By Ozy Anyanwu
I have been watching the Grammys for as long as I can remember. This three-and-a-half-hour-long show has always stolen my heart, and my favorite memories with my sisters involve sitting on the couch, grabbing our snacks, and watching the Grammys together. Thank goodness FaceTime exists, because 2025 was the first time I watched the show alone from my Kurz Hall dorm room. But luckily, I got to FaceTime my sisters the entire time and give live updates on my opinions. The most controversial award, Album of the Year, always manages to ruffle some feathers, which is why it’s saved for the very end of the show. Luckily, I have a good attention span, so I’m willing to watch the whole way through. However, as a Grammys enthusiast, I have very strong opinions about the show, particularly regarding Album of the Year. And I plan on talking about my personal pick for Album of the Year.
In 2025, Beyoncé took home the coveted Album of the Year for her country album Cowboy Carter. This award was one she had worked toward her entire career and had lost four times to Harry Styles, Adele, Taylor Swift, and Beck. When Beyoncé won the Grammy, the camera panned to Billie Eilish, who appeared to be crying because not only did she lose AOTY, but she also did not win a single Grammy that night. This sparked outrage against Beyoncé, as many believed she did not deserve the award. However, I hold a different opinion.
Beyoncé’s Cowboy Carter was a work of art. After performing with the Dixie Chicks at the 2016 Country Music Awards, she faced incredible backlash, with many claiming she “could not sing country music.” Beyoncé decided to prove the public wrong by releasing Cowboy Carter (Act II) in March of 2024 as the second part of her planned trilogy of albums, beginning with Renaissance (Act I), released in 2022. Her album sought to honor the Black voices that often went overlooked in the pioneering of country music, and her album served as a method of reclaiming that cultural history. It combines classic R&B and gospel music with Americana and country, with a touch of hip-hop, making it a genre-spanning album. I am in no way a country music enthusiast or expert. The debate as to whether her album is traditional “country” music or not is one I do not desire to have. However, her album is incredibly intentional, which makes it awe-inspiring.
I believe that the one song that secured her the Grammy win was “Amen,” the last song on the album. This gospel-hymn-inspired song honors the contributions African Americans have made to country music. She sings,
“This house was built with blood and bone
And it crumbled, yes, it crumbled
The statues they made were beautiful
But, they were lies of stone, they were lies of stone.”
She continues singing,
“Say a prayer for what has been
We'll be the ones who purify our father’s sins.”
These lyrics serve as a call to action. She calls on musicians to not constrain themselves to one genre but to allow themselves to explore their art freely. She says that we will be the ones to make the change, purify our father’s sins, and not allow the past to repeat itself.
At the end of her acceptance speech, Beyoncé dedicates her award to Ms. Linda Martell, who was the first Black woman to perform at the Grand Ole Opry and one of the first Black women signed to a major country label. Her presence in the country music scene was groundbreaking, and Beyoncé honors her in the album as a symbol of the Black roots of the genre.
Beyoncé’s win at the Grammys was not only a personal triumph but a long-overdue recognition for her ability to honor a genre with an often overlooked history. Whether people agree or not, her Album of the Year win will leave a lasting impact.
Ozy is a McConnell Scholar at the University of Louisville in the Class of 2028. She is studying political science on a global studies and international affairs track with minors in Spanish and history.
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