Kelly Clarkson just performed a cover of Jelly Roll’s chart-topping song “Save Me” that gave us chills during an episode of The Kelly Clarkson Show.

During a segment of her iconic Kellyoke, Clarkson showed off her powerful vocals, covering Jelly Roll’s song with an equally powerful message about addiction for the first time. Jelly Roll initially released “Save Me” in 2020 and released a new version featuring Lainey Wilson last year, both of which saw major success.

Clarkson performed the song wearing a band shirt from The Police and wide-leg jeans alongside her band at her New York City Studio.

“Somebody save me, me from myself/ I’ve spent so long living in Hell/ They say my lifestyle is bad for my health/ It’s the only thing that seems to help,” Clarkson belted. “All of this drinkin’ and smoking’ is hopeless/ But feel like it’s all that I need/ Somethin’ inside of me’s broken/ I hold on to anything that set me free,” the song continues.

Jelly Roll was understandably honored by Clarkson’s choice of song. “This may be the most honored I’ve ever felt. I love Kelly and her voice and soul and what she stands for so much. I’m honored she covered my song – I cried listening to the first time,” Jelly Roll commented under Clarkson’s YouTube video.

Jelly Roll also shared his gratitude on X (formerly Twitter), writing, “I would’ve never believed you if you had told me that I’d write a song so impactful that incredible Kelly Clarkson would deem it worthy to cover. Thank you, Kelly- wow – I’m honored in a way I can’t event described – I cried watching it @kellyclarkson.”

Kelly’s vocal complimented the song perfectly, and we can’t help but hope for a Kelly Clarkson and Jelly Roll duet in the near future.

Jelly Roll Rewrites “Save Me” in Tribute to Kelly Clarkson’s Late Ex-Husband — With Post Malone by His Side, in a Moment Fans Will Never Forget

In the early hours of August 8, 2025, inside a quiet artist lounge tucked beneath Allegiant Stadium in Las Vegas, Jelly Roll stood frozen, eyes locked on his phone screen. News had just broken: Brandon Blackstock — music executive, father of four, and Kelly Clarkson’s former husband — had passed away after a long battle with cancer.

Jelly didn’t speak. Not at first. His wife, Bunnie XO, sitting nearby with their two kids, knew better than to interrupt his silence. Post Malone, co-headliner of the Big Ass Stadium Tour, was there too, tuning his guitar for the next show. The mood shifted in an instant.

And then, Jelly said it — soft but heavy.

“She once sang Save Me for me… now I’ll change the lyrics for her.”

It was a statement that needed no explanation. Years earlier, Kelly Clarkson had performed Jelly Roll’s emotional breakout hit Save Me live — a gesture of support during Jelly’s dark days with addiction and depression. That performance had lifted Jelly’s spirit and introduced his raw vulnerability to millions who may not have heard him before.

Now, it was his turn to give back.

There was no stage. No crowd. No spotlight. Just two friends, a guitar, and a mission.

Post Malone looked up and nodded. Bunnie reached for her phone, sensing what was coming. And there, surrounded by road cases, cables, and the quiet hum of tour prep, Jelly Roll and Post Malone delivered a haunting acoustic rendition of Save Me — rewritten in real time as a tribute to Brandon, and a love letter of comfort to Kelly.

The lyrics, though unrehearsed, hit with quiet devastation. “This time I’m not the one asking to be saved… I’m singing for someone she lost,” Jelly whispered between verses. The room held its breath.

That private performance, raw and unfiltered, was filmed by Bunnie and later sent directly to Kelly Clarkson. Within hours, she responded.

In a clip that surfaced later — never meant to be public, but shared with permission from Jelly’s team — Kelly appeared without makeup, holding her daughter River close. Her eyes were puffy, but her voice steady.

“Jelly… I don’t know where you sang it,” she said, her voice breaking. “But I heard every word. And I know Brandon did too. Thank you… for singing when I couldn’t.”

It was the kind of exchange that reminded the world what music is truly for — not awards, not fame, not charts — but connection, memory, and healing.

And in a stadium that would soon roar with tens of thousands of fans that night, one of its most powerful performances had already happened, long before the lights ever came on.

Due to licensing and copyright clearance, the full video will be made available at a later date — but those who’ve seen it call it one of the most emotional tributes ever captured offstage.

Kelly Clarkson is honoring her former stepmother-in-law, country music queen Reba McEntire, with a soaring new cover of McEntire’s 1984 hit “How Blue.”

Clarkson, 39, belted out the song during the “Kellyoke” portion of “The Kelly Clarkson Show” on Tuesday, reminding viewers that she knows her way around a country ditty.

As her backing band, Y’all, plucked out the song’s sweet melody on piano and guitar, Clarkson, dressed in a long skirt and white top, crooned its lovelorn lyrics.

“Oh honey why did you leave me / Ain’t you got a heart left in your chest? /I swear to you that I’m dying/ Cause my mind won’t let my body rest,” she sang.

The Grammy winner’s fans gushed over her performance in the comments of a YouTube video.

“Look at this magical goddess … keep reminding us how blessedly talented she is,” wrote one.

“Kelly always does the queen of country justice,” wrote another.

Added another fan, “I bet Reba loved having Kelly do her song.”

We’re guessing McEntire will love it, too. After all, she and Clarkson are big fans of each other in real life. The duo have sung together many times, including their 2007 duet of Clarkson’s song “Because of You.”

Clarkson teared up when she paid tribute to McEntire, whom she called her singing “hero,” at the 2018 Kennedy Center Honors in Washington D.C. McEntire was there as one of the night’s talented honorees.

“I’ve been a fan of Reba since I was a little girl. Her voice has always felt nostalgic for me. Even as an adult, there’s something about her tone and her storytelling that just feels like home,” the singer told the audience.

Clarkson went on to share how she grew close to McEntire because of her relationship with her ex Brandon Blackstock. At the time the couple tied the knot, McEntire was married to Blackstock’s dad, musician Narvel Blackstock.

“Sometimes when we meet our heroes, it doesn’t always pan out how you hope. But meeting Reba — being friends with her, and eventually becoming family — has been one of the highlights of my life, truly,” she said.

“So thank you so much for listening to me vent as an artist. Thank you so much for comforting me on the phone through my tears, like a friend. And thank you for being a really rad grandma for my kids.”

Neil Diamond’s Quiet Blessing Leaves Hugh Jackman in Tears — And Turns Song Sung Blue Into a Love Letter for the Ages

There are moments in entertainment that feel larger than the screen they appear on. Moments that step outside the machinery of Hollywood and touch something deeply human. For Hugh Jackman, that moment arrived in a single, unexpected message from Neil Diamond — a quiet blessing that transformed the film Song Sung Blue from a creative project into something profoundly personal.

Jackman has played heroes, legends, and larger-than-life characters across Broadway and cinema. Yet nothing prepared him for the emotional weight of portraying a story built around the music of one of America’s most beloved songwriters. Diamond’s songs have lived in the hearts of millions for decades. To carry them into a new generation was an honor Jackman never took lightly.

Still, as production unfolded, there was one approval he wanted more than any other.

When Neil Diamond finally saw the film — and reached out to Jackman privately — the actor was overcome. The music icon didn’t send a formal statement or polished industry praise. Instead, he offered simple, heartfelt words of gratitude. He thanked Jackman for honoring his music, for understanding its spirit, and for treating it with tenderness and respect.

Those words were enough to bring the seasoned performer to tears.

For Jackman, the message meant everything. It wasn’t just validation from a legend. It was reassurance that the film had captured the soul of what Diamond created so many years ago. Song Sung Blue was never meant to be a flashy biopic. It was designed as a love letter — to music, to memory, and to the way certain melodies follow us through life.

And in that quiet exchange, the film found its true purpose.

Audiences have already begun responding in the same emotional way. Viewers describe feeling as though they are not just watching a story, but stepping into a warm, nostalgic embrace. The familiar notes of “Sweet Caroline,” “I Am…I Said,” and the title song carry a power that transcends time, connecting generations in a shared sense of joy and longing.

But knowing that Neil Diamond himself gave his blessing adds an entirely new layer of meaning.

In a world of premieres, red carpets, and endless promotion, the most important moment of this film happened far from the cameras — one artist speaking honestly to another. No spectacle. No showmanship. Just gratitude passed quietly from heart to heart.

And perhaps that is exactly what Diamond’s music has always been about.

For Hugh Jackman, the tears were not just for a message received. They were for a dream fulfilled — and for the realization that sometimes the greatest applause comes in the softest form.

With Neil Diamond’s gentle approval, Song Sung Blue has become more than a film. It has become a timeless tribute, a celebration of music’s power to heal, and a reminder that even legends still believe in the magic of a simple, honest song.

Crumpled raincoat-wearing ‘Columbo’ is one of the most famous TV detectives of our time; he never failed to leave us on the edge of our seats.

Just when you thought the bad guy might get away with it, the cigar-smoking super sleuth would show up with just “one nagging detail” that he couldn’t let go.

Throughout the 70s the show featured on prime-time television and was then shown less frequently from the late 80s right up to 2003.

For years TV detectives had always been a cut above the criminal masterminds they pursued but Columbo turned that stereotype on its head as a shrewd but scruffy blue-collar homicide detective who outwitted the most influential and wealthy of criminals.

The much-loved detective, who became a household name around the globe, earned actor Peter Falk four Emmy awards for his work on the show.

But behind all the success and fame, there was also another side of Peter Falk. At least if we should believe authors Richard Lertzman and William Birnes, who wrote the biography ”Beyond Columbo.”

According to the authors, the book gives an in-depth look at the actor’s life, his place in history, and his artist’s life.

“He drank and smoked incessantly, loved boozing with his friends, and was an inveterate womanizer. He was a negligent husband and an absentee father”

Marriage

When he was just three years old, Falk had to have his right eye surgically removed due to retinoblastoma, and he wore a prosthetic eye for most of his life. The artificial eye also contributed to his signature squint.

Despite this, he was active in team sports as a boy, especially baseball and basketball.

In a 1997 interview with Cigar Aficionado, Falk recalled a memorable high school moment: “I remember once in high school the umpire called me out at third base when I was sure I was safe. I got so mad I took out my glass eye, handed it to him and said, ‘Try this.’ I got such a laugh you wouldn’t believe.”

Falk went on to secure his big break in 1960 in Murder, Inc, an American gangster movie in which Falk’s performance as vicious killer Abe Reles earned him an Academy Award nomination.

The following year he starred alongside Bette Davis in the movie Pocketful of Miracles where he was nominated for another Academy Award.

According to many, he’s up there as one of the most iconic stars of his generation. With a wage of roughly $250,000 per episode of Columbo, Falk was also the highest-paid actor in TV during that era.

But his family life wasn’t as successful.

In 1960, the actor first married his college sweetheart, Alyce Mayo. The couple first at Syracuse University, where both Peter and Alyce studied. But it took a while before they finally tied the knot. In fact, Peter and Alyce dated for 12 years before they wed on April 17, 1960.

Alyce Mayo, who worked as a designer, reportedly turned a blind eye to her husband’s infidelities, but after 16 years, she had enough.

Together, Falk and Alyce adopted two daughters, Catherine and Jackie. Jackie Falk sometimes showed up at press events with her father but then moved away from the spotlight.

Catherine, who became a private investigator, had a rocky relationship with Peter, and she even filed a lawsuit against him when he reportedly stopped paying her college expenses.

”I think that most people feel that I am this money-grubbing daughter, that I’m just going after my dad to get money,” Catherine told Inside Edition in 2011.

According to Catherine, the relationship with her father became more complicated when he married his new wife, actress Shera Danese.

”My father was married to a woman that made it really difficult for my father to feel free. We weren’t allowed to go to his house,” Catherine said.

And the conflict between Catherine and Shera Danese would soon get worse.

Peter Falk cause of death

Sadly, New York-born actor with the trademark squint passed away in June 2011 after being diagnosed with Alzheimer’s disease. His death was primarily caused by pneumonia, with complications of Alzheimer’s disease.

According to his doctor Stephen Read, the actor’s dementia and apparent Alzheimer’s disease worsened after hip surgery in 2008, and he no longer remembered playing the world-famous detective ‘Columbo’.

The actor also battled Retinoblastoma, a rare form of cancer, at just three years old and lost his eye; he wore a prosthetic one after that and was told by one agent not to expect much acting work because of it.

Peter Falk died peacefully at his Beverly Hills home at the age of 83. Tributes were pouring in, and the legendary Steven Speilberg paid his respect by saying: “I learned more about acting from him at that early stage of my career than I had from anyone else.”

His daughters said they would remember his “wisdom and humor” – but according to Catherine, she never got the chance to say goodbye to her father. Speaking with Inside Editon, Falk’s oldest daughter claimed that she was kept away from her dad during his final years and didn’t find out about his passing until hours later.

She accused his new wife of many things – but Shera responded via her attorney, Troy Martin.

“Peter’s final resting place is only about Peter, not Catherine, his estranged adopted daughter,” he stated.

The starry Jesus Christ Superstar concert at the Hollywood Bowl may be over, but don’t worry, Andrew Lloyd Webber hasn’t forgotten about it. The composer’s official YouTube channel has released a music video for Adam Lambert‘s rendition of “Heaven on Their Minds.” Lambert played Judas opposite Tony winner Cynthia Erivo‘s Jesus at the August concerts. Watch the video below.

As for a potential encore concert of the musical, Lloyd Webber hasn’t discounted that possibility, telling the New York Times: “I was really, really keen to have a woman play Jesus. Something has got to happen with that, because it really did hit a nerve. I found it more moving than I’ve seen it for a very long time. And it would be great to have the pair of them do it in Madison Square Garden or something like that.”

Hopefully he’s serious about making it happen, if this new video is any indication. See more videos from the Jesus Christ Superstar concert (which took place August 1–3) via Playbill’s in-depth recap here.

Also part of that Hollywood Bowl concert was Milo Manheim (Zombies, Little Shop of Horrors) as Peter, four-time Tony nominee Raúl Esparza (Company, Law & Order: Special Victims Unit) as Pontius Pilate, Hamilton Tony nominee Phillipa Soo as Mary Magdalene, Zachary James (The Addams Family) as Caiaphas, Tyrone Huntley (2022 revival of Jesus Christ Superstar) as Simon, and Brian Crum (Next to Normal) as Annas.

Stage and screen star John Stamos (Cabaret, Nine) played Herod for the August 1 and 2 show, taking over while The Book of Mormon Tony nominee Josh Gad recovered from COVID. Gad performed as Herod on August 3.

The company also included Ian Ward, Joey Taranto, Clinton Roane, LJ Benet, Cooper Clack, and L.T. Martinez as the Apostles; Isaiah Bailey as the Priest; Brad Sharp as Apostle/Priest; John E. Lucas as Priest; Summer Greer as Soul Singer; Oyoyo Joi as Apostle/Soul Singer; Krystle Rose Simmons as Apostle/Soul Singer; and Emily Goglia as Maid by the Fire; with ensemble members John Krause, Nathan Madden, Chris Hernandez, Morgan Marcell, Jennifer Florentino, Brandon Leffler, Damian Caraballo, and Juliet Johnson plus pit singers Sara Gomez, Ayana Haviv, Gracie Laboy, Mariah Meshae, Natalie Taylor, and Suzanne Waters. Casting is by The Telsey Office.

Tony winner Sergio Trujillo directed and choreographed the Lloyd Webber and Rice musical, which also featured musical direction by conductor Stephen Oremus. The creative team also included scenic designer Jason Ardizzone-West, costume designer Emilio Sosa, projection designer Peter Nigrini, lighting designers Tyler Lambert-Perkins and Tyler Glover, sound designer Jonathan Burke, and hair and makeup designer Brandi Strona.

Marc Tumminelli was the associate director with Christopher Hernandez as associate choreographer, Jared Stein as associate musical director and associate conductor, Kirk Graves as props coordinator, and Kim DeShazo as costume supervisor. Meredith J. Greenburg is the production stage manager.

The staging was produced in association with Neil Meron and Robert Greenblatt and presented by arrangement with The Really Useful Group Limited.

Jesus Christ Superstar, initially released as a concept album in 1970, premiered on Broadway in 1971 and was nominated for five Tony Awards, including Best Original Score for Lloyd Webber and Rice. The show was subsequently revived in 1977, 2000, and 2012. A long-running London production debuted in 1972. The score includes “Superstar,” “I Don’t Know How to Love Him,” and “Gethsemane,” among others.

Norman Jewison directed the 1973 film version starring Ted Neeley, Carl Anderson, and Yvonne Elliman. NBC’s Jesus Christ Superstar Live in Concert premiered in April 2018 with John Legend, Sara Bareilles, Brandon Victor Dixon, Norm Lewis, and more.

Song Sung Blue (2025) delivers one of its most feel-good moments with an extended performance of Neil Diamond’s timeless classic, “Sweet Caroline.” What begins as a familiar sing-along quickly grows into something warmer and more communal, reminding audiences why the song has endured for generations.

The extended sequence allows the performers to lean into the joy of the moment — stretching out the chorus, encouraging audience participation, and turning the performance into a shared celebration rather than a simple cover. Claps, smiles, and spontaneous harmonies fill the space, transforming the stage into a living, breathing crowd moment.

Rather than reinventing the song, Song Sung Blue honors its spirit. The arrangement stays faithful while giving performers room to connect emotionally, proving that sometimes the power of music lies not in novelty, but in collective memory.

By the time the final “So good! So good!” rings out, the performance feels less like a scene and more like an experience — one built on nostalgia, togetherness, and pure musical joy. It’s a reminder that some songs don’t just get performed; they bring people together.

Jamal Roberts had the honor of kicking off the 2026 College Football Championship Game held at Hard Rock Stadium in Miami Gardens, Florida, with a performance of “The Star-Spangled Banner.” The historic game is the first time the Indiana Hoosiers have competed in a national championship. They are facing the Miami Hurricanes.

Jamal stood in center field, looking dapper in a black suit as he sang. American Sign Language performer Maria Pernalete accompanied him. Jamal stayed true to the anthem’s melody, adding his own soulful sound that only enhanced the emotion of the powerful lyrics.

Roberts’ performance of the national anthem received praise from viewers who called it “magnificent” and “one of the best renditions we’ve ever heard.”

Watch Jamal Roberts sing “The Star-Spangled Banner” in the video below.

About Jamal Roberts

Jamal Roberts rose to fame as the winner of Season 23 of American Idol. His cover of Tom Odell’s “Heal,” as performed on the reality singing competition, topped the Billboard Hot Gospel Songs Chart.

Following his Idol win, Jamal earned a Grammy nod for his version of the gospel hit, “Still” in collaboration with Jonathan McReynolds.

The P.E. teacher and dad of three shattered American Idol voting records by earning more winning votes from the public than any other competitor in the history of the show.

Jamal Roberts is the latest in a string of high-profile artists to have the honor of singing the national anthem at the college football championship. Among those who have previously sang at the event are 2004 Idol winner Fantasia, contemporary Christian artist Natalie Grant, a capella group Pentatonix, and Grammy nominee Coco Jones.

Cynthia Erivo and Adam Lambert took center stage in Tim Rice and Andrew Lloyd Webber’s rock opera Jesus Christ Superstar at the Hollywood Bowl on Saturday, August 2. The production had a star-studded cast that included Phillipa Soo of Hamilton and Raúl Esparza from Law & Order: Special Victims Unit.

Erivo, a queer Black woman, playing Jesus Christ raises important questions about power and influence: Are only white men powerful and influential? Can only they be considered as such?

The production itself answers its own question as Jesus leads her disciples throughout the play: no. True leadership transcends conventional thought that places white men as leaders. A Black queer woman can have followers and be a leader.

My point about a Black woman being an effective and strong leader is all the more amplified by Erivo’s leadership on stage, which I elaborate on in a future point.

Seeing a Broadway musical in Los Angeles is always a treat, especially when the lead is played by Cynthia Erivo. Throughout the night, she smoothly moved through her range, belted, and sustained long notes. Previously I’d only heard her sing in video recordings. Listening to her sing live confirmed for me that Erivo understands and is in control of her voice. Not only is she a belting powerhouse, but she also sings softer dynamics with ease.

At the same time, if this show was a musical, why were Erivo and Lambert singing with handheld microphones? I expected lavalier mics like the ones actors Soo and Esparza used.

The night had many hiccups when it came to sound production, the most notable being when Erivo was not given a mic upon her reentrance to the stage to start “The Last Supper.” The audience could see Erivo singing but could not hear her. Fellow actors also appeared a bit thrown off, and Lambert handed her his microphone. Lambert’s microphone also didn’t work, at which point Erivo puts her palm up as if to tell the audience “hold.” She and other actors looked around for a bit until someone ran onto the stage and handed her a microphone. She looked back at the conductor and patted her head to signal the orchestra to start from the top of the number, and the conductor obeyed. This error could have been prevented by the use of lav mics. Still, errors are not entirely about what went wrong, but about how one bounces back, and Erivo’s leadership allowed her and her castmates to bounce back into the number.

While not the lead, Raúl Esparza, who played Pontius Pilate, could not be ignored. The seasoned actor brought his comedic and dramatic chops to the stage. He made himself large even on the grand Hollywood Bowl stage, especially during “Trial Before Pilate.” The Tony-nominated actor very much gave himself to his role as he was not afraid to yell and take up space. His huge facial expressions added to his grandiose presence, especially when he places the laurel reef on Jesus Christ.

Phillipa Soo also had a strong performance in her portrayal of Mary Magdalene. Soo sang with rasp in moments of “I Don’t Know How to Love Him,” which contrasts from her more lyrical sound in her role as Eliza Schuyler in Hamilton.

I also would’ve liked to see Erivo and Lambert dance more as leads in the show, especially considering the show was choreographed by the Tony Award-winning choreographer Sergio Trujillo.

When I watch a musical or theater show, I want it to feel like one. I don’t want to see four screens streaming playback of what takes place on stage. Granted, I was at the Hollywood Bowl, but I still didn’t enjoy the distraction created by these screens — this is a personal preference.

The production design leaned more toward the flashy side, which distracted from the actors and the story they were trying to tell. Filming the actors as they were on stage and then projecting the image on the center screen with visual effects was overkill. Am I watching a musical or am I watching a livestream?

Similarly, the various platforms on stage were distracting and felt amateur— did I watch a performance or a rehearsal? The platforms were clearly utilitarian as they were constantly moved around the stage by actors. I wanted to see a set that would’ve made it clear that the story took place in the desert. When I go to the theater, I want to feel immersed in the play’s world. As it was, I didn’t know where the story was taking place during the entire concert.

The Hollywood Bowl’s production of Jesus Christ Superstar had many ups and downs, making the production feel like a rushed one without enough rehearsals. Still, Erivo stole the night with her astonishing vocals and the control with which she commands her voice.