The 2021 Grammys by one way or another endure a COVID-propelled six-week delay, also furious denunciations from The Weeknd, and set up a consistent, engaging, music-pressed broadcast that likewise demonstrated totally, bafflingly chafing. How might all that be valid? Peruse on!

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1. The actual transmission was a victory.

Give tremendous measures of credit to leader maker Ben Winston, making his Grammys debut: His broadcast moved breezily across numerous stages, cut past years’ fat and a large part of the filler, featured an enormous and assorted cluster of music and permitted the entertainers to be exhibited at their best. A normal Grammys broadcast has awesome highs and humiliating lows, yet Sunday night’s exhibitions were too capably and richly created to take into consideration train wrecks. After a confused, cumbersome, Zoom-escalated Golden Globes broadcast only a couple weeks sooner, Winston showed the world how it’s finished.

2. The actual honors?

Hoo kid. You could see it coming, yet it actually felt stunning: The Grammys paused for a minute, after giving Beyoncé the 28th Grammy of her top notch vocation, to recognize that she’d quite recently outperformed Alison Krauss for the most Grammys at any point granted to a female craftsman. (Watch your back, Georg Solti!) Unacknowledged at that time was that Beyoncé has a long history of getting ignored for the significant honors of the evening; she has always lost record of the year or collection of the year, and she won melody of the year just a single time, in 2010, for “Single Ladies (Put a Ring on It).” Scan a rundown of the Grammys that Beyoncé has won, and note the occasions the modifier “R&B” shows up.

All in all, when the opportunity arrived to grant the night’s last prize, it must be Megan Thee Stallion and Beyoncé’s “Savage,” isn’t that so? Megan had effectively won best new craftsman; “Savage” had effectively won best rap execution and best rap melody; Beyoncé’s “Dark Parade” had effectively won best R&B execution, and her “Earthy colored Skin Girl” had effectively won best music video (which implies that Beyoncé’s 9-year-old girl, Blue Ivy Carter, presently has her first Grammy). Billie Eilish, as far as it matters for her, had won just best melody composed for visual media, for “No Time to Die.” But record of the year went to Eilish, who spent quite a bit of her discourse saying ‘sorry’ to Megan Thee Stallion for winning.

With no discourtesy planned toward Eilish, who took care of the circumstance well, that is the Grammys for you: They gain ground; they make changes; they get your expectations up; they pull the football away finally.

3. The call for blacklists will get stronger.

In the runup to the current year’s Grammys, The Weeknd declared that he’d never present his music for Grammys thought again after the Recording Academy neglected to such an extent as choose him for his blockbuster collection After Hours. Beyoncé joined in however didn’t perform, and she appeared to consume as little energy as conceivable in general undertaking. The Grammys have a long history of censuring Black specialists at inauspicious minutes — see, for a famous model, Macklemore and Ryan Lewis beating Kendrick Lamar in the honors’ 2014 hip-bounce classes — and persistence is wearing ragged.

4. It was a mishmash for the huge champs.

Numerous spectators anticipated that the night should be one more crowning liturgy for Taylor Swift, whose collection Folklore procured her six Grammy selections and a portion of her best surveys. Be that as it may, Swift went 0 for 5 to begin, just to take collection of the year close to the furthest limit of the broadcast. Eilish, who broadly overwhelmed a year ago’s honors, hadn’t made a big deal about a sprinkle during the remainder of the evening. In the two cases, the large successes sneaked up on them.

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