Rock’n’roll isn’t dead. Not yet, anyway. However, you wouldn’t know it based on the Grammys, since the evening was defined as much by who wasn’t on stage as who was. Elton John, Sting, and U2 represented classic rock, while a brief appearance by Gary Clark Jr. was the only nod to the new guard. Modern rock artists Jason Isbell and the 400 Unit, Foo Fighters, The National, and The War on Drugs all won their respective categories. But none of them performed, and the rock acts were relegated to receiving their awards in a pre-telecast ceremony. It must be strange being honored in an environment of indifference bordering on contempt. Largely ignoring rock music was a particularly odd thing to do on a night that celebrated Chuck Berry, Fats Domino, and Tom Petty, who on his 1976 debut proclaimed “Anything that’s rock’n’roll’s fine.” The Grammys would seem to think otherwise.
The last time the Grammys were held in New York was 2003. The city was celebrated throughout the show, most memorably by having the legendary Patti Lupone sing “Don’t Cry for Me Argentina” from Evita. The Long Island native played the title role in the original 1979 Broadway production, and it was oddly moving seeing Lupone, for all intents and purposes, reprise her role from almost 40 years ago. The rock’n’roll equivalent would be when Eddie Van Halen performs 1978’s “Eruption” during his 10 minute solo. In each case, you’re reminded that Gods still roam the earth.
New York themed songs were played as the presenters walked to the stage. Katie Holmes came out to Bruce Springsteen’s “New York City Serenade,” from his 1973 masterpiece The Wild, the Innocent & the E Street Shuffle. It was good to hear this relatively obscure sublime ballad, equal parts Curtis Mayfield, Astral Weeks, and Mean Streets, on such a mainstream program. Even if it was just 15 seconds of Springsteen and the E Street Band doing the call and response, “No, she won’t take the train!”
Sting, Shaggy, and host James Corden should definitely not have taken the train. In what was the worst part of the show, the three of them were in an excruciatingly unfunny sketch where they were annoying people on the subway. They should have gone the David Letterman route, and simply interacted with actual New Yorkers. You’re never going to top the real thing. Instead, there was a guy who looked like a “New Yawk” meathead version of conservative author Andrew Sullivan threatening them, with baffling random close-ups of Sting making odd facial expressions. The Grammys somehow thought this was a better alternative than giving Jason Isbell or The National a prime showcase. On the positive side, Sting and his band did “Englishman in New York.” Some folks on Twitter wondered why he chose to do it, which appeared to be a joke at first, but they were being serious. Apparently, the title of the song wasn’t enough of a giveaway.
Looking at social media while watching the Grammys was an amusing experience. During Patti Lupone’s indelible performance, a professional music writer had the guts to admit that he preferred Madonna’s interpretation of the song. Admittedly, my initial reaction was to burst out laughing. Then came the realization that I’m the guy who thinks the sinister, meditative Michael Mannish cover of “Tomorrow Never Knows” by Phil Collins is as good if not better than the groundbreaking original from the Beatles. (It’s essentially the prototype of the dusky ambient music that bookend Pearl Jam’s Ten.) Ultimately, we’re all entitled to our harmless unconventional opinions.
Speaking of which, the Elton John/Miley Cyrus rendition of “Tiny Dancer” matched the original. With Elton about to embark on his last tour, the rural ‘70s Americana of “Tiny Dancer” sounded more elegiac than usual. In general, the past seemed to haunt the Grammys. U2 performing on a barge with the Statue of Liberty as a gloriously symbolic backdrop was supposed to invoke the present. But it brought to mind their video of 1981’s “Gloria,” which also had them playing on a barge. Even Donald Glover/Childish Gambino, perhaps the most respected contemporary artist who performed, expertly channeled the sultry ‘70s “quiet storm” soul of Smokey Robinson, and Moon Safari-era Air.
Going deeper into the past, the tributes to Fats Domino and Chuck Berry by Jon Batiste and Gary Clark Jr. had been worthy of the two men who were among the founding fathers of rock. And when Chris Stapleton and Emmylou Harris sat down with acoustic guitars, you knew they were going to do Tom Petty’s “Wildflowers.” Since its release in 1994, it’s become one of his most beloved songs, a moment in tranquility from someone who, to paraphrase “Refugee,” “had to fight to be free.” Four month’s after his sudden, shocking death, it’s still hard to fathom he’s gone.
Lady Gaga, SZA, and Bruno Mars with Cardi B also gave stellar performances on a night filled with frustration, greatness, and loss. What else would you expect? As DJ Khaled reminded everyone at the top of his lungs, “THIS THE GRAMMYS!!!”
Matt Leinwohl