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Why Taylor Swift’s ‘All Too Well’ Deserves to Win the Song of the Year Grammy


This year’s batch of Grammy nominations, particularly for Song and Record of the Year, is one of the most boring and predictable assortment of Spotify “Top 50 – USA” entries one could assemble—plus, another Brandi Carlile tune that no one outside of the Recording Academy has heard.

It’s not that these songs are necessarily bad or undeserving of formal recognition (sans that particularly cursed DJ Khaled nomination). Beyoncé’s “BREAK MY SOUL,” Lizzo’s “About Damn Time,” and Steve Lacy’s “Bad Habit” are genuinely well-produced and deliciously nostalgic singles. And Harry Styles’ perfectly fine “As It Was” feels like it should get some sort of trophy for its yearlong chokehold on society. Still, these songs grouped together don’t really represent the best or most compelling pieces of work the industry had to offer over the past year. Nor are many of these choices even slightly surprising or idiosyncratic. (Adele scoring four noms for the culturally non-existent “comeback” single “Easy On Me”? Who would’ve guessed?)

Still, I do think one nominee for Song of the Year could make a particularly exciting and fascinating winner at February’s inevitable snoozefest of a ceremony, where Beyoncé will inevitably go home with less than she deserves, and it’s actually not “BREAK MY SOUL.” (Sorry, but it’s nominated for, like, 10 other things!) I’m talking about Taylor Swift’s “All Too Well (10 Minute Version) (Short Film).” Yes, the music video—I mean, film—is somehow nominated in a song category.

Cue the booing! I know, I know: the idea of Swift winning yet another Grammy in the year 2023 is the exact opposite of “exciting” or “fascinating” to a large sector of people on the internet who simply don’t understand the Recording Academy’s nearly 15-year-long boner for the “Antihero” singer. (With this week’s nominations, she now boasts 46 nods and 11 wins overall.) Plus, the likelihood that she could beat Beyoncé in a major category at the Grammys yet again—and several other Black artists—will most likely continue a series of conversations about racism and favoritism within the routinely stubborn voting body.

However, Swift’s decision to revisit and broaden what’s arguably her most acclaimed ballad on Red (Taylor’s Version) last November was one of the most interesting artistic endeavors to come out of a lukewarm year of formulaic pop hits. (While I think the “short film” was a commendable effort, I’m solely talking about the song itself.)

Swift’s decision to revisit and broaden what’s arguably her most acclaimed ballad was one of the most interesting artistic endeavors to come out of a lukewarm year of formulaic pop hits.

In our current media landscape that appeases short attention spans, a 10-minute-long power ballad consuming the culture and dominating the charts—even if it’s sung by the most popular woman on the planet—is momentous. Likewise,…



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