Adele Announces Las Vegas Residency After Releasing Smash Album 30

Say “Hello” to the newest fixture on the shimmering Las Vegas strip. Adele announced on Tuesday (November 30) that she will be a resident performer at the Colosseum at Caesars Palace beginning in January 2022.

Weekends With Adele kicks off January 21 and is slated to continue through April 16. The British singer-songwriter will perform two shows each weekend, with one weekend off in mid-February (when Van Morrison is scheduled to play). Tickets go on sale December 7, though fans will have to register for pre-sale access before December 3 for a chance to secure tickets for the long-rumored residency; there may not be a general sale date should the presale demand be too high.

“See you at Caesars in Vegasss,” Adele tweeted.

The announcement follows the release of the singer’s fourth studio album, 30, which is her third collection to hit the No. 1 spot on the Billboard 200 chart. It debuted as the year’s top-selling album in the United States, rising to surpass Taylor Swift’s hit record Evermore. The album’s lead single, the ballad “Easy on Me,” is the biggest song in the world at the time of writing, returning for its fifth week at the top spot on both the Billboard Global 200 and Billboard Global Excl. U.S. charts.

The singer had previously shot down rumors about a residency in a November cover story published in Rolling Stone, and it is currently unclear whether a full tour is currently in the works to support 30. In addition to her recent “One Night Only” CBS special filmed in Los Angeles and two performances in London’s Hyde Park scheduled for July 2022, Adele’s Las Vegas residency concerts are the only lives dates she has announced since the release of the album. The concert dates are below.

Weekends With Adele Dates
Jan. 21
Jan. 22
Jan. 28
Jan. 29
Feb. 4
Feb. 5
Feb. 11
Feb. 12
Feb. 25
Feb. 26
March 4
March 5
March 11
March 12
March 18
March 19
March 25
March 26
April 1
April 2
April 8
April 9
April 15
April 16

Who Leads The 2022 Grammys Nominations? See The List Here

It’s Grammys season once again, and this year, it’s also Jon Batiste season. The Recording Academy unveiled its 2022 nominees today (November 23), including both surprising and not-so-surprising nods given to some of the biggest artists in the music world.

Out of the stated 21,730 eligible entries, the Recording Academy members selected the jazz and R&B maestro (and Late Show with Stephen Colbert bandleader) as the most-nominated artist. He scored a total of 11 nods, including in the major categories of Record of the Year and Album of the Year. Right behind Batiste are Justin Bieber, Doja Cat, and H.E.R. with eight noms each; Billie Eilish and Olivia Rodrigo trail just behind with seven each.

Ahead of the nominees announcement, Recording Academy CEO Harvey Mason Jr. revealed that the so-called Big Four categories — Album of the Year, Song of the Year, Record of the Year, and Best New Artist — had been expanded from 8 nominees to 10. Notably, Rodrigo scored one nomination in each of those fields. Eilish’s brother, Finneas, is up for Best New Artist just two years after Eilish won the same award in 2020.

The 64th annual show, which will air in early 2022, will also be the first Grammys to factor in sweeping changes the Recording Academy enacted earlier this year after vocal and public outcry from several major artists, including Bieber, The Weeknd, and Zayn. Chief among the changes is the end of review committees in favor of “a majority, peer-to-peer vote of voting members” for nominations, as well as a reduction in the number of categories voting members may actually vote for.

Also, all credited participants who perform, write, produce, engineer, mix, and master Album of the Year nominees will be included in the nomination, a departure from the previous rule of credited performers having “at least 33 percent or more of playing time.”

Meanwhile, the award formerly known as Best Dance Recording has been renamed Best Dance/Electronic Recording. Two new categories — Best Global Music Performance and Best Música Urbana Album — have likewise been added.

The 2022 show has not been without mild controversy already. In October, Kacey Musgraves’s latest album, Star-Crossed, was deemed ineligible to compete in the Best Country Album category, despite her status as a country-pop artist whose previous LP, 2018’s Golden Hour, took home both Album of the Year and Best Country Album in 2019. Her song “Camera Roll” from Star-Crossed, however, received two nominations: Best Country Song and Best Country Solo Performance.

The 2022 Grammys will air Monday, January 31, 2021, on CBS. Find this year’s nominees below.

Record of the Year

ABBA: “I Still Have Faith in You”

Jon Batiste: “Freedom”

Tony Bennett, Lady Gaga: “I Get a Kick Out of You”

Justin Bieber ft. Daniel Caesar, Giveon: “Peaches”

Brandi Carlile: “Right on Time”

Doja Cat ft. SZA: “Kiss Me More”

Billie Eilish: “Happier Than Ever”

Lil Nas X: “Montero (Call Me By Your Name)”

Olivia Rodrigo: “Drivers License”

Silk Sonic: “Leave the Door Open”

Album of the Year

Jon Batiste: We Are

Tony Bennett, Lady Gaga: Love For Sale

Justin Bieber: Justice (Triple Chucks Deluxe)

Doja Cat: Planet Her (Deluxe)

Billie Eilish: Happier Than Ever

H.E.R.: Back of My Mind

Lil Nas X: Montero

Olivia Rodrigo: Sour

Taylor Swift: Evermore

Kanye West: Donda

Song of the Year

Ed Sheeran: “Bad Habits”

Alicia Keys, Brandi Carlile: “A Beautiful Noise”

Olivia Rodrigo: “Drivers License”

H.E.R.: “Fight for You”

Billie Eilish: “Happier Than Ever”

Doja Cat ft. SZA: “Kiss Me More”

Silk Sonic: “Leave the Door Open”

Lil Nas X: “Montero (Call Me By Your Name)”

Justin Bieber ft. Daniel Caesar, Giveon: “Peaches”

Brandi Carlile: “Right on Time”

Best New Artist

Arooj Aftab

Jimmie Allen

Baby Keem

Finneas

Glass Animals

Japanese Breakfast

The Kid Laroi

Arlo Parks

Olivia Rodrigo

Saweetie

Best Pop Solo Performance

Justin Bieber: “Anyone”

Brandi Carlile: “Right on Time”

Billie Eilish: “Happier Than Ever”

Ariana Grande: “Positions”

Olivia Rodrigo: “Drivers License”

Best Pop Duo/Group Performance

Tony Bennett, Lady Gaga: “I Get a Kick Out of You”

Justin Bieber, Blenny Blanco: “Lonely”

BTS: “Butter”

Coldplay: “Higher Power”

Doja Cat ft. SZA: “Kiss Me More”

Best Pop Vocal Album

Justin Bieber: Justice (Triple Chucks Deluxe)

Doja Cat: Planet Her (Deluxe)

Billie Eilish: Happier Than Ever

Ariana Grande: Positions

Olivia Rodrigo: Sour

Best R&B Album

Snoh Aalegra: Temporary Highs in the Violet Skies

Jon Batiste: We Are

Leon Bridges: Gold-Diggers Sound

Jazmine Sullivan: Heaux Tales

H.E.R.: Back of My Mind

Best R&B Performance

Snoh Aalegra: “Lost You”

Justin Bieber ft. Daniel Caesar, Giveon: “Peaches”

H.E.R.: “Damage”

Silk Sonic: “Leave the Door Open”

Jazmine Sullivan: “Pick Up Your Feelings”

Best R&B Song

H.E.R.: “Damage”

SZA: “Good Days”

Giveon: “Heartbreak Anniversary”

Silk Sonic: “Leave the Door Open”

Jazmine Sullivan: “Pick Up Your Feelings”

Best Rap Performance

Baby Keem, Kendrick Lamar: “Family Ties”

Cardi B: “Up”

J. Cole ft. 21 Savage and Morray: “My Life”

Drake ft. Future and Young Thug: “Way 2 Sexy”

Megan Thee Stallion: “Thot Shit”

Best Melodic Rap Performance

J. Cole ft. Lil Baby: “Pride Is the Devil”

Doja Cat: “Need to Know”

Lil Nas X, Jack Harlow: “Industry Baby”

Tyler, the Creator ft. YoungBoy Never Broke Again and Ty Dolla Sign: “Wusyaname”

Kanye West ft. The Weeknd and Lil Baby: “Hurricane”

Best Rap Song

DMX ft. Jay-Z and Nas: “Bath Salts”

Saweetie ft. Doja Cat: “Best Friend”

Baby Keem, Kendrick Lamar: “Family Ties”

Kanye West ft. Jay-Z: “Jail”

J. Cole ft. 21 Savage and Morray: “My Life”

Best Rap Album

J. Cole: The Off-Season

Drake: Certified Lover Boy

Nas: King’s Disease II

Tyler, the Creator: Call Me If You Get Lost

Kanye West: Donda

Best Dance/Electronic Recording

Afrojack, David Guetta: “Hero”

Ólafur Arnalds, Bonobo: “Loom”

James Blake: “Before”

Bonobo, Totally Enormous Extinct Dinosaurs: “Heartbreak”

Caribou: “You Can Do It”

Rüfüs Du Sol: “Alive”

Tiësto: “The Business”

Best Dance/Electronic Album

Black Coffee: Subconsciously

Illenium: Fallen Embers

Major Lazer: Music Is the Weapon (Reloaded)

Marshmello: Shockwave

Sylvan Esso: Free Love

Ten City: Judgement

Best Alternative Music Album

Fleet Foxes: Shore

Halsey: If I Can’t Have Love, I Want Power

Japanese Breakfast: Jubilee

Arlo Parks: Collapsed in Sunbeams

St. Vincent: Daddy’s Home

Best Latin Pop Album

Pablo Alborán: Vértigo

Paula Arenas: Mis Amores

Ricardo Arjona: Hecho a la Antigua

Camilo: Mis Manos

Alex Cuba: Mendó

Selena Gomez: Revelación

Best Música Urbana Album

Rauw Alejandro: Afrodisíaco

Bad Bunny: El Último Tour Del Mundo

J Balvin: Jose

Karol G: KG0516

Kali Uchis: Sin Miedo (del Amor y Otros Demonios)

Who will win big this year? Find out when the 2022 Grammys hit CBS on January 31.

Bop Shop: Songs From Adele, Jockstrap, Cazwell, Rosalía, And More

“Hold On” is the 10th track on 30, an album that feels nostalgic but not recycled, fresh, and inherently Adele. When this song begins, everything goes dark. Yet as the singer’s powerful, lachrymose voice echoes the title, a beacon of light draws you back to hope, grounding you. “Let time be patient / Let pain be gracious,” she sings as a manifestation for her own struggles and her listeners’. At the bridge — “Sometimes loneliness is the only rest we get / And the emptiness actually lets us forget / Sometimes forgiveness is easiness in secret” — things come into focus with simple, profound wisdom until Adele’s trademark crescendo. Although heartbreaking, what’s so hopeful about this masterful collection is that you can see the artist on the other side of her pain. She recently told Oprah how 30’s release was the closing of that chapter. While this music is intended to meet you somewhere along your journey of grief, pain, and lost love, it reminds you to “hold on / You are still strong / Love will soon come.” Adele did. Look at her now. —Daniel Head

Young Dolph Shot And Killed In Memphis

Young Dolph, the Memphis rapper whose robust baritone voice anchored seven albums, countless mixtapes, and tracks with Megan Thee Stallion, Gucci Mane, 2 Chainz, Lil Durk, and more, was shot and killed in his hometown today (November 17), according to a local news report from Fox 13. He was 36.

Police confirmed to the news outlet that the rapper entered the Makeda’s Homemade Butter Cookies shop this afternoon and was hit by gunfire from a car that pulled up outside the store. Video from the scene shows his car parked outside the shop.

The rapper was born Adolph Robert Thornton, Jr. in Chicago but relocated to Memphis with his family at 2 years old. His rise is tied to the city. He began releasing mixtapes in the late 2000s and put out his celebrated debut album, King of Memphis, in 2016. He also collaborated regularly with Gucci Mane, and Dolph told MTV News in 2014 that the biggest lesson he learned from his fellow MC was to “just go hard, make songs every day.”

Dolph followed his example. He released his second LP, Bulletproof, in 2017, naturally featuring a song with Gucci Mane. The pair also collaborated on “Go Get Sum Mo,” a song from Dolph’s second 2017 album, Thinking Out Loud. 2018’s Rich Slave featured a feature with Megan Thee Stallion, as well as tracks with G Herbo and Key Glock, a young up-and-coming Memphis rapper who became Young Dolph’s protege. Their joint albums, Dum and Dummer and Dum and Dummer 2, dropped in 2019 and 2021, respectively.

He found Top 40 Billboard Hot 100 success in 2015 on a song with O.T. Genasis called “Cut It.” Dolph’s 2020 album Rich Slave debuted at No. 4 on the Billboard 200 albums chart.

Dolph’s most recent album, Paper Route Illuminati, was released in July and showcased artists from the indie label that he launched over a decade ago, Paper Route Empire.

In 2017, Young Dolph was shot multiple times outside of a Hollywood hotel, though he suffered non life-threatening injuries. Fox 13 in Memphis reports that Dolph was known for handing out turkeys around town during Thanksgiving time and for donating money to his high school.

Friends and collaborators including Chance the Rapper, Megan Thee Stallion, and Offset have taken to social media to offer their thoughts and remembrances of Young Dolph.

Argentina’s María Becerra Is Going Global

By Lucas Villa

In the past year, María Becerra has become the biggest artist to emerge from Argentina. That’s thanks in part to her sex-positive album Animal, with its fierce title track featuring Cazzu and the girl-power anthem “Wow Wow” with Becky G, which pushes the boundaries of Latin music. As her country’s most-streamed act on Spotify with 23 million monthly listeners, Becerra and her captivating music are also making waves around the globe. The 21-year-old singer was even recognized by the Latin Grammy Awards with a Best New Artist nomination; she will find out if she takes home the trophy on Thursday (November 18).

“This is news that completely surprised me,” Becerra tells MTV News. “It’s major that this is a nomination for the Latin Grammys, and to have that with such a short career, and to be new and just getting started, it’s something that’s incredible and very important for me.”

Becerra hails from Quilmes in Buenos Aires. Her mother was a fan of pop stars like Mariah Carey and Whitney Houston, as well as Spanish opera singer Montserrat Cabellé, and she often watched the artists’ live performances on television. Becerra sang along and took note of how they moved and ruled the stage. In 2016, she started up her own YouTube channel where she uploaded personal vlogs, dance tutorials, and covers of songs like Ariana Grande’s “Dangerous Woman.” The online buzz led to a team-up with Argentine hit-maker Big One in 2019 for Becerra’s debut EP, 222. She put an angsty and atmospheric twist on the country’s Latin trap movement.

In 2020, Becerra became the first Latin artist to sign with 300 Entertainment, which is home to Megan Thee Stallion and Young Thug. That September, she experienced a global breakthrough with the all-women remix of “High” with fellow Argentine artist Tini and Spanish singer Lola Índigo. Her debut album, Animal, flexed her versatility as an artist with pop, reggaeton, R&B, and salsa influences. Colombian superstar J Balvin enlisted her for the biggest hit from his Jose album, “Qué Más Pues?” In July, she became the first to occupy four out of the top five spots on Argentina’s Billboard Hot 100 chart.

Ahead of her big night at the Latin Grammys, Becerra talked with MTV News about her breakthrough year and what’s coming next, including a teased collaboration with Camila Cabello.

MTV News: You have many all-women collaborations with artists like Tini, Cazzu, and Becky G. What do you enjoy about collaborating with women?

María Becerra: I love to collaborate with women. It’s something that’s very beautiful as well as important to show the world that we’re not in competition simply for being women in the industry. I like the idea of showing that we support each other and together we can tear it up. We have admiration for each other. We want to share our music with everyone and mix our genres, cultures, and languages. We’re all great friends.

MTV News: You also recorded a few collaborations with your boyfriend Rusherking, like “Antes De Ti.” What’s it like to make music with him?

Becerra: It’s kind of like the chemistry that I have with [my producer] Big One. It’s different chemistry [with Rusherking] because he’s my boyfriend. They’re the only people [I work with] where everything flows so well. With my boyfriend, we always write romantic things. We always write songs between us. He admires me as much as I do him. We look into each other’s eyes and we write and see how talented one another is. There’s a lot of admiration and love between us. It’s a beautiful environment to work in.

MTV News: What was it like to collaborate with J Balvin in “Qué Más Pues?

Becerra: That was a great experience. He’s an artist that likes to experiment. In doing a collaboration, what’s most important for me is working with a good person who is selfless. He treated everyone equally, and at the level that he’s at as an artist and a well-known person, it’s very difficult to find people like that. It’s obvious that this song was incredible for my career, that it went around the world, and helped me. What stayed with me the most was J Balvin as a person and how he carried himself. That’s how I want to be one day if I get to that level.

Thomas Raimondi

MTV News: What was the inspiration for your album Animal?

Becerra: I believe I have two personalities. One is the more timid María who’s introverted, dramatic, and with her emotions on her sleeve. The other personality is the María who’s more fierce, more extroverted, and says and sings about things that are taboo. She stands strong. Making music brought out this side of me that I didn’t know, and it surprised me what I can do. The person I am when I’m on the stage, in the studio, when I’m writing, and in the music videos, it’s the strong María. That’s what Animal is for me, showing people this big personality, this version of me that I like. I want to transmit that to other people, that feeling of being feminine and powerful, to talk and sing about what we want to.

MTV News: Why do you think millions of people are connecting with your music?

Becerra: I think a lot of people connect with my music because I usually talk about things that happen to everyone, like heartbreak, sexual desire, or secret romances. I feel like I also represent the LGBTQ+ community because I’m bisexual. I love to represent them. I always had it in my head that, if I’m this way, then this is what I’m going to sing about. I’m not only going to make songs about men because I don’t only like men. When I understood and accepted that I also liked girls, that was a difficult time. There was a lot of confusion and prejudice, and I had to think about how my family would take it. It was something very heavy that marked my life, so I have a lot of songs about that chapter.

MTV News: What can you say about your teased collaboration with Camila Cabello on her Familia album?

Becerra: She’s another incredible person. She was thanking me like, “Thank you for being on this song. I admire you so much.” I couldn’t believe she was telling me that! We had a lot of Zooms to talk, write, and get to know each other. She’s also an easygoing person who talks to you very calmly from wherever she is. I’m very grateful to her because I know this is a major opportunity for me. It’s an incredible song and we’re going to shoot an incredible music video. I’m so happy!

MTV News: What do you want to accomplish next?

Becerra: More than anything, what I want is for my music to accompany people through life. People in the meet-and-greets come to me crying and saying, “You were my company. You saved my life. In quarantine, I was alone and didn’t have anyone and you accompanied me. You got me up every day and I listened to your voice. You got me through some hard times. I had a lot of great moments with your music.” That doesn’t have a price. For someone to tell you that crying, it’s really incredible. That’s what I always want to accomplish, to reach people’s hearts.

On Take Care, Drake Flickered Between Hurt And Hubris

By Dani Blum

Drake couldn’t control the biggest moment in his career. He was anxious and antsy when his sophomore album, Take Care, leaked online in November 2011, all the passion and purpose he’d channeled into making the record suddenly available to anyone willing to download it. He told GQ at the time that he named the collection after his intense devotion to the process of making it. “I knew I was going to go home and take longer than six months, I knew that I was literally going to take care of making this project and be attentive, be clear, be immersed in it,” he said. And then the album sprang online, days before the 25-year-old rapper planned to release it.

Take Care would become his defining work, the record that honed his sound and crystalized the emotional core of Drake’s music. It’s a dark, moody record, flickering between hurt and hubris, enchanted with its own inertia. Take Care shimmers and shivers. It demands your attention and intention. In the 10 years since the album’s release, its grip on the music industry has only gotten tighter. The bruised bravado of Take Care cast Drake as a character and caricature, an enthralling figure you couldn’t help but follow, enabling his ascent to the record-obliterating king of streaming. The record sharpened and shaped both his sound and the sonic stylings of those who would imitate him, and rippled through the culture, becoming inextricable from Drake’s image and influence.

Critic after critic wrote at the time about how Drake wobbled between pop and rap. But it’s clearer now how he catalyzed, or continued, a path that would obliterate genre entirely. Without Drake, we wouldn’t get the wave of melodic SoundCloud rappers, the beat switch-happy blare of pop artists trying on rap and vice versa, Billie Eilish slipping through hip-hop aesthetics and electropop blazes, Taylor Swift sluicing from country to Max Martin-powered pop to muted indie albums. Drake cracked open the conceit of clearly defined genre on Take Care. There are brassy rap bangers here — “Headlines,” “Make Me Proud,” “HYFR” —  but there’s also a stretch of slower songs in the album’s final third that showcases Drake’s singing. Nothing was mutually exclusive in Drake’s world: He could be bracing and brazen and broken, crooning and spitting, drenched in gold on the cover of his album but wallowing in his head, drinking to his accomplishments and wailing about how they would never be enough. “We threw a party, yeah we threw a party,” he brags on “Marvins Room,” sounding smug and self-satisfied, only to beg the woman on the other end of the phone seconds later: “Talk to me please, don’t have much to believe in.”

The production on the album fueled these contradictions; the glimmering beats and smeared synths imbued a sense of tragedy that underpinned even the more buoyant tracks, like “We’ll Be Fine” and “Under Ground Kings.” Drake could sound exhausted by his nascent fame even as he was bragging about it, and the sludgy pulse of drums and lush, dark beats seemed like clues, foreshadowing the sadness he conveys. Noah “40” Shebib remained Drake’s primary producer and collaborator, and the sonic palette he honed on Drake’s earlier records and perfected on Take Care has radiated through music: the humid electro-beats of Lorde’s first album, the flecks of trap under Ariana Grande’s darker songs, the subtle shuffle of synths and drums in songs by SZA, Frank Ocean, and Travis Scott.

There’s so much ache slipped into these songs, braided in and bristling. Drake will never be a paradigm of subverting misogyny, but his songs did challenge ideas about masculinity. “I’m hearing all of the jokes, I know that they trying to push me / I know that showing emotion don’t ever mean I’m a pussy,” he raps on “Lord Knows.” At his best, Drake unspools his stream of consciousness. He focuses on the intricacy of his intimacy. Only in the mercurial, mesmerizing soundscape of Take Care can a song like “Marvins Room” creep in and stun you — the tactile weight of Drake’s vulnerability, the sting in his voice. He sounds sick of himself. He stares straight at you.

And yet he also spends so much of the album conspicuously constructing his legacy, aligning himself with allies while staking out his place on a pantheon of rap titans: Nicki Minaj, Kendrick Lamar, Rick Ross, Lil Wayne, Birdman, André 3000. “Shot For Me” is ostensibly about Drake’s desire to haunt a woman, how desperate he is to prove that he’s shaped her — how she walks and talks, how she does her hair, “And that voice in your speaker,” he croons, “that’s me.” Maybe he suspected then the impact he would have on music as a whole. You can’t thumb through a New Music Friday playlist without hearing little snippets of Drake everywhere, the gliding vocals, the smeared beats, and the carefully calibrated sadness, soaked in enough charm to wring all out all the self-pity.

Drake knew what he could get away with. In his later music, he would test the limits more, sounding bored of his predictable success. “I got more slaps than the Beatles,” he bragged on a Meek Mill collab, before getting a tattoo of the band to commemorate breaking their chart records. (Drake beat his own record earlier this year for the most simultaneous top 10 hits on the Billboard Hot 100.) He glided around a vacant, frosted mansion to promote “Tootsie Slide” last year, a track primed for TikTok; he fumbled at an acknowledgment of… something with “Girls Want Girls” from his latest album, Certified Lover Boy, calling himself a lesbian with no discernible sense of irony. He could also get petty, cruel, and malicious. He collaborated with Chris Brown after pronouncing his love for Rihanna over and over again, and he meandered his way through beef after beef with Meek Mill, Pusha T, Kanye West, and others. But he did all this because Take Care enabled that level of unimpeachable success; we’re stuck with Drake and his undeniable influence.

One of the best songs on Take Care isn’t even officially on the record. It’s a bonus track dropped from most streaming services, an iTunes exclusive left over from a time when that kind of deal could make sense. “Hate Sleeping Alone” is sumptuous and sensory, with Drake caroling confessions over a slinky spatter of beats. The song, and its exclusion from the most widely consumed version of the album, highlights just how good Drake was at his creative peak, how even a seemingly tossed-off track could sink into you. Drake knew he was crafting a record that could impale you, soundtrack your parties and weekends and hangovers, crash into you at the club, and comfort you in the haze of the cab ride home. “I live for this,” he sang on “Headlines,” humming over the surging beats, and that desperation radiated throughout the record. Take Care was a point when Drake needed music more than the industry needed him. His music was vivid because it was vital.

2021 MTV EMA Winners: See The Full List

The 2021 MTV EMA, as ever, promised to an affair to remember. With performances by Ed Sheeran, Maluma, Yungblud, Kim Petras, and more, and none other than Saweetie taking MC duties as host, the yearly celebration was made even better by the news that five young LGBTQ+ activists would receive the MTV EMA Generation Change Award. And that’s not even all.

Justin Bieber led the nominations heading into the show, with a grand total of eight, including Best Artist, Best Pop, and two different nods in the Best Song category. But fellow pop heavy hitters Doja Cat and Lil Nas X followed right behind him with six each. Meanwhile, Olivia Rodrigo, The Kid Laroi, and former EMA host Sheeran all earned five nominations.

This is all to say: The nominations field in 2021 was absolutely stacked, the competition was quite fierce, and nothing was certain in terms of outcomes. That gives this year’s winners, all listed below, something big to celebrate.

Find the complete list of EMA winners below, and explore more from the show at ema.mtv.com.

Best Artist

WINNER: Ed Sheeran

Doja Cat

Justin Bieber

Lady Gaga

Lil Nas X

The Weeknd

Best Pop

WINNER: BTS

Doja Cat

Dua Lipa

Ed Sheeran

Justin Bieber

Olivia Rodrigo

Best Song

WINNER: Ed Sheeran: “Bad Habits”

Doja Cat ft. SZA: “Kiss Me More”

Justin Bieber: “Peaches” ft. Daniel Caesar, Giveon

Lil Nas X: “Montero (Call Me By Your Name)”

Olivia Rodrigo: “Drivers License”

The Kid Laroi, Justin Bieber: “STAY”

Best Video

WINNER: Lil Nas X: “Montero (Call Me By Your Name)”

Doja Cat ft. SZA: “Kiss Me More”

Ed Sheeran: “Bad Habits”

Justin Bieber: “Peaches” ft. Daniel Caesar, Giveon

Normani ft. Cardi B: “Wild Side”

Taylor Swift: “Willow”

Best Collaboration

WINNER: Doja Cat ft. SZA: “Kiss Me More”

Black Eyed Peas, Shakira: “Girl Like Me”

Bruno Mars, Anderson .Paak, Silk Sonic: “Leave the Door Open”

Lil Nas X, Jack Harlow: “INDUSTRY BABY”

The Kid Laroi, Justin Bieber: “Stay”

The Weeknd & Ariana Grande: “Save Your Tears (Remix)”

Best New

WINNER: Saweetie

Giveon

Griff

Olivia Rodrigo

Rauw Alejandro

The Kid Laroi

Best Electronic

WINNER: David Guetta

Calvin Harris

Joel Corry

Marshmello

Skrillex

Swedish House Mafia

Best Rock

WINNER: Måneskin

Coldplay

Foo Fighters

Imagine Dragons

Kings Of Leon

The Killers

Best Alternative

WINNER: Yungblud

Halsey

Lorde

Machine Gun Kelly

Twenty One Pilots

Willow

Best Latin

WINNER: Maluma

Bad Bunny

J. Balvin

Rauw Alejandro

Rosalía

Shakira

Best Hip Hop

WINNER: Nicki Minaj

Cardi B

DJ Khaled

Drake

Kanye West

Megan Thee Stallion

Best K-Pop

WINNER: BTS

Lisa

Monsta X

NCT 127

Rosé

Twice

Best Group

WINNER: BTS

Imagine Dragons

Jonas Brothers

Little Mix

Måneskin

Silk Sonic

Best Push

24KGoldn

Fousheé

Girl in Red

Griff

JC Stewart

Jxdn

Latto

Madison Beer

Olivia Rodrigo

Remi Wolf

Saint Jhn

The Kid Laroi

Biggest Fans

WINNER: BTS

Ariana Grande

Blackpink

Justin Bieber

Lady Gaga

Taylor Swift

Video for Good

WINNER: Billie Eilish: “Your Power”

Demi Lovato: “Dancing With The Devil”

Girl in Red: “Serotonin”

H.E.R.: “Fight For You”

Harry Styles: “Treat People With Kindness”

Lil Nas X: “Montero (Call Me By Your Name)”

Best U.S. Act

WINNER: Taylor Swift

Ariana Grande

Doja Cat

Lil Nas X

Olivia Rodrigo

Generation Change Award

WINNERS: Amir Ashour, Matthew Blaise, Sage Dolan-Sandrino, Erika Hilton, and Viktória Radványi

Taylor Swift’s Red (Taylor’s Version) Has A Song For Every Mood

Listen to it when you’re feeling: like you need to remember it all too well to move on.

Key lyric: “And I was never good at telling jokes, but the punch line goes, ‘I’ll get older but your lovers stay my age’ / From when your Brooklyn broke my skin and bones / I’m a soldier who’s returning half her weight / And did the twin flame bruise paint you blue? / Just between us, did the love affair maim you too?”

“All Too Well” may arguably be the best song Swift has ever written, and it’s certainly the glue that holds the heartbroken threads of Red together. How do you elevate a ballad that’s already so crammed with pain, loss, and detail? You give them the full story. Alongside haunting production from Antonoff, “All Too Well (10 Minute Version)” represents a sonic fusion between the synthy and understated styles she’s explored on her most recent records Lover, Folklore, and Evermore, and she follows through on her promise to reveal every last detail. We knew he almost ran the red, but we didn’t know he had a “fuck the patriarchy” keychain, and the hurt from omissions like “I was thinking on the drive down, any time now / He’s gonna say it’s love, you never called it what it was” still ache. It’s the third verse, however, that ties the story of Red together, as Swift recounts the birthday party where it fell apart (her dad told her “It’s supposed to be fun turning 21”) — a story previously explored on album track “The Moment I Knew” — and absolves herself of this heartbreak. Its haunting outro seems to find a new sense of peace in the relationship’s end, like she’s exhausted herself retelling it. She seems stronger from the heartbreak as she repeats, “It was rare, you remember it” before fading into silence at, you guessed it, 10 minutes and exactly 13 seconds.

Bop Shop: Songs From Dijon, Bibi, Camp Cope, Taylor Swift, And More

The song that claimed the season of fall, the song that romanticized the light in the refrigerator, the song that has left us feeling OK but not fine at all is back and longer than ever. Coming in at a painstaking 10 minutes and, you guessed it, 13 seconds, the newly released Taylor’s Version of “All Too Well” is the result of Swifties begging Taylor Swift to crush their hearts even more by unearthing this hidden gem from the vault. And she did not disappoint.

Beginning with a chilling spin on the original melody, the guitar strings cut through that familiar sound that we know, dare I say, all too well, and sets up what will become a carefully crafted roller coaster of emotional heartbreak and meticulous storytelling. Swift pleads her vivid lyrics with a deeper voice, controlling inflection, and jarring details — leaving nothing to the imagination of what a 21-year-old Taylor was going through as she wrote these words in her journal over a decade ago.

There are a ton of new lyrics to unpack in this version of one of Swift’s most acclaimed songs, but the most hurtful one of all might just be, “You said if we had been closer in age, maybe it would have been fine, and that made me want to die.” That’s something we would expect from the song that also gave us, “You call me up again just to break me like a promise / So casually cruel in the name of being honest.” —Alissa Godwin

Head In The Clouds Filled An Entire Stadium With Asian Joy

By Kelly Nguyen

To experience 88rising’s recent Head in the Clouds festival was to feel pure jubilance. Bursting through sunny, sublime skies on November 6 and 7 was history in the making: Every space inside Pasadena’s Rose Bowl Stadium was interwoven with Asians and Asian Americans owning their power. In the middle of the gathering, an Asian plaza-inspired sign directed crowds to the heart and soul of the festival — Asian-owned restaurants and businesses. The smell of Bopomofo’s spicy Sichuan wafted through the air as festival-goers — dressed in everything from Joji’s Pink Guy skin-tight bodysuit to an outfit designed after the national flag of the Philippines — excitedly lined up.

The nucleus of this was the 88rising label, which first organized the fest in 2018 as a celebration of what it means to truly, unquestionably be proud of our identities. Asian storytellers are often forced to be simultaneously the creators and heroes of our own tales. As a result, the music company encourages artists to pen their own, pushing boundaries so Asian narratives properly come to the forefront of the conversation.

This constant battle of ensuring Asian art and lives are visible — this fight to be seen — can be suffocating. Many of us look for the small windows where Asian stories aren’t defined solely by learning to be resilient or strong. As such, every performer made sure to inundate the stage with their prismatic fun. During headliner and early label-signee Rich Brian’s performance of flamboyant track “Edamame,” backup dancers popped and locked while dressed up as the titular soybean. Up-and-coming singer Bibi rained down condoms on her audience and kissed a female fan mid-performance, all in the name of giving people a space to simply get lost in the magic of the music.

In the midst of booming bass during headliner Saweetie’s set, she paused, glittering eyes taking in the 30,000 festival-goers with awe. She dedicated her performance to “Asian kings and queens” watching. While the crowd aggressively shook foam light sticks in their hands, she encouraged something radical — the act of learning to proudly “love yourself.” The audience erupted in noisy, unadulterated joy. The nights at Head in the Clouds always end like this: laughter, light as air, blanketed by the collective feeling the festival’s very name conjures.

“This community has been built up from literally the ground up,” headliner Niki explained to MTV News, speaking to the magic in the atmosphere. “It’s just really cool to see a familial bond between artists, artists’ fans, artists’ company … It just feels really tight-knit and like a real community.” Backstage before their big performances, she along with Head in the Clouds’s other star Indonesian performers Rich Brian and Warren Hue take us through their journeys standing up for themselves creatively, their authenticity as creatives of color and Asian pride and joy.

MTV News: What does Asian pride and joy look like to you? 

Rich Brian: It kind of looks like what’s going on out there right now. I think it’s just like seeing this many people, and there’s so many Asian people just being able to express themselves. Watching a lot of people that are also expressing themselves is really cool, and just seeing that influence happen right in front of you. I don’t go out much. I’m a very homebody-type person. But I love doing Head in the Clouds because every year, I get to see this happen in front of me.

Niki: I think it’s just all of us celebrating who we are, via food, via music, via celebrating each other. As a diaspora, especially because we’re like a minority within a majority culture, I think it’s so important to uplift each other and kind of just have that spirit of like, we’re all in this together. And I’ve seen that a lot within my own friends. I think a common misconception is that I’m Asian American, but I’m literally an Indonesian person that moved to America. So my experience differs from, you know, my friends who are first-gen, second-gen Asian Americans. And yet, there’s still this kind of overlap in terms of the Asian experience in America. I think it’s just so beautiful, just as it is. I think we just need to celebrate one another.

MTV News: How do you feel now, looking at the crowd and seeing everyone excited to see you perform? 

Brian: It felt great, man. That was crazy. That was my first time performing since 2019, and it was crazy. Especially like, you know, after not seeing that happen for two years. Just seeing that in front of me — this so far was my most surreal-feeling show. I think the most surreal [performance] was this show, and then my first show ever. Usually when I perform, I’m very present. I’m very there and I know that I’m performing. I know that that’s what I’m doing. But then, when I was doing my set last night, I just remember being three or four songs deep, and I’ll still be like, wait — I’m performing right now. I would just go somewhere, then come back, mentally. And it just took a lot to process. But it was insane.

Warren Hue: This is my first time performing, ever. So it’s crazy, like super surreal. I used to perform with 100 people watching me, and most of them would be like, my homies, or at a club and stuff. But this is like, damn. I’m seeing people actually love the music I made when I was back home in Jakarta, in my bedroom. [This music], it’s getting transferred to like 30,000 people. That’s, like, so surreal to me. Oh my god, it feels like a dream for sure. And the feeling still lasts until now.

MTV News: Do you remember the first time you stood up for yourself creatively since joining 88rising? 

Hue: I started off just making songs on YouTube and shit, and posting it on SoundCloud. So I was just like, oh, this sounds good. I like listening to it. And I’ll just post it — weekly, monthly. And just without, you know, who cares if people don’t fuck with it? You know what I mean? Because I like it.

Brian: A part of being an artist is also just collaborating. You have to kind of trust other people’s creative decisions and perspectives. One of the first times I had to stand up for myself creatively, it was… for a music video, when I [was] in the editing room with the director. Because sometimes when you’re in that room — it’s just you and the director. And you’re staying up late at night, you’re both tired. You really don’t like the shot of yourself or how it looks, or, like, you feel like this shot really matches with the music. But then he has his own tastes. For me, [music videos] are very important to me. So I get really, really into it.

MTV News: As a creative of color, what does authenticity and overcoming failure look like to you? 

Niki: I think it took a minute for me to navigate. I’m Indonesian, but I speak English, but I live in America. I think the main takeaway from this learning journey that I’m still on is just to embrace that it all adds to my identity, as opposed to taking away from it. I think, as a 16-year-old, I was like, who am I? Am I American? I’m not American, but I speak English. And I remember just being so confused. But I think the confusion is part of the process. At the end of the day, it just adds more dimension and color to everyone. As a creative of color, I think it’s just been really cool growing into what I believe is authentic to myself and to my artistry.

MTV News: How are you taking care of yourself after your performance?

Niki: I am actually planning to go home to Indonesia in December to see my family, and I haven’t seen them since COVID. I think, like, seeing family and just kind of being back in a home environment — and when I say home, like, home has kind of a loose meaning for me now. But Indonesia is always my first home. Whenever I go back, it just resets. I’m my dad’s kid. I’m my brother’s sister. I’m just chilling and I have my cats. Going home is just always very healing for me. That’s just gonna really help me reset and also just appreciate life.