He was the only one sitting when it was over, rubbing his eyes in disbelief.

Bad Bunny had made history by winning album of the year for “Debí Tirar Más Fotos,” the first time a Spanish-language album took home the Recording Academy’s top prize.

Next stop: Super Bowl.

While that emotional win for the Puerto Rican superstar is hard to top, there were some other great moments from the 3 1/2-hour telecast, like when Cher nearly forgot to announce the winner of record of the year.

Justin Bieber stripped his set down, while Lady Gaga added some manic energy and Ozzy Osbourne was honored with a heavy metal classic complete with exploding fire.

Here are some of the night’s notable moments:

A pair of high energy performances by Bruno Mars and Rosé to start the show and one by Lady Gaga halfway through kept hearts pumping.

Mars and Rosé — from the K-pop group Blackpink — performed “APT.,” one the biggest hits of the year, a song inspired by a South Korean drinking game.

She wore a white tank top, black slacks and a tie, while he matched the color scheme in a dark suit, tie and with his guitar slung with a checkerboard strap. There was plenty of jumping, shredding and smoke — a raucous opening.

Lady Gaga later took it to the weird, singing “Abracadabra” in a feather-festooned costume from inside a basket-like headpiece. She used a gnarly cane, played some synths, twitched and nailed a more rock-funk version of her song.

Lady Gaga would take home the trophy for best pop vocal album. Mars would return to the stage for his latest single, “I Just Might.”

Sabrina Carpenter turned the Grammys into a busy airport during her performance of “Manchild” — and it soared.

Playing her sexpot, tongue-in-cheek best, the singer-songwriter wore white hot pants, a white neckerchief and a white captain’s hat emblazoned with SCA — presumably for Sabrina Carpenter Airlines — as she strutted across a stage filled with baggage carousels and dancers, even signing into an intercom at one point and using a pair of traffic wands used on runways.

“Hey Grammys, how ya doing? It’s your captain Sabrina speaking,” she said.

The dancers included an astronaut, a UPS worker, a firefighter and an ER doctor. Carpenter ended her overflowing set on a baggage cart and then went into a plane fuselage holding a live dove.

Among those shown grooving along was best new artist nominee Olivia Dean. It was the second straight Grammy appearance by Carpenter, a nominee for best new artist last year.

Taking note of what worked last year, the Grammys once again leaned on the best new artist category to spark the crowd. They were clumped into a block and despite their various styles, it showed the future of music is in good hands.

The Los Angeles-based band the Marías started with some shimmery, bilingual dream-pop of “No One Noticed Me” before influencer-turned-pop-artist Addison Rae was shown on the back of a moving truck entering the Crypto.com Arena, jumping off to deliver a sweaty, sultry “Fame Is a Gun.”

That led to the six-piece girl group Katseye with their high-energy “Gnarly” as they danced into the arena with gymnastics and booty-shaking. They gave way to Leon Thomas’ guitar-driven “Mutt” and then Alex Warren took a microphone from a popcorn vendor and walked through the aisles for his “Ordinary,” shrugging off what seemed like earpiece difficulties, before being hoisted into the air on a platform.

The British powerhouse Lola Young took the baton, seated at a piano to sing “Messy,” before Olivia Dean, the old-soul British singer-songwriter, gave an exuberant version of her “Man I Need.” The moody pop star sombr ended the block by being lowered onto the stage in a spangly jumpsuit to sing “12 to 12.”

Chappell Roan, last year’s category winner, then anointed her successor — Dean.

Justin Bieber, alone on the Grammy stage in just a pair of shimmering gray boxers shorts and gray socks gave a mesmerizing, somber performance of his “Yukon.”

A guitar slung across his back, the shirtless Bieber programed his song first and then sang along, eyes often closed, opposite a full-size mirror. It was a nod to the way Ed Sheeran has shown audiences how to make a hit song with just looped instruments and a voice.

“One wrong move, and we would have had to put the show on OnlyFans,” Noah later joked.

Bieber’s darkly, moody set didn’t feature any background graphics, musicians or stage decor, and he ended it simply by walking off the stage. It was a performance in stark contrast to the night’s highly produced sets, like Tyler, the Creator, who performed with a sports car, gushing water and explosions.

Hailey Bieber, his wife, liked it, swaying and snapping her fingers.

Justin, a one-time child star who was discovered on YouTube at the age of 12, returned to the Grammys this year at age 31 after a four-year absence as a new father.

Usually, in memoriam sections are staid affairs, with a harp and a sad song. Not this year.

Post Malone, Chad Smith, Duff McKagan, Slash and Andrew Watt belted a rocking version of Black Sabbath’s “War Pigs” in honor of Ozzy Osbourne, compete with fire bursts and plenty of leather. Osbourne’s wife, Sharon, and kids Kelly and Jack, seemed deeply moved.

Ms. Lauryn Hill led the tributes to D’Angelo with versions of “Nothing Even Matters,” “Brown Sugar,” “Lady,” “Devils Pie,” “Untitled (How Does It Feel)” and ”Africa” with such singers as Raphael Saadiq, Jon Batiste and Anthony Hamilton.

Hill then pivoted to a tribute to Roberta Flack, with “First Time Ever I Saw Your Face” “Compared to What,” “Closer I Get To You,” “Where Is the Love,” “Feel Like Makin’ Love” and “Killing Me Softly with His Song” featuring John Legend, Chaka Khan, Leon Bridges and Wyclef Jean.

Add to that list a performance of “Trailblazer” by Reba McEntire, Brandy Clark and Lukas Nelson — as well as pre-recorded tributes to Brian Wilson from Bruce Springsteen and one to Bob Weir from John Mayer — and it was a stacked, rollicking goodbye to some musical giants.

Sharon Osbourne, along with her children Kelly Osbourne and Jack Osbourne, were overcome with emotion at the 2026 Grammy Awards as a powerful tribute honored the late Ozzy Osbourne during the show’s In Memoriam segment.

The moving moment unfolded as a montage celebrating artists who passed away over the last year filled the giant screens inside the arena. When Ozzy’s image appeared, accompanied by clips from his legendary career and a haunting musical tribute, cameras quickly cut to Sharon, Kelly, and Jack in the audience. All three were visibly emotional, wiping away tears as they held onto one another.

For the Osbourne family, the tribute carried immense personal weight. Ozzy, often referred to as the Prince of Darkness, died six months ago, leaving behind an extraordinary legacy that reshaped heavy metal and rock music forever. From his pioneering work with Black Sabbath to his groundbreaking solo career, Ozzy’s influence stretched across decades and generations.

As the music swelled and archival footage played, Sharon bowed her head, clearly struggling to contain her emotions. Kelly clutched her mother’s hand, while Jack stared toward the stage, his eyes glistening. The raw display of grief resonated deeply with viewers at home and inside the venue.

The In Memoriam segment has long been one of the most emotional parts of the Grammys, but this year’s tribute to Ozzy felt especially poignant. The performance celebrated not only his musical achievements, but also his larger-than-life personality, rebellious spirit, and impact on countless artists who followed in his footsteps.

Throughout his career, Ozzy became more than a rock star. He became a cultural icon, known for his unmistakable voice, dark humor, and unapologetic individuality. Despite numerous struggles with health and addiction over the years, he continued to create, perform, and inspire until the end.

For Sharon, who managed Ozzy’s career for decades and stood by him through every high and low, seeing her husband honored on music’s biggest stage was both heartbreaking and validating. Friends of the family have said Sharon has been privately grieving, and her emotional reaction at the Grammys offered a rare glimpse into the depth of her loss.

Kelly and Jack, who grew up in the public eye thanks to their family’s fame and the success of The Osbournes reality series, have both spoken openly about how close they were to their father. Seeing Ozzy’s legacy celebrated in such a grand way appeared to stir a mix of pride and sorrow.

Social media quickly lit up with messages of support for the Osbourne family. Fans shared clips of the moment, calling it “gut-wrenching,” “beautiful,” and “a reminder of how much Ozzy meant to the world.” Many praised the Grammys for giving Ozzy the recognition he deserved, while also expressing sympathy for Sharon, Kelly, and Jack.

The tribute served as a reminder that behind every legend is a family left to grieve.

While Ozzy Osbourne may be gone, his music and influence will live on forever. His songs continue to echo through arenas, headphones, and the hearts of fans around the world.

As the In Memoriam segment concluded, Sharon, Kelly, and Jack received a wave of quiet support from those seated nearby. It was a moment of collective remembrance — for a legend lost, and for a family still learning how to live without him.

Former child actor and star of “Home Alone,” Macaulay Culkin, has paid an emotional tribute to his on-screen mother Catherine O’Hara following her death at the age of 71. The pair struck up a close relationship after working together on the 1990 film and Culkin explained just how much she meant to him in his social media post.

Macaulay Culkin Posts Emotional Tribute to On-Screen Mother Catherine O’Hara

Posting to Instagram, Culkin paid tribute to O’Hara with an emotional message referencing the fact that she had played his mother in “Home Alone” and its sequel.

Posted alongside a picture of the pair when the film released and one of them together more recently, he wrote, “Mama. I thought we had time.”

He continued, “I wanted more. I wanted to sit in a chair next to you. I heard you. But I had so much more to say.  I love you.  I’ll see you later.”

Catherine O’Hara Passes Away Aged 71

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According to a report from TMZ, O’Hara was rushed to hospital earlier this morning. The Los Angeles Fire Department confirmed that first responders had attended her home in the earlier hours of the morning before she was taken to hospital in a serious condition.

This apparently came after the actress suffered from a brief illness before she died.

O’Hara’s career spanned five decades and started with the sketch comedy series “Second City Television,” before she later had roles in “Double Negative,” “Beetlejuice,” and ““Home Alone.”

In 2020, she won the Emmy for outstanding lead actress in a comedy series for the role of Moira Rose in the hit series “Schitt’s Creek.” She also won a Golden Globe and a SAG Award for the series.

More recently, she appeared opposite Seth Rogen in the AppleTV+ series “The Studio,” which earned her another Emmy nomination.

The ‘Home Alone’ Actor Leaves Behind Her Husband Bo Welch

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Outside of her work as an actor, O’Hara is probably best known for her long marriage to husband Bo Welch.

The pair met while they were working on the 1988  film “Beetlejuice” together, with Welch operating as a production designer. They were encouraged to date by director Tim Burton and later married in 1992.

They were together for more than three decades in total and shared two sons together. Matthew was born in 1994 while Luke was born three years later in 1997.

Catherine O’Hara was married to Bo Welch for over three decades. The beloved actress — who died in January 2026 at the age of 71 — met the production designer when she starred in Tim Burton’s 1988 classic Beetlejuice

Welch and O’Hara eventually got married on April 25, 1992. They welcomed their first son, Matthew, in 1994 and their second son, Luke, in 1997.

At the 2026 MusiCares Person of the Year gala honoring Mariah Carey on January 30, 2026 at the Los Angeles Convention Center, Adam Lambert performed a rendition of Mariah Carey’s 1992 ballad “Can’t Let Go.” He delivered it from a smaller B-stage in the middle of the room with piano and background vocals supporting him, showcasing his powerful and expressive vocal style.

This tribute was part of a larger set of performances by artists covering classics from Carey’s catalog in celebration of her career and philanthropy.

Adam Lambert revealed he felt unexpectedly nervous during a recent MusiCares appearance, a reminder that even seasoned performers can still grapple with pre-show jitters. The moment — shared publicly after the set — underlines the pressure artists face when high-profile benefit stages combine performance expectations with emotional stakes.

The performance took place at a MusiCares event, the charitable arm of the Recording Academy that provides support to music professionals. For Lambert, who splits his time between a solo career and high-profile collaborations, the evening carried extra weight: supporters, peers and media were all present, increasing the scrutiny on a short but visible set.

Why it matters now

Public admissions of anxiety from prominent musicians shape how audiences view live music: vulnerability can humanize stars and also steer conversations about mental health in the industry. Lambert’s candor arrives at a moment when performers and audiences alike are paying closer attention to the emotional costs of touring and public appearances.

That matters because benefit concerts have dual purposes — raising funds and honoring community — and that mix often amplifies pressure on artists to deliver both technically and emotionally.

• • Humanizing effect: Acknowledging nerves makes established performers feel more relatable to fans.

• • Industry spotlight: It draws attention to the mental-health challenges musicians face on the road and at single-night events.

• • Performance stakes: Benefit stages can demand a different type of emotional labor than a standard concert.

Colleagues and fans typically respond to such admissions with support rather than critique. Social reactions tend to foreground empathy, applauding honesty more than perfection — a pattern that has persisted across recent backstage disclosures from artists in multiple genres.

Context: live performance in a changing landscape

Over the last decade, the live-music ecosystem has evolved: streaming reduced earnings from recorded music, making touring more essential to many artists’ livelihoods. At the same time, the spotlight on a single performance has grown thanks to social media and live clips that circulate instantly. That combination can sharpen pre-show nerves even for experienced acts.

Lambert’s career — spanning solo releases and high-profile collaborations — provides perspective: strong vocal control and stagecraft do not eliminate anxiety, they coexist with it. For audiences, the admission reinforces a simple takeaway: live performance is an emotionally charged craft, not just a series of flawless moments.

What to watch next

Look for two likely follow-ups. First, how artists continue to talk about mental health publicly — whether confessions like Lambert’s prompt more open conversations among performers. Second, whether event organizers adjust backstage support at high-profile charity shows, for example by expanding access to wellness resources or modifying rehearsal schedules.

Either development could have a modest but meaningful impact on how musicians prepare for and recover from one-off appearances — and how audiences understand what happens behind the curtain.

In a twist no one saw coming, the powerhouse Italian trio Il Volo is teaming up with glam-rock icon Adam Lambert for what insiders are calling “the most unexpected and electrifying collaboration of the year.”

The operatic pop stars — Gianluca, Piero, and Ignazio — were recently seen leaving a Los Angeles recording studio with Lambert, sparking an explosion of fan speculation online. Now, it’s official: Il Volo x Adam Lambert is happening.

“We’ve always admired Adam’s voice,” said Piero. “It’s strong, emotional, and fearless — just like opera.”

Lambert echoed the excitement: “These guys bring so much passion. It’s not just a duet… it’s a collision of worlds.”

Sources close to the artists hint that the collaboration will blend Il Volo’s signature classical harmonies with Lambert’s theatrical pop-rock edge — think Queen meets Nessun Dorma. The track, reportedly titled “Hearts in Rebellion,” is set to release this fall, with a visually stunning video already in the works.

Fans from both camps are already freaking out.
“Operatic glam? Inject it into my veins,” one fan tweeted.
“This might be the best vocal mashup since Freddie Mercury met Montserrat Caballé,” another wrote.

Could this lead to a full crossover album? A tour? A Grammy run? No one knows for sure — but one thing’s clear: music history is about to get a dramatic upgrade.

According to the outlet, the beloved actress died on Friday. TMZ said two sources with direct knowledge confirmed the news, though her cause of death has not been publicly confirmed. It later became known that the beloved actress passed away after a brief illness.

Additional details later emerged surrounding the circumstances leading up to O’Hara’s death. A spokesperson for the Los Angeles Fire Department told PEOPLE that first responders received a call at 4:48 a.m. on Friday, Jan. 30, for an “approximately 70-year-old” unnamed female at O’Hara’s home address. The woman, believed to be Schitt’s Creek alum, was transported to the hospital in serious condition. According to LAFD dispatch audio, the individual at the address was experiencing breathing difficulties at the time of the call.

O’Hara became a household name for generations of fans, especially for playing Kate McCallister, the determined mother of Macaulay Culkin’s Kevin, in the first two “Home Alone” films. Years later, she introduced herself to an entirely new wave of viewers as the unforgettable Moira Rose on “Schitt’s Creek,” appearing in 80 episodes and helping turn the series into a cultural phenomenon.

Her career stretched across decades and included a long list of comedy favorites. O’Hara starred in Christopher Guest’s celebrated mockumentaries, including 2000’s “Best in Show” and 2003’s “A Mighty Wind.” She also had a place in the “Beetlejuice” franchise, appearing in the original film and later returning in “Beetlejuice Beetlejuice.” In recent years, O’Hara continued taking on new projects.

Born and raised in Toronto, O’Hara was the sixth of seven children. She met her husband, production designer Bo Welch, while working on 1988’s “Beetlejuice.” They married in 1992 and shared two sons, Matthew and Luke.

Her final public appearance came on 14 September 2025 at the 77th annual Primetime Emmy Awards at the Peacock Theater in Los Angeles. Hosted by comedian Nate Bargatze, the ceremony included multiple nominees such as Quinta Brunson, Ayo Edebiri, and O’Hara. Some viewers commented on her appearance online, with one writing, “She is super thin. Is she ok?”, and another adding, “She doesn’t look good at all… why is she so thin? I hope she’s not sick.” Others disagreed, saying she looked “Beautiful”.

Fans are remembering O’Hara for the joy she brought to screens, with many especially cherishing her iconic role in Home Alone. In an obituary shared by her representative, it was noted that “a private celebration of life will be held by the family.”

The Boss has released an angry anthem called “Streets of Minneapolis” – with multiple political references, including to “Trump’s federal thugs” – in reaction to the fatal shootings of Alex Pretti and Renee Good.

“I wrote this song on Saturday, recorded it yesterday and released it to you today in response to the state terror being visited on the city of Minneapolis,” Springsteen said in a Wednesday, Jan. 28, statement on social media. “It’s dedicated to the people of Minneapolis, our innocent immigrant neighbors and in memory of Alex Pretti and Renee Good.”

He signed the message with, “Stay free, Bruce Springsteen.”

In the song, Springsteen sings: “King Trump’s private army from the DHS / Guns belted to their coats / Came to Minneapolis to enforce the law / Or so their story goes.”

The lyrics also include: “Then we heard the gunshots / Then Alex Pretti lay in the snow, dead / Their claim was self-defense, sir / Just don’t believe your eyes / It’s our blood and bones and these whistles and phones / Against Miller and Noem’s dirty lies.”

Pretti, a 37-year-old ICU nurse, was shot and killed during a confrontation with federal agents who were conducting an immigration enforcement operation in Minneapolis on Jan. 24. Pretti was the second person, after 37-year-old Renee Nicole Good, to be fatally shot by federal agents in Minneapolis since President Donald Trump commenced what he’s called the “largest immigration enforcement operation ever” in Minnesota.

White House Deputy Chief of Staff Stephen Miller was met with blowback for labeling Pretti a “terrorist” who was attempting to “murder federal agents,” in the immediate aftermath of Pretti’s killing.

Department of Homeland Security Secretary Kristi Noem also called Pretti a “domestic terrorist” and said Pretti approached officers with a pistol; bystander videos showed Pretti holding a phone, rather than a gun, though DHS said Pretti was in possession of a handgun and two magazines at the time of his killing. Tricia McLaughlin, the DHS assistant secretary for public affairs, on Jan. 24 said the agent had “fired defensive shots.”

On Jan. 28, during an appearance on Fox Business, McLaughlin blamed U.S. Customs and Border Protection for Noem’s and other Trump administration officials’ initial statements about the details of Pretti’s killing. Federal agencies are investigating the incident.

Trump administration blasts ‘random songs with irrelevant opinions’

When reached for comment about Springsteen’s song, White House spokesperson Abigail Jackson said, “The Trump Administration is focused on encouraging state and local Democrats to work with federal law enforcement officers on removing dangerous criminal illegal aliens from their communities — not random songs with irrelevant opinions and inaccurate information.”

The statement continued, “The media should cover how Democrats have refused to work with the Administration, and instead, opted to provide sanctuary for these criminal illegals.”

In a statement to USA TODAY, McLaughlin of the DHS said, “We eagerly await Mr. Springsteen’s songs dedicated to the thousands of American citizens killed by criminal illegal aliens. Every day, the brave men and women of ICE are saving lives by arresting the worst of the worst criminal illegal aliens, including murderers, rapists, pedophiles, drug dealers, gang members, and terrorists.”

Federal data show that non-criminals have been detained during the Trump administration’s increased immigration enforcement raids across the country. The libertarian Cato Institute said in a November report that “leaked” Immigration and Customs Enforcement data showed 5% of people had violent convictions, and 73% had no criminal convictions. The Guardian reported the following month that the record-high ICE detention numbers mostly comprised immigrants with no criminal records.

Listen to Bruce Springsteen song ‘Streets of Minneapolis’

The track has a folk foundation but soon picks up steam thanks to a crunchy electric guitar, swirling organ and the Boss’ intensifying intonation.

Springsteen spoke out about the federal action in Minnesota prior to performing “The Promised Land” at the Jan. 17 Light of Day show.

“Those values and those ideals have never been as endangered as they are right now,” Springsteen said. “So as we gather tonight in this beautiful display of love and care and thoughtfulness and community, if you believe in democracy and liberty and believe the truth still matters, you must speak out, and it’s worth fighting for.

“If you believe in the power of the law and that no one stands above it. If you stand against heavily armed masked federal troops invading an American city, using Gestapo tactics against our fellow citizens. If you believe you don’t deserve to be murdered for exercising your American right to protest, send a message to this president as the mayor of that city has said, ICE should get … out of Minneapolis.”

Springsteen, a frequent critic of Trump’s, previously delivered state of democracy speeches, which also criticized the Trump administration, during the E Street Band’s tour of Europe last year.

Macaulay Culkin is mourning the death of Catherine O’Hara, who played his mother in the 1990 smash comedy “Home Alone” and its 1992 sequel, “Home Alone 2: Lost in New York.”

O’Hara died at the age of 71, her manager confirmed to NBC News. A cause of death has not been indicated.

“Mama. I thought we had time. I wanted more,” Culkin wrote on Instagram Jan. 30. “I wanted to sit in a chair next to you. I heard you. But I had so much more to say. I love you. I’ll see you later.

The pair had crossed paths in the years after “Home Alone.” In 2023, O’Hara spoke when Culkin received a star on the Hollywood Walk of Fame, complimenting his work playing a young child whose parents accidentally left him behind while on a family trip in the first film, a theme that would recur in the sequel.

“Thank you for including me, your fake mom who left you home alone not once, but twice, to share in this happy occasion. I’m so proud of you,” she said.

“I know you worked really hard. I know you did,” she continued. “But you made acting look like the most natural thing in the world to do. It really was as if we had ambushed the home of this real little boy named Kevin to make a movie and he just went along with it for the fun of it. It’s the dearest thing.”

She has also recalled that she has been mistaken for being Culkin’s real mother, including at the Walk of Fame ceremony when he was asked to take some photos with Culkin and actor Natasha Lyonne, who was also on hand.

“His mother was not able to make it at that time. But we’re all posing, posing, posing,” she told TODAY’s Willie Geist during a 2024 Sunday Sitdown. “And then — now Natasha, now so-and-so. ‘OK, now just you and the mother.’ And I walk away and he said, ‘Just with the mother.’

“Then he puts his arm around, he goes, ‘Oh, no, my mom wasn’t able to make it,’” she continued. “‘Well then, I’m honored to be here. Thank you.’”

The “Home Alone” role would stick with O’Hara throughout her career.

“A child came up to me, like, a little 8-year-old, in a mall,” she told Willie.

“’Are you Kevin’s mom?’ I said, ‘Well, yeah, I played Kevin’s mom in a movie, yes.’ ‘Why did you leave him?’ ‘Sorry. It was in the script.’”