struck me as odd given that most of country music’s success in the awards circuit and internationally have come from female country musicians. One of the most recent crossover successes was the 2019 smash hit “Old Town Road” by Lil Nas X, a queer black artist. Audiences have enjoyed hearing country music from diverse perspectives and the industry should actively cultivate those voices instead of dismissing them or making them feel unwelcome.

Beyoncé employs various collaborations on this album. She enlists up and coming country artists Britney Spencer, Reyna Roberts, Tanner Adell and Tiera Kennedy to sing with her on her cover of “BLACKBIIRD,” along with Willie Jones on “JUST FOR FUN” and Best New Artist nominee Shaboozey accompanies her on “SPAGHETTII” and “SWEET ★ HONEY ★ BUCKIIN’.” To introduce a handful of tracks she gives interludes to Willie Nelson, Dolly Parton and Linda Martell. Joining her for duets are Miley Cyrus and Post Malone on “II MOST WANTED” and “LEVII’S JEANS” respectively.

Out of the 27 tracks, only 21 are full length songs with six interludes seamlessly bridging the gaps between tracks. The album is sonically cohesive from top to bottom with her switching from traditional country sounds to more modern ones with ease. Though the tracks share a consistent sonic connection, they are distinct and can stand on their own outside of the album. Beyoncé bounces from a range of topics throughout the tracks including racism, sex, infidelity, revenge fantasies and motherhood. She puts her own spin on Dolly Parton’s iconic “Jolene” making it more of a warning than a lament. The tracks “TEXAS HOLD ‘EM,” “YA YA,” “RIIVERDANCE” and “TYRANT” are infectious tunes that provide bursts of energy that one can’t resist stomping their feet or dancing along to. Overall, Beyoncé demonstrates her skill as an artist, showing off her impressive vocal range and instincts as a producer across the tracks which reminds listeners exactly why she has been such a dominant artist over the last few decades.

Favorite Tracks: “BODYGUARD,” LEVII’S JEANS,” “RIIVERDANCE” and “TYRANT”

Short n’ Sweet by Sabrina Carpenter

Sabrina Carpenter’s sixth album (her second under the Island Records division of Universal Music Group, her first four were released under Hollywood Records) proves that the singer-songwriter is a bonafide pop star of the modern era. Carpenter saw success with the songs “Nonsense” and “Feather” off of her 2022 album emails i can’t send, but truly broke through in April with the single “Espresso” and her performances at Coachella and has continued to maintain that success with the album and its supporting tour. The 12 track album was released on August 23rd, 2024. It debuted on the Billboard 200 Chart the week of September 1st, 2024 staying there for three weeks.

In recent years I have become a fan of Carpenter’s. While I was initially a bit put off by her releasing the track “Skin” in the midst of the Olivia Rodrigo/Joshua Basset/Sabrina Carpenter media driven debacle of 2021–the release of her song came across to me as braggy and fueling the media’s favorite narrative of pitting two women against each other for a man–I’ve come around on both her and her music. I listened to emails i can’t send upon its release and was pleasantly surprised with what I heard both in terms of lyrics and sounds across the 13 standard and four deluxe tracks. The songs “Vicious,” “Read Your Mind,” “tornado warnings,” “Already Over” and “Nonsense” quickly found themselves on a number of my playlists. Like a lot of the world, it didn’t take long for the single “Espresso” to worm itself into my brain after it dropped on April 11th, 2024.

Short n’ Sweet certainly lives up to its name. The album has a run time of 36 minutes and manages to pack a punch in that short a time frame. Whether it’s a down-tempo track like “Sharpest Tool” or the album’s closer “Don’t Smile” or an upbeat bop like the opener “Taste” or “Good Graces,” Carpenter proves she can expertly jump between moods and sounds without sacrificing anything in terms of lyrics. Something that has endeared me to Carpenter is the manner in which she weaves her sense of humor into the lyrics of her songs. Some of my favorite humor laced lyrics include the second verse of “Please Please Please,” the cheeky “Come right on me, I mean camaraderie” in “Bed Chem” and “Jesus, what’s a girl to do?/This boy doesn’t even know/The difference between ‘there,’ ‘their’ and ‘they’re’” on the twangy “Slim Pickins.” The album is playful, sexy and fun with Carpenter unabashedly embracing her sensuality across a majority of the tracks; she knows her worth and is unafraid to say what she wants. Overall, Carpenter builds upon her previous works and provides listeners with a delightful listening experience with her newest sugary, sweet pop album.

Favorite Tracks: “Taste” “Sharpest Tool,” “Bed Chem” and “Juno”

BRAT by Charli xcx

British artist Charli xcx’s eighth studio album was hard to escape last year with its simple font and bright green hue. Charli had seen previous success in the United States back in 2013 and 2014 featuring on Icona Pop’s “I Love It,” and on Iggy Azalea’s “Fancy,” along with her 2014 song “Boom Clap” that was featured on the The Fault In Our Stars soundtrack. However, the release of BRAT and subsequent BRAT summer brought her to a whole new level of popularity and fame in the states. She smartly capitalized on the momentum releasing a deluxe edition of the album titled brat and it’s the same but there’s three more songs so it’s not a few days after the release of the standard album and releasing brat but it’s completely different but also still brat, a remixed version of the album featuring collaborations with artists like Ariana Grande, Troye Sivan, Lorde and Billie Eilish (to name a few) in October. The 15 track album dropped on June 7th, 2024. It debuted on the Billboard 200 Chart at number three the week of June 22nd, 2024.

I first encountered Charli xcx back in 2013 and 2014 thanks to her features on “I Love It” and “Fancy” along with her solo songs “Boom Clap” and “Break The Rules.” I didn’t truly get into her music until 2018 when she served as an opening act for Taylor Swift’s reputation Stadium Tour. Since then I’ve kept up with her releases and have enjoyed most of them, with 2019’s Charli and 2022’s CRASH being my favorite albums of hers.

BRAT takes the braggadociousness and playfulness present on her 2022 soundtrack song “Hot Girl (Bodies Bodies Bodies)” (one of my favorite songs of hers) and expands it to an album. Much like her other albums, this one is packed full of confidence boosting club anthems and vulnerable moments. She tackles insecurities on “Sympathy is a knife,” “I might say something stupid,” “Rewind” and “Girl, so confusing,” opens up about the loss of a friend and collaborator on “So I” and leaves room for romance on “Talk talk” and “Everything is romantic.”

This particular album took a bit of time to grow on me in comparison to the previous albums of hers I have listened to. Part of the reason why I was a little less fond of this album on my initial listen was the intensity of the hyperpop production; thanks to my daily migraines I can only tolerate a bit of exposure to loud and pulsating music. A few of the tracks were just a little too much for me, making me a bit reluctant to revisit it as frequently as some of her other works. I’ve since been able to enjoy it more and return to it with fresh ears. Overall, Charli’s eighth album is a fun listen, expanding on subject matters that had appeared previously in her works and making them suitable to play on a night out with friends or alone in the middle of the night.

Favorite Tracks: “360,” “Sympathy is a knife,” “Talk talk” and “Von Dutch”

Djesse Vol. 4 by Jacob Collier

Jacob Collier’s fifth studio album and final installment of his quadruple album project Djesse, Djesse Vol. 4 features a slew of collaborators much like his previous volumes. The album is composed of 16 tracks and clocks in at a little over an hour. It was released on March 1, 2024.

I had not previously heard anything from Collier, though his name was a tad familiar, most likely due to the Grammy nominations he has received in the past for the preceding three Djesse volumes. I truly had no idea what to expect from this album in all aspects. I was very pleased with what I heard. I thoroughly enjoyed the production of the tracks, particularly the vocal layering and effects whether it was Collier’s voice or a guest’s. I found the overall sonics of the album interesting and was kept on my toes with the frequent switch up in production in the middle of songs. The album is one that I can foresee myself returning to and adding tracks to my various playlists. Overall, the album proved to be an exciting, funky listening experience and is one that I would recommend to anyone who enjoys going on sonic adventures to check out.

Favorite Tracks: “She Put Sunshine,” “Cinnamon Crush” and “Over You”

HIT ME HARD AND SOFT by Billie Eilish

Billie Eilish’s third album HIT ME HARD AND SOFT joins her first two–WHEN WE ALL FALL ASLEEP, WHERE DO WE GO? and Happier Than Ever in being nominated for Album of the Year. Eilish and her debut album swept the 62nd Grammy’s, winning Best Pop Vocal Album, Best New Artist, Song and Record of the Year and Album of the Year. Eilish quickly captured listeners’ attention with her whispery delivery and confessional lyrics. She and her brother FINNEAS collaborate together on the tracks for her albums, with him producing them. Her third album contains 10 songs and was released on May 17th, 2024. It debuted on the Billboard 200 Chart at number two the week of June 1st, 2024.

I had become aware of Eilish in 2019 as her single “bad guy” was nearly inescapable with its thumping beat and her unique delivery. I gave her and her discography a listen upon the release of her sophomore album in 2022. I have enjoyed the quirky and sometimes surprising production along with her quiet but powerful vocals. Her song “What Was I Made For?” for the 2023 Barbie film is one of my favorite tracks of hers.

HIT ME HARD AND SOFT deviates a bit from her previous albums featuring a more mellow production overall. Eilish hallmarks like her delivery, interesting production and vulnerable lyrics are present across the tracks. She expands on subject matters first introduced on her second album like the manner she is perceived by the media which she tackles immediately on the album’s opener “SKINNY” and sex on the cheeky track “LUNCH.” Much like her two earlier albums, Eilish maintains a balance between upbeat, bouncy tracks and slower moments. Overall, Eilish continues to build upon her previous works and keeps listeners on their toes with the new sonic landscape she explores across the 10 tracks.

Favorite Tracks: “LUNCH,” “WILDFLOWER,” “THE GREATEST” and “L’AMOUR DE MA VIE”

The Rise and Fall of a Midwest Princess by Chappell Roan

Chappell Roan’s debut album The Rise and Fall of a Midwest Princess was one of 2024’s biggest albums. Roan, who is not necessarily a newcomer to the industry having worked on music for a decade and releasing her EP School Nights in 2017, has had a bit of an interesting journey leading up to the release of her debut album. In 2020, she switched labels and began releasing singles between then and 2023, with the label being resistant to the release of certain tracks. She was also dealing with her mental health during this time and continues to do so. Similar to her labelmate Sabrina Carpenter, Roan performed at Coachella in 2024 giving her access to a larger audience and dropped the single “Good Luck, Babe!” on April 5th, 2024. Her performance of the track at the music festival went viral and the song and Roan skyrocketed to the front of popular culture. As the year went on, she continued to see success drawing enormous crowds at other musical festivals, winning Best New Artist at MTV’s Video Music Awards and receiving six nominations at this year’s Grammy Awards. The 14 track album was released on September 22nd, 2023. The album peaked on the Billboard 200 Chart at number two the week of August 24th, 2024.

I first listened to Roan a few days after “Good Luck, Babe!” was released after seeing chatter online about it and her album. Going into the project I had no idea what to expect. When I first listened to the album, I was immediately hooked. The opening three track run of “Femininomenon,” “Red Wine Supernova” and “After Midnight” blew me away. I found the songs to be smart, catchy pop tracks with honest and fun lyrics delivered with stunning vocals.

Her ballads proved to be engaging and beautifully delivered as well.

Roan strikes the tricky balance between pop songs and heartfelt ballads on her first go, giving each song style space to breathe without one dominating over the other. She delves into homesickness on the tender “California,” a frustrating situationship on the viral “Casual” and has fun on the flirty and bouncy “HOT TO GO!” which even has a dance to go with the chorus. Throughout the 14 tracks she lets listeners get to know her, all the while unapologetically coming to terms and embracing her sexuality and finding herself in the world. Overall, I found the album to be a memorable and strong debut from a unique artist. I have frequently returned to it since my first listen and look forward to seeing what she continues to create in the future.

Favorite Tracks: “Femininomenon,” “Red Wine Supernova,” “After Midnight” and “Casual”

THE TORTURED POETS DEPARTMENT by Taylor Swift

Singer-songwriter Taylor Swift announced her eleventh studio album THE TORTURED POETS DEPARTMENT during her speech for Best Pop Vocal Album at the Grammy’s in 2023, shocking fans. It came in the midst of her re-recording project of her first six albums and dominant Eras Tour. She reteamed with longtime collaborator Jack Antonoff and recent staple Aaron Dessner on the production and writing of the tracks. This album marks her seventh Album of the Year nomination, having won it four times previously, the only artist in the ceremony’s history to do so. The 16 track album was released on April 19th, 2024, with a surprise album THE ANTHOLOGY dropping at two a.m. that morning. The album debuted at the top spot on the Billboard 200 Chart the week of May 4th, 2024 and stayed there for 12 weeks.

I self identify as a Swiftie. I have been listening to Swift since 2007 or 2008, first introduced to her through the radio and then her sophomore album Fearless. She has consistently been my most listened to artist on Spotify for the past few years and I have attended her last two tours. I was initially drawn to Swift thanks to her relatable and honest lyrics and have been able to turn to her music regardless of whatever situation I may be in.

THE TORTURED POETS DEPARTMENT is Swift’s most messy, human and vulnerable album to date. She grapples with fame on the tracks “Who’s Afraid Of Little Old Me?,” “I Can Do It With A Broken Heart” and “Clara Bow” and faces heartbreak on “Down Bad,” “So Long, London” and “loml.” She’s joined by Post Malone on the opener “Fortnight” and Florence Welch of Florence + The Machine on the escapist “Florida!!!” As usual with Swift’s pop albums her signature confessional writing style grounds the music regardless if it takes a turn for a polished pop song or piano driven ballad. Overall Swift succinctly spins a tale of the past few years that featured heartbreaks, success and new found love across the 16 songs through her sharp and honest lyrics.

Favorite Tracks: “Down Bad,” “Florida!!!,” “Guilty As Sin?” and “loml”

I thoroughly enjoyed each of these eight albums and don’t foresee myself being upset at whoever wins, since they are all deserving bodies of work. I believe that the award will end up being between the heavy hitters (Beyoncé and Swift) and breakthrough artist Roan. I would truly be surprised if Swift won it for a consecutive year and believe it is past time that Beyoncé received recognition for one of her albums by being awarded the top prize seeing that half of her albums have been nominated and have never won. Again since I enjoyed these individual albums on my listens I am excited to see who takes home the show’s biggest honor.

Record Of The Year

The artists nominated for Record Of The Year are: The Beatles, Beyoncé, Sabrina Carpenter, Charli xcx, Billie Eilish, Kendrick Lamar, Chappell Roan and Taylor Swift.

“Now And Then” by The Beatles

When looking at the list of nominees for Record of the Year this was the entry that caught me by surprise the most given the fact that The Beatles last release was in 1970. “Now And Then” was written and sung by John Lennon and worked on by the other three members of the group, Paul McCartney and Ringo Starr ended up finishing it over four decades after its creation. Released alongside the track was a short documentary film. The last Beatles song was released on November 2nd, 2023.

I am not massively familiar with The Beatles, of course I have heard some of their work but I’ve never listened to a full album of theirs even though I do have my grandmother’s collection of their albums on vinyl. On my first listen of the song I found myself pulled in by the strength of the piano and the crackle of Lennon’s voice. Hearing something that was originally recorded decades ago supported by modern production was really neat. I found the melody to be pleasant along with the lyrics, though they were relatively simple and sparse given how most songs are structured.

“TEXAS HOLD ‘EM” by Beyoncé

The first taste of Beyoncé’s second act of a three part project was released on February 11th, 2024. In a Superbowl ad for Verizon, Beyoncé announced the surprise drop of two singles: “TEXAS HOLD ‘EM” and “16 CARRIAGES.” The first of the two is an upbeat twangy track that one can’t help stomping their feet along to whether or not they’re wearing cowboy boots. The song debuted at number one on Billboard’s Hot Country Songs Chart making Beyoncé the first ever Black woman to land in the top spot.

I enjoyed this song when I first heard it and still enjoy it within the wider context of COWBOY CARTER. Those first few notes of the banjo strings immediately set the tone and inform the listener that Beyoncé is committing fully to the country sound on the track and that you best have your dancing boots on for this number. The little vocal shouts that separate the lyrics “This ain’t Texas” and “Ain’t no hold ‘em” are fun and inviting, plunging the listener into the middle of a hoedown. She directs the audience on the line “Don’t be a bitch, come take it to the floor now” and one can’t help but fall in line.

“Espresso” by Sabrina Carpenter

The first single off of Sabrina Carpenter’s album Short n’ Sweet was released with little fanfare on April 11th, 2024 at 8 p.m. EST, an unusual time for a drop. She took the stage for the first weekend of Coachella on April 12th and by the time her second performance rolled around on the 19th, the crowd was singing along to every lyric. As she continued to perform at festivals during the summer, the crowds only grew louder shouting the viral line “I’m working late ‘cause I’m a singer” with enthusiasm. In October, she joined Taylor Swift on stage at the Eras Tour, which she had opened for earlier in the year, to sing a mashup of her singles “Espresso” and “Please Please Please” along with Swift’s “Is It Over Now?” during the acoustic set. The crowd sang along to her songs just as loudly to Swift’s.

Upon my first listen of the track, I thought it was a cute and fun song and declared it a bop. As time went on the song seemingly got better with each listen, its infectious summery beat and cheeky lyrics worming their way into the front of my mind. The song itself was hard to escape on social media with the phrase “that’s that me espresso” becoming heavily memed and referenced. “Espresso” ended up claiming the title of my top streamed song on Spotify last year and was the platform’s most streamed song globally during the tracking period for Spotify Wrapped.

“360” by Charli xcx

Charli xcx ushered in BRAT summer with the release of the album’s opener and fourth single “360” on May 10th, 2024. The accompanying video included appearances by models Julia Fox and Alex Consani, actors Rachel Sennott and Chloe Sëvigny and internet personalities. In the fall she embarked on the Sweat Tour, a joint tour with frequent collaborator Troye Sivan that gave fans a chance to experience BRAT summer in person.

For me “360” is a fun track but by no means my favorite song I’ve heard from her. It features Charli’s classic brash and bold energy on lyrics like “I went my own way and I made it/I’m your favorite reference baby” and “When you’re in the mirror, you’re just looking at me.” The beat is bouncy and propels the listener forward and I often find myself nodding my head along to it. I can see why the confidence infused lyrics have resonated with many listeners whether it be on a dancefloor or in their car.

“BIRDS OF A FEATHER” by Billie Eilish

The fourth track off of HIT ME HARD AND SOFT resonated with listeners propelling Eilish into releasing it as a single on July 2nd, 2024. She released a simple video for it on September 27th, 2024 with some fans criticizing the visual claiming that it didn’t match their envisioned aesthetic for the song. The track was the most streamed song of 2024 on Spotify.

The light pop production with a subtle beat serves as a serene backdrop for Eilish to sweetly deliver some dark lyrics. She airily sings on the first verse:

“I want you to stay/‘Til I’m in the grave/‘Til I rot away, dead and buried/‘Til I’m in the casket you carry/If you go, I’m goin’ too/‘Cause it was always you/And if I’m turnin’ blue, please don’t save me/Nothin’ left to lose without my baby”

The song’s catchy refrain and pre-chorus gears listeners up for the even more infectious and mini explosive chorus where Eilish bursts, her voice strong as she confesses her love. The track is the most poppy she has sounded and it suits her well.

“Not Like Us” by Kendrick Lamar

In the spring of 2024 a feud re-ignited between rappers Drake and Kendrick Lamar. The two traded a number of diss tracks: Drake released the songs “Push Ups” and “Taylor Made Freestyle,” Lamar responded with “Euphoria” and “6:16 in LA,” Drake then dropped “Family Matters” and mere minutes later Lamar hit back with “Meet The Grahams.” Lamar then released “Not Like Us” on May 4th, 2024. Drake dropped a response but it wasn’t seen nearly as powerful a blow as he intended. On Juneteenth, Lamar hosted The Pop Out concert which was perceived by many as a victory lap. Upon its release the song hit number one on the Billboard Hot 100 and after falling a few places it returned to the top spot the week of July 20, 2024 following the music video’s release a few weeks prior on the fourth.

I am a bit familiar with Lamar’s music, mainly his 2017 album DAMN. and The Black Panther Soundtrack. For me I find his sharp lyrics and delivery to be the most compelling part of his music, though the beats that back the lines aren’t in any way unpleasant. When I finally got around to listening to “Not Like Us” I found myself stunned and surprised with each new lyric. Each barb landed and the next one cut deeper than the last. The song’s chorus is simple but effective, lending itself to being sung by large crowds, which is surely bound to happen when Lamar sets out on tour this summer.

“Good Luck, Babe!” by Chappell Roan

Chappell Roan’s only single of 2024, “Good Luck, Babe!” helped her breakthrough to the mainstream music scene. The track was released on April 5th, 2024 and brought attention to her and her debut album.

Much like my listen to her debut album, I was impressed with “Good Luck, Babe!” The eighties-esque synth felt distinct but still cohesive with some of the pop tracks on The Rise and Fall of a Midwest Princess. Roan shows off her vocal ability across the track, jumping a bit higher on the chorus in comparison to the verses, creating a nice contrast between the two. The delivery of the song’s title is a perfect kiss off to a partner and it all comes to a head on that dramatic bridge. One can’t help but replicate her movement for the lyric “You’re standing face to face with I told you so” when singing along, her performance immediately memorable and fun.

“Fortnight” by Taylor Swift featuring Post Malone

The first track off of THE TORTURED POETS DEPARTMENT also served as the album’s lead single released the same day as the album. The track landed at number one on the Billboard Hot 100 the week of April 28th, 2024 with other tracks from the album rounding out the top ten.

The album’s opener prepares listeners for the journey that they are about to take for an hour and five minutes. Backed by a soothing, pulsating synth Swift envisions herself in a suburbian utopia, though not everything is as picture perfect as one might expect. Swift confesses on the opening lyrics:

“I was supposed to be sent away/But they forgot to/come and get me/I was a functioning alcoholic/Til nobody noticed/my new aesthetic”

On the chorus a past love, a what if? that still haunts her, manifests as a neighbor. His presence starts bleeding into her daily life to which she declares “I love you, it’s ruining my life.” Post Malone echoes her and eventually moves out of the background to join her on the bridge and reappears on the outro where the two have plans of running away to Florida, but only if they reconnect. I found the harmonies between Swift and Malone to be beautiful and I enjoyed the back and forth between them on the bridge and outro of the song. Swift glosses over heavier lyrics with the shiny production, something she has done on previous albums. For me, the song was a pleasant introduction to the album and I especially enjoyed the dramatic bridge and outro.

Many of these songs held a memorable moment in the culture in the past year and found spots on my playlists. I personally would love to see it go to “Espresso” or “TEXAS HOLD ‘EM,” though I have a feeling that “Not Like Us” might end up taking it, which I wouldn’t be mad about.

Song Of The Year

The artists nominated for Song Of The Year are: Shaboozey, Billie Eilish, Lady Gaga & Bruno Mars, Taylor Swift, Chappell Roan, Kendrick Lamar, Sabrina Carpenter and Beyoncé.

“A Bar Song (Tipsy)” by Shaboozey

Shaboozey’s country track was released as the fourth single from his third album Where I’ve Been, Isn’t Where I’m Going on April 12th, 2024. The track peaked at number one on the Billboard Hot 100 chart the week of July 13th, 2024 and spent 19 non-consecutive weeks there. It was written by Sean Cook, Jerrel Jones, Joe Kent, Chibueze Collins Obinna, Nevin Sastry and Mark Williams.

With its punctuated beat it isn’t hard to see why this song has become such a hit. Shaboozey’s smooth vocals usher the listener through the song as he laments the woes of his daily life and drinks his problems away. The chorus is easy to sing along to, inviting audiences to join in on the festivities.

“Die With A Smile” by Lady Gaga and Bruno Mars

Pop mainstays Lady Gaga and Bruno Mars teamed up for the track “Die With A Smile.” It was released on August 16th, 2024. It landed at number on the Billboard Hot 100 chart the week of January 11th, 2025 and has spent four consecutive weeks in the top spot. It was written by Dernst Emile II, James Fauntleroy, Lady Gaga, Bruno Mars and Andrew Watt.

The song’s retro vibe suits both Mars and Gaga’s vocals. The song focuses on two lovers wanting to be together at the end of things and devoting themselves to their time left together however long that may be. The harmonies between the two are beautiful and neither dominates over the other. The track mixes the best of the artists’ individual styles to create a pleasing and captivating performance.

“Please Please Please” by Sabrina Carpenter

Following the success of “Espresso,” Carpenter kept the momentum going by releasing the second single off of Short n’ Sweet on June 6th, 2024. The song landed at number one on the Billboard Hot 100 chart the week of June 29th, 2024 marking the first time Carpenter held the position. It was written by Amy Allen, Jack Antonoff and Carpenter.

The glittering production reminded me of ABBA’s classics like “Dancing Queen” and “Gimmie! Gimmie! Gimmie!” upon my first listen. Carpenter puts her humor on full display on the lyrics as she begs a partner to not screw things up with her. Her vocal delivery is fun with her voice dipping on the last word of the line “I beg you don’t embarrass me motherfucker” and reaching heights on the bridge. Much like “Espresso” this track wormed itself into my brain through its melody. A warning has never sounded so beautiful and sweet.

Of the nominees for this songwriter’s award, my personal preference is for it to be awarded to Kendrick Lamar’s “Not Like Us.” On the track each line counts and builds upon another and is arranged to deliver his message in the most powerful way. The fact that this was a solo write makes the lyrical punches even better. Similar to the other categories I wouldn’t be too upset if anyone else ended up winning it since each of the nominees are well crafted.

Pop Categories: Pop Solo Performance, Pop Duo/Group Performance & Pop Vocal Album

Unsurprisingly many of the artists and projects nominated for the General Field categories are also up for the pop categories.

Pop Solo Performance

The nominees for Best Pop Solo Performance are made up of Beyoncé, Sabrina Carpenter, Charli xcx, Billie Eilish and Chappell Roan.

“Bodyguard” by Beyoncé

The eighth track off of COWBOY CARTER is one of my personal favorites. On the track Beyoncé mixes country and pop sounds together to create a catchy tune. The number sees Beyoncé longing to spend time with a partner and looking back at moments between them. The production of the song grounded by a keyboard and guitar propels the listener forward as if they were riding on a horse. The breathy background vocalizations add an extra layer to Beyoncé’s commanding lead vocals throughout.

“Apple” by Charli xcx

Charli xcx takes the phrase “the apple doesn’t fall from the tree” and turns it into an infectious, danceable song. On it Charli contemplates the impact of familial habits on a person. The track’s poppy production doesn’t overwhelm and has a bit of an eighties vibe to it thanks to the synth. The song quickly became a hit and even had a TikTok dance created for the chorus helping in its virality.

Of the nominees, I would enjoy seeing the award go to Chappell Roan and “Good Luck, Babe!” The track is a catchy one and her vocal performance on it is fun and impressive. Again I would not be disappointed in any of the nominees winning given that each gave a unique and memorable performance.

Best Pop Duo/Group Performance

The nominees for this category are: Gracie Abrams & Taylor Swift, Beyoncé & Post Malone, Charli xcx & Billie Eilish, Ariana Grande, Brandy & Monica and Lady Gaga & Bruno Mars.

“us.” by Gracie Abrams featuring Taylor Swift

Taylor Swift joins with the newest generation of songwriters that she helped influence and inspire on “us.” lending her pen and voice alongside Gracie Abrams. The track reflects on a former relationship with a partner who was slightly older and wonders if they miss what they had together. Swift joins in on the second verse and the two go from there. A plucky guitar supports Abrams’ breathy vocals and Swift’s throughout the track. The bridge is textbook Swift and Abrams has clearly studied for this test.

“LEVII’S JEANS” by Beyoncé featuring Post Malone

Another of my favorites off of COWBOY CARTER. The smooth throwback of the production is hypnotizing, drawing listeners in. Beyoncé croons on the chorus and verses, her voice silky and soft. Post Malone surprisingly fits in quite well with the sound and pairs well with Beyoncé. The assist from Malone helps make this track irresistible. Overall, the song makes me want to invest in a pair of jeans from the classic brand just to experience a little of the magic that is made between the two artists.

“Guess” by Charli xcx featuring Billie Eilish

Out of BRAT’s three bonus tracks, “Guess” was my least favorite. Upon my first listen I found the beat to be unpleasant and grating to my ears. The remix of the song doesn’t change my initial opinion on it. Charli’s vocals don’t excite or impress me that much and Billie Eilish’s monotonous delivery disappoints knowing just how she can contort her voice. For me this track falls flat and isn’t one I’d be reaching to hit play on.

“the boy is mine” by Ariana Grande, Brandy & Monica

Ariana Grande enlists Brandy and Monica to help remix her single “the boy is mine.” Grande’s track shares no similarities to the 1998 song besides the name and featured artists. Grande lets the legends take the reins, giving each a verse and they add their own pieces to the song’s bridge. Brandy and Monica’s vocals fit well with the production of the song, with little alterations needed to be made and the three vocal powerhouses mesh well together when they harmonize on the chorus. Though it’s not a massively different remix of the track that appears on Grande’s album, it’s still an enjoyable experience.

I personally would like this award to go to Beyoncé and Post Malone’s “LEVII’S JEANS.” On my first listen to the album it was an immediate favorite and a track that I have returned to time and time again, hooked on the blending of the two’s voices and production. I wouldn’t be surprised however if it ended up going to Abrams and Swift though.

Best Pop Vocal Album

The nominees for Best Pop Vocal Album are Sabrina Carpenter, Billie Eilish, Ariana Grande, Chappell Roan and Taylor Swift.

eternal sunshine by Ariana Grande

Pop star Ariana Grande’s seventh studio album eternal sunshine landed on March 8th, 2024. It debuted at the Billboard 200 Chart’s top spot the week of March 23rd, 2024. The lead single for the album was the dance track “yes, and?” which was released on January 18th, 2024 and it debuted at number one on the Billboard Hot 100 the week of January 27th, 2024. The album was released after a period of intense media scrutiny following her divorce and subsequent relationship with her Wicked co-star Ethan Slater who was married at the time of their meeting. The album marked Grande’s return to pure pop sounds after her previous album Positions was steeped in R&B, similar to works on her first two albums. The album contains 13 songs and has a runtime of 35 minutes making it a quick listen.

I have been following Grande since her time on the Nickelodeon show Victorious and her debut effort Yours Truly and have seen her in concert for her Dangerous Woman and Sweetener tours. For me, this album lands somewhere in the middle in my ranking of her discography. It was a pleasant step up from Positions which I found to be underwhelming and a bit too cohesive. This album has a variety of pop sounds across it, but they all feel like they belong on the project. She discusses the end of a relationship on most of the album’s tracks including on “bye,” “eternal sunshine” and the massively popular “we can’t be friends (wait for your love)” and she finds new love on the tracks “supernatural” and “imperfect for you.” Overall, Grande’s seventh album is a pleasant venture but not my favorite project she has released.

Out of the five albums, I would like to see Short n’ Sweet take home the win. The album is a solid pop effort packed with catchy tracks and it would be nice to see her recognized for her work after being in the industry for a while. I wouldn’t be shocked if The Rise and Fall of a Midwest Princess won and would not be upset about it or any of the other nominees winning since they are all albums that I have enjoyed.