By Lauren Holcomb | LTVN Reporter
It’s been one week since this year’s Grammy awards, and as always, the Academy’s decisions have caused uproar. One award in particular has been upsetting for some— Beyoncé’s first-ever Album of the Year, earned for “Cowboy Carter.” Amid the arguments, it can feel ostracizing to agree with what seems like the minority opinion. However, I’m here to say loud and proud that I completely agree with the Academy. “Cowboy Carter” deserved Album of the Year.
However, I do not think it deserved its other big win, Best Country Album. The album pushed the boundaries of the genre and the definition of what country music is. But, that is what makes it stand out against all music — not just country. I do not think the album was solely country, so that award should have gone to a different nominee. If you watched the ceremony, we all saw that this award even shocked Queen Bey.
“Cowboy Carter” was up against seven other incredible albums, and in no way do I want this to come off as me saying those albums are bad. Most of them have made an impact on me as a person, a listener and a young adult in a world where musicians influence our culture.
I have to admit I’ve never heard of André 3000’s “New Blue Sun” or Jacob Collier’s “Djesse Vol. 4.” I respect the artists and applaud their nominations, but I have not heard of anyone upset that they didn’t win.
Chappell Roan’s “The Rise and Fall of a Midwest Princess” was groundbreaking for her career and brought hits that made their way onto my playlists, but its pop nature lacked variety. The same goes for Sabrina Carpenter’s “Short n’ Sweet” and Charli XCX’s “Brat.” These pop princesses owned the charts, but their storytelling was simple and not groundbreaking.
Moving on to the two I heard the most backlash about — Taylor Swift’s “The Tortured Poets Department” and Billie Eilish’s “Hit Me Hard and Soft.” I am not a huge Taylor fan (sorry, Swifties), but I appreciate her music and artistry. Both Swift and Eilish used these albums as personal breakthroughs. They told stories of what they’ve been through, where they want to go and how they see themselves as artists. Their storytelling was unique, but not as universal as an Album of the Year should be.
“Cowboy Carter” has never been done before.
Each song is unique. All 27 sound different and take me on a sonic journey. The flow of one into the next is smooth, and listening to the album from top to bottom is an experience. When I first listened to the album last Easter weekend, I was screaming in my car. I remember sitting in the Walgreens parking lot by my house in Houston, unable to move. It felt like I was at a concert, and that is what makes albums great.
There are two acts inside the album, smoke breaks, transition tracks and guest artists that bring diversity to an already distinctive album. It challenges the very idea of complacency in music. Starting with “AMERIICAN REQUIEM,” she begins the story by saying, “them big ideas are buried here” and “it’s a lot of talkin’ goin’ on, while I sing my song.” She articulates from the top that her take on country music was bound to ruffle feathers, but it was time to take a stand. There’s music for dancing, like “YA YA,” “RIIVERDANCE” and “SWEET ☆ HONEY ☆ BUCKIIN’.” I was in tears listening to “PROTECTOR” and “II MOST WANTED.” We even got to hear from country icons Willie Nelson and Dolly Parton in “DOLLY P” and Beyoncé’s take on “JOLENE.”
This album did exactly what she set out to do — challenge what a genre is and what it should be. It shows that Beyoncé is more than just a pop star — she is a true visionary. She did not say that country should start over or be something completely new, but rather that its depth and history should not be forgotten during an era of change.
There is a reason her popularity has stood the test of time. Yes, she has wealth and immense power, but no amount of money can buy raw talent. She is a performer and truly one of the best creatives of our generation. “Cowboy Carter” is beautifully versed, intriguing, individual and most importantly, the best album of 2024.
And no — put your jokes aside — she did not pay me to say this.
