Usually when he’s at an awards show, Jelly Roll absolutely steals the spotlight, delivering gritty, astonishing vocals and smart, simple staging that knocks your socks off. So maybe the problem with this performance was simply that Jelly Roll and Post Malone were not actually at the show. Beamed in from an arena in Hanover, Germany, this duet on “Losers” sounded fine but just couldn’t complete with magic you get from an in-venue awards show performance. That being said, another VMA performer who did an offsite show at this year’s ceremony absolutely smashed it (more on that later). But that artist’s outlandish theatricality goes a long way toward making up for the distance; while Posty and Jelly have chemistry, this duet unfortunately faded into the background. Socks were not, in fact, knocked off.

Alex Warren’s “Ordinary” is a certified smash, a Billboard Hot 100 topper and 2025’s song of the summer. But a ballad, no matter how powerful, is a tough proposition at an awards show, and his new single, “Eternity,” didn’t exactly set up this two-song medley to soar. When he brought out the choir for “Ordinary,” his impassioned vocals (and the audience’s enthusiasm) helped right the ship a bit. Even so, with the forest glen staging and the smiling choir singers wearing all-white outfits, the whole thing was giving a bit of “for those suffering from moderate to severe psoriasis” advertisement energy.

Certainly the night’s most colorful performance came via J Balvin, who brought a widescreen neon vision of boom boxes and palm trees to the VMAs. Justin Quiles and Lenny Tavárez joined him for recent track “Zun Zun,” before DJ Snake took over, dropping the beat for his Balvin collab “Noventa,” a thumping reggaetón track complete with dancers, a bodega storefront and gigantic shoes.

Conan Gray gave the VMAs a queer Sleeping Beauty/Romeo & Juliet fantasia, belting his lovely, emotional “Vodka Cranberry” while draped in princely, velvety robes (and sporting some seriously luscious locks). The fairytale production was sumptuous, the fatalistic ending was romantically theatrical, and that high note he hit toward the end? Pro-level.

As Mariah Carey pointed out in her acceptance speech for the Video Vanguard Award, this year marked her first-ever VMA win (for best R&B). “What in the Sam Hill were you waiting for?” she asked. Well, MTV’s tardiness to honor the icon was our gain, as it was a delight to watch the elusive chanteuse take a trip down memory lane during her medley, trotting out her evil alter ego Bianca (and roller-skating dancers) for “Heartbreaker,” bringing in a string section for “We Belong Together” and touching front-row fans during “It’s Like That.” Plus, new single “Sugar Sweet” sounded great, making us even more excited for upcoming LP Here For It All (Sept. 26).

Prior to accepting the inaugural Latin Icon Award, Ricky Martin delivered a sizzling medley of bilingual hits, opening with his 1999 smash “Livin’ La Vida Loca” before hitting “Shake Your Bon-Bon,” “The Cup of Life” and more. His voice is a bit deeper and fuller than back in the ‘90s, but that’s not a bad thing – one thing that hasn’t changed, however, is Martin’s tireless energy and his dynamite dance moves. He’s still got it, and then some.

Rapping with a speed and intensity that puts rappers half his age to shame, Busta Rhymes brought fire to the VMAs stage – not to mention GloRilla, Papoose, Spliff Star and Joyner Lucas. Ripping through “Touch It,” “Gimme Some More” and “Pass the Courvoisier,” Rhymes reminded viewers he’s one of New York’s finest. You might point out, hey, didn’t Busta do a career-spanning medley at the VMAs not that long ago? And yes, he did one of those in 2021, too. But when a performance is this strong, who cares?

Sombr, whose debut studio album I Barely Know Her dropped last month, brought some ‘00s New York City dive-bar vibes to the VMAs – which is kinda funny, consider he was born in NYC in 2005. Whether singing in a photobooth or letting a dancer gratuitously lick his chest, Sombr maintained a cool insouciance in his demeanor while wailing through romantic pain on “back to friends” or bringing the indie-dance party on  “12 to 12.” It was his first awards show performance ever, and it certainly will not be his last.

A Max Headroom reference? A checkered floor drenched in pink light? A keytar? Kenny G?! What more do you want! With the sax titan in tow, Doja Cat brought fabulously weird dance moves and an ‘80s visual extravaganza to “Jealous Type,” the evening’s first performance. It was a delightfully retro way to kick off the night that nevertheless felt electric, exciting and fresh.

When The Osbournes debuted on MTV in 2002, it was a mutual win, with the reality show catapulting Ozzy Osbourne back into the spotlight and the Prince of Darkness gifting the network with a ratings juggernaut that would prove fateful for its transition to reality programming. So it was fitting that the Black Sabbath frontman got a sendoff from the network’s signature awards show — and while Yungblud probably wasn’t the first (or even third) name you’d think of for an Ozzy tribute, the English rocker (with Extreme’s Nuno Bettencourt on guitar!) absolutely killed it. He nailed the “Crazy Train” wail, cackle and prowled around the stage with the energy of a wild cat and a kid whose wildest dream is coming true. Truthfully, he out-sang the Ozzman on “Changes,” and teed up Aerosmith’s Steven Tyler and Joe Perry to take it home, literally, on a heartfelt, bluesy “Mama, I’m Coming Home.” A knockout.

Typically at awards shows, the performances that sag the most are the ones beamed in via satellite or pre-recorded. But Lady Gaga is seemingly immune to what’s typical. Somehow, she turned in a pre-recorded VMAs set (filmed during her recent run at Madison Square Garden) and managed to make one of the biggest splashes of the night. Those who have caught the Mayhem Ball IRL had already seen her “Abracadabra” staging – with the massive dress hoop opening to revealed a cage of dancers – but it’s so maniacally marvelous that seeing it a second time, even on a TV screen, was still a thrill. Plus, the live debut of “The Dead Dance” that followed breathed a huge, gothy gust of life into the VMAs – quite the feat for an artist who wasn’t even there at the time.

Sometimes a cigar is just a cigar, but when Sabrina Carpenter emerges from a manhole during a song, there’s a joke in there. Sab might be a newcomer to global stardom, but as she joked during her VMA speech, she’s no newcomer to making albums. The years under her belt have served her well: she brings not just an ineffable aura and presence to the stage, but a vision. Her rain-drenched performance of “Tears” on a set dressed-up to look like NYC streets was not only a visual treat, but a much-needed political statement for trans rights during a time when many so-called allies are either strangely quiet or walking back their previous support. Trans, nonbinary and drag performers (including Drag Race alumni Willam and Laganja Estranja and ballroom veteran Honey Balenciaga) joined her on stage, rocking picket signs (“Dolls! Dolls Dolls!” and “In Trans We Trust”) and bringing that defiant, celebratory energy that LGBTQ people do better than anyone. And when a downpour from above drenched Carpenter while she sang the line “I get wet at the thought of you,” it was that kind of sly, winking entendre that she does better than anyone.

Even more than the Grammys, the VMAs are the proving ground for pop princesses to demonstrate their mettle — and at the 2025 ceremony, Tate McRae muscled her way to the top. Surrounded by a coterie of oiled-up muscle men in underwear, McRae pulled out some mind-boggling dance moves while revving “Sports Car” into the fast lane after spinning through “Revolving Door.” Whether writhing around in the sand, giving sultry looks to the camera or doing an onstage back bend, McRae made it clear that she doesn’t just deserve the stage – when she’s there, she owns it.