Predicting the 2025 GRAMMYs.
Firebird staff members take another whack at predicting music’s most infamous award.
artwork by Tanaya Vohra.
With the 67th Annual Grammy Award ceremony quickly approaching, it’s once again time for Firebird to dive into the nominations, discuss our personal picks, and predict which of our favorite artists will take home a gilded gramophone this year.
Album of the Year
New Blue Sun – André 3000
COWBOY CARTER – Beyoncé
Short n' Sweet – Sabrina Carpenter
BRAT – Charli xcx
Djesse Vol. 4 – Jacob Collier
HIT ME HARD AND SOFT – Billie Eilish
Chappell Roan The Rise And Fall Of A Midwest Princess – Chappell Roan
THE TORTURED POETS DEPARTMENT – Taylor Swift
Who will win:
Campbell: HIT ME HARD AND SOFT – Billie Eilish
In just four years, Billie Eilish has won six “Big Four” GRAMMYs (Album of the Year, Song of the Year, Record of the Year, and Best New Artist). Eilish’s track record, coupled with the fact that HIT ME HARD AND SOFT is undeniably innovative, gives her high odds of winning this category. When it comes to her competition, I think it’s unlikely that four-time Album of the Year winner Taylor Swift will bring it home with THE TORTURED POETS DEPARTMENT. And Beyoncé—who notoriously loses Big Four awards—may have lost some votes from previously loyal pop and R&B enthusiasts by submitting a country pop album.
Joseph: New Blue Sun – André 3000
Every three to four years, the GRAMMYs pick someone completely out of left field for Album of the Year (e.g., 2015’s infamous Morning Phase win for Beck, Kacey Musgraves’ underdog victory in 2019, and Jon Batiste’s baffling triumph in 2022). It’s been three years since Batiste’s win, which means it’s about time for the Recording Academy to throw another curveball our way: enter André 3000’s New Blue Sun. For those who are unfamiliar with the 3000’s solo adventures, New Blue Sun is an 87-minute-long project that largely consists of experimental flute music, making it exactly the type of album that could shock everyone with a win. Plus, André 3000 has never won Album of the Year before, so this would be the perfect time to honor the OutKast legend.
Who should win:
Campbell: The Rise and Fall of a Midwest Princess – Chappell Roan
What. An. Album. The Rise and Fall of a Midwest Princess is an outstanding debut from Chappell Roan that should make her a fierce competitor in this category. The songs are catchy, the lyrics are daring, the vocal performances are exceptional, and Dan Nigro’s production is (as expected) spectacular and cohesive. I’m a fan of most of the albums on this list, but this one is definitely my favorite. No skips, all fun. She deserves the win.
Joseph: Nobody
To be quite frank, none of the nominated albums feel AOTY-worthy to me. COWBOY CARTER is the least impactful and least compelling studio album Beyoncé has put out since 2011’s 4. BRAT is a decent 6.5/10 in my book, but the loudest corners of the internet exaggerated its cultural impact. Carpenter and Roan delivered cute and catchy projects, but neither reached the heights of past pop masterpieces. And absolutely no one cared about that Jacob Collier album. Even my personal favorite, THE TORTURED POETS DEPARTMENT, suffered from uninteresting production and some of Swift’s most questionable lyricism to date (plus, if Swift wins again so soon after last year’s Midnights victory, the streets will literally riot).
If I had to pick someone, I’d be content with a win for Miss Knowles, simply because the Recording Academy has been playing in her face for far too long. But overall? This category is one of the weakest AOTY lineups in recent memory, lacking the pizzazz of other iconic AOTY showdowns from the 2020s (e.g., folklore vs. Future Nostalgia in 2021, RENAISSANCE and Un Verano Sin Ti in 2023, and even last year’s Midnights vs. SOS battle). So yeah—if it wasn’t already obvious, 2024 was simply not my favorite year for music.
Who was snubbed:
Campbell: eternal sunshine – Ariana Grande
eternal sunshine is proof that Ariana Grande’s music career is aging like fine wine. This album marks the next step on her journey away from (albeit iconic & beloved) “bubblegum pop” toward a more creative blend of pop, electronic, dance, R&B, and house music. With just two Grammy wins during her career, Grande is no stranger to being snubbed by the Recording Academy. She is part of an elite group of female artists who have secured nine or more number one singles on the Billboard Hot 100 chart. But when it comes to taking home the coveted golden gramophone trophy, Grande is staggeringly underrecognized in comparison to her peers: she beats only Katy Perry, who has never won… perhaps it’s a Max Martin curse. Hopefully Grande kicks off her Oscars era with the recognition she deserves.
Joseph: ORQUÍDEAS – Kali Uchis
Kali Uchis crafted one of the most forward-thinking and sonically rich Latin pop albums of the year, but Uchis has never broken into the Big Four categories. Given the Recording Academy’s track record, I knew her odds of securing an AOTY nod were slim to none, but still, this was one of the most creative projects of 2024—and it deserved far more recognition. As for eternal sunshine, I was never expecting Miss Grande to be nominated (sorry Campbell). The GRAMMYs have a history of prioritizing commercial juggernauts in this category, and given their recent history of snubbing moderately successful pop albums (Lover in 2019, Chromatica in 2020, etc.), along with Grande’s history of being underappreciated in AOTY (with Thank U, Next as her lone nomination), this was never going to be her year.
Record of the Year
"Now and Then" – The Beatles
"TEXAS HOLD 'EM" – Beyoncé
"Espresso" – Sabrina Carpenter
"360" – Charli xcx
"BIRDS OF A FEATHER" – Billie Eilish
"Not Like Us" – Kendrick Lamar
"Good Luck, Babe!" – Chappell Roan
"Fortnight" – Taylor Swift Featuring Post Malone
Who will win:
Campbell: “Espresso” – Sabrina Carpenter
Joseph: “Espresso” – Sabrina Carpenter or “Not Like Us” – Kendrick Lamar
This might be the year Kendrick Lamar finally sweeps. It’s criminal that he’s never won a Big Four Grammy, and “Not Like Us” was, inarguably, one of 2024’s biggest cultural moments—a diss track so scathing it essentially ended Drake’s career. However, if history tells us anything, the GRAMMYs love rewarding the biggest, safest pop hit of the year (e.g., “Bad Guy” in 2020, “About Damn Time” in 2023, “Flowers” in 2024). That gives “Espresso” a very good shot at this award.
Who should win:
Campbell: “Espresso” – Sabrina Carpenter
I don’t think I’ve ever encountered an earworm quite like “Espresso,” and I am not complaining. This song cracked the code on fun, catchy production, and I fell head-over-heels for it. “Espresso” was truly a sensation. At this point, it’s virtually impossible to not know it. I think it encapsulates everything that the Record of the Year should be, and I’m excited to blast it in my room when it takes home the win.
Joseph: “Espresso” – Sabrina Carpenter
I am in complete agreement with Campbell: “Espresso” was inescapable, Carpenter’s massive breakthrough moment, and the ultimate song of the summer. No notes.
Who was snubbed:
Campbell: “We Can’t Be Friends (Wait For Your Love)” – Ariana Grande; “Obsessed” – Olivia Rodrigo; “A Bar Song (Tipsy)” – Shaboozey
“We Can’t Be Friends (Wait For Your Love)” truly shines in its production: the perfect blend of melancholy undertones with classic pop flourishes effectively highlights Grande’s vocals and makes for a great song. I’ll eagerly loop it twenty times in a row, and I’m disappointed that it wasn’t given a chance. When it comes to “Obsessed,” I wasn’t expecting a nomination, but I personally find it impossible to resist a Dan Nigro-produced pop rock song. As a die hard Olivia Rodrigo fan, I’m holding on to hope that “Can’t Catch Me Now” will win the award for Best Song Written for Visual Media. As for “A Bar Song (Tipsy),” I’m still confused as to why it was denied a nomination. Given the list of nominees, I think it would’ve joined “Not Like Us” as a strong contender for victory over “Espresso.”
Joseph: “A Bar Song (Tipsy)” – Shaboozey
I am also extremely confused about the Shaboozey snub. The Recording Academy has consistently nominated the biggest hits of the year in this category, and “A Bar Song (Tipsy)” was a massive crossover success and easily the biggest hit of 2024. It could have easily taken the place of “360” (which didn’t even crack the Top 40) or that Beatles song no one knows about.
Song of the Year
"A Bar Song (Tipsy)" — Shaboozey
"BIRDS OF A FEATHER" — Billie Eilish
"Die With A Smile" — Lady Gaga & Bruno Mars
"Fortnight" — Taylor Swift Featuring Post Malone
"Good Luck, Babe!" — Chappell Roan
"Not Like Us" — Kendrick Lamar
"Please Please Please" — Sabrina Carpenter
"TEXAS HOLD 'EM" — Beyoncé
Who will win:
Campbell: “BIRDS OF A FEATHER” — Billie Eilish
Joseph: “BIRDS OF A FEATHER” — Billie Eilish
The GRAMMYs love Billie Eilish, and at this point, handing her a Song of the Year trophy is practically muscle memory. “BIRDS OF A FEATHER” checks every box they gravitate toward—accessible songwriting, strong melodies, and just enough “artsy” production to make voters feel like they’re making a sophisticated choice. It’s also one of the year’s most commercially and critically successful tracks, making it the safest and most predictable choice for the win.
Who should win:
Campbell: “BIRDS OF A FEATHER” — Billie Eilish
Amidst its competitors, “BIRDS OF A FEATHER” stands out as having singularly refined and intentional songwriting; it’s a perfect fit for this category. The melody is intricate, the lyrics are peculiar, and the track was able to achieve commercial success. Since its release in July, it’s been nearly impossible to turn on a radio or go to the grocery store without hearing that oh-so-catchy theremin riff. Does Eilish need another Song of the Year win? No; she already has two. Does she deserve it? Yes; releasing such a big hit just one year after “What Was I Made For?” is unprecedented and deeply impressive. I’m having a hard time envisioning any of the other nominees taking home this award.
Joseph: “Not Like Us” — Kendrick Lamar
Few songs in recent memory have weaponized lyricism as effectively and ruthlessly as “Not Like Us.” In just under five minutes, Lamar eviscerates his opponent with a series of cutting, deeply personal bars that feel as calculated as they are effortless. Beyond its lyricism though, “Not Like Us” also became a cultural phenomenon—a track with an instantly recognizable chorus and an infectious West Coast beat that transcended the feud that inspired it. By all measures, “Not Like Us” is 2024’s Song of the Year.
However, the GRAMMYs have a long history of overlooking rap in this category. And while a win for Lamar would be historic, it’s more likely that the Academy will default to the safer, more voter-friendly choice, awarding Eilish her third Song of the Year trophy before Lamar wins his first.
Who was snubbed:
Campbell: “I Love You, I’m Sorry” – Gracie Abrams
What can I say? This song was my top track of 2024. Abrams has had a breakthrough year, and much of her success is due to her songwriting prowess. “I Love You, I’m Sorry” is some of her strongest work, both lyrically and melodically (I mean, who could resist that bridge?). She deserved a nomination.
Joseph: “We Can’t Be Friends (Wait For Your Love)” – Ariana Grande
Ariana Grande’s songwriting has progressed immensely over the years, and “We Can’t Be Friends (Wait For Your Love)” is one of the most technically strong and emotionally resonant pieces she has ever released. Although I was never expecting Grande to sweep the nominations this year, “We Can’t Be Friends” was, undoubtedly, a stand-out in 2024 and deserved some recognition.
Best New Artist
Benson Boone
Sabrina Carpenter
Doechii
Khruangbin
Raye
Chappell Roan
Shaboozey
Teddy Swims
Who will win:
Campbell: Raye
Raye might seem like a rogue choice given my pop-dominated taste and the fact that Chappell Roan and Sabrina Carpenter have been heralded as the frontrunners in this category. Following Chappell Roan’s assertions that she does not want to win a Grammy, I’m skeptical that she’s going to take home one of the Big Four awards. Raye is serious about her artistry and performance, she’s nominated for Songwriter of the Year, and she’s achieved solid commercial success—she shouldn’t be underestimated in this category, and I think she could pull it off.
Joseph: Chappell Roan
Chappell Roan fits the exact mold of what the GRAMMYs love in this category—a bold, genre-defying artist with a distinct identity and a rapidly growing fanbase. Her performances are theatrical, her songwriting is sharp and witty, and she has just the right amount of industry credibility to make her feel like “your favorite artist’s favorite artist.” While Sabrina Carpenter had the biggest breakout year commercially, the GRAMMYs often lean toward artistry over chart dominance in this category (see: recent wins for Samara Joy, Victoria Monét, and even Billie Eilish over Lil Nas X). Roan has the kind of unique persona and narrative that makes for an easy winner here.
Who should win:
Campbell: Chappell Roan
What we really need is a Femininomenon. Chappell Roan’s success and creativity are impossible to disregard. The uniqueness of her performances and the success of her album should absolutely earn her the win over the other artists in this category. No matter how long it took for audiences to realize it: no one does innovation & individuality like Chappell Roan.
Joseph: Sabrina Carpenter
Sabrina Carpenter had the biggest year out of any of these nominees. While some have tried to cry category fraud, she meets the GRAMMYs’ own eligibility guidelines, and her success this year was too massive to ignore. She put in the work, delivered hit after hit, and went from a former Disney star with a cult following to a legitimate global pop superstar.
That said, I won’t pretend my pick isn’t influenced by personal bias—I’ve followed her career since the release of 2018’s Singular Act I, and seeing her finally break through on such a massive scale makes me root for her even more. But objectively, Chappell Roan is the safest bet for a Grammy win. Doechii would’ve been better suited for next year’s cycle given her more recent surge, and Raye has also put in the work for years, encountering years of label disputes before making a massive comeback. If any of them took Best New Artist, it would be well deserved.
Who was snubbed:
Campbell: Reneé Rapp
The fact that Rapp wasn’t submitted for any other categories is evidence enough that 2024 wasn’t her year. She wouldn’t have won this award if she had been nominated. Still, she’s positioned herself as a promising artist (and vocal powerhouse) with potential to win a Grammy in the future—for those reasons, I think she should’ve been rewarded with a nomination in this category.
Joseph: Sexyy Red
Sexyy Red was one of the most recognizable breakout stars of 2024. A nomination wouldn’t have been shocking, and, honestly, she deserved one after her massive year.
Best Pop Solo Performance
"BODYGUARD" — Beyoncé
"Espresso" — Sabrina Carpenter
"Apple" — Charli xcx
"BIRDS OF A FEATHER" — Billie Eilish
"Good Luck, Babe!" — Chappell Roan
Who will win:
Campbell: “Good Luck, Babe!” — Chappell Roan
Joseph: “Espresso” — Sabrina Carpenter
Who should win:
Campbell: “Good Luck, Babe!” — Chappell Roan
I love all five songs nominated in this category, but I honestly don’t think Chappell Roan has any competition. The chorus of “Good Luck, Babe!” has such a unique melody that’s so technically demanding—giving this award to anyone else would be criminal.
Joseph: “Espresso” — Sabrina Carpenter
If Sabrina Carpenter is going to win a Grammy this year, I think her best shot is with Best Pop Solo Performance. “Espresso” was a commercial and cultural juggernaut—dominating streaming, radio, and TikTok while maintaining critical praise for its tongue-in-cheek lyricism and playful delivery. That being said, “BIRDS OF A FEATHER” could easily sneak the win in this category. As I’ve said time and time again, the GRAMMYs love Billie Eilish, and if they don’t give her Song of the Year, they might use this category to compensate. But as it stands, “Espresso” feels like the most inevitable winner here.
Who was snubbed:
Campbell: “Murder on the Dancefloor” — Sophie Ellis-Bextor
Envision yourself at a party. “Murder on the Dancefloor” comes blasting over the speakers. Everyone around you B-lines to the dance floor and belts out every word. This song is an instant classic. Honestly, it probably should’ve been nominated for Record of the Year, too. With no nominations, Sophie Ellis-Bextor might hold the title for biggest snub of the 2025 GRAMMYs.
Joseph: “Houdini” — Dua Lipa
“Houdini” is Dua Lipa at her most sleek and confident, and in my opinion, it might actually be the best song in her discography (coming close to 2020’s “Physical”). Kevin Parker’s psychedelic pop production makes “Houdini” the perfect track for strobe-lit clubs and late-night euphoria. And while gay Twitter refuses to shut up about Charli xcx and her party girl anthems, “Houdini” is the true gay “club classic” of this Grammy eligibility period.
Best Pop Duo or Group Performance
"us." — Gracie Abrams Featuring Taylor Swift
"LEVII'S JEANS" — Beyoncé Featuring Post Malone
"Guess" — Charli xcx & Billie Eilish
"the boy is mine" — Ariana Grande, Brandy & Monica
"Die With A Smile" — Lady Gaga & Bruno Mars
Who will win:
Campbell: “Die With A Smile” — Lady Gaga & Bruno Mars
Lady Gaga and Bruno Mars are the darlings of the Recording Academy. Gaga has 13 wins and 38 nominations, Mars has 15 wins and 33 nominations. This duo is the shoe-in for taking home the hardware this year. I agree, the song is great, but “Die With A Smile” is to me what “BIRDS OF A FEATHER” is to Joseph…a boring and predictable win.
Joseph: “Die With A Smile” — Lady Gaga & Bruno Mars
Who should win:
Campbell: “us.” — Gracie Abrams Featuring Taylor Swift
I’m an avid fan of Taylor Swift and Gracie Abrams, but I’ll admit it: I had to listen to this song a few times before I started to really enjoy it. Now that I’ve been enlightened, I think “us.” is a feat of lyrical genius. As expected, Swift and Abrams wrote an exceptional bridge, and their voices complement each other seamlessly. It doesn’t hurt that Aaron Dessner and Jack Antonoff killed it with the production. I also hold a profound affinity for The Secret of Us (refer to my AOTY blurb), and I would love to see Abrams take home her first Grammy.
Joseph: “Die With A Smile” — Lady Gaga & Bruno Mars
“Die With A Smile” is easily the safest pick in this category. Bruno Mars has not lost a single Grammy nomination since 2014, amassing 13 wins in the past decade. Combine that with Lady Gaga’s track record as a Grammy favorite, and this win feels like a foregone conclusion. Although my passion pick would be Abrams and Swift’s underrated duet “us.”, “Die With A Smile” had the most impact on listeners across the globe, so it probably deserves this award too.
Who was snubbed:
Campbell: Nobody
The only people who came close were LISA and Rosalía. While Rosalía is easily a top five artist for me, and I would love to advocate for her, I think “New Woman” was accurately excluded from this category.
Joseph: “Fortnight” — Taylor Swift Featuring Post Malone; “New Woman” — LISA Featuring Rosalía
If the GRAMMYs allowed more than one submission per artist in this category, “Fortnight” would have almost certainly been nominated, and Swift and Post Malone would have had this in the bag. Instead, we’re left with “LEVII'S JEANS” taking up a spot, and…yeah. I’d also like to shout-out LISA and Rosalía’s “New Woman”—an unexpected collaboration that, coupled with Max Martin’s electro-pop production, became one of my favorite tracks of 2024.
Best Pop Vocal Album
Short n' Sweet — Sabrina Carpenter
HIT ME HARD AND SOFT — Billie Eilish
eternal sunshine — Ariana Grande
The Rise And Fall Of A Midwest Princess — Chappell Roan
THE TORTURED POETS DEPARTMENT — Taylor Swift
Who will win:
Campbell: The Rise And Fall Of A Midwest Princess — Chappell Roan
Joseph: HIT ME HARD AND SOFT — Billie Eilish
Who should win:
Campbell: The Rise And Fall Of A Midwest Princess — Chappell Roan
We all know where I stand on Chappell Roan at this point. I don’t think she’s winning a Big Four award, but I think she deserves to go home with a few trophies. While Eilish and Carpenter are strong contenders, Roan definitely deserves the win, especially for her vocal performances. As I’m clearly also an eternal sunshine fan, I don’t think Grande will win, because she’s up against four Album of the Year nominees.
Joseph: HIT ME HARD AND SOFT — Billie Eilish
This feels like Billie Eilish’s best chance at winning a Grammy this year. Even if “BIRDS OF A FEATHER” doesn’t take Song of the Year and HIT ME HARD AND SOFT misses Album of the Year, the Academy is still highly unlikely to send Eilish home empty-handed. While THE TORTURED POETS DEPARTMENT was my most-streamed album of the bunch (by a long shot), I can set aside my Swiftie bias and acknowledge that Eilish released the most innovative and cohesive project here. The album is expertly produced, perfectly succinct, and easily Eilish’s strongest work to date.
Who was snubbed:
Campbell: The Secret of Us — Gracie Abrams
The Secret of Us was my favorite album of 2024. I approached Gracie Abrams’ music with such negative skepticism…and boy, did she change my mind. From songwriting to production to performance, The Secret of Us knocked it out of the park. While she might not be ready for an Album of the Year nomination (though she absolutely would’ve won it if I ran the Recording Academy), Abrams only continues to improve when it comes to performance, and I’m excited to see what her future holds at the GRAMMYs.
Joseph: The Secret of Us — Gracie Abrams
Gracie Abrams completely snuck up on me this year. Like Campbell, I was initially skeptical, but The Secret of Us kept pulling me back in, and before I knew it, I was revisiting it more than some of the year’s biggest pop powerhouses (*cough* *cough* every album in the AOTY category except TORTURED POETS). The album is emotionally intricate, lyrically compelling, and surprisingly replayable. I even ranked it #2 on my Album of the Year list, so I firmly believe it deserved a spot in this category.
Best Dance Pop Recording
"Make You Mine" — Madison Beer
"Von dutch" — Charli xcx
"L’AMOUR DE MA VIE [OVER NOW EXTENDED EDIT]" — Billie Eilish
"yes, and?" — Ariana Grande
"Got Me Started" — Troye Sivan
Who will win:
Campbell: “Von dutch” — Charli xcx
Given the cultural impact of BRAT, there’s no way the GRAMMYs are sending Charli xcx home empty handed. She deserves to enjoy her reign as the queen of club pop, and “Von dutch” is an exciting submission for this category.
Joseph: “Von dutch” — Charli xcx
I am in complete agreement with Campbell. Although Charli xcx’s chances of a win in the Big Four categories are up in the air, the GRAMMYs will almost certainly reward her somewhere—and Best Dance Pop Recording is one of the most logical places to do so. After years of being overlooked, Charli xcx finally seems poised to get her due recognition.
Who should win:
Campbell: “yes, and?” — Ariana Grande
I wholeheartedly believe that Ariana Grande should win at least one Grammy for eternal sunshine, but I fear she may go home with no wins. “yes, and?” feels like a plausible victor for this category—it’s such a fun song, and I think it embodies dance pop. I just don’t think she can beat Charli xcx.
Joseph: “Make You Mine” — Madison Beer
Madison Beer landing a nomination here was unexpected, but completely deserved. If the GRAMMYs want to reward pure, polished pop excellence, this would be the right choice—Beer killed it.
Who was snubbed:
Campbell: “Houdini” or “Illusion” or “Training Season” — Dua Lipa
Oddly enough, Dua Lipa didn’t submit any songs for this category…and she didn’t get any nominations this year. I think “Houdini,” “Illusion,” and “Training Season” each could’ve beaten out Troye Sivan or Madison Beer (sorry, Joseph) to at least earn Lipa a nomination.
Joseph: “Heat” — Tove Lo & SG Lewis
Tove Lo remains one of the most underrated pop artists working today, and “Heat” was a flawlessly executed dance-pop collaboration. The fact that she’s still without a Grammy win is criminal. The GRAMMYs clearly couldn’t “take the heat.”
Best Music Video
"Tailor Swif" — A$AP Rocky
"360" — Charli xcx
"Houdini" — Eminem
"Not Like Us" — Kendrick Lamar
"Fortnight" — Taylor Swift Featuring Post Malone
Who will win:
Campbell: “Not Like Us” — Kendrick Lamar or “Fortnight” — Taylor Swift Featuring Post Malone
This category is such a tossup for me. Lamar and Swift are both Recording Academy favorites, and I can envision either one of them winning. Both music videos are compelling, and I think they both earned a good chance at victory.
Joseph: “Not Like Us” — Kendrick Lamar or “Fortnight” — Taylor Swift Featuring Post Malone
Who should win:
Campbell: “Fortnight” — Taylor Swift Featuring Post Malone
I think “Fortnight” is one of Swift’s best music videos (second only to “All Too Well: The Short Film” in my book). Given its complex cinematography, “Fortnight” ekes out above “Not Like Us” for me. As a Swiftie, I was somewhat disappointed by THE TORTURED POETS DEPARTMENT, but I also find it hard to imagine that Swift will lose every award she’s nominated for this year. If she wins anything, it’s going to be Best Music Video.
Joseph: “Not Like Us” — Kendrick Lamar or “Fortnight” — Taylor Swift Featuring Post Malone
Both videos excel in different areas of visual expertise and would be deserving winners. The “Not Like Us” video was a cultural moment, pairing razor-sharp lyricism with striking, symbolic imagery, while “Fortnight” showcased high-concept cinematography, with Swift enlisting Oscar-nominated cinematographer Rodrigo Prieto. It all depends on what the Academy values more—visual storytelling with a cultural pulse (Lamar) or polished, filmic ambition (Swift).
Who was snubbed:
Campbell: “Taste” – Sabrina Carpenter
Sabrina Carpenter should’ve submitted this video for consideration. It’s campy, it’s exciting, it’s creative, it’s violent, and it’s far more interesting than the video she submitted, “Please, Please, Please.”
Joseph: “Taste” – Sabrina Carpenter
Campbell summed it up perfectly. “Taste” was camp, cunty, and an entertaining watch, making it extremely worthy of a nomination.
And that’s it! The 2025 Grammy Awards Ceremony airs at 8pm ET / 7pm CT on CBS on Sunday, February 2nd. Tune in to find out how well we did with our predictions, and we wish the best of luck to your favorite musicians!
edited by Joseph Mooney, Editor-in-Chief, & Campbell Conard.
artwork by Tanaya Vohra.