2025 GRAMMYS: Best Country Album
COWBOY CARTER, Beyoncé
The infamously controversial winner. As country becomes more popular, it has grown to expand new people. The face of country right now is diverse - moving away from the tradtitional, the “pure’, the white. And that’s a good thing. That is why I support the vision behind COWBOY CARTER. An intruiging concept and an interesting record without an immensely impactful execution. The album like a self-exploration piece where she unravels the southern roots she hid to be the queen of pop for so many decades - something she is finally able to do thanks to country music’s place in the mainstream music scene in recent years. While COWBOY CARTER is by no means a bad record, it doesn’t hold a candle to how Beyoncé sounded while ruling the world on the self-titled album, Lemonade, or even Renaissance - all of which deserved a Grammy win (more than COWBOY CARTER). In the end, even if it was arguably misplaced, I am happy that Beyoncé finally got the award she deserves.
F-1 Trillion, Post Malone
A record that further reveals how country has snuck into the popular scene. Unlike Beyoncé, who made a country record with confidence in her southern roots, Post Malone follows the lead of the country giants in F-1 Trillion. In other words, wheras COWBOY CARTER feels like Beyoncé reclaiming a country hertiage she feels is truly hers, F-1 Trillion feels like an innocent country cosplay. Post Malone is not pretending to be redneck, but instead having some fun on the southern scene. The essence of every song on the record is very clearly the work of the feature, all of which are country masters. In many ways, it feels as though Post Malone simply offered his own record to be a platform for pre-existing country artists while throwing in some great vocals of his own every now and then, reminding us of his talent and adaptability and range of skill. On F-1 Trillion, Post Malone was just along for the ride (and the drinks), and made sure we all got a taste of it.
Deeper Well, Kacey Musgraves
A simple record. Good, but simple. I couldn’t hide my surprise at seeing it among the nominated albums - not only because its not really country at all, but also because of its lack of depth. The songs are largely repetitive. There are no remarkable highs or lows. That being said, it is a wholesome record, and certainly well-produced. I do love the color palette, farm theme, and overall watching Musgraves get in touch with a more natural and feminine aspect of herself and her art. Still, her lyrics are too literal for my liking, and one can’t help but compare it to her deeper (no pun intended) records (i.e. Golden Hour).
Higher, Chris Stapleton
I've realized I have the tendency to label anything starring Chris Stapleton’s voice and strings as a God-given miraculous. He really does have one of the best voices - and some of the most instrumental talent - in the country game. I respect him for contributing so much to modern-day country while being authentically himself and authentically traditional. Higher is a remarkably beautiful record, and one of my favorites in country. That being said, I can't say that Higher stood out as an album above other Stapleton works. High-quality production, cohesive, and a good mix of highs and lows - this record checks off lots of boxes. But Grammy-worthy? I would not say so. Stapleton is consistently incredible. But I think awards should be given to those pushing boundaries. Those creating new sounds, not to those who have perfected theirs.
Whirlwind, Lainey Wilson
The deserving winner in my opinion. This is a record that contributed to country music in 2024. I was overjoyed to hear a record that was entirely and thoroughly Lainey Wilson’s very own. As an artist, she has talked repeatedly about the way ‘her sound’ has been smothered by label records over the course of her career, and her determination to preserve her originality. Whirlwind set that on display. To produce such high quality tracks across multiple genres (blending rock, pop, blues) is magical to watch. The production and unpredictability of this record make for an exquisite listen. She has listeners singing, dancing, crying, and female-raging along while reaffirming her spot as one of the top female vocalists in country. Was it a perfect record? No. But the Grammys would have kept intact the integrity of the genre while honoring innovation within it by voting Whirlwind as the winner.
