Grammys 2025: A Night of Surprises, Standout Performances, and Quincy Jones Tribute

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Few awards shows lasting over three hours have been widely considered worthy of their length. However, Sunday’s 67th Annual Grammy telecast could be one of those exceptional cases. This show was so strong, so lean, that viewers might not have minded if it ran a bit longer into the east coast’s next day. It offered everything desirable in a Grammycast: contests that truly mattered to viewers, a link to reality beyond the suspense, and no disappointing performances across 16 consecutive slots.

You glanced at your watch, somewhat taken aback that the show was still running so smoothly after all these hours. It’s truly impressive under the guidance of Ben Winston, Raj Kapoor, and Jesse Collins – this is undoubtedly one of the best Grammys they’ve ever produced. The show serves as a testament to what can be achieved when you have quality material at your disposal – from captivating nominees, an exceptional group of new artists, and a unique crisis that the music industry is well-equipped to handle. They certainly made the most of it.

It’s worth noting that the 2025 Grammy Awards were unique because even though Beyoncé and Taylor Swift, two major figures in music, only participated as presenters and acceptance speech-givers, not performers, it still generated significant viewership due to their involvement in the main categories. In fact, Swift’s exceptional skill as a reaction-shot dancer added to the appeal. Traditionally, people say that the performances are what make the Grammys, but this year, there was an unusual amount of excitement about who would win each category, particularly since there was speculation about whether voters might overlook Beyoncé for Album of the Year again – a scenario reminiscent of Susan Lucci’s long wait for an Emmy award.

After securing her award, there was a collective breath of relief (not only from Beyhive members but also those who aren’t fans). The Grammy awards had a positive headline for the next day, instead of dealing with a headache. However, for the viewers at home, the anticipation of what might end up on the Bey-Z family shelf wasn’t enough to maintain interest for the 235-minute duration of the show. In the end, it was the performances that truly mattered and introduced two new talents, Sabrina Carpenter and Chappell Roan, who no longer need to wait for a massive tour to showcase their skills. They have followed in the footsteps of Billie Eilish and Olivia Rodrigo, ensuring the Grammys remain relevant and not turn into an oldies act.

However, those two newcomers were merely the crème de la crème of a group of fresh artists that past Grammy producers would have gladly given up their CBS networks for. Or so it seems that even the current producers would have, as recently as last year. Just 12 months ago, EbMaster reviewed the Grammys with a headline that was half-admiring and half-snarky: “Joni Mitchell and Tracy Chapman Made for an Outstanding Grammys, but the Show Has Forgotten How to Highlight New Artists.” What a transformation in just a year! It would be pleasing to assume that this headline prompted the producers to showcase the Best New Artist (BNA) nominees this time around, but it would also be foolish to assume so, because it was simply luck and voter preference that provided such an impressive lineup of new artists to CBS this year. The Grammys recognized their good fortune and gave all eight nominees a performance slot on the show… even Khruangbin, who received the shortest time slot but still managed to get some unforgettable exposure.

It’s hard to dispute that Roan and Carpenter were given distinct, individual full-length performance slots, rather than being grouped with other newcomers in a lengthy, medley-style segment. First on stage was Carpenter, performing a medley of hits from her “Short ‘n Sweet” album (which unexpectedly won the award for Best Pop Vocal Album). The former Disney star has cultivated an intriguing persona that blends elements of Marilyn Monroe and Gracie Allen. Her Christmas special suggested she leans towards blue humor, and this Grammy performance continued in that vein, albeit without explicit language. Dressed in a glittery unitard on a grand staircase reminiscent of Busby Berkeley’s constructions, Carpenter exuded a seductive appeal, followed by comedic pratfalls. The performance also showcased synchronized tap dancing, a rare sight at the Grammys. If you appreciate classic showbiz charm from either MGM or variety special eras, Carpenter delivers. It’s a delightful surprise to be able to return the favor.

Roan, unlike Carpenter, is generally known for being a more serious artist, but during her groundbreaking debut album, she discovered a playful side as well. The staging for her “Pink Pony Club” performance leaned towards the whimsical, with her sitting atop a literal giant pony amidst a troupe of rodeo clowns. This setup hinted at a humorous notion: perhaps only clowns and drag artists spend as much time perfecting their makeup as Roan’s inspirations. The performance didn’t heavily emphasize the LGBTQ+ aspect, but let’s be honest, “Pink Pony Club” is already one of the most openly gay major songs of the decade – it doesn’t require additional emphasis. For those five people experiencing her for the first time, she was outstanding. As far as Grammys are concerned, this was her rookie rodeo… and likely the start of many more accolades for the highly deserving Best New Artist winner.

On this particular night, Benson Boone, Doechii, Teddy Swims, Shaboozey, and Raye took turns showcasing their talents in the new-artist segment. Each of them gave a performance that suggested they were battling for the title of the breakout star. If any one of these artists had been in contention in another year, they might have easily won the Breakthrough Artist award. They each approached their time on stage as if they were aiming to hit a home run, and it was theirs alone to achieve.

The performance began with a surprise entrance by Benson Boone, who seemed to be casually sitting in the audience. Suddenly, Heidi Klum and Nikki Glaser ripped off his formal attire to reveal a bright blue jumpsuit. He then leaped onto the stage and performed two acrobatic flips, all while emulating Freddie Mercury’s style and vocal delivery. (I wonder if he’s aware that there’s already been a Queen biopic made?) This dazzling display concluded with Benson making an adjustment to his crotch. It was unclear whether this move was intended as a dramatic finale or if it happened accidentally, as he realized later that the jumping and jumpsuiting had caused some mishaps down below.

In the lineup of emerging artists, no one else showcased their athletic abilities learned from gym class, but everyone had other impressive skills. Doechii, who is already well-known in the hip-hop community, could potentially benefit the most since she has a substantial fanbase outside of it. This was her chance to make an impact on first-time listeners. She seized the opportunity and changed from a formal silver suit-and-tie into more casual gym attire (many artists used tear-away costumes in their performances), delivering a remarkable rendition of “Catfish” and “Denial Is a River.

Some viewers believed Doechii’s entrance was so dramatic, it would have been more fitting for her to perform last in her segment. However, none of the competitors in her category were prepared to be outshone. Not Teddy Swims, whose elegant white duster was embellished with large roses and what appeared to be either moss or the hair of his victims. Not Shaboozey, who boasted the biggest hit of 2024, is revitalizing line-dancing, and seems poised for a long-lasting career. And certainly not Raye, who stood before a small orchestra, delivered an exceptional performance, and capped off “Oscar Winning Tears” with a wail worthy of a Grammy that continues to echo in the cosmos. This is how you win the category for best new artist without actually winning it.

Luckily, the Grammys weren’t solely focused on the thrill of novelty. A lengthy salute to Quincy Jones seemed surprisingly laid-back compared to the typical fast-paced tempo of the event. It began in a somewhat peculiar way, as host Will Smith shared a story about Jones’ emphasis on quality food for behind-the-scenes staff – an interesting tale, but perhaps not the most impactful one about such a legendary figure. If there was only room to share one anecdote about this icon, maybe it could have been something more significant or impressive than a story about catering.

The Jones salute continued, and escalated even further. Cynthia Erivo and Herbie Hancock teamed up for a beautiful rendition of “Fly Me to the Moon.” Country artist Lainey Wilson and album-of-the-year nominee Jacob Collier made a charming duo on “Let the Good Times Roll.” Later, Herbie Hancock was joined by Stevie Wonder, who sat at the piano with him, discussing unity and playing harmonica melodiously on the jazz instrumental “Bluesette.” Finally, Janelle Monae impressed with her spot-on Michael Jackson impression, infused with a hint of her unique raw energy, during a powerful performance of “Don’t Stop Till You Get Enough” that closed the segment.

The event wasn’t a one-time collaboration. The evening commenced with a tribute to Los Angeles through Randy Newman’s “I Love L.A.” led by the talented band Dawes, accompanied by Sheryl Crow, John Legend, Brad Paisley, and St. Vincent as an exceptionally skilled backup group. Later, the focus returned to Southern California in a more somber manner, after a brief documentary recap of the wildfire destruction, with Lady Gaga and Bruno Mars joining forces for a fittingly melancholic rendition of the Mamas and the Papas’ “California Dreamin’.” Finally, Billie Eilish and her brother Finneas contributed a heartfelt local flavor to the Los Angeles celebration with a touching performance of “Birds of a Feather” against a pre-fire visual representation of Eaton Canyon.

The In Memoriam segment showed an awareness that there are only so many traditional pop ballads suitable for a eulogy left, and so opted to have Coldplay’s Chris Martin perform their song “All My Love”. A clever twist was added by inviting young guitar virtuoso Grace Bowers to join him during instrumental breaks. Her playing exhibited a depth of emotion that belied her youth.

Furthermore, Shakira’s performance in “Ojos Asi” was stunningly unique, demonstrating from the start that her rhythm and abdominal movements remain sharp. The Weeknd, however, added a touch of mystery as expected, with his blend of “Cry for Me” and his collaboration with Playboi Carti, “Timeless,” perhaps proving challenging for casual viewers to comprehend. Nevertheless, those who have already adopted his new album would have been content… and fans who enjoy reconciliation scenes were pleased to witness him seemingly forgiving the Recording Academy for past perceived injustices. (Whether he’ll return if “Hurry Up Tomorrow” is overlooked next year remains to be seen.)

Instead of a structured and precise performance, Charli XCX concluded her set with an impromptu rave-like atmosphere. This approach successfully created an illusion that the after-party was beginning prematurely, since there were no actual after-parties at this year’s Grammys due to wildfire precautions. Moreover, it left the audience in suspense about whether the aerial underwear would indeed be donated to those in need, as Charli had pledged. Perhaps the intention behind the donation is what truly matters.

During the performance of the show, there was a delicate dance between evoking emotions like sadness and hope, or focusing on recovery in relation to the wildfires. Should the show aim to deliver a message post-inauguration, similar to Lady Gaga’s support for transgender individuals and Alicia Keys’ advocacy against diversity discrimination, or should it steer clear of contentious topics, much like Trevor Noah has done in his role at the Grammys? The show managed to incorporate elements of all these approaches, but a notable achievement was that the producers never appeared to struggle in maintaining this balance. Maintaining this high standard set by recent shows will be challenging, but may the show continue to appear seamless under pressure, and the nominations remain significant enough to sustain this level of interest.

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2025-02-03 21:21