The Grammys Were... Good?
5 key takeaways from Music's Biggest Night
For the first time in what feels like forever, it seems like the Grammys may have actually gotten it right. Sunday night’s ceremony was one of the most energized in recent years, with several excellent performances, a varied list of winners, and minimal, if any, disappointment. Though the smoke is still clearing, I wanted to run down a few of my initial key takeaways after having watched the (nearly four-hour long!) ceremony.
Beyoncé (Finally!) Brings Home the Gold
Many of us never thought this day would come. After a series of crushing (and mostly unfair) losses in the Album of the Year category for several of her previous releases, the prospect of Beyoncé ever taking home this trophy was growing slimmer with every subsequent loss. After watching her lose the award to Adele’s 25 for Lemonade- possibly the most significant cultural document of our time- I had all but written off the possibility of Queen Bey ever winning Album of the Year. I know I’m not alone in feeling this way, which made it all the more special when Beyoncé’s name was called. COWBOY CARTER is a singular achievement for country music, but it represents so much more than that. It is a testament to Beyoncé’s ability to break down barriers, for herself and others, and the importance of making art for art’s sake. Beyoncé has long since shifted her focus from commercial success to building a legacy that will long outlive her time in the industry. She’s creating pathways of exposure for young Black talent and using her star power to shine a light on underrepresented communities and the unsung histories of genres that were built on the backs of Black musicians who have long been denied their well-earned recognition. The irony of this album being the one to win her the ceremony’s highest honor is not lost on me, or anyone who has been paying attention for that matter. The shock was visible on her face when she was called to collect the award, and the joy radiating from the audience was enough to make even the most stuffy viewer emotional. It has been a long time coming, and it may even feel anti-climactic for someone as established as Beyoncé, but the significance of her win will reverberate throughout the industry for years to come. The Grammys made the correct choice this time. Perhaps we shouldn’t get used to it.
The Kids Are Alright
The next generation might be in good hands, after all. Sunday night’s ceremony was a display of the immense talents of the current generation of stars. Sabrina Carpenter, Chappell Roan, and Doechii all earned themselves some hardware, and fellow Best New Artist nominees Shaboozey and Raye showed off their performance chops when they took the Grammys stage. The first award of the night, for Best Rap Album, thankfully went to Doechii, who delivered a moving speech about the importance of betting on yourself. Her message is one that anyone could benefit from hearing, but is especially significant for all the young Black women and girls who see themselves reflected in her musical journey. Later in the night, Doechii delivered one of the evening’s best performances- complete with gymnastic choreography and breath control that an Olympic swimmer would envy. She had already won her category by the time of her performance, and she made it clear to anyone who might’ve been unsure of her victory that her trophy was well-deserved.
Sabrina Carpenter brought her signature blend of Lucille Ball-inspired physical comedy and catchy pop earworms to the stage, culminating in an impressive performance befitting of a newly-minted 2x Grammy winner. Best New Artist honoree Chappell Roan proved why she came out on top with a transcendent performance of “Pink Pony Club.” She broke tradition by choosing a track that wasn’t nominated, but the significance of performing this track at this time in history was a defiant act of resistance. She radiated pure queer joy on stage with her army of clowns and transgender flag iconography. Her vocals were stellar and her artistic vision highlighted how she’s been able to emerge fully-formed from the pop underground this past year. She has previously drawn comparisons to an early-career Lady Gaga, and I think her confident, commanding stage presence and performance-as-protest mindset have never made for a clearer lineage from Mother Monster herself. At times it can seem easy for more mature music fans to shake our fists in the air and wish for the days of yore, but Sunday night was proof that the industry’s future will be just fine.
Being a Hater Pays Off
Upwards of 100 awards were given out on Sunday, but the night’s biggest winner was Kendrick Lamar, who took home five Grammys for “Not Like Us.” The rapper won every category in which the song was nominated, including Record and Song of the Year, becoming only the second rap song in history to do so. It was obvious from his speeches and general reactions that he was overjoyed by the song’s success, and you can contribute at least a small percentage of his joy to the sheer incredulity of the moment. Nobody, myself included, would have predicted that a Drake diss track would walk away with two of the night’s most prestigious awards. And yet, here we are. On the one hand, this could be evidence of Grammy voters’ willingness to set aside the larger cultural conversation and base their decisions purely on the quality of the material. On the other hand, voters could be reveling in the opportunity to take Drake down a peg just as much as Lamar has been for the past several months. I’m sure it’s some combination of both, although it does help that the song itself is just as deserving for its quality as it is for its cultural significance. It’s unclear what Lamar’s wins will mean for the state of the beef or for Drake’s overall position in hip-hop, but what is clear is that being a hater can take you all the way to the Grammys stage.
Some (Un)Surprising Shut Outs
There were two artists who were notably overlooked in all of their categories this year- Taylor Swift and Billie Eilish. I was unmoved by Swift’s poor showing- I think I was one of the only people who predicted that she would go home without a trophy this year. She has previously won Album of the Year a record four times, along with a slew of other awards in various genre categories, but her output in 2024 was unimpressive compared to her prior work, and evidently voters agreed. Unfortunately, I think some of those celebrating her losses may be motivated by the misogynistic desire see e a successful woman taken down a peg, but true music fans will recognize this instead as proof that your name alone won’t always carry you to a win. What I was shocked to see was Billie Eilish walk away with nothing for her 2024 album, HIT ME HARD AND SOFT. After being shut out in 2022 for her sophomore album, I expected Grammy voters to receive the album more warmly, especially considering the shift in sound from her previous work. In my piece from last week, I predicted that Sabrina Carpenter might fall victim to the splitting of the pop vote- what I didn’t anticipate was that Eilish would be the true fatality. While I think many viewers will appreciate the dismantling of the “Grammy darling” mythos, it would have been nice to see Eilish leave with at least one award, if not for the album, then at least for “BIRDS OF A FEATHER.”
The Weeknd Grovels / Lady Goes Gaga
The Grammys had begun teasing a surprise of sorts in the days leading up to the ceremony, but I can guarantee that nobody saw this one coming. In a shocking (and somewhat unclear) turn of events, The Weeknd seems to have rekindled his relationship with the Recording Academy after his 2020 album, After Hours, was shut out during its year of eligibility. His performance was introduced by Recording Academy President, Harvey Mason Jr., who rattled off statistics about the organization’s efforts to diversify their voting body and nominations process since The Weeknd’s initial decision to boycott all future ceremonies. I couldn’t resist digging a little deeper into the claims being made by Mason Jr., and my research led me to discover that the voting body is still 49% white, and only 28% women- not exactly something to write home about. While strides have been taken to diversify the Academy, The Weeknd’s decision to walk back his prior convictions signals to the public that these efforts have been sufficient to earn back the trust and respect of women and POC artists and viewers. The bottom line is that there is still much work to be done to right the wrongs of the Recording Academy and their voting process (after all, we literally just witnessed the first Black woman win Album of the Year since 1999). Unfortunately, The Weeknd’s grand gesture comes across more like genuflecting than genuine forgiveness. He is someone who has been known to sniff out awards in the past (we all remember his failed attempt at Emmy-bait, The Idol), so it doesn’t come as a shock that he would be interested in repairing this rift on the heels of the release of his potential final project as “The Weeknd.” His decision to boycott the ceremony in 2020 earned him widespread industry support; it felt as though he was saying the quiet part out loud by finally calling out the bias embedded within the Academy. Deciding to course correct now just feels corporate.
Immediately following The Weeknd’s performance, the ceremony stepped aside to make room for the commercial break to end all commercial breaks. It was previously announced that Lady Gaga would be premiering her new single at some point during the event, and fans had deduced that this single was bound to be “Abracadabra,” a track she previewed during the Paris Olympics to a group of fans waiting outside of her hotel. I’m not sure that anyone was prepared for what the pop chameleon had in store for her Little Monsters. The single and video call back to her 2010s dark-pop heyday, a time when she was finding a new boundary to push practically every day. The choreography, expertly crafted by Parris Goebel, is the most intricate we’ve seen since the video for “Judas” back in 2011. The track is hard-hitting and metallic, with sharp edges and an even sharper vocal delivery from Gaga. All of her trademark quirks are there- vaguely transatlantic accent, gibberish chorus, Bowie-level theatricality- but these elements are combined to make a refreshing track that recognizes its influences without leaning too heavily on the nostalgia that they call to mind. The pop music of late (or at least what gets radio play) has been trending towards a quieter, more confessional sound popularized by the likes of Taylor Swift and Phoebe Bridgers. “Abracadabra” lands like the dropping of an anvil, and its weight is more than welcome.