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Megan Moroney Inks Deal With Sony Music Nashville/Columbia Records

Singer-songwriter Megan Moroney has inked a label deal with Sony Music Nashville and Columbia Records. During her opening performance slot for Warren Zeiders: The Up to No Good Tour on Wednesday evening (Nov. 16) at Nashville’s Brooklyn Bowl, Moroney announced her label signing, and also told the audience that her song “Tennessee Orange” will be sent to country radio.

According to Moroney’s manager, Punch Bowl Entertainment’s Juli Griffith, Moroney and her team were in talks with 18 record labels before signing with Sony Music Nashville and the NYC-based Columbia.

“We picked this combination because they understand exactly who Megan is and what she has already created,” Griffith tells Billboard. “Their plan is to come in and enhance what we are already doing under her creative vision.”

Moroney’s “Tennessee Orange” made its Billboard Hot 100 debut in October, entering the chart at No. 94. The song is currently at No. 19 on Billboard’s Hot Country Songs chart. Moroney wrote “Tennessee Orange” with Ben Williams, David Fanning and Paul Jenkins, with production from Kristian Bush. Moroney released her six-song EP Pistol Made of Roses in July.

A portion of the early appeal of “Tennessee Orange” lies in its backstory, with many fans believing Moroney wrote it about country singer-songwriter Morgan Wallen. In the song, Savannah, Georgia, native Moroney sings of being a University of Georgia fan (Moroney’s alma mater), but she is so besotted with a love interest that she is even willing to wear the University of Tennessee’s trademark orange color (Wallen is a UT fan).

In addition to her new label deal, Moroney’s team includes Griffith’s Punch Bowl Entertainment for management, as well as UTA booking agent Elisa Vazzana, and tour manager Alexandra Kolea.

“We are so happy to have built what we did with a small group of four amazing women (Team Lasso as we call ourselves). The time has come that we need to expand, and we are thankful to have been able to hand pick an amazing team to help us go forward in this journey,” Griffith adds.

Royal Launches Marketplace to Buy and Sell Music Rights

Imagine a platform where fans can buy and sell streaming rights from the music they love, as easily as buying a stock on an investing site like Robinhood. This is the vision of Web3 music platform Royal, which today announces a music rights marketplace.

Founded by DJ and producer Justin Blau, Royal launched in January 2022 with high-profile NFT drops from Nas, Diplo and The Chainsmokers. The platform allows fans and investors to earn a percentage of streaming royalties alongside the artists. Thus far, the platform says it has paid out $100,000 to holders.

After proving the concept works, Blau says Royal is growing into its bigger vision. “The drops were very much a beta,” he tells Billboard. “We needed to show that you could actually pay out royalties in an efficient manner on chain … The next piece is the tradability of these assets.”

Royal’s marketplace allows fans to buy and sell music rights directly on the website. It includes a ‘portfolio’ where fans can manage their collection, track the performance of their assets and connect to a bank account. Since the beginning, Royal has worked to hide the crypto technology that underpins the platform, and that same Web2.5 philosophy applies to the new marketplace.

“You can buy and sell these things and never see crypto if you don’t want to,” Blau says.

Royal sees music as a rapidly growing asset class with global music revenues hitting $26 billion in 2021, according to IFPI. And while streaming accounts for 65% of recorded music revenue — also via IFPI — most of the value is locked up in legacy music companies and investment firms. “The private markets have controlled all the value in music rights,” says Blau. “It’s not moving between artists and fans, it’s moving between institutions.”

The concept of Royal’s marketplace is to unlock some of that value and let fans participate.

“If you’re a fan and you own a piece of a song and it comes on the radio, there’s something really special about saying you own that.”

Hanging over this announcement, however, is a lawsuit served to Blau over an $11 million NFT auction connected to his Ultraviolet album in 2021. Songwriter Luna Aura — who says she owns a 50% royalty share in one of the tracks on the album — claims she was not adequately compensated from the NFT sale.

Blau could not offer further comment on the details of the lawsuit, but did say the experience of releasing the Ultraviolet NFT and navigating IP laws with 21 other artists informed how they built Royal.

In the coming weeks, the platform will also host more than a dozen new drops from independent artists, starting today with Bingo Players & Zookëper and their new single “Bathroom Line,” followed by “I’ll Wait” by Madison Ryann Ward, as well as music from Yemi Alade, 27Delly and Matt Cooper.

Joe Jonas Says He’ll ‘Get In Line’ on Ticketmaster To Buy Taylor Swift Tour Tickets For Wife Sophie Turner

It’s been nearly 15 years since Taylor Swift and Joe Jonas dated, but she’ll be in his life “Forever & Always.” That’s because the DNCE frontman’s wife, actress Sophie Turner, is a certified Swiftie, meaning he’ll likely soon be waiting in line on Ticketmaster for Eras Tour tickets with the rest of the world — at least, that’s what he told E! News at the Wednesday (Nov. 15) premiere for his Korean war drama Devotion.

When asked if he planned on securing seats at one of Swift’s 52 North American shows scheduled in 2023 for Turner, Jonas replied: “That’s a great idea, is that still an option? She would love that.”

Then, upon learning that Ticketmaster had experienced major technical difficulties during its Eras Tour presale that same day, the JoBro seemed impressed. “Wow,” he said, smiling just a little awkwardly at the mention of his superstar ex, whom he dated for a few months in 2008. “That’s to be expected. I’ll get in line now.”

“Even Mr. Perfectly Fine has to suffer in the queue,” E! captioned the video of the chat. “Taylor Swift, help Joe Jonas and Sophie Turner out.”

Any Swiftie who endured several hours in the Ticketmaster queue would agree that some extra help would have been very appreciated. So many millions of fans trafficked through the company’s website on the day of the presale, it experienced mass outages and extreme delays that left many fans unable to buy any tickets at all.

A few hours into the day, Ticketmaster even posted a statement announcing the postponement of a couple of the remaining Eras Tour presales, caused by a “historically unprecedented” demand for tickets.

Hopefully, Jonas can pull some strings to get in the door at one of the “All Too Well” singer’s highly anticipated shows. It was only a few months ago that Turner gushed over Swift’s 1989, calling the 2014 record “literally one of my favorite albums of all time.”

And when Swift dropped the previously unreleased “Mr. Perfectly Fine” — a 15-year-old song widely believed to be written about Joe — the Game of Thrones actress again shared her praise. “It’s not NOT a bop,” Turner joked about the track, to which Swift responded: “Forever bending the knee for the [queen] of the north.”

Watch Joe Jonas talk about getting tickets to Taylor Swift’s Eras Tour below:

Bad Omens’ ‘Just Pretend’ Crowns Hot Hard Rock Songs Chart

Bad Omens ride TikTok virality to their first No. 1 on a multi-metric Billboard songs chart, jumping to the top of the Hot Hard Rock Songs list dated Nov. 19 with “Just Pretend.”

In the Nov. 4-10 tracking week, the song earned 2.8 million official U.S. streams, up 26%, according to Luminate. It also garnered 538,000 audience impressions on radio and sold 1,000 downloads.

Bad Omens’ first Hot Hard Rock Songs No. 1 follows the band’s “Like a Villain,” which hit No. 17 in March. The other song that the band has placed on the chart, “The Death of Peace of Mind,” re-enters the latest tally at No. 19, a new high (689,000 streams).

“Just Pretend” also appears at Nos. 22, a new best, and 32 on Hot Rock Songs and Hot Rock & Alternative Songs, respectively. The TikTok trend for the song largely finds users lip syncing the lyrics, particularly a portion directly before and during the chorus, with some videos also addressing mental health.

The track concurrently rules Hard Rock Digital Song Sales for a third week (after debuting on the Oct. 22 survey) and leaps 24-11 in its second week on Hard Rock Streaming Songs. The song — the band’s current radio single — climbs 22-17 on Mainstream Rock Airplay and it marks Bad Omens’ third top 20 hit, following the aforementioned “Villain” (No. 10, June) and “Limits” (No. 19, 2020).

“Just Pretend” is the second single from the album The Death of Peace of Mind, which zooms 25-13 on Top Hard Rock Albums with 5,000 equivalent album units earned, up 20%. The set premiered at its No. 11 peak in March with 6,000 units and has earned 93,000 units to date.

Kelly Clarkson Drops Boozy New Merch Just in Time for the Holidays

When Christmas comes around…again! Kelly Clarkson unveiled her latest round of holiday merch on Wednesday (Nov. 16), complete with a festive bundle perfect for all your booze-related needs.

“My signature engraved wine tumbler is back in stock, y’all… and now it’s bundled with my engraved wine opener!” she wrote on Twitter followed by a string of drink emojis including a popped champagne bottle and clinking flutes.

The singer’s new batch of Christmas goodies also includes a cranberry red t-shirt emblazoned with “Santa, Can’t You Hear Me” — the title of her duet with Ariana Grande, which the pair recorded for 2021’s When Christmas Comes Again… while working together on Season 21 of The Voice. (They also performed the horn-infused bop live during Clarkson’s NBC holiday special last Christmas season.)

Speaking of the original American Idol winner’s second Christmas album, the studio set just picked up a 2023 Grammy nod for best traditional pop vocal album earlier this week, bringing the pop star’s total to 16 career nominations and three wins.

On The Kelly Clarkson Show — which has officially been renewed through 2025 — the talk show host has recently run through an impressively diverse string of “Kellyoke” picks, including “Dream a Little Dream of Me” by Mama Cass with The Mamas & the Papas, Florence + the Machine’s Twilight: Eclipse cut “Heavy in Your Arms,” the original version of “Lady Marmalade” by LaBelle, Rihanna’s “Umbrella,” Z.Z. Hill’s “Someone Else Is Steppin’ In” and more.

Get a look at Clarkson’s new wine-ready holiday merch and apparel below.

‘Marco Antonio Solís Is Synonymous With México, Elegance, Values’: 5 Best Moments From 2022 Person of the Year Gala 

Wednesday’s Latin Grammy Person of the Year celebration honored the great Marco Antonio Solís, and it was one for the books. A star-studded night replete with elegance, back-to-back surprise performances (including the POTY himself), and emotive speeches made the evening of Nov. 17 a night to remember.

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At the core of it was Marco Antonio Solís (and his transcendental body of work), there to affirm that his musical power is a force to be reckoned with; many of Solís’ generation- and genre-spanning musical peers in attendance at Mandalay Bay’s Islander Ballroom echoed that sentiment.

With 11 Hot Latin Songs No. 1 hits, there were plenty of MAS bangers to chose from, so the excitement was cranked up all the way. Laura Pausini said his name is synonymous with “México, elegance, and values”; Christian Nodal delivered an impassioned speech about how a man can shine so bright on and off stage; Edén Muñoz highlighted how the Mexican multi-hyphenate artist continues to be a role model for newer generations like himself; and Lifetime Achievement Award honoree Myriam Hernández said, “Only a soul like yours, with that sensibility and honesty, is capable of writing what you write.” 

Aside from the numerous sentimental words his colleagues shared on stage, they also performed MAS’ hits. Argentine piano balladeer Fito Páez played “De Mil Amores” accompanied by a cello; Bronco amped up the vibe with a riveting grupera take of “Tu Me Vuelves Loco”; and Mexican emotional pop acts Camila and Sin Bandera teamed up to sing “Dónde Estará Mi Primavera” with gut-wrenching delivery.

Another impactful duet was with Carla Morrison and Ana Torroja of Mecano fame who beautifully sang “Como Tu Mujer,” a song originally sung by the late Rocio Dúrcal, and written by Solís. Bachata king Romeo Santos swooned the crowd with “Invéntame,” and the honoree’s daughter, Marla Solís, also made an endearing appearance on stage to sing for her legendary father. 

The night took place one day before the 23rd annual Latin Grammys. Here are five of the most memorable moments that took place at the Person of the Year gala.

The Person of the Year performs his hits at his own gala. Since the first Latin Recording Academy Person of the Year in 2000, this is the first time that the celebrated person of the year performed at their own event, and Marco Antonio Solís had jaws dropped. The iconic singer with the golden voice blessed fans, peers and anyone else in attendance with three Latin smashes: “¿A Dónde Vamos a Parar?”; the ranchera classic “La Venia Bendita” backed by a mariachi troupe; and the timeless banger of “Tu Cárcel” by Los Bukis.

“When we started this adventure, I told Marco, ‘Let us surprise you,’ and he replied, ‘Let me also surprise them.’ Well, here is your surprise!” said the Latin Recording Academy CEO Manuel Abud, in front of a truly surprised crowed followed by a standing ovation. After nearly 20 acts took the stage to serenade the man of the hour with his own songs, Solís stole the show with a grand finale by performing one of the greatest Latin pop songs of all time, “Si No Te Hubieras Ido.”

Laura Pausini delivered a powerful performance and heartfelt speech. After Solís made his grand entrance on stage, the Italian singer Laura Pausini followed up with a powerful and heart-rending version of “Sigue Sin Mi.” Wearing a beautiful lace blouse and a black suit, this year’s Latin Grammy co-host motivated fans further, swaying them evocatively with each note. At the end of her performance, she gave one of the most beautiful speeches of the night, “I see that when they say the name Marco Antonio Solís, it is synonymous with Mexico,” said the artist. “What I admire so much about you, Marco, besides being the singer-songwriter that you are, is that you have a great responsibility through your name and your music, when you speak outside of Mexico, of your country, it is [also] synonymous with elegance, education, and values — [attributes] that not always the famous person can give to his country or outside of his country. I applaud you immensely.”

Christian Nodal brings his mariacheño swagger to the stage and honors his idol. Arriving to the stage rocking a sophisticated black norteño get-up and red silk shirt, Nodal instantly swooned the crowd with “Mi Eterno Amor Secreto.” Although in his early twenties, Nodal sang the song like he’s lived through lifetimes of love and loss, and the admiration he has for Solís truly resonated across the ballroom. At the end of his set, the Sonora singer said, “Marco Antonio Solís, it is an honor, pride, a dream come true to be able to sing one of my favorite songs in the world in front of one of the greatest idols. Three years ago in Guadalajara, I had the pleasure of watching you from the audience […] and meeting you backstage, and I asked myself, ‘How is it that you can shine so much on and off stage?’ […] ‘How can a great artist move so many masses and impact generations?’ I admire you so much, thank you so much for existing, for bringing us so much of your music, your lyrics, there is so much to learn from you.”

Gente de Zona and Taboo enliven the moment with a cumbia dance-off. The Cubatón duo Gente de Zona and Chicano artist Taboo joined forces to perform the thrilling cumbia song of “Más Que Tu Amigo,” and oh boy, did they deliver. As soon as the instantly recognizable horn melody of the hit began to play, audiences lit up. By the time Alexander Delgado got to the verse to sing “Me gustas tanto me elnoqueces” (I really like you it drives me wild), his beaming pipes were almost on par with Solís’, and the entire audience got up on their feet for a cumbia dance-off. Bravo!

Marco Antonio Solis

Emilio Estefan, CEO of the Latin Recording Academy Manuel Abud, and honoree Marco Antonio Solis onstage during the 2022 Latin Recording Academy Person of the Year Honoring Marco Antonio Solis at the Mandalay Bay Convention Center on November 16, 2022 in Las Vegas, Nevada.

John Parra/GI for The Latin Recording Academy

MAS receives his POTY award and reminisces on his 40-plus-year career.  

Right after Marco Antonio Solís received his award for Person of the Year, handed by Abud and Emilio Estefan, everyone in attendance got on their feet to pay their respects to a truly astounding and influential career. But the impassioned acceptance speech that Solís delivered was just spine-chilling.

Translated from Spanish, he said: “It’s been a long time since I’ve been as excited as I was tonight for so much love. So many familiar faces to greet, so many people I have met throughout my career, íjole. I feel very honored with the [Latin Recording] Academy for this recognition. I don’t even know how I got here, that’s the truth. The only thing I know is that life has always let me be guided by my intuition — That little voice was the spark that ignited everything, my intuition.

“Imagine, a 12-year-old boy leaving his hometown, Ario de Rosales, Michoacán, back in Mexico. A child separated from his parents, his six siblings, his friends — a little scared but with his heart full of illusions, carrying no more than a suitcase and his guitar, and with no other company than his cousin, Joel Solís, heading to Mexico City, without any promise of shelter but our dreams. We celebrate a career crowned successfully by the grace of God, and all the followers who have identified with my songs. I am eternally grateful.” 

Live Nation Chairman Apologizes to Taylor Swift Fans For Ticket Meltdown: ‘We Are Working Hard on This’

Liberty Media CEO and Live Nation chairman Greg Maffei appeared on CNBC on Thursday morning (Nov. 17) to discuss the issues with Ticketmaster’s Verified Fan program that resulted in frustrated Taylor Swift fans queuing up for hours in an effort to score pre-sale tickets to the singer’s anticipated Eras Tour.

Taylor Swift

Ticketmaster Postpones Sales For Taylor Swift’s ‘Eras’ Tour Due to ‘Historically Unprecedented…

“I apologize to all our fans. We are working hard on this,” Maffei told Squawk on the Street on Thursday morning (Nov. 17) about the company’s efforts to straighten out the situation that caused fan (and parent) consternation from coast-to-coast. “Building capacity for peak demand is something we attempt to do, but this exceeded every expectation.”

Ticketmaster, which is owned by Live Nation — with Liberty holding a 30% ownership stake in the ticketing giant — has come under intense scrutiny this week for after the company’s website experienced mass outages and extreme delays that forced some to wait for hours in the virtual line, or just walk away empty-handed.

“Daily reminder that Ticketmaster is a monopoly. Its merger with LiveNation should never have been approved & they need to be reigned in. Break them up,” Rep. Alexandria Ocasio-Cortez tweeted on Tuesday after the Swift tickets meltdown. Maffie told Squawk on the Street that the Live Nations team is “sympathetic that the long wait times and fans who couldn’t get what they wanted… reality is it’s a function of the massive demand that Taylor Swift has.”

Maffei explained that the pre-sale was supposed to be opened to 1.5 million Verified Swift fans for Tuesday’s on-sale, but instead 14 million Swifties attempted to log-in, including, he added, bots that were not supposed to be able to join the line. Despite the challenges and breakdowns, he said TM sold 2 million on Tuesday, a gaudy number that Maffei said could have filled 900 stadiums.

In a blog post, TM said that more than 3.5 million people pre-registered through Verified Fan for the Swift shows, the largest registration in the program’s history. It further explained that historically “around 40% of invited fans actually show up and buy tickets,” so working with Swift’s team around 1.5 million were invited to participate in the sale, with the remaining 2 million Verified Fans put on a waiting list.

Maffei also noted that the show is not promoted by LN — but by rival AEG Live and Messina Touring Group — so, “though AOC [a common nickname for Ocasio-Cortez] may not like every element of our business, AEG, our competitor who is the promoter for Taylor Swift, chose to use us because we are, in reality, the largest and most effective ticket seller in the world. Even our competitors want to come on our platform.”

Ticketmaster shared a statement shortly after 1 p.m. ET on Tuesday, about three hours after the East Coast venue presales began. It said that the company wasn’t prepared for the “historically unprecedented demand” for tickets, and postponed presales for West Coast venues and Capitol One cardholders scheduled for later that same day. Swift has announced 52 dates so far for the stadium tour that will mark her first major outing in five years.

AOC wasn’t the only member of congress to weigh in on the debacle. Connecticut Sen. Ricard Blumenthal tweeted, “Taylor Swift’s tour sale is a perfect example of how the Live Nation/Ticketmaster merger harms consumers by creating a near-monopoly. I’ve long urged DOJ to investigate the state of competition in the ticketing industry. Consumers deserve better than this anti-hero behavior.” In addition, Minnesota Sen. Amy Klobuchar agreed, writing on Wednesday, “What is going on with Ticketmaster is an example of why we need strong antitrust enforcement! Monopolies wreak havoc on consumers and our economy. When there is no competition to incentivize better services and fair prices, we all suffer the consequences.”

Ticketmaster and Live Nation merged in 2010 to form Live Nation Entertainment, rolling together the nation’s largest concert promoter and ticketing agency. The move that was drew intense scrutiny at the time and in the wake of the Swift pre-sale fiasco, Tennessee attorney general Jonathan Skrmetti said on Wednesday that his office will once again be looking into the company.

“There are no allegations at this time about any misconduct, but as the Attorney General, it’s my job to ensure that the consumer protection laws and antitrust laws in Tennessee are being honored,” Skrmetti told reporters, according to WJHL. Skrmetti said there have been “a number of complaints” lodged with his office about the pre-sale and that his team planned to look into the “severe” lack of customer support in what is the latest probe into possible antitrust allegations involving TM and LN conducted by Tennessee authorities.

Watch Maffei’s interview below.

How Blxst Became Hip-Hop’s Go-To Hook Mastermind

This past February, the rising star Blxst got an unexpected text: Anthony Saleh, Kendrick Lamar’s manager, wanted to connect him with his client — and soon enough, the two artists were on FaceTime.

“[Kendrick] was like, ‘Yo, I respect what you got going on. I’m a fan of your last project. I want you to be a part of my album,’ ” Blxst recalls.

He had no idea if what he recorded would end up on the album — or when the album would even arrive. “This album is never finna come out. He ain’t dropped a project in four years,” Blxst remembers thinking at the time, with a laugh. Lamar sent him an instrumental and told Blxst to “do whatever you want to it,” he says. “He came with a melody of his own for the bridge. I got voice memos of him singing and telling me what notes to hit.” So Blxst did what he does best: He added an earworm of a hook.

Both the track and the album it landed on — Lamar’s acclaimed 2022 project, Mr. Morale & The Big Steppers — came to fruition. “Die Hard,” featuring singer Amanda Reifer, peaked at No. 5 on the Billboard Hot 100 and is now nominated for the best melodic rap performance Grammy, and Lamar is just one of the high-profile co-signs Blxst has attracted lately. Since releasing his debut solo EP, No Love Lost, in 2020, Blxst (real name: Matthew Burdette) has become a go-to feature for artists like Rick Ross, Snoop Dogg and Nas, and something of a modern-day Nate Dogg in the process — a “king of hooks” in his own right who surprisingly never charges for his services.

“I’m more about the art,” the 30-year-old explains. “If I’m a fan of the song or if it fits with the direction that I’m going in, I’mma jump on a song off the strength. If I don’t like it, I’mma just not do it.”

Growing up in South Central Los Angeles, and attending high school in safer Upland about 40 miles east, Blxst taught himself how to rap, sing and produce as a hobby. A self-described introvert who’s still remarkably reserved and calm, he spent the rest of his free time at the local skate park, which Tyler, The Creator also happened to frequent. “I used to go up to him rapping lyrics [of his] that he would drop on his Myspace, before he was super big,” Blxst recalls.

BLXST

Blxst photographed on October 25, 2022 at GenQ Studio in Los Angeles.

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In 2018, he founded his own label, Evgle (pronounced “Eagle”) Records, and started to release singles. The following year, Blxst’s business partners — manager Vic Burnett and attorney Karl Fowlkes — joined him as Evgle co-founders. “I wanted to create a platform where I could control my narrative. I think it’s important for people to be able to control their intellectual property,” says Blxst. “Especially with me being a producer as well, I’m doing most of the work.”

Over the next couple of years, Blxst released his first collaborative EP (2019’s Sixtape, with fellow South Central artist Bino Rideaux) and Evgle struck a partnership with Red Bull Records, under which Blxst maintains his independence as an artist. By the time No Love Lost came out in 2020 (and, a few months later, its deluxe version), the buzz around Blxst had grown, and his music — with its two-step rhythms evoking the comfort of a Black cookout — provided a sense of solace for fans post-quarantine. That year, both Evgle and Blxst individually signed publishing deals with Warner Chappell.

This past spring, his debut full-length album, Before You Go, arrived, acting as “a note to self, speaking on the transition I feel like I’m facing as an artist, as an executive,” he told Billboard at the time. From slow jams to upbeat tracks oozing L.A. flair, No Love Lost yielded singles like “Hurt,” “Got It All” and “Chosen” featuring Ty Dolla $ign and Tyga, which recently went platinum.

Not that Blxst has had much time to celebrate. He has been too busy picking up accolades, including a spot in XXL’s Freshman Class of 2021, the first-ever Rising Star award at Billboard‘s 2021 R&B/Hip-Hop Summit and now, Billboard’s Rookie of the Year honor. And when we talk, he’s wrapping up his first headlining world tour — and clearly still wrapping his mind around his newfound fame.

“To travel and see people still singing [my songs] word-for-word, it’s like, ‘What is going on?’ ” he marvels. “I still be tripping off the position I’m in.” And he’s in no rush to “take an elevator” to the top. “I’m moving at a slow pace because that’s what I want to do,” he says. “I elevated a lot in just this one year but being in control of my deal and being in control of my narrative, it allows me to take a look at every step.”

That means remaining a student of the game — and appreciating the little lessons along the way. “I remember I was in the studio with Snoop, just playing music for him and seeing him nod his head, and after I pushed ‘stop,’ him reciting certain lines I said,” Blxst recalls. “It was just a reminder for me to believe in myself even more.”

BLXST

Blxst photographed on October 25, 2022 at GenQ Studio in Los Angeles.

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This story will appear in the Nov. 19, 2022, issue of Billboard.

Watch Idina Menzel & James Marsden’s Adorable, Spontaneous ‘Aladdin’ Duet

Idina Menzel and James Marsden sang together on The Late Late Show with James Corden Wednesday night (Nov. 16), and you could definitely say it was shining, shimmering, splendid. Two days ahead of the premiere of their new film Disenchanted — sequel to 2007’s beloved Enchanted — the pair put their interview with James Corden on pause to perform a spontaneous duet of “A Whole New World” from Disney’s Aladdin.

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The impromptu musical moment started after Marsden shared how he and costar Amy Adams are both “super fans” of Menzel and recalled how they would frequently plead with the Frozen actress to sing with them on set. “He’s just a real pain in the ass, though,” Menzel joked. “Amy Adams too, they were always singing and dancing even when they’d said cut. You just behaved horribly!”

“In the makeup trailer, we’d go to Idina and say, ‘Hey, will you sing a song with me?’” Marsden added.

Then, recreating what those between-takes makeup trailer sing-alongs looked like, he dove right into Aladdin’s opening lines of “A Whole New World” — staring hopefully at Menzel the entire time so that she would indulge him in singing Princess Jasmine’s part in the song.

“A whole new world,” she obliged once it came to her turn, prompting loud cheers from the audience.

And, ever the professional, the Wicked Broadway star added a harmony over the final lines of the song. “Let me share this whole new world with you,” the two sang, staring into each other’s eyes.

Prior to his adorable duet with Menzel, the 27 Dresses actor had also shown off his musical impression of John Legend. “All of me, loves all of you,” Marsden sang, nailing Legend’s rich vibrato in his Hot 100 No. 1 “All Of Me.” “All your curves and all your edges, all your perfect imperfections.”

Watch Idina Menzel and James Marsden sing on The Late Late Show below.