Michael Hernandez
“Whitney, we will honor you the best way we know how: with song.”
Host LL Cool J said those words solemnly as the Grammys now stood as part of a makeshift dedication platform for singer Whitney Houston.
With the unexpected passing of Whitney Houston, shock waves were dispersed throughout the music industry on the eve of the 2012 Grammys. You would be hard-pressed to imagine that the award gala would not interject segments dedicated to the prestigious and eventually maligned career of Whitney Houston. LL Cool J went for a heartfelt approach and opened with a prayer in her memory.
Other artists, such as Stevie Wonder and Bruno Mars, made mention to the late Whitney Houston. As her death made its indelible mark throughout the show, we were reminded what the Grammys were all about— watching three hours’ worth of elitist praise from rich artists to fellow rich artists.
Last year’s unprecedented win by Arcade Fire for Album of the Year caused a certain shift in how future Grammys could possibly play out. This year’s version of Arcade Fire with Bon Iver, who received four nominations and won the title of Best Alternative Album and Best New Artist, is not as climactic as last year’s Best Alternative Album win, but it still earns points for the hipster underground—if by underground you mean being on countless top ten album lists and every other music magazine cover.
A flustered but prepared Justin Vernon thanked his hometown, his parents and remarked on how hard it was to accept his award: “When I started to make songs, I did it for the inherent reward of making songs, so I’m a little bit uncomfortable up here.”
It was also hard because he unabashedly railed against the Grammys before his nomination and receiving this award must have felt cathartic and humbling. That humbling attitude finally hit Adele when she won her sixth Grammy of the night for Album of The Year—she was choking up when she was given a moment to share a few words. Other winners included Kanye West and Jay-Z for Best Rap Performance, the controversial Chris Brown for Best R&B Performance and Foo Fighters for Rock Song and Rock Album.
Dave Grohl expressed himself genuinely: “To me, this award means a lot because it shows that the human element of making music is what’s most important. Singing into a microphone, learning to play an instrument and learning to do your craft— that’s the most important thing for people to do.” For the most part, the Grammys run the gamut of headliners.
The evening consisted of Rihanna gyrating on stage, a mediocre Coldplay performance, a reunion of The Beach Boys— pioneers of those indie-rock melodies and harmonies we hear today—Maroon 5, Foster the People, Bruce Springsteen and E Street Band. For every pound of superfluous spectacle, including Nicki Minaj who was desperately drawing the ire of the Catholic church, their performance was ounces of simple musicianship and tact on stage. Adele performed for the first time since last October, Jennifer Hudson performed with a special dedication for Whitney Houston and Sir Paul McCartney closed the night with the Abbey Road Medley.
Despite their overproduced numbers and manufactured artists, the Grammys showed glimmers of poignancy. In the end, even if it’s but a glimmer, there is still richness in music—past and present.
Radiate Reviews is a weekly music review column. Look for it every Wednesday this Spring.
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