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Post Malone expressed his gratitude to Beyoncé after joining her stunning NFL Halftime Show performance during the Texans-Ravens game at Houston’s NRG Stadium on Christmas Day. On Saturday (Dec. 28), the 29-year-old singer shared a heartfelt message to Queen Bey, 43, on X (formerly Twitter). “thank you @Beyonce so much for havin me out in Houston, and on your beautiful record,” Malone wrote. “also, thank you for sharin your talent and art with the world. I love you.” Beyoncé’s epic 12-minute performance, now streaming as a standalone special on Netflix, began with her dramatic entrance on horseback in a white cowgirl ensemble. She was later joined by country star Shaboozey for duets of their Cowboy Carter tracks “Spaghetti” and “Sweet Honey Buckiin’.” Malone also joined Beyoncé for their collaboration “Levii’s Jeans,” bringing together two Texas Titans — Beyoncé from Houston and Malone from Dallas-Fort Worth. The halftime show featured songs from Beyoncé’s latest album, Cowboy Carter, a country-influenced project that topped the Billboard 200 for two weeks. The performance also included appearances by Tanner Adell and Brittney Spencer, with tracks like “16 Carriages,” “Texas Hold ‘Em” and “Jolene.” Beyoncé’s daughter Blue Ivy also joined her on stage as a dancer, as she did on the Renaissance World Tour. After the performance, Beyoncé teased a new project set for release in 2025. In a cryptic social media post, she shared a video of herself riding a white horse while waving an American flag. The clip ended with the message: “1.14.25.” She captioned it simply: “Look at that horse.” Check out Malone’s sweet message to Beyoncé below on X. thank you @Beyonce so much for havin me out in Houston, and on your beautiful record. also, thank you for sharin your talent and art with the world. I love you 🍻🩵 — Post Malone (@PostMalone) December 28, 2024 Source link

Mark Ronson is remembering legendary producer Quincy Jones. In an emotional piece shared with The Guardian on Thursday (Dec. 26), Ronson reflected on his personal experiences working with Jones — who passed away in November at the age of 91 — and the profound impact the music icon had on his life and career. “Losing Quincy is like a black hole swallowing part of the musical universe,” Ronson wrote. “But his work will live forever, as will his lessons. Keep striving for that deeper knowledge. Always leave space for something bigger than yourself. Because sometimes, magic happens when we get out of the way.” Explore See latest videos, charts and news See latest videos, charts and news Ronson opened the tribute by recalling a passage from Jones’ 2001 autobiography, Q, in which the legendary musician describes walking away from a successful career in order to study music theory and composition in Paris. “Imagine reaching the pinnacle of success, especially as a young Black musician in segregated 1950s America, and saying thanks, but I’m starting over for the sake of chords and harmony,” Ronson wrote. “I fantasize about having that kind of courage.” “But that’s the peril of holding Quincy as a yardstick,” he continued. “He’s an impossible standard. For producers and arrangers like me, he didn’t just raise the bar; he hid it where no one could reach.” Ronson also reflected on the years he spent with Jones, particularly when he was engaged to the legendary producer’s daughter, Rashida Jones, in the early 2000s. The two producers also collaborated on the song “Keep Reachin’,” featuring Chaka Khan, for the 2018 Netflix documentary Quincy, directed by Rashida Jones. “Over the years, he would send me kind notes — he had a particular fondness for Amy [Winehouse] — and we’d often hang out whenever I played the Montreux jazz festival, his beloved stomping ground,” Ronson wrote. “Seeing him there, stage right, seated in his director’s chair — looking every bit the debonair godfather of music, smiling back at you — elicited a wild mix of emotions.” He added, “The greatest producer and arranger of all time, watching your every move, was utterly terrifying. And yet he only radiated generosity. All he wanted was for you to win, to shine. He had already achieved the unimaginable. Now he existed as something rare and beautiful — a benevolent cheerleader for the wonder of music itself.” Jones passed away on Nov. 3 at his home in Los Angeles. A 28-time Grammy Award winner, Jones was revered for his groundbreaking work as a producer and arranger on iconic albums, including Michael Jackson’s Off the Wall (1979), Thriller (1982) and Bad (1987). Jones was also the guiding force behind the recording of the all-star charity single “We Are the World” in 1985, which rose to No. 1 on the Billboard Hot 100 and featured a star-studded lineup of artists, including Jackson, Cyndi Lauper, Bob Dylan, Ray Charles, Billy Joel, Diana Ross, Bruce Springsteen, Tina Turner and Kenny Rogers. Source link

Hayley Williams may be gearing up for her first solo tour in 2025. On Friday (Dec. 27), the Paramore frontwoman hinted at the possibility of solo dates in an Instagram Story celebrating her 36th birthday. In her note, Williams reflected on the tour she had to cancel in 2020 in support of her debut solo album, Petals for Armor, due to the COVID-19 pandemic. “I’m going to try and finally play some shows next year that would’ve happened nearly 5 years ago now,” she wrote. “That is, if the world doesn’t f—ing stop before then. Here’s hoping.” Explore Explore See latest videos, charts and news See latest videos, charts and news Petals for Armor was released in March 2020, and Williams had planned a European and North American tour to support the album. However, the pandemic forced her to cancel those shows as venues around the world shut down. “Wow. I am going on tour. Myself. It’s not Paramore and truthfully, it’s just a little terrifying,” she wrote at the time. “But if I know anything, it’s that there’s no safer place (besides at home with my dog) than to be in a room, in front of the people who’ve grown up singing my lungs out for. There was a time I thought I wouldn’t tour Petals for Armor. What a joke. I must.” During the pandemic, Williams shifted to virtual performances, including an NPR Tiny Desk concert filmed in Nashville, and released her surprise sophomore album, Flowers for Vases/Descansos, in 2021. In 2023, after the lockdowns lifted, Paramore returned with their sixth studio album, This Is Why. The pop-punk band supported the release with a tour that included dates opening for Taylor Swift on her record-breaking Eras Tour. In her celebratory post on Instagram, Williams also thanked fans for their well-wishes and shared a personal reflection. “35 felt like tilling soil and throwing little seeds down. Waiting, waiting, waiting to see,” she wrote. “36 is exciting and a little scary, already. So much to hope for. I’m still in the dirt, ready for whatever might grow. Fruit?” Source link

Tina Knowles is fiercely defending her daughter Beyoncé after the pop superstar’s NFL Halftime Show performance on Christmas Day. On Friday (Dec. 27), the proud mother took to social media to respond to the criticism surrounding Queen Bey’s stunning performance at the Baltimore Ravens vs. Houston Texans game at NRG Stadium. The 12-minute set, now available for streaming on Netflix, had generated some backlash, prompting Knowles to speak out in her daughter’s defense. Knowles began by reposting a fan’s message on Instagram that called out those who had negative things to say about the performance.“Irrespective of whether you like Beyoncé’s music or not, it is PROOF and motivation that no matter how undeniably talented you are, people will always, ALWAYS, always have some negative ish to say,” the fan’s comment read. In her caption, Knowles agreed with the fan, writing, “My sentiments exactly! It is mind-boggling to me that you would take your precious Christmas day and watch a performance of someone you hate and you don’t think has talent so that you can go talk ish about it later.” She continued, “Obviously you are so obsessed with them , addicted to them , and secretly admire them , wish you could be them, that you cannot help but to watch and critique and comment and say dumb ridiculous stuff that makes you look like a joke !! So go to another channel when it’s halftime watch goofy cartoons or Bozo the clown or something you can relate to and see yourself in. Said with love.” Knowles also reflected on her daughter’s strength, adding, “I have learned so much from her warrior spirit, of when they go low I work harder ‘No weapon formed against me shall prosper’ one ,two , three waiting for the fake bots to come’.” She followed up with several posts celebrating the positive reactions to Bey’s performance, including a comment from Bun B, who praised the superstar’s career: “I think quietly, this entire time we’ve watched her rise. She’s probably the single most intentional performer, musician and entertainer in our culture. Beyoncé knows exactly who she is, and she understands that when she does something, things change,” the rapper said. The Houston-born superstar’s halftime show featured songs from her latest album Cowboy Carter, a country-infused project that topped the Billboard 200 for two weeks. The performance included collaborations with Shaboozey, Post Malone, Tanner Adell, Brittney Spencer and others, showcasing tracks like “16 Carriages” to “Texas Hold ‘Em,” “Levii’s Jeans” and “Jolene.” Beyoncé’s 12-year-old daughter Blue Ivy Carter also joined her on stage as a dancer, just as she did on the Renaissance World Tour. Following the performance, Beyoncé teased a new project set for release in 2025. In a cryptic post on social media, she shared a video of herself riding a majestic white horse while waving an American flag. The clip ended with a black screen featuring the message: “1.14.25.” She simply captioned the post with, “Look at that horse.” Source link

The former Morrison Hotel, made famous by The Doors and their 1970 album of the same name, was significantly damaged by a fire that erupted in downtown Los Angeles on Thursday (Dec. 26). Explore See latest videos, charts and news See latest videos, charts and news The four-story building, which has been vacant more than a decade, burned for nearly two hours before more than 100 firefighters brought the flames under control, according to the Los Angeles Fire Department. The Morrison Hotel was featured on the cover of The Doors’ fifth album. Celebrated music photographer Henry Diltz made the image in 1969 and said years later that it took a little trickery to pull it off. A hotel clerk told the band they weren’t allowed to take photos inside, but when the clerk stepped away, the group ran into the lobby and Diltz quickly got the photo looking through the window, with legendary frontman Jim Morrison in the middle. “It was a great old wooden building with many small rooms upstairs where transients and drinkers could sleep it off on a cot for $2.50 a night!” Diltz told The Associated Press on Friday. “I think the beautiful front window with “Morrison Hotel” in red letters was the best part of it! So did The Doors!” The album was viewed as a comeback to their roots for The Doors, coming on the heels of Morrison’s on-stage arrest at a Miami concert that saw him convicted of indecent exposure and profanity. Morrison and The Doors would release one final album, L.A. Woman, before he was found dead in a Paris bathtub on July 3, 1971. Los Angeles firefighters who first arrived at the blaze on Thursday found heavy flames on the building’s top floor. Several people who were in the building escaped without injuries, including three people rescued by firefighters from the third floor, according to the department. The building’s roof collapsed, leaving its structural integrity in doubt, the department said. The building in recent years had been used as a training site for firefighters. Source link

Redacción Panamericana ¡Bebé en camino! En exclusiva, Karla Tarazona contó que será mamá una vez más junto a Christian Domínguez. Luego de varios meses de intentarlo, Karla Tarazona y Christian Domínguez recibirán un nuevo integrante en la familia: su segundo hijo.  «Estoy muy emocionada y agradecida por esta nueva bendición que está por llegar. Es el mejor momento de mi vida. Christian y yo estamos más felices que nunca, y no vemos la hora de conocer al nuevo integrante de la familia», manifestó.  Le deseamos lo mejor a nuestra Karlita y gracias a todos nuestros oyentes por sus muestras de cariño. Y antes de que se la crean, ¡Día de los Inocentes! Source link

Drake hosted his Drizzmas Giveaway alongside Adin Ross to help those in need this holiday season. At one point in the livestream on Thursday (Dec. 26), Drizzy spoke about his relationship with Sexyy Red and shrewdly quoted Kendrick Lamar’s “Euphoria” lyrics. The 6 God raved about his “Rich Baby Daddy” collaborator. “I really talk to Sexyy Red. She like checks in on me and s–t. She sent me the nicest message for Christmas,” he said. Drizzy continued to gush: “She hits me! She’ll be like, ‘Man, I’m always with you, man. I just be thinking about you, man.’ Shout-out to Sexyy!” Before moving on, he mixed in Kendrick’s bars about him and Sexyy from “Euphoria.” “When I see her, I see two bad ones, n—a, what’s up? F–k what y’all talking ’bout. Shout-out, Sexyy. W Sexyy in the chat,” he added while making light of Lamar’s diss. Drake has largely avoided directly addressing Kendrick Lamar since their feud earlier in 2024. During the Drizzmas Giveaway stream, he was actually reading a letter from a fan who appeared to write “F–k Kendrick,” but Drake stopped short of saying it aloud. Drake nearly says "F**k Kendrick" while reading a fan letter 💀pic.twitter.com/fJH4t1GBX5 — NFR Podcast (@nfr_podcast) December 27, 2024 The OVO boss and Sexyy Red have enjoyed a fruitful relationship since connecting in 2023. She served as an opener on certain stops of his It’s All a Blur Tour, and they exchanged verses on “Rich Baby Daddy” (No. 11 Billboard Hot 100) and “U My Everything” (No. 44 Billboard Hot 100). Watch the clip of Drake talking about Sexyy Red below. Drake quotes Kendrick while talking about his real friendship with Sexyy Redd “Shout out Sexyy, When I see her, I see 2 bad ones” pic.twitter.com/N6AiOetamv — Glock Topickz (@Glock_Topickz) December 27, 2024 Source link

Perry produced some of the biggest and best hits on the Hot 100 in the ’70s and ’80s. Richard Perry arrives at the Gibson Through The Lens Exhibition on July 30, 2008 in West Hollywood, Calif. Mark Sullivan/WireImage We lost one of the greats this week, when producer Richard Perry died at age 82. Like such contemporary producers as Jack Antonoff, Finneas, Daniel Nigro and Greg Kurstin, Perry was almost as famous as the artists he worked with (at least among pop music obsessives). Perry never won a Grammy in competition, but he did receive a Trustees Award from the Recording Academy in 2015. (That’s the equivalent of a lifetime achievement award for non-performers.) The Grammys didn’t have a producer of the year, non-classical category yet in 1974, when Perry might very well have won it. (The category was introduced the following year.) Perry was nominated in that category in both 1977 and 1978. He was nominated in other marquee Grammy categories as well – record of the year for both Nilsson’s “Without You” and Carly Simon’s “You’re So Vain” and album of the year for Nilsson Schmilssson. Perry had producer credits on top 10 albums on the Billboard 200 spanning more than 40 years, from novelty performer Tiny Tim’s God Bless Tiny Tim in 1968 (hey, you got to start somewhere!) to Rod Stewart’s Fly Me to the Moon… The Great American Songbook Volume V in 2010. Richard Perry’s Biggest Billboard Hits chart is based on actual performance of titles that he produced on the weekly Billboard Hot 100 (through Dec. 28, 2024). Songs are ranked based on an inverse point system, with weeks at No. 1 earning the greatest value and weeks at No. 100 earning the least. Due to changes in chart methodology over the years, eras are weighted to account for different chart turnover rates over various periods. “Stoney End,” Barbra Streisand Hot 100 peak: No. 6 (Jan. 23, 1971) Songwriter: Laura Nyro Notes: This was Perry’s first top 10 hit and Streisand’s first in nearly seven years, since the exquisite “People” in 1964. Streisand was just 28 when she and Perry recorded “Stoney End,” but she might as well have been 55, so removed was she from the contemporary pop scene. With this one record, she proved she could sing anything. This record opened the door to a contemporary music career that carried her all through the 1970s. “Stoney End” wasn’t nominated for a Grammy, but a subsequent Streisand single produced by Perry, “Sweet Inspiration/Where You Lead,” was nominated for best pop vocal performance, female, the following year. Fun Fact: An earlier version of this song by Peggy Lipton, then one of the stars of The Mod Squad, bubbled under the Hot 100 in 1968. “I’m So Excited,” The Pointer Sisters Hot 100 peak: No. 9 (Oct. 27, 1984) Songwriters: Trevor Lawrence, Anita, June and Ruth Pointer Notes: This exhilarating song stalled at No. 30 in 1982 (if you can believe that.) A remix was released in 1984, when the group was on a roll of hits, and this time it made the top 10 (which it had deserved all along). “Oh My My,” Ringo Starr Hot 100 peak: No. 5 (April 27, 1974) Songwriters: Vini Poncia, Ringo Starr Notes: This was the third consecutive top five hit from the Ringo album – back when pulling three top five hits from one album was an extreme rarity. Martha Reeves and Merry Clayton sang backing vocals on the track. Billy Preston played keyboards, Tom Scott played sax. “To All the Girls I’ve Loved Before,” Julio Iglesias & Willie Nelson Hot 100 peak: No.  5 (May 19, 1984) Songwriters: Hal David, Albert Hammond Notes: This unlikely pairing resulted in a No. 1 hit on Billboard’s Hot Country Songs chart. The smash won an Academy of Country Music Award for single of the year and was nominated in that same category at the Country Music Association Awards. Fun Fact: David, who teamed with Burt Bacharach to write many pop classics, and Hammond, who had a top five hit on the Hot 100 as an artist in 1972 with “It Never Rains in Southern California,” had previously teamed to write “99 Miles From L.A.,” which Art Garfunkel included on his 1975 album Breakaway, which Perry produced. “Automatic,” The Pointer Sisters Hot 100 peak: No. 5 (April 14, 1984) Songwriters: Mark Goldenberg, Brock Walsh Notes: This won a Grammy for best vocal arrangement for two or more voices. The group arranged the track and won the award. “No No Song”/“Snookeroo,” Ringo Starr  Hot 100 peak: No. 3 (April 5, 1975) Songwriters: Hoyt Axton (“No No Song”)/Elton John & Bernie Taupin (“Snookero”) Notes: Ringo’s super-catchy song about how he’s abstaining probably did more to make people twice about recreational drug use than Nancy Reagan’s “Just Say No” campaign did in the early ‘80s. Hoyt Axton, who wrote “No No Song,” had written Billboard’s No. 1 song of 1971, Three Dog Night’s “Joy to the World,” as well as their 1972 hit “Never Been to Spain.” Nilsson sang backing vocals on “No No Song”; Elton John played piano and sang backing vocals on “Snookeroo,” which he co-wrote. “He’s So Shy,” The Pointer Sisters Hot 100 peak: No. 3 (Oct. 25, 1980) Songwriters: Tom Snow, Cynthia Weil Notes: This song harkened back to the girl-group hits of the early ’60s. Co-writer Weil was part of that Brill Building scene thanks to her unforgettable collaborations with husband Barry Mann. This brought the Pointer Sisters their first Grammy nomination in a pop category (best pop performance by a duo or group with vocal), following previous nominations in country and R&B categories. Fun fact: Perry and Mann & Weil received their trustees awards from the Recording Academy in the same year (2015). “Mockingbird,” Carly Simon & James Taylor Hot 100 peak: No. 5 (March 23, 1974) Songwriters: Charlie Foxx, Inez Foxx Notes: This record “pops” from the first note to the last. Simon and Taylor

In the wake of the killing of UnitedHealthcare CEO Brian Thompson, an unexpected cultural phenomenon is unfolding. Luigi Mangione, the 26-year-old accused of the fatal Dec. 4 shooting in New York, has become the subject of several regional Mexican ballads posted online. In recent years, regional Mexican music — which encompasses corridos, norteño mariachi and more –has experienced an unprecedented global revival, particularly with the emergence of corridos tumbados in early 2019, pioneered by Natanael Cano. This genre was further popularized by artists such as Fuerza Regida, Junior H and Peso Pluma. The style quickly spread across the Internet on platforms such as SoundCloud and TikTok, and by the end of that year, it had impacted the Billboard charts and continues to do so. And now, a wave of new songs has emerged on various platforms, seeking to cast Mangione within the corridos tradition. These corridos — historically used to narrate tales of revolutionaries and rebels that date back to the Mexican Revolution of 1910 — are now casting the accused killer of the health insurance CEO as a complex figure caught between villainy and vigilantism. This musical portrayal is igniting discussions about justice, corporate ethics and the makings of modern antiheroes amid a backdrop of deep-seated societal discord. While a developed country, the United States still grapples with health care access and affordability disparities. Despite boasting cutting-edge medical technologies and treatments, people often face prohibitive costs and inadequate coverage. This paradox has fueled a national discourse on health care injustice and attempts to overhaul the health care system, with some sympathizing with and/or glorifying the accused killer, who is facing federal murder and stalking charges. Separately, the Manhattan district attorney, in addition to multiple murder charges, also charged Mangione with murder as an act of terrorism; he has pleaded not guilty to the state charges. If he’s convicted on the federal charges, Mangione could potentially face the death penalty, while the state charges could mean a maximum of life without the possibility of parole. On Dec. 22, a SoundCloud user named Alan Rendon posted an accordion-led track called “El Corrido de Luigi Mangione,” which goes, “In the cold December morning in New York, his law was laid/ A man on a bicycle crossed with a plan that lived in his mind/ On 54th Street his fate was met, Brian Thompson fell by the bullets/ Justice Luigi wanted to serve.” The song continues, “In his message, he left his reason/ He did not seek riches or fame, only justice for his nation/ Today his name travels the streets, a dark message he left/ The industry he blamed so much, his own sentence he signed.” The corrido frames Mangione as a dark symbol of resistance against corporate misconduct, and some have compared the accused to the antihero from V for Vendetta. Artist Gabriela MC echoed this sentiment in a TikTok posted Dec. 15, singing, “One day, Dec. 4, it is said that the businessman had a meeting pending/ With high-ranking people, when three precise bullets snatched his life/ People are not moved by the rich man slain/ ‘Deny,’ ‘depose’ and ‘defend’ — keys to the murder/ And although he died suddenly, the meeting was not canceled/ Do not believe that for millions [of dollars] you have bought your life/ He was dedicated to that and could not secure it/ How life turns around, and karma claims it.” She cites the three bullets found on the crime scene with the engraved words “deny,” “defend” and “depose.” According to The Associated Press, those three words are often used to describe insurance companies’ practices when denying claims. The phrase also mirrors the title of Jay M. Feinman’s book Delay, Deny, Defend: Why Insurance Companies Don’t Pay Claims and What You Can Do About It. Published in 2010, this tome provides a critical look at the practices commonly used by insurance companies that negatively affect policyholders. “Six days after his death they came upon the Italian/ A sharp young man graduated from Pennsylvania,” she sings. “He was playing Monopoly/ Don’t insult the intelligence of those American people/ His mother asked for clemency, as many were denied/ Luigi ran out of patience and adjusted them.” During the initial manhunt after Thompson’s murder, a backpack containing Monopoly money believed to be the killer’s was found abandoned in Central Park on Dec. 6. According to a law enforcement bulletin obtained by The AP, Mangione was carrying a handwritten note at the time of his arrest on Dec. 9 in Pennsylvania, and the document slammed “parasitic” health insurance companies. A TikTok user going by the name Cruzistojose1978 posted a corrido introducing a first-person perspective of Mangione’s narrative. “I am a young, intelligent man, I graduated from Penn/ Life gave me its tests, and fate has collected them/ Today I find myself behind bars, but my motive is marked,” he sings. While he awaits trial, Mangione’s story as depicted in corridos could challenge listeners to confront realities about the power imbalances within society — or, at least, that’s what the origin of corridos claim, if Américo Paredes’ 1958 book With His Pistol in His Hand: A Border Ballad and Its Hero can be applied to this case. The title is about Gregorio Cortez, a Mexican-American outlaw who killed a sheriff in self-defense against racism and injustice in the late 1800s. This incident sparked the creation of corridos that celebrated his deeds as a symbol of resistance against the discriminatory actions of the Anglo authorities toward Mexican-Americans in Texas. The book argues that the origin of corridos such as those about Gregorio Cortez served not just entertainment, but powerful expressions of protest against oppression. Source link

She’s not gonna write you a love song ’cause you asked for it, but Sara Bareilles will sing it for you in her 2024 New Year’s Eve special coming to PBS. In a clip shared exclusively with Billboard from Sara Bareilles: New Year’s Eve With the National Symphony Orchestra & Friends, the vocalist is joined by a full orchestra at the Kennedy Center in Washington, D.C., as she belts out her 2007 breakthrough hit — with an assist from a crowd sing-along. With Bareilles behind the piano, strings, woodwinds and brass give the sassy tune a lusher sound as the Waitress composer sings, “If you’re on your way/ I’m not gonna write you to stay/ If all you have is leavin’, I’ma need a better reason/ To write you a love song today.” The track — which reached No. 4 on the Billboard Hot 100 in 2008 — is just one of several Bareilles will perform on the Kennedy Center stage for the special, which premieres 8 p.m. ET Tuesday (Dec. 31) across PBS, PBS.org and the PBS app. As teased in a trailer posted on Christmas Eve, the showcase will entail a night of music supported by the National Symphony Orchestra and special guests Rufus Wainwright, Emily King, David Ryan Harris, Ben Folds, Madison Cunningham and Renée Elise Goldsberry. Plus, the “King of Anything” musician will share stories — both comedic and emotional — about her life and career. “If I’m not being creative, and I’m not making music, I’m not in alignment with what I’m supposed to be here doing,” Bareilles says in the 30-second clip, which features snippets of the star performing her 2013 show-stopper “Brave.” Aside from her New Year’s celebration, Bareilles also spent 2024 working on the score for The Interestings, an upcoming Broadway adaptation of Meg Wolitzer book of the same name. Earlier this year, the third season of Girls5Eva — in which the singer stars alongside Goldsberry, Busy Philipps and Paula Pell — aired on Netflix. Check out a sneak peek of Bareilles’ New Year’s Eve special below. Source link