For years, the Grammy Awards have been plagued by accusations of bias and a glaring lack of diversity, sparking fundamental doubts regarding the Recording Academy’s credibility. As the music industry undergoes continual evolution, the Grammys finds itself on the brink of irrelevance. Their once-unquestioned authority is now eroded by a legacy of missteps. 

This year’s Grammys showcased the remarkable achievements of women in the industry, offering moments of triumph and recognition for their contributions. Some examples include Miley Cyrus’s long-awaited first two Grammy wins, Karol G’s first Grammy victory and Laufey’s inaugural Grammy win for Best Traditional Pop Vocal Album. My favorite: Taylor Swift answering my prayers by announcing her new album The Tortured Poets Department. However, after the glitter settled and the echoes of applause faded, the music world is once again grappling with a familiar question: Did the awardee of Album of the Year truly represent the pinnacle of artistic achievement?

This year, Swift made history with her album Midnights by becoming the first artist to win this category for a fourth time, further cementing herself as a powerhouse in the music industry. However, amidst the celebration, I can’t help but question whether other contenders, especially Olivia Rodrigo’s GUTS and SZA’s SOS, were more deserving of the prestigious accolade.

Swift’s victory with Midnights is undeniably significant, but let’s pause to examine whether it truly stands as a paragon of artistic brilliance. While Swift’s talent as a songwriter is beyond reproach, Midnights falls short of the groundbreaking innovation and emotional depth defining her previous Grammy winners, including 1989 and folklore. Both of these albums marked pivotal shifts in Swift’s career trajectory. 1989 indicated her complete transition into pop, leaving behind her country roots, while folklore showcased her gut-wrenching lyricism with her narrative songwriting, departing from her autobiographical style. These albums not only transformed Swift’s musical identity but also challenged her to try something new.

Midnights feels more like a continuation of Swift’s established formula rather than a bold leap into uncharted territory. While tracks including “Maroon” and “You’re On Your Own, Kid” undoubtedly shine, the album lacks a cohesive narrative. Instead, it comes across as a collection of songs stitched together without a clear thematic thread or artistic vision. Moreover, it’s evident the release of Midnights was primarily geared toward promoting Swift’s international Eras Tour rather than standing on its own as a fully realized artistic statement.

While Midnights did deserve to win Album of the Year over Flowers and Did you know that there’s a tunnel under Ocean Blvd, both GUTS and SOS were more worthy of it, as they were compelling alternatives which pushed the boundaries of musical innovation.

Rodrigo’s album GUTS garnered widespread acclaim for its raw emotion and daring musical exploration from beyond pop. Tracks from “making the bed” to “ballad of a homeschooled girl” delve deep into the turbulent world of teenage angst. Rodrigo’s ability to seamlessly blend pop–rock influences with authenticity underscores her evolution as an artist. The disappointment of her Grammy snub adds a more heartbreaking layer to the album’s themes of insecurity and the fear of this album falling short of the success of her debut album SOUR.

Furthermore, Rodrigo’s disciplined approach to songwriting — prioritizing authenticity over commercial success — sets her apart from her peers. Her unwavering dedication to refining her craft and pushing creative boundaries is palpable in every track. Not to mention the album already left a profound impact and legacy, earning both critical acclaim and commercial success. It’s singles — “vampire” and “bad idea, right?” — showcase Rodrigo’s versatility, ranging from a typical pop ballad melody to a ’90s coming-of-age movie soundtrack, while deeper cuts including “all–american b—” delve into complex themes of womanhood and societal expectations. Critics have hailed GUTS as a contemporary classic, applauding its emotional depth and storytelling prowess. This album solidifies Rodrigo’s position as one of the most captivating and promising artists of our generation, making it deserving of Album of the Year.

SZA’s SOS also emerged as a front-runner contender for this award, captivating listeners with its candid lyricism by delving into themes of love and revenge. Building on the success of her debut album Ctrl, SZA’s sophomore effort showcases a remarkable evolution as an artist, solidifying her position among R&B’s brightest stars. While SZA’s talent is otherworldly, what truly sets her apart is her willingness to lay herself bare, both lyrically and visually. Tracks including “I Hate U” and “Gone Girl” offer listeners a window into SZA’s introspective journey, resonating with authenticity and emotion. Moreover, visually, SOS is a feast for the senses, with striking imagery complimenting the album’s sonic landscape. From the iconic album cover inspired by Diana sitting on a diving board to the mesmerizing visuals of the “Snooze” music video, SZA’s attention to detail and visual storytelling elevate the album to new heights.

SZA’s impact extends beyond the realm of her music as she challenges industry norms and stereotypes. Rejecting the label of solely an R&B artist, she advocates for a broader and more inclusive definition of Black music. Her deliberate choice to challenge music segregation reflects her commitment to authenticity and artistic integrity. SOS soared to the top of the charts, breaking records and earning widespread acclaim. Its enduring popularity speaks to the album’s timeless appeal and its ability to resonate with listeners across genres and generations. From its introspective ballads to its infectious bops, SOS defies easy categorization, offering a rich tapestry of sounds and emotions for listeners to explore. With nine nominations — the most of the night — SZA’s exceptional album certainly deserves more than its singular Grammy win.

While Midnights may not have reached the artistic heights of some of Swift’s previous albums, I can’t deny she had an incredible year. As the Grammys strive to honor excellence in music, the debate over what truly constitutes artistic merit will continue.

In the end, music is subjective; for all I know, KIDZ BOP 2023 could win Album of the Year.