As a Swiftie, I’m not so enthused with the Academy.
What Midnights’ win means for the Grammys and Swift’s other Album of the Year victories.
collage by Camille Cypher; photo credits: top left, Kevin Winter/Getty Images; top right, Jeff Kravitz/Filmmagic; bottom left, Kevin Winter; bottom right, Kevin Winter/Getty Images for the Recording Academy.
I’ve loved Taylor Swift since I was seven years old. I dressed up as the Fearless and Red album covers for two separate Halloweens. When Folklore won album of the year, I ran circles around my house and celebrated with my mother, an equally massive Swiftie who will likely be confused by my writing of this article. But when The Record, SOS, GUTS, and Did You Know That There’s a Tunnel Under Ocean Blvd lost to Swift’s now fourth Album of the Year (AOTY) Midnights, I was reminded that The Grammys are not always about the music.
When placed against Swift’s other AOTYs—Fearless, 1989, and Folklore—Midnights is certainly an equally record-breaking feat, but not an artistic equivalent. Fearless propelled country to the mainstream in a cohesive and thrilling retelling of youth. 1989 reshaped pop. Folklore was a gift during quarantine, representing Swift’s storytelling and poetic abilities at their best. But when I think about Midnights, I think about Swift’s year of success, but can’t quite articulate what Midnights does artistically that distinguishes itself from its competitors in the category. Midnights is a standout point in Swift’s career, paired with a record-breaking tour that shattered fame ceilings no one could have imagined. As an artist with massive cultural and professional significance, Swift was certainly a winner this year. But as a work of art, Midnights is not my pick for AOTY. Though one does not necessarily dampen the other, determining AOTY based on the artist instead of their art significantly impacts the actual value of awards.
And maybe I’m just upset that my personal favorite, The Record, didn’t win. But where I felt like Midnights was a good album, The Record felt like a work of art that should be studied and honored for its harmonious story-telling, lyrical intensity, and collaboration that represents the best of the music industry. And that’s not even considering the other brilliant nominees. SOS delivered something unique and empowering song after song, and the album itself was at the top of the Billboard 200 longer than any of its competitors. GUTS masterfully represented the chaos of being a 20-year-old woman without taking itself too seriously. With Did you know that there’s a tunnel under Ocean Blvd, Lana Del Rey found an instrumental palette that highlighted her maturity as a vocalist and lyricist.
And yet, at a time when Swift is quite possibly the biggest name out there, the results felt imminent. Even Firebird’s own Joseph Mooney and Kristen Wallace predicted Swift’s win, citing the Grammys’ low ratings and the need for a “high profile, record-breaking” win. But such a reputation that “profile” reigns over artistry for the AOTY is neither beneficial for the committee nor Swift, despite helping the Grammys’ numbers and Swift’s prowess as a public figure in the short run. After all, in the long run, the win degrades the Recording Academy’s integrity and does a disservice to Swift’s albums that have previously won for their artistry. AOTY no longer feels like an honor but rather an advertising tool for the Grammys, as many a reputable publication will write about how Swift has now broken the record for AOTY awards. For the Academy to choose Midnights over innovative, masterfully composed albums like SOS or The Record is to use Swift’s popularity as a tool to boost ratings. It is a concession that some factors are more important than others, redefining the award’s significance, and diluting Swift’s artistry, previous AOTY wins, and genuine ability to distinguish herself among top artists.
I’m in no way saying to stop giving Swift awards that are just another drop in the bucket—though it bears mentioning that this was one argument levied against Beyoncé last year by some Academy voters—because Swift has masterfully built an empire, often without sacrificing her artistry. Instead, I’m saying give Swift her fourth AOTY for an album that deserves it and stands its ground against her others, something she is more than capable of doing: it might just come in the form of The Tortured Poets Department.
Midnights is an album that I indulge in often. Even now as I’m listening again to confirm my opinions, I’m jamming along. But when placed against its competitors, Midnights’ win changes my understanding of the AOTY. In other words, I understand why Swift won, but not why Midnights won. With its win comes a downgrade in The Academy’s reputability as an institution that judges art and crowns albums like Fearless, 1989, and Folklore.
edited by Kristen Wallace.
collage by Camille Cypher.
photo credits proceed as follows: top left, Kevin Winter/Getty Images; top right, Jeff Kravitz/Filmmagic; bottom left, Kevin Winter; bottom right, Kevin Winter/Getty Images for the Recording Academy.