Photo: Andy Lyons/Getty Images
Super Bowl LVI Halftime Show Recap: Dr. Dre, Snoop Dogg, Mary J. Blige, Eminem, Kendrick Lamar & More Blow The Roof Off SoFi Stadium
The Super Bowl LVI halftime show promised to be a giddy monument to rap's best and brightest. Boasting a multigenerational lineup and surprise appearances from 50 Cent and Anderson .Paak, it didn't disappoint.
The history of Super Bowl halftime shows is something of a mixed bag — that's why they're good fodder for impassioned arguments and comprehensive rankings. But there was extra anticipation for this one, and not just because of how many GRAMMYs juggernauts there'd be.
"Snoop Dogg told me that hip-hop's always been in the culture of the NFL," sportscaster Maria Taylor said during the 2022 Super Bowl. "But for the first time ever, hip-hop and rap will take center stage." Thus, she primed the audience for a hell of a ride, filled with rap royalty from multiple scenes and lineages — and the Pepsi Super Bowl LVI Halftime Show did not disappoint.
From the opening seconds, it looked like viewers were in for yet another first: Dr. Dre, enthroned on an office chair, pushed faders on a massive, pearl-white mixing board. Is this the first shout-out to producers and engineers on the halftime stage? That's probably for the Recording Academy's P&E Wing to debate among themselves on Monday. But in the moment, it simply felt like a fitting salute to Dre's legacy as a visionary behind the board.
Dre then stood up, arms outstretched, surveying his dominion. More than a year after his 2021 aneurysm briefly laid him low, it's poignant to see him back in action on such a grand scale. The set was revealed to be a city block (or, as multiple tweets jokingly surmised, a WeWork) on top of a map of L.A. Then, a joyous yelp of "Snoop Doooooogg!" What an homage to the West Coast; what a colossal party. Everybody's celebratin'.
Festooned in blue before a sea of Crip-walking dancers, The artist formerly known as Snoop Lion — who planted his flag as a hungry upstart on The Chronic back in 1992 — joined Dre for performances of "The Next Episode" and "California Love" — the latter being, of course, a Tupac Shakur joint. And if that wasn't enough of a throwback, surprise! An upside-down — then right-side-up — 50 Cent performed his once-inescapable, GRAMMY-nominated 2003 hit "In Da Club."
In what was destined to bowl over Twitter, a highly reflective Mary J. Blige appeared to perform "Family Affair," backed up by silvery dancers. She went from high-octane to heart-on-sleeve with "No More Drama," which she capped off with a flourish and a faux-faint. But it wasn't time to say goodnight: whether by flames or by chains, when it comes to bringing things to another level of high-concept drama, you can always count on Kendrick Lamar.
K-Dot — who's been finishing up his follow-up to DAMN. and collecting beach cruisers — blew minds the world over with an aerodynamic performance of "Alright," which won the GRAMMY for Best Rap Song at the 2016 GRAMMY Awards. Whatever he's got up his suit jacket sleeve for 2022 and beyond, be advised to brace yourselves.
Never one to be easily upstaged, Eminem brought the heat with "Lose Yourself" — you know, the one about a matriarch's certain Italian staple. And if that wasn't Anderson .Paak on drums! (Silk Sonic, his high thread count duo with Bruno Mars, is up for four GRAMMYs at the 2022 GRAMMY Awards.)
After rumors of a behind-the-scenes kerfuffle over whether Em would kneel in solidarity with Colin Kaepernick, he did just that — as Dre plunked out the melody to Tupac's "I Ain't Mad at Cha" on a gleaming piano. Before the next round of commercials piped in and the Rams rode to victory, all five headlining musicians — plus 50 — joined together for a celebratory version of "Still D.R.E."
"I still got love for these streets," the pioneering MC and producer declared to the entire planet, toasting to the everlasting global supremacy of rap, flanked by his mightiest colleagues and compatriots. So do we, Dre. So do we.
Ladies Antebellum And Gaga, Jeff Beck, David Frost, John Legend Win Three GRAMMYs Each
Arcade Fire wins Album Of The Year; Esperanza Spalding wins Best New Artist
(To view a list of 53rd Annual GRAMMY Awards winners, click here.)
The evening began with a tribute to the Queen of Soul, Aretha Franklin, but by the time the last of the 53rd Annual GRAMMY Awards was handed out on Feb. 13, several other singers and bands looked something like royalty. Foremost among them was Lady Antebellum, who walked away with three trophies while the group members earned two more each for songwriting categories.
Lady Antebellum at the GRAMMYs
During a show memorable for its range of fully fueled performances, the country superstars sang a pitch-perfect medley of tunes that ended with a quiet rendition of the song that launched them, "Need You Now," and shortly afterward collected the Song Of The Year GRAMMY for it (along with co-writer Josh Kear, with whom they also took Best Country Song). But there was plenty more to come for the trio. They also took home the GRAMMY for Best Country Album for Need You Now. Accepting that award, lead singer Charles Kelley said, "This song has completely flipped our world upside down." By the time Lady Antebellum stood up to collect a trophy for Record Of The Year for "Need You Now," they were in disbelief, and possibly discombobulated: "Oh my gosh, we're so stunned we started walking the wrong direction," said singer Hillary Scott breathlessly.
Also racking up awards was Lady Gaga, who claimed three: Best Pop Vocal Album for The Fame Monster, and Best Female Pop Vocal Performance and Best Short Form Music Video for "Bad Romance." Never one to miss the chance to make an entrance, she hatched herself onstage from a giant opaque egg. That was a riff on her new single, "Born This Way," and perhaps her bared shoulders, which sprouted a pair of pointy elbows, were too. Her dancers and outfit gave off a Cleopatra vibe, but Gaga can't be stopped from seeming ultra-modern, and her performance of "Born This Way" reflected that; it was a warp-speed whirlwind.
Lady Gaga at the GRAMMYs
In keeping with that same modernist — or maybe futurist — spirit, she accepted her award for Best Pop Vocal Album in black body armor. But Gaga also proved she can be an old-fashioned girl with a soft side. In an emotional acceptance speech for that award, she surprised the audience by thanking Whitney Houston: "I imagined she was singing…because I wasn't secure enough in myself to imagine I was a superstar. Whitney, I imagined you."
Leading the nominees with 10 nods revolving around Recovery, an album that detailed his struggles with addiction but also reestablished him as a rap force to be reckoned with, Eminem took home trophies for Best Rap Album — a triumph over rivals including Jay-Z, Drake and B.o.B — and Best Rap Solo Performance for "Not Afraid." Onstage, his swagger proved undiminished.
A flame-haired Rihanna opened Eminem's performance with a searching rendition of their duet "Love The Way You Lie," but it was Slim Shady who came out blazing, spitting the lyrics to that song before raging into "I Need A Doctor" with Dr. Dre and singer Skylar Grey; Adam Levine from Maroon 5 handled piano duty.
Closing the show and likely lifting the Sunday-night spirits of indie kids everywhere was the Canadian collective Arcade Fire, who won the Album Of The Year GRAMMY for The Suburbs and, before the night's final performance, turned in a frothy and fierce rendition of the rocking "Month Of May."
Arcade Fire at the GRAMMYs
Other multiple winners for the evening included classical music producer David Frost, legendary rock guitarist Jeff Beck and R&B artist John Legend, who each earned three awards. Among those who won two each were alternative rock band the Black Keys, jazz giant Herbie Hancock, Jay-Z, Alicia Keys, urban/alternative group the Roots, Keith Urban, and gospel singer BeBe Winans.
And in a bit of surprise, jazz bassist Esperanza Spalding won Best New Artist over teen phenom Justin Bieber, as well Canadian rapper Drake, and adventurist rock outfits Florence & The Machine and Mumford & Sons.
Esperanza Spalding at the GRAMMYs
The show also featured a few firsts, including a first-time ever GRAMMY performance by Rolling Stone frontman Mick Jagger, who helped pay tribute to fallen R&B singer Solomon Burke.
But if there was also a constant, it was the annual, high-profile celebration of music that the GRAMMYs represent, and the 53rd GRAMMYs fit the bill once again, with performances, pairings and awards presentations that were full of pleasant musical surprises.
Photo: Kevin Mazur/WireImage.com
The Week In Music: Elton Rocks Rush
The Rocket Man performs at talk show host Rush Limbaugh's fourth wedding
We're guessing he didn't play anything from his album A Single Man. According to a People.com report, flamboyant rocker Elton John was the musical guest (for a cool fee of $1 million) at conservative talk show host Rush Limbaugh's fourth wedding, this one to 33-year-old Kathryn Rogers, who is reportedly a direct descendant of President John Adams. Regarding the couple's age difference, Rogers said, "I'm sometimes not able to relate to the average person my age." It would seem the 59-year-old Limbaugh is neither her age nor the average person.
Here's a concert that went to the dogs. Performance artist Laurie Anderson staged a show outside the Sydney Opera House for an audience of canine music lovers on June 5. The show took place as part of the city's Vivid Live festival, which is being co-curated by Anderson and her husband, Lou Reed, and featured music for mutts including high-pitch squeals and even sounds only dogs could hear. Anderson called the show, which was born from a conversation with cello master Yo-Yo Ma, "a highlight of my life." For man's best friend, it may have been the best dedicated music since the Singing Dogs' version of "Jingle Bells."
If you think Richard Wagner's "Ring" cycle — the four-part opera based on Teutonic and Norse mythology that can run as long as 15 hours over four nights for the full cycle — carries some pretty heavy artistic heft, you'd be right…and literally right. For a new Metropolitan Opera staging over the next two years, the Met had to install 65-foot steel girders to support the 45-ton set. This might make Wagner the biggest current heavy metal act in music. The opera is set to open Sept. 27.
Coldplay's own artistic heft just got heavier...and freakier. In 2002 guitarist Jonny Buckland and frontman Chris Martin starred as a murder-solving duo in Irish rock band Ash's self-made slasher flick, appropriately titled Slashed. Unfortunately, the project was shelved, but footage has made its way into the band's new video for "Binary." Meanwhile, Coldplay bassist Guy Berryman is steering clear of axe-wielding killer ghosts to restore Scandinavian furniture with his brother Mark. Berryman's Antiques specializes in tables, seating, cabinetry, and even a Swedish bridal chest. Customers who find their purchased antiques haunted should contact Buckland and Martin immediately.
Now you can love him tender, love him mashed, or even love him au gratin. The Elvis Presley estate has teamed with Hasbro and PPW Toys to launch an Elvis version of the classic Mr. Potato Head toy. The first release will be a Las Vegas jumpsuited Elvis, scheduled to debut during Elvis Week in Memphis, Tenn., in August, and will be followed by a leather-clad Elvis spud. The Elvis potato follows a Kiss version released last year.
Bon Jovi launched an impressive 12-night, sold-out residency at London's O2 Arena on June 7, marking a return to the venue they officially launched three years ago. The GRAMMY-winning New Jersey natives also recently christened their new hometown digs, New Meadowlands Stadium, with three concerts in late May. AEG Live is predicting tickets sales for the band's current tour will eclipse their 2007–2008 Lost Highway trek, which was Billboard's highest-grossing tour in 2008. Not bad for a band Rolling Stone magazine once described as a "bad fourth-generation metal, smudgy Xerox of Quiet Riot." Jon Bon Jovi's take? He recently smirked, "Like it or not, we're one of the biggest bands in the world." No word on a JBJ Mr. Potato Head, however.
Looks like international singing sensation Susan Boyle will be making a holy trip later this year. The Roman Catholic Church says Boyle will likely perform for Pope Benedict XVI at an open-air papal Mass in Glasgow's Bellahouston Park on Sept. 16. An unidentified spokesman said negotiations are still taking place. "Likely" and "negotiations still taking place"? Could be a tour rider issue brewing…
Have the the Melvins gone commercial? The band's latest album, The Bride Screamed Murder, sold 2,809 units this past week, good enough for the bottom spot on the Billboard 200 and marking the first time the Seattle indie rock legends have placed on the album chart in their 25-plus-year career. With another 2,000 units, they would have reached the chart's upper echelon and passed the likes of Beyoncé, Eminem, Michael Jackson, Nickelback, Pink Floyd, and Timbaland. Asked for his comment on the milestone, singer/guitarist Roger "Buzz" Osborne said, "Top 200 what?"
Katy Perry's "California Gurls," featuring Snoop Dogg, reclaimed the No. 1 position on the Billboard Hot 100 this week, as well as the top spot on the iTunes singles chart.
Any news we've missed? Comment below.
Whitney Houston, 29th GRAMMY Awards
Apple Music Exclusive: Watch Classic GRAMMY Performances
The Recording Academy teams with Apple Music to offer historical GRAMMY performances by Miles Davis, Marvin Gaye, Whitney Houston, Shania Twain, Kendrick Lamar, and more
To celebrate the GRAMMY Awards' 60th anniversary and the show's return to New York for the first time in 15 years, the Recording Academy and Apple Music are bringing fans a special video collection of exclusive GRAMMY performances and playlists that represent the illustrious history of Music's Biggest Night.
Available exclusively via Apple Music in a dedicated GRAMMYs section, the celebratory collection features 60-plus memorable performances specifically curated across six genres: pop, rap, country, rock, R&B, and jazz.
The artist performances featured in the collection include Marvin Gaye, "Sexual Healing" (25th GRAMMY Awards, 1983); Whitney Houston, "Greatest Love Of All" (29th GRAMMY Awards, 1987); Run DMC, "Tougher Than Leather" (30th GRAMMY Awards, 1988); Miles Davis, "Hannibal" (32nd GRAMMY Awards, 1990); Shania Twain, "Man, I Feel Like A Woman" (41st GRAMMY Awards, 1999); Dixie Chicks, "Landslide" (45th GRAMMY Awards, 2003); Bruno Mars and Sting, "Locked Out Of Heaven" and "Walking On The Moon" (55th GRAMMY Awards, 2013); and Kendrick Lamar, "The Blacker The Berry" (58th GRAMMY Awards, 2016).
The 60th GRAMMY Awards will take place at New York City's Madison Square Garden on Sunday, Jan. 28, 2018. The telecast will be broadcast live on CBS at 7:30–11 p.m. ET/4:30–8 p.m. PT.
Carrie Underwood, John Legend To Host "GRAMMYs Greatest Stories"
Wild At The GRAMMYs: It's Miller Time
David Wild has written for the GRAMMY Awards since 2001. He is a contributing editor to Rolling Stone, a blogger for Huffington Post and an Emmy-nominated TV writer. Wild's most recent book, He Is…I Say: How I Learned To Stop Worrying And Love Neil Diamond, is now in paperback. Follow him on Twitter.
The GRAMMY Awards broadcast is the biggest show on earth — or at least the biggest show on television. At least that's the way it looks from my admittedly subjective and sweaty point of view in the GRAMMY trenches.
Think about it for just a moment: There are more moving parts on the GRAMMY show than any other television event that I can think of. See, most of the big TV events are based around actors walking out on a stage in a theater and speaking, and then showing film or video clips. Other shows may feature a number of performances, but no show features more performances than the GRAMMYs. And in search of great GRAMMY moments, performers tend to push things to the limit on the GRAMMY stage, and sometimes slightly over the limit too.
Capturing all of those moving parts on camera in an artful and appropriate way is largely the job of the person in the truck calling all the shots for the camera operators attempting to cover all the musical action — namely, the director.
For the last 29 years, my friend Walter C. Miller has directed the GRAMMY Awards television show. That's not a typo — that's a fact: 29 years. That means every great GRAMMY moment most of us remember, we remember the way Walter wanted us to remember it. I've personally been there and witnessed him take every performance seriously, from Eminem and Elton John, to Paul Simon and Art Garfunkel, and Prince and Beyoncé. "You get to be a part of a lot of musical history on the GRAMMYs," Walter told me recently. His historic track record is remarkable for any business, but much more so in an entertainment industry where survival is more often measured in intervals of 15 minutes than 30 years.
When GRAMMY Co-Executive Producer Ken Ehrlich first brought me in to help write the GRAMMY show a decade ago, he introduced me to Walter, who immediately insulted me in some witty yet somehow warm way. Being a lifelong Don Rickles fan, I liked the guy immediately. He is super sharp with a long lifetime of stories and a singular ability to tell them with fresh wit and the sting of truth. Just between us, Walter reminded me of my father. I remember seeing another director friend after meeting Walter and asking if he knew who Walter was. "Yes, David, Walter Miller basically invented live television,” he told me.
Having Walter on the GRAMMY team has meant the world to all of us lucky enough to work with him.
"I've learned so much from Walter," says Ken Ehrlich. "Wally had been and continues to be like a brother and a father to me. It's been like Butch and Sundance, and we're always ready to yell 'St' and jump off the mountain together."
"In his 30 years with the GRAMMY Awards, Walter Miller has not only created the look for our show, but for all other music award shows too," says GRAMMY Co-Executive Producer John Cossette. "He created the template for everyone else to follow."
In recent years, I’ve been lucky enough to find myself down in Nashville working as the writer for the Country Music Association Awards, another very big and distinguished show Walter executive produced and asked me to write after we first met at the GRAMMY Awards. One Sunday afternoon, the two of us had a few hours off in Music City, and decided to go see the new George Clooney movie Good Night And Good Luck. As we left the movie theater, I stupidly said something to Walter like, "Wow, can you imagine being in TV then." Walter looked at me, and said, "David, I was."
And so he was.
This year, Walter decided it was time for him to step back from directing the show, and he's been consulting on the show instead. Another legendary TV director, Louis J. Horvitz will be in the truck calling all those camera shots, and I have no doubt he'll do a great job. "Walter is the king of live television event directors," Louis told me the other day. "He's one of the founders of the whole form."
This year, Walter is also quite rightly receiving the Recording Academy's prestigious Trustees Award. He's earned it, because every time you look at the GRAMMYs for these past 30 years, you could rest assured that the great Walter C. Miller was there.
Walter C. Miller is still here, and thank God for that — and for him. The King lives. Long Live The King.
(Click here to read Wild's other GRAMMY blog installments.)