When the Grammy Award sets its winners free

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In the Oscars there is the so-called curse of the golden statuette, a theory -or rather superstition- that establishes that such an achievement tends to lead to a decline in the career of some of those who win it.

See Halle Berry, Adrien Brody or Gwyneth Paltrow, for example.

But at the Grammys

run along different and curious paths.

According to a study that has analyzed the impact of major music industry awards on artists, the golden gramophone tends to stimulate a higher level of experimentation on subsequent records.

It seeks to innovate,

.

The history of music is full of examples.

This is the conclusion of an in-depth analysis by Balázs Kovacs of Yale University, Giacomo Negro of Emory University (Atlanta, Georgia), and Glenn Carroll of Stanford.

But it is not the only one.

, that is, on the candidates, is also interesting.

They tend to make more conservative albums, looking for styles that are similar to others already tested.

The benefit of having the recognition of their peers, added to the increase in sales, are decisive when it comes to exploring other musical paths and embarking on experiments without fear of failure.

There is the case of Fleetwood Mac, for example, which went from

-an award-winner in 1978- to

, a work with a postpunk influence "where the composition is scarcer", according to Giacomo Negro.

Their study also mentions U2's success with

in 1988 and how on their next album,

, the Irish band introduced elements of German dance and

.

The study is a meticulous work that has dissected more than

energy and even acoustic level, analyzing nominees and winners in the so-called Big Four of the Grammys (awards for best album, best song, best new artist and best production of the year).

With those metrics, it is shown that most Grammy winners do not step outside the margins of their musical genre until they achieve recognition and widespread praise from their peers.

It is then that they begin to explore new avenues.

The change in strategy is paradoxical, however, if you take into account the surge in sales for the winners after the annual ceremony of the Recording Academy of the United States.

According to

the increase is between 4% and 400% after a Grammy.

A year ago,

increased the number of reproductions of her

De Ella by 53%.

And not only from that album, but from her entire catalog, which increased her exposure by 12%.

More cases:

hit it big in 1968 with their most psychedelic work,

, and then took a new turn on their white album.

And

went from

to

"a vulnerable and candid album in the face of intense commercial expectations," in the words of critic Ken Tucker.

of finding a different key.

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