All the 2026 VMAs Performances Ranked From Worst to Best

Bruno Mars is one of today’s best live performers – a musical dynamo and a devoted showman. But with few exceptions, it’s always a miss when an awards show spotlights a prerecorded, off-site performance. At the very least, it’s a bummer. When a performance is beamed in from the road, you almost invariably miss out on that in-venue energy and continuity. So despite Mars’ excellent voice and great guitar soloing on “Dance With Me,” the performance – which looks to have been recorded during one of Mars’ Sept. 19 or 20 shows in Miami — simply did not land on the VMAs broadcast. It felt less like watching an inventive awards show spectacle and more like catching a live performance clip on someone’s social media feed. It was probably awesome in person — less so in this context.

This is a tough one to grade. On one hand, the choreography (from Damien Jalet) is phenomenal and mesmerizing. On the other, it was basically just the “Storm” video choreo transposed directly onto the stage without major changes or surprises (though Lean spitting ice cream on the camera at the end was pretty cool). If you hadn’t seen the “Storm” video prior to the VMAs, it might have hit harder, but if you were familiar with it already, this didn’t bring much else to the table.

Having Kacey Musgraves at the VMAs to salute late country icon Dolly Parton was a good call, but “I Will Always Love You” is, at this point, almost impossible to cover. Musgraves is a fabulous singer and her twangy timbre brought something sweet to the song, but it’s hard to tackle an all-timer of a tune that has not one but two GOAT recordings to its credit. Nevertheless, it was a touching moment.

Taking inspiration from movies about the Old West, Shaboozey – with a sheriff’s badge affixed to his mic — hosted an old saloon barfight for “Cowgirl” and brought out Gunna for a (literally) fiery “High Noon,” which saw him burn the town to the ground. The cowboy fits were on point, the visuals were arresting and the country hip-hop vibe was in full effect.

With her stage dressed up to look like a giant record player (complete with an enormous LP and needle), breakout star Sienna Spiro delivered old-school cool (that metal-plated dress was giving ‘60s chic with shades of Jane Birkin) on “Great Expectation.” It seems odd to call a gig with a giant record player understated, but with minimal movement, Spiro’s performance was just that, placing the focus on her vocal prowess and her live, in-house band. Her mic was very much on, and we’re all better off for it.

LISA pulled out all the stops for “SaWaDiKa,” a tribute to her native Thailand. Flanked by the Bangkok skyline, LISA and her dancers executed some rapid-fire, jaw-dropping choreography before bringing out a tuk-tuk to spin doughnuts/whip sh-tties while rapping her verses with verve and sass. Energetic, confident and exhilarating.

As is her wont, RAYE hit the VMAs stage with the mic turned on and the shoes kicked off. Surrounded by violinists, she trotted out a bit of “I Will Overcome” in a luxe white fur coat before shedding the fuzz for a red-drenched performance of her breakout hit “Where Is My Husband!” with a bit of “Funky Town” tossed in for fun. RAYE is an astonishing live vocalist who effortlessly channels old-school glam, making her an irresistible stage presence and a delight to watch.

Aside from the fact that there’s a concert documentary from George Michael’s Faith Tour hitting theaters this November (and obviously he’s an MTV icon), there didn’t seem to be much of a news peg for the VMAs to host a tribute to the late pop star at this year’s show. But when an all-star tribute hits all the right notes, who cares? Sombr (wearing a customized version of the leather jacket Michael wore on his Faith Tour) deftly sold “Faith” and “Father Figure”; RAYE dazzled with a take on Michael’s Aretha Franklin duet “I Knew You Were Waiting for Me”; Teddy Swims stunned with a phenomenal version of “Careless Whisper”; and Adam Lambert brought the queer excellence for “Freedom! ‘90” alongside MNEK, MEEK and Saint Harison, which felt appropriately passionate and liberating. It was a reminder how great Michael’s music remains, how influential he was and how sorely he’s missed.

No living legend is more associated with the MTV VMAs than Madonna, so for the Queen of Pop to open the 2026 VMAs was fitting – but it also meant that expectations were high, especially after the broadcast delay. But Madonna being Madonna, she was more than up to the challenge. It started understated, with Madonna sitting on top of a Yamaha piano with Sabrina Carpenter at the keys for their “Bring Your Love” duet, built momentum with a gospel choir segue and climaxed with the sleazy public restroom fantasia of the “Danceteria Afterhours” remix. Charli xcx spat her come-up story; Sombr strutted his stuff; Fab 5 Freddy basked in his lyric shout-out; leather daddy Seth Rogen smoked a cig; Danceteria OG Debi Mazar swung through; and Julie Garner rocked a Truth or Dare-era look.

Yep. This is how you start the party.