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With an American flag behind him and a pin in the flap, Blake Shelton’s interpretation of his new single With a full band that allowed violin riffs, guitar alone and dishes of dishes, Shelton remained firm and made his debut in the loves with a hymn to every lung.

“Happy birthday 40, ‘Conga!'” Exclaimed Gloria Estefan on the stage of Los Amas, encouraging the public while playing a quick potpourri of “Rhythm is Gonna Get You”, “The neighbor (I don’t know Na ‘)” and, of course, her 1985 classic with Miami Sound Machine. The instrumentation of the singles shone even decades later, although considering how fast the performance of Estefan ended, we would like the legendary artist to have had more time to show its aesthetics.

After being presented by his partner Blake Shelton, Gwen Stefani started in a cornfield interpreting “Swallow My Tears” of his recent album Country, Boutique. After the first chorus, “The Sweet Escape” seized the scene, and Stefani reminded the world the pop star that he reached in the mid -2000s reviving his past after showing his present.

Reneé Rapp’s trajectory on Broadway was latent during his debut performance with the single “Leave Me Alone.” The emerging star crossed a crowded bath whose walls collapsed, a pop-power fantasy with agile dancers and a hoarse guitar, and a camera suspended on the roof that captured it spawning on stage. Rapp aspires to reach pop stardom, and her performance in Los Amas could help her reach it.

Rod Stewart’s performance to close the night was preceded by the delivery of the Trajectory Award to the Pop Legend, with five of his children surprising Stewart on stage. It seemed equally surprised and moved by the gesture, and that spirit remained in the latest musical issue of the night. With a voice as familiar as Stewart’s and a song as timeless as “Forever Young”, the producers of the Amar prepared a song for the public, although the Riverdance style atmosphere, with agile dancers and bagpipes, also exceeded expectations.

After the passionate performance of Blake Shelton a few minutes before, Lainey Wilson offered a more reflective version of the popular country with his interpretation of “Somowhere Over Laredo.” In a vaporous white outfit, Wilson acted in front of a wind machine and a microphone foot with crystal inlays, causing a stir with his new single. With his debut at Los Amas, Wilson continued his promotion inside the country against a mainstream audience.

The presentation at the Amas of the recent collaboration of Becky G and Manuel Turizo, “What do you do”, required an impeccable technical work by the production team, including ingenious use of the divided screen to open the set: Becky began at the top of a ladder, Turizo slowly danced among the public at the same time, and the two artists finally found themselves. The cameras stopped in their creative chemistry at the last minute. Their respective tones merged in an impressive way while the dancers fluttered around them, creating a brief moment of intimacy in a crowded scenario.

Benson Boone may be leaving behind “Beautiful Things” and launching other singles such as his new success “Mestical Magical”, but the singer -songwriter distilled rock star energy while traveling to the public, singing the choir with falsest in front of a four -member string section, wearing a dazzling magenta suit and, of course, performing an acrobatic volteenth. Benson feels himself and demonstrates his ability to stay beyond his great success.

Janet Jackson’s first television performance in seven years is an important event for both casual pop listeners and unconditional fans. The driver of the Ams Jennifer Lopez, who once danced in Jackson’s music video for “That’s The Way Love Goes”, is one of the latter, and presented her performance proclaiming that the superstar sat “the foundations for being a strong female artist in this industry.” However, instead of extending throughout its catalog to precede the acceptance of his icon award, Jackson limited himself to a couple of singles still powerful of his 2001 album, All for you: “Somo to Call My Lover”, which deployed with a casual choreography to match its friendly hook, and “All for You”, with colorful visuals, a lot of energy and fingers of fingers. Jackson did not overreach during the performance, but reviewed one of his brightest times to demonstrate what intensity he can still attract attention.

Alex Warren’s debut in Los Amas began quite humility, with the singer -songwriter only under a focus of light, in front of a black background. However, within a few seconds to begin interpreting the worldwide success “Ordinary”, Warren retreated a few meters towards a choir of voices that grew, and the background became the huge moon of the cover of the song, capturing the magnitude of the moment for an artist who has been enjoying a meteoric ascent. With deep emotion in the gaze and a choir that sounded imposing with so many voices by joining his, Warren gave solemnity to the stage of the Amas and won the pyrotechnics that closed his performance.

After decades exhibiting his talent as an authentic Triple Threat, Jennifer Lopez inaugurated the American Music Awards 2025 showing a dazzling repertoire of skills. The driver of the night began her performance – and the transmission – with a ballad version of her success “Dance Again”, with cinematographic mirrors and an overwhelming voice. Then, the song of the song title (which means “Dance again”) followed and launched into an elaborate dance routine with a megamezcla of the greatest successes of the year, from “TV off” by Kendrick Lamar to “A bar Song (Tipsy)” by Shaboozey and “Birds of a Feather” by Billie Eilish.