On Sunday, the fan-voted MTV Video Music Awards (VMAs) were hosted by LL Cool J. Though the three-hour event seemed to drag, slogging through constant advertisements, I found LL Cool J to be the best host in recent years.
His professional and charismatic nature maintained overall engagement throughout the VMAs, which are a better and more genuine barometer than the Grammy Awards for measuring artists’ cultural relevance.
As the public transparently votes for the artists and records, there’s no way a nominee can be “robbed” of a win. This avoids people like me complaining about a group of unknown individuals’ selection criteria and sociopolitical biases in their voting. After all, the public outnumbers the critics, and they are the ones who shape and redefine music in an ever-changing musical landscape.
Starting off the night, Lady Gaga took home the first Moon Person, winning the award for “Best Artist.” I’m skeptical she was truly the Artist of the Year, but it was a unifying choice meant to please everyone — considering more controversial figures like Taylor Swift, Beyoncé and Morgan Wallen were among the other candidates.
Moreover, her speech was moving and inspiring: “Being an artist is an attempt to connect the souls of people all over the world […] It is a method of building understanding and celebrating community,” Gaga said, along with countless lines fit for a motivational board. “I hope as you navigate through the mayhem of daily life, you are reminded of the importance of the art of your life, that you can count on yourself and your simple skills to keep you whole.”
Alex Warren’s win for Best New Artist actually surprised me. Sombr, the 20-year-old singer-songwriter, was the obvious bet, and he appeared to have a larger fan base. However, Sombr did take home some silverware of his own, winning “Best Alternative.” He’s the breakthrough artist who achieved widespread recognition with his alternative sound, threatening the pop and rap monotony on the charts. Sombr’s “Back To Friends”and “Undressed” peaked at No. 1 and No. 6 on Spotify Charts, respectively, and still remain on top. On the other hand, Alex Warren’s hit, “Ordinary,” is the only song he’ll be remembered for. His second, most successful single, “Eternity,” couldn’t stay more than three weeks in the Global Top 50.
At least history and streams will give Sombr the honor he deserves when, soon enough, Alex Warren fades into memory as just another generic ballad singer. When that moment comes, we’ll still be listening and crying to Sombr’s emotionally relatable lyrics.
“When that moment comes, we’ll still be listening and crying to Sombr’s emotionally relatable lyrics. ”
Later that night, Sombr delivered a breathtaking debut of “Back to Friends” and “12 to 12,” where he screamed at the top of his lungs on stage. Although his interpretation was hindered at times by dominant backing tracks, a few risky vocal shifts and visible nervousness, it’s worth highlighting that this was his first-ever award show performance.
Ricky Martin was the recipient of the Latin Icon Award introduced this year, but his performance was outshined by Tate McRae’s VMA debut immediately after him. She sang “Revolving Door” and “Sports Car,” dancing captivatingly on a runway surrounded by suspended men before descending into a sand pool.
McRae showed her distinctive moves while setting the stage on fire—both figuratively and literally. Her performance was named by Billboard as the best of the night and established her as one of the most accomplished performers in the current music scene.
Thankfully, Sabrina Carpenter didn’t appear on stage as overly sexualized as I feared, after her problematic new album cover and some daring costumes in past shows. She sang “Tears,” from “Man’s Best Friend,” and danced in the rain wearing a glittery bra paying homage to Britney Spears’ diamond outfit from her 2001 Dream Within a Dream Tour.
Sabrina Carpenter took home the Moon Person for “Best Album” for Short N’ Sweet, and although she seemed surprised to win the award a year after the album’s release, she unquestionably deserved it. Short N’ Sweet is this decade’s Teenage Dream by Katy Perry, and few albums had as much impact last year. Despite the Grammys’ opinion, Beyoncés’ “Cowboy Carter” doesn’t even come close.
Similarly, Rosé and Bruno Mars won “Song of the Year” with their No. 1 hit, “APT.” There’s little doubt that any other song in 2025 was as iconic or resonated in such a culturally impactful way. In particular, Rosé’s win symbolizes this year’s rise of K-pop stars in mainstream pop — from Blackpink members releasing solo albums, to the surging popularity of the girl group Katseye, formed through K-pop development methods, and even the soundtrack of the animated film “KPop Demon Hunters” dominating the charts.
Mariah Carey was the recipient of the Video Vanguard Award this year. Her medley led tribute to her biggest hits — like “Obsessed,” “It’s Like That” and “We Belong Together.” However, her performance fell short compared to Katy Perry’s unmatched one last year. Carey looked uncomfortable and lacked the energy to light up the stage. Even I put more enthusiasm into my 9 p.m. hip-hop class last semester.
Still, her vocals were impressive. She’s an outstanding singer, but not quite a strong performer. “Videos evolve, but fun is eternal,” she remarked when receiving the Moon Person. I know we’re in September, but I’d have liked her to sing the eternal “All I Want For Christmas Is You,” her greatest legacy. Maybe then she would’ve felt fully in her element.
Finally, the ceremony saw Ariana Grande on her tiptoes as she accepted the Moon Person for “Video of the Year” with “Brighter Days Ahead” — a compilation of videos from her album Eternal Sunshine that also won “Best Pop” and “Best Long Form Video.” The award couldn’t have gone to anyone else. “Brighter Days Ahead” is not just a music video; it’s a 20-minute movie, with a plot, climax and cinematic scenery. It proves the survival of music videos, reminding us of the power of visual storytelling. The public itself rewarded it for demonstrating that there’s still room for sophisticated productions in this age, defying the industry’s belief that consumers find short-form digital content more engaging.
The MTV VMAs accomplished what the 2025 Grammy Awards could not: honoring recordings for their excellence and impact. As listeners, we judged each one on its quality, unique offerings and how well it fit its respective category.
Unsurprisingly, we have a more accurate and refined sense of music talent and artistic transcendence than those selected voters who call themselves “experts.” Let the man on the street decide. We’re generally right. Democracy works. The music is safe.
Tomy Helman PO ’28 is a music columnist from Argentina, interested in media, culture and politics. His Duolingo streak is over 1630 days.
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