Grimes claims the ‘irrelevant’ Grammys blocked her from nominating pop pioneer SOPHIE

A split-screen image with a photo of late music producer and artist SOPHIE on the left cast in a purple light as she performs on stage. On the right is singer Grimes looking directly to the camera wearing a red outfit.

Grimes has slammed the Grammys for no longer being relevant after alleging that she was prevented from voting for the late electronic pioneer SOPHIE while serving on the producer of the year board.

The saga kicked off when the musician responded to a sarcastic post from her friend artist Charli XCX, who compared her Grammys snub for her latest studio album Crash to actor Mia Goth not getting an Oscar nomination for her horror movie Pearl.

“Me not being nominated for a grammy for Crash is like Mia Goth not being nominated for an Oscar for Pearl and only further proves that people don’t wanna see hot evil girls thrive,” Charli wrote on Instagram.

While plenty of fans shared their sympathies with the singer, Grimes soon arrived on the scene with her own scathing opinion on the awards show, telling Charli: “The Grammys are so irrelevant I wouldn’t even sweat it.

https://www.instagram.com/p/CoSxPW0qvhQ/

The musician went on to explain that while serving on the board for producer of the year, she was forbidden from nominating her own choice.

“I stopped even clocking them in any capacity when I was on the producer of the year board and they quite literally would not allow me to nominate anyone who wasn’t on a pre-fabricated list that was exceptionally boring,” she revealed.

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Grimes also alleged that she was one of only three women on the board, and “the only person under 40”.

“I was one of three women and the only person under 40 for sure,” she continued. “It’s literally not a relevant thing. I tried to nominate Sophie and was told that wasn’t allowed.”

SOPHIE, who died after falling from a balcony in 2021, was an iconic transgender artist and producer who made waves within the hyperpop genre and an inspiration for several trans artists.

Prior to releasing her first and only studio album Oil of Every Pearls Un-Insides in 2018, SOPHIE worked closely with Charli XCX as a producer on dozens of her tracks such as “Roll with Me,” “Lipgloss,” “After the Afterparty,” “Out of My Head,” “No Angel,” “Girls Night Out,” “Paradise,” “Trophy,” “Secret (Shh),” and “Vroom Vroom”, to name but a few.

At the time of her death, Charli XCX spoke about the impact SOPHIE had on her life and music, saying: “It’s really hard for me to sum up the special connection I felt with such an amazing person who completely changed my life.

“There are so many memories, so many small details, so many different views and incredible feelings and stories. It’s impossible to summarise the journey I went on with Sophie.”

Although SOPHIE did not receive a Grammy nomination for producer, she did receive one in 2019 for best dance/electronic album.

In the 2023 Grammy awards, fellow trans artist Kim Petras made history as the first transgender woman to win the best pop duo award.

In her touching speech she paid homage to SOPHIE, saying: “I just want to thank all the incredible transgender legends before me who’ve kicked these doors open for me so I could be here tonight – SOPHIE especially,” she said to a standing ovation from the crowd.

“My friend who passed away two years ago told me this would happen and always believed in me. Thank you so much for your inspiration, SOPHIE. I adore you, and your inspiration will forever be in my music.”

Although some have pointed out that there is a more complex process behind how artists are chosen for consideration, fans have shared their wider sadness that SOPHIE was ‘never recognised for her work’.

It’s not the only backlash the Grammys has received this year, with many fans calling into question the decision to choose Harry Styles’ Harry House over Beyoncé’s Renaissance for album of the year.

Many pointed out that, not only was it Beyoncé’s fourth time losing to a white artist, but it overlooked her work honouring the LGBTQ+ roots of her work within the Ballroom genre.

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