Between Memory and Future: When Music Becomes Legacy

The upcoming premiere of This Is Not A Drill in New York brings with it a story that transcends theatre. It is not only a musical about urgency and humanity, but also a dialogue between generations, carried by the hands of those who have shaped its sound. At its heart are two musicians whose paths, though different, converge meaningfully: Ben Babylon, son of the late Guy Babylon, and Paul Bogaev, whose legendary career on Broadway and in film has left a lasting mark. Together, they embody a bridge between past and future, between memory and innovation.

Today, we step into this universe with two voices who make it grow and shine: Ben Babylon and Paul Bogaev.

Ben Babylon is a young musician and music director who has grown up surrounded by instruments and memories. Son of Kathy Babylon and the late Guy Babylon — keyboardist and arranger for Elton John — Ben has inherited both passion and creativity. His journey has taken him through studio work, production, live performance, and now the world of musical theatre. In This Is Not A Drill, he has been a key figure: recording much of the music, assisting in musical direction, and leaving his mark on the arrangements and atmospheres that define the show.

Paul Bogaev, by contrast, is an established figure. A Grammy Award winner with a long career on Broadway and in Hollywood, he has been music director, arranger, and composer for musicals and films that are now part of history: Aida, Tarzan, Sunset Boulevard, Les Misérables, Cats, Chicago, Dreamgirls, The Lion King… His connection with the Babylon family runs deep: he worked closely with Guy Babylon on Aida, and now, years later, life has brought him to collaborate with Ben. A meeting that feels like a circle closing — and opening again.

And so, with all this in mind, we begin by listening to Ben Babylon, whose personal and creative journey opens the door to understanding how This Is Not A Drill was shaped.

Ben, you’ve played a key role in the production of This Is Not A Drill, from recording much of the music in the studio to assisting with musical direction. What has this experience been like for you?

It has been an incredibly rewarding and exciting experience. I have never done anything like this before, and it has been amazing to watch the process. Around 6 years ago, my mom told me she was starting to work on a musical with Holly (Doubet), and I thought – oh, that sounds fun! But I never could have imagined what it would eventually turn into. They asked me to help them create some demos for some of the songs — but with my mom and Holly, they never do anything halfway. Those demos turned into full-blown productions. It was a really fun process. They really wanted to fully conceptualize these songs, they didn’t want them to sound like demos. So they allowed me the opportunity to really have a lot of fun producing some of the songs with full band and orchestral arrangements, and to explore all sorts of instrumentation. From doing more rock/pop inspired tunes where I got to work with some of my favorite musicians and collaborators — like my incredibly talented friends Tristan Beltrami on guitar, David Kohn on drums, Alex Arnaout on bass, Aaron Burch on vocals; as well as legendary musicians and collaborators of my dad’s, like John Mahon on percussion and Ken Stacey on vocals. They also pushed me and gave me the opportunity to write strings and horn arrangements, as well as exploring all sorts of genres and production/songwriting styles. I also got to work with my mom, which I hadn’t done much of up to this point, which was very special and something I will always cherish. Even after creating some really amazing recordings with all these talented people, I had no idea what it would ultimately become. I only knew these songs as songs, and not really part of a larger story. Soon enough they were doing live readings with casts, and it wasn’t until they did their first reading in Texas that I understood the bigger picture of it all. I didn’t get to attend that first reading, but I got to see it on video, and I got to see these songs in the context of the greater story, and I was blown away. I started to realize that this was all part of something much bigger — something I couldn’t have imagined then, and probably still can’t fully. I got to join them for the next live reading in New York earlier this year, and that is when I truly got introduced to the world of Broadway musicals, and I got to see the process and the incredible amount of work that goes into putting a musical like this on stage. It’s been a really amazing journey, and it still feels like it just started.

How did collaborating with Paul Bogaev on the overture feel, especially working in the same studio where your father recorded for Aida? How did that connection influence your approach to This Is Not A Drill?

Working with Paul Bogaev was really special. I had never written an overture before, and I honestly didn’t even know how to go about it or where to start. Paul was an excellent guide through this process, and collaborating with him was an invaluable learning experience for me. I had musical ideas, but Paul knew how to guide them into the form of an overture. Paul has an amazing mind, and he would have ideas that I never would have thought of that elevated the overture to be not just an interesting musical piece to listen to, but also a captivating storytelling experience. Sometimes, when working with somebody who is much more experienced than you in a certain field, they can have a tendency to make you feel inept, or to fully take command to do it their way. But working with Paul was truly a collaborative process. Even with so much more experience than me, he was willing to hear my ideas and to do things in a way that may not be traditional, and was genuinely excited and inspired doing it in a new, maybe refreshing way. And in turn, I got to learn so much from Paul, and got to see how his brilliant mind works. We recorded it in my family’s home studio, the studio my dad built, and the same studio where Paul and my dad worked on Aida, which brought a whole other meaningful layer to this process. He would have these flashbacks as we were working, telling me stories about my dad, pointing out in which ways I reminded him of my dad, and I got to learn so much not only musically, but also about my dad and what he was like and how he worked. It really was a meaningful experience for the both of us, and I am excited to continue working with him on this project and and hopefully on many more in the future.

Working closely with the cast and creative team, how did you help shape the musical’s sound and atmosphere, and what challenges or surprises did you encounter along the way?

I think a lot of the mark I've made on this project comes from the original "demo" productions that I produced before a cast, book, or large creative team was even in the picture. The songs my mom and Holly wrote were truly special, and when I approached the production of the demos, I was hardly thinking of the "Broadway" sound or anything like that — I just wanted these songs to feel fully realized on their own and I approached the production like I would with any other pop or rock song. Holly and my mom definitely kept their vision intact, but they allowed me to put my mark on the arrangements and production. When later translated to stage, I think this is part of what sets these songs apart from other musicals. Because while we definitely re-arranged the songs to be better translated to stage, we still emulated a lot of the production and arrangement elements from those original demo productions. Now, as we prepare for the full production of This is Not A Drill premiering in a couple weeks, I am working closely with the insanely talented music director, David John Madore, which is also a wonderfully fruitful collaboration. David has amazing sensibilities for adapting these songs for stage, and I don’t think we could have a better person for the job. The collaboration is great, because he is able to figure out how these songs can be translated best for this medium, and the kinds of sacrifices, changes, and improvements we need to make in order to be the most impactful it can be within the context of full story, while I bring different sensibilities relating to the original intention of the arrangements and vibe that we desire for each song. There have been a lot of ideas David has come up with that have really surprised me and taught me a lot about this foreign world to me. There are just certain things that are different when you produce a recorded song versus when you translate that to a live band for stage in the context of a complete story, and that is what David and I have been working on. There are all sorts of challenges and elements to think about — things like scene transitions, song endings crafted to spark a specific audience reaction, or arrangement changes that inspire the actors to fully dive into their characters, that you just don’t think about when producing a song. And luckily, the whole team we are working with — including Holly, my mom, the director Gabe Barre, the whole cast and crew — is extremely talented, and willing to collaborate and to change things in order to achieve the best possible outcome. Everybody is working unbelievably hard to help This is Not A Drill come to life, and believe me — it takes a lot of work from a lot of people to make something like this happen, and no one is underdelivering. We truly have an amazing group of people, and that is making all the difference.

David John Madore is a musical director, pianist, composer, and vocal coach based in New York. With an established career in musical theatre, he has been involved in numerous notable productions, particularly at the cabaret 54. In addition to his work as a musical director, Madore is also a vocal coach and composer, offering services through his website and sharing his expertise in musical direction, accompaniment, and composition (www.madoremusic.com)

So Ben, what current projects are you working on, and how do you see your career evolving in the near future?

Other than This Is Not A Drill, I have been working in California, producing artists and bands out of my home studio. Over the past couple years, I’ve produced a several projects I am very proud of, including Mar Solis’s debut album Colors of Love, Kudos To’s first single Jackie, and an upcoming album for the band Sir Please of which a couple singles have been released including 21st Century Funk, Trippin, and Fever. I’ve also been composing music for film and TV with my good friend and collaborator Tristan Beltrami. We recently scored the HBO docuseries about Ted Turner, Call Me Ted, with the music supervision of Marco Beltrami, and we are currently working on a very exciting Netflix documentary. And there’s some more projects in the works, but that’s where I’ll leave it for now!

Thank you, Ben, so nice to be with you. When Ben speaks of working side by side with Paul Bogaev, there is a clear sense of respect, admiration, and learning. It feels natural, then, to turn now to Paul Bogaev, whose decades of experience meet the enthusiasm of a new generation.

Paul, Ben has just described how meaningful it was to collaborate with you on the overture, especially in the studio that once echoed with your work alongside his father. How did you experience this collaboration, and what drew you to this project in the first place?

Kathy Babylon called me and told me about a show they were working on called 38 MINUTES. I knew the basic history behind it and was intrigued with the human element involved. I had worked with Kathy’s late husband, Guy Babylon on Elton John’s AIDA and I was very impressed with the songs and their arrangements by Ben Babylon, Guy and Kathy’s son.

Collaborating with Holly Doubet, Kathy Babylon, and Ben Babylon on the overture must have been a unique experience. Could you share what that collaboration was like and how it influenced the musical's direction?

I loved working with Ben on the overture and felt he “got” my way of insisting on telling a story with the music that would lead well into the beginning of the show and not just putting together a bunch of songs that sounded good. Holly and Kathy responded immediately to our work and the fact that we are all on the same page about the music bodes well for the next phase of the show.

Given your extensive background in both Broadway and film, how did you approach the musical direction for this production, and what challenges did you face in translating the story's emotions into music?

All good musical direction, I believe, stems from using the lyrics of each song like a 3 act play. The musical choices come from that whether on stage or on film.

Working in the same studio where you previously collaborated with Guy Babylon on Aida, and having worked with Elton John projects before, how did that environment and past experience influence your work on This Is Not A Drill?

It was wonderful and very meaningful for me to work with Ben in the studio where his father and I worked. I know Guy would be so proud of his son!

Looking ahead, what projects are you currently working on, and how do you see the evolution of musical theatre in the coming years?

I am now writing music and lyrics for a musical piece that will be performed in January. It involves a meeting of The Holocaust and Black History. The finale of the piece is called NEVER AGAIN if that gives you an idea of how much this subject means to me. I am also planning performances of NO SURRENDER -A songs by Bruce Springsteen and Tom Waits, my solo show that I did last year in London.

Thank you, Paul, such a blessed to be in touch with you too

Their voices, divided by generations and experiences, converge on the same stage: music as a living legacy. Ben brings the freshness and energy of a new vision; Paul brings the wisdom and memory of a long journey. And in the background, like a constant presence, resonates the memory of Guy Babylon, inspiring them both. This Is Not A Drill is not just a musical: it is a shared story, a dialogue between past and future, sung in the present.

Pictures courtesy of Kathy Babylon

In the Hour of Uncertainty: Hearts of This Is Not a Drill (Meet The Cast)

In our previous exploration, we looked at the music and arrangements that give This Is Not a Drill its unique sound. But a musical only truly comes alive through its performers—the voices, bodies, and emotions that transform words on a page into lived experience on stage. This production, inspired by the real-life 2018 Hawaii missile alert, thrives not only because of its score but because of the extraordinary cast assembled to embody its diverse characters.

The performers, many with impressive Broadway and touring credentials, bring both technical mastery and emotional truth. They make the audience laugh, cry, and reflect, each voice and gesture layering the story with nuance. What could have been a simple dramatization of a news event becomes, through their artistry, a meditation on love, identity, fear, and resilience.

This Is Not a Drill is more than a musical about a missile alert in Hawaii—it is a study in human resilience, brought vividly to life by a versatile and seasoned cast. Each character is crafted with nuance, and the actors’ performances translate these complexities into an emotionally compelling experience:

Jessica – Felicia Finley

Jessica, portrayed by Felicia Finley (The Wedding Singer, Mamma Mia!, Aida), is an author and mother grappling with her husband’s infidelity. A belt soprano of great power, Finley conveys a compelling mix of vulnerability and determination, transforming Jessica’s personal crisis into a relatable journey. Her solo numbers resonate with honesty and dramatic tension, anchoring the emotional core of the show.

Tony and Chris – Chris Doubet and Matthew Curiano

This gay couple from Cincinnati, played by Chris Doubet (Jersey Boys) and Matthew Curiano (Aladdin, Doctor Zhivago), bring humor and heart to the story. Their post-adoption struggles are rendered with warmth and authenticity, and their duets—including Cincinnati Boys and Somebody Somewhere—highlight the musical’s harmonic sophistication while providing moments of tenderness and reflection. Their chemistry gives the audience both laughter and deep empathy.

Sophie, Derek, and Mom – Aurelia Williams, Gary Edwards, and Kaitlin Burke

An older African American couple questioning the strength of their bond, Sophie and Derek are voiced through rich R&B ballads. Aurelia Williams (In Transit, Ragtime) and Gary Edwards (Ain’t Too Proud, The Color Purple) bring layered emotional depth, illustrating how love can endure and transform under pressure. Alongside them, Kaitlin Burke (The Phantom of the Opera, South Pacific) portrays the Hawaiian mother, adding further authenticity and emotional nuance. Their moments are some of the most musically and dramatically powerful in the production, often leaving the audience breathless.

Kaleo and Ikaia – Victor E. Chan and Sam Poon

Representing the Hawaiian-Asian family dynamic, Kaleo and his teenage son Ikaia capture the tension between tradition and personal growth. Victor E. Chan (Miss Saigon, The King and I) and Sam Poon (Runaways, The King and I) bring authenticity and heart to this duo. Their mid-range vocal performances emphasize the struggles and eventual cohesion of a family facing uncertainty. The actors’ chemistry and timing allow the audience to witness authentic family dynamics, culminating in an emotionally satisfying resolution.

Anonymous Button Guy – Lukas Poost

The man who triggers the missile alert is played by Lukas Poost (The Book of Mormon, Hairspray), a rock-style performer whose unhinged, unpredictable energy injects comedic relief into the story. His timing and charisma enhance the musical’s satirical dimension, offering a necessary counterpoint to the show’s heavier themes. 

Madeline – Marianne Tatum

The hotel manager who handles the music excursions, Iuau's and entertainment for the hotel. She also plays the role of Jessica's mother.

Huge – Bill Coyne and Victor E. Chan

The satirical duet Huge is delivered by Bill Coyne (Les Misérables, Beautiful: The Carole King Musical) and Victor E. Chan. Their performance balances sharp comedy with biting social commentary, elevating the political satire within the show.

Xavier Reyes and T. Shyvonne Stewart serve as swings for the cast, showcasing extraordinary versatility and adaptability. 

What makes This Is Not a Drill compelling is not only its timely narrative but the depth of its cast. Each performer brings Broadway and touring expertise, channeling their artistry into roles that are both humorous and heart-wrenching. From Felicia Finley’s vocal command to Aurelia Williams’ emotional gravitas and Lukas Poost’s eccentric brilliance, the ensemble transforms a moment of global fear into a resonant, human story of love, identity, and resilience.

Pictures and video courtesy of Kathy Babylon:

Cincinatti Boys

Video by Matt Curiano - from THIS IS NOT A DRILL- The Musical

“From Hawai‘i to Broadway Dreams: This Is Not a Drill”

On the morning of January 13, 2018, thousands of people across Hawai‘i received a sudden and terrifying message on their phones: “BALLISTIC MISSILE THREAT INBOUND TO HAWAI‘I. SEEK IMMEDIATE SHELTER. THIS IS NOT A DRILL.”

The alert triggered instant panic: people rushed to makeshift shelters, families scrambled to find one another, beachgoers were caught in a fog of fear and uncertainty. A collective lockdown of uncertain duration unfolded with a surreal intensity. Thirty-eight minutes later, a second message lifted the dread: it had all been a false alarm — the result of human error during an internal systems drill by the state’s emergency management agency.

This Is Not A Drill, a new musical conceived by Holly Doubet and co-written with Kathy Babylon and John Vester, recreates that surreal yet deeply human morning. It is not simply a dramatization of real events; it is an emotional excavation of how anonymous individuals, suddenly confronted with the possibility of death, connect, console, freeze, or act. It offers a warm but unsparing gaze into what truly matters when time momentarily stops.

Set to premiere at the Theatre at St. Jean’s in New York City, from September 9 through October 11, 2025, This Is Not A Drill seeks to capture the tension of a fractured moment — and resolve it through empathy, shared vulnerability, and musical tenderness.

So, welcome Kathy Babylon, welcome Holly Doubet.

I truly can’t imagine what I would have done in those long, drawn-out minutes...

People often say, “If that happened to me, I’d do this or that” — but when it’s real, when it comes out of nowhere, I believe we react not with a plan, but with instinct. You Holly lived that moment. And now you’ve turned it into music.

Let’s begin at the very heart of it all:

Holly, could you tell us how This Is Not A Drill came into being?

Hi Miguel! Yes - I spend time in Hawaii. I was there in January of 2018 when our phones started beeping an alert. It was quite loud and scary. On the phone there was an official warning from the state of Hawaii that said “TAKE IMMEDIATE SHELTER. BALLISTIC MISSILE THREAT INBOUND TO HAWAII. THIS IS NOT A DRILL.” So, for 38 minutes - until they figured out how to withdraw the official alert - everyone on the Hawaiian islands thought they were going to die, including me.

I see Holly, you were actually in Hawai‘i when the false missile alert happened. What was that experience like for you?

The experience was life altering. As I was standing in a small room with about 40 strangers, wondering if I would feel the blast or just disintegrate, I realized that I was very happy with my life. My two sons were grown and doing well. I had no regrets, there was nothing I hadn’t done that I wanted to do, and I was favored with many beautiful and fulfilling relationships. After I recovered from Post Traumatic Stress Disorder (I literally had it!) after two weeks in bed, I got up and decided I was going to do what I had been thinking about doing for a while: WRITE A MUSICAL! And this experience would be the perfect story.

And why choose the musical format to tell this story? What does music bring to it that other forms might not?

Honestly, writing musicals is what I should have always been doing. I started playing piano at age 4, studied at the Royal Academy of Music in London, then got a full scholarship to double major in piano and opera in college back in the states. My extensive classical training allows me to explore music in a fuller way, I think. I like to use inspiration from all over the musical world: from world music, or the lyricism of the great Puccini operas, or the sheer power of Beethoven, to the creativity and force of Stravinsky.

Great, Holly. Kathy: Can you share how the musical score and songs were developed to capture the tension and emotional landscape of the story?

Holly would call me and say this is what is happening in the story here. I need a song to express the motion of what this character is feeling. Holly usually knew what she wanted the song to convey so it as a wonderful way to write together.

The musical premiered in Dallas under the title 38 Minutes, but now it’s called This Is Not A Drill. What led to this change, and what does the new title convey about the show’s identity?

THIS IS NOT A DRILL is a stronger title and says so much more. It was written in the alert that went out to everyone in Hawaii, and as we all know, life is very uncertain and there is no time to waste. Sometimes there are no do overs. Do it now, enjoy life, love everyday. THIS IS NOT A DRILL!

Thank you, Kathy.

Moving on to the creative process and your collaboration as a team, how would you describe the working dynamic between the three of you—Holly, Kathy, and John—during the development of the script and music? How did you divide responsibilities?

I had a pretty solid idea on what all 16 songs were going to be. Kathy and I have been friends for nearly 50 years! So working together is not difficult. We are very open with each other. As we write, we honestly comment on ideas (I don’t like that, I LOVE that, or whatever!). And we are not done until we both like the results. There are times we have spent weeks on a single song. We wrote 10 of the 16 songs together, and I am still not tired of them! That is a good sign. John Vester and I wrote 4 songs together. I would give him a title or idea, he would send me a really good basis to start from, and we’d go from there.

Thank you, Holly.

Kathy: how did feedback from early performances, such as the Dallas premiere, influence rewrites or revisions to the text and music? Were there significant changes based on the live experience?

Well we had the wonderful Paul Bogaev come to Dallas to help us with the first reading and he brought in Gabriel Barre to direct. We could not have been in better hands. After the reading they both were convinced of the strengths of the show and wanted to move forward with us on our journey. Paul even said, ”This is a orchestrators dream.” We are over the moon to be under their guidance moving forward. I believe there will be changes going on up to the last minute. We are always working on the show and tightening and improving what is already there.

What was the casting and artistic direction process like for the New York production? What qualities were you seeking in the actors and creative team?

The casting in New York is mind blowing. The talent is just so so good. So during this casting Felicia Finley auditioned for the lead role of Jessica. I was in California watching. She was phenomenal. She seemed familiar to me but I wasn’t sure why. When i asked our casting gent she said, ”Well you know she was in Aida.” That just sent chill bumps. She worked with Guy Babylon (my late husband) and Paul Bogaev before on Aida. It just all seemed so meant to be. Felicia is now in our show!

Good choice, Kathy! What do you hope audiences take away regarding human resilience and communication in times of crisis? 

There is something in this show for everyone. We have all been through so much in our lives and these stories are all relatable. Watching how people rise up during a crisis and find the best part of themselves moving forward is inspiring. I hope audiences will feel the inspiration and leave uplifted.  

Revisiting that intense morning and those emotions through artistic creation must have been powerful. How has this process affected you personally? 

This has been the most fulfilling project I have ever worked on. It’s such a collaborative journey and hearing the music as part of the story is thrilling. There is nothing like Broadway!

For sure, Kathy! Finally, looking ahead at the future of the show and your journey: what hopes or plans do you have for the future of This Is Not A Drill? Are there tours, adaptations, or other projects on the horizon? 

We are hoping for a Broadway run of course. But we are also looking at taking it to Hawaii for a run since it is their story. Our Producer Jim Kierstead is talking about taking the show to the West End in London too. We are open to it all. We want this show to be a long running hit!

Hope so, Kathy! Bet for this! And as a closing thought, is there anything unexpected or memorable from the creative journey that you’d like to share with our readers? 

I am just blown away by the support all around us. This has been a beautiful journey to take with all involved. I love writing with Holly, and to do this with her, my longtime friend, at this point in life is just sensational. The topping on the cake for me is working in the studio with my son, Ben Babylon. His talent and support has amazed me. He has come to our rescue a few times when we have needed quick changes on the spot too. So nice to have him to lean on.

Thank you so much, Kathy and Holly, for sharing these insights with us.This Is Not A Drill will be performed at the Theatre at St. Jean’s in New York from September 9 to October 11, 2025. Don’t miss the chance to experience this powerful and timely musical live. Tickets are available now through the theatre’s official website and authorized ticket outlets. Make sure to secure your seats early for what promises to be a moving and unforgettable theatrical event. 

For Tickets Click Here

Pictures courtesy of Kathy Babylon

Facing the Unexpected: The Story Behind This Is Not A Drill

Sometimes reality surpasses fiction with unexpected intensity. On January 13, 2018, a ballistic missile alert shook the calm of Hawai‘i: for long 38 minutes, panic and confusion ran high. When it was finally confirmed to be a false alarm caused by human error, another wave of emotions unfolded. 

This real-life event is the basis for This Is Not A Drill, a musical by Holly Doubet, with book by Holly Doubet and Joe McDonough Music and lyrics co-written with Holly Doubet, Kathy Babylon and John Vester, that delves into the human response to the unforeseen, exploring connection, reactions, and redemption. 

Holly Doubet, originally from Texas, studied piano at the Royal Academy of Music in London and also holds degrees in voice and piano from the United States. She has built a multifaceted career: composing songs for the children’s series Barney and Friends, performing professionally as a singer in studios and venues in Los Angeles and Las Vegas, and leading her own band. Her return to stage composition reflects great artistic maturity and a personal perspective that permeates the entire piece. 

Kathy Babylon is a writer and lyricist with a narrative voice rooted in personal memory that resonates with collective truths. Married to keyboardist Guy Babylon (Elton John’s arranger), and mother to Ben Babylon, she brings literary and emotional sensitivity that deeply enriches the score. 

The musical direction benefits from the expertise of Paul Bogaev, a renowned producer and musical director of major Broadway shows. Ben Babylon has been a key part of the process: recording most of the music in the studio, working closely with Bogaev, and serving as assistant musical director and keyboardist (Keys 2) during performances. 

Several cast members of This Is Not A Drill have previously been involved in Aida, the acclaimed musical by Elton John and Tim Rice. Notably, Felicia Finley, who starred as Amneris in Aida, brings her powerful presence and experience to this new production. This connection enriches This Is Not A Drill, linking it to a legacy of celebrated musical theatre and showcasing how past collaborations and experiences continue to inspire and shape contemporary works.

The show is set to premiere this September at the Theatre at St. Jean’s in New York. This musical aims to be an artistic and emotional experience that invites audiences to reflect on how we live, react, and come together when everything seems to be shaken Stay tuned—tomorrow we will be sharing an exclusive interview with Kathy Babylon and Holly Doubet, offering deeper insights into the creation and meaning behind This Is Not A Drill.

Box Office

The C-O-M-E-B-A-C-K

 

C-O-M-E-B-A-C-K. It’s not just a word, it’s a chain, a process, an ordered sequence of events and growth that brings me back here, to my passion for the All Songs List blog. That’s why I write each letter separated, with hyphens: because every step has had its moment, its importance, and together they form this C-O-M-E-B-A-C-K I’m announcing today.

After five years of pause due to a personal lapse, I return with more strength and a fresh perspective, inspired also by the Elton John of today. We have witnessed the Farewell Tour, marking the end of a spectacular and emotional era for him and his Eltonites. But the Elton John I know now is more than an ending: he’s an artist who keeps growing, reinventing himself through a few but very meaningful collaborations, and preparing new projects that keep his legacy alive.

The blog www.eltonjohnallsongslist.blogspot.com.es is my space to follow this journey, to collect, analyze, and share his entire body of work—from the classics to these new stages—always with the same passion and rigor. At All Songs List, our Comitee d’Experts ensures depth and accuracy across diverse sections—interviews, curious research, and what I call Forth of a Kind: exclusive collaborations with renowned writers offering fresh, original insights.

And as part of this C-O-M-E-B-A-C-K, I’m thrilled to announce that soon I’ll be hosting the creators of the new Broadway musical This Is Not a Drill. A visit that symbolizes this chain of important moments and that I want to share exclusively with all of you.

Thank you for being here, for waiting, and for being part of this journey. This is just the beginning of a new chapter, full of music, stories, and emotions.

Stay tuned for exclusive interviews, deep dives into Elton’s timeless songs, and all the latest news about his ongoing projects and collaborations.

Welcome to my C-O-M-E-B-A-C-K. Let’s get started!

Picture: At Madison Square Garden, October 2018 – witnessing Elton's Farewell Yellow Brick Road Tour. A moment that stayed with me... and now leads me to this C-O-M-E-B-A-C-K.

Meeting Ben Babylon: Jack Rabbit in LA

It had been a week since I’d met Ben Babylon. First reminds of that experience, are in Fred Anderson’s car, going back to the hotel. A tear round on my face and fell in my knees. It was sad someway to leave. What I had lived that day was an experience hard to explain in a few words, mostly because it was very emotional. I have to go to Miquel’s notebook in order to relate his feelings about that big date. He usually writes down his experience while travelling, pages and more pages explaining his memories about what he’s living. So, let’s start from there. 

11:00
Along with Fred Anderson and my wife, Elisabet, we take the road to somewhere behind the hills. The Beatles are on the radio airwaves. Just arrived, one door opens and a smiling Kathy Babylon welcome us. It is very nice to meet her. We exchange mails several times and it seems I knew her someway, although in fact I really don’t. It’s strange how internet approach people who are a thousand miles away from each other. Some kind of magic made the dream come true and we are there. Awesome!

12:00

Ben’s rehearsing with his band. The first reaction is to hold him. It’s really beautiful to be there. He kindly agrees to take a picture together. Two pictures, maybe three or four, it doesn’t matter. I sit on a chair and just listen. Ben Babylon’s band was first to be a trio band, as Elton did on his Tumbleweed Connection days, comprising a bass player, a drummer and a keyboardist. You must remember those names: Alex Naylor, bassist, Alex Andrews, drummer, and Ben Babylon, on keyboards. But if that wasn’t enough, they added a guitarrist, and if Elton’s had Davey Johnstone on Honky Chateau, Ben has Brian Schwartz. Despite their youth, between 15 and 20 years old, they have so much potential and putting all together, they’re a consistent band. It seems they have been playing together for a long time but that’s not so. The list of songs they’re rehearsing are from the album, on process but with a long list of fantastic songs to choose. It’s great to see how much energy they have, and specially, how much they enjoy playing together. It’s happily surprising to see how Ben looks like his father, the unforgettable Guy Babylon, while playing: same gestures, same professionality, same passion. And more than this, what pleasantly surprised me most is how Ben’s growing on stage. The songs from the album are incredibly good, and I have my favourites of course. The first single, “Contradiction” is a winner for sure. But it was unbelievable to see when I suggested to do one song, “No Goodbyes On The Road” to him. Fred Anderson asked if it was possible to play that song for me, althought it had never been rehearsed with the band. He inmediatily said “yes” and taught the band the chords and the keys of the song. And within three or four minutes they play it. “He’s a leader” I think.

13:00
Band rehearsing is finished and band mates leave. More pictures all together. I only have to congratulate that good team, they are absolutely fantastic and nicely complement to Ben. Lunch.

17:00
Well, I now know the meaning of hiking. I didn’t know what does it meant until I was climbing up rocks and mountains in order to find a great view of landscape. And I enjoy it so much although I end up tired. A pina colada in the Malibu Beach recovers anything.

20:30

After dinner, one could be a priviledged person when you have Ben Babylon solo at the piano, for the most thrilling jam session one could expect. He explained me how much Elton and Ben Folds influenced him as a musician. And that’s really is. He starts with his own songs, before paying an amazing rendition of “Rocket Man” and “Take Me To The Pilot” on the piano. If Elton’s had his quote, Ben Folds too, when he goes to “Fred Jones”, the touching story about a man’s retiring of his job. He kindly agree to perform a superb medley between “Dreams For Sale” and “No Goodbyes On The Road”. Both songs, specially the title track, have potential enough to make a big thing. I remember it was the time when this words came to mind: “He’s special, he will do it, he has it all for success”. It was a sensation, but seeing this kid to play piano and the way he does it, you have all the feelings that it could be a possible reality. I had the same feelings as when I saw Elton on piano solo for first time: with the Band I love it, but solo, sitting on an old piano, is when the artist explodes and explores the best of his being. It’s exciting to see how much Ben loves music. Music is a part of his world. He lives for music, and music embraces him to gives his best. It’s a divine partnership, a force of the nature. And Ben has the talent enough to give music his best creations, while music could keep a place for him among his top star musicians. 

22:00
The final of the jam session. I would say that it is time for goodbyes but as one of the lyrics says: there’s no goodbyes on the road”. Fred Anderson kindly returns to the hotel, not before stopping at Troubadour Club, when Elton performed for first time long years ago.

As I said in the beginning, I was sad for leaving that people behind, but I was plenty happy to see that a new star is ready to conquer the world. Sad and happy? Is that a “Contradiction”? “Big Waves Crashing Down, Shaking the Ground”. You will see, I said one day, the Number One has just arrived: Ben Babylon to reach the stardom. Give time to the artist, not in a hurry, and fasten your seat belts: the journey has begun.

Happy Birthday, Ben Babylon!!!!

"She packed my bags last night pre-flight / Zero hours nine a.m. / and I am gonna be high as a kite by then", Jack Rabbit's whispering. Long journey today to the stars. Explain us the purpose of this tour along, basically, UK and US. I guess you have special guests with you, tonight. Ahh! Ok! It's Ben Babylon's Birthday and you have some people wanting to share time with him. That's ok, Rabbit! And also there's the release of the first single of the album. Wow!! We're ready for what you got.!!!

John Jorgenson
Liverpool, UK

Currently touring UK with his band. After a few gigs in Scotland, he performed a benefit concert in Stockport for his friend Stuart Fraser Thompson's Memorial Foundation, who passed away earlier this year. Andy MacKenzie featured and played a few gypsy jazz duets with him. Wednesday night playing in Liverpool, then Friday in Milton Keynes and finally back to the US on Saturday. Hi John, I am sure you know about the release of Ben Babyon's new album, early next year.

"I am already very proud of Ben, as his father is, for the way he is going for his music! To be this driven and accomplished at such a young age bodes well for a very good future. I look forward to seeing Ben develop as an artist and performer, and I think I speak for the many fans and supporters that he already has! Bravo Ben!"

Kiki Dee
Derbyshire, UK

Tourin' with Carmelo Luggeri in Europe. Since they first started working together 9 years ago, Carmelo and Kiki have been on a journey that has not only resulted in beautiful music that speaks straight to the heart, but also on a road of growing and learning for the guitarist and vocalist. They are equally at home doing an acoustic arrangement of a known song or experimenting with Indian drones and tablas. Also, the Fontana Years has been released featuring Kiki's first recordings from the 60's on CD for the first time from the 60's on CD for the first time. You know about Ben, right?

"I realize he is Guys son and I am wishing Ben all the very best with his music and Love and happiness in his future".

Charlie Morgan
Nashville, Tennessee

Still with playing regular shows with Orleans, and the Rock & Pop Masters (RPM). RPM visited Iraq/Kuwait last year, playing 5 gigs for the troops. His studio, in the Nashville house, is going strong: since the succesful album with mexican Manuel Mijares, a number of Latin artists have asked to do the same treatment for them. Also he'd developed a drum game "App" for the iPhone and iPad: Drums Challenge.

"Ben, I know you are embarking on your first major album project. This is both exciting and probably a little nerve wracking! I just wanted to wish you "good luck" - have fun, put your heart into it (as I know you will), and if you need any help or advice, please don't hesitate to ask!"

Natalie Jackson aka Kudisan Kai
Boston, Massachusets

The range of artists with whom Kudisan includes Bette Midler, Diana Ross, Joe Cocker, Saliva, Mary J. Blige, and Powerman 5000. She can be heard in a host of television and radio commercials, as well as movies like Dreamworks El Dorado, Disney's Dinosaurs, Ali, and John Singletons Dark Blue, working with top-rated music producers such as James Newton Howard, John Powell and others. Kudisan, who also teaches in the Voice Department at Berklee College of Music, had released her own Hard Rock EP entitled Confessions.

"I am really excited for Ben's first debut album. He is truly a gifted musician. I can hear Elton and his dad's influences throughout his artistry. His message is powerful and I think he is destined to becoming a true star".

Kathryn Keats
California

She continues to write and record and is completing a new CD she is co writing with producer, Narada Michael Walden. Keats has created a theatrical concert playing such well-known venues as Yoshi’s Jazz Club, Oakland, Ca., Knitting Factory, Los Angeles, the Bitter End, NYC and the Throckmorton Theatre, Mill Valley, Ca. It is a theatrical concert filled with joy, humor, and a ton of love. Also, she is working on book about her experiences in hope to inspire others.

"I am so happy for Ben! His first CD is, no doubt, going to be amazing! What a brilliant light!"

Ken Stacey
Los Angeles, California

Ken was in the last season of American Idol as a vocal coach, vocal producer and arranger. Ken was instrumental in putting Scotty McCreery through the first round of judging during season 10 and helped Scotty find his upper range which played a key role in his success on the show! Also, Stacey collaborate at the University of Rock and Roll, which features a variety of musical education programs by world-class musicians from Rockers Collective.

"I am very proud of Ben! I know he carries his Dad's soul in his music. Ben is an extraordinary young man who has taken his God given talent to great heights because of his hard work and passionate commitment! There are many, many people who find Ben a true inspiration! I wish him so much success... he deserves it!"

Bill Trudell
Mar Vista, California

"I like to write sometimes, but now I'm in the studio 6 days a week writing songs and producing new artist for film and television". Trudell also co-own a few on-line companies e-appointcards.com and Smaktones.com. A new song from Michael Thompson/ Billy Trudel "Don't Take This Love", a little soul with a pop edge, is available to download. Trudell performed live with Ben Babylon and was quite surprised:

"I remember walking into Guy Babylons studio to work on a song for an up coming gig we were doing to raise money for the school, Davey and Guys kids went to. I was told that Guy and Kathy's youngest son Ben would be performing the song Baba O'Reilly with me and thought, what a cute idea it was to have him play with us. When Ben came into the studio to go over the song, I sat a watched him play and my jaw hit the ground. He was amazing, a star in the making. And now to watch him grow into this young man ready to take on the world, only makes me happy. I wish Ben Babylon all the best there is in this world of music. Ben, you are a true musician, a wonderful son to your mom and dad and will always be my friend. You have truly carried the torch for your dad, and I know he is there with a very proud heart watching you become everything he wanted you to be. I look forward to hearing all your music for many years to come. Big hugs to my brother".

Fred Anderson
Los Angeles, California

Ben Babylon's publicist. Also a writer, producer, media consultant: "I am not a musician, but I know what I like, and I like Ben Babylon's music! I recognized his talent the first time I heard "Goodbye Superman," and he just keeps getting better" says about Ben, while adding: "He writes and plays with the passion of a rock star and the discipline of a classical artist. He has the self-confidence he needs to succeed, without being arrogant. It is an honor to be associated with him and his mother, Kathy, and I am proud to call them friends". No one could describe best Ben. Could you share something about the recording session, Fred?

"I had the privilege of being in the studio with Ben during one recording session, when Nigel Olsson came in to lay down drum tracks for the song "Contradiction". It was an honor to be in the room with such a rock legend as Nigel, and to watch him work. Jesse Johnstone was engineering the session. He is very meticulous, and he has a great sense of humor. To be around these professionals, in the very studio where the late Guy Babylon created so much of his own music was humbling. It was a day I will never forget, especially whenever I listen to "Contradiction".

"Contradiciton", the first single of the album, available on itunes for Ben's Birthday.

"I have only heard a few songs that are going to be on Ben's album. "Contradiction" has a great melody and excellent, hard-driving guitar riffs by Davey Johnstone. I really think people are going to love it. Another song I like is "No Goodbyes On the Road," which was inspired by something that Ben's father used to say. "Us" is a fun, very fast song, which I think will surprise many people. And, of course, I have always been impressed by Ben's epic tribute to his father, "Goodbye Superman." I have not yet heard the new version that will be on the album, but with members of the Elton John Band backing Ben, it is sure to be spectacular".

Marlena Jeter
Las Vegas, Nevada

Marlena has recently released "Serenity", an EP which consists of 7 songs, and it was written, arranged, produced & performed by herself. Recently she’ve also been working with Timothy Schmit from the “Eagles”, getting ready to begin touring with him again in December 2011. Marlena has also been a consultant for several Los Angeles based production companies, as well as film projects.

"I'm happy to hear that Ben is about to release his first album. I can't comment on the album itself as I have not yet heard it. What I can say is that once I heard this young man perform, I believed he had a big career ahead. He has so much of his father's touch & talent, & I could hear the Elton John influence... What a combination! It is my opinion that Ben Babylon has something wonderful to share with the world. I send my best wishes to Ben for a successful musical journey!"

Davey Johnstone
Las Vegas, Nevada

Elton John returned to Las Vegas for a three-year headlining gig at Caesars Palace. He was set to perform about 16 shows scheduled through October, on a new show titled "The Million Dollar Piano. At his side, long-time guitarrist Davey Johnstone, was remembering about Ben Babylon's recording sessions.

"On a day off in Germany during our Elton John summer tour, our bassist Bob Birch called and asked if I would put some guitar on one of Ben's tracks. Birchy had already put bass and drums on the song. Our gear was on the way to Berlin, so I went to the local music store to beg the use of a guitar! The guy said, "We do not lend guitars here!" Then the owner who had been at our show the previous night said, "It's cool, Fritz, he's Elton's guitarist!" I still had to pay a $100 deposit for a cool Strat, then I walked back to the hotel, knocked on Bob's door, and we jammed for an hour on Ben's song. Who needs a studio when you have Bob Birch's Mobile Rock Palace!"

Nigel Olsson
Las Vegas, Nevada

Nigel is so special for Ben too. The original drummer of Elton's band has been doing occasional session work, donating his time to various charitable causes and races vintage cars in California, where he lives with his wife Schanda and his son Justin.

"Ben is a true vision of his Dad GUY. He has a long way to go to fill the shoes of a true genius ( His DAD ) but he has the faith Joy and inspiration that will take him to new heights So honored to be part of HIS life. Love you Ben Always. Love Uncle Nigel XXXX"

John Mahon
Las Vegas, Nevada

As Nigel and Davey did, as well as Bob Birch, Mahon was on the recording sessions of the album and Jack Rabbit asked about his impressions to that experience. So, John, what you would like to share with us?

"I just recently played drums and percussion in my studio for a song called "Learning". It's a short concise song and was fun to play. I played drumset and some tamborine, shakers, bell tree, and a little African drums too. Earlier in the year we went to the Babylon's home studio and recorded 2 or 3 songs with Davey Johnstone and Bob Birch. I played drums on those songs. We asked Ben to make some chord charts for the songs because he is young and a bit inexperienced. It's fun to play with him because he is very happy to make music all the time. Songs I would like to talk about? Well, we recorded "Goodbye Superman", and "No Goodbyes On The Road". The first is a song about Ben's dad Guy Babylon and is quite a little masterpiece. It was very fun to play. "Goodbye's" also comes from Guy in way. Guy did not like to say goodbye when we were at the airport getting in our cars to go home. He always would say "there's no goodbye's on the road" - meaning we'll see each other again soon".

John, you have the honor to close Jack Rabbit's journey. Do you have some encouraging words for Ben Babylon, just for him, about the career he’s beginning?

"I think Ben will have a great career in music. He's a good piano player and is writing some interesting songs. He is getting out and playing with musicians which is something any serious musician needs to do. It is very difficult to develop a music career - much more now than in the past because record sales are so low from illegal downloading. If you download songs without paying the musicians for them they can never make a living from making new music for you to hear. I hope Ben gets to see a new business of music in his future".

Thanks so much to all of the guests invited here for their collaboration. All they agreed to do that for Ben as a surprise, so their wishes for Ben are the best way to close the journey.

Me and them, we would like to tell you, Ben Babylon,

that WE LOVE YOU,
we wish you a HAPPY BIRTHDAY,

and we're ready to buy your new single as soon as it is available. Special thanks to the greatest Fred Anderson for his help, for his work, for his generosity. And finally, to the lovely Kathy Babylon, thanks so much for your efforts, for being there, for being such an extraordinary person. Jack Rabbit!!!! You have to run to the record shop, check out i-tunes, whatever you prefer, but you must have this record, ok?