Breaking down the 2025 Record of the Year GRAMMY nominees

Between countless releases from major artists, a plethora of world tours, and a monumental rap feud, there is no shortage of music to celebrate at the 2025 GRAMMYs.

This year, there is significant overlap between the nominees for Song of The Year (SOTY) and Record of The Year (ROTY). The key distinction between these categories is that SOTY is awarded to the songwriters of a song, while ROTY is awarded to the artist, producers, recording engineers, mixers, and mastering engineers. Therefore, the ROTY category also recognizes the more technical qualities of the recording itself.

“Now and Then” (The Beatles)

The process by which “Now and Then” was produced is quite unique, making it an interesting contender for ROTY. Initially, individuals were concerned about generative artificial intelligence (AI) being used to replicate vocals from John Lennon. However, Lennon’s vocals are from a demo that he recorded in 1977. AI was used to isolate his vocals from background noise in the recording. Regardless, this song still opens up a conversation about the place of AI within the GRAMMYs and music in general. Between the dejected vocals and reflective lyricism, this song is a melancholy last detail in the massive legacy that the Beatles have left behind. 

“TEXAS HOLD ‘EM'” (Beyoncé)

As one of the first singles released from COWBOY CARTER, “TEXAS HOLD ‘EM” set the stage for Beyoncé’s first country album. Between the banjo, stomping and clapping, and references to “hoedowns,” this song certainly embraces the staples of the genre. However, Beyoncé’s harmonies add a depth to this song that sets it apart from the average commercially successful country song. The song has a fun swing to it, but the outro is where the track really shines. The instrumentals in the outro are more stripped back. This simplicity allows for Beyoncé’s vocals to come to the forefront, resulting in a beautiful conclusion to this track.

“Espresso” (Sabrina Carpenter)

When “Espresso” was first released, it became an instant success because of how hypnotically catchy it is. The song embraces a more subdued version of 70’s-disco instrumentals that gives it a light and carefree feeling. While monotony would usually be frowned upon, “Espresso” actually finds its strength in repetition — there’s a reason this song was probably stuck in your head for days on end. Sonically, the track is quite smooth and pleasant to listen to because of Carpenter’s mellow vocals and the predictable instrumentation. This allows for Carpenter’s fun and nonsensical lyrics to take center stage.

“360” (Charli xcx)

BRAT saw widespread success this summer, and the opening electronic-pop track “360” was definitely a driving force behind the album’s popularity. The recurring motif in “360” is simple, yet effective at defining the mood of the song, and the album as a whole. Charli xcx’s fast paced style of talk-singing is not only incredibly catchy, but also contributes to the unbothered and fun attitude of this song. The stylistic use of auto-tune throughout the song only accentuates this feeling. Staying true to the album’s title, the best way to describe Charli xcx’s vocal delivery is bratty. Sonically, this track is quite unique and refreshing in comparison to other ROTY contenders.

“BIRDS OF A FEATHER” (Billie Eilish)

I have a longstanding gripe with artists nominating their most commercially successful song instead of the song that best represents the specific category. Such is the case with “BIRDS OF A FEATHER.” While this track is a strong contender for SOTY, I would argue that “CHIHIRO” would have been a better pick for ROTY in terms of its production. Regardless, “BIRDS OF A FEATHER” still excels in its glimmering, upbeat instrumentals which contrast the darker themes discussed by Billie Eilish. Eilish’s breathy vocals convey a sense of earnestness in the undeniably catchy refrain, but the song really takes off as Eilish glides through the perfectly drawn out choruses.

“Not Like Us” (Kendrick Lamar)

Many would argue that “Not Like Us” solidified Kendrick Lamar’s victory following the back-and-forth diss track releases between him and Drake. Dijon McFarlane, better known by his stage name Mustard, created arguably the most iconic beat of 2024 on “Not Like Us.” The production is almost as unrelenting as Lamar’s lyricism against Drake. Lamar’s intense and animated vocal inflections are what really elevated this track into the cultural phenomenon that it became. “Not Like Us” is the only rap song nominated for ROTY this year, and the only rap song to ever win in the ROTY category was Childish Gambino’s “This Is America” in 2019.

“Good Luck, Babe!” (Chappell Roan)

The release of “Good Luck, Babe!” is what solidified Chappell Roan’s place in the spotlight during her seemingly overnight rise to fame. Roan’s powerful vocals are the highlight of this track — her voice effortlessly soars over Daniel Nigro’s unique synth-pop production. The bridge is truly the highlight of this piece. The excellence of Roan’s vocal performance here cannot be understated. Her dramatic delivery draws the listener right into her frustrations. The change in tempo during the outro is cleverly executed, as the listener is forced to stop and reflect as Roan poignantly declares that the song’s subject would “have to stop the world just to stop the feeling.”

“Fortnight” (Taylor Swift featuring Post Malone)

In “Fortnight,” Taylor Swift spends a great deal of time in her lower register, slowly lamenting over a synth-heavy backdrop. For majority of the song, Post Malone takes on a minimal role. He chimes in for harmonies that cast an effective shadow over the dreary atmosphere Swift is crafting. The first half of this song is sparse, however Swift’s subdued vocal performance in the beginning allows the outro to really shine through. The intense, dreamy synth effortlessly blends Malone’s vocals with Swift’s as she takes over into a delicate, yet catchy, outro.

Who Should Win?

To me, “Good Luck, Babe!” is a song that not only defined 2024, but brought forth a unique sound to the landscape of mainstream music. This song saw significant commercial success and is undeniably catchy. It doesn’t feel like a generic pop song. What really differentiates this track from other ROTY contenders is the unreplicable passion that Roan brings to her music.

Who Will Win?

“Espresso” saw a massive amount of success as soon as it was released this year, and understandably so. Carpenter’s humorous lyricism paired with the song’s glossy production resulted in the defining song of the summer. While I’d argue that this track does not offer as much depth as “Good Luck, Babe!,” sometimes what listeners gravitate towards is a more care-free and fun song. Due to “Espresso” holding a significant spot within the soundtrack of 2024, it is a strong contender to win ROTY.