The wonder of a performance such as the one given by Sam Smith and Kim Petras during the 65th annual Grammy Awards this week is that the public isn’t bored to tears by this kind of thing yet. The modern appetite for drab shock art is seemingly insatiable.
The song itself, titled “Unholy,” won the Grammy for best pop duo/collaboration. It is generic in every sense of the term. Its beat and instrumentation are indistinguishable from every pop hit of the last 20 years. The sonics are meant to evoke a vague sense of “naughtiness” along with the anticipation of a great carnal payoff. The lyrics are even duller. The performance would have been better if Smith had just stood there and pouted for the camera like Zoolander in extra-thick eyeliner.
But that’s what makes Smith and Petras’s “tune” interesting: Much like the larger “woke” project , “Unholy” has risen to prominence despite lacking entirely in excellence and ingenuity. Far from being the harbinger of a new, bright mode of being and seeing, the song is made of the same dull schlock that’s been rehashed for centuries by dull normies whose capacity for artistic expression equals that of a toddler waving around his ding-dong.
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