The Grammy Awards ceremony is less than three days away, and the Internet is ablaze with speculation as music journalists the world over place their bets on which of five established, commercially viable pop sensations made the music industry the most money in the past year. I jest, in part. Awards season often serves as an effective, if at times inflammatory, barometer of the public\u2019s current disposition towards larger music trends; not because of the actual nominees and winners, but because of the reactions of avid music fans and critics during the post-awards online aftermath. Rather than brave the inevitable war zone that will be the comments section of your preferred ceremony-viewing platform, you can get all the Grammy complaints you\u2019ll ever need right here in the Bottom Line. While I do believe that this year has the potential of being one of the more exciting awards seasons in recent history thanks to the heated competition between 1989 and To Pimp A Butterfly – seven and eleven nominations each, respectively – it also has a greater than average chance of falling flat on its face. Hey, if you can\u2019t stop a train wreck, you may as well slow down and enjoy it, right?<\/p>\n
A quick aside about the names of the categories before we get started, as this information might be key to understanding what the awards are actually recognizing, and the titles of the awards are unintuitive to say the least. A category for Best Song is recognizing the structure and songwriting on a particular track, and doesn\u2019t necessarily relate directly to the actual recording of the song. Best Album recognizes the best complete LP\u2019s in a specific genre. Best Record recognizes the personnel behind the recording of a particular track, not entire albums; in a way it is the counterpart to Best Song that focuses more on the technical aspect of tracks. Best Performance categories are basically Song and Record put together. Got it? No? That\u2019s okay, the Academy doesn\u2019t either.<\/p>\n
Rock and Metal
\nIt\u2019s no secret that the Grammy Awards have no clue how to organize their music categories. Although any attempt to organize or quantify the vast dimensions of \u201cmetal\u201d and \u201calternative,\u201d and especially the ever-nebulous \u201crock,\u201d would only serve to draw more ire towards the Academy for their lack of familiarity with the grand scheme of the music world, I don\u2019t think it\u2019s a stretch to argue that maybe an organization whose goal is to recognize the best musical efforts of the year should at least make some effort to actually listen to more music. Rather than expand the rock section and trim some of the fat in the earlier awards – sorry, Best Boxed or Special Limited Edition Package – the Academy would prefer for us to live in a world where Slipknot is nominated for Best Rock Album alongside Muse and Death Cab For Cutie. Anyway, on to the predictions:<\/p>\n
Best Rock Performance
\nWho Will Win: Alabama Shakes – \u201cDon\u2019t Wanna Fight\u201d
\nWho Should Win: Alabama Shakes – \u201cDon\u2019t Wanna Fight\u201d
\nWhile I wasn\u2019t the biggest fan of Sound and Color, the sophomore LP by Southern-ish rock darlings Alabama Shakes, it does deserve to win this category based on the quality of the instrumental structure, the production quality and use of classic rock grit alongside sleek modern techniques, and its sheer catchy swagger. It\u2019s like if Wolfmother and the Black Keys teamed up to explore their slightly psychedelic side together as one.<\/p>\n
Best Metal Performance<\/p>\n
Who Will Win: Lamb of God – \u201c512\u201d
\nWho Should Win: Ghost – \u201cCirice\u201d
\nGhost dropped one of the most important metal releases from 2015 with Meliora, a gloomy yet glamorous LP that cemented Ghost as one of the preeminent metal forces of their time. Rather than forgo their occultist imagery to capitalize on their newfound fame, Ghost have expanded on it; their third album is perhaps the most technically advanced and straight-up fun record the band has released to date. That being the case, I think there\u2019s a good chance that the Academy will choose to pretend it\u2019s ten years ago and pick Lamb of God instead.
\nWho Should Have Been Nominated: Deafheaven – \u201cBrought to the Water\u201d
\nI realize it came out two days after the September 30th cutoff for nominees, but this recording was an absolute masterpiece and deserves the recognition, and will most likely have lost its momentum by the time the next ceremony happens. Shame.<\/p>\n
Best Rock Song<\/p>\n
Who Will Win: Alabama Shakes – \u201cDon\u2019t Wanna Fight\u201d
\nWho Should Win: Elle King – \u201cEx\u2019s & Oh\u2019s\u201d
\nI know I said Alabama Shakes should win the performance version of this category, but Best Rock Song is, on paper, devoted to best songwriting. With that in mind, the biggest strength of \u201cDon\u2019t Wanna Fight\u201d is its top-notch production; as a whole package Alabama Shakes have this category locked down, but dealing only with the merits of the songwriters, Elle King wins out.<\/p>\n
Best Rock Album<\/p>\n
Who Will Win: Death Cab for Cutie – Kintsugi, OR Muse – Drones
\nWho Should Win: Nobody
\nNone of the bands in this category best represent rock music in 2015, but if I had to choose, Death Cab For Cutie has an edge in this one. Slipknot possibly has a chance if they decide to play it fast and loose with what \u201crock\u201d means. Matchups like this – Slipknot being nominated alongside Muse – are why we need major category reform next year.<\/p>\n
Best Alternative Album
\nWho Will Win: Wilco \u2013 Star Wars
\nWho Should Win: Tame Impala \u2013 Currents
\nAlthough Wilco may have had the more consistent overall album, Tame Impala deserves to win by virtue of knowing how best to capitalize on their strengths; excellent songwriting coupled with first-class production, featuring thick, punchy effects and reverb-soaked riffs that don\u2019t overstay their welcome, Tame Impala haven\u2019t just changed their formula with Currents, they\u2019ve elevated it.
\nWho Should Have Been Nominated: The Front Bottoms \u2013 Back on Top
\nI have a soft spot for this album, and seeing it nominated would have put a smile on my face. This LP just didn\u2019t have enough momentum behind it to get it a nomination in the only category that would have made sense.<\/p>\n
Rap<\/p>\n
Best Rap Performance
\nWho Will Win: Kanye West – \u201cAll Day\u201d
\nWho Should Win: Kendrick Lamar – \u201cAlright\u201d
\nThis is going to be a situation similar to the Shakes v. King face-off in the rock categories; while Kendrick\u2019s is definitely the better song overall, Yeezy\u2019s track is assisted on its way to greatness by performances by Theophilus London, Allan Kingdom, and the immortal Paul McCartney. Fetty Wap is a strong dark horse candidate with \u201cTrap Queen,\u201d and may yet win this category if the stars align.<\/p>\n
Best Rap Song
\nWho Will Win: Kendrick Lamar – \u201cAlright,\u201d OR \u201cTrap Queen\u201d by Fetty Wap if they\u2019ve got moxie.
\nWho Should Win: Kendrick Lamar – \u201cAlright\u201d
\nCome on, you know it\u2019s gonna be Kendrick. Don\u2019t play that game. He\u2019s hot off the release of the most important rap album of the decade so far and is top contender to take home the coveted Album of the Year. I\u2019m all for variety and would hate to see every award go to the same person, but I\u2019d also hate to see credit not be given where it\u2019s due, and oh my goodness is credit due.<\/p>\n
Best Rap Album
\nWho Will Win: Kendrick Lamar – To Pimp a Butterfly
\nWho Should Win: Kendrick Lamar – To Pimp a Butterfly
\nKendrick has succeeded in raising the standards of storytelling, production, and songwriting in the rap community to unanticipated heights, some would argue for the second time in his career so far after the genius good kid, m.A.A.d. city. This one is a no-brainer.
\nWho Should Have Been Nominated: Hamilton – The Original Cast Recording of the Broadway Musical
\nEven though we all know it wouldn\u2019t win, Hamilton was an incredible journey through history as told through the eyes of one of the most pivotal figures of the American Revolution. It\u2019s a transcendental album that crosses genres and blazes its own trail, and it deserves a nomination beyond Best Musical Theater Album.<\/p>\n
Pop<\/p>\n
Best Pop Solo Performance
\nWho Will Win: Taylor Swift – \u201cBlank Space\u201d
\nWho Should Win: The Weeknd – \u201cCan\u2019t Feel My Face\u201d
\nLet\u2019s be real for a second; we all know T-Swift is going to dominate the pop categories, but hear me out. \u201cCan\u2019t Feel My Face\u201d is one of probably three or four songs on Beauty Behind the Madness that isn\u2019t completely asinine, and I would argue that it\u2019s a better song than \u201cBlank Spaces,\u201d and much of that hinges on The Weeknd\u2019s fantastic vocal performance on this song. Based on that and the excellent production at play here, The Weeknd has my grudging vote.<\/p>\n
Best Pop Duo\/Group Performance<\/p>\n
Who Will Win: Mark Ronson ft. Bruno Mars – \u201cUptown Funk\u201d<\/p>\n
Who Should Win: Taylor Swift ft. Kendrick Lamar – \u201cBad Blood\u201d<\/p>\n
It\u2019s undeniable that \u201cUptown Funk\u201d is the fan-favorite to win this category, but for the sake of a memorable narrative in which T-Swift and Kendrick set aside their differences to destroy Wiz Khalifa\u2019s already-meager chances at winning, I saw we give it to them.<\/p>\n
Best Pop Vocal Album<\/p>\n
Who Will Win: Taylor Swift – 1989<\/p>\n
Who Should Win: Taylor Swift – 1989, OR Mark Ronson – Uptown Special<\/p>\n
Any other year, Mark Ronson would probably have this one in the bag. Sorry buddy, but you made the mistake of going up against Taylor Swift, Destroyer of Charts. Based on everything from production to performance, spirit to danceability, 1989 is just the better album, and it wish it didn\u2019t have to be that way.<\/p>\n
Big Four Categories<\/p>\n
Best New Artist<\/p>\n
Who Will Win: Meghan Trainor<\/p>\n
Who Should Win: Courtney Barnett<\/p>\n
Realistically, Meghan Trainor is the best choice for this one. She has the most hype and commercial viability surrounding her, but it doesn\u2019t feel right giving this award out when indie favorite Courtney Barnett had a much stronger breakout release this year. Not only was Barnett\u2019s soulful debut an emotional delight to listen to, but it is also legitimately her first album; the same cannot be said for Trainor, who has had three so far in her career. Based on her meteoric rise to the top, Trainor has an advantage, but for the sake of hipster cred and better responses from the alternative crowd they might give it to Barnett.<\/p>\n
Record of the Year<\/p>\n
Who Will Win: Taylor Swift \u2013 \u201cBlank Space\u201d<\/p>\n
Who Should Win: Kendrick Lamar \u2013 \u201cAlright\u201d<\/p>\n
I\u2019m really surprised Alabama Shakes isn\u2019t nominated in this category; their technical proficiency and studio savvy are usually the group\u2019s chief strength on Sound and Color. Nevertheless, it will be an absolute travesty if \u201cAlright\u201d doesn\u2019t take this one home, seeing how To Pimp A Butterfly turned rap production on its head last year. That said, I\u2019m predicting either T-Swift or dark horse D\u2019Angelo and the Vanguard if they\u2019re feeling particularly snub-happy.<\/p>\n
Song of the Year<\/p>\n
Who Will Win: Ed Sheeran \u2013 \u201cThinking Out Loud\u201d<\/p>\n
Who Should Win: Taylor Swift \u2013 \u201cBlank Space\u201d<\/p>\n
I know, right? I honestly think Taylor Swift has a better song on her hands here, but the Academy have a propensity for recognizing adorably emotional singer-songwriter types like Ed Sheeran over the logical choice. If there is any justice, T-Swift will prevail; \u201cBlank Space\u201d is by far the most recognized and lauded pop performance of the year, and with the amount of overlap in the Swift\/Sheeran fanbases it only makes sense for Swift to win out. Lest we forget though, Metallica lost Best Hard Rock\/Metal Album the year \u2026And Justice for All came out. The world isn\u2019t always fair, and the Grammy Awards are no exception.<\/p>\n
Album of the Year<\/p>\n
Who Will Win: Kendrick Lamar \u2013 To Pimp A Butterfly<\/p>\n
Who Should Win: Kendrick Lamar \u2013 To Pimp A Butterfly<\/p>\n
In the interest of securing the safety of my fellow Bottom Line writers, I would like to note that this is not our publication\u2019s official stance on the Swift v. Lamar issue. While 1989 will be remembered as a pivotal moment in pop music history, To Pimp A Butterfly represents a genre coming into its own again after a long period of awards-season dormancy. The days of genres wax and wane, and for the first time in nearly a decade a true rap album is nominated for album of the year and actually stands a chance at winning. I won\u2019t be upset if Taylor wins; she definitely deserves it based on the strength and consistency of 1989, not just from a technical standpoint but from a songwriting perspective as well, and she had the strongest commercial showing of any album in 2015. To go back to a similar point made earlier in this article, in any other year Taylor would have this one, no questions asked. But, this is the real world, and To Pimp A Butterfly is a tour de force that deserves to be recognized. This category is going to be the Iowa caucus of the music world, with Swift portraying the established pop sensation going up against the worldly, more socially aware Kendrick Lamar. We all know one of these candidates will take the night\u2019s highest honor, the only question is what the Academy will use to base their decision; will it be prestige and finesse, or innovation and auteur spirit?<\/p>\n","protected":false},"excerpt":{"rendered":"
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