Beyoncé Knowles-Carter, recognized as the most awarded artist in Grammy history, has never captured the event’s highest honor, despite numerous nominations. Following the release of her latest innovative album, the question arises: Will the Grammys finally award her the prestigious album of the year?

The results, determined by the Recording Academy, will be revealed on February 5 during the ceremony at Crypto.com Arena in Los Angeles. Experts in the music industry stress the importance of considering the historical background of these awards.

This year, Beyoncé has emerged as the top nominee with an impressive 11 nominations. In addition to her album of the year nomination for “Cowboy Carter,” she has also received nominations in other categories, including those for country and American roots music for the very first time.

“Beyoncé continually delivers outstanding works of art yet has not been recognized with the album of the year win,” remarks music and culture writer J’na Jefferson. “Winning numerous awards is one thing, but most of her accolades come from R&B categories, which feels unfair as she is capable of so much more.”

Fans will recall that her eighth studio album was released on March 29, and it has since made waves on various fronts while highlighting Black country artists.

“What makes ‘Cowboy Carter’ so thrilling is its departure from the traditional country album norm,” Jefferson notes. “It’s a significant development that many can acknowledge, as it has opened doors for numerous artists.”

Jefferson explains that the album has also shattered musical barriers.

“With ‘Cowboy Carter,’ Beyoncé has stirred things up and paved the way for others to gain respect in exploring genres outside the labels often assigned to them,” she adds. “If a white artist were to attempt the same, perhaps they would receive accolades for their efforts.”

Nonetheless, despite the album’s popularity and its groundbreaking elements, experts express caution, wary that this year may not differ from the past.

A.D. Carson, an associate professor of hip hop at the University of Virginia, acknowledges that while Beyoncé seems deserving of the top honor, historical patterns may suggest a continued trend—a sadly familiar reality for many Black artists.

“It’s as likely now as it has ever been,” he states. “We’re also experiencing backlash after the perceived snubs at the Country Music Awards, which is also not surprising.”

He emphasizes that this reflects a broader trend within the music industry and the Grammys.

“The landscape of American music is exclusionary,” Carson elaborates. “The institutions awarding these honors are actively choosing whom to recognize, often contrary to what audiences believe should win. If this weren’t true, we wouldn’t be discussing Beyoncé’s lack of wins.”

Experts indicate this year might be ‘the same old song’

Jefferson expresses her hope for “Cowboy Carter” to win album of the year, but admits she is “unsure whether this will be a different outcome because of the persistent patterns we’ve seen.”

Beyoncé’s husband, hip-hop icon Jay-Z, criticized the Grammys in February for frequently overlooking his wife while accepting the Dr. Dre Global Impact Award.

“We appreciate you all. We want you to get it right,” he said. “I don’t want to embarrass this young lady, but she holds the record for the most Grammys and still has never won the album of the year. So, based on your own criteria, that doesn’t make sense.”

Beyoncé, with 32 Grammy wins, is the most decorated artist in the show’s history. This year, she set a new record with 11 nominations at the 2025 Grammys, bringing her career total to 99 nominations.

She has previously been nominated for album of the year for “I Am… Sasha Fierce,” “Beyoncé,” “Lemonade,” and “Renaissance,” but has never won. With her fifth nomination, she will be the first Black woman nominated for album of the year with a country album.

This aligns with the historical patterns that have shaped the music industry and its awards.

This question traces back to U.S. history

“Reflecting on the Billboard Harlem Hit Parade from 1942 and the evolution of Black music being termed race records, through rhythm and blues, to soul and urban contemporary by the ’70s, it’s clear that we face issues that appear neutral,” Carson explains. “However, these issues are deeply rooted in racial dynamics. Thus, discussions surrounding the Grammys, music genres, or even pop music in the U.S. must include race and consider its implications.”

Ultimately, Carson adds that exclusion takes on various forms and continues to affect artists today.

The issue has been persistent.

Carson raises an interesting question: “How can someone be the most awarded Grammy artist yet still not win (album of the year)?” He elaborates, stating that this history illustrates how an artist can receive various accolades, yet still not achieve the same recognition as their peers within the same system.

Beyoncé is not the only artist experiencing this situation.

Carson points out, “When you analyze the list of those who have been honored, it almost looks like a badge of honor for many legendary hip-hop artists who have yet to be acknowledged by the Academy.”

According to Carson, genuine change at the core believes lacks progress.

He states, “As long as people avoid addressing the history and its current implications, we will keep witnessing the same outcomes as before.” He adds, “You can’t expect different results if you maintain the same approach.”

Impact on Country Categories as well

No Black woman has ever received a Grammy for a country song. Four years ago, Mickey Guyton made history by being the first Black woman nominated in a country category for her song “Black Like Me.”

Jefferson highlighted the significance of Beyoncé’s nomination in a country category. She garnered four nominations in country sections and one in Americana.

Jefferson explains, “The main reason she even pursued this is because her attempts were continually rejected.” Beyoncé had previously sought to categorize “Daddy Lessons” as a country entry in 2016, only to be denied.

Jefferson believes there are broader implications involved.

She states, “If you keep featuring country-influenced artists in these categories, like Morgan Wallen, Jelly Roll, and even Florida Georgia Line, then nominating Beyoncé would highlight the evolving nature of country music and signify an acceptance of diversity.”

Both Wallen and Jelly Roll have received several nominations in country categories.

Wider Significance of Beyoncé’s Wins

Jefferson expresses appreciation for the Recording Academy’s shift towards including more professionals from the industry, journalists, and content creators. Still, she emphasizes that the authority over these awards mainly remains with a committee predominantly composed of older white men.

Carson points out: “Because Beyoncé is such a renowned global artist, people might focus on her case specifically rather than the broader issues surrounding the treatment of Black women in the music industry.”

He cautions that even if the “Texas Hold ‘Em” artist wins the most prestigious award of the evening, it might not signal true reform.

He remarks, “Just because they acknowledge it correctly this time, it doesn’t mean they have made substantial changes. This isn’t sufficient, given the extensive history that precedes it. They’ve been incorrect for a far longer time than they’ve been correct, regardless of any right they might achieve this year.”

However, for these music authorities, the album has already garnered significant recognition.

Jefferson believes, “The true triumph of ‘Cowboy Carter,’ even without an Album of the Year win, lies in its spotlight on the unsung heroes and overlooked figures of this genre, who have long been denied acknowledgment in country music culture.”

Carson asserts that the album speaks volumes on its own.

He concludes, “The social and political connotations that people associate with Beyoncé’s music will persist, regardless of the Academy’s recognition.”