Go, Grammys, go!
As we approach the finish line of the bleakest awards season in years — the one that’s turned the entertainment industry’s most glamorous nights into disaster telethons — Sunday’s spirited Grammy Awards were a much-needed break from the pity party. Artists avoided being obnoxiously political and winning performances far outweighed horrible ones.
Here are the night’s best and worst moments:
One month after Jimmy Fallon’s abysmal Golden Globes hosting gig, James Corden of CBS’ “Late Late Show” proved he’s top dog when it comes to helming unwieldy award shows. His first Grammys were every bit the triumph his Tony Awards were back in June. From his “botched” opening musical number to the revelation of his parents’ celebrity free passes —Nick Jonas and Heidi Klum — Corden was hilarious at all times. The best part: Neil Diamond leading the entire audience in a joyous Carpool Karaoke rendition of “Sweet Caroline,” turning the Staples Center into Fenway for two minutes.
After first listening to Katy Perry’s latest single “Chained To The Rhythm,” the world collectively couldn’t wait to never hear it again. A rare misstep for a singer with an impressive track record of melodious pop hits, “Chained” plods along like life in the white picket fence neighborhoods the song ridicules. Alas for us, Perry whipped it out again at the Grammys, where she performed alongside Skip Marley and dancers who looked like the little-known albino branch of the Blue Man Group.
OK, turning George Michael’s yay-for-casual-sex song “Fastlove” into a funereal bonus track from “25” was her first mistake. But about 45 seconds in, Adele had to restart the tribute, saying “f – – k” after she seemingly started on the wrong note. Even when she course-corrected, reworking his funky hit into a bummer ballad didn’t seem appropriate to the memory of Michael. But the gaffe was classic Adele, and amazing TV.
The Bey-atification continues apace. For the second leg of what should be called “The Twins Tour” — after her record-setting pregnancy announcement on Instagram — the singer evoked similar goddess imagery during a performance of “Love Drought” Sunday night. Boasting a small army of modern dancers, a stage covered in flowers and a “Star Wars” prequel’s worth of holograms, the piece was a perfect fit for the Museum of Modern Art. But for all its magical mystery, Beyoncé’s musical performance was stoic and detached. A Bey minus.
In an industry dominated by jaded eccentrics, Chance the Rapper stands out. The 23-year-old Best New Artist’s gospel-infused performance of “How Great” surged with hope, optimism and gratitude. While many of his fellow artists were all but saying “Behold my greatness!” Chance, bursting with talent and youthful generosity, said “Thank you.”
Go ahead, Grammy producers — party the night away. Toast to your successes. Take selfies with Adele. Rub Beyoncé’s bump. But on Monday morning, I fully expect you to reflect on how you can bring this monster to under three hours next year — instead of tonight’s James Cameron-esque three hours and 45 minutes. (Hint: Next time, nix Little Big Town and Pentatonix.)
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