Album of the Year: Adele – 25
Song of the Year: “Hello” – Adele Adkins & Greg Kurstin (Adele) (Award goes to songwriter; artist in parens)
Best New Artist: Chance the Rapper
Best Pop Solo Performance: Adele – “Hello”
Best Pop Duo/Group Performance: Twenty One Pilots – “Stressed Out”
Best Traditional Pop Vocal Album: Willie Nelson Sings Gershwin
Best Pop Vocal Album: Adele –25
Best Dance Recording: Chainsmokers f/ Daya – “Don’t Let Me Down”
Best Dance/Electronic Album: Flume – Skin
Best Contemporary Instrumental Album: Snarky Puppy – Culcha Vulcha
Best Rock Performance: David Bowie – “Blackstar”
Best Metal Performance: Megadeth – “Dystopia”
Best Rock Song: “Blackstar” – David Bowie (David Bowie) (Award goes to songwriter; artist in parens)
Best Rock Album: Cage the Elephant – Tell Me I’m Pretty
Best Alternative Music Album: David Bowie – Blackstar
Best R&B Performance: Solange – “Cranes in the Sky”
Best Traditional R&B Performance: Lalah Hathaway – “Angel”
Best R&B Song: “Lake by the Ocean” – Hod David & Musze (Maxwell) (Award goes to songwriter; artist in parens)
Best Urban Contemporary Album: Beyoncé – Lemonade
Best R&B Album: Lalah Hathaway – Live
Best Rap Performance: Chance the Rapper f/Lil Wayne & 2 Chainz – “No Problem”
Best Rap/Sung Performance: Drake – “Hotline Bling”
Best Rap Song: “Hotline Bling” – Aubrey Graham & Paul Jefferies (Drake) (Award goes to songwriter; artist in parens)
Best Rap Album: Chance the Rapper – Coloring Book
Best Country Solo Performance: Maren Morris – “My Church”
Best Country Duo/Group Performance: Pentatonix f/Dolly Parton – “Jolene”
Best Country Song: “Humble and Kind” – Lori McKenna (Tim McGraw) (Award goes to songwriter; artist in parens)
Best Country Album: Sturgill Simpson – A Sailor’s Guide to Earth
Best Gospel Performance/Song: Tamela Mann / Kirk Franklin – “God Provides”
Best Contemporary Christian Music Performance/Song: Hillary Scott & the Scott Family /Bernie Herms & Emily Weisband – “Thy Will”
Best Gospel Album: Kirk Franklin – Losing My Religion
Best Contemporary Christian Music Album: Hillary Scott & the Scott Family – Love Remains
Best Roots Gospel Album: Joey+Rory – Hymns
Best American Roots Performance: Sarah Jarosz – “House of Mercy”
Best American Roots Song: “Kid Sister” – Vince Gill (The Time Jumpers) (Award goes to songwriter; artist in parens)
Best Americana Album: William Bell– This Is Where I Live
Best Bluegrass Album: O’Connor Band With Mark O’Connor – Coming Home
Best Traditional Blues Album: Bobby Rush – Porcupine Meat
Best Contemporary Blues Album: Fantastic Negrito – The Last Days of Oakland
Best Folk Album: Sarah Jarosz – Undercurrent
Best Reggae Album: Ziggy Marley (s/t)
Best Spoken Word Album: Carol Burnett – In Such Good Company: Eleven Years of Laughter, Mayhem, and Fun in the Sandbox
Best Comedy Album: Patton Oswalt – Talking for Clapping
Best Musical Theater Album: The Color Purple
Best Compilation Soundtrack for Visual Media: Miles Ahead
Best Score Soundtrack for Visual Media: Star Wars: The Force Awakens – John Williams
Best Song Written for Visual Media: “Can’t Stop the Feeling!” – Max Martin, Shellback & Justin Timberlake
Best Recording Package: Blackstar (David Bowie) (Award goes to designers; artist in parens)
Best Boxed or Special Limited-Edition Package: Edith Piaf – 1915-2015
Best Album Notes: Eubie Blake & Noble Sissle – Sissle and Blake Sing Shuffle Along – Ken Bloom & Richard Carlin
Best Historical Album: Bob Dylan –The Cutting Edge 1965-1966: The Bootleg Series, Vol. 12
Best Engineered Album, Non-Classical: David Bowie – Blackstar
Producer of the Year, Non-Classical: Greg Kurstin
Best Remixed Recording: “Tearing Me Up (RAC Remix)” – André Allen Anjos (Bob Moses) (Award goes to remixer; artist in parens)
Best Music Video: Beyoncé – “Formation”
Best Music Film: The Beatles – Eight Days a Week: The Touring Years
BEST AND WORST GRAMMY 2017 PERFORMANCES!!
While Beyonce’s loss to Adele for album of the year will undoubtedly dominate the post-2017 Grammys conversation, let’s not forget there were some absolute knockout performances at the 59th Annual Grammy Awards — several of which certainly belong among the all-time Grammy performance greats.
From Lady Gaga singing with Metallica to Bruno Mars paying tribute to Prince, here are all the performances at the 2017 Grammy Awards ranked from worst to best.
Listen, Pentatonix are great, and their Jackson 5 “ABC” cover sounded fine, but three hours into an awards show — and after Bruno Mars’ astonishing Prince tribute — it felt like an unnecessary add-on.
18. Keith Urban & Carrie Underwood
They may not have been, as John Travolta promised in his intro, “The most dynamic duo since Sandy and Danny,” but Keith and Carrie still did a fine job during the performance of their ’80s synth-laden duet “The Fighter.” But in a night full of absolute stunners, the performance of a song this lightweight just didn’t make a lasting impact.
17. Kelsea Ballerini & Lukas Graham
Our hats are off to whoever pulled off the difficult task of weaving Kelsea Ballerini’s “Peter Pan” with Lukas Graham’s “7 Years.” While the arrangement was effective, the question remains: Did the world need this mashup just because they’re both wistful songs about childhood slipping away as life inevitably marches on? Answer: Not really.
16. Sturgill Simpson & Dap-Kings
Pairing soul-influenced country singer Sturgill Simpson with the late Sharon Jones’ backing band the Dap-Kings was an elegant touch and nice tribute to Jones, and their performance of Simpson’s “All Around You” was lovely. But again, in a night of truly standout live performances, this wholly competent collab falls toward the bottom half of our list.
15. Gary Clark Jr. & William Bell
Fifty years after William Bell co-wrote “Born Under a Bad Sign” (made famous by blues legend Albert King), he took the stage at the 2017 Grammys to perform the timeless tune alongside Texas axeman Gary Clark Jr. The latter is a wonder onstage, and it was touching to see the under-recognized soul great get his due on air, but it ultimately felt like unnecessary bloating on an already long telecast.
What a strange night for Adele. She won an album of the year trophy she knew should have gone to Beyonce, and she made the nearly unprecedented choice to stop mid-song during her George Michael tribute and start over. Even with the “Fastlove” redo, her tribute to the late British pop star still outshone her performance of “Hello.” It wasn’t bad by any stretch, but she wasn’t entirely in key and the minimalist staging was a bit curious. After all, we’re so familiar with “Hello” by this point in 2017 — why not bring something new to it for the Grammys?
13. John Legend & Cynthia Erivo
The Oscar & Grammy-winning singer-songwriter and the Tony & Grammy-winning Color Purple Broadway star performed a lovely cover of the Beach Boys’ “God Only Knows” during the In Memoriam segment at the 2017 Grammys. No complaints there.
12. The Weeknd & Daft Punk
Opening with “Starboy” before seguing into “I Feel It Coming,” the Weeknd and Daft Punk had a nice, light groove going at the Grammys. While it wasn’t exactly a standout moment you’ll remember years down the road, it was still nice performance that occupies that grey space between “good” and “impressive.”
11. Bruno Mars
Bruno Mars is one of pop’s finest showmen. He’s so good, in fact, that he can make what’s otherwise an unextraordinary song such as “That’s What I Like” sound like a bona fide hit. While the tune itself is just okay, he sang the hell out of it, and the reaction shots from J.Lo when he asked “can I break it down?” were priceless. Bonus treat: the doo-wop harmonizing at the end was more proof that no man in pop paints with a bigger palette than Bruno.
10. George Michael Tribute
You can never predict what Adele is going to do. Case in point: Her George Michael tribute performance at the 2017 Grammys featured her stopping a minute into “Fastlove,” dropping the f-bomb, apologizing and asking for a do-over because she felt she wasn’t doing the song justice. “I f–ked up, I can’t do it like last year,” she explained — referring to her troubled 2016 Grammy performance — before restarting her contemplative, minimalist rendition of the dance-pop hit. It was worth the second go: Adele captured the beautiful aching at the core of the 1996 Older song.
An image of the late George Michael is projected on a video screen while recording artist Adele performs onstage during The 59th Grammy Awards at Staples Center on Feb. 12, 2017 in Los Angeles.
Why ‘Fastlove’ Was a Great Choice for Adele’s George Michael Tribute at the Grammys
9. Katy Perry
Apart from A Tribe Called Quest, Katy Perry had the night’s most political moment. Performing irresistible new single “Chained to the Rhythm” with Skip Marley, Perry performed in front of mirror-covered fences, implying that putting up something like, say, a border fence is actually more a reflection on the person erecting it than those on the other side. Toward the end of the performance, the fences broke apart and spun around in a dizzying kaleidoscope before reforming in time for words from the U.S. Constitution to be projected on them. Politics aside, it was fun to see Perry in her One of the Boys-era rock mode, jumping up and down while singing like she was back in her Warped Tour days.
8. Bee Gees Tribute
What could have easily been a disaster (contemporary artists covering Bee Gees’ Saturday Night Fever material) was actually an unqualified success, with Demi Lovato demonstrating she’s vocally one of the most versatile in the biz with a funky, superb run-through of “Stayin’ Alive,” Tori Kelly turning “Tragedy” into a victory, Andra Day owning the slinky sexiness of “Night Fever” and Little Big Town doing a lovely “How Deep Is Your Love.” Who knew Bee Gees were just what 2017 needed?
7. Ed Sheeran
Honestly, Sheeran might have actually improved upon his new single “Shape of You” at the Grammys. Strumming his guitar like it was a percussion instrument, Sheeran doubled down on the syncopated rhythms at the heart of his xx-y new single, and probably converted a few non-fans into Sheerios in the process.
6. Lady Gaga & Metallica
Despite microphone issues plaguing James Hetfield’s first few verses, Gagatallica was spectacular for a few reasons. 1) Gaga proved she can belt metal nearly as impressively as she can croon jazz standards with Tony Bennett or sing The Sound of Music at the Oscars. 2) Metal is almost never part of the Grammy telecast, and it was nice to see it spotlighted. 3) Who would have thought a contemporary Metallica song (“Moth Into Flame”) could be played at an awards show and sound relevant? While last year’s hard rock Grammy performance (remember Hollywood Vampires?) seemed hopelessly out of place, Gagatallica’s pummeling riffage was an exhilarating rush — technical issues notwithstanding.
Chance the Rapper accepts the award for Best New Artist, onstage during The 59th Grammy Awards at Staples Center on Feb. 12, 2017 in Los Angeles.
Chance The Rapper’s ‘Coloring Book’ Is First Streaming-Only Album To Win a Grammy
5. Chance the Rapper
After winning a deserved best new artist Grammy, Chance proved to the uninitiated why an artist who hasn’t sold an album (his releases thus far are free mixtapes) is one of the most exciting acts on the planet. Bringing Kirk Franklin, Tamela Mann and a gospel choir out, Chance distilled disparate decades of soul, gospel and hip-hop into a tight performance of “How Great” and “All We Got” that turned anyone watching into a believer.
4. A Tribe Called Quest & Anderson .Paak
Quite possibly the most political moment in Grammy history occurred when hip-hop legends A Tribe Called Quest teamed up with rising star Anderson .Paak (and Busta Rhymes and Consequence) to deliver several of their stone-cold classics (a bit of “Can I Kick It?” and “Award Tour”) and new songs (“Movin Backwards” and “We the People”). The performance alone was the most energized of the night, and their attack on the Muslim ban from “President Agent Orange” was especially poignant, with the group bringing people of various ethnicities through the Grammy aisles and onto the stage. Closing with Q-Tip shouting “resist!” several times, it was proof that politics actually do suit the Grammys, despite the decades-old conventional logic to the contrary.
She may not have beat Adele for album of the year, but she certainly bested Adele when it came to Grammy performances (which is no small feat). Nodding to her recently revealed pregnancy, Beyonce opened her “Love Drought”/”Sandcastles” performance in profile, shifting her pose to make it seem as if a sunrise was emerging from between her legs. The rest of the performance was similarly symbolic (flowers, flowing veils and symbols of fertility were plentiful) and had more in common with contemporary dance staging than pop or R&B dance moves. Considering Beyonce will be several-more-months pregnant at Coachella, expect her festival performance to have more in common with her Grammy night than her Formation Tour. And based on how mesmerizing she was every second she was onscreen Sunday night, that’s good news for anyone headed to Coachella.
2. Maren Morris & Alicia Keys
The nicest surprise at the 59th Annual Grammy Awards was how remarkable country newcomer Maren Morris and Grammy fave Alicia Keys sounded together. On a stage set-up that looked ripped from The Beauty and the Beast, Keys — decked out in a sick disco diva catsuit — and Morris traded powerhouse vocals on a stunning duet version of Morris’ Hero song “Once.” Please, someone out there, make a studio version of this happen.
1. Prince Tribute
While most people under 30 were probably extremely confused who The Time were, Prince’s Purple Rain foes (but real-life friends and collaborators) nevertheless won over the crowd through the infectious energy of their endearingly absurd dance moves during “Jungle Love.” But after that, holy hell, Bruno Mars — wearing Prince’s Purple Rain poofy shirt and suit — absolutely destroyed the stage with “Let’s Go Crazy.” While it’s nearly impossible to cover Prince and one-up him (Sinead is the only one to do so thus far in human history), Bruno’s showmanship and versatile vocals delivered what has been the finest awards-show tribute to Prince so far. And when he capped it off with some unhinged shredding at the song’s close, any jaws that hadn’t dropped already undoubtedly hit the floor.