🎵 2022-04-04 21:48:50 – Paris/France.
The 64th Annual Grammy Awards promised a return to (relative) normalcy after a scaled-down ceremony in 2021 that took place largely outdoors. In Las Vegas for the first time, and with the re-enacted pop spectacle, the show's most impactful moments were often the least flashy: a sober plea for help from Ukrainian President Volodymyr Zelensky; Doja Cat's tearful moment on the mic; rooftop performances that highlight another generation of artists. (Billie Eilish and HER's high-octane live moments also had a big impact.) Here are the show's highs and lows as we saw them.
Best First Love Kisses: Olivia Rodrigo and Billie Eilish
Two points on performances too raw to feel petty, Olivia Rodrigo's "Drivers License" and Billie Eilish's "Happier Than Ever" - some of the most powerful and dramatic breakup songs of the last year - injected some much-needed sentiment into the first half of the show. (Condolences to the young men that these songs have been prétendument While the ceremony, as usual, couldn't quite decide on its target demographic, it was young people – these young women, in particular – who carried the mantle of relevance, but also of performance, with live vocals loud enough for any pop skeptics among the CBS faithful.
Rodrigo fell short of reaching Eilish 2020, earning just one of his nominations in the Big Four, Best New Artist, as well as Best Pop Vocal Album and Best Pop Solo Performance categories. But hopefully the long shots of her during Eilish's onstage rock outburst were more about the emotional kinship of their songs than trying to force a fake rivalry. Rodrigo, 19, and Eilish, 20, should probably get used to this stage; the Grammys are more than lucky to have them both. JOE COSCARELLI
The Oscars had a moment of silence for Ukraine; the Grammys had a videotaped speech from Volodymyr Zelensky, the country's president, who didn't mince words. " The war. What could be more opposed to music? The silence of cities in ruins and people killed,” he began. It's impossible to balance the indulgence of an awards show with the horrors of war, but Zelensky was strategic, appealing to pop for its ability to convey information: “Fill the silence with your music. Fill it out today to tell our story,” he urged. John Legend followed it up with a new anthem-like song, “Free,” joined by poet, Lyuba Yakimchuk, singer, Mika Newton, and bandura (zither) player, Siuzanna Iglidan, from Ukraine. It was a sincere and dignified gesture. JON PARELES
Most Humanizing Bathroom Break: Doja Cat
For an otherwise light evening on real chaos, Doja Cat and SZA's win for Best Pop Duo/Group Performance was a welcome jolt of mayhem. First, a lonely SZA slowly climbed onto the stage on crutches (“I fell out of bed before I came here,” she later explained) before seeing Doja rush onto the stage and say: “Daughter, you went to the bathroom for like five minutes, are you serious? Doja looked shaken and breathless enough for the story to be verified, and as she took the stage to accept her first Grammy, she told the world, "I've never peed so fast in my entire life," with the comedic timing of a seasoned stand-up. After collecting herself and smoothing her dress, the favorite pop troll suddenly got uncharacteristically emotional. “I like to minimize a lot of [expletive],” she says through tears, “but that's a big deal. For an artist who often delights in fantasy, irony and otherworldly artifice, this was an endearing down-to-earth moment. LINDSAY ZOLADZ
Worst manipulation of the most popular genre: the uneven presence of rap (again)
Nas, who is 48, nodded to his classics: "I Can," "Made You Look," "One Mic" — of course. Baby Keem, cousin and protege of Kendrick Lamar, won an award for a pretty weird — cool song. Jack Harlow rapped well and artfully censored himself during his “Industry Baby” verse with Lil Nas X – OK, nice. Still, the rapper couldn't help but feel like an afterthought at the ceremony, despite repeatedly breaking up as a cornerstone of the music industry at the time. era of Streaming. Few of the genre's rising stars, or their heroes, were present, let alone featured, while rock was referenced repeatedly. Winner of two rap awards in the preshow, Kanye West's absence, as necessary as it may have been, was glaring. And even a gesture that could generously be considered inclusive – dubbing Virgil Abloh, the artistic director of Louis Vuitton menswear who died last year, a “Hip Hop Fashion Designer” – was widely received online as dismissive or downplaying. . The mistrust runs deep and the healing has yet to begin. COSCARELLI
More coverage from the 2022 Grammy Awards
Best Carnival Spirit: Jon Batiste and Lil Nas X
Not all Grammy shows work out for the best. But two over-the-top song and dance numbers this year made their case both visually and musically. Instead of trying to emulate the CGI extravaganza of his video for “Montero (Call Me by Your Name),” Lil Nas X — a social media mastermind — flashed reactions on the internet, surrounded himself with drummers menacing and dressed in black, then went bare-bellied to dance in front of a glowing bust of his own head, big enough for a carnival float. He and the ensemble switched to sparkly marching band uniforms for his duet with Jack Harlow, “Industry Baby” — a cheerleader victory parade.
Jon Batiste brought the candy-colored palette and long, slender movements of his "Freedom" video to the Grammy stage, but in real time and even wackier, surrounding himself with dancers of all shapes, sizes and cultural signifiers. very varied. . Batiste was in turn piano virtuoso, vaudevillian, preacher and instigator; he led his forces into the audience and danced to Billie Eilish's table, where she enthusiastically joined him singing "Freedom!" » Talk
Worst Overcorrection: Trevor Noah's Anti-Oscar Niceties
Last week's Oscars left a bad taste in everyone's mouth, and even before The Slap Heard Round the World there were already rumors that the show's jokes at the nominees' expense had been a little also acid. In light of all the controversy, it was no surprise that the Grammys wanted to cast themselves as some kind of anti-Oscars, and host Trevor Noah wasted no time, proclaiming in his monologue of opening: "We're gonna dance, we're gonna sing, we're gonna keep people's names out of our mouths" — about as polite a reference to Will Smith's outburst at the Oscars as one person could muster. But as the show wore on, Noah's bland, gee-whiz tone sounded more and more like unfortunate over-correction, blurring the edges of his jokes so they had virtually no impact. In introducing Jared Leto, Noah even missed out on the lowest joke book fruit of 2022: poking fun at “House of Gucci” accents! No one was asking him to take petty jabs, but a well-placed zinger here or there would have given the show some needed spice. ZOLADZ
Best Stans Moment: BTS' V Flirts With Olivia Rodrigo
Sometimes the Grammys give us rare moments of wonder that could only be imagined in the world of fan fiction. Consider the opening of BTS's "Butter" performance: As the James Bond-themed presentation began, the camera turned to BTS's V (Kim Taehyung) and Olivia Rodrigo, where the pair were seated the next to each other in the audience, chatting. For a whole 18 seconds, V leaned over and whispered what we can only assume were sweet nothings in Rodrigo's ear. Jaws dropped; battered eyelashes. It was perhaps the most alluring moment in BTS history. I ship it. ISABELLE HERRERA
The Most Refreshing Return: Bold Fashion
Maybe it was the move to Las Vegas, maybe it was the pent-up desire to dress up after two years of distant and/or postponed awards, but the Grammys red carpet was lit up in exuberant, exuberant fashion. . Megan Thee Stallion seemed to be channeling an entire big cat enclosure in her one-shouldered, waist-split Cavalli; Lil Nas X, a sci-fi warrior angel in pearl-encrusted Balmain; and Saint-Vincent, the most extravagant boudoir in Gucci ruffled organza. Even Lady Gaga, whose entrance look was terrifyingly classic elegance on a silver screen, transformed into a mint green satin strapless number to play – with perhaps the biggest bow in existence on her behind. Meanwhile, the best bling wasn't just bling for bling's sake: it was bling with meaning. Jon Batiste set the tone with a silver, gold and black harlequin sequined suit whose colors were an ode to his hometown of New Orleans, and Brandi Carlile said her '40-pounder' adorned Boss tuxedo was a tribute to Elton John. Although in the end, one of the most striking outfits of the whole evening was the least fanciful: Billie Eilish, performing in a shirt bearing the likeness of Taylor Hawkins, the Foo Fighters drummer who died in late March. It was a most effective fashion statement. VANESSA FRIEDMAN
Worst arrangement: “Peaches” by Justin Bieber
I'm not even mad at the pants. But a stretched, silly piano intro, a botched pseudo-jam session and shoddy bleeps undermined Justin Bieber's "Peaches" performance — and his continued quest to be seen as a serious R&B singer. On a night where Silk Sonic and Jon Batiste cleaned up with studied professionalism, Bieber's young college and company presentation didn't feel subversive, it just fell flat. COSCARELLI
Best Sideline Performances: The Preshow and the Roof
No doubt with an eye to the show's low ratings, the Grammys – which set aside time for performances in jazz, classical music and other not-so-commercial genres – have been focusing lately on the success, even though its more than 80 categories recognize niches aplenty. But there are always music lovers alongside the Grammy metrics team, and the internet is their safe space and their consolation prize. The pre-prime time awards, where nearly every category is awarded in a spirited, web-only ceremony, regularly feature superb performances and this year was no exception: Alison Russell revamping her "Nightflyer" in as impassioned string orchestra chamber music, Ledisi presenting a majestically tormented version – in French, then English – of “Non, Je Ne Regrette Rien”, Jimmie Allen infusing country with filial pride in “Down Home” and My Laferte preparing for the fury of the gale in “La Mujer.” The primetime show also indulged in glimmers of music beyond the pop charts, interspersing some commercials with snippets of outdoor performances as exuberant as anything on the main stage: salsa de la Cuban singer Aymee Nuviola, cult music by Maverick City Music and labyrinthine progressive bluegrass by Billy Strings. Sooner or later, the show promised, they'll be on the Grammy's website. Talk
Best Kid Energy Theatre: Lady Gaga
It's no secret that the Grammys have struggled to book A-listers in recent years, so when you can guarantee a household name like Lady Gaga, you better give her the best seat in the house and to keep a camera on her all night. Gaga seemed more eager than ever to hold court, posing for photos with BTS, swaying to the Osborne brothers and even holding SZA's train to help her onto the stage without tripping over her crutches. But her most memorable moment had to be her…
SOURCE: Reviews News
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