The dazzling spectacle began in an unexpectedly charming fashion as tennis titan Serena Williams confessed to pre-show jitters. Accustomed to acing opponents on the court, she admitted to feeling flustered stepping onto a different kind of stage. “I’m a little nervous… I can’t breathe,” Williams shared, a sincere smile creeping through her nerves. Her daunting task was to acquaint the audience with the night’s opening act, punk rock legends Green Day — a band she counts among her personal favorites.
The Clive Davis pre-Grammy gala, a long-standing tradition in the music industry, certainly knows how to set the stage for Grammy festivities. The event at the Beverly Hilton in Beverly Hills, California, found itself supercharged by an all-consuming love for music. However, the true highlight came as the clock stretched past the 1 AM mark: an unparalleled trio comprising the masterful Gladys Knight, Dionne Warwick, and the iconic Stevie Wonder captivated the remaining faithful attendees. Before serenading the crowd, Wonder reflected, “Music is love,” and stirred a communal singalong of Warwick’s classic “What the World Needs Now.”
Knight’s soulful rendition of “The Way We Were / Try to Remember” paved the way for further nostalgiac displays. Warwick soon graced the stage to pair with Knight for a stirring performance of “That’s What Friends Are For,” elegantly punctuated by Wonder’s harmonica solo.
An hour before this magical moment, the crowd honored Jon Platt, Sony Music Publishing chairman and CEO, with the prestigious 2024 Grammy Salute to Industry Icons Award. In his acceptance speech, Platt highlighted the collaborative nature of the music business, underscoring his belief that “it always takes a village” to make waves. His contributions cannot be understated, especially his efforts to ensure fair compensation for hip-hop and R&B songwriters. Usher, Jay-Z, Beyoncé, Drake, Rihanna, and Pharrell Williams are just a few of the artists benefiting from Platt’s dedication. The Recording Academy CEO and President Harvey Mason jr. praised Platt, acknowledging his tireless advocacy for songwriters across generations.
After a two-year hiatus brought about by the pandemic, the anticipation surrounding Davis’ exclusive soirée was palpable. Initially established in 1976 to honor Barry Manilow’s “Mandy” and Arista Records’ first Grammy nomination for Record of the Year, the event has since burgeoned into one of the premier gatherings in the music industry.
Securing an invitation remains a formidable challenge, with the guest list reading like a who’s who of entertainment. Among the gleaming attendees were luminaries like Smokey Robinson, Meryl Streep, Babyface, Jon Bon Jovi, Lenny Kravitz, Mariah Carey, Ted Danson, Shania Twain, Diane Warren, and many more.
When the time arrived to welcome Clive Davis himself, none other than Tom Hanks stepped up. In a heartfelt address, he declared, “Why are we here? Clive Davis, Clive Davis, Clive Davis,” connecting Davis’ influence directly to the enduring passion and joy that music brings.
The evening’s performances offered a rich tapestry of genres. Maluma brought Latin flair, The Isley Brothers revived “Shout” from 1959, while Mark Ronson and Andrew Wyatt provided modern groove with “I’m Just Ken.” Lainey Wilson stood in for Ryan Gosling in this genre-hopping rendition. Noah Kahan’s soulful voice cut through the clamor with “Stick Season” flowing into “Dial Drunk.” Meanwhile, Jelly Roll’s set accompanied by a choir blended gospel and heartache with “Need A Favor” and “Save Me,” and Public Enemy delivered a powerful rendition of “Fight the Power.”
Clive Davis, with an eye towards celebration rather than ceremony, had set the tone for the evening, promising a tribute to the pure joy of music — a promise that, by the night’s enchanted end, had been fully realized.
