Charlie Puth

Charlie Puth duets with “newcomer” Jeff Goldblum in jazzy LA kickoff

Charlie Puth kicks off his LA Blue Note residency with a surprise guest—none other than Jeff Goldblum, jazz’s most unexpected late bloomer. With a wink and a nod, Puth introduces the actor as a “new up-and-coming singer,” setting the stage for a duet that veers from the ironic to the earnestly melodic.

Goldblum croons through Cole Porter’s ‘Every Time We Say Goodbye’ before wading into a smoky, improvisational interpolation of Cyndi Lauper’s ‘Time After Time,’ a nod to his 1988 Vibes co-star.

Charlie Puth swaps muses for lattes, turning daily errands into demos

Charlie Puth hints at a creative shift, using daily life as raw material for his next sonic experiments. He sketches a future where melodies grow from mundane encounters, transfigured through carefully placed notes.

Instead of reaching for abstract inspiration, he mines everyday interactions, letting emotion dictate rhythm, as if the street corner or coffee shop could become a rehearsal space for his evolving sound identity.

Doobie Brothers weigh civic duty, creative limits & songwriting sessions with Puth

“Walk This Road” marks a first for The Doobie Brothers, with Tom Johnston, Michael McDonald and Pat Simmons finally sharing writing duties across a single album. Produced by pop-rock mainstay John Shanks, this record also slips McDonald back into the fold after a 20-year studio hiatus.

Slated a week before their induction into the Songwriters Hall of Fame, the album weaves personal retrospection with civic nods, joined by Mavis Staples on the title track’s gospel-tinged chorus.

Writing with Shanks involved unpacking decade-old demos and concocting new tracks on the spot, in a Hollywood Hills studio outfitted like a toy store for musicians. McDonald dubs it every player’s fantasy.

The notion of “civic duty” doesn’t scream from protest verses but hums subtly beneath lyrics meant to reflect shared experience. Johnston insists that urge to comment springs organically—not from imposed responsibility.

McDonald likens the band’s longevity to a long walk—literal and metaphorical—down the same road. Staples’ presence brings layered resonance, channeling her history into a voice that anchors their collective reflection.

Hit-making, Johnston claims, doesn't start with the charts in mind. “Listen to the Music” was an exception; usually, it’s about capturing a present feeling, not chasing numbers.

McDonald sees their era—60s and 70s—as one that imposed fewer creative borders. The Doobies benefitted from that fluidity, drifting between rock, R&B, and beyond without looking over their shoulders.

Most unexpected recent collaborator? Charlie Puth. McDonald admits to co-writing jitters and doubts, admitting it helps yank him out of the HGTV echo chamber. He prefers a writing session to watching someone tile a backsplash.