All the 2026 Grammys Performances, Ranked

Hitching a ride on the back of a semi before hopping off and running around backstage, Rae offered up a conceptual, choreo-heavy performance of the excellent “Fame Is a Gun.” More than a lot of her pop peers, Rae has a distinct visual vision, and that mostly landed, but some of her singing sounded (and looked) a bit off.

Taking over the split second Rae wrapped, KATSEYE swaggered and stomped around the Grammys backstage area as “Gnarly,” their bass-laden, M.I.A.-esque banger, blared throughout the arena. Perhaps inevitably for a six-member group in a medley segment, it couldn’t help but feel a bit rushed; one wishes each member had more time in the spotlight. It felt overpowering, but not powerful.

“Grammys, get up!” sombr yelled during his Grammy best new artist medley spotlight, where he performed the fantastic rocker “12 to 12.” Sombr brought high fashion to the red carpet (his outfit was a standout) and high energy to the Grammys stage, but it felt more like crowd work than a statement, as if he were more focused on hyping the in-arena crowd than making a memorable moment.

“I Just Might” is Bruno Mars’ latest Billboard Hot 100 No. 1, and his first-ever song to debut atop the chart. Mars is unfalteringly dynamic on stage and the song finds him in his element, but compared to the fire with which he and Rosé opened the Grammys broadcast, it paled a bit. After all, hard rock Bruno (which ranks much higher on this list) was a surprise and treat; retro ‘70s Bruno is about what you expect from him. Not a bad thing, but given the plethora of performances this year, it faded into the background.

The Marías had an unenviable slot, opening an eight-song best new artist medley with a low-key, dreamy ballad. They’re an excellent band with a serious future (and wonderful in concert), but in the context of the Grammys BNA medley, the impact was less of a splash and more like a stone skipping across the water, making ripples that were lovely but short-lived.

Ballads at awards shows can be tough, but they tend to land when they serve to uplift – and Alex Warren was literally lifted up toward the end of his breakout smash (and Billboard Hot 100 champ) “Ordinary.” With his eyes to the ceiling, Warren seemed deeply moved by the experience—and the audience, with their phone lights aloft, seemed to agree. Unfortunately, he also seemed to be struggling with audio issues throughout; after the show, he posted a video to Instagram about his earpiece not functioning.

Pusha T and No Malice have rapped about dealing drugs plenty over the years, but when they brought the snow to the Grammys on Sunday, it wasn’t the illicit kind. Backed by the breathtaking Voices of Fire choir and Pharrell’s sweet vocal tones, Clipse gave a triumphant, confident performance of “So Far Ahead” as snowflakes gently fell from above. A solid performance from a coterie of pros.

The gutting loss of metal pioneer Ozzy Osbourne was commemorated in gloriously fiery fashion by a Post Malone-led all-star band (Chad Smith, Duff McKagan, Slash and Andrew Watt) who ripped through “War Pigs” for the second part of the In Memoriam segment. The give-no-quarter metal classic was a slightly odd song to accompany images of late industry figures, but it was hard to dispute the band’s crackling, fervid attack. Malone’s gravely tone fit it nicely, too–and respect to him for literally pouring one out for Ozzy (from a red solo cup, no less) on stage.

Sometimes a somber piano version of a pop song can feel cliche, but Lola Young is so authentically herself that in spite of the fancy-ass setting, “Messy” sparkled with all of its contradictions while her voice—smooth yet gravely, commanding yet vulnerable—captivated. Messy or dressed to the nines, she’s simply Lola Young, and that’s a very good thing.

For the In Memoriam segment, Reba McEntire took the Grammys stage for the first time—which is crazy considering the country icon and the awards show have been around roughly the same numbers of years. Backed by Brandy Clark and Lukas Nelson, McEntire sang her meditative 2025 ballad “Trailblazer” (originally performed with Lainey Wilson and Miranda Lambert) about musical trailblazers who paved the roads for future generations. It was lovely, subtle and sublime, perfectly fitting for the moment.

Ms. Lauryn Hill hasn’t been on the Grammys stage since 1999, and she made damn sure her return would be memorable. Yes, it was part of the In Memoriam segment, but Hill and her guests were brimming with life and passion. Honoring neo-soul legend D’Angelo with a generous medley, Hill sang “Nothing Even Maters,” “Brown Sugar” with Lucky Daye, “Lady” with Raphael Saadiq and Anthony Hamilton, “Devils Pie” with Leon Thomas, “Another Life” and “Untitled (How Does It Feel)” with Bilal and “Africa” with Jon Batiste.

But that was far from it. Honoring quiet storm pioneer Roberta Flack, Hill offered an expressive “First Time Ever I Saw Your Face” with Jon Batiste, “Compared To What” with Leon Bridges and Alexia Jayy, “Closer I Get To You” with Lalah Hathaway and October London and “Where Is The Love” with John Legend and Chaka Khan. Finally, she closed with “Feel Like Makin’ Love” and the timeless “Killing Me Softly with His Song,” with Wyclef Jean joining her on the latter for some Fugees realness. Masterful.

After two decades in the industry, Leon Thomas finally exploded last year thanks to “Mutt,” and he used his Grammy spotlight to demonstrate that an effortless performance is often the result of years of hard work. Crooning “Mutt” back by a tight live band, Thomas flaunted his soulful control and his flair for an easy-going groove. Doechii was sure vibing in the audience, as were we all.

Of all the best new artist medley performers, Olivia Dean stood out. Hers was not necessarily the most conceptually memorable (we’ve seen retro ‘70s sets aplenty) nor the highest energy, but more than anyone else, her voice felt flawless, timeless and effortless as she crooned “Man I Need” backed by some saucy horns. It was really no surprise when, shortly thereafter, she walked away as the category’s winner.

Justin Bieber brought a revealing performance of “Yukon” to the Grammys stage. Literally. Shirtless and pants-less, Bieber was wearing just boxer shorts and socks as he ambled out on stage strumming an acoustic guitar and singing the meditative SWAG ballad. He let a loop pedal take over most of the instrumentation after that and focused on his voice, which was astonishingly rich and strong. Given that the album version features sped-up vocals on “Yukon,” here’s hoping we get an official release of this performance.

Sabrina Carpenter is an awards show MVP, bringing clever concepts and campy visuals wherever she lands. On Sunday night, she piloted a jetliner from the retro-vibed SCA (Sabrina Carpenter Airlines) to a smooth landing on the Grammys stage. Singing “Manchild” with a wink, some twang and a smile, she dressed down men’s emotional baggage while strutting around a baggage claim conveyor belt. Another winner from Sab.

Wearing an outfit that Delia Deetz would have approved of while situated behind two keyboards, prog-rock style, Lady Gaga rocked out “Abracadabra” with Josh Freese on drums. Compared to the Gothic spectacle she brought to her tour, this performance was fairly minimalist, but no less riveting. With the camera pulled in tight on her face and her eyes blazing behind a caged headpiece, Gaga knows her angles and how to work them. Like Bowie before her, Gaga makes small movements feel monumental and offers up arty cinematic touches, such as having the camera pan down to the floor to show us not Gaga, but her reflection, singing the willfully weird dance-pop banger.

Opening the Grammys can go one of two ways: You either promptly fade into the background, or you nab the spotlight and set a high bar for the rest of the night. Bruno Mars and Rosé handily accomplished the latter with a raucous rock take on their smash duet “APT.” that started at 11 and didn’t let up. With Rosé channeling Avril Lavigne’s stomping pop-punk stage energy (not to mention her look) and Mars riffing on an electric guitar like he was auditioning for Van Halen, it was a surprising (and surprisingly successful) reimagining of the pop heater and a wildly entertaining Grammy opener.

There aren’t that many artists who seem to get better as they age, but Tyler, the Creator (who, to be clear, came out the gates strong anyway with Odd Future and his breakout solo album Goblin) is undoubtedly one of the finest album makers and visual artists of our generation. He brought a football player’s fury to Chromakopia’s “Like Him” and “Thought I Was Dead” and then made good on the latter song’s title after some wise words from Regina King. Hopping into a bright red sports car, Tyler ran over a dummy dolled up like the raging football player he had been moments earlier, effectively killing the earlier era of himself. Exiting the crashed car to cause more mayhem at a gas station while rapping Don’t Tap the Glass standout “Sugar on My Tongue,” Tyler tore the dispenser off a pump, sending gasoline spurting everywhere, and dropped a stick of dynamite to set the whole thing aflame before walking off.

Then, as if by magic, the Grammy-winning rapper emerged from inside the gas station, charred and smoking; stumbling forward, he faked a fall down the stage stairs right into the crowd, where he lay flat on his face, smoke rising from his clothes. Equal parts hip-hop spectacle and magic show, it’s one you simply have to watch.