She broke the record with a varied haul: Best Traditional R&B Performance for “Plastic Off the Sofa,” Best Dance Recording for “Break My Soul,” Best R&B Song for “Cuff It,” and the one that put her over, Best Dance/Electronic Album for Renaissance. Regardless, Beyoncé does now have the most Grammys of any musician in history, and that deserves celebration. Who knows if she’ll even attend another Grammys to see it happen, given that the show keeps bait-and-switching her. It feels more and more possible, as with many winners before her (including Beyoncé spoiler Beck), that she will win Album of the Year in a decade or so, once the Academy decides the totality of her career makes her truly “deserving” of the award. Maybe the lack of top honors cheapens the record maybe the Academy understands the record as a stand-in for an Album of the Year trophy, despite what Beyoncé fans want to see. It’s harder than ever to weigh Beyoncé’s place in Grammys history in one hand and the fact that she inhabits that place so with only one general-category win (and no Album of the Year wins) in the other.
(This time, voters opted for Harry Styles’s Harry’s House.) By the end of the night, the celebratory sheen of that record had worn off, and the relationship between the Academy and Beyoncé didn’t look much different than it has for the past decade: still just as colored by her high-profile snubs, after voters ignored first her 2013 self-titled album and, later, 2016’s Lemonade in the top categories. Still, Recording Academy voters didn’t fully get the message, declining to honor her with the Grammys’ top honor, Album of the Year, for the fourth time. The 2023 ceremony wanted to go back to those days, missing no opportunity to fete Bey for breaking the record for the most wins of all time. In the early aughts, when Destiny’s Child and her new solo work began regularly earning trophies, Beyoncé was the toast of the Grammys.
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