The BLACKPINK member has proven in the past that she’s adept at delivering killer choreography and eye-popping visuals, but LISA’s solo performance at the 2024 VMAs felt like a hit and a miss. “New Woman” could have used a little more bite from Rosalía, and “Rockstar”‘s choreography was solid but never really standout, let alone spectacular.

It’s a tribute to how inventive and memorable this year’s performances were that Anitta’s celebratory set lands relatively low on this list. “Paradise,” helmed by DJ Khaled and Fat Joe, worked well enough; Tiago PZK brought a charismatic passion to “Alegría”; and Anitta’s choreography was on point as always for “Savage Funk.” But compared to a night of spectacle, the overall performance faded a bit from my memory.

After a bit of “June Gloom,” Camila Cabello debuted her impassioned new single “Godspeed” at the VMAs. A heartfelt kiss-off to an ex (who may or may not have been at the show), “Godspeed” found Cabello in a reflective, confessional state. The visual concept was cool, but “Godspeed” felt more like a song she needed to get off her chest than a song people wanted to hear at the end of a three-hour-plus awards show. But at least the laptop-busting finale gives her an excuse not to answer emails tomorrow.

Memphis breakout GloRilla lit up the VMAs (literally) with “Yeah Glo!” and “TGIF,” bringing an infectious joy, flare and rock star energy to the stage. Coming toward the end of the VMAs’ long broadcast, the impact of her solid performance was somewhat diluted for those watching in real time — though anyone who fell asleep after three hours of an awards show likely woke up when she narrowly avoided a wardrobe malfunction mid-song.

As a bevy of Slim Shady lookalikes invaded the UBS Arena (evoking the spirit of his 2000 VMAs performance), Eminem kicked off the 2024 VMAs with the Steve Miller Band-interpolated “Houdini.” After the Slim Shady doppelgängers disappeared, Em rapped his raw, confessional Jelly Roll collaboration “Somebody Save Me” with the country singer appearing via a video screen. Toward the end of the performance, Em sat down on a rickety bench and looked genuinely pensive as Jelly Roll’s vocals closed the song.

On a smoky stage set up to resemble a living room, Shawn Mendes debuted his new View song “Nobody Knows” at the VMAs. A folk-rock number that gradually built in intensity, “Nobody Knows” showcased Mendes’ vocal prowess, maturing songcraft and just how likable he and his band are. Maybe he’s been listening to a lot of Leonard Cohen lately, but it came across well.

The timeless, always fashionable, and effortlessly sensual Lenny Kravitz returned to the VMAs this year, performing a killer rendition of his 1993 hit “Are You Gonna Go My Way” before debuting his new single “Human” (which played nicely next to an ice-cold ’90s rock classic). He closed out the medley with Quavo with “Fly,” a trap update of his unforgettable 1998 hit “Fly Away.” The two had great onstage chemistry, adding a nice boost of energy (and visual flair) to the show’s fourth quarter.

Halsey got her suburban emo rock on during her VMAs performance of “Ego,” showing some My Chemical Romance/Freaky Friday fashion and electric guitar wailing on a stage that was decorated to look like a cozy garage rehearsal space. It made a compelling case that if Halsey had wanted a career as a mocking pop-punker instead of a genre-mashing pop singer, she probably could have had it.

Not only did Megan Thee Stallion host the 2024 VMAs, she also performed an epic medley of songs from her latest album. “Boa” and “BAS” served as warm-ups for her Hot 100-topper, crowd-pleaser “Hiss,” but it was “Mamushi” that stole the show. Megan (an outspoken fan of Japanese culture, including anime) enlisted Japanese rapper Yuki Chiba for their electric, buzzy collab.

It’s a pleasant surprise that old-school rap hasn’t disappeared from every award show just because hip-hop’s 50th anniversary is behind us, especially since some of the veterans — including the indefatigable LL COOL J, who performed a 40th-anniversary tribute to Def Jam at the VMAs — can still spit just as loudly. Teaming up with the indefatigable Public Enemy on “Bring the Noise,” LL COOL J, who popularized the term GOAT, delivered a series of such hip-hop anthems, from “Mama Said Knock You Out” to “Rock the Bells” to “Goin’ Back to Cali” to “Doin’ It.” It’s a tribute to his muscular, dominant stage presence that his new songs (taken from his latest LP, The power) sounded perfectly at home on stage, along with his classics.

Listening to Benson Boone’s Hot 100 No. 2 hit “Beautiful Things” might not prepare you for Benson Boone, the force on stage. Dressed in a sparkly blue onesie with a plunging V-neck, Boone leapt across the VMAs stage like Super Mario (a fellow mustache enthusiast) after snagging an invincibility star, pulling off a flawless front flip in one jaw-dropping moment. Despite the acrobatics, Boone still managed to deliver a passionate vocal performance without skipping a beat. He’s reminiscent of Elton John and Brendon Urie — and seems poised for a long career.

If anyone wasn’t familiar with Rauw Alejandro’s live performances before watching the VMAs, they probably won’t soon forget them. Set against a backdrop of the NYC skyline reminiscent of the classic Broadway film West Side StoryAlejandro showcased his gravity-defying footwork, killer rhythms, seductive vocals and flying style (the fedora, baggy pants and tight white tank top felt both classic and contemporary) as he sang a medley of “Touching the Sky,” “Diluvio” and “Déjame Entrar.”

Billboard Hot 100-topper and Super Bowl Halftime headliner Katy Perry just expanded her name recognition as the winner of the 2024 VMA Video Vanguard Award. Wisely ditching the poorly received “Woman’s World,” Perry belted out 21st-century pop classics from “Firework” to “California Gurls” to “Dark Horse” with commanding vocal control and the kind of visual flair that made us Katycats in the first place. Whether she was flying through the air while hopping on her dancers’ shoulders, draping herself over a twerking Doechii to their new collaboration “I’m His, He’s Mine,” or popping out silver balloon wings for “I Kissed a Girl,” Perry’s VMA performance felt like a well-earned (and, frankly, much-needed) victory lap for the pop icon gearing up for the release of a new album (143 on September 20).

Karol G’s medley at last year’s BBMAs was one of the absolute highlights of the show, and she’s got another major awards show win at the 2024 VMAs. She wore a pair of hip-hugging jeans that reminded me of Christina Aguilera circa StrippedMoving across the stage (and through the crowd) with a nonchalant confidence, Karol G delivered a colorful performance of “Si Antes Te Hubiera Conocido” that highlighted the irresistible, welcoming rhythms of her peerless Latin pop.

Chappell Roan’s unmistakable melodies, out-of-the-box visuals, and authenticity are a blessing and a relief for pop stans in 2024 — and just like her performances at Lollapalooza and Governors Ball, she was a star at the VMAs. Roan took the stage in medieval battle gear as if she were Joan of Arc (Roan of Arc, if you will), fired a flaming crossbow into a locked castle, then sang “Good Luck, Babe!” as sword-wielding knights danced and the castle burned. Prayers for our uncompromising pop crusader.

A new force in pop music has arrived. Not only is Sabrina Carpenter dominating the Billboard 200 and the Billboard Hot 100 Top 10, but her medley at the 2024 VMAs made it clear that there’s a new pop sheriff in town—and she hasn’t missed yet.

Hanging from the ceiling on a diamond encrusted swing (reminiscent of the 2001s) Moulin Rouge) While sweetly singing “Please Please Please,” Carpenter descended onto a lunar-surface-style stage to sing “Taste,” while a horny astronaut and scantily clad alien got handsy. After tossing the moon man into oblivion, she made out with the alien and then launched her off the stage as well.

Finally, after strutting down a catwalk with the confidence of a newly arrived star, Carpenter sang “Espresso” as a troupe of astronaut dancers trickled around her. She closed things out with a Marilyn Monroe in Men prefer blondes posing atop her spare boys — oh, and did we mention she wore the same Bob Mackie-designed dress Madonna wore to the 1991 Oscars red carpet with Michael Jackson? All in all, perfectly crafted — but what else would you expect from a Carpenter?