She’s in California dreaming, and although Adele’s “Hello” has been burnt to a crisp due to non-stop airplay in 2016, the song still resonates – particularly when performed live in an arena. It was Adele’s night, so it’s only fitting that she open the show.
Michael Jackson’s daughter got things off to a political start early, when she suggested that “we could use this at a pipeline rally,” and proclaimed, “#NoDAPL”!
After Twenty One Pilots accepted their award on air in their boxers – a throwback to when, pre-fame, they used to watch the Grammys in their underwear – Corden followed suit. It was one of several Corden outfit changes throughout the night, but easily the most skin.
It was a rather so-so performance of their hit “I Feel It Coming,” but give them points for apparently performing it for Superman in the Fortress of Solitude.
The night’s other amazing stage direction came from Beyonce’s performance of “Love Drought”/”Sandcastles,” which relied on a screen and projected visuals for a unique, ethereal quality. (Points to enlisting proud mama Tina Knowles, who enthused that both daughters – Solange, as well – had won Grammys that night, to introduce the performance.) Yeah, perhaps it was a little too much (that crown? OK, we get it, she is the queen), but it was a visual spectacular. During the commercial break, stagehands frantically tried to capture all of the streamers and rose petals via leaf blowers – and still, small reminders of Beyonce floated through the air at the Staples Center for the rest of the night.
Anyone else get nervous here? Beyonce, you’re about to have twins. BE CAREFUL.
The mash-up of Kelsea Ballerini’s “Peter Pan” and Lukas Graham’s “7 Years” was unexpected and unusual, but it weirdly worked. (Now, can we please retire “7 Years” for good?)
Corden’s one nod to his signature “Carpool Karaoke” segment came midway through the show, as he grabbed Jennifer Lopez, John Legend, Neil Diamond and others to sing along to “Sweet Caroline.” It was his Ellen Oscars moment.
“Chained to the Rhythm” is a jam with a message (and Perry’s “Resist” armband illustrated that, just in case you weren’t listening to the lyrics). The coolest set design of the night, the performance took place around a house and fence that was actually held up by dancers, who eventually broke it apart in a dizzying display – ending with an image of the Constitution preamble projected over Perry and Marley’s face.
As Adele launched into a slow version of George Michael’s 1996 hit “Fastlove,” it was clear something was off — she was a bit flat, and perhaps an octave too low. She stopped the song and yelled, “I f*cked this up!” She then apologized to producer Ken Ehrlich for swearing — and launched into a proper version. It saved the performance — and won over the crowd. What was conceived as a bit of a downer (why not celebrate George Michael’s life with something more upbeat?) turned into a triumph, ironically, because of that mistake. By the time she was done, Adele was in tears — and had some of the audience misty-eyed as well.
Lady Gaga, fresh off her Super Bowl performance, slayed with Metallica on “Moth Into Flame” — marred only by the fact that James Hatfield’s microphone failed in the beginning. (After a quick microphone change, Hatfield could finally be heard, and the crowd cheered.)
It was subtle enough that you might have missed it, but Corden dressed as a silent member of Joe Jonas’ pop band helped illustrate why Corden was the perfect Grammy host — his ability to jump in, make a quick funny and jump out, kept the show moving and the spotlight on the artists while still being able to have some fun.
Easily the most powerfully political performance of the night, “A Tribe Called Quest” performed “We the People” while tearing through a Tetris-like wall, as Busta Rhymes tore into “President Agent Orange.” The song ended with a crowd of diverse young people on the stage, representing immigrants from across the land. The performance electrified the Staples Center.
It wasn’t subtle, but breaking through the wall felt a bit liberating.
Is there anything Bruno Mars can’t do? His performance of the guitar lick on “Let’s Go Crazy” would have made Prince proud. Unfortunately, the Prince tribute was way too short — just one song, and dominated by a bit too much of The Time. (Did “Jungle Love” really honor the Purple one? Why didn’t we see Bruno and Morris Day perform Prince classics together?) But if Mars was going to perform one song, “Let’s Go Crazy” was the proper choice. It was actually the second triumph of the night for Bruno Mars, who also got the crowd on its feet for “That’s What I Like.”
Even Adele seemed a bit embarrassed by her riches, picking up the night’s top prizes for her song “Hello” and album “25.” In a sense, she Kanye’d herself, declaring that “the ‘Lemonade’ album was just so monumental, Beyoncé. It was so monumental and well thought-out and beautiful and soul-bearing… we appreciate that. All of us artists here adore you. You are our light.”