Every award season claims to be historic, but this year’s Grammys might actually deserve the designation.
I always look forward to the Grammys, not because I find any particular merit within the awards, but plainly because they are rather amusing. Truthfully, the past year of music, and therefore the nominees for this year’s ceremony, were not anything I was particularly enthusiastic about. Snubbing Lorde’s “Virgin,” my favorite album from the past year, from the awards did initially create personal skepticism in the academy and almost turned me away from tuning in to the broadcast altogether, but honestly, my pop-culture-obsessed self could not resist the urge to find out who would take home wins in the major categories. So there I sat through the prolonged ceremony, slowly sinking into a stiff couch as the modern music scene attempted to “give it their all” on the screen.
Typically a night of musical shocks and snubs, this year’s Grammys ceremony additionally accompanied the United States’ growing protest against the U.S. Immigration and Customs Enforcement (ICE) in a major fashion. Throughout government condemnations, stirring performances and questionable award winners, the 68th Annual Grammy Awards brought an array of crucial remarks and notable pop culture moments that warrant discussion.
The first noteworthy performance of the night saw Sabrina Carpenter prancing around the airport-decorated stage, brightly singing her hit single, “Manchild.” Carpenter’s charisma and creativity shined, and her live vocals were, in typical fashion, on-par with the studio version of the song. Remarkably, Carpenter did not take home any awards this year for “Man’s Best Friend” despite being nominated for six categories. In my opinion, I do not believe the album artistically deviated enough from her previous work, “Short n’ Sweet,” to warrant any awards. Still, it is clear Carpenter is having fun, sustaining her honest self-discovery of the complexities of modern romance through her music.
The first award of the night, Best Rap Album, was delivered to Kendrick Lamar for “GNX.” Lamar—an ongoing rap powerhouse—would later take home Record of the Year alongside SZA for “luther,” making him the most decorated rapper in Grammys history. While I do not believe “GNX” holds up to some of Lamar’s previous work, his impact upholding intricate storytelling and high-level production within the hip-hop industry is apparent, cementing him as one of the best rappers of all time.
The Best New Artist spotlight was undoubtedly the most buzzworthy moment of the show where a continuous medley highlighted the nominees consecutively. The Marías kicked off the performance with a tranquil, blue-stained snippet of “No One Noticed.” Smooth and seductive, the band shined in their segment, placing The Marías as a distinct new artist to keep track of. Addison Rae followed, transforming the Grammys parking lot into a lustful, bubbly display of her artistry. Though vocally shaky, Rae enthusiastically sang “Fame is a Gun” as backup dancers twirled her around the gray, underwhelming backdrop. Afterward, KATSEYE chaotically ran between different sets, chanting their single “Gnarly” as the group’s dancing noticeably outperformed their vocals. Other highlights include Leon Thomas’ stylish delivery of “MUTT,” which matched the song’s relaxed character, and Lola Young’s slowed-down rendition of “Messy,” which shockingly proceeded to win “Best Pop Solo Performance.” The evident low points of the medley included Alex Warren’s off-beat singing of “Ordinary,” where he was dramatically lifted into the air as he frantically scrambled to find the track, and sombr’s dull showing of “12 to 12.”
However, the pinnacle moment of the show presented itself in Olivia Dean’s classy, passionate performance of her hit single “Man I Need.” Dean exhibited an effortless star power the other performances lacked, joyfully swaying to the beat as her captivating vocals swirled around the stage and into the audience. As expected, she won “Best New Artist” where, after ecstatically celebrating her achievement, she swiftly took the stand to denounce ICE. “I’m up here as the granddaughter of an immigrant. I’m a product of bravery, and I think those people deserve to be celebrated,” she contended.
Despite the enormous amount of notable personage that filled the Crypto.com Arena, perhaps the most substantial presence in the room was the attendees’ extensive objection to ICE. Dean was followed by a wave of call-outs and disapprovals from the music scene’s most important figures. After winning Best Urbana Album for “Debí Tirar Más Fotos,” Bad Bunny reiterated his continued abhorrence of the federal law enforcement agency, speaking “ICE out” into the microphone as cheers roared around the room.
Justin Bieber beamed his maturity and growth within the industry with a “stripped-down,” intimate performance of “Yukon” dressed in only his underwear. Earlier, choosing to wear a more composed look on the red carpet alongside his wife, Bieber showcased anti-ICE pins alongside other singers such as Joni Mitchell, Carole King and Billie Eilish. Eilish, who took the stage to accept Song of the Year for “WILDFLOWER,” continued the disapproval by cursing the federal agency, expressing the importance of continued protest and reverberating the hope she felt in the room: “No one is illegal on stolen land,” she conveyed. Similarly, speaking with reporters backstage after her win for Record of the Year, SZA pronounced, “It’s incredibly dystopian that we’re dressed up and able to celebrate accolades in the material world, and people are getting snatched up and shot in the face on the street.”
Continuing with the awards, Best Pop Vocal Album was presented to Lady Gaga for “MAYHEM.” Her eccentric, personal rock rendition of “Abracadabra” featured unique camera movements, tight choreography and peculiar accessories, showcasing classic Gaga; put your paws up! Continuing, Tyler, the Creator’s performance of “Thought I Was Dead” and “Sugar on My Tongue” was rambunctious and raw though typical for what he normally presents in concert. Similarly, Bruno Mars’ natural allure commanded the stage when he sang “I Just Might,” a standard, though blazing, song from Mars’ extensive catalogue.
Rounding off the evening, Album of the Year went to Bad Bunny, who became the first artist to win the category for a record sung entirely in Spanish. In my view, “Debí Tirar Más Fotos” is a groundbreaking, punchy album that transcends typical reggaeton boundaries: an excellent winner for the category. Taking the stage for the second time, he spoke in his native language and proudly continued his support for immigrants: “I want to dedicate this award for all the people who had to leave their homeland, their country to follow their dreams.”
Altogether, it is clear that this year’s Grammys extended beyond the accolades and transformed, as a broadcast with 14 million views, into an important space for political protest in a country trapped inside a difficult period. And despite online outcries from President Trump himself following the broadcast, the ceremony surpassed regular pop-culture discourse and stamped its place in the surging outcry against the modern U.S. government.