Grammys flashback: Coldplay beat Beyonce, OutKast and Eminem for Record of the Year back in 2004

Jaime Rodriguez
·5 min read
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The last Grammys featured some heavy hitters in the general categories. Artists like Steve Lacy, Beyoncé, Harry Styles, and Doja Cat were among the biggest acts of 2022, so it was no surprise to see them there. However, while their nomination wasn’t necessarily a surprise, seeing Coldplay among the final 10 for Album of the Year for “Music of the Spheres” definitely felt weird. In theory, it wasn’t: Coldplay are Grammy favorites and their previous album, “Everyday Life,” also got in. But how can a band have such a stranglehold on the Grammys when they are past their prime, both commercially and critically? Coldplay’s Grammy history is definitely one to envy, but perhaps their most impressive Grammy moment was one of their biggest wins: Record of the Year for their now-classic “Clocks” in 2004.

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Before delving into the win itself, some context. Coldplay burst into the scene with their debut album, “Parachutes,” which was nominated for three Grammys. The record wasn’t a huge seller in the States, but it was a sleeper hit and included the beloved song “Yellow.” “Parachutes” ultimately won the Grammy for Best Alternative Music Album, besting efforts from Björk and Radiohead.

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Their next album, “A Rush of Blood to the Head,” was a bigger success for the band, and took home Best Alternative Music Album as well as Best Rock Performance by a Duo or Group for “In My Place.” Under current Grammy rules, the album’s win would mean no songs from the album would be eligible to be nominated in subsequent years. However, back in 2004, songs from Grammy-winning albums were eligible to compete later in Record of the Year only. As a result, the album’s third single, “Clocks,” was released, and after becoming their biggest hit at the time was nominated for Record of the Year.

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Context is also needed about the music landscape at the time. 2003 was a big year for both hip-hop and R&B on the charts, seeing hits from icons in those two genres like Eminem, OutKast, 50 Cent, Aaliyah, and Beyoncé. That success translated to the Grammys, where Beyoncé, Jay-Z, OutKast, and Pharrell Williams were the top nominees. For Record of the Year, four out of the five nominees were either hip-hop or R&B. Beyoncé and Jay-Z got nominated for “Crazy in Love,” Outkast was nommed for “Hey Ya!,” Eminem received his second Record of the Year bid for “Lose Yourself,” and The Black Eyed Peas and Justin Timberlake were recognized for their duet, “Where Is the Love?”

While the domination of those genres was long overdue, many wondered if they could, in turn, hurt each other by splitting votes. In a correct prediction, David Bauder of Associated Press argued, “No other category better illustrates this year’s Grammy takeover by the hip-hop generation. Coldplay is the only choice for voters threatened by this, and it’s a good song, too. My hunch is that Beyonce and OutKast will cancel each other out, and Coldplay slips in.”

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The Grammys are very prone to vote-splitting: just look at how Americana fave Bonnie Raitt managed to win against a slew of pop acts this year for Song of the Year. “Clocks” was also the perfect song to benefit from it, being a pop-appealing rock hit that could easily get that traditionalist vote while still keeping Coldplay’s alternative-leaning, younger fans happy. Voters might’ve been torn between what I think were the two other probable winners: “Hey Ya!” and “Crazy in Love.” Also in Coldplay’s favor, Record of the Year used to heavily skew towards live instrumentation over digital production.

The “Clocks” win wasn’t a bad one at all; it’s one of the band’s most iconic songs. And it was one of the few Record of the Year winners not to peak in the top 20, showing that the Grammys aren’t just driven by sales. With a Song of the Year win a few years later for “Viva La Vida,” Coldplay are also one of the few artists to win Record and Song of the Year in different years. And since their current albums can still get big noms, it’s safe to say they aren’t flashes in the pan at all, especially not to academy voters. Keep that in mind for their next Album of the Year contender.

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