Despite being hailed as the most
significant night in music, the Grammy Awards continue to grapple with
mediocrity. Previous shows have appeared to lack a clear sense of purpose, with
an identity crisis exacerbated by years of perceived snubs and amplified by the
pandemic. Comedian Trevor Noah candidly acknowledged in 2022 that the event
felt more like "a concert where we
give out awards."
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| Trevor Noah |
This sentiment persists two years later. With many categories relegated to a lively yet sparsely attended preshow ceremony, the main telecast feels like a strained spectacle, fraught with contradictions. Watching the Grammys in 2024 is akin to witnessing an insistence on enjoyment without much tangible evidence of it.
Part of the Grammys' struggle can
be attributed to shifts in how people consume award shows. Is it worth
subscribing to watch a more-than-three-hour event when you can catch condensed
highlights on your preferred social media platform the next day? Probably not.
However, the primary issue lies in the tension between diminished viewer trust
and the Academy's desperate attempts to appeal to them. While the institution's
representatives often evoke music's radical roots and unifying potential,
what's showcased is ultimately a disheartening commercial reality.
Despite these challenges, Noah returned as host this year, providing a consistent presence in an otherwise uneven affair. The evening kicked off on a positive note with a rendition of "Fast Car" by Tracy Chapman and Luke Combs. Combs' heartfelt cover, nominated for Best Country Solo Performance, was accompanied by a prerecorded video where he expressed the song's significance to his artistic development. His admiration for Chapman, who won the Grammy for Best New Artist in 1989, was evident in the glances he exchanged with her during their performance.
Another standout moment was Annie
Lennox's poignant tribute to Sinéad O'Connor, who passed away in July 2023,
during the In Memoriam segment. Lennox concluded her performance with a plea
for a ceasefire in Gaza, one of the few acknowledgments during the evening of
the escalating violence in the region, where the Palestinian death toll has
surpassed 27,000.
Other poignant moments centered
around the telecast's informal theme of celebrating female excellence. The
dominance of women in the music industry was evident in the nominations for
major categories and showcased in the performances.
Victoria Monét's win for Best New Artist, recognizing her impactful album "Jaguar II," was a testament to the years of dedication leading up to this achievement. During her acceptance speech, Monét reflected on the arduous journey to claiming the trophy.
In prerecorded interviews, both SZA
and Miley Cyrus shared insights into their nominated works, emphasizing themes
of self-discovery and personal growth. SZA discussed the five-year process
behind her album "SOS,"
which earned her the Grammy for Best Progressive R&B Album, before
delivering a captivating medley of "Snooze"
and "Kill Bill." Similarly,
Cyrus' remarks highlighted the perseverance and evolution reflected in her
post-divorce anthem "Flowers,"
which not only won Best Pop Solo Performance but also the coveted Record of the
Year award.
During Billie Eilish's performance of "What Was I Made For," which was honored as Song of the Year, the telecast appeared to intensify its focus on empowered women, highlighting the show's inherent contradictions. This was particularly evident with the presentation of the Impact Achievement Award named after Dr. Dre, a figure with a history marred by allegations of assault, yet continually celebrated and given prominence by the Academy.
Even though Jay-Z, this year's recipient,
accepted the prize with his daughter by his side and used his time on stage to
criticize the Grammys for their snubs, there remains a troubling lack of
self-awareness on the part of the awards.
Joni Mitchell's moving performance
of "Both Sides Now" echoed
this sense of dissonance. Just two years ago, the singer withdrew her songs
from Spotify in protest of the platform's role in spreading COVID-19 vaccine
misinformation. However, this evening's program failed to even acknowledge the
ongoing crisis caused by the pandemic.
Following Noah's monologue, which touched on Universal Music Group's decision to remove its music from TikTok and the contentious relationship between Spotify and artists, the Grammy Awards proceeded in a somewhat predictable manner. The lengthy runtime, exceeding three hours, only intensified the feeling of endurance required to sit through the telecast.
Consequently, it was challenging to
fully appreciate performances like the one by Burna Boy, Brandy, and 21 Savage
("Sittin' on Top of the World"),
which occurred later in the evening. Attention was primarily focused on the
usual suspects, with Taylor Swift receiving extra airtime for her reactions.
Swift used her 13th Grammy win (Best Pop Vocal Album for "Midnights")
to announce her upcoming album.
This year's telecast felt more
calculated than usual, with moments of obligation occasionally punctuated by
surprises. I couldn't help but compare it to the preshow ceremony, where most
awards were distributed. Despite its quirks and occasional hiccups, that
broadcast, available on the Grammys' website, was imbued with honesty, heart,
and a genuine commitment to celebrating artists. The main show could
undoubtedly learn a thing or two from it.
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