Young Singer Wins Over ‘AGT' Judges With Ed Sheeran Cover
Chase Varnes had a rough start on Tuesday night's episode of America's Got Talent, but the 13-year-old singer from Vancouver Island ended up delivering one of the most memorable performances of the season so far — thanks to a little help from Ed Sheeran.
Varnes began his audition with an original song on acoustic guitar, but was quickly interrupted by judge Simon Cowell. 'I hate to do this,' Cowell said. 'I didn't love the song; however, I like you. Have you got another song?'
More from Billboard
Ozzy Osbourne's DNA Will Be Sold in Limited Edition Liquid Death Cans
Kneecap Launch London Billboard Takeover Ahead of 'Witch-Hunt' Court Appearance
Hatebreed Guitarist Exits Tour Following Diagnosis of Brain Tumor
Without missing a beat, Varnes launched into a cover of Ed Sheeran's 'Life Goes On,' originally featuring Luke Combs, and instantly won over the crowd and most of the judges.
'You know, you remind me of a young Justin Bieber,' said Howie Mandel, referencing Varnes' Canadian roots and early busking background. The compliment made the teen visibly light up on stage.
Sofía Vergara also applauded the performance, saying, 'I know it's nerve-racking to be on this stage, but I thought it was better the second song. Simon always knows how to stop it and make it better. I think the girls are gonna go crazy for you.'
Mel B, however, had a more measured response. 'You were great. You were a diamond in the rough with so much potential,' she said. 'But I can see your nervousness. You're not quite there yet for me.'
While Mel B gave him a 'no,' both Mandel and Vergara offered their yeses. That left Cowell to cast the deciding vote.
'Sometimes we have on people your age, and I'm like, 'Okay, I'll be sort of nicer because you're young,'' Cowell said. 'You, I actually do believe, that you have something… You've got everything going for you. The audience loved you, which is why you're gonna get three yeses.'
Varnes' cover of 'Life Goes On' was a breakout moment on the night's episode, trending online alongside a series of cat-themed novelty acts — including a rapper named Moshow and a group called Loco Pop Familia, who performed dressed entirely as cats.
America's Got Talent airs Tuesdays at 8 p.m. ET/PT on NBC.
Best of Billboard
Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1
Janet Jackson's Biggest Billboard Hot 100 Hits
H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


New York Times
23 minutes ago
- New York Times
Andrew Schulz, ‘Podcast Bro,' Might Be America's Foremost Political Journalist
The comedian Andrew Schulz has risen to arena-headliner status on the strength of his irreverent, defiantly anti-woke standup. His material is a high-energy blend of gleeful raunch and precise observation, all peppered with ethnic jokes, slurs and smack talk. (Which, as much as such a thing is possible, generally comes across as good-hearted or, at least, not meanspirited.) But provocation is not the only trick in his bag. In Schulz's most recent special, 'Life,' which came out on Netflix this year, the 41-year-old moved into more vulnerable and narratively driven territory. It's about his and his wife's experience with I.V.F. (told in highly un-family-friendly language). Despite all his success with standup, Schulz has perhaps become even better known for his podcasting. His shows 'Flagrant,' co-hosted by Akaash Singh, and 'Brilliant Idiots,' co-hosted by Charlamagne tha God, are appointment listening for millions, not just for humor but for political discussion too. That relatively newfound breadth and Schulz's ready embrace of disparate subject matter — from politics to sports to theology to culture writ large — has led to him becoming a star of the so-called online manosphere. Although that term, or 'podcast bro,' or any other potentially reductive label one might apply, would most likely frustrate the entertainingly pugnacious Schulz. But whatever you want to call him or his corner of the online world, it's influential. Donald Trump went on 'Flagrant' last fall ahead of the presidential election, and progressive politicians like Bernie Sanders and Pete Buttigieg have been guests on the show this year. For me, that raised questions about what Schulz's bigger goals are, and what responsibilities might come with his growing influence. Subscribe: Apple Podcasts | Spotify | YouTube | Amazon | iHeart | NYT Audio App In the last four or five years, you've really blown up. What has shifted in the culture to enable you to come to prominence? When I started posting stuff on the internet, specifically standup, things changed for me. I was trying to get an HBO special or, back in the day, Netflix is just coming to prominence, or Comedy Central. I was trying to get anything, and I couldn't get any motion with standup. So out of desperation, I filmed my own special, pitched it to everybody, nobody wanted it, and I was like, I'm going to put this online. At the time there was a sensitivity, especially in corporate America, about edginess and jokes. So my gamble was maybe if I put this out on YouTube, there will be an audience that likes this type of comedy. I put it out, and a weird thing happened: Everybody only watched 20 minutes. So I put out a 20-minute version of it, and the next weekend, I sold out a comedy club. The next weekend I sold out another one. I was like, Whoa, there's really something over here on the internet, and I can be my authentic self with comedy despite what the cultural sensitivity of the time is. You obviously have clear ideas about what works with audiences. Does that create a temptation to pander? If you actually are trying to create something authentic, you're going to make less money, but you maintain your integrity. Oftentimes what happens is you'll have an opinion that's maybe a little different, and you'll be rebuked for that opinion for years, and then people will start to come around. Then the same people that rebuked you will start echoing those sentiments with no accountability. We had Bernie on the pod, who I love. Want all of The Times? Subscribe.


New York Times
39 minutes ago
- New York Times
The Book Cover Trend You're Seeing Everywhere
Like fashion trends, fads in book covers come and go. One year, the backs of women's heads might be all the rage; the next, soft focus photography. And who can forget the exploding flower craze? Or the proliferation of flames on jackets, from thrillers to science fiction to self-help? But the look that's commanding today's runways — a.k.a. bookshelves — is not so incendiary. It tends to lay blaringly bright type in a sans-serif font atop a painting, usually a few centuries old but not always. Facial expressions are baleful or dyspeptic; an aggressive burst of spray paint can change the tone entirely. These covers are the new signifiers of stylish literary fiction, telegraphing gravitas, wit and cool. They make a bid for a certain kind of reader — more city than suburb, more pét-nat than chardonnay. They wouldn't be caught dead alongside a volume decked out in pop art or, god forbid, metallic lettering. Thomas Haggerty, a senior account manager at Bridgeman Images, which licenses paintings for commercial projects, credits the trend to 'the power of juxtaposition.' Gregg Kulick, executive art director at Hachette Book Group, agrees: 'Poppy type' reads as fun, he says, while the paintings 'hint at the academic.' So how did this ripped-from-the galleries craze get off the ground? After all, paintings have graced the covers of novels since 'The Picture of Dorian Gray,' but it appears that 'My Year of Rest and Relaxation' (2019) might be the trailblazer for this century's spate. Here's the story behind that one, plus eight descendants out — or soon to be — this year. Want all of The Times? Subscribe.


New York Times
39 minutes ago
- New York Times
A Retelling of the Mahabharata, Set to Modern-Day Struggles
The Sanskrit epic the Mahabharata has been adapted many times over in oral retellings, plays, movies, comic books and more. Consisting of over 100,000 verses, the poem has so many stories that picking which ones to tell is a statement in itself. And making that decision can pose its own challenges as Ravi Jain and Miriam Fernandes, co-artistic directors of the Toronto-based theater company Why Not, learned when they went about adapting it. Now they are bringing their expansive two-part contemporary staging, which premiered in 2023 at the Shaw Festival in Ontario, Canada, to Lincoln Center, where it will run from Tuesday through June 29. Their adaptation is based on the poet Carole Satyamurti's retelling of the epic, which, at its core, is the story of two warring sets of cousins — the Kauravas and the Pandavas — trying to control a kingdom. The poem is part myth, part guide to upholding moral values and duty — or dharma. Some of the epic incorporates the Bhagavad Gita, a philosophical text on Hindu morality, which is framed as a discussion between Prince Arjuna, a Pandava and a skilled archer, and Lord Krishna, a Hindu God who acts as Arjuna's teacher. Jain, 45, began developing the piece in 2016 after receiving a $375,000 grant from the Canada Council for the Arts, the country's public arts funder. Fernandes, 36, joined him on the project two years later after finishing graduate school in France. Jain described an early version of the script in an interview as 'feminist' and 'self-referential.' But the pandemic made them rethink which stories could best drive home the point of dharma — a central tenet of the text. 'To build a civilization, those with the most power must take care of those with the least,' Jain said, referring to the epic's message. 'In the animal kingdom, the strong eat the weak. There's no problem with that. But humans have empathy, and we can build a civilization where we're not just those who eat and those who are eaten, but rather those who feed and those who are fed.' Want all of The Times? Subscribe.