The atmospheric river that hit Los Angeles County did nothing to dampen the spirits of those attending the 66th GRAMMY Awards. Armed with storm ponchos and umbrellas, we made our way into the Premiere Ceremony at noon – before the rain began – and settled in for the three-hour, YouTube-streamed program where many of the lesser-known, but equally-important, performers, receive awards in 80 or so categories, such as Best Album Notes, Best Americana Performance, Best Remixed Recording (whatever that is?) and Best Large Jazz Ensemble Album.
We were there to root for Chicago and Chicago-adjacent musicians such as Laura Strickling and Daniel Schlosberg (nominees for #92, Best Classical Solo Vocal Album), Jessie Montgomery (#94, Best Contemporary Classical Composition, which she won!), Pacifica Quartet, and most of all, Third Coast Percussion, a four-man ensemble marking its seventh trip to L.A. as GRAMMY nominees.
Did it matter to us that Third Coast Percussion was up against classical fan favorites Yo-Yo Ma, Emanuel Ax, and Leonidas Kavakos? No! And it didn’t matter to the Recording Academy voters, either; they chose Roomful of Teeth (love the name) for #90, the Chamber/Small Ensemble GRAMMY.
With a measure of humble disappointment, and rain paraphernalia in hand, we made our way through a downpour to the vast Crypto Arena (formerly Staples Center), where the pop production emceed by the gifted and upbeat Trevor Noah was about to begin. This made-for-TV show does not disappoint. Some of the icons performing this year included Billy Joel, Miley Cyrus, and Dua Lipa, whose lively opening act, “Training Season,” was choreographed in and through a huge cube-shaped jungle gym that dancers lifted, rotated, and carried across the floor. Note to self: my workout routine is impossibly dull.
Some of the finest moments, though, tapped into history. There was Joni Mitchell, making her GRAMMY show debut at age 80!; Stevie Wonder recounting Tony Bennett’s enduring influence; Luke Combs talking about Tracy Chapman’s 1988 hit “Fast Car.” And we were schooled in the history of Memphis Soul when award #77, Best Album Notes, was announced. The winner? Writers Robert Gordon & Deanie Parker, for Written In Their Soul: The Stax Songwriter Demos.
The duo’s concise comments, scripted to fit within the 45-second time limit, represented less an acceptance speech and more a narrative of Stax Records and the phenomenal years of research that went into this project. But … had Gordon and Parker written a second, equally compelling acceptance script, just in case Written In Their Soul won award #78, Best Historical Album? Yes, they had! (For more history on this project, Stax Records, and Deanie’s career there, see this New Yorker article.)
As great as everything was, something was still missing, so I created a few more award categories. They are:
Long Overdue Award: Miguel Zenon, who finally won his first GRAMMY Award after 12 nominations (Best Latin Jazz Album).
Vivacious Energy Award: For the way boygenius members Julien Baker, Phoebe Bridgers, and Lucy Dacus bolted up to the podium to claim their first GRAMMY. And then returned to the stage, still overjoyed, to pick up their second.
There’s Nothing Wrong With Being Perfectly Charming Award: To singer-songwriter-guitarist-cellist Laufey (it’s pronounced LEY-Vey, y’all), singing “From the Start.” See for yourself.
Best Riff on Classic Rock Tunes Award: Brandi Clark’s “Dear Insecurity,” whose first few measures evoke the seemingly impossible combination of “Don’t Stand So Close to Me” and “Desperado.”
Most Complementary Back-Up Band Award: SistaStrings, which performed the role of expert House Band to anyone needing string orchestration.
Best Grammy Moment Award, No Contest: Tracy Chapman and Luke Combs singing Chapman’s “Fast Car” together.