By Madison Kwo and Lily Stern
Awards season is always divisive, but perhaps never as much as during the Grammys. Everyone listens to music — but not everyone’s music is recognized. Luckily for us at pillbox, many of our favorites got their nods on Feb. 4. Here’s our take on the main awards.
Big Four
Record of the Year
Lily: I’d pick “Kill Bill.” SZA deserved so much recognition for that song and her album. As this award recognizes a track’s actual recording, she more than earned it with her vocal performance.
Madison: “Kill Bill” has the unique distinction of being a song that was everywhere but never annoying (at least to me). The production and SZA’s voice are a perfect storm, making the track an incredible listen.
Album of the Year
Lily: “SOS” by SZA. Period. Crazy length yet stunning cohesion, popular all year, had several hits, and more. It was a category where most nominees could’ve won, but “SOS” outclassed.
Madison: I was shocked that “Midnights” won over “SOS.” “Midnights” was good, but I think it fades into the background even in Taylor’s own discography. Among the stacked competition, I don’t think it was strong enough to win.
Song of the Year
Lily: It has to be “What Was I Made For?” The lyrics and themes were absolutely on par and the song was inescapable this summer. If I’m being honest, I don’t know if there was another option that could have won.
Madison: Most of these songs are enjoyable, but few compare to “What Was I Made For?” I know multiple people who sobbed hearing this song in theaters. I wonder if it would’ve gotten the same level of attention if it hadn’t been attached to “Barbie,” but the writing is impeccable regardless.
Best New Artist
Lily: Deserving winner! I love Victoria Monét. She’s a fantastic singer-songwriter and performer, and I hope she has more (long overdue) recognition. However, I’m a bigger fan of Noah Kahan. He had a massive breakout in 2023, so I would pick him instead. Still, both have been around for so long that I’m questioning the Academy’s definition of a “new artist.”
Madison: The category recognizes artists who had a breakthrough year and “impacted the musical landscape.” Monét certainly deserves the acclaim, but I think Kahan might fit the description slightly better. Kahan had a huge role in bringing folk music back to popularity. But they’ve both been in the industry for years, so maybe the category just needs to be reworked.
BONUS
Best Producer
Lily: Even if Jack Antonoff is oversaturated in the pop industry, it’s because he’s good. Even his mediocre work generates hits. He has a distinct solo career and experiments a lot sonically with his work outside of female pop/indie too, so I’d say he’s deserving.
Madison: Many people complain about Jack Antonoff’s excessive signature synth, but he was the main producer on two of the Album of the Year nominees — it’s got to be him. I’ll also extend an honorary mention to Daniel Nigro for his work on Chappell Roan, Olivia Rodrigo, and Caroline Polachek’s music this year. I love a good pop girlie album.
Leave a Reply