VMAs Performances Ranked: 2024’s Best & Worst

The BLACKPINK member has proven herself adept at killer choreography and eye-popping visuals in the past, but LISA’s solo turn at the 2024 VMAs felt like a swing and a miss. “New Woman” could have used a little oomph from Rosalía, and the “Rockstar” choreography was solid but never head-turning, much less show-stopping.

It’s a tribute to how inventive and memorable this year’s performances were that Anitta’s celebratory set ends up comparatively low on this list. “Paradise,” abetted by DJ Khaled and Fat Joe, worked well enough; Tiago PZK brought a charismatic passion to “Alegría”; and Anitta’s choreo was on-point as always for “Savage Funk.” But when sized up next to a stacked evening, the overall performance faded a bit from memory.

After a bit of “June Gloom,” Camila Cabello delivered 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 that she needed to get off her chest than a song people wanted to hear toward the end of a three-hour-plus awards show. But with the laptop-smashing finale, she at least has an excuse not to answer any emails tomorrow.

Memphis breakout GloRilla fired up the VMAs (literally) with “Yeah Glo!” and “TGIF,” bringing an infectious joy, flames and rock star energy to the stage. Arriving near the end of the VMAs’ lengthy broadcast, the impact of her solid performance was slightly dulled for those watching in real-time – though anyone nodding off after three hours of an awards show likely woke up when she narrowly avoided a wardrobe malfunction mid-song.

As a troupe of Slim Shady lookalikes invaded the UBS Arena (conjuring up the ghost of his 2000 VMAs performance) Eminem kicked off the 2024 VMAs with the Steve Miller Band-interpolating “Houdini.” After the Slim Shady doppelgangers disappeared, Em rapped his raw, confessional Jelly Roll collab “Somebody Save Me” with the country singer appearing via video screen. Toward the end of the performance, Em sat down on a ratty couch, looking genuinely pensive as Jelly Roll’s vocals closed out the song.

On a smoky stage dressed down to look like a living room, Shawn Mendes debuted his new Shawn song “Nobody Knows” at the VMAs. A folk-rock tune that gradually grew in intensity, “Nobody Knows” shows off his vocal chops, maturing songcraft and how simpatico Mendes and his band are. Maybe he has been listening to a lot of Leonard Cohen these days, but it’s rubbed off nicely.

The ageless, ever fashionable and effortlessly sensual Lenny Kravitz returned to the VMAs this year, opening with a ripping take on his 1993 hit “Are You Gonna Go My Way” before delivering new single “Human” (which stood up pretty well alongside a stone-cold ‘90s rock classic). Joined by Quavo, he wrapped the medley with “Fly,” a trap update of his unforgettable 1998 smash “Fly Away.” The two have great on-stage chemistry and gave a nice jolt of energy (and visual flair) to the show in its fourth quarter.

Halsey got their suburban emo rocks off during her VMAs performance of “Ego,” which saw them flaunting some My Chemical Romance/Freaky Friday fashion and wailing on an electric guitar on a stage dressed up to look like a cozy garage practice space. It made a convincing case that had Halsey wanted a career as a sneering pop-punker instead of a genre-mashing pop singer, she probably could have had that, too.

Not only did Megan Thee Stallion host the 2024 VMAs, but she performed a kick-ass medley of songs from her latest album, too. “Boa” and “B.A.S.” served as the warm-up for her Hot 100-topping, crowd-pleasing hit “Hiss,” but it was “Mamushi” that stole the show. Megan (an avowed fan of Japanese culture, including anime) brought out Japanese rapper Yuki Chiba for their rousing, buzzy collab.

It’s been a pleasant surprise that old-school rap hasn’t disappeared from every award shows just because the 50th anniversary of hip-hop is behind us, particularly because some of the veterans – including the tireless LL COOL J, who performed a 40th anniversary tribute to Def Jam at the VMAs – can spit as vociferously as ever. Joined by the indefatigable Public Enemy on “Bring the Noise,” LL COOL J, who popularized the phrase G.O.A.T., trotted out several such hip-hop tracks, 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, commanding stage presence that his new songs (hailing from his latest LP, The Force) sounded perfectly at home when sharing stage time with his classics.

Listening to Benson Boone’s Hot 100 No. 2 hit “Beautiful Things” might not prep you for Benson Boone the on-stage force. Wearing a glittery blue onesie with a deep V-neck, Boone jumped around the VMAs stage like Super Mario (a fellow mustache enthusiast) after snagging an invincibility star, pulling off a flawless forward flip during one jaw-dropping moment. Despite the acrobatics, Boone still managed to nail an impassioned vocal performance without losing a beat. He’s giving major shades of Elton John and Brendon Urie — and seems poised for a long haul of a career.

If anyone wasn’t familiar with Rauw Alejandro’s live prowess before watching the VMAs, they’re unlikely to forget it anytime soon. On an NYC skyline backdrop that evoked Broadway’s classic West Side Story, Alejandro demonstrated his gravity-defying footwork, killer rhythms, seductive vocals and fly style (the fedora, loose pants and tight white tank top felt both classic and contemporary) as he sang a medley of “Touching the Sky,” “Diluvio” and “Déjame Entrar.”

A Billboard Hot 100-topping artist and Super Bowl Halftime headliner, Katy Perry added another notch to her belt as 2024’s VMA Video Vanguard Award winner. Wisely leaving the ill-received “Woman’s World” behind, Perry sang 21st century pop classics from “Firework” to “California Gurls” to “Dark Horse” with impressive vocal control and flaunted the kind of visual panache that made us Katycats in the first place. Whether sailing through the air while hopping on her dancers’ shoulders, draping herself over a twerking Doechii on their new collab “I’m His, He’s Mine” or trotting out silvery balloon wings for “I Kissed a Girl,” Perry’s VMAs performance felt like a well-deserved (and frankly much-needed) victory lap for a pop icon gearing up to release a new album (143 on Sept. 20).

Karol G’s medley at last year’s BBMAs was one of the show’s absolute highlights, and she racked up another huge awards show victory at the 2024 VMAs. Wearing a pair of hip-hugging jeans that brought to mind Christina Aguilera circa Stripped, Karol G moved around the stage (and through the crowd) with a casual confidence, delivering a colorful performance of “Si Antes Te Hubiera Conocido” that emphasized the irresistible, welcoming rhythms of her peerless Latin pop.

Chappell Roan’s undeniable melodies, outside-the-box visuals and authenticity have been a blessing and relief for pop Stans in 2024 — and as with her Lollapalooza and Governors Ball performances, she killed at the VMAs. Taking the stage in medieval battle gear as if she were Joan of Arc (Roan of Arc, if you will), Roan blasted a flaming crossbow at a gated castle, then performed “Good Luck, Babe!” while sword-wielding knights danced and the castle burned. Prayers up for our uncompromising pop crusader.  

A new force in pop music has arrived. Not only has Sabrina Carpenter been 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 has yet to miss.

Hanging from the ceiling on a diamond-encrusted swing (evoking 2001’s Moulin Rouge) while sweetly crooning “Please Please Please,” Carpenter descended to a moon surface-styled 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, then launched her offstage, too.

Finally, after strutting down a catwalk with the confidence of a newly arrived star, Carpenter sang “Espresso” while a troupe of astronaut dancers percolated around her. She closed it all with a Marilyn Monroe in Gentlemen Prefer Blondes pose atop her backup boys — oh, and did we mention she was wearing the same Bob Mackie-designed dress Madonna wore to the 1991 Oscars red carpet alongside Michael Jackson? All in all, perfectly crafted – but what else would you expect from a Carpenter?