In a sea of extremely talented singers, it’s the vocalists who can take a song (even those performed by one-of-a-kind artists) and truly make it their own that, time after time, seem to really stand out on “American Idol.”
And Sam Kelly-Cohen, aka Kayko, is no exception. The 23-year old Florida singer-songwriter wowed judges and made it to the Top 10 round with his pop punk cover of Gotye’s “Somebody That I Used To Know”…which is guaranteed to transport you right back to the days of emo bands and heavy eyeliner.
From beginning to end, Kayko gave rockstar energy—complete with mic swings, energetic kicks, and jumping up and down to hype up the audience. These bits of flair apparently came with risks, as he voiced concerns to celebrity guest mentor Meghan Trainor about pitch issues with live performances.
But clearly the effort paid off because for a moment, it felt like audiences were watching a “My Chemical Romance” Concert, rather than a singing competition show.
As one viewer on Youtube put it, “He’s extremely creative in his performance as well as is resourceful, utilizing the entire stage, lights, wardrobe, etc. His stage presence and ability to entertain his audience and keep them entertained through the entire song is also very strong.”
Watch:
Wow! Kayko Covers Gotye’s “Somebody That I Used To Know” – American Idol 2024
And to think , this guy never really intended to audition. Kayko originally arrived to Nashivlle for first-round auditions to play piano for his friend, who was auditioning for the show. But the judges asked him to audition as well. And, well, here we are, watching him rock out to Gotye.
Gotye’s smash hit seems to be having a bit of a resurgence. Only a few months ago, the song found viral fame again after international dance troupe CDK gave it a surreal, Wes Anderson-esque reimagining. Perhaps the song’s intentional simplicity, which helped make it so alluring in the first place, is also the key ingredient that makes it easy to interpret in countless different ways.
While Wouter “Wally” De Backer, aka Gotye himself, didn’t love the fame that came with the success of his song (read more on that here) hopefully seeing how it has inspired other artists is a good consolation.
And if the covers are anything like Kayko’s, keep ‘em comin’!
A Somali refugee and current resident of Minneapolis, the multimedia artist and activist draws on her lived experiences to create work that explores trauma, displacement, and resilience. But like so many of the guests on Freedom to Thrive, an award-winning podcast produced by the National Immigration Law Center (NILC), Mansour doesn’t want to focus only on trauma; she also wants to celebrate the unexpected beauty she’s found during difficult experiences.
“One of the beautiful things about tragedies is that it activates hearts, and courageous people are born,” she says. For example, Mansour has noticed more Minnesotans than ever are reaching out to help the vulnerable, after the anti-immigrant crackdowns carried out by the Department of Homeland Security. “They are bringing food, they’re bringing extra clothes, they’re walking with people, and it’s just really beautiful.”
Hector Flores, co-founder of the Las Cafeteras and host of Freedom to Thrive, agrees with her. A child of immigrants himself, he has also seen how hope and hardship often live side by side.
Flores comes from a family with mixed status and is highly aware of the challenges immigrants and refugees in his community face, and how they’re affected by people’s misconceptions. “People want to know about trauma all the time, but we’re more than just undocumented,” he says. “We’re artists, singers, creatives … there’s so much richness in the culture.”
At its core, Flores’ comment is exactly what the Freedom to Thrive podcast is all about: Celebrating immigrants as complex, dynamic individuals, and challenging the dominant narrative that too often reduces them to symbols of hardship.
Launched in 2024, Freedom to Thrive explores heritage, resilience, community, and the ways art and comedy can spark social change. Now in its second season, the podcast continues to feature conversations with immigrants, policymakers, artists, musicians, activists, and more. Recent guests have included comedian Mo Amer, Grammy Award-winning singer Lila Downs, and Pulitzer Prize-winning author Viet Thanh Nguyen.
Where the first season focused on individual stories of identity and belonging, Flores says his goal for season two, where he joins as host, is to “take it to the next level” — using storytelling to highlight “the fact that we’re more similar than different.”
One recent podcast episode drives this point home. In December, Flores interviewed Bryan Andrews, a rising country music star and rural Missouri native who frequently uses his platform to speak about issues affecting immigrant families. At the heart of his message and his songwriting, Andrews says, is the idea that small-town Americans and the rest of the country, including immigrants, have more in common than they realize.
“It doesn’t matter where you’re from,” Andrews says on the podcast. “We’re all trying to make a living and we’re tired of getting railroaded by corporate greed or by politicians who don’t care.”
Rural Americans, Andrews says, are often stereotyped as racist and misogynistic but “the overwhelming majority of people in my home town have love in their hearts.” Media stereotypes often amplify differences and divide, he says, but at the end of the day, “we’re all in this together.”
Flores, who was raised in a working-class immigrant neighborhood in East Los Angeles, had similar thoughts. He says he often sees its residents stereotyped as wealthy, consumerist, and status obsessed. “That exists, but that’s not my life, that’s not my community,” he says. Like small-town Americans, people in the city “just want to work hard and take care of their families. We all want the same thing.”
Although the podcast tackles some heavy issues, each episode’s ultimate focus is how personal and collective struggles can be healed through art, driving home a message of hope and resilience:
Mansour’s episode about her experiences in Minnesota is just one of many examples. Flores asks her,
“What gives you hope for the people creating a home here?”
“The love I feel from other Minnesotans. It is trumping any hate we’re experiencing,” she replies.
CTA: Stream all episodes now on the Freedom to ThriveYouTube channel or the website,here.
The podcast has been nominated for a Webby in the “Belonging & Inclusion” category. You can vote for it to win until Thursday, April 16!
This article is part of Upworthy’s “The Threads Between U.S.” series that highlights what we have in common thanks to the generous support from the Levis Strauss Foundation, whose grantmaking is committed to creating a culture of belonging.
The Bee Gees were one of the most popular pop groups in the world from the late ‘60s to the late ‘70s. In the early years, they had big hits such as “How Can You Mend a Broken Heart,” “I Started a Joke,” and “To Love Somebody.” In the late ‘70s, they found a new sound, disco music and made massive hits for the dance floor, including “Staying Alive” and “More Than a Woman.”
However, between those booming Bee Gee eras, their career seemed to be on the way down. By 1973, their most recent album, “Life in a Tin Can,” and single, “Saw a New Morning,” had flopped, and they began to play smaller clubs. But that didn’t mean they couldn’t win people over with their incredible harmonies. Case in point was their March 23, 1973 performance on “The Tonight Show Starring Johnny Carson.”
Carson introduced the band by touting its history as songwriters. “My next guests have had quite a career. Their compositions have been recorded by people like Frank Sinatra, Elvis Presley, Andy Williams, Glen Campbell, Tom Jones and hundreds of others,” Carson said.
The band opened their set on stage performing “Wouldn’t I Be Someone” and “Saw A New Morning” and then sat down for a chat with Carson, discussing why they don’t like playing large arenas and how they got started performing together as children. After the break, they returned with an acoustic guitar and performed their first number 1 hit, “Massachusetts,” from 1967, with Robin Gibb on lead with his brothers Barry and Maurice chiming in perfect harmony.
If you look closely in the background, Maurice is having fun goofing off when he’s not on vocal duties. At the end of the performance, Carson appears to be a bit choked up as he adjusts his tie.
“Massachusetts” was written about the great migration of young people to San Franciso in 1967, as the hippie movement began to take off in the mid-to-late ‘60s. Interestingly, the Bee Gees had never been to the state.
Tried to hitch a ride to San Francisco
Gotta do the things I wanna do
And the lights all went out in Massachusetts
They brought me back to see my way with you
“There are two different memories, Robin remembers us doing it in a boat going around New York City. And I remember us checking in at the St. Regis with Robert, going to the suite, and while the bags were being brought in we were so high on being in New York, that’s how ‘Massachusetts’ began,” Barry recalled the song’s creation in the “Horizontal” liner notes. “I think we were strumming basically the whole thing, and then I think we went on a boat round New York. I don’t know if we finished it, but I think that’s where the memories collide. Everybody wrote it. All three of us were there when the song was born.”
The song was initially written by the band for The Seekers, but they were unsuccessful in getting it to the band, so they recorded it themselves.
The Bee Gees would have a career turnaround in 1975 when they experimented with a new, more soulful sound with the song “Jive Talkin.” This became a big hit and propelled them into the world of disco, where they would become one of the era’s most popular acts.
The Bee Gees’ historic career ended when Maurice passed away in 2003 at age 53. Robin followed in 2009 at age 62. Barry, 79, is the final surviving member of the band.
This article originally appeared two years ago. It has been updated.
Back in 2017, Māori singer Ora Taukamo, known as “Aunty Ora,” wowed judges on The Voice: Australia with her rendition of Adele’s “One and Only,” somehow making it even more soulful than the original.
It was then that judge Delta Goodrem asked Taukamo what she did outside of singing.
Taukamo answered, “I teach the haka.”
Intrigued, judge Kelly Rowland asked, “Can I learn the haka?” Taukamo giggled while saying, “Sure!” Then, Rowland, Goodrem, and the two other Voice judges, Boy George and Joe Jonas, stepped up on stage for an impromptu lesson.
The group put their hands on their hips, bent their legs into a squat position, and began stomping on their right foot in unison while hitting both hands on their thighs. As their percussion began setting, Taukamo began leading them through a chant.
The moment was cool enough on its own, but made even more heartening by the way it instilled pride among fellow New Zealanders.
“You make me feel proud to be a Kiwi you lovely woman!”
“I aroha ahau ki taua haka. (I loved that haka.) Really nice how the panel joined in. Beautiful voice.”
“Taahua… making Aotearoa proud.”
“Adore you !!! Aroha (Luv) your whanau (family- all of the 5 million) in Aotearoa New Zealand.”
Taukamo would eventually end up going home on the show after singing these showstoppers: “Circle of Life” from The Lion King, “One Moment in Time” by Whitney Houston, a ”Love Me Tender” cover by Norah Jones, “Open Arms” by Journey, “All of Me” by John Legend, “I Believe I Can Fly” by R. Kelly, a “With A Little Help From My Friends” cover by Joe Cocker, “Goodbye Yellow Brick Road” by Elton John, and “Total Eclipse Of The Heart” by Bonnie Tyler.
Aside from her powerhouse vocals and her impressive haka teaching abilities, Taukamo is remembered for her infectiously positive energy, which che clearly infuses into her craft in order to lift others’ spirits up. This can clearly be seen on her Facebook bio, where she writes, “Your voice is a tool to help heal others.🎙️Sing from your heart at all times and just be yourself, most of all be natural.”
That philosophy came through in that brief, joyful exchange on stage.
The haka is more than choreography. It carries history, identity, and connection, and Taukamo shared it in a way that welcomed others while honoring where it comes from. Watching the judges laugh while trying to follow her lead created a sense of togetherness that reached far beyond the studio audience.
Moments like this show how culture can be shared with care and enthusiasm. A few minutes of music and movement turned into something people across the world could feel a part of. Taukamo may not have taken home the top prize, but in this way, her impact was all the more meaningful. She left behind a performance that people still talk about, one that celebrates voice in every sense of the word.
The 2003 film Love Actually is probably best known for its controversial-ish cue card scene, where Andrew Lincoln’s character professes his love for Keira Knightley by silently showing her cue cards, including the famous (or infamous) line, “To me, you are perfect.”
But there’s another scene in the film that doesn’t get nearly the recognition it deserves. It’s well-regarded, but not nearly well-regarded enough.
It’s been over 20 years since the late Alan Rickman broke Emma Thompson’s heart by buying that little office tart a necklace in Love Actually, and some of us still haven’t forgiven him.
With its overlapping love stories set during Christmastime, the film has become a holiday classic, despite some controversy over whether it’s actually any good. Some people love it, some people hate it, but no one can deny that Thompson gives an Oscar-worthy performance in one utterly heart-wrenching scene.
Of the eight “Love Actually” relationships, Harry and Karen (Rickman and Thompson, respectively) is the one that gives the film some serious gravitas. While other characters are pining or shooting their shot with varying levels of success, Harry is having a midlife-crisis affair with a modelesque coworker, while Karen shuffles their children to and fro and keeps Harry’s life running smoothly. We see him lie, we see her start to suspect, but the scene where she opens her Christmas present from Harry (a Joni Mitchell CD, not the necklace she had found hidden in his coat and thought was for her) is when we see Thompson’s acting strengths in full view.
Like, phew.
What’s so striking about the scene, however, is that it’s not dramatic in a typical way. There’s no external conflict—it’s just Thompson excusing herself from the family to process, in secret, what she’s just discovered. We see and feel her heartbreak—it’s so visceral—but that’s not what makes the scene so powerful. Heartbreak happens all the time in movies.
As Thompson explains in a BBC Radio 1 interview, it’s the fact that she can’t react the way she wants that pulls at people’s heartstrings so hard.
“I think it’s just because everybody’s been through something like it,” Thompson says. “What I think really gets to them, though, is that she has to pull herself together. It’s not that she’s upset. That’s, you know, ten a penny. But it’s that she has to pull herself together.”
It’s true. The conflict in the scene is between her wanting to break down and her wanting to keep her family’s Christmas memories happy and intact. She is a devastated wife, but she’s also a devoted mother who doesn’t want to devastate her kids. We feel the tension between those two roles and the way she swallows up her grief in order to get her kids to their holiday concert right after finding out her marriage isn’t what she thought it was.
When you think about it, it’s incredibly poignant. And though not everyone loves the film, it’s moments like this one that have helped it stand the test of time and stay on many people’s holiday watch-list.
“I think it’s to do with the fact that we’re required in our lives to repress the things that we’re feeling,” Thompson explained on TODAY. “So, you can be hit right between the eyes with some terrible piece of news, but you can’t react immediately because you’ve got your children there. It’s that thing of not showing — that’s why it hurts. That’s why it moves us.”
“If she went, ‘Oh my God! I thought you were going to give me a necklace! And now you’ve given it to somebody else,’ we would not be moved, you know?” she continued. “We’re moved because she just goes, ‘I’m not gonna do it.’ And then she makes the bed, the bed that sort of suddenly feels so empty of meaning. And then she goes down and goes, ‘Hello, everyone! Let’s go.’ That’s why people identify.”
And the way she plays it is perfect. Any actor can cry, but it’s her crying while trying not to cry, and the way she shows us her inner emotional turmoil without ever saying a single word is impressive.
If you’ve never seen “Love Actually” and want to see the Harry and Karen story, here are just their scenes:
Some people have asked whether Harry actually physically cheated or not, but “Love Actually” script editor Emma Freud clarified that he did. “DEFINITELY had an affair,” she wrote on X in 2015. “I begged Richard just to make it a flirtation, but no. The whole way.”
And did Harry and Karen stay together in the end? The film doesn’t really make it clear, but at the screening Freud answered the question: “They stay together but home isn’t as happy as it once was.” Oof. There’s just no non-heartbreaking answer to that question.
This is why we watch films, though, isn’t it? To see our humanity reflected back to us? To feel what the characters feel? To have our hearts broken vicariously so we can have a good cry without going through the actual pain ourselves?
People usually watch rom-coms for the romance, the comedy, and the happy endings, though. So here’s to Emma Thompson and Alan Rickman for giving us one of cinema’s most poignant scenes in one of its most unexpected places.
This article originally appeared two years ago. It has been updated.
“JAW.” Cute, simple, straightforward. You can take any movie with a plural “s” and just remove it for a tiny chuckle. “The Avenger.” “Star War.” “Heather.” But the best responses make you think for a minute before the light bulb goes on and the belly laugh hits:
“The Postman Rang Once The One Time He Stopped By.”
“I for Vendetta”
“Malcom I”
“Jumanjus.”
That last one is a perfect example of why people are loving the responses to this prompt. “Jumanji” isn’t even plural, but applying the rule that gives us cactus/cacti and octopus/octopi, we get “Jumanjus.” Cleverly hilarious.
Some adjustments are just so silly, you can’t help but laugh, like “Indiana Jone.” Many of them use animal groups (pride of lions, murder of crows, school of fish) that you have to decipher or stretch your logic to break down things we don’t think of as plural (wall to brick, wind to air molecule, corporation to sole proprietor). And “I for Vendetta” and “Malcolm I”? Perfect. (As one person said, we don’t have enough Roman numeral humor in the world.)
People loved seeing how creative others were in their responses:
“This thread is for the ‘pleasure to have in class’ kids only and I love it. 😂”
“Gods everyone is so much smarter than me. I’m just over here trying to think of titles ending in S.”
“I’ve never been more ok with everyone been smarter than me. 😂”
“I cannot read this thread while my partner is trying to sleep beside me. I am SHAKING the bed, laughing.”
Why do people find these depluralized titles so funny, though? Likely the same reason we delight in puns and spoonerisms. Wordplay tickles our brains and our funny bones.
As neuroscientist Dean Burnett shared with BBC Science Focus, “Humor is essentially our brain going ‘This isn’t how things usually work… but I’m okay with it!’”
Burnett explains that humor happens in our brains when there’s incongruity between what we expect to happen and what actually happens and we resolve that incongruity.
“Basically, thanks to these complex systems in our brains, humour can be derived from things being surprising, unexpected or wrong in some form, as long at it’s resolved, without negative consequences,” he writes.
That’s essentially what’s happening when we see a familiar movie title altered in a way that we don’t expect but that ultimately makes sense. Whatever the humor trigger, it’s so fun to have so many people enjoy some wordplay together.
In 1969, the Juggy Sound Studio in New York City was forever changed. It was that year and place that Led Zeppelin recorded (at least part of) their album Led Zeppelin II, with the song “Ramble On” its 7th track. The song, co-written by front man Robert Plant and guitarist Jimmy Page (who also produced the track), has remained a staple in their extraordinarily rocking catalogue for over half a century.
So when Robert Plant, at the ripe young age of 77, casually strolled onto the set of The Late show with Stephen Colbert and flawlessly belted out the song, fans sure noticed. Yes, his face has more wrinkles – time will do that to a person. But it’s time itself that made the lyrics to this particular song all the more meaningful.
“Like he wrote it this morning”
Guitar Gods Unleashed took to X to share the video, writing “’Ramble On’ is 56 years old, and Robert Plant just walked onto The Late Show and made it sound like he wrote it this morning.”
The comments are so fitting for such a powerhouse performance. One X-er notes that some rock stars age. But Robert Plant? “You see the aging rock star trying to replay their youth, then you have Robert Plant being Robert Plant, and it rivals the original from a half century ago. Just incredible.”
Lord of the Rings
Another points out the lyrics, which reference J.R.R. Tolkien’s popular book series turned movies, Lord of the Rings. “I like that ‘Ramble On’ has Lord of the Rings references from back when Robert was reading the book series. I had no idea what Lord of the Rings was back when I first became a fan of the song, but eventually I said, “wait…did he mention Gollum and Mordor?”
In a piece for Far Out Magazine, Jack Whatley discussed the fact that many bands are influenced by authors. “The singer used moments throughout the lyrics to express his connection; lines like ‘the darkest depths of Mordor’ and ‘Gollum and the evil one’ are both doffs of the caps to the writer. Many artists have made references to great literature in their time; whether it is The Beatles and C.S. Lewis’ influence on ‘I Am The Walrus’ or The Cure’s nod to Albert Camus.”
The lyrics
The lyrics are so hauntingly beautiful and even more impactful now that Plant is older.
“Leaves are fallin’ all around It’s time I was on my way Thanks to you, I’m much obliged For such a pleasant stay
But now it’s time for me to go The autumn moon lights my way For now, I smell the rain, and with it, pain And it’s headed my way
Ah, sometimes I grow so tired But I know I’ve got one thing I’ve got to do
Ramble on And now’s the time, the time is now Sing my song I’m goin’ ’round the world, I gotta find my girl
On my way I’ve been this way ten years to the day I’m gonna ramble on Gotta find the queen of all my dreams
Got no time for spreadin’ roots The time has come to be gone Though our health, we drank a thousand times It’s time to ramble on
Ramble on And now’s the time, the time is now Sing my song I’m goin’ ’round the world, I gotta find my girl
On my way I’ve been this way ten years to the day I’m gonna ramble on Gotta find the queen of all my dreams
I ain’t tellin’ no lie
Mine’s a tale that can’t be told My freedom I hold dear How years ago in days of old When magic filled the air
‘Twas in the darkest depths of Mordor I met a girl so fair But Gollum and the evil one Crept up and slipped away with her, her, her, her, her, yeah
And ain’t nothin’ I can do, no I guess I’ll keep on
Ramblin’, I’m gonna say Sing my song, I’ve gotta find my baby I’m gonna ramble on, sing my song Gonna work my way, gonna ramble on Gonna ramble on, yeah-yeah”
Another fan shares their thoughts on just how brilliant the performance was. “To craft a new arrangement of a rock classic – a completely new composition – centered around the limitations your aging 80-year-old voice… and create something still so artistic and beautiful… it’s why this man is on the shortest of short lists of the best front men of all time.”
CNN had created a remembrance video for the Back to the Future star, titled “Remembering the life of Michael J. Fox.” Now, it’s fairly standard practice for news outlets to make these sorts of posthumous tributes in advance. But publishing them before the celebrity actually passes away? Not so much.
And yet, on Tuesday, April 7, that’s what happened. But when Fox saw the accidental announcement of his death, he met it with a bit of philosophical humor.
On Threads, Fox wrote, “How do you react when you turn on the TV and CNN is reporting your death? Do you…A) switch to MNSBC, or whatever they are calling themselves these days, (B) Pour scolding hot water on your lap, if it hurts your fine, (C) Call your wife, hopefully she’s concerned but reassuring, (D) Relax, they do this once every year, (E) Ask yourself wtf ?”
@realmikejfox Threads
Ending with just a dash of self-deprecation, he concluded, “I thought the world was ending, but apparently it’s just me and I’m ok. Love, Mike.”
As to be expected, fans were quick to “yes and” Fox’s sense of humor.
“Go outside and ask the first person you come across: ‘Can you see me?’ Glad you’re ok btw!” wrote one person.
Meanwhile, actor Kathy Griffin quipped, “You’re a helluva ghost.”
In CNN’s defense, the tribute, however premature, did respectfully honor Fox’s legacy not only as a beloved actor, but also as an active Parkinson’s advocate.
According to Entertainment Weekly, the narrator in the now-deleted video said of Fox: “He came into our living rooms on the small screen each week as Alex P. Keaton [on Family Ties] and eventually onto the big screen as Marty McFly in [Back to the Future]. But Michael J. Fox had a compelling third act as a Parkinson’s sufferer and stem cell research advocate.”
“His most lasting role may have been as a tireless voice against Parkinson’s, a performance the Academy of Motion Pictures Arts and Sciences honored with the Jean Hersholt Humanitarian Award in 2022,” the clip went on. “In the end, Fox came to understand that his battle against the disease brought out the best in him.”
A CNN spokesperson also stated: “The package was published in error; we have removed it from our platforms and send our apologies to Michael J. Fox and his family.”
On Wednesday, Fox’s rep assured TMZ that “Michael is doing great.”
So great, in fact, that he was out and about in Los Angeles speaking on a panel for the Apple TV series Shrinking, in which he filmed a three-episode guest arc playing a character who also deals with Parkinson’s disease. The guest spot marked his first on-screen appearance since 2020. Harrison Ford, who also plays a character with Parkinson’s on the show, regarded Fox as “an extraordinarily powerful person” after meeting and working with him on set.
So, Michael J. Fox is still kickin’. And he’s still meeting each moment with a tremendous amount of humility and humor, lifting our spirits as he does it.
As the music began, no one knew what the apparatus made of poles and bars surrounding the dancers was for. But it soon became apparent that they would use it to lift themselves off the ground. What started with a simple pull-up, however, turned into an incredible synchronized dance to Justin Bieber’s “Where Are U Now” in which the dancers synchronized their movements without their feet even touching the ground.
AIRFOOTWORKS dancing to Justin Bieber on AGT
The dancers, who hail from Japan, were mentored by Kenichi Ebina, who won AGT Season 8 in 2013. Their performance earned them a standing ovation from all four judges and the audience.
“Everything about the performance was perfect,” said judge Sofia Vergara.
“It was so creative and so different—and so difficult, by the way,” said judge Simon Cowell. “So you have a great mentor. However, even if you’ve got a great mentor, you’ve still got to be able to do what your mentor helps you to do. And you did it immaculately.”
AGT fans agree with the judges
People in the comments were equally blown away.
“How do people find out they have talents like this??? ✋ “
“My toxic trait is thinking I can do this without any difficulty .”
“Insane core strength.”
“OBSESSED with this audition.”
“What kind of core strength is this… flawless, “
Many people were disappointed that none of the judges hit the Golden Buzzer.
“Why no Golden Buzzer?!?!?! If I’ve seen any act more deserving of it, I can’t recall. These guys were AWESOME!!!!!!!”
“Did they run out of golden buzzers? This is worthy.”
“THEY DESERVED THE GOLDEN BUZZER!”
“This performance absolutely deserved a golden buzzer. It was just spectacular.”
“Can only assume all the judges were so enthralled and mesmerized by this performance they forgot there was a golden buzzer.”
The ‘Golden’ performance
AIRFOOTWORKS did, in fact, earn a Golden Buzzer from Howie Mandel during the Quarterfinals sending them directly to the finale, where the group performed to an EDM mix by Steve Aoki. While they didn’t receive enough votes to win the entire competition, they have certainly earned AGT royalty status.
Since their AGT run, AIRFOOTWORKS have continued to take the world stage – reaching the finals of talent competitions in France and Italy, and performing at the Royal Variety Performance in the UK.
For more talent auditions, you can follow America’s Got Talent on YouTube and TikTok.
This article originally appeared 2 years ago. It has been updated.
Odds are you’ve heard Wally de Backer, aka Gotye, and his song “Somebody That I Used to Know.” It’s the Australian musician’s biggest commercial hit, selling more than 20 million copies since its release in 2011, making it one of the best-selling digital singles of all time. Not to mention it inspired several amazing covers, which you might have also stumbled upon.
The music video, in its poignant simplicity, is every bit as iconic. Gotye stands naked facing the camera, as featured singer Kimbra faces him. As they sing, they are slowly “painted” into and out of the background of geometric shapes using stop motion animation. There’s a very Wes Anderson feel to it that adds so much to the story told in the song, making it all the more memorable.
This dance troupe was up to the task
All this to say…it would be a challenge to recreate the magic that’s so inherent in the original. And yet, Netherland-based dance troupe CDK clearly understood the assignment with their highly stylized movement performance set to the well-known art pop ballad.
As thousands of viewers were quick to note, it’s not just the incredible dance moves that made this performance so captivating. It’s the killer combination of choreography, camerawork and costumes that make the piece impossible to turn away from.
“This is pure art,” one person wrote. While another added, “I think I’m going to watch it everyday for the rest of my life.”
Watch CDK’s Stunning Performance Here
This group is clearly at the top of their game, simply by how easy they make it all look (like, I’ve already convinced myself that I can pull off those moves). But what’s more evident is that they enjoy what they’re doing to the nth degree. Over on their Instagram page, you’ll find equally mesmerizing routines set to Billie Eilish, Nicki Minaj, and more.
1: Gotye allows small independent projects, like student films—and probably this dance piece—to use his music free of charge. “If someone wants to use it commercially I look at what the budget is and the creativity of the project,” he said, according to News.com.
2: CDK isn’t the only group to have recently breathed new life into the song. Also in 2024, an electronic remix of the song titled “Somebody (2024),” created by electronic music producers Chris Lake, Fisher, and Sante Sansone, debuted. Much like its predecessor, “Somebody (2024) topped the charts.
This article originally appeared two years ago. It has been updated.
