Nothing brings out the claws like an awards show, and the Grammys have been no exception to this rule since they started handing out awards in 1959. Here are 20 musical acts that listeners don't think deserved their Grammy wins.
Macklemore & Ryan Lewis (Best Rap Album, 2014)
The 2014 Grammy Awards ceremony resulted in a significant controversy when Macklemore & Ryan Lewis received the award for Best Rap Album for their project, The Heist. This outcome was met with substantial criticism from both the public and music critics. The primary source of the backlash was the perception that another nominee, Kendrick Lamar, was more deserving of the award for his album, good kid, m.A.A.d city.
Jethro Tull (Best Hard Rock/Metal Performance, 1989)
The 1989 Grammy Awards ceremony featured the introduction of a new category: Best Hard Rock/Metal Performance, Vocal or Instrumental. The outcome of this inaugural award resulted in one of the most notable controversies in the institution's history. The award was presented to Jethro Tull for their album Crest of a Knave, a decision that was met with widespread disbelief and criticism from both the music industry and the public.
The core of the controversy stemmed from genre classification. Jethro Tull, a band primarily recognized for its progressive and folk-rock sound, was not considered by most to be a hard rock or metal act. This perception was amplified by the other nominees in the category, particularly Metallica. Their album, ...And Justice for All, was viewed as a groundbreaking and definitive work within the thrash metal subgenre and was the category's expected winner.
Milli Vanilli (Best New Artist, 1990)
The 1990 Grammy Awards ceremony included a win that would later become one of the most significant scandals in the institution's history. The duo Milli Vanilli, composed of Rob Pilatus and Fab Morvan, received the award for Best New Artist for their highly successful debut album, Girl You Know It's True. The controversy emerged later that year when it was publicly revealed that Pilatus and Morvan had not performed any of the lead vocals on the album. The actual singing was done by other, uncredited studio vocalists.
Beck (Album of the Year, 2015)
The 2015 Grammy Awards ceremony concluded with a significant upset in the Album of the Year category. The award was presented to Beck for his album Morning Phase. The controversy was primarily centered on the widespread expectation that another nominee, Beyoncé, would win for her self-titled album, Beyoncé. Beyoncé's album was considered a monumental artistic and cultural achievement. Released as a surprise "visual album" with a corresponding music video for every track, it redefined album release strategies in the digital era.
Adele (Album of the Year, 2017)
Few Grammy moments have sparked as much immediate debate as Adele’s Album of the Year win in 2017. When her album 25 took home the top prize, it set off a wave of reactions—not only from fans and critics, but from Adele herself, who openly expressed that Beyoncé deserved the honor for her acclaimed album, Lemonade.
Evanescence (Best New Artist, 2004)
The 2004 Grammys took many by surprise when Evanescence walked away with Best New Artist—a result that quickly sparked heated debate and headlines. While the rock band had made a splash with their hit single "Bring Me to Life" and debut album Fallen, much of the conversation centered on who didn’t win: 50 Cent.
At the time, 50 Cent was dominating popular music, breaking sales records with Get Rich or Die Tryin' and flooding the airwaves with tracks like "In Da Club." For fans and industry observers, he seemed like the obvious choice, given both his commercial success and huge cultural impact that year.
Herbie Hancock (Album of the Year, 2008)
When the 2008 Grammys named Herbie Hancock’s River: The Joni Letters Album of the Year, it caught almost everyone off guard. Few predicted the jazz veteran would take top honors—especially given the global buzz around Amy Winehouse’s Back to Black. For many, Winehouse’s album wasn’t just popular; it was a defining release of the decade, blending retro-soul with brutally honest lyrics and inspiring a wave of modern soul artists.
Bonnie Raitt (Album of the Year, 1990)
When Bonnie Raitt walked away with Album of the Year for Nick of Time at the 1990 Grammys, plenty of eyebrows were raised. Many in the music world expected the trophy to go to heavy hitters like Don Henley (The End of the Innocence) or Tom Petty (Full Moon Fever), both of whom had massive commercial success that year.
The heart of the debate was simple: while Nick of Time was celebrated by critics and marked an inspiring comeback for Raitt, it didn’t have the same blockbuster sales or radio dominance as the other nominees.
Steely Dan (Album of the Year, 2001)
Few Grammy moments turned as many heads as when Steely Dan walked away with Album of the Year in 2001. Their jazz-rock project, Two Against Nature, was a technically polished effort from longtime industry veterans. But the surprise came not just from their win—it was who they beat out: Eminem’s The Marshall Mathers LP, which many considered the most daring and culturally impactful album of its time.
Arcade Fire (Album of the Year, 2011)
Arcade Fire took home Album of the Year for The Suburbs in 2011, and the win immediately set off a wave of reactions from fans and critics alike, since big names like Eminem (Recovery) and Lady Gaga (The Fame Monster) were widely considered the favorites. With their massive hits and chart dominance, most viewers expected the award to go to one of these pop powerhouses.
Christopher Cross (Album of the Year, 1981)
When Christopher Cross took home Album of the Year at the 1981 Grammys, it caught almost everyone by surprise. Against him stood Pink Floyd’s The Wall—a sweeping rock opera packed with big ideas, emotional depth, and a storytelling ambition that helped define a generation.
Instead, the Grammys honored Cross’s debut album, a smooth collection of soft-rock tunes like “Sailing” that found broad commercial appeal but didn’t stir up the same waves of artistry or conversation.
Taylor Swift (Album of the Year, 2010)
The night Taylor Swift picked up Album of the Year for Fearless at the 2010 Grammys, the industry was buzzing—and not just with excitement. Many felt sure another nominee would take the honor: Beyoncé, with her daring double album I Am... Sasha Fierce. Swift’s Fearless wasn’t without its own successes. It was adored by country and pop audiences and helped launch her from rising star to global sensation. Still, to many onlookers, her win over Beyoncé was unexpected.
A Taste of Honey (Best New Artist, 1979)
A Taste of Honey snagged the Best New Artist trophy at the 1979 Grammys, but many viewers and critics alike expected to see Elvis Costello take the honor, given his breakout influence on the new wave and punk scenes. Costello’s early albums, like My Aim Is True and This Year's Model, earned him a reputation for sharp lyricism and innovative songwriting. His music was widely recognized for pushing boundaries and shaping the future of rock.
Norah Jones (Album of the Year, 2003)
The 2003 Grammys delivered a surprise that still sparks debate: Norah Jones’s smooth, understated Come Away with Me took home Album of the Year, beating out Bruce Springsteen’s The Rising. Many in the music world saw this as an upset—how did Springsteen, with a record that resonated so deeply in a post-9/11 America, not clinch the top honor?
Springsteen’s album was more than just a collection of songs—it was a cathartic, emotional journey through national grief and hope, hailed as a powerful response to a defining era.
Dixie Chicks (Album of the Year, 2007)
Few Grammy moments have sparked as much conversation as the Dixie Chicks' win for Album of the Year in 2007. When their album Taking the Long Way took home the top prize, it quickly became one of the night's most debated victories—not just because of the music, but because of what the moment represented in the broader cultural landscape. Many expected Justin Timberlake's FutureSex/LoveSounds to claim the honor. Timberlake’s record was a chart powerhouse, celebrated for its bold blend of styles and massive radio play. It set a new bar for pop music’s sound and reach.
Bruno Mars (Album of the Year, 2018)
When 24K Magic was announced as the winner, conversation immediately sparked across the music world—not all of it favorable. Many fans and critics had spent awards season debating whether Kendrick Lamar’s DAMN. or Lorde’s Melodrama would (or should) come out on top. Both albums were hailed for their bold artistic vision: DAMN. in particular was widely praised for its sharp social commentary and even won a Pulitzer Prize, while Melodrama earned acclaim for its inventive production and emotional depth.
Esperanza Spalding (Best New Artist, 2011)
While jazz fans celebrated Esperanza Spalding's win in 2011, much of the general public was stunned—especially given the presence of Justin Bieber among the nominees. Bieber was everywhere at the time, dominating charts and conversations, and many assumed his pop stardom made him the obvious winner.
The Chainsmokers (Best Dance Recording, 2017)
When The Chainsmokers took home the Grammy for Best Dance Recording in 2017 with "Don't Let Me Down," it set off a lively debate in the dance music world. The decision was met with raised eyebrows, especially from fans and critics who believed Australian producer Flume, with his track "Never Be Like You," delivered a more groundbreaking contribution to the genre.
Flume’s work was praised for its inventive soundscapes and forward-thinking production, often cited as elevating electronic music to new creative heights. In comparison, "Don't Let Me Down" was seen as a mainstream pop-EDM anthem—catchy, sure, but lacking the artistic innovation some hoped the Academy would reward.
Alanis Morissette (Best New Artist, 1996)
Alanis Morissette's breakout album, Jagged Little Pill, had made waves in the alt-rock scene and the Recording Academy took notice. But not everyone was convinced this was the right call—especially fans and critics who believed Shania Twain deserved the spotlight. Twain’s The Woman in Me was a crossover powerhouse, bringing country and pop together in a way that broadened both genres and broke sales records.
Lionel Richie (Album of the Year, 1985)
When Lionel Richie took home Album of the Year for Can't Slow Down at the 1985 Grammys, jaws dropped across the music world. Many expected the honor to go to Prince and the Revolution’s Purple Rain—a cultural touchstone that blended rock, pop, and R&B in groundbreaking ways, and left an indelible mark on both music and film.
While Richie’s album was a commercial hit packed with radio staples and dancefloor favorites, critics and fans couldn’t ignore the bold, innovative spirit of Purple Rain.
