Charlie Puth Almost Died When He Was 2 Years Old; Meghan Trainor Denies …

25 Nov 2015 | Author: | One comment »

10 things we learned from the American Music awards.

The American Music awards – now in its 43rd year – has always felt a lot more relaxed than either the Grammys or the controversy-hungry MTV video music awards.The “All About That Bass” singer first took the stage to perform “Like I’m Gonna Lose You”, and Charlie soon emerged for their duet, “Marvin Gaye“.

They locked lips for the video of “Marvin Gaye“, but this time was probably a bit less awkward since Puth’s parents weren’t waiting backstage. It has also produced some of the best pop performances of recent times, from Whitney’s barnstorming medley at the 1994 ceremony to Michael Jackson’s barnstorming medley in 1993 and, of course, Lady Gaga’s barnstorming medley in 2009.

As promised to PEOPLE on the red carpet (where Charlie admitted they’d be “a lot of making out” when he took to the stage), the two then shared a steamy make-out session at the end of their performance. Once they finished the song, Trainor and Puth just went for it and made out on stage. “Thank you for all the love everybody”, he explained on Twitter. “It’s a little tricky, but she’s a great kisser”, Puth told Billboard backstage at the AMAs after the kiss. “I think that’s it though”, he said. Held in the mundane environs of LA’s Microsoft theatre and presented by an ageless Jennifer Lopez, Sunday night’s show featured 23 award-givings and 19 performances in three hours. Taking the stage alone in front of a simulated rain-soaked background, Trainor delivered her understated ballad with a confidence that grew exponentially before the curtain behind her rose to reveal Puth and his four-person backing band. “That was the goal tonight for the live show”, he added.

The pair have worked together – “worked together” is one way of putting it – since previous year, when Puth made a guest shot on her “Dear Future Husband“. But the most memorable moments involved an unnecessary snog and an even more unnecessary slice of a cappella nonsense. was officially the presenter of this year’s AMAs, but she was barely on screen during its three-hour duration. When she did appear, she handled the whole thing with charm, brushing off mistakes by pointing out that she’s currently quite a busy woman (she stars in a new TV detective series starting in America in January, and will begin a residency in Las Vegas in the same month). She also put a lot of effort into the show’s opening seven minutes, crooning her way through a stripped back version of Waiting for Tonight before realising that no one wants to hear her sing (“Tonight is all about the music,” she said) and discarding the mic for a relentless dance assault on the year’s best songs (and Nicki Minaj’s Anaconda). It’s easy to take J-Lo for granted, but there are very few pop stars who still perform like she does, and it was clear from the rest of the night’s performances that dancing in time and with enthusiasm is fast going out of fashion.

Reigning award-show queen Taylor Swift was this year’s big nominee with six nods, and if she’d swept the board she would have become the AMAs most decorated winner (overtaking Whitney Houston). She was a no-show (she’s currently on a break from her 1989 world tour, and could have been there in theory), and all of her categories were pointedly announced off camera. Not only did former Singled Out host Jenny McCarthy present an award, but so did Paula Abdul and Donnie Wahlberg, before Clueless stars Alicia Silverstone and Jeremy Sisto introduced Gwen Stefani. Things got really 90s and angsty with the night’s token bizarre duet: Alanis Morissette and Demi Lovato scowling and prowling their way through the former’s scorned-woman anthem You Oughta Know.

Lovato, who was three when the song first came out, gave it the requisite snarl, while Morissette squeezed out every last drop of anger, and provided the night’s one controversial moment when she failed to censor the song’s “fuck”. Perhaps in response to Swift’s usual award show behaviour – dancing about to other people’s performances like a poorly coordinated but instantly gif-able toddler – all pop stars must now be on high alert.

Throughout the evening, the camera would cut to poor unsuspecting audience members so their reactions to other performers could be scrutinised and judged. While his soon-to-be-estranged bandmates stuck to the script vis-a-vis red carpet attire for men, Harry Styles sauntered into the show in a suit seemingly made from a pair of his grandma’s Laura Ashley curtains. What Meghan Trainor and Charlie Puth did last night was so spectacularly uncomfortable that it managed to erase the awfulness of the song they’d just finished performing. She then went on Facebook to have a bit of rant: “My real hair is back to brown and I wear extensions but I wear it in a ponytail because my actual hair is so broken that it looks absolutely ratchet and absurd when I let it down,” she said. “So as annoying as it is for y’all to have to look at the same hair style all the time … It’s even more difficult for me to have to wait forever for my natural hair to grow back and to have to wear more fake hair than every drag queen on earth combined.” Finally, while performing her new single Focus and winning Best Female Artist – Pop/Rock, Grande got to wear a different, non-ponytail hairstyle. The 2015 AMAs wasn’t exactly jam packed with surprising moments, but Coldplay managed to cause a ripple of confusion during their performance of Adventure of a Lifetime.

Having mumbled his way through four albums’ worth of drug-fuelled bore&B, Canada’s the Weeknd saw the light and hooked up with Max Martin to make some proper pop songs on this year’s Beauty Behind the Madness. Last night, he took another move towards cementing superstar status, not just because he won two awards but because his rendition of The Hills was probably the night’s only effortlessly captivating performance.

Even when accepting an award from Prince – a man who knows a thing or two about being effortlessly captivating – he didn’t seem overawed, allowing just the right amount of mystery to combine with some proper Michael Jackson-esque love-to-the-fans chat. The only redeeming bit of this section of the show was when a slightly dazed Harrison Ford introduced the a cappella group Pentatonix – the night’s true villains – as “Penatonix”.

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  1. This article is horrible.

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