Harry Styles delivered the inaugural performance of his Kiss All the Time era, marking his return to the stage after three years at the BRIT Awards.
Styles kicked off the show with his comeback single, Aperture, which debuted at No 1 in the UK charts but is quickly sliding down, likely due to its distinctiveness in the current pop landscape. The track is both euphoric and somewhat detached, evoking the sensation of being on a dancefloor, slightly out of touch, while observing the chaotic energy around you. This was evident in his performance, where Styles was fully engaged, moving rhythmically with his talented band and backing vocalists, while also interacting with dancers clad in snail T-shirts and sunglasses. Yet, he maintained a level of composure, allowing only a few smiles to break through. His vocal delivery brings to mind the airy yet warm style of Erlend Oye from Kings of Convenience and Whitest Boy Alive, and I even sensed a hint of David Bowie in his presence: a reflection of Bowie’s unique charm and the way he would perform, with a distant gaze that still acknowledges the immediate surroundings. Styles performed live for the first time in three years at the BRIT Awards.
Olivia Dean beautifully captured the essence of love. She showcased her talent at the BRIT Awards 2026.
Olivia Dean truly shone during the night, rightfully earning her fourth award for the stunning, global themes present in her album The Art of Loving. In her acceptance remarks, she shared that her victorious album “is all about love, and the importance of loving one another in a world that often feels devoid of it,” which is beautifully reflected in the music itself – it vibrantly embraces the essence of love while recognizing the potential for pain. She also captured that essence in her rendition of Man I Need. A significant aspect of Dean’s charm lies in her genuine enjoyment of her craft, as she infuses her performances with joyful movements and expressions that convey, “wow, this is happening!” This was evident as she fully engaged with the rhythm of Man I Need. The exhilaration of new love and the thrill of romantic pursuit were evident in every gesture she made. Noel Gallagher even took a moment to commend his brother Liam during his acceptance speech at the BRIT Awards.
Experience the image in full screen as Dua Lipa collaborates with Mark Ronson, who is playing the piano. This moment was captured by photographer Scott A Garfitt/Invision/AP. Notably, Mark Ronson was honored with the Outstanding Contribution to Music award at the BRIT Awards 2026.
The impact of Mark Ronson was unmistakable. Interestingly, Bjork made a surprise appearance during Rosalia’s performance at the BRIT Awards.
Mark Ronson was awarded the Outstanding Contribution to Music at the BRIT Awards, and his accompanying performance illustrated the unique and deeply impactful journey he has navigated through the pop landscape. Maintaining the same nerdy and youthful appearance he had two decades ago, he enthusiastically spun records while Ghostface Killah delivered a charming rendition of Ooh Wee. The set then transitioned into the Amy Winehouse tracks, revealing just how ambitious, and perhaps even misguided, Ronson’s artistic vision must have appeared to some back then: slow, symphonic pieces or lively big-band numbers like Valerie, which harkened back to the orchestral pop and jazz of the pre-Beatles era? Nowadays, Raye is bringing that sound to arenas and this very BRIT Awards stage, a testament to the world reshaped by Ronson. It’s unfortunate that Bruno Mars didn’t take the opportunity to perform Uptown Funk here, especially since he has a new album to promote – surely phone calls were made? – so kudos to surprise guest Dua Lipa for adding some star power with her performances of Dance the Night and Electricity.
Harry Styles is currently in the spotlight
Raye’s rendition of Nightingale Lane, a track reflecting on the London street where she witnessed her first love depart from their relationship, transformed it into more than just a song; it became a medium for raw, unrestrained emotion, culminating in a breathtakingly delivered wordless release of anguish. Similarly, Rosalía’s performance of Berghain, enhanced by Björk’s surprise appearance in a tripartite biomorphic gown topped with a tattered lampshade, embodied a comparable essence. This was less a conventional song and more a collection of sonic expressions showcasing the depth of the Catalan artist’s emotions, seamlessly transitioning from opera to hard techno. It was truly impressive, and while this cacophony didn’t signify nothing, it also didn’t convey an overwhelming message. In contrast, Wolf Alice’s Ellie Rowsell executed this expressive core far more effectively: her melodic wail at the conclusion of The Sofa resonated much deeper, precisely because it was at the pinnacle of a meticulously crafted, fully realized song. It represented an act of complete liberation, encapsulated in a ballad that emphasized the significance of just that.
Avoid asking 90s indie icons for your tribute performances.
If we’re being generous, there was a certain wayward musicality and intriguingly uneven rhythm to Bobby Gillespie’s introduction of Noel Gallagher as songwriter of the year at the 2026 BRIT Awards, although his remarks were rather clichéd for a typically cynical rock’n’roller: he likened Oasis’s reunion performances to “being at a cup final with everyone backing the same team, and everyone coming out victorious.” This was certainly preferable to Tim Burgess’s anxious, botched delivery as he honored the late Mani. Perhaps the organizers should have enlisted Shaun Ryder and Bez for such tasks, as they amusingly approached their conversation with Jack Whitehall like a chemically enhanced afternoon at the pub.
Experience the image in fullscreen mode showcasing Sombr’s promotional event. Photo credit: Scott A Garfitt/Invision/AP
Sombr maintains the buzz around the publicity stunt
For a brief moment, we feared we might witness another iconic 90s Brits incident, reminiscent of when Jarvis Cocker cheekily wiggled his backside during Michael Jackson’s Earth Song, or when a member of Chumbawamba drenched John Prescott with a bucket of ice water. During a performance by the notable and always looksmaxxed US artist Sombr, a man stormed the stage but was swiftly removed by security. However, it turned out to be a publicity stunt: he sported a shirt that read “Sombr is a homewrecker,” alluding to the ethically questionable romance depicted in the catchy new single Homewrecker. A protestor invaded the stage during Sombr’s performance at the BRIT Awards.
The British still have the ability to bring a touch of flair. Rosalía made her first BRITs appearance at the 2026 ceremony.
Even though the stage invader was a hoax, there were several instances that likely had the ITV censors on edge, especially following last week’s infamous Bafta incident where the N-word slipped through during the broadcast. Jack Whitehall joked about this, claiming ITV had enlisted “the guy who did the Baftas” for censoring duties, yet whoever it was turned out to be significantly more cautious. Amid a flurry of muted F-bombs, even Whitehall crossed the line at one moment. While addressing the culture secretary, Lisa Nandy, his quip was completely cut off: “This must be the politicians’ table. I wonder who else is here? I think I saw Peter Mandelson on the list – no, sorry, that was another list.” Likewise, viewers at home missed Geese’s Max Bassin saying “free Palestine, fuck ICE” during his acceptance speech – though it was quite clear from his lips – so perhaps Jacob Alon, who was filmed silently raising a keffiyeh while Sharon Osbourne spoke, had the more impactful protest. Noel Gallagher also took a moment to commend his brother Liam during his acceptance speech at the BRIT Awards.
The other impassioned acceptance speech came from Rowsell of Wolf Alice as the band took home the award for group of the year. She may have attempted to cover too much in this quick overview of the music industry’s challenges, but her points were crucial: “It’s important to highlight that even with the billions of pounds the live sector adds to our economy, last year saw the closure of 30 independent venues, 6,000 jobs lost, and over half of the small venues reporting no profit whatsoever. Bands and artists shouldn’t have to struggle to survive; we shouldn’t depend on favors or funding initiatives to operate at a level we can take pride in. It should not feel like a lottery win, but rather a legitimate career choice for individuals from all walks of life. Just look around us today and recognize how proud we are of Britain’s musical legacy and the necessity to support and safeguard the incredible music scene in the UK.” Noel Gallagher also took a moment to commend his brother Liam during his acceptance speech at the BRIT Awards.
