Lady Gaga Recruits All Your Faves For Massive ‘One World: Together At Home’ Special

Get ready for a massive, completely unforgettable benefit concert special, thanks in part to Lady Gaga.

Global Citizen — the organization behind recent Together At Home video webcast performances featuring Shawn Mendes, Camila Cabello, Chris Martin, Niall Horan, and more — has teamed up with the World Health Organization to announce a huge telecast. It’s called One World: Together At Home, and it’ll support health care workers during the global coronavirus epidemic when it kicks off on April 18.

Spanning across ViacomCBS Networks, ABC, NBC, iHeartMedia and Bell Media, it’s also going to feature a huge lineup of artists curated by Gaga herself, including Billie Eilish, Lizzo, J Balvin, Maluma, and more.

One World: Together At Home will be “in celebration and support of healthcare workers, broadcast to feature real experiences from doctors, nurses and families around the world,” according to the WHO’s website. The massive event will benefit the COVID-19 Solidarity Response Fund and will see the huge broadcast hosted by Jimmy Fallon, Stephen Colbert, and Jimmy Kimmel in an epic display of cooperation and solidarity.

Gaga, who recently revealed that she raised $35 million in the past week for the WHO, curated the huge lineup of artists that also includes Alanis Morissette, John Legend, Finneas, Burna Boy, Elton John, Stevie Wonder, and more. Celebs like Priyanka Chopra Jones, Idris Elba, and Kerry Washington are also set to make appearances.

“The World Health Organization is committed to defeating the coronavirus pandemic with science and public health measures, and supporting the health workers who are on the front lines of the response,” said Dr. Tedros Adhanom Ghebreyesus, the WHO’s Director-General, in a statement. “We may have to be apart physically for a little while, but we can still come together virtually to enjoy great music. The One World: Together at Home concert represents a powerful show of solidarity against a common threat.”

If you can’t tune in to one of the channels or networks above, you’ll be able to catch it on digital platforms like Facebook, Instagram, Tidal, Twitter, Twitch, YouTube, and more. You can find information about where to see and possibly contribute to the cause over on Global Citizen’s official Together At Home page.

Now You Can Get Ready In The Morning With Anderson .Paak And Justin Timberlake

Anderson .Paak and Justin Timberlake have released a new video for their absurdly feel-good track, “Don’t Slack” that’ll appear in the forthcoming Trolls World Tour movie and on its soundtrack. Anna Kendrick appears in the visual and gets happily haunted by the two cheery imaginary guys, eventually making her be just as excited for the day as they are. If you’re watching this from your bed, you’ll want to get up.

Kendrick wakes up and gets a couple of texts before getting her dental floss out. Ugh. It’s time to get started with a long and boring day. That’s before it turns into a great one when .Paak pops up in her flower to carol “Don’t Slack” to her with a bouquet of fresh flowers to turn her frown upside down. When she gets startled at .Paak’s performance, she wanders outside and sees Timberlake singing to her as his legs dance faster than the speed of light. Clearly, she’s tripping out.

She heads to the kitchen to get something to drink and when she opens the fridge, she sees .Paak inside singing who then hands her a fresh, lemon-squeezed cup of juice. When she turns around, she sees Timberlake sitting in a comfy set of pajamas, trying to get her attention.

Leaving the kitchen, she wanders into her living room where Timberlake and .Paak are dressed in snazzy suits while they’re performing. Finally convinced of what they’re singing about, she begins to jump around in excitement, finally with the energy to get going with her day. It ends with her smiling from ear to ear.

“Don’t Slack” is the second single released from the Trolls World Tour soundtrack after “The Other Side” by SZA and Timberlake that dropped in February. The latter song, about appreciating what you have because life will get better in due time, came with a glittery visual featuring futuristic landscapes made of silver. The entire soundtrack came out last month and it features appearances from James Corden, Mary J. Blige, and more.

Trolls World Tour is set to come out on April 10 in theaters. Due to the global coronavirus pandemic, it’ll also be available as a digital rental on the same day.

Check out the “Don’t Slack” video up above.

Lady Gaga Is A Caged Cyborg Nightmare On Her Chromatica Cover

Although Lady Gaga‘s new album Chromatica has been postponed, the singer has given everyone a taste of what to expect with its bold new cover art. Part Mad Max, Mortal Kombat, and cyber-punk fantasy, it’s just the explosive creative touch that certifies that whenever the LP comes out, it’ll torch streaming services with a terrifying mechanical laser beam.

Gaga’s Chromatica cover takes quarantining to a new level: she’s welded to one spot forever. With monstrous black talons and prickly boots that could slay dragons with one cartwheel into their appendixes (assuming that dragons have appendixes), she appears to be trapped for the good of the world outside of wherever she is. The fierce look on her face lets you know that if she slips out of this trap, she’ll make whoever put her there pay dearly.

The nightmarish cyborg aesthetic of Gaga’s cover art looks similar to how she appeared on her Paper magazine cover that dropped last March. In that cover story, she revealed that Chromatica will be a record “that forces people to rejoice even in their saddest moments.” Additionally, she relayed that Chromatica is like a place in her heart. “I might sound silly, but I’m on it right now — I’m not on another planet. If you see and listen to Chromatica, and you want to live there too, you’re invited.”

When Gaga announced that Chromatica was postponed, she explained on Twitter that it’s bigger than just wanting another release date. “This is such a hectic and scary time for all of us, and while I believe art is one of the strongest things we have to provide joy and healing to each other during times like this, it just doesn’t feel right to me to release this album with all that is going on during this global pandemic,” she wrote. Also, she hoped that fans were “staying safe” and practicing social distancing.

So we’ll have to wait a bit longer to hear “Stupid Love“‘s companion tunes, but that’s okay. At least we have this haunting, futuristic cover to let us know what the fashion is like on planet Chromatica. 

Take a look at Gaga’s new album cover up above.

How P!nk’s Can’t Take Me Home Kicked Off A Career Of Triumphant Authenticity

By J’na Jefferson

Can’t Take Me Home, P!nk’s double-platinum debut album, introduced the world to the music phenom’s versatile singing chops and notable songwriting skills. The Pennsylvania-born then-20-year-old born Alecia Moore was billed as the tough-talking, partying antithesis of bubblegum pop princesses like Britney Spears and Christina Aguilera, and her rebellious personality resulted in the album’s unmistakable attitude. Spunky, effortless vocals set her apart from her contemporaries, too, which is especially evident by the Mariah Carey-esque ballad “Let Me Let You Know.” P!nk also worked with R&B-minded musicians such as Kandi Burruss, Robin Thicke, and Babyface in order to hone a sound in that vein.

The project — released April 4, 2000 — fit into the landscape of late-‘90s and early ‘00s R&B, eras where Destiny’s Child, Brandy and Monica, and P!nk’s then-labelmate Toni Braxton had scored major hits. The LP came equipped with the “not a girl, not yet a woman” content that drove early-aughts pop (“Don’t tell me you adore me, cause all you thinkin’ ‘bout is fuckin’ me,” she sings on the title track), as well as progressive lyrics regarding same-sex relationships (“Girl, boy, boy, girl, girl, girl, boy, boy / Whatever, you should do what you do,” she spits on “Do What You Do”). Can’t Take Me Home spawned the top 10 singles “Most Girls” and “There You Go,” which featured era-appropriate urban slang (“Sometimes it beez like that”) and references to “bling-bling” and Hennessy. The project as a whole appeared to be a breath of air in a world of cookie-cutter pop manufacturing.

But a year-and-some-change later, P!nk’s sophomore effort Missundaztood found her trading in record scratches for guitar licks, as she pivoted sharply to a heavy pop-rock sound. She worked with 4 Non Blondes’ Linda Perry for the project, who called their collaboration “honest.” The album was heralded as her artistic breakthrough, and laid the groundwork for much of her work since then. Songs like “Get the Party Started,” “Family Portrait,” “Just Like a Pill,” and “Don’t Let Me Get Me” (where she claims record executive L.A. Reid told her to change her entire image to become a success) hit the Billboard Hot 100 songs chart.

During Missundaztood’s rollout, Spin put her on the cover in May 2002 with the headline “Rock’s Nasty Girl,” and she noted in interviews that Can’t Take Me Home was “very much marketing.” She has not performed a single song from her debut album on the road since 2013’s The Truth About Love tour, where she sang a medley of “There You Go,” “Most Girls,” and “You Make Me Sick”; before then, the last time she performed something from Can’t Take Me Home was 2006. But as she’s shown in the decades since, P!nk’s shift was less a calculated marketing approach and more a way to let all of herself (and her influences) shine through.

Although she’s leaned towards pop-rock and adult contemporary stylings since her debut, P!nk’s artistic milieu is deeply rooted in hip-hop, soul, and R&B. She sang in an all-Black gospel choir and performed backup for Pennsylvania-based hip-hop group Schools of Thought as a teen. Plus, her R&B girl group, Choice, was discovered and signed to LaFace in 1995 (L.A. Reid urged P!nk to go solo, and the group disbanded in 1998). Yet she’s been open about her versatile upbringing, noting that she fronted a punk-rock group growing up and is a fan of artists like Janis Joplin and Billy Joel, who was the first musician she saw in concert. Around the time of her debut, though, P!nk did appear to play into — and somewhat delight in — confusion regarding her look and sound. During a 2000 interview, P!nk noted that there was a “bet” going on that her mother was lying about who her biological father was.

“[People] totally think I’m mixed!” she chuckles. “I’m like, whatever! Like, I’m a mutt. We all are. We all came from the same place: God… People need to realize you don’t have to be anything to be anything. It comes from your experiences, it comes from where you’ve been,” punctuating her point with “We’re all pink on the inside.” This didn’t stop outlets from pointing out that she is, in fact, a white woman performing R&B, which — while not unheard of, thanks to acts like Teena Marie, Bobby Caldwell, and Taylor Dayne years prior — was still somewhat surprising. Rolling Stone’s review on Can’t Take Me Home begins with “Pink is twenty-year-old Alecia Moore’s hair dye of choice and, for that matter, her skin color.”

As a successful white occupant of a historically Black space, these indications and comments placed the singer in a precarious position. While all musicians should be given the creative license to do what they’d like, it’s important to recognize that white artists are granted the freedom to genre-hop with far more ease than their contemporaries of color. Yet, in P!nk’s situation, wasn’t she being pigeonholed to one specific genre? In 2014, P!nk’s Missundaztood collaborator Perry discussed helping her break out of her R&B comfort zone in order to be the fully-realized artist she knew she could become. “She completely abandoned what she was told she was supposed to be, and just became Alecia Moore,” she said.

P!nk said as much after Missundaztood gave her some of her biggest hits. “It wasn’t a choice with my marketing mind thinking, ‘Well, I’m going to totally switch directions,’” she said in a 2003 interview after the success of her sophomore album. “It was like, ‘I have to do this, guys… [if] I don’t get it out, I am going to self-destruct.”

During the early and mid-aughts, artists such as Justin Timberlake, Robin Thicke, and the late Amy Winehouse impressed audiences with their hip-hop, R&B, and soul-inspired flair. And within today’s musical landscape, pop music is heavily influenced by urban stylings. However, there is certainly a trickiness that comes with white pop artists utilizing hip-hop-inspired energy for their music. Miley Cyrus’s pivot from the hip-hop flavored LP Bangerz to the country-pop album Younger Now was punctuated by chastising comments regarding hip-hop, and Post Malone — whose discography is heavily hip-hop influenced — has also come under fire for disrespectful thoughts about the genre.

While some artists (and their labels) actively try to push an image, it’s important to note that — although she joked around with the mixed-race conversations — P!nk never actually tried to prove she wasn’t who she said she was. She was more concerned about pointing out that she was a girl who could do it all. Ultimately, she was the one who defied her label by pivoting her sound in an effort to be true to herself, and that authenticity has been continually triumphant throughout her decades-long musical reign.

It’s not likely that P!nk will dive back into the R&B pool 20 years after her debut, but it’s important that she continues to point out that her initial splash was made in part to the genre that started everything for her. While her feet are firmly placed in the adult-contemporary realm and she’s built a reputation as quite the daring live performer, in the 20 years since her debut album, P!nk has recognized her R&B roots with gratitude and respect, which doesn’t always happen when white artists part ways with an urban genre. However, in her case, her experiences with traditionally Black music weren’t passing fancy — they were how she got here.

“I am an R&B singer, I also am a gospel singer. I’m a punk-rock singer. And a pop singer. And a soul singer. All of that is me,” she told Variety in 2019 ahead of her Hollywood Walk of Fame star ceremony. “I was a little girl that loved Debbie Gibson. Mary J. Blige was the first cassette I bought. I liked 2 Live Crew. I liked Green Day. I loved Les Miserables and Phantom of the Opera. I liked everything and I think my music reflects that… if you want to blur lines, make people uncomfortable and question what they believe in just by looking at you, then you’ve got to take risks — you’ve got to be bold and go all out.”

Niall Horan Says He Won’t Go On Tour Until 2021 In Heartfelt Announcement

Harry Styles, BTS, Billie Eilish, and Justin Bieber are just some of the artists who’ve canceled or postponed upcoming tour dates as a result of the ongoing coronavirus pandemic. And today, Niall Horan followed suit. The “Slow Hands” crooner took to social media today (April 3) to announce that he will not be moving forward with the Nice To Meet Ya Tour and will be issuing refunds to any fan who previously purchased a ticket.

“Given the unprecedented circumstances I have decided to not move forward with the ‘Nice to Meet Ya’ World Tour this year,” he wrote. “This was a difficult decision, but the well-being of my fans and touring family is always my top priority.” Horan also said that only doing a few shows this year just “didn’t feel right and I’m sorry to all you amazing people who bought tickets.”

On the bright side, the former One Direction star is looking very forward to the day he can hit the stage again. “I look forward to being able to bring new music and a new tour for all of my fans around the world in 2021,” he wrote, adding that he’s not yet ready to announce definitive dates. “I want to announce new dates soon but I don’t think it’s fair on you guys to do so until the dust has settled and things have gone back to normal,” he added.

That said, fans who bought tickets will be able to get their money back. “For now, all tickets purchased will be refunded,” Horan continued before directing fans to his website for more info. “I am going to focus on writing and recording more in order to be back touring next year with more music to play for you all.”

The “Put a Little Love on Me” singer closed out his heartfelt note by reminding fans just how much playing live shows means to him. “As you all know touring and having the fortune to play in front of all of you beautiful people is the reason I love my job and my life,” he wrote. “I cannot wait to be back. For the time being, please stay safe everyone. Love you all, Nialler.”

Young Thug And Gunna’s ‘Quarantine Clean’ Sticks A Middle Finger Up At Coronavirus

Young Thug and Gunna (along with producer Turbo) are practicing the fine art of social isolation in the midst of the COVID-19 coronavirus pandemic and want the world to know that they can do it too. Henceforth their new collaboration, “Quarantine Clean,” that’s equally about practicing safe social distancing and also having enough money to sleep inside of an expensive car. If this doesn’t reinforce the notion that we need to stay home to beat this disease, I don’t know what will.

A few weeks ago, Young Thug posted a supportive message to our country’s medical personnel who are in the midst of treating COVID-19 patients. It let fans know that he was serious about adhering to the Centers for Disease Control and Prevention’s guidelines about avoiding close contact with people who are sick, washing hands for at least 20 seconds after being in a public place, covering the mouth and nose after sneezing, and more.

So Thug did what any musician with a voice would do: make a song with a frequent collaborator that tells fans that they should also respect the guidelines. Gunna put the song on fans’s radars after he posted a video jamming to it on the freeway. Socially isolated, I might add.

That brings us to “Quarantine Clean” itself, which wastes no time doling out the medically helpful advice. Its first line is “Yeah, I’m quarantine-clean, so relaxed” and it continuously builds into grander health-conscious brags. Over the course of its chorus, it admires clean cars, great health, and being financially independent. Gunna raps about having paper towels and it feels like a great flex here given the circumstances; wearing designer right now just doesn’t hit as much of a brag.

When Thug comes in, you know that the excitement is going to be cranked up even higher. The rapper is excited to be clean and healthy, but admits that he has a “slime disease.” His verse balances the bragging out by telling listeners what they should stock up on during these tough times: water, dental floss, and optimism.

He ends his contribution by locking himself in the house and saying a prayer. That’s probably the easiest and safest lyric to turn into a TikTok challenge yet. Let’s all give it a shot.

Thug has been relatively quiet since the release of the deluxe edition of So Much Fun last December that came with four new songs. In February, he released “Give No Fxk” with Migos and Young Thug. Last month, he appeared in the “Out West” video from the compilation album for Travis Scott‘s Cactus Jack Records.

Be safe with Young Thug and Gunna’s “Quarantine Clean” up above.

How Adam Schlesinger Briefly Appeared On The Real World‘s First Episode

Adam Schlesinger’s music belonged on television. One of the Fountains of Wayne songwriter’s most visible composition was 2003’s “Stacy’s Mom,” thanks to its Rachel Hunter-in-a-bikini-led video that dominated MTV. The clip preceded a slew of other Schlesinger-penned pop-rock hits anchored by glossy visual treatments; think The Click Five’s “Just the Girl,” Bowling for Soup’s “High School Never Ends,” and more. Schlesinger, who died on April 1, also spent the latter 2010s working on more than 150 hilarious, often poignant tunes for The CW musical series Crazy Ex-Girlfriend, writing that won him an Emmy in 2019.

But before all that, both Schlesinger himself and his music appeared on MTV’s The Real World. He wasn’t a cast member, but at the time of the show’s inaugural season in 1992, he played in a New York City duo called Les Enfant Terribles with Rebecca “Becky” Blasband, one of the show’s original seven stars. “The thing about Adam is that he was very driven,” she told MTV News over the phone this week. “Even though he was sort of a very relaxed and humorous and brilliant songwriter, he was very pragmatic. He knew exactly where he was going and what he was gonna do.”

The pair are seen rehearsing a song together in the show’s very first episode, around 16 minutes in. It was “Half a Woman,” a country-tinged tune that would later appear on a Fountains of Wayne compilation album in 2005. At the time, though Schlesinger had been writing with fellow member Chris Collingwood, that band didn’t officially exist yet. But Les Enfant Terribles was going strong.

“We would play a lot of songs and drink red wine and record into his answering machine, like sketches I had,” she said. After being introduced by a mutual friend, the pair started haunting the city’s music-club scene, though the storied CBGB rejected them because of their cheekily pretentious moniker. They’d stay up all night chain-smoking and making music at Schlesinger’s legendary West Village loft, a “ramshackle fifth-floor walk up,” the New York Times once called it. “In my songs, he’d say, ‘Well, what about this bridge?’ But he would never interfere. He knew I had something to say, but he was such a great collaborator, which was one of the reasons he became so successful. He was really interested in other people’s ideas and opinions.”

That collaboration was documented on The Real World as a way to introduce Blasband and her own musical ambitions. In Episode 1, she sits with Schlesinger as they both strum acoustic guitars and quickly try to lock in the chords for “Half a Woman.” She has a solo showcase later that night at the “super cheesy nouveau riche” club where she worked as a waitress, and she needs to nail her moment onstage. Her songs were too “introspective” for the moment, Blasband thought, so she picked one of Schlesinger’s. “When he played it for me, it was so charming,” she said.”

As the episode shows, her moment comes, and Blasband doesn’t waste it. Clad in all black, she delivers the twangy song with a smile, going throaty for its menacing lyrics: “Well he’d tie her up, set her on fire / Douse her with oil, the crowd would go wild.” Not bad considering she’d only learned to play it a few hours earlier in a single rehearsal. “I could’ve used a few more, ’cause I was actually terrified when I got up there and sang. I had been playing and singing only for like a year and a half,” she said.

In that time, Blasband and Schlesinger had gotten close. They dated, and she said their great friendship had an almost sibling-like quality of mutual understanding. Their Gen X bohemian social circle consisted of fellow songwriters and creatives, all supporting each other as they navigated their early twenties in the city. They’d go watch and perform live music, and Blasband mentioned being at the same hotspots as Jeff Buckley. Occasionally, the crew would take a four-day weekend and stay at Schlesinger’s parents’ home in nearby Montclair, New Jersey, where the pool was gleaming and the fridge was always full. “All of us starving waifs would basically eat everything,” she said.

Blasband’s music career continued on, even as she and Schlesinger went in opposite directions. She pursued a more folk-influenced sound and moved to Los Angeles. She released her debut album, Rapt, in 1997 and opened up for acts like Matchbox Twenty and Jon Bon Jovi. Schlesinger, meanwhile, remained on the East Coast; his big break came after he wrote the title song to Tom Hanks’s 1996 movie That Thing You Do! and saw his career as an in-demand songwriter and producer take off. They’d occasionally catch up in both New York and L.A., driving around and joking about launching a dance band they’d call Fromage.

“Every time I’d see him again, he was just my Adam,” she said, “and that’s the person I’m going to miss terribly.”

Like a lot of his admirers and past collaborators, she couldn’t answer right away when asked for a favorite of his compositions. Instead, she emailed back 11 minutes later with a few options, including the dreamy Ivy tune “Edge of the Ocean,” which she said recalled some of what they’d worked on together in the Les Enfant Terribles days. Another pick, one that’s emerged as perhaps the defining tune in a deeply beloved and rightfully adored pop-rock catalog of a lifetime, was “That Thing You Do!” She noted, “It’s entirely Adam and really joyful.”

For her part, Blasband is still closely holding Schlesinger, and that entire era of their mutual artistic adventures. She’d recently revisited those memories for a memoir she’s working on, and she’d planned to show him the chapter during a surprise visit to New York sometime this year. Instead, she’ll keep writing.

“When you’re young and you bond and grow together, that’s an extraordinary kind of bond,” she said. “He let me be who I was.”

The 1975 Sing About Love Types On ‘Jesus Christ 2005 God Bless America’

Although Matty Healy identifies as an atheist, that doesn’t stop him from having some acoustic fun with Christianity on The 1975‘s new single, “Jesus Christ 2005 God Bless America.” This absurdly titled tune is a duet with singer-songwriter Phoebe Bridgers, who uses the gentle and windy atmosphere to sing about being in love with the girl next door. Its delicate beauty will put a smile on your face.

The 1975 have finally shared this song after teasing it in 2017, and it was definitely worth the wait. Healy sounds absolutely smitten with his savior, singing “I’m in love with Jesus Christ / He’s so nice.” In fact, Christ is so nice, he says it twice in the following two lines. “I’m in love, I’m in love.”

As Healy sings to the sky and then drops a few lines about hiding love for a friend, Bridgers hugs the guitar to softly express her adoration for a neighbor. Claire’s her name. When Bridgers sees her, she absolutely melts. And when Claire leaves? It wouldn’t be too far-fetched to imagine Bridgers heavily breathing in front of a Claire-shaped shrine in her closet made out of old gum.

Bridgers was due to accompany The 1975 on a North American tour this spring and summer, though those dates are currently in question given the coronavirus pandemic. But this song lets you still hear Healy and Bridgers together, and that sounds nice.

“Jesus Christ 2005 God Bless America” is the latest of many tastes for The 1975’s forthcoming (and long-delayed) album, Notes on a Conditional FormThey recently shared the tracklist for the LP, out on May 22, that has a whopping 22 entries. Previously released tracks like “Frail State of Mind,” “The Birthday Party,” and “Me & You Together Song” all appear on it.

Listen to the loving “Jesus Christ 2005 God Bless America” up above.

Bop Shop: Quarantine-Ready Songs From Lady Gaga, The Wonders, Karol G, And More

Adam Schlesinger, who died from coronavirus complications earlier this week, wrote a ton of memorable power-pop anthems with his band Fountains of Wayne and for other bands like The Click Five and the Jonas Brothers over his all-too-brief life. But while the thought made me tear up even more at the news of his passing, I decided to re-watch the 1996 Tom Hanks film That Thing You Do! on Wednesday night in Schlesinger’s memory.

Among Adam’s musical contributions to the movie is the title track that turns a fictional group of nobodies from Erie, Pennsylvania into America’s hottest boy band, and what a challenge it must have been to write! How do you craft a song that sounds like it was realistically written in the mid-’60s while also making modern audiences watching the movie want to hear it four or five times over the course of the film’s 108-minute runtime? But Schlesinger did just that, creating a song that actually charted three decades after it fictionally was supposed to, and with good reason.

My favorite part of it, outside of the loud and “too fast” drum intro that makes all the plaid and poodle skirt-wearing teens hit the dance floor, is the way the chorus and bridge lean minor, a sort of homage to the lovelorn doo-wop that no doubt influenced Schlesinger’s lyrics. (“Well I try and try to forget you girl / But it’s just so hard to do.”) He knew that a memorable chorus doesn’t have to be major or minor all the way through, and whenever the vocalist laments, as in Fountains of Wayne’s “Stacy’s Mom” (“Stacy can’t you see? You’re just not the girl for me”), it’s perfectly fine for a pop banger to sound a little sad. —Bob Marshall

Asher Angel Loves The ‘Summer Vibe’ Of Breezy ‘All Day’ And Thinks You Will, Too

In last year’s crackling DC excursion Shazam!, Asher Angel‘s character could turn into an extremely buff, extremely powerful, lightning-wielding superhero played by Zachary Levi. It was a power he used, thankfully, for good.

But on “All Day,” the newest taste of the performer’s burgeoning music career, Anger takes center stage and doesn’t have to share it with anyone. That means it’s just him, commanding a stadium-sized vocal performance as he sings about being completely infatuated with someone over a club-ready beat tailor-made for maximum flirtation.

Angel tells MTV News he recorded the song, written by rapper/songwriter Arizona Zervas, after connecting with it right away. “It has that great spring break/summer vibe that gets you in a good mood,” he said. He laid it down in Los Angeles with producer and engineer Chris “Tek” O’Ryan, who also worked on Justin Bieber’s Changes album. Angel called him “someone I really trust and can be free with and try different vocal interpretations.”

You can see that in the behind-the-scenes exclusive studio footage he shared with MTV News below.

Plans for a large-scale music video, though, had to be amended given the widespread stay-at-home orders issued by local governments in response to the coronavirus pandemic. That means you won’t see Angel singing his heart out next to a private plane, like he does in the blockbuster “One Thought Away” clip, or hanging out on the plane with onetime collaborator Wiz Khalifa. (“Working with Wiz reinforced the importance of being true to yourself and your craft, and of course, to have fun.”)

Instead, Angel and his team had to get creative with color.

“We decided to film a visualizer in my backyard – without a stylist or the other things that come with an official video,” he said. “I have what I think are these cool and comfortable monochromatic outfits, and I like the vibrancy of the colors and how it connects with the song and imagery.” He’s also called for fans to submit their own versions where they can rock monochromatic outfits of their own.

You’ll be able to see it when the “All Day” clip drops on April 4. Until then, you’ll have the song itself, which you can stream above as a breezy way spend another day at home. And don’t worry: Angel is right there with you, keeping busy “writing, playing guitar and piano” along with “video games, school, and basketball.” He’s also finding time for the essentials of movie nights and board games.

“Just trying to get through it like everyone else,” he said.