I suspect that tonight's Arcade Fire album of the year Grammy victory will be remembered a lot like Elliott Smith's 1998 Academy Awards performance, an unforgettable moment for a little indie act that could. Never mind that Arcade Fire is not so little and, in most arenas, already has: This was a major milestone in indie-rock's slow evolution into a commercial force, and further proof that while indie-rock may never become the new mainstream, it's at the very least the new alternative. (In fact, the Grammys' best alternative album category was dominated this year entirely by acts with indie roots: Arcade Fire, Vampire Weekend, Broken Bells, Band of Horses and Black Keys, who took home that award. It's like Fall Out Boy and Nickelback never happened.)
It was impossible to miss the significance of Arcade Fire's upset victory over Eminem. A band on a truly independent label that's (almost obnoxiously) outspoken about their anti-corporate ideals defeated the most commercially successful musician of the last decade and the best-selling album of the year. It's remarkable an alternative record even won at all: The only two other vaguely "alternative" albums to take home the Grammys' top honor were Alanis Morissette's Jagged Little Pill and U2's How to Dismantle an Atomic Bomb, both of which were big-budget, major-label blockbusters.
This was a victory for the Grammy's almost as much as it was a victory for Arcade Fire. Last time Eminem was robbed of an album of the year award that was supposedly guaranteed, the trophy went to Steely Dan for their reunion album Two Against Nature in a widely mocked display of the Grammy's disconnect from modern music. This year, however, the award went to one of the best reviewed albums of 2010, and the Grammys now seem a lot more in touch. Kanye West spoke for plenty of critics by painting Arcade Fire's achievement as a triumph for all good music: "There is hope!!! I feel like we all won when something like this happens! FUCKING AWESOME!"
|
|
Though they were overshadowed by Arcade's Fire's apparently spontaneous post-victory encore, the broadcast was rich with great performances. Janelle Monae, in particular, shined with a song that's received no commercial radio play, "Cold War." She'll almost certainly be rewarded with a sales spike. Cee-Lo Green, ever the showman, charmed while performing with muppets (and, more absurdly, Gwyneth Paltrow). Lady Gaga flawlessly pulled off one of the most technically challenging live T.V. performances in ages. Lady Antebellum once again proved themselves one of the few commercial country acts worthy of mainstream-country skeptics. Even Mumford & Sons commanded the stage without the cheap dramatics that are typically their stock and trade. There was also an understated moment of redemption for Christina Aguilera, who after last week's Super Bowl national anthem humiliation was back in fine form during a tribute to Aretha Franklin. The Grammys will never claim the critical prestige of the Academy Awards, but this was a deeply satisfying night of television.
