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    Big night for Beyonce

    It's ladies night and the music's right at the Grammys

    Michael D. Clark
    Jan 31, 2010 | 11:07 pm
    • Beyonce won six Grammys
    • Taylor Swift won Album of the Year

    We all knew the 2010 Grammy Awards ceremony was going to be a girls' night out. The only question was which one of last year's top female hit-makers was going to leave the Staples Center on Sunday night feeling a bit more golden than the others.

    Between top nominees Beyonce, Lady Gaga, Taylor Swift and the Fergie-led Black Eyed Peas, all parties left floating on air even as they were weighted down with Grammy gold.

    Houston-born soul diva Beyonce was the night's top winner, amassing six awards out of her leading 10 nominations, including the prestigious song of the year award as well as best R&B song and best R&B female vocal for "Single Ladies (Put A Ring On It"). Beyonce also took home best female pop vocal performance for "Halo," best R&B contemporary album for "I Am... Sasha Fierce," and best traditional R&B performance for her rendition of Etta James' famed "At Last" featured in the movie, Cadillac Records.

    With the six awards, Beyonce set a new record for the most Grammy Awards won by a female artist in a single night. In the past decade, most top female artists have topped out at five. Since Alicia Keys earned her five in 2002, Norah Jones (2003), the Dixie Chicks (2007), Amy Winehouse (2008) and Allison Krauss (2009) have all equaled that number. Even Beyonce, on her last big Grammy night in 2004, maxed out at five.

    Beyonce's singular riches were a bit of an anomaly in one of the most democratic and predictable Grammy Award ceremonies in recent years. For the most part, the top nominees were dominant in their respective genres.

    Twenty-year-old country darling Taylor Swift, who came into the night with eight nominations (second only to Beyonce) was a close runner-up for having the best Grammy night of any artist after winning album of the year for Fearless. After a two-and-a-half hour show that seemed to be tilting Beyonce's way, it was a bit of a surprise that Swift took home the most coveted award of the night to run her grand total to four.

    Swift also won best country album honors for Fearless and then picked her way through the rest of the country category, winning best female country vocal and best country song for "White Horse."

    The Black Eyed Peas showed up big in the pop categories, taking the best pop performance by a duo or group with vocals for last year's big hit, "I Gotta Feeling," and best pop vocal album for The E.N.D and best short-form music video for "Boom Boom Pow.

    Lady Gaga beat out both the Black Eyed Peas and Madonna for best dance recording honors for her club favorite, "Poker Face." She also took the best electronic/dance album Grammy for her top-selling album The Fame.

    Gaga's biggest win of the night, however, was in public relations. She won the crowd over to open the Grammy ceremonies with a dance medley of her hit "Poker Face" and "Speechless" wearing a sequined, shoulder-padded nightmare. She then sat facing her fashion mentor Elton John on a dueling piano and performed a reworked version of his classic, "Your Song."

    "You never know who they're going to put together," said presenter (and Grammy winner for best comedy album) Stephen Colbert.

    If there is any celebrated tradition at the Grammy Awards it is the unexpected performance pairings and the sometimes unconventional and surprising songs artists work into their precious prime-time performance minutes. Beyonce could've made a medley out of her many hit songs but instead chose to mix her hit "If I Were A Boy," with a surprise cover of Alannis Morrisette's "You Oughta Know."

    Soulful Mary J. Blige and classically trained Andrea Bocelli made for a powerful and emotional match on a cover of Simon & Garfunkel's "Bridge Over Troubled Water," in support of the Haitian people as they recover from the earthquake that recently rocked the island nation.

    The Michael Jackson tribute, featuring Smokey Robinson, Usher, Celine Dion, Carrie Underwood and Jennifer Hudson singing the King of Pop's "Earth Song" in a collective duet with a tape of his original recording, fell a little flat by comparison. (And the accompanying 3-D video was headache-inducing if you didn't have a pair of 3-D glasses handy. I didn't.)

    The short-n-sweet acceptance speeches by Jackson's two children, Paris and Prince, on behalf of their father was all that was needed to get tear-ducts swelling in remembrance of an icon lost.

    Not surprisingly, it was a powerful female hitmaker who stole all focus from the rest of the live performances. Wearing a white Princess Leia hooded cape that gave way to a super-sheer body suit, Pink put her little-known song, "Glitter in the Air," on the map by performing it while spinning on a swath of drapery Cirque de Soleil style. The entire arena of artists and celebrities seemed captivated not only by her vocal prowess but her willingness to perform such a physically challenging stunt in the name of entertainment.

    The biggest surprise of the night was rock band Kings of Leon beating out all the ladies to win record of the year honors for the song "Use Somebody." Coupled with wins for best rock song and best rock performance by a duo or group with vocal for the same song, they were the big winners among the male artists on a night that belonged to the women.

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    news/entertainment

    Creed concert review

    Creed serve up millennial nostalgia at pyro-packed RodeoHouston concert

    Craig Hlavaty
    Mar 11, 2026 | 11:54 pm
    Creed concert RodeoHouston
    Courtesy of Houston Livestock Show and Rodeo
    Singer Scott Stapp serenades the RodeoHouston crowd.

    Hello, my friend, we meet again.

    I’ve had a torrid relationship with Creed. As a circa-2000s punk rocker, it was implied that I was supposed to hate them. Nevertheless, I enjoyed those hook-laden Mark Tremonti riffs and Scott Stapp’s burly, Bono-grasping vocals, with just a hint of irony deep in the mix. I had “One Last Breath” on a burned mix CD, bunched in with Fugazi, Rancid, and Sham 69. I would skip it as quickly as I could, depending on who was in the car. Driving home from a long day slinging milk in the Kroger dairy cooler? Windows down, Stapp up.

    When I began my music journalism career 20 years ago (!!!), I began sticking up for them, much to the consternation of a lot of my fellow writers who were hung up on stuff that was supposed to be cooler and hipper. Creed’s pop-culture zenith came right as The Strokes and The White Stripes were thrust on us by the music press as a counter to post-grunge, which other music writers were categorically allergic to. Remember when our biggest problems in America were bands that were overtly influenced by Pearl Jam and Alice In Chains?

    In 2012, I interviewed lead singer Scott Stapp along the way for the Houston Press, and I distinctly recall Stapp being confused on our call that a guy from a smug alt-weekly wasn’t asking him stupid questions or making fun of his leather pants. The band was heading to Houston for a two-night stand at the Bayou Music Center in 2012 when they played 1997’s “My Own Prison” and 1999’s “Human Clay” in their entirety.

    Fun fact: “Human Clay” has sold over 20 million albums alone, besting Nirvana’s “Nevermind” and Pearl Jam’s “Ten” by only a relatively small margin. Creed moved more physical CDs when people actually bought music.

    Somehow, along the way, people stopped hating Creed and Nickelback, and the hate gave way to pre-social media, millennial high school, and pre-9/11 nostalgia. The similarly maligned Nickelback sold out the rodeo in 2024.

    On Wednesday, March 11, I saw junior high school kids wearing crispy new Creed shirts with their parents. Gen Alpha is beginning to get curious about what mom and dad were up to during spring break 2001, and Zoomers are rediscovering Y2K fashions. Haven’t you seen those “Mom, What Were You Like In The ‘90s?” memes?

    Creed has been sold out for weeks, drawing 70,007 attendees. If you had told someone 10 years ago that Creed would sell out RodeoHouston, they would have been skeptical. And yet here we are, staring down at a sold-out Creed show. These things run in cycles. Emotions fade. Annoyance turns into wistfulness for the days of Nokia brick phones and 99-cent gas. You can even go on a Creed Cruise now.

    Creed hit the stage just before 9:30 pm, an enviable bedtime for most elderly millennials, kicking off with the TOOL-chugalug of “Bullets,” with Stapp and Tremonti making the best use of their stage platforms, crucial devices for any major rock band in the 2000s. Unrelenting pyro shot from the dirt surrounding the stage every time Stapp lifted or flailed his arms like Elvis if he discovered cardio.

    The dirge of “Torn” — the second single from My Own Prison — was pyro-less, likely giving the cannons a few minutes to cool off. The sweaty Stapp, at just 52, looks to be in better shape than he did 20 years ago, now sporting a conservative haircut like he stepped out of his company’s stadium suite or finished a twilight run at Memorial Park.

    Stapp introduced “My Own Prison” with a preachery pep talk that wouldn’t sound out of place at an altar call at Sturgis. The crowd hung on every emphatic word. Maybe seeing two middle-aged dudes wearing Stryper shirts down on the concourse made more sense than I realized. Is Creed actually just TOOL that accepted Christ? The graphics behind the band could’ve fooled me.

    Stapp introduced “One” with a speech on commonalities and love. Looking back, Creed’s lyrics were much too earnest, hitting at a time when critics were still hungover from grunge.

    During “With Arms Wide Open,” the rodeo cameras would routinely cut to tattooed dads and rocker chicks in the crowd playing air guitar along with Tremonti and singing their guts out like they did the first time they heard it on 94.5 The Buzz. For a large segment of the crowd, they might have had a Gen-X parent jamming this stuff on the way to school in the morning.

    “Are you ready to get higher in here, Houston?” Stapp yells. The place erupts as “Higher” starts. Stapp was in his element, pyro shooting off, his silver jewelry dangling, taking in the crowd, like he didn’t expect such a response.

    Possibly the last true rock power ballad ever recorded, “One Last Breath,” got the biggest screams of the night; it might also be the Gen-Z “Don’t Stop Believing” as long as we’re making wildly controversial statements. [Editor’s note: Isn’t that Mr. Brightside? -ES]

    Welcome back, Creed, from pop-culture purgatory, and props for what might have been the loudest RodeoHouston show in years.

    SETLIST

    Bullets
    Torn
    Are You Ready?
    My Own Prison
    What If
    One
    With Arms Wide Open
    Higher
    One Last Breath
    My Sacrifice

    Creed concert RodeoHouston

    Courtesy of Houston Livestock Show and Rodeo

    Singer Scott Stapp serenades the RodeoHouston crowd.

    rodeohoustonhouston livestock show and rodeoconcert review
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