Jason Aldean Recording New Song With Former Duet Partner
Jason Aldean Recording New Song With Former Duet Partner originally appeared on Parade.
Country superstar Jason Aldean was on Taste of Country's show on Friday, May 30, where he talked about his latest album, which he has been working on for the past six to eight months. He said that there will be at least two duets on the album, and while he played coy as to the exact duet partners, one thing he said has us screaming about it potentially being a reunion with or .
Aldean and Clarkson made a splash in 2010 with "Don't You Wanna Stay," which was certified 2x Platinum by the RIAA and hit No. 1 on the U.S. Country Chart and U.S. Hot Country Chart, plus it got to No. 31 on the Billboard Hot 100. Then a decade later, Aldean and Underwood released "If I Didn't Love You," which hit No. 1 on the U.S. Country Chart, No. 2 on the U.S. Hot Country Chart, No. 15 on the Billboard Hot 100 and was certified 1x Platinum by the RIAA.So, naturally, when he says he's teaming up with a former duet partner for another song, we are very excited that it could be either American Idol winner.
Aldean told Taste of Country that he's going to have at least two and possibly more duets on his new album and when pressed for who the duets are with, he wouldn't say, but when asked if it's someone he has done a duet with before, he confirmed that one of them is.
"Uhhh, one is and the other is not. The other's not. Gotta save a little bit [of mystery]," teased Aldean.
🎬 SIGN UP for Parade's Daily newsletter to get the latest pop culture news & celebrity interviews delivered right to your inbox 🎬
Now, if it's not Clarkson or Underwood, it could be a lot of people because Aldean has sung with a lot of other artists over the years, including Eric Church, Luke Bryan, Tyler Farr, Miranda Lambert, Ludacris, Darius Rucker, Charles Kelley, Brantley Gilbert and Florida Georgia Line. So there are a lot of possibilities. But we're crossing our fingers for Clarkson because their duet was straight fire.
As to the rest of the album, Aldean had this to say, "We've been in the studio a lot, man. Probably the last eight months or so, six or eight months, we've been in the studio a lot. Basically, pretty much done with the album, at least my part, still gotta mix and master and all those kind of things. It's gonna be a cool project. Lotta songs. Couple duets in there too, so it's gonna be pretty cool."He went on to say that a couple of the songs are duets but they haven't actually found the duet partner yet, saying, "[All the duets are] gonna make it [on the album], there's a couple songs that I know are gonna be duets and then there's a couple, one maybe two, that we still kind of haven't found our partner for that yet, but it's gonna go in that lane too, so."
Jason Aldean Recording New Song With Former Duet Partner first appeared on Parade on May 30, 2025
This story was originally reported by Parade on May 30, 2025, where it first appeared.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Yahoo
3 hours ago
- Yahoo
Netflix Star Dies at 40 After Tragic Hit-and-Run in the Hamptons
Netflix Star Dies at 40 After Tragic Hit-and-Run in the Hamptons originally appeared on Parade. Netflix star Sara Burack has died at the age of 40 after a hit-and-run in the Hamptons, and the police have asked the public to come forward with any information regarding the accident. Burack, who appeared on Netflix's Million Dollar Beach House, was discovered on June 19 near Villa Paul Restaurant on Montauk Highway at around 3 a.m. after someone placed a call to 9-1-1. The caller reported seeing a woman lying unconscious by the side of the road, according to The Mirror. When officials arrived at the scene, they found Burack unconscious and with injuries that were consistent with being struck by a moving vehicle. She was taken to a nearby hospital but later succumbed to her injuries. The outlet reported that the driver fled the scene. Southampton Town Police Detectives and a New York State Police Accident Reconstruction Unit, which investigated the scene, said that there have not been any witness statements or details about the car involved in the accident at the time of publication, per Dan's Papers. Burack worked as a luxury real estate agent with Nest Seekers International in New York, and she focused on properties in both Manhattan and the Hamptons. In 2020, Burack sat down with to talk about the series and her life as a real estate broker. 'My family has a commercial construction material sales business that I spent many years of my life working for. I have always been intrigued by real estate projects and decided to become a broker after my experience as a summer property manager in the summer house I would rent,' Burack said at the time. 'I have been spending half the year in the Hamptons for the past 11 years. It was only natural to turn my love for real estate into a blossoming career.' When asked about the Netflix show, Burack responded, 'Viewers will be taken into the world of the Hamptons where they will see not only beautiful multimillion-dollar beach homes and estates, but will be shown summer in the Hamptons pre-COVID. With scenes from broker open houses, polo games, yacht life and more, there is sure to be an awww from viewers!' Netflix Star Dies at 40 After Tragic Hit-and-Run in the Hamptons first appeared on Parade on Jun 20, 2025 This story was originally reported by Parade on Jun 20, 2025, where it first appeared.
Black America Web
6 hours ago
- Black America Web
In Case You Forgot: Revisiting Kendrick Lamar & ‘The Pop Out' Concert One Year Later
Source: Timothy Norris / Getty One year ago today, (June 19th) the world watched as Kendrick Lamar performed for the first time since his public feud with Drake. Continue reading to refresh your memory and see how everyone reacted to the epic night! Unless you live under a rock, you know that last year the hip hop community was enthralled with the beef between rap giants Kendrick Lamar and Drake. The two Grammy Award-winners traded scathing shots back and forth for almost a month and left fans on both sides defending their goats. After much debate, public opinion crowned Kendrick the winner, especially after the release of the track 'Not Like Us.' The DJ Mustard produced song hit number one on the Billboard Hot 100 upon its release and spent the better part of the last year occupying the chart. Once the beef died down a bit, fans began to wonder what would be next. A video? A remix? Both? Instead, Kendrick, who just had celebrated his 37th birthday two days prior, blessed his fans with something much better, a one-off concert entitled The Pop Out – Ken and Friends in Los Angeles on Juneteenth. Unsurprisingly, almost as soon as tickets for The Pop Out released, they sold out. Naturally, the demand for tickets was so high that everyone wasn't able to purchase them. For all of those who weren't lucky enough to snatch up tickets to attend in person, the concert also live-streamed on Prime Video and the Amazon Music channel on Twitch. Even before fans stepped into The Forum, the atmosphere at The Pop Out , which was presented by pgLang and Free Lunch, was electric. It was a party outside as fans waited for doors to open. While people waited around, there were several merchandise stands, food and beverage stations and photo ops for them to hit up. On top of that, courtesy of HeadCount, there was a voter registration station, encouraging attendees to vote in November. As entertained as fans might've been outside, it was nothing compared to the show they were blessed with once they stepped inside The Forum. The highly anticipated concert began with a set from Real 92.3 FM's DJ Hed. He brought out a multitude of established and up and coming West Coast artists including Remble, Westside Boogie, BlueBucksClan, CUZZOS, Bino Rideaux and many more. Legendary Compton, California dancer Tommy the Clown even stepped out to take fans down memory lane with a special performance alongside his TSquad dancers. Hed's set was a great introduction to some of the rising talent in California and a perfect warmup for what went on to be an absolute epic night. The concert was titled The Pop Out, which was a play on one of the lyrics in 'Not Like Us.' What better way to continue the night than by having the producer of the smash hit grace the stage? That's right. DJ Mustard was next to electrify the crowd with an impeccable set. In addition to playing some of his own biggest hits, the Los Angeles native used his star power to bring out some of the superstar artists he's worked with throughout his illustrious career. Before Mustard exited the stage, West Coast staples Ty Dolla $ign, Dom Kennedy, YG and Roddy Ricch and more performed some of their massive slaps in front of a packed house. The roof of the building almost blew off when Tyler, The Creator surprised everyone and blazed the stage. In one of the most heartwarming moments of the night, Mustard paid tribute to the late legendary rapper Nipsey Hussle. He had fans in attendance raise their phones and turn their camera lights on while he played three of Nip's songs. Even if the show ended after Mustard's set, it would've been considered classic. Luckily, the main event was still on deck. After a brief intermission, the man of the hour popped out from the bottom of the stage and started his show in a way that only he could. The first song in Kendrick's set was his six minute 24 second Drake diss track, 'Euphoria.' The crowd rapped the whole song word for word as Kendrick set the tone for what the rest of his performance would be like. After the exhilarating introduction, Cornrow Kenny performed a plethora of his classics including, 'DNA,' 'Element,' 'Alright,' 'Swimming Pools' and more. Nostalgia hit an all-time high when Kendrick brought out Jay Rock, Ab-Soul and Schoolboy Q to perform some of their biggest tracks together. The reunion was truly a special moment as it marked the first time Black Hippy had been seen together since Kendrick left TDE (Top Dawg Entertainment) in 2022. After Kendrick dipped into his catalog to perform some more of his timeless bangers and his controversial 'Like That' verse, he brought out one of his mentors and one of the West's most legendary musicians, Dr. Dre. To the delight of the crowd, Dre performed the undeniable classic tracks 'Still D.R.E' and 'California Love' with assistance from Kendrick. As Dre was about to exit the stage, Kendrick questioned if he was going to say anything else before they continued the party. This prompted Dre to walk back, quiet the crowd and whisper 'I see dead people' into the mic. Every single person in the crowd and watching at home knew exactly what that meant. For the first time ever, Kendrick began performing the song of the summer. The crowd completely exploded as they screamed the lyrics to the song at the top of their lungs. The song's impact become more and more apparent as Kendrick performed it four more times. Each time the track restarted, it seemed as if the crowd got louder and louder. The most impactful thing that took place during the whole night happened before the fifth performance of the chart-topping diss track. Kendrick brought up all of the artists who had performed throughout the night (regardless of their gang affiliations) and got them to take a picture together on stage. 'Let them see this. We put this together with peace.' Kendrick said to the crowd. After the picture, it seemed as if the whole West Coast music scene was on the stage performing 'Not Like Us' in one of the most beautiful and important moments in recent hip hop history. The Pop Out – Ken and Friends was a deserved victory lap for Kendrick and a much needed uniter for the West Coast and the city of Los Angeles in specific. Throughout the show and after, fans couldn't help but to chime in and give their opinions of the night, Kendrick, Drake and everything in between. One year later, check out some of the reactions to the biggest concert of last year! In Case You Forgot: Revisiting Kendrick Lamar & 'The Pop Out' Concert One Year Later was originally published on
Los Angeles Times
9 hours ago
- Los Angeles Times
The Tony-winning revival of ‘Parade' turns a miscarriage of justice into gripping musical drama
Leo Frank, the superintendent of a pencil factory in Georgia, was accused of murdering a young employee, 13-year-old Mary Phagan. His 1913 trial led to his conviction despite shoddy evidence and the manipulations of an ambitious prosecuting attorney, who shamelessly preyed on the prejudices of the jury. After a series of failed appeals, Frank's sentence was commuted by the governor, but he was kidnapped and lynched by a mob enraged that his death sentence wasn't being imposed. The story garnered national attention and threw a spotlight on the fault lines of our criminal justice system. This dark chapter in American history might not seem suitable for musical treatment. Docudrama would be the safer way to go, given the gravity of the material. But playwright Alfred Uhry and composer and lyricist Jason Robert Brown had a vision of what they could uniquely bring to the retelling of Frank's story. Their 1998 musical was a critical hit but a difficult sell. More admired than beloved, the show has extended an open challenge to theater artists drawn to the sophisticated majesty of Brown's Tony-winning score but daunted by the expansive scope of Uhry's Tony-winning book. Director Michael Arden has answered the call in his Tony-winning revival, which has arrived at the Ahmanson Theatre in sharp form. The production, which launched at New York City Center before transferring to Broadway, proved that a succès d'estime could also be an emotionally stirring hit. 'Parade' covers a lot of cultural, historical, and political ground. The trial, prefaced by a Civil War snapshot that sets the action in the proper context, takes up much of the first act. But the musical also tells the story of a marriage that grows in depth as external reality becomes more treacherous. It's a lot to sort through, but Arden, working hand in hand with scenic designer Dane Laffrey, has conceptualized the staging in a neo-Brechtian fashion that allows the historical background to be seamlessly transmitted. Sven Ortel's projections smoothly integrate the necessary information, allowing the focus to be on the human figures caught in the snares of American bigotry and barbarism. The 2007 Donmar Warehouse revival, directed by Rob Ashford, came to the Mark Taper Forum in 2009 with the promise that it had finally figured out the musical. The production was scaled down, but the full potency of 'Parade' wasn't released. An earnest layer of 'importance' clouded the audience's emotional connection to the characters, even if the Taper was a more hospitable space for this dramatic musical than the Ahmanson. Arden's production, at once intimate and epic, comes through beautifully nonetheless on the larger stage. 'Parade,' which delves into antisemitism, systemic bias in our judicial system and the power of a wily demagogue to stoke atavistic hatred for self-gain, has a disconcerting timeliness. But the production — momentous in its subject matter, human in its theatrical style — lets the contemporary parallels speak for themselves. Ben Platt, who played Leo, and Micaela Diamond, who played Leo's wife, Lucille, made this Broadway revival sing in the most personally textured terms. For the tour, these roles are taken over by Max Chernin and Talia Suskauer. Both are excellent, if less radiantly idiosyncratic. The modesty of their portrayals, however, subtly draws us in. Chernin's Leo is a cerebral, Ivy League-educated New Yorker lost in the minutiae of his factory responsibilities. A numbers man more than a people person, he's a fish out of water in Atlanta, as he spells out in the song 'How Can I Call This Home?' Platt played up the comedy of the quintessential Jewish outsider in a land of Confederate memorials and drawling manners. Chernin, more reserved in his manner, seethes with futile terror. The withholding nature of Chernin's Leo poses some theatrical risks but goes a long way toward explaining how the character's otherness could be turned against him in such a malignant way. His Leo makes little effort to fit in, and he's resented all the more for his lofty detachment. It takes some time for Suskauer's Lucille to come into her own, both as a wife and a theatrical character. It isn't until the second half that, confronting the imminent death of her husband, she asserts herself and rises in stature in both Leo's eyes and audience's. But a glimmer of this potential comes out in the first act when Lucille sings with plaintive conviction 'You Don't Know This Man,' one of the standout numbers in a score distinguished less by individual tunes than by the ingenious deployment of an array of musical styles (from military beats to folk ballads and from hymns to jazz) to tell the story from different points of view. 'This Is Not Over Yet' raises hope that Leo and Lucille will find a way to overcome the injustice that has engulfed them. History can't be revised, but where there's a song there's always a chance in the theater. Reality, however, painfully darkens in the poignant duet 'All the Wasted Time,' which Lucille and Leo sing from his prison cell — a seized moment of marital bliss from a husband and wife who, as the last hour approaches, have finally become equal partners. Ramone Nelson, who plays Jim Conley, a Black worker at the factory who is suborned to testify against Leo, delivers the rousing 'Blues: Feel The Rain Fall,' a chain gang number that electrifies the house despite the defiance of a man who, having known little justice, has no interest in defending it. Conley has been sought out by Governor Slaton (a gently authoritative Chris Shyer), who has reopened the investigation at Lucille's urging only to uncover contradictions and inconsistencies in the case. He's one of the more noble figures, however reluctant, married to a woman (a vivid Alison Ewing) who won't let him betray his integrity, even if it's too little, too late. Hugh Dorsey (Andrew Samonsky), the prosecuting attorney preoccupied with his future, has no regrets after railroading Leo in a politicized trial that will cost him his life. Dorsey is one of the chief villains of the musical, but Samonsky resists melodrama to find a credible psychological throughline for a man who has staked his career on the ends justifying the means. Britt Craig (Michael Tacconi), a down-on-his-luck reporter who takes delight in demonizing Leo in the press, dances on his desk when he's landed another slanderous scoop. But even he's more pathetic than hateful. One sign of the production's Brechtian nature is the way the structural forces at work in society are revealed to be more culpable than any individual character. The press, like the government and the judiciary, is part of a system that's poisoned from within. The harking back to the Civil War isn't in vain. 'Parade' understands that America's original sin — slavery and the economic apparatus that sanctioned the dehumanization of groups deemed as 'other' — can't be divorced from Leo's story. The musical never loses sight of poor Mary Phagan (Olivia Goosman), a flighty underage girl who didn't deserve to be savagely killed at work. It's exceedingly unlikely that Leo had anything to do with her murder, but the show doesn't efface her tragedy, even as it reckons with the gravity of Leo's. When Chernin's Leo raises his voice in Jewish prayer before he is hanged, the memory of a man whose life was wantonly destroyed is momentarily restored. His lynching can't be undone, but the dignity of his name can be redeemed and our collective sins can be called to account in a gripping musical that hasn't so much been revived as reborn.
