Christmas Notes from Elton John’s Legendary Musicians

Kathy Babylon
Born in Los Angeles, USA · Close collaborator with Elton John’s musical circle

Kathy Babylon was born into a musical family and began as a studio singer at age 12. She has performed with The Carpenters, Frank Sinatra, Joe Sample, Nigel Olson, and on Disney projects. She was married to Guy Babylon, Elton John’s longtime keyboardist and arranger, and remains close to him and his band. Kathy continues to collaborate on music projects and musicals, including works with Holly Doubet and John Vester (This Is NOT A Drill The Musical). Kathy is also a proud mother and grandmother.

Merry Xmas from the Babylons! Kathy Babylon

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Adam Chester
Born in the USA · Pianist and stand-in for Elton John

Adam Chester is a powerhouse pianist and vocalist who serves as Elton John’s official band stand-in, affectionately known as the “Surrogate Elton.” He has performed at rehearsals and select live events, including Elton’s final U.S. Dodger Stadium concert in 2022, Glastonbury Festival 2023, and the 2024 Gershwin Prize ceremony. Chester arranges and conducts choral performances for Elton’s productions. He has collaborated with artists such as Joni Mitchell, Brandi Carlile, Garth Brooks, and Miley Cyrus. Adam began his musical journey at age four and studied at USC’s Thornton School of Music. He continues to perform regularly in Los Angeles and for private events nationwide.

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Kudisan Kai
Born in the USA · Former backing vocalist for Elton John

Kudisan Kai is an accomplished singer who has performed as a backing vocalist for Elton John, Chaka Khan, Anita Baker, Natalie Cole, Jeffrey Osborne, and others. She is currently a session singer for film and television. Kai was a former associate professor at Berklee College of Music and is the author of Memoirs of a Back Up Diva. She hosts her own podcast, Backstories On Kai-Fi, and released a single, Step Into The Light. Kai also runs Vocal Music Evolution, an online forum for singers, vocal contractors, and coaches.

Sending love and good wishes to to everyone on EltonJohnAllSongList as Christmas fast approaches 🍾🍾❤️🍷🎄🎄 I see your light ✨✨✨✨

Kudisan Kai

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Shirley Lewis
Born in London, UK · Backing vocalist for Elton John

Shirley Lewis is a British vocalist known for her work as a backing singer for Elton John and other musical greats, including George Michael and Stevie Wonder. Her voice can be heard on some of George Michael’s biggest hits, including Father Figure and Freedom. Lewis toured with Elton John during his 1985–86 World Tour, including the Australian shows with the Melbourne Symphony Orchestra. She took part in the seven-day The George Michael Singers UK tour in March–April 2025, helping to keep his music alive for fans. Lewis has extensive experience as a studio and stage performer.

Happy Christmas and blessings for the New Year to all The Elton John AllSongs list 🎄 blog 🎄 Shirley Lewis

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Charlie Morgan
Born in the UK · Drummer for Elton John

In 1985, Charlie Morgan’s drumming work with Nik Kershaw attracted the attention of Elton John, who invited him to play on the Ice on Fire album. Later that year, Morgan joined Elton John on stage at Live Aid, beginning a thirteen-year period of recording and touring together. He became a core member of Elton’s band throughout the late 1980s and 1990s. Beyond Elton John, Morgan has worked with artists such as Kate Bush, Paul McCartney, Tina Turner, Cher, and The Moody Blues. He is also the owner of Manicdrums Productions.

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Caleb Quaye
Born in London, UK · Original lead guitarist for Elton John

Starting in 1969, Caleb Quaye played guitar supporting Elton John at live concerts around the London area, in line-ups that later became the nucleus of Hookfoot. This live work continued until Elton formed his original touring band in spring 1970 with Dee Murray and Nigel Olsson. Quaye is best known as Elton John’s original lead guitarist, having played on much of his early recorded work. Beyond Elton John, he built a major career as a session guitarist and producer, collaborating with artists such as Harry Nilsson, The Beach Boys, Joan Baez, Dusty Springfield, Liza Minnelli, Pete Townshend, and Hall & Oates. He remains a highly respected figure in British rock history.

Thank you all for the love and warmth you continue to share — it truly means the world to me. I’m excited to share that my documentary, Louder Than Rock : The Director’s Cut will be released at the end of January, and I hope the music continues to bring you peace, light, and joy.

Caleb Quaye

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Richie Zito
Born in Los Angeles, USA · Guitarist and collaborator with Elton John

Richie Zito is a guitarist, songwriter, composer, and record producer with a career spanning more than 50 years. He has contributed as a session musician to recordings by numerous artists, including Elton John, Neil Sedaka, Diana Ross, Leo Sayer, and Art Garfunkel. Zito has also produced charting singles and worked as a composer for projects such as the 1986 anime film Project A-Ko. He was named Billboard’s Producer of the Year in 1990. Known for his versatile production and guitar work, Zito remains active in music and studio projects today.

Wishing Everyone a Safe, Healthy& Happy Holidays!!!! Richie Zito

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From Six Yellow Roses to The Elton John Connection: Marta Coloma’s Journey into Elton’s World

Marta Coloma is a Madrid-based singer who has successfully combined talent, sensitivity, and deep respect for Elton John’s legacy. In October 2024, she released her EP Six Yellow Roses, offering reinterpretations of classics from the 1970s and one track from the 1980s, bringing her own voice and style while preserving the essence of the original compositions. From the emotional subtlety of Goodbye to the intimate strength of Seasons, each song showcased the artistic vision of a performer who loves music and wants to share it with a broad audience.

In this interview, we talk with Marta about her beginnings, her connection with Elton John, the creative process behind her EP, and what fans can expect from her upcoming The Elton John Connection concert in Madrid.

Hola Marta, thank you very much for being here. Could you tell us, first, about your musical journey and what led you to become a performer?

As Kiki Dee would say, I had always had the music in me :) But it took a while for me to develop the belief that I could perform. I went to music school and took piano and choir lessons when I was little, and I had always loved singing, but at some point I started putting all my efforts into school, languages, and becoming a journalist, and just stopped seeing it as an option. I kept loving music and all things related to it — but it was just a hobby. At some point in my late 20s, I realized harnessing my voice and my performance spirit could help me heal. I enrolled in a gospel music school (something I had always dreamed of trying), and then all started to come into place. I joined a disco band, I auditioned for Coro Gospel de Madrid, and this sparked the realization that I could actually do it. I'm really glad I took that leap of faith.

And what does Elton John mean to you, both as an artist and as a person?

It all actually started because of him. Up until 2019, Elton John was just a beloved artist from my childhood soundtrack (my dad used to play his songs along with other artists from the era like Abba, Pink Floyd, Queen, or Stevie Wonder). Hits like I Guess That's Why They Call It The Blues, Crocodile Rock or Your Song were in heavy rotation when I was a child. I also remember being fascinated by the Passengers music video. 😃  But Elton was just another artist from that part of my life. When the Rocketman movie came out, it all changed (yes — I'm one of those who turned into an Eltonite thanks to the movie!). I'd been listening to Elton many times in my life but I never really took interest in his life story... and when I finally dived into it, I honestly felt understood. It moved me in ways that I didn't expect. As the ultra-curious person that I am, this unleashed a whole obsession: I read about his music, about his life, about his personal struggles, about his career path and artistry, and I listened to his discography in loop. I was so surprised to find out he was the whole package of what an artist should be: a rebellious, curious, funny, open to experimentation, gifted musician that also has a knack for supporting, mentoring, and collaborating with others. I found it so inspiring that he had been able to create such monumental work while struggling with his identity, family conflicts, and relationship issues. This led to interactions with other fans and more musical exploration. The world opened before me when I re-discovered Elton.

On your live project: how do you choose which songs to cover? Is there a story behind each selection?

For The Elton John Connection, I've made a point of straying away from the usual collection of hits that Elton himself is tired of playing. Some of them are present in the show, of course, but there are so many Elton tributes out there that I wanted to do something different. I didn't wanna impersonate Elton (not that I even could 🤣) or to play the songs everyone knows. One of the main goals was to uncover the hidden catalogue that most listeners haven't even heard of. There are so many hidden gems in the setlist that illustrate why Elton's work fascinated me for the first time, and I want to share that fascination with the audience. Since I am a storyteller myself, I decided to do this by following his personal story, mostly focusing on his career, which has been incredibly varied and surprising. The story I share in the show is also full of anecdotes and hilarious moments that speak about his character. To make the selection, I just followed the soundtrack that I think was more fitting with the episodes I wanted to highlight. There are hits in there, of course, but also so many deep tracks that fans will love to hear live, like Idol, Tell Me When The Whistle Blows or Healing Hands, since Elton hasn't played them for a long time. I'm incredibly excited to keep performing these songs, and to add more to the roster as the show's script evolves.

What technical or emotional challenges did you encounter while recording Six Yellow Roses?

Woof, that was a rough process! Six Yellow Roses was born because one of Elton's longest-standing fans, Bennett Zimmerman, really believed in me. When we met in LA for EJ's last North American show, he prepared a lovely fan evening with a show where a fantastic band, Flight of Voices, covered some deep favorites for us. He heard me sing and suggested that I select and record some. He thought Elton in a woman's voice that knew his catalogue inside out would be an intriguing project. But I was in Spain, he was in the US, and the American piano player and producer he wanted to enroll for the project, Adam Marsland, was in Cambodia at that time. So the biggest challenge was producing, recording, and mixing it all remotely. Second to that, it was also challenging to find the right key to transpose the songs to and find out what kind of adjustments and stylistic choices would suit my soprano voice more. It took a few months to put it all together, but in the end, we were happy with the result.

Can you tell us more about your band — who the musicians are and how you decide which instruments are part of your arrangements?

This might sound cheesy, but I feel that The Elton John Connection band is truly spectacular. I'm really grateful I could gather these musicians to make the project a reality. It was difficult at first, but through recommendations and references from other musicians in Madrid, I was able to put together a great band. Initially, I was worried about finding the right piano player — I studied piano but I don't have the expertise required to play these songs. The amazing Dan Vidal ended up becoming our lead at the keys and I couldn't be happier. Although I love the original Elton John band with Nigel, Dee, and Elton, I wanted to put together a full production, so apart from the bass (Bas Kisjes) and drums (Giancarlo Spirito), I added guitar (Pedro Chalkho/Miguel Tarzia) and a lovely set of back-up singers (Irene Cobián, Laura Guardiola and Julia Tapia), which also happen to be my dear friends from the gospel choir. That's the core band, but we're also adding other surprises along the way 😉 When I step on stage with them, I feel so lucky.

Elton John’s recordings are often associated with the legendary producer Gus Dudgeon and lyricists like Bernie Taupin, Tim Rice, and Gary Osborne. How do you connect with their contributions when interpreting Elton’s music?

It's so difficult to get close to the greatness of Elton's records. People are so used to hearing the studio tracks and live versions, so I've tried to give the songs my own flavor. Bernie's lyrical prowess is always highlighted in the renditions themselves and in the script. He's always telling magnificent stories and that itself creates a special atmosphere. Some of the earlier albums arranged by Paul Buckmaster are masterpieces, but I wasn't able to put together a string orchestra (yet 😆), so we've tried to make those more intimate and laid-back. In summary: you can't really replicate that sound, so my idea is to give it a twist while we honor the era and make people travel in time with us.

Great, precisely, do you have a favorite Elton John album, era, or band lineup that inspires you the most?

This is a hard one! Many fans will dispute this, but it's obvious that the 70s albums are the peak of the classic Elton sound. Tumbleweed Connection and Honky Chateâu are among my favorites. I'm also a huge advocate of albums that don't get as much attention, like Rock of The Westies or The Fox. I have to say though that, as much as Elton's early production was undoubtedly amazing, the 80s and 90s have so many hidden gems and some fans tend to be very harsh with their feedback. Regarding band lineups, the answer is easy: the original Elton John Band (as in 11-17-70 or Madman Shakes Tokyo! 1971) and the Elton+Ray duo from the A Single Man tour (that '79 Moscow concert is just hauntingly beautiful and includes my favorite version of Rocket Man ever).

From your perspective, what makes Elton John’s sound unique and enduring after all these years?

It's a combination of his natural ability at crafting impossibly catchy tunes and his rich musical references. Most Elton John songs sound like classics because they are: he appreciates music history and other trailblazers that came before him, and he isn't afraid of exploring different genres when he's writing songs. After all, he's a music fanatic. Pair that with his prodigious technical ability and perfect pitch, and add Bernie's evocative stories on top, and you've got a winning formula. He makes the difficult seem easy. I also appreciate that he's always trying new things and is open to experimenting. Other artists his age don't, and that's what really keeps creativity alive.

Do you have plans for more covers, collaborations, or upcoming projects related or not to Elton John?

With this project, I want to keep exploring Elton's catalogue and uncovering more deep tracks to the audience if there's an interest. I have a long list of songs I'd like to talk about and perform! And of course, I'd love to collaborate with other artists that revere his music as much as me. It's always fun to perform with other musicians that appreciate his catalogue. Apart from this, I'm gonna continue performing other genres I love, like 70s disco and gospel, and I'm opening up to the possibility of writing my own songs. I didn't imagine I'd be doing this four years ago, so who knows! But I definitely think there's more to explore moving forward.

Looking forward, what kind of music would you most like to explore and develop in the future?

As you can probably tell, I adore the music and artists from the 70s. I think it's such an inspiring era — one of the best decades in popular music so far. The rock, pop, disco, punk, soul, folk... artists were absolutely incredible back then, and the songwriting was really high quality. However, I enjoy and take inspiration from tons of contemporary musicians (Florence Welch and Rufus Wainwright are two of my absolute favorites), so I'm looking forward to open my horizons and get inspired to write my own music. For now, in terms of performance, I get such a kick from combining storytelling with live music, and I'd like to explore that formula further.

Speaking with Marta Coloma is a reminder of why Elton John’s music continues to inspire — because within his catalog, artists like her find space for discovery, reinvention, and sincere connection. Her approach is thoughtful and passionate, honoring the past while bringing her own voice to the forefront.

With Six Yellow Roses and The Elton John Connection, Marta shows that Elton’s repertoire still holds countless stories waiting to be told. Stories she delivers with honesty, warmth, and a genuine love for the music. It will be exciting to follow where her artistic journey leads next, and what new surprises she has in store for fans.

As our conversation comes to an end, it feels only fitting to close with the words of someone whose artistry Marta deeply admires. Shortly after hearing her interpretation of Grow Some Funk of Your Own, former Elton John band member Cidny Bullens sent her this heartfelt message — a note that reflects not only Marta’s talent, but the musical thread that connects artists across generations:

Marta: It is great to hear "Grow Some Funk..." revitalized by you. I wish you all the best in your career and life. Keep singing! We both know it is one thing that keeps us all connected. All the best. Cidny Bullens 

From The Spotlight to Paris: Kudisan Kai’s Artistic Evolution

It’s been a privilege to follow the journey of Natalie Jackson, known to many as Kudisan Kai, over the years. We first connected more than a decade ago, when she was already leaving her mark as a powerful backing vocalist and collaborator with some of music’s greatest names. Later, in 2014, we caught up again as she began carving out her path as Kudisan Kai, stepping into the spotlight as a solo artist, composer, and storyteller. Now, almost ten years later, we reconnect once more. So much has happened since those early conversations: new projects, new stories, and new perspectives. Kudisan Kai’s career has always been defined by passion, resilience, and versatility—whether singing alongside Elton John or Chaka Khan, teaching the next generation of musicians at Berklee College of Music, or sharing her own truth in her book Memoirs of a Back Up Diva.

Now I find you… in Paris!!! A city known for its history, art, and music. How did fate lead you here, and how has living in this luminous city influenced you, both personally and artistically? 

You know, it’s really funny. After returning to Los Angeles in 2014, from teaching at Berklee College of Music in Boston, MA, I thought I would be in LA doing recording sessions and solo projects forever. But, after all of the challenges, specifically, yet another SAG/AFTRA union strike, I decided to dive into other areas of my life that I had passion for. That would be wine. I have always wanted to open a restaurant which included a performance venue. I attached this ‘for-profit’ restaurant concept to a non-profit project I founded called, Transcend Cradle (aka TCLC). It’s a cooperative living/lifestyle community that reacclimates homeless people back into society in an empowering, healthy way through free housing, spa/wellness, and mental health services. As part of learning about the restaurant industry, I decided to study wine. So, I completed my WSET Level 1Wine Certification in 2024. Then, I figured, why not study wine at the source? So, I closed my eyes and took a chance at going Europe. Initially, Dijon, France was my first destination to study at the Burgundy School of Business. But, I flew to Paris first to await word on a wine scholarship and ascertain finances and living quarters in Dijon. I already knew from my travels that European lifestyle suited my spirit. However, I found peace in Paris. Of course, fate stepped in and connected me to some musicians I had actually worked with on a film in the US (an animated film entitled Rugrats: The Movie). I ended up singing, writing music for this friend’s record project, and doing a private gig with Bernard Fowler ( bgv for The Rolling Stones). Who knew?

And how has your creative perspective changed since moving to this city? 

At this point, creatively, I think I can probably do just about anything I want to do. I believe anyone can. The days of feeling you need to be in LA or NYC or London to really make it in the music industry are dwindling. You can do recording sessions for producers from anywhere in the world and just email them the tracks. There are still sessions in those cities, but they are fewer as the years go on. I really want to get into writing music for film and television. I’ve connected with a couple of music supervisors here in Paris. There’s a great probability I will be singing the tracks I write, so my voice will be heard and that’s exciting. The only thing that has changed is that I’m no longer touring on the road as a back up singer. However, I stopped looking in that direction in 2016. It was time to do something different.

Looking back, you’ve collaborated with incredible artists like Elton John, Chaka Khan, and Beck. I’m curious—what have been the most revealing experiences from these collaborations? 

I am always amazed and grateful for my precious time spent working with Chaka and Elton. I learned more from them than any of the other people I ever toured with. You know, their birthdays are two days apart 😉 I realized their impressions through my teaching experience at Berklee. I could see in ‘real time’ how I approached singing and performing on all stages, arenas, and stadiums, watching and hearing my students regurgitate what I would teach them, confirming the validity of what those icons taught me. What can I say, I learned from the best. They both LOVE what they do and are secure in themselves as artists. They don’t second guess. Brilliant at what they do and they know it. And yes, they are both extremely witty, hilarious, quite intelligent, probably having a high IQ.

As you’ve grown as an artist, how would you describe the evolution of your sound from your early days as a backing vocalist to the music you create today? 

It took me a long time to realize my insecurities and to be confident in my singing voice. For many years, I spent time trying to be the best I could be at whatever people wanted. I wanted to do my best job at whatever the genre, whatever the sound I was asked to make. I worked hard and think I did rise to the occasion. I give all thanks to a narcissistic mother for this. It was all about feel I needed to be perfect and making her happy. I realize now that I missed out on a lot of fun and just enjoying singing. I appreciate and accept my sound which is rooted in classical training. It colors my tone. Also, I recognize that being raised in Memphis, TN influenced me as a soul/funk singer. I love myself as a human now more than ever, so I sing with a new level of trust and freedom, and vulnerability, and self-love. The backing vocalist jobs allowed me the space and time to sing EVERYTHING. So, I know what feels good in my voice. I know what vocal qualities I have and how to exploit them. I’m ok with me vocally. I am happy and I really enjoy singing songs I am emotionally connected to ♥ 

Your songs, such as “Transcend” and “Portrait,” explore very personal and profound themes. Can you tell me about your creative process when working on pieces with such powerful messages? 

Whew! Now that’s a loaded question! That time and those two songs which are from my EP Transcend, were written after my divorce. They are filled to the top with angst, despair, sadness, tinged with a few teaspoons of determination. At the time, I wanted to really sing more in my alternative rock genre, I was still teaching at Berklee and wanted to find a way towards solo performing. I felt a bit suffocated with it all. I feel that the energy that was felt from hearing me sing at that point, might have been interpreted as unsettling. Sometimes, that can work because it can be palpable. Sometimes, it can come off as freeing but unfocused. I don’t know. You would have to ask a listener. My process simply is to be honest. Good, bad, or indifferent, that’s honestly where my head was at the time. Hey, it was the truth.

You also have a strong classical background. How do you bring those elements into your contemporary style while still maintaining your unique musical identity? 

For a long time, once I decided that alternative rock was my genre, my passion, I was upset that I could not find my ‘natural’ voice. I feared the vocal training had destroyed it. What could I do? I had been classically trained since the age of 10. What I came to realize was, the training had created a color/texture/ buttery quality to my tone which affected everything I sang. THAT quality became my DNA. That quality is what shaped and formed my brand of alternative rock. All I had to do was to be honest in my intentions and just allow my personal experiences to speak through my instrument. That’s it. So, now I am grateful for my training. It is part of the shaping of my unique musical identity. I accept it.

Shifting a bit, as a former professor at Berklee College of Music, what lessons do you consider essential for emerging musicians today? 

Be a master at whatever you do. Once you figure out your passion, learn it, know it inside out and around. Live and breathe it so that when you get up in front of people to express your story through your instrument, you can be 100% open and vulnerable as you channel/perform. That’s where the magic is. That’s what the audience want to experience. The magic.

And looking at the broader picture, as an educator and artist with a solid classical foundation and experience in diverse genres, how do you view the current musical landscape, especially with new trends like reggaeton dominating young audiences’ tastes? 

I love the beat. I love the groove. It’s popular music. It’s an escape. I don’t know exactly what they are saying. I hope it’s positive. Popular music has always had its place in every society. People need a release. People need something to escape to. The world is going through a traumatic change right now, so today’s pop music can be a welcome break. What’s also happening is that this world of decadence and obsession with material things is coming to a boiling point. I feel it’s about to end. Money can’t make you happy. Even with all of the hate that infiltrates social media, I feel it is a sign of people feeling unheard and in total fear of the changes that are happening on the planet, so they are lashing out. It’s incredible to watch. However, I am a believer that love will always win in the end. The pendulum is swinging far, far to one ugly, murderous, hateful side, but hey. This only creates an incredible momentum in the other direction. As artists who write and perform the music that will tell that story? It will be heard. Society will need to hear it. Society will beg for it to be heard.

Throughout your career, you have been an advocate for African American women in rock. How do you see the evolution of this movement, and what steps still need to be taken to solidify it?

I think we are finally over placing a color on every freaking thing. Thank God for the racial mixing and yes, I contributed to that ♥. My daughter is bi-racial. I did get caught up in that conversation and felt a need to be heard as a black woman who knows the history of the music and wanted to be a recognized part of it. People in the US are so racially separated. At this point in life, I see people as all being the same. We are spiritual beings in a fat suit. Period. If you still want to acknowledge different, then we are all members of one race. The human race. The people who are fighting to maintain separation are wasting their breath. Their killing, fighting, and hurting others because they are different, will only wreak havoc on themselves.

Your book, Memoirs of a Back Up Diva, offers a very intimate look at your career. Which parts of your story do you consider most significant or important to share? 

I started out writing it as a guide on how I got started in the music business. Everyone at Berklee College would ask me that question. It turned out to basically be a ‘day in the life of a singer’, which I thought my experience was unique and not so extraordinary at the same time. What it became, was a story of how I was trying to re-invent my career in a new music world order with the challenges of homelessness. It became a story of resilience even in the face of still working as a back up singer on f ilm, television, and on the road (at that time, I was with Chaka Khan). I think finding the strength, the resilience from day to day, became the most significant part. The stories of being on the road became entertaining. The resilience in the face of homelessness became the lesson.

Is there an anecdote or reflection, however small, that you find particularly meaningful in your artistic journey? 

I’m still on the journey. It never goes away and I never give up. It takes a different shape and goes down a different path each moment, each day. I took acting lessons during COVID and continued them later. I started painting abstract watercolors a few years ago and have sold a few. I’m amazed at how my artistic journey expands. It’s like a box of chocolates. You never know what you’re going to get ☺

Looking ahead, what projects are you currently working on? Is there a new direction or collaboration that excites you? 

My last collaboration was a Christmas duet with the Goo Goo Dolls a couple of Christmas’s ago. No other collaborations right now. I am hoping to get the call to write for a film at some point. I did get asked by someone in the US to do some writing for a tv series, but that’s still in the works. I am still hoping to get my WSET Level 2 Wine certification. I’m awaiting word on exactly where I will do it now. I have decided not to go to Dijon. I may do it here in Paris or I may do it in the South of France. I’ve been considering moving there. I really miss the ocean. I’ve been writing music in what people are calling alternative indie (Teddy Swims, Yebba, Shaed, Moses Sumney). I’m thinking my solo work will probably come out of writing and performing this genre on film/tv. I’m writing a second book now, which should be the ‘epilogue’ to my previous book (Memoirs Of A Back Up Diva) now that my life has found its happy ending here in Europe. Finally, I am promoting my online vocal performance masterclass right now called, In The Spotlight: Vocal Performance Mastery. It’s on Patreon now. It’s for professional singers who are ready establish their brand to secure their audience via masterful performances.

And finally, what advice would you give to young artists who want to follow in your footsteps and make their mark in the music industry today? 

Follow your heart/passion/bliss. Do what FEELS GOOD. The world will seek and find you. Be ready.

Through this conversation, we gain insight not only into Natalie “Kudisan” Kai’s artistic journey but also into her vision of resilience, education, and life itself. From Paris, surrounded by memories of historic collaborations and new creative ventures, she leaves us with a clear message: passion, perseverance, and authenticity are what truly define an artist — no matter how the musical landscape shifts or which trends come and go. To dive deeper into her journey, readers can discover her memoir Memoirs Of a Back Up Diva or join her vocal training program In the Spotlight: Vocal Performance Mastery. We sincerely thank Kudisan for your time and generosity in sharing your journey, and I wish you continued success and inspiration in all your creative endeavors.

Pictures Courtesy Of Kudisan Kai

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