“It’s been a hell of a week,” said Alicia Keys, moments into her hosting gig on Sunday night’s Grammys telecast. “Damn! It’s a really serious one — real talk.” No kidding. Was this the first 99.9% …
’s “Bring My Flowers Now,” that directly dealt with death, or the conscious anticipation of it. Others became about that on a more or less de facto basis, though. That was clearly the case with DJ Khaled and John Legend’s “Higher,” now resurrected without one of its collaborators, the late, in tribute to him, with gospel great Kirk Franklin brought in as the presiding joyful eulogist. But even some numbers that had moment-seizing more as subtext suddenly seemed weightier.
But the “statement” songs were the core of the evening, and there were several powerful ones. Arguably the best numbers of the evening were four that had a woman alone with nothing but a piano for accompaniment.
Lovato isn’t the only one singing the blues these days, obviously. In the acceptance speech for Billie Eilish’s well-merited album of the year honor , her brother, Finneas, said, “We wrote an album about depression and suicidal thoughts and climate change and being the bad guy, whatever that means. We stand up here confused and grateful.
So what didn’t work? Not that much. The Prince tribute, maybe somewhat surprisingly, was a long way from being a water-cooler moment, or a Grammy one, really. The main reason it fell flat was probably just that it was hard to understand its reason for being, four years after Prince’s death — except as a teaser trailer for a full-length Prince tribute CBS will film two nights after the Grammys, which isreason enough.
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