By Hannah Wolke, Digital Communications Manager

The 2025 Grammy Awards brought plenty of exciting moments and standout performances, like the performances from The Weeknd and Chappell Roan. But as with any awards show, there are always a few decisions that spark debate. While the Grammys have long been seen as the pinnacle of musical achievement, not every win always feels the most deserved to everyone. Here’s my take on the winners and whether or not they truly earned their spot in the spotlight. 

According to the Grammys, the Song of the Year category “recognizes the songwriters who composed the song.” To me, this means it’s all about the message behind the track — what is the song saying? If there’s a real story being told, they should win. 

With that in mind, my pick for Song of the Year was Kendrick Lamar’s “Not Like Us,” which did in fact win. I am an avid Kendrick Lamar fan, and I am so glad this song blew up as much as it did.

Upon revisiting the track and diving deep into the lyrics, I could not ignore the level of artistry involved. The rhyme schemes and wordplay are impressive, showcasing his incredible lyricism.

I do think that Chappell Roan’s “Good Luck, Babe!” was very close behind, but the academy went with the Rap God instead of “your favorite artist’s favorite artist.”

For Best New Artist, I struggled to think of who might win because there are so many good contenders. The competition was tight. Chappell Roan was my pick for Best New Artist, with Sabrina Carpenter coming shortly behind and then Doechii, who I adore. 

 Once again, I’m in awe of the artistry behind Roan’s work. “Good Luck, Babe!” is a standout track, but her third-highest rated song, “Pink Pony Club,” is equally amazing.

Roan’s music offers a fresh spin on 80s sounds, taking me back to my childhood when I’d listen to my parents’ old music on the radio stations. She’s able to put a shiny, modern twist on those nostalgic sounds, elevating them to a whole new level that I just can’t get enough of.

I was honestly worried it might go to Shaboozy, because of “A Bar Song (Tipsy),” which is so popular now. I wouldn’t have been mad if Benson Boone won either, but I still think he has a way to go. 

Now, Record of the Year deals with a specific recording of a song and recognizes the artists, producers and engineers who contribute to that recording. With that definition in mind, my pick for this ranking would have either been “Good Luck, Babe!” by Chappell Roan or “Espresso” by Sabrina Carpenter.

Both of my song picks stand out for their artistry and emotional depth. “Good Luck, Babe!” captivates with its 80s synths, catchy pop vibes and her vocals. 

On the other hand, “Espresso” by Sabrina Carpenter also deserves recognition. The energy, the playful-but-complex production and Carpenter’s distinctive vocal performance make it an unforgettable track. Both songs are masterpieces in their own right, each offering a unique, powerful experience for the listener.

I am not going to lie, I also did want “Now and Then” by the Beatles to win because I miss them so much. But I understand that they had their big moment, and the Grammys are intended to recognize modern day tunes and artists. 

Finally, I don’t think it was a bad thing that Beyoncé won Album of the Year. Hear me out. I know the Swifties all wanted “The Tortured Poets Department” and “Brat” fans wanted Charli XCX to give us a Brat year, and in the end, I chose to root for Sabrina’s Album “Short n’ Sweet.” I wanted so badly to root for Roan, but I think she’s too new, which is why Beyoncé won with “Cowboy Carter.”

I believe that Beyoncé won because she took such a pivotal turn in her artistry. She tried a new genre,made it her own and made it very successful, even if some people don’t see that. Blue Ivy was basically her manager when she won that Grammy, hyping her up to get up and go grab it.

The Grammys this year were all about celebrating artists making bold moves and taking big risks. Even if some wins sparked debate, it’s clear that 2024 was a tough year for many, with artists pushing boundaries and stepping up in new ways. Overall, it was a year of growth and fresh energy in the music industry.