I don’t know why I let this happen every year. Come December, I review the list of nominees for the annual GRAMMY awards, and every year I get pissed about the snubbing of a completely deserving artist.
I inevitably brush it off, telling myself a GRAMMY doesn’t really matter, justifying the disregard for greatness as a casualty of a corporatized award that speaks more to how good your publicist is than to how good your album is.
The truth is, though, a GRAMMY matters a shitload to the artists that are nominated for and winning them, and I think at the very least, Metro Boomin should have been recognized this year, but yet again the cycle repeats itself.
As a hip-hop fan, I’ve been genuinely enjoying Metro Boomin’s heightened level of fame as a producer over the past few years. Not only does he legitimately deserve the acclaim, but his success is a nice reminder of the days of DJ Premier and Eric B., when the beatsmith was just as revered as the emcee.
Metro’s rise has been years in the making; he arrived on the scene in 2013 just as the sounds that previously dominated the trap movement were beginning to become overly formulaic and lazy, and has spent the last two years—in my humble opinion—legitimizing a subgenre that many disregarded as a viral trend destined to promptly become obsolete.
As I looked across the nominees for Producer of the Year, Non-Classical—all very deserving, mind you—and saw the names of producers responsible for hits like DJ Khaled’s “For Free” and Tory Lanez’s “Luv,” I felt completely justified in wondering just where the hell Metro Boomin’s name was.
Not only has Metro continued to astound from an artistic standpoint in 2016, thanks in large part to his work with artists like 21 Savage, Future, and Kanye West, but his commercial success has also provided the Atlanta-bred producer plenty of quantifiable qualifications for a GRAMMY nod.
His work on Future and The Weeknd's “Low Life” single earned Metro a 2x Platinum certification, his banger of the year contender “Wicked” with Future is certified Gold, his co-headlining work with 21 Savage (previously relatively unknown) has already produced a Platinum single in "X" and a Gold single in "No Heart," and he’s been behind the boards on at least seven charting singles in 2016.
I don’t think I’m being unreasonable.
I know that not everyone can be nominated, and deep down, I know that a GRAMMY is a piece of shiny metal that historically has found a resting place on the mantles of both legitimate artistic geniuses and manufactured buzz-magnets alike. I just know that one of those awards would look really dope on Metro Boomin’s mantle.
He deserves it.
By Brent Bradley. Follow him on Twitter.
Photo Credit: Instagram