Dua Lipa Performs ‘Don’t Start Now’ With An Army Of Dancers At The 2019 EMA

On the MTV EMA red carpet on Sunday night (November 3), Dua Lipa teased that she would be “doing something I haven’t done before” for her opening performance. And that proved to be absolutely true once the pop superstar hit the stage to kick off the evening with “Don’t Start Now.”

For the first-ever awards show performance of her new single, Lipa brought along dozens of dancers, all dressed in eye-popping yellow leotards. The singer stood out in a black cutout ensemble of her own, standing center stage as her posse surrounded her on all sides. As she hit every note of the disco-inspired “Don’t Start Now” — which just arrived on Friday alongside a clubby video — the stage lights turned a bright red, and Lipa strutted out front to perform some killer choreography (there was even a chair involved, so you know she meant business!).

She finished her performance with a confident look that practically screamed, “yeah, I crushed this.” Not a bad way to launch the #DL2 era!

The 2019 MTV EMA are underway in Seville, Spain. See the full list of winners right here, and follow all the action on MTVEMA.com!

2019 MTV EMA Winners: See The Full List

The 2019 MTV EMA have landed in Seville, Spain! All your fave global-dominating artists are on deck for Europe’s biggest music bash, where they’re hoping to take home some shiny new hardware.

Ariana Grande is the top contender this year, leading the pack of nominees with 7 nods total (to match her “7 rings,” obviously). She faces stiff competition in categories like Best Artist, where she’s up against Miley Cyrus, Taylor Swift, Shawn Mendes, and J Balvin. Meanwhile, EMA newbies like Billie Eilish and Lil Nas X are hoping to take home a trophy or two — so these categories are really anyone’s game.

The star-studded awards show, hosted by Becky G, features live performances from Halsey, Niall Horan, Dua Lipa, Ava Max, Green Day, and more. Not to mention, Liam Gallagher will pick up the first-ever Rock Icon Award and will take the stage for his own must-see performance.

We’ve tracked all the winners, including key categories like Best Song, Best Video, and Best Group. Keep it locked here as the winners are announced Sunday night (November 3) — and stream all the action on MTVEMA.com!


Ariana Grande

Billie Eilish

Lil Nas X


Taylor Swift


Alessia Cara

Avril Lavigne

Carly Rae Jepsen

Johnny Orlando

Shawn Mendes


Ariana Grande, “thank u, next”

Billie Eilish, “bad guy”

Lil Nas X ft. Billy Ray Cyrus, “Old Town Road” (Remix)

ROSALÍA, J Balvin ft. El Guincho, “Con Altura”

Taylor Swift ft. Brendon Urie of Panic! At The Disco. “ME!”


Ariana Grande

J Balvin

Miley Cyrus

Shawn Mendes

Taylor Swift


Ariana Grande, “7 rings”

Billie Eilish, “bad guy”

Lil Nas X ft. Billy Ray Cyrus, “Old Town Road” (Remix)

Post Malone, Swae Lee, “Sunflower”

Shawn Mendes, Camila Cabello, “Señorita”


BTS, Halsey, “Boy With Luv”

Lil Nas X, Billy Ray Cyrus, “Old Town Road” (Remix)

Mark Ronson, Miley Cyrus, “Nothing Breaks Like a Heart”

ROSALÍA, J Balvin ft. El Guincho, “Con Altura”

Shawn Mendes, Camila Cabello, “Señorita”

The Chainsmokers, Bebe Rexha, “Call You Mine”


Ava Max

Billie Eilish

Lewis Capaldi

Lil Nas X




Ariana Grande

Becky G

Camila Cabello


Jonas Brothers

Shawn Mendes


Ariana Grande


Ed Sheeran


Travis Scott


Green Day

Imagine Dragons

Liam Gallagher

Panic! At The Disco

The 1975


21 Savage

Cardi B

J. Cole

Nicki Minaj

Travis Scott


FKA twigs

Lana Del Rey


twenty one pilots

Vampire Weekend


Calvin Harris

DJ Snake


Martin Garrix

The Chainsmokers


WINNER: Halsey

J Balvin

Lil Nas X




Ariana Grande


Billie Eilish

Shawn Mendes

Taylor Swift


Ava Max

Billie Eilish



Jade Bird

Juice WRLD

Kiana Ledé


Lewis Capaldi





Bebe Rexha: Isle of MTV Malta 2019

Hailee Steinfeld: Isle of MTV Malta 2018

Muse: Bilbao, Spain 2018

The 1975: Lollapalooza Paris Festival 2019

twenty one pilots: Lollapalooza Paris Festival 2019


Lewis Capaldi



Ed Sheeran

Little Mix (Social Wildcard Winner)

Jaden Jeong Made You Stan LOONA, And Now He’ll Do The Same With OnlyOneOf

You only get one chance to make a memorable first impression. Creative director Jaden Jeong knows this. He’s built a successful career in the Korean entertainment industry from this very creed. But spinning a first impression into a lasting one is a lot harder; it’s lightning in a bottle — part luck, part intuition. Jeong knows this too.

The mastermind behind K-pop girl group LOONA and their multidimensional LOONAverse, Jeong has a knack for compelling storytelling. An ambitious project years in the making, the LOONAverse unfolded throughout visually arresting teasers, sub-units, and monthly music videos that introduced each artist with her own distinct sound, aesthetic, and story. Each new piece of content added to the mythos, building interest and anticipation like puzzle pieces falling into place. They were separate but connected somehow, somewhere within this nebulous otherworld. That “separate but connected” ethos is something Jeong honed through his work with 2PM and 2AM in 2008. By the time LOONA made their official debut as a 12-member group in August 2018, fans (including singer and visual artist Grimes) were already hooked — and the #StanLOONA phenomenon was born.

Now Jeong hopes to capture that magic with his latest boy group OnlyOneOf.

8D Creative

OnlyOneOf quietly debuted in May with a seven-member lineup — Love, KB, Rie, Yoojung, Junji, Mill, and Nine — and a melodic sound that bypassed the current trend of heavy drops and trap beats. “Savanna” is a groovy pop-R&B song with slinky synths, while the nostalgic pop ballad “Time Leap” showcased their vocal charms — broody rap verses and wistful crooning. Their visuals were just as distinct; where “Savanna” was oversaturated and dynamic, a flurry of various cuts and edits, “Time Leap” was a blank canvas. They were separate but connected through the same motifs — fire, circular imagery (a visual reference to their name, OnlyOneOf), technology, and religion. And like all great first impressions, it gave you enough to keep you interested without telling you too much.

That was, of course, part of Jeong’s plan.

“LOONA was one path of storytelling, introducing characters one by one and then showing you how they come together and connect their music and message in a world,” Jeong told MTV News. “This time I wanted to focus on bringing the world and mythology into focus bit by bit, and then introducing you to the characters.”

Concepts are common in K-pop; a group will adopt a visual aesthetic and storyline for each new release. Sometimes those storylines carry through into other videos, and other times they’re abandoned altogether in favor of a fresh start and a new dynamic. There’s no one way to be successful, but it’s hard to deny the effect these sprawling universes and gripping narratives have on a fan’s emotional investment in a group. After all, there’s a reason the Marvel Cinematic Universe has made $22 billion globally.

Jeong spent three years developing OnlyOneOf’s sophisticated concept, drawing inspiration from religion and specifically biblical texts. “Even though I’m not religious, I have been studying the Bible, its symbolism, and storylines,” he said. “I am trying to understand the belief systems of people around the world.” The results of his extended creative process can be seen in the video for OnlyOneOf’s new single, “Sage.” Partially written and composed by Jeong himself, the slick pop song is darker and more dramatic than their debut tracks, and more importantly, it dives deeper into the mythology and characters of this new world. “My innocent desire, my clashing despair,” leader and vocalist Love sings. “I’ve gotten so tainted, please save me.” Images of Mary Magdalene and crosses can be seen throughout the visual, and the members themselves even stand atop structures, smoldering intently as if asking to be worshipped.

Jeong calls OnlyOneOf a “unique collection of artists,” strong in the various elements that make well-rounded K-pop stars — dance, rap, singing, and performance. Several of the members also compose for the group, and all of them contribute to the overall narrative. “I work with them on storytelling, to help them write their own story,” Jeong said. “Within K-pop, OnlyOneOf is really telling their own story themselves, which makes them stand out. That also means that they work harder because have a genuine attachment to the music.”

And a genuine attachment to the story, which isn’t always the case for artists who are thrust into these sweeping universes without much say. “Sage” and their latest EP, line sun goodness, is a continuation of their debut single album, dot point jump, and some of its themes and imagery. The color red, for example, plays an essential part in both their visuals and lyrics. Jeong is also keenly inspired by typography, the very foundation of his aesthetics — like the random capitalization, geometric shapes, and symbols that can be found throughout his work. “Hangul, the Korean alphabet, is so beautiful, harmonious and economical,” he said. “The Latin alphabet and numeric symbols have a lot of power for people across the world.” He’s incorporated these various symbols into OnlyOneOf’s “Sage” — but don’t expect him to give away all of the secrets. “The fans are so dedicated,” he said, “they usually figure it out themselves.”

For Jeong, every new story starts with an ending. It’s part of his process. He doesn’t begin a narrative without knowing how it all wraps up. He envisioned the LOONAverse as 45 parts, from solo songs to sub-units to official comeback singles. But he didn’t get to see his vision all the way through due to creative differences with Blockberry Creative’s new management who wanted to put “less significance” on the LOONAverse. “I found that we just didn’t align as we had before,” Jeong said. In August, he left the company, with LOONA’s repackaged album, X X, being his last project with the group. A ballad album was scrapped in the process. “I felt very empty when I couldn’t proceed further with LOONA,” he added.

Though, the book isn’t completely closed on LOONA either. In fact, he’s looking forward to having a “second synergy” with the group sometime soon. “I am expecting to return to the LOONA universe,” he said, adding that conversations to bring the girl group to the Japanese market are underway and that he’s currently “reviewing” the offer. “It’s looking pretty positive,” he said.

There’s also a part of Jeong that finds it really satisfying to “birth something” into the universe and see how others respond to it. “Mentoring young artists, watching fans fall in love with a new group and then seeing how that group flourishes from that love, it’s impossible not to have a sense of pride from knowing you were involved with the creation,” he said. There’s an excitement and a newness that’s hard to replicate — and for Jeong, it’s just a lot more fun to start something than to finish it.

But he does know how OnlyOneOf’s story concludes. How they get there, however, is up to him and the members, who are “adding their own gifts to a project and taking it to new places [I] never imagined it could go.”

O.G. Idol Kelly Clarkson Will Bring All Her Hits To A New Las Vegas Residency

Like Britney, Christina, and Gaga before her, Kelly Clarkson has decided to pack up her collection of hits and take them to Las Vegas for a new residency show. Because Sin City would suck so much without her.

The boldly titled Kelly Clarkson: Invincible will debut on April 1, 2020, at the Zappos Theater inside Planet Hollywood. It’s the same stage graced by Christina Aguilera, Gwen Stefani, and Shania Twain, and it’s where the original American Idol is expected to bust out fan-favorites like “Since U Been Gone,” “Stronger,” “Miss Independent,” and “Breakaway.” Per a press release, the residency will “immerse fans in a one-of-a-kind up-close music experience that rocks through her nearly two-decade long catalog of award-winning smash hits.”

Atlantic Records

Clarkson announced the exciting news on her talk show on Friday (November 1) by singing a medley of her own songs and welcoming a group of feather-adorned showgirls to the stage.

“I have a major announcement to make today: I’ve scored my very own residency in Las Vegas!” Clarkson shared. “Not only am I getting to perform, I’m gonna get to play all the Wheel of Fortune slots, which is really my reason for going there… the gambling, the shows, the all-you-can-eat buffet and crab legs, I love all of it.”

The singer/talk show host/Voice judge/mom added in a press release, “I’ve always loved performing in Las Vegas and the high energy of the crowds there. So many of my musical idols have had, and still have, incredible residencies on The Strip, and I’m so excited to create my own!”

As of now, Clarkson has 16 dates booked at the Zappos Theater through September 20. See all the dates and ticket info here.

Trippie Redd Is Head Over Heels In ‘Love Me More’

Trippie Redd is so drunk off of love in “Love Me More” that he’s barely functioning, slurring his words, and seemingly in a trance. That’s just in the song itself. He’s released the video for the song as well that shows him infatuated with an exotic dancer so much that he’s imagining a future with her on top of rooftops in distance cities. This somber, melodic ode makes you want to grip your partner as tight as you can.

The video starts off with Trippie wrapped in a tight embrace with a partner, then driving in the car with her throughout the city. He rests his head lovingly on her shoulder as she drives and makes us wonder if he’s the little spoon and she’s the big spoon when they lay down together and cuddle. Trippie loves his partner whole-heartedly and when we see her sliding down the pole entertaining an entire room, Trippie looks at her with empty eyes, wishing that the previous vision was a reality. It brings the song’s focus to a real-life application; Trippie wants his prospective partner to love and appreciate him more. It ends on an uncertain note but we can hope that everything turns out right in the end. That way they can get into spooning positions later on.

“Love Me More” is the first single from Trippie’s forthcoming project, A Love Letter To You 4, that is set to drop this month. He dropped his sophomore studio album, !, in August.

Watch Trippie’s adorable relationship dream in “Love Me More” up above.

This ‘Last Christmas’ Cover Is Your New Anti-Holiday Anthem

Egg nog is disgusting. Its mucus-like consistency should make you gag the second it touches your tongue. Christmas songs grow old after hearing them year after year for decades. Christmas sucks. Let Lucy Dacus tell you that in her new cover of Wham!’s 1984 classic  “Last Christmas.” It’s the year’s most overrated holiday and a weight loss solution for bulky wallets. But Dacus’s beef comes from a memory of a gift that was tossed aside the very next day: her heart. You’ll hear the conviction in her voice and might decide to skip the holiday yourself this year. Or, just maybe, be extremely careful about who you give a gift to.

Dacus’ feel-good rock rendition is so smooth and awesome that you wouldn’t even realize that she’s saying she hates Christmas. If it were a person, she wouldn’t give them a coat if they were cold in the winter. The beef is that serious. Dacus gave her last partner her heart for Christmas in a show of love. Things didn’t work out, so now she has to be extremely careful about who she gives it to next. She’s hardened her shell and suddenly Christmas isn’t the only cold time of year anymore. She throws snowballs made of ice at her cold ex, making sure that they feel like every bit of the douchebag that she thinks they are. “My god, I thought you were someone to rely on/Me? I guess I was a shoulder to cry on,” she sings. She’s in a better place now, but the memory will always endure. Christmas just isn’t the same when feelings get involved. The days of new cars, dolls, guitars, and ugly sweaters from grandparents are nothing but memories.

Dacus’s cover of “Last Christmas” is set to appear on her forthcoming EP, 2019, that drops on November 8. It features previously released singles like “La Vie En Rose,” “My Mother And I,” and “Forever Half Mast” that are all set around holidays (Valentine’s Day, Mother’s Day, and Independence Day respectively).

Listen to Dacus hate on the holidays in “Last Christmas” up above.

Sam Smith Puts A Digital Coat Of Paint On Donna Summer’s ‘I Feel Love’

Sam Smith has given a fresh coat of paint to Donna Summer‘s disco smash, “I Feel Love.” It was produced by Guy Lawrence of Disclosure, a long-time collaborator, who brings out a futuristic sharpness that seemingly captures the feeling of love in the age of dating apps on smartphones. Maybe that’s too much of a read into it, but Smith’s “I Feel Love” is crystalline and electric. It’s going to be everywhere this holiday, especially for the Target holiday campaign that it was commissioned for.

This rendition of “I Feel Love” feels like cracking open a smartphone, shrinking down to microscopic size, and then going on a journey through the right and left swipes on profiles of people that you think are cute. Lawrence breathes life into the groovy landscape with a little bit of a drum kick here, a touch of ride cymbal there, and fresh waves of synths that ease you into a sense of calm. But for the most part, the air of the original permeates the track, that and a fresh coat of digital paint. Smith reaches dreamy new highs as they traverses this realm like they are frolicking through a field where diamonds are flowers. The last-minute of the track is voiceless. Lawrence turns the percussion up and lets the funk roar louder than ever before. It’s the perfect end to this modern remake.

Smith released an awesomely epic video for “How Do You Sleep?” that featured them in an epic dance routine, hanging out with robots, and a biker shredding a half pipe. Earlier this year, they collaborated with Normani for “Dancing With A Stranger.”

Listen to Smith’s digital cover of Donna Summer’s “I Feel Love” up above.

Hailee Steinfeld’s ‘Afterlife’ And Dickinson Both Find Life In Death

By Emily Reily

In Emily Dickinson’s poem “Because I could not stop for Death,” the protagonist imagines riding in a horse-drawn carriage bound for eternity. Death and Immortality are personified as her fellow passengers. As she rides past “gazing grain” and the setting sun, she arrives at a “swelling of the ground,” her own final resting place.

While Dickinson envisioned an intimate, solemn journey from life to death, singer Hailee Steinfeld romanticizes the pilgrimage in “Afterlife,” her companion single to the upcoming Apple TV+ series Dickinson. The show, which premieres November 1, chronicles the life of the famously reclusive poet. Steinfeld plays Dickinson and is an executive producer for the series.

The lyrics to the slow-pulsing, aching “Afterlife” question whether true love will follow her into the next “life.” With smoky, pleading vocals, Steinfeld confronts him: “Will you promise me you’ll search for us? / Will you find me after life?”

Steinfeld says she was directly influenced by the 19th century poet. “There’s a line in the song that says, ‘Immortality is bliss,’ and it reminded me a lot of Emily Dickinson’s poems. The inability to express herself fully in life, but to be so revered beyond her death — her writing continues to be remembered and relevant to this day, making her immortal.”

Despite the heavy theme of death explored in Dickinson, the series is billed as a comedy with a modern twist. Emily does real-life things like get her period, throw a house party, and rebel against her parents. The show’s tone teeters from serious to silly, and a lot of shades in between. Rapper and known weed connoisseur Wiz Khalifa portrays Death in the carriage, walking the line between the more playful parts of life that fascinated Emily and the grave subject matter of death itself.

It seems Steinfeld feels a kinship with Dickinson; others in Gen Z, through “Afterlife” and this new coming-of-age retelling, may also find a mirror image of themselves in one of America’s greatest poets.

Every generation has its own identity, and a recent i-D story raises the possibility that young adults in 2019 are prematurely thinking about their own demise. Writer Tom George’s informal poll found that about 25 percent of respondents thought about their own funeral; only 12 percent said they didn’t. It was a simple poll, but it could indicate a trend that may have been sparked by events over which Gen Z had no control.

Gen Zers make up the first generation that, for the most part, has no memory of 9/11, the catastrophic event that jump-started the seemingly never-ending global War on Terror still being waged today. Gen Z is also the first to have been immersed in social media from an early age, a fact that may have a detrimental effect on coping skills. Rapid climate change, global overcrowding, drug-resistant diseases, and mass murders fueled by lax gun-control laws could easily make young people feel even more uncertain about what future, if any, awaits them.

Dickinson knew early death all too well. Many in her time — poor and wealthy alike — faced shorter lifespans and higher infant mortality rates. This “deepening menace of death” haunted Dickinson beginning in her teens, when her close friend and cousin, Sophia Holland, died of typhus. It affected Dickinson profoundly, and she was sent away from her Amherst, Massachusetts, home to Boston to recover from the trauma. Later, an Amherst Academy principal who influenced Dickinson to write died at 25 of “brain congestion.” Attorney and friend Benjamin Franklin Newton gave her a book of poems by Ralph Waldo Emerson, which further fueled her love of books; he died of tuberculosis in his early 30s. Even Dickinson’s mother died before she did.

Dickinson called Newton the “gentle, yet grave Preceptor,” writing: “Some of my friends are gone, and some of my friends are sleeping — sleeping the churchyard sleep — the hour of evening is sad.” This sadness never seemed to leave Dickinson. The mechanisms and lasting impact of death became a central theme in a large subset of her poetry.

Steinfeld’s “Afterlife” attempts a slightly lighter tone, focusing on who she might spend eternity with. “Will you love me when my heartbeat stops?” she sings, zeroing in on that instant when death overtakes life. Will her soul be alone?

Steinfeld also references “I heard a fly buzz,” which features a speaker preparing to witness her own death. While the speaker is busy “signing away” her earthly belongings, a single fly breaks the silence. Steinfeld answers Dickinson’s line “with blue — uncertain — stumbling buzz” with a line of her own: “My ear is buzzing / Oh, I’m trapped, no one’s coming.”  Finally, she issues a warning: “Now that I’m gone, you’re gonna miss me.”

On her ride toward eternity in “Because I could not stop for Death,” as “the dews grew quivering and chill,” Dickinson discovers she’s wearing a gown made of gossamer, a sometimes sheer, white fabric used for wedding dresses, and a gauzy ceremonial “tippet” scarf. Steinfeld’s “Afterlife” video, meanwhile, finds her in a thin white veil and a white dress with a corset. And as Dickinson personifies Death as a sort of lover, someone who will politely escort her to her grave, Steinfeld sings near the song’s close, “Oh, for better or for worse / Will death be our last kiss, my love?” It’s a reminder that wedding vows were originally meant to last more than a lifetime. That eternity seemed like a cold prospect for Dickinson, who once confided in her friend Abiah Root about the concept and its vastness.

“Does not Eternity appear dreadful to you,” she asked. “I often get thinking of it and it seems so dark to me that I almost wish there was no Eternity. To think that we must forever live and never cease to be. It seems as if Death, which all so dread because it launches us upon an unknown world, would be a relief to so endless a state of existense [sic].”

If that quote is to be taken at face value, then maybe Dickinson’s view of death isn’t as dark as we assume it to be.

In an interview leading up to Dickinson’s launch, Steinfeld was asked how she personally feels about death. She never answered directly, but her response was surprisingly uplifting.

“In Emily’s poetry, she speaks about it in such light. She speaks about death as if it’s life,” she said. “It’s another life. It’s where you can go to be free.”

Ariana Grande, Normani, And Nicki Minaj Scold Shitty Partners On ‘Bad To You’

Whipping a partner into shape is the worst, so let the new super-powered team of Ariana Grande, Normani, and Nicki Minaj explain to you why it sucks so bad. Their new collaboration, “Bad To You,” is out now and is a sultry pre-breakup pop song about a slacking partner who just can’t seem to do right. We’ve all been there at some point so this mellow take on this frustrating emotion hits hard. And it’ll make you dance, too.

First, it’s leaving the toilet seat up. Then it’s not returning phone calls because they’re watching a movie. Before you know it, you’re just an afterthought on Valentine’s Day. “Bad To You” is for people who’ve been in this situation and have had to confront their partner about their shitty treatment. Why does it take for you to notify them that they’re falling off for them to realize it? “Now I pull your chain/Just to wake you up, wake you up/Push you ’til you break/Now you’re stepping up, stepping up,” Normani sings, her eyes rolling as she does.

Grande isn’t going to just stand for anything. So she went ahead and gave her partner a taste of their own medicine and was satisfied with the results. “Got you trippin’, gave you no attention/That’s when I figured out what you’re about,” she chanteuses while smirking. Nicki, however, isn’t as forgiving. “I ain’t ’bout to stay up on this merry-go-round and round/ Because we go ’round and ’round/But I don’t want no clowns around me,” she raps. Harsh! It’s clear that, by the end of the song, all three of their partners will be forever changed. Hopefully for the better.

“Bad To You” appears on the soundtrack to Charlie’s Angels that is now out. The LP also features the Grande, Miley Cyrus, and Lana Del Rey collaboration, “Don’t Call Me Angel.”

Check out the lyric video for “Bad To You” up above.

Teyana Taylor And Kehlani Get Really, Really, Really Close In Their Seductive ‘Morning’ Video

Look, there’s no use beating around the bush here: Teyana Taylor‘s new song with Kehlani is here, and it’s sexy as all hell.

For “Morning,” their first-ever collaboration together, the R&B stars take things to the bedroom. “I ain’t never playin’ no games / I’m gonna give it to you just how you want it,” Taylor promises, praising her partner for the kind of lovin’ that has her “makin’ sounds until the morning.” After a sensual first verse from the Harlem native, Kehlani comes through with some swaggering bars of her own: “Five foot five, I can handle it / You fine, fine, fine, you scandalous.”

The accompanying video runs with those alluring vibes, as Teyana invites Kehlani to a red-lit darkroom for some alone time. Later, they get even closer in an intimate outdoor pool, and Taylor flexes those famous abs while writhing around in a bed of scarlet satin sheets. Press play below, if you think you can handle the heat.

“Morning” is the second taste of Taylor’s THE ALBUM, the forthcoming follow-up to 2018’s Kanye West-produced KTSE. She previously shared the King Combs-featuring “How You Want It?” back in July, and recently dished that THE ALBUM will arrive on December 6.