Best Podcast Episodes About Music
Everything podcasters are saying about Music — curated from top podcasts
Updated: Apr 27, 2026 – 63 episodes
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Ridealong has curated the best and most interesting podcasts and clips about Music.
Top Podcast Clips About Music
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Jamie recounts the horrifying moment she finds a body after a murder, complete with blood spatter and a bizarre twist involving a tooth in Michael's shoe. The absurdity of trying to make it look like Ann Marie left voluntarily while dealing with the chaos of the crime adds a darkly comedic layer to this chilling tale.
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In a hilarious twist, one host recounts watching the erotic thriller 'Jade' with a friend who fell asleep during the steamiest scenes, only to wake up furious about the lack of sex. The discussion takes a bizarre turn when they reveal a Hollywood producer's odd collection of women's pubic hair lockets, making for an unforgettable moment that blends absurdity with nostalgia.
“… and I don't have my I think I still have lashes on but I don have my extensions in and I in a leather jacket and I don look like a woman of country music I look like the chick I thought I was going to be when I grew up And her mom says she sings too And I said oh okay do you sing She said, yeah, I sing. I really love to sing Babylon of 44. And I had two guitars right there as we were getting ready to leave. And I said, well, let's get a guitar out. You and I should sing together. No way. And you know, like coming in the artist entrance where it's just like concrete floor. So we sat on the rug …”
“… And I would love to give you a bag of pecans. And I love pecans. and we chit chatted and everybody that has to do with the tour is being so nice and calm while we have this minute to talk and she gave me a sticker and I signed a sticker for her and I don't have my I think I still have lashes on but I don have my extensions in and I in a leather jacket and I don look like a woman of country music I look like the chick I thought I was going to be when I grew up And her mom says she sings too And I said oh okay do you sing She said, yeah, I sing. I really love to sing Babylon of 44. And I had two guitars right there as we were getting ready to leave. And I said, well, let's get a guitar out. You and I should sing together. No way. And you know, like coming in the artist entrance where it's just like concrete floor. So we sat on the rug and I played and she sang and I sang harmony with her. Bobby, she looked me in the eye, the whole song. And in her eyes, it looked like a forest fire. And it was just magical. And the way she shaped her vowels was so itself. It wasn't put on. And there was no like a young child actor, Broadway vibrato. This was a young girl who sounds the way she …”
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During a heartfelt moment at the Opry, a young girl named Sawyer June impresses her favorite singer with her talent and offers her a bag of pecans, leading to an impromptu duet. The segment captures the magic of fan interactions and the emotional impact of passing down musical moments, showcasing the connection between generations in a humorous and touching way.
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Recent discussions in Michael Pollan’s 'Journey to the Borderlands of Consciousness' explore the intriguing idea that plants may have a form of consciousness. Experiments show that plants like the mimosa pudica respond to anesthetics in a way that suggests they experience two states of being, raising questions about their sentience and what it means to be conscious. This segment dives into the implications of plant consciousness and how it challenges our understanding of life itself.
“… I mean, thinking about all the context that you just mentioned, this feels like BTS sort of like reveling in the impact that it has had on the pop music landscape. It really sort of blew a hole open for a kind of like cultural revolution that has happened in the four years since. And on this album, which is a true homecoming, Arirang is a reference to a folk song that has endured across generations in Korea. It is sort of a symbol of national pride. And you can see this as them sort of like stamping their place in this moment. there's a line on the song aliens where rm is like everybody knows …”
“Sheldon Pierce, I'm going to start with you. What are your initial thoughts on Arirang? Yeah, I mean, to me, I mean, thinking about all the context that you just mentioned, this feels like BTS sort of like reveling in the impact that it has had on the pop music landscape. It really sort of blew a hole open for a kind of like cultural revolution that has happened in the four years since. And on this album, which is a true homecoming, Arirang is a reference to a folk song that has endured across generations in Korea. It is sort of a symbol of national pride. And you can see this as them sort of like stamping their place in this moment. there's a line on the song aliens where rm is like everybody knows now where the k is it feels like they're like saying like we put this nation on the map and we are sort of like owning our influence in this moment it also feels to me like the moment where there is like a true defined bts sound like apart from all of its influences k-pop is always like very referential the groups are shapeshifters who pull in …”
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BTS's new album, Arirang, marks a triumphant return after their hiatus, showcasing their evolved sound and cultural significance. The album not only celebrates their impact on the global music scene but also pays homage to Korean heritage through its title, referencing a traditional folk song. Fans eagerly anticipate this blend of familiar and new elements, solidifying BTS's unique identity in the K-pop landscape.
“… weird dynamic people might not know about is that Sonny never wanted to perform, really. He wanted you to be a star, and he wanted to produce your music, and you very much had stage fright and wanted him present, so you'd feel confident. I still get it. Yeah, you have it here. That's why Kristen's sitting right there. Yeah, yeah, Sonny. She's acting as Sonny, yeah. Sonny Bell. So once you do the Sonny and Cher show, which, again, comes out of this lounge routine you're doing, and Sonny goes back to the drawing board, and he does, he cracks it. I think this will blow people's mind that Sonny and …”
“… the band. And through that, you discovered, oh. No, Sonny discovered. You're quite funny. Yeah, Sonny knew what the pulse was, and he knew what to bet on, so he encouraged it. Not at home, not anyplace else, just on stage. Yeah, and there's this other weird dynamic people might not know about is that Sonny never wanted to perform, really. He wanted you to be a star, and he wanted to produce your music, and you very much had stage fright and wanted him present, so you'd feel confident. I still get it. Yeah, you have it here. That's why Kristen's sitting right there. Yeah, yeah, Sonny. She's acting as Sonny, yeah. Sonny Bell. So once you do the Sonny and Cher show, which, again, comes out of this lounge routine you're doing, and Sonny goes back to the drawing board, and he does, he cracks it. I think this will blow people's mind that Sonny and Cher was getting 30 million viewers a week. That's insane. There's not a show on TV that even is one-tenth of that anymore. And you guys were together at this point, right? Oh, yeah. Okay, and you were very deeply connected. Well, this is when, I guess it had been happening before, but this is when now this new side of Sonny comes out, which is …”
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Despite their massive success with 30 million weekly viewers, Sonny's controlling nature turned Cher's life into a prison. As he cut her off from friendships and imposed strict rules, Cher struggled to reconcile her happiness on stage with her increasingly isolated reality. This dynamic reveals the complexities of fame and personal relationships in the spotlight.
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In this wild segment, a guy casually confesses to abducting a woman to his girlfriend, leading to a hilariously absurd interrogation scenario. The kicker? He only has eleven bucks to his name when caught, making for a darkly funny twist on a serious crime.
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In this hilarious segment, Jenna and Angela reminisce about Steve Carell's unforgettable moments on The Office, including his iconic line, 'Sometimes I hit people with my car.' They share the joy of working on a set filled with laughter, and the challenge of delivering perfectly timed jokes without cracking up. It's a delightful peek into the comedic genius behind Michael Scott's character.
“… bad. Let's listen to this for a second. It's ironic that the Paul McCartney, Michael Jackson song is so soulless and so empty. Like the two greatest musicians get together to write a song about. I think it's Michael Jackson. Well, you know, two white guys, you know. Brian, you got that look. You did say, say, say with Michael. Oh, maybe. I think you're right, Brian. Stevie Wonder? Stevie Wonder. These songs That what I remember No I don remember No I don think so I don think it was Michael Jackson No it Michael Jackson It Michael Jackson Yeah This is Paul McCartney and Stevie Wonder. Oh, Stevie …”
“… Eli's Coming and songs like that. But I've always said that Black and White is one of my favorite songs. And it bothered me that Ebony and Ivory got a lot of spins when this was the ultimate black folk, white folk song. Ebony and Ivory stunk. Pretty bad. Let's listen to this for a second. It's ironic that the Paul McCartney, Michael Jackson song is so soulless and so empty. Like the two greatest musicians get together to write a song about. I think it's Michael Jackson. Well, you know, two white guys, you know. Brian, you got that look. You did say, say, say with Michael. Oh, maybe. I think you're right, Brian. Stevie Wonder? Stevie Wonder. These songs That what I remember No I don remember No I don think so I don think it was Michael Jackson No it Michael Jackson It Michael Jackson Yeah This is Paul McCartney and Stevie Wonder. Oh, Stevie Wonder. Oh, even worse. It's way worse. He did say, say, say around the same time. Ah, that's what got me. He started work with all our blacks. And the girl is mine. Yes. Oh, God, can you please go back to black and white? The girl wrote it one pause. That was a civil rights. That song. It didn't have any music. This was a civil rights. And what's …”
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In a wild discussion about band dynamics, one host reveals that they once turned down a staggering $9 million for a reunion tour due to internal conflicts. The absurdity peaks when they describe bandmates who can't even share an elevator after decades of feuding, leaving listeners laughing at the ridiculousness of adult drama in the music industry.
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In this segment, the hosts passionately debate Justin Gagey's fighting style, highlighting his chaotic yet technical approach. The funniest moment comes when they compare his fights to jumping off a cliff with reckless abandon, showcasing his wild nature and unpredictability in the ring.
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In a comedic twist, Michael presents Toby with a rock that says 'suck on this' during his exit interview, leading to a series of awkward moments and hilarious interactions. The absurdity escalates when Michael attempts to maintain professionalism in front of Holly while secretly wishing to berate Toby, culminating in a memorable improvised threat.
“… rhyme with shit. And I think people read stuff into it like they go, oh, I think I get it. But they don't. Well, do you think lyrics are 50% of the music? No. No. No, no. But when you... Bob Dylan would say no. No. When you hear a good line like, I've been living this life through this cracked rear view. I just love something smart. I love... It depends what the song is. If it's a fast song, if it's just a power rock song, who gives a shit? Yeah, something not quite that powerful, but pretty close. No, but when it's the Who singing about the 515 or whatever train they're missing or something, it …”
“… lyrics are horrible. Well, this is not exactly their grand statement, shake it up. Oh, the best they can do is who's going to take you home tonight or whatever. They're weak lyrically. They're not funny. They're not interesting. They make up words to rhyme with shit. And I think people read stuff into it like they go, oh, I think I get it. But they don't. Well, do you think lyrics are 50% of the music? No. No. No, no. But when you... Bob Dylan would say no. No. When you hear a good line like, I've been living this life through this cracked rear view. I just love something smart. I love... It depends what the song is. If it's a fast song, if it's just a power rock song, who gives a shit? Yeah, something not quite that powerful, but pretty close. No, but when it's the Who singing about the 515 or whatever train they're missing or something, it doesn't matter. That's such a fucking great song. If the music's good enough, you won't even notice. And the guys who are great at it, like Randy Newman, who I don't know if you dislike. I love Randy Newman. Every song sounds the same, but other than that. But the one song is pretty good.”
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In a hilarious debate, the hosts slam The Cars for their nonsensical lyrics, arguing they get away with it because of their cool factor. The banter escalates as they compare lyrical talent, with one host passionately defending Randy Newman while dismissing Jon Bon Jovi as a lyrical disaster. The back-and-forth is filled with sharp wit and unexpected insights into songwriting.
“… it's like you watch people like but it's politics it's money it's they're they're you know nothing is what it seems that's all i'm going to say in music and what we do as artists and everything like that everything that you see as an audience member for 85% of it, you are told to see what you're supposed to see. It's crazy to me. Completely controlled. And I, and I love, I love that because you're doing it differently. You're a disruptor. I love disruptors. I'm a disruptor. I'm not going to do what everybody tells me that I need to do in order to grow. You know, and now if it's logical and it …”
“… artist that's almost made it. you know do you actually believe that or do you use that for fuel i actually believe that yeah yeah there's so many circumstances in my life where i'm like and you watch people pass you like i said the comparison thing it's like you watch people like but it's politics it's money it's they're they're you know nothing is what it seems that's all i'm going to say in music and what we do as artists and everything like that everything that you see as an audience member for 85% of it, you are told to see what you're supposed to see. It's crazy to me. Completely controlled. And I, and I love, I love that because you're doing it differently. You're a disruptor. I love disruptors. I'm a disruptor. I'm not going to do what everybody tells me that I need to do in order to grow. You know, and now if it's logical and it makes sense and it's aligned with who I am, you're not disrupting just to disrupt. You're disrupting because it's a part of what you're doing. And it's, it's truly who you, it's your values, what you believe in. And you're not going to let anyone else come in and change those values or your direction because like, this is what makes you who you are. …”
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Tyler Filmore, a rising country artist, shares his journey of perseverance and authenticity in the music industry. He reflects on the challenges of staying true to his values while navigating the pressures of fame and the importance of family. Despite contemplating quitting, Filmore emphasizes that his passion for music drives him to overcome adversity.
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In this hilarious segment, the host hilariously navigates the complexities of snake mating rituals, leading to some unexpected questions like, 'Do snakes have sex?' The absurdity peaks when they discuss how snakes communicate during mating season, leaving listeners both entertained and slightly bewildered.
“… we're a bit younger. But it's powerful. And I agree. All of the other kids' stuff that I'm watching, it teaches kids great things— just about music and Korean culture and, you know, how sometimes girls are cooler than boys. But it's just a way of thinking about yourself. So I I'm very pro. I'm very happy for them. International feature. Sentimental value from Norway. Joachim Trier's film won here. And I think after it won at BAFTA, it seemed like it had the run of show. There was not really a lot of the sense that The Secret Agent or any other film was going to come in behind it. Except …”
“… earlier because I do know that there were a lot of young children just waiting for K-pop Demon Hunters wherever they could get it. It's been interesting, like in the span of this awards season is when my household has really caught on to that movie because we're a bit younger. But it's powerful. And I agree. All of the other kids' stuff that I'm watching, it teaches kids great things— just about music and Korean culture and, you know, how sometimes girls are cooler than boys. But it's just a way of thinking about yourself. So I I'm very pro. I'm very happy for them. International feature. Sentimental value from Norway. Joachim Trier's film won here. And I think after it won at BAFTA, it seemed like it had the run of show. There was not really a lot of the sense that The Secret Agent or any other film was going to come in behind it. Except for everyone with their itchy fingers online in the past week. Yes. Some pundits did still go with the secret agent. You and I never really came off that. I almost did.”
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K-pop Demon Hunters took home the Oscar for Best Animated Feature at the 2026 Academy Awards, marking a significant win for the evolving animation category. The film's creators, Maggie Kay and Chris Applehans, delivered heartfelt speeches highlighting the importance of cultural connection through art, making it a meaningful moment for both the audience and young viewers. This win reflects a shift in the animation landscape, expanding beyond the traditional dominance of Pixar.
“… and and go for the things that they plan uh I hated that I hated everything and I it almost made me hate what I do. It almost made me hate like my music and everything. So it was hard. Yeah, it was hard. Yeah. And I'm so happy, obviously, to now see you in this place, because I think I've spoken to so many women, right, where I sit with them. And we talk about how being a young woman in any industry, not just music, but any industry, there's such a power in balance when you are a young woman and you're in these rooms with all of these powerful men. And like you said, you kind of lose your voice …”
“… that they want to show you the way to do it. how you how and what you have to sell to have a position and of course if you are in a room of like full of a respected man it's kind of you are in this this second position where you have to just listen and and go for the things that they plan uh I hated that I hated everything and I it almost made me hate what I do. It almost made me hate like my music and everything. So it was hard. Yeah, it was hard. Yeah. And I'm so happy, obviously, to now see you in this place, because I think I've spoken to so many women, right, where I sit with them. And we talk about how being a young woman in any industry, not just music, but any industry, there's such a power in balance when you are a young woman and you're in these rooms with all of these powerful men. And like you said, you kind of lose your voice because you kind of just have to agree and say yes, because you're really made to feel so small. And I know early in your career when you were 16 years old, what you were referring to is you signed with a manager who was in his 50s and he crossed the line. Right. How did that experience affect the way that you viewed the music industry as a whole? …”
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Karol G shares her shocking experiences in the male-dominated music industry, revealing how it almost made her hate her passion. She highlights the frustration of being told she wasn't enough and how she had to navigate powerful men while losing her voice. Her journey is both inspiring and eye-opening, making listeners rethink the industry's dynamics.
“… still people so i don't so my hatred is it's it's in my spirit like i ain't never met this you know what's so funny i was listening to um reggae music in a restaurant and it was a day Was surfing? Same trip, yeah. Oh, okay. And I was listening to like Sister Nancy came on Bum bum What the bum bum bum bum bum Bino And you like wow that like pure energy man Like she's so talented. And then I heard a reggae version of Dave Brubeck's Take Five. Do you know what that is? It's a jazz song. Okay, but the point of the story is the black version was so much better. And you're like, wait a minute. It …”
“… albums now everybody like to dabble in black shit and then when they get popular they like to go country it's so true i don't like that shit but this irritated this uh but this this made him a little more endearing because here's the thing they they still people so i don't so my hatred is it's it's in my spirit like i ain't never met this you know what's so funny i was listening to um reggae music in a restaurant and it was a day Was surfing? Same trip, yeah. Oh, okay. And I was listening to like Sister Nancy came on Bum bum What the bum bum bum bum bum Bino And you like wow that like pure energy man Like she's so talented. And then I heard a reggae version of Dave Brubeck's Take Five. Do you know what that is? It's a jazz song. Okay, but the point of the story is the black version was so much better. And you're like, wait a minute. It might have been the original. That's what I'm saying. yeah that's what i'm saying brian is that you guys do it first and you do it cooler and then we just ruin we ruin i just imagine you having this having this epiphany and then and then your surfboard smacking you in the fucking face that's exactly what happened yeah that's good do you do you get …”
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The hosts hilariously dissect how famous artists often 'borrow' from Black culture, with one even humorously imagining their surfboard smacking them in the face during a musical epiphany. They pivot to praise Dolly Parton, highlighting her authenticity and the countless songs she's written that others have stolen, making her a beloved figure amidst the chaos of cultural appropriation.
“… get your first hit, did you ever think like, you know, having like a pretty woman moment with them of like big mistake, huge. Like I have to go make music now because I I can't stop thinking about how. I mean, I know that's the reality for a lot of women in the business, pop country. You've heard a lot of people, especially now that they're older, they're like, oh, yeah, when I was first starting out, I heard this from my record label, this from my management team. I wasn't allowed to wear my hair this way. I had to wear these clothes. and yeah so I mean did you I don't know did you just like let …”
“… So that's what would fuel me and keep me in the room was my chance to sing. That record label, I'm sorry, I'm still thinking about them, that said you were 10 pounds. If I was 10 pounds lighter, they would assign me like that. Like whenever you did get your first hit, did you ever think like, you know, having like a pretty woman moment with them of like big mistake, huge. Like I have to go make music now because I I can't stop thinking about how. I mean, I know that's the reality for a lot of women in the business, pop country. You've heard a lot of people, especially now that they're older, they're like, oh, yeah, when I was first starting out, I heard this from my record label, this from my management team. I wasn't allowed to wear my hair this way. I had to wear these clothes. and yeah so I mean did you I don't know did you just like let it go or no it's 30 years later I'm still talking about it I didn't let it go like you run into them like kind of just but you act like it's not happening now too oh yeah no I'm sure I guess I just have a little bit of hope that maybe we progress a little bit but you're right we probably yeah as much as I would like to think was there a time still …”
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In this segment, the artist hilariously reflects on the absurd pressures from record labels, joking about a 'Pretty Woman' moment where she would confront them with a 'big mistake, huge' attitude. The humor shines through as she recounts the ridiculous expectations placed on her and other women in the industry, culminating in a relatable and empowering message about authenticity.
“… love to see. No one's going to let that happen in the Michael Jackson estate. No one's going to let any of this happen, guys. You don't get the music if you show a blemish of him. This is total image rehabilitation. The estate allowed them to do this as a partner in it and gave them the music.”
“… and mythical figures of all time. And in fact, far more interesting and compelling if they showed another side to him. And what do you think that could have been, though? Because, you know, the Paul Schrader biopic of Michael Jackson, I, of course, would love to see. No one's going to let that happen in the Michael Jackson estate. No one's going to let any of this happen, guys. You don't get the music if you show a blemish of him. This is total image rehabilitation. The estate allowed them to do this as a partner in it and gave them the music.”
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The upcoming Michael Jackson biopic is criticized for its potential to canonize the pop icon instead of presenting a more nuanced portrayal. The discussion highlights how the estate's involvement in the film may lead to a sanitized version of Jackson's life, avoiding any blemishes that could detract from his legendary status. This raises questions about artistic representation in biopics and the balance between honoring a legacy and telling the whole story.
“… reacting. So is the Midnight Boys. Don't even start. Don't start. Don't start with him. The Midnight Boys will be reacting to the hotly anticipated music biopic Michael. Story of the life and times. Why are you guys laughing? Why are we laughing? You was laughing at the screening. Of the world's most famous singer ever. Michael Jackson. Are we going to do a spoiler alert? Is there a midnight manifest coming for the muchachex. I did feel like an idiot making a midnight manifest for this because it was just like and then he released Thriller. Okay, guys. Do you have a manifest, first of all? I do. …”
“… It's a fighting game with the Invincible characters. Is Thrag on there? Yeah. Is it Thrag or Throg? Thrag. It's Thrag? Grand Regent Thrag. Grand Regent Thrag. So he's the top guy. Yeah. Top man. Big boss. On today's show, the Midnight Boys will be reacting. So is the Midnight Boys. Don't even start. Don't start. Don't start with him. The Midnight Boys will be reacting to the hotly anticipated music biopic Michael. Story of the life and times. Why are you guys laughing? Why are we laughing? You was laughing at the screening. Of the world's most famous singer ever. Michael Jackson. Are we going to do a spoiler alert? Is there a midnight manifest coming for the muchachex. I did feel like an idiot making a midnight manifest for this because it was just like and then he released Thriller. Okay, guys. Do you have a manifest, first of all? I do. I do. I do. Okay, well, let's get to the manifest. Actually, we're going to spoil Michael. I'm just convocated. So give me the spoiler warning first. Spoiler warning for all things Michael. The comic books, the television shows all ip related to one of my favorite rides ghost the wiz all all mike okay everything no no wait is it all mike or …”
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The new biopic 'Michael,' directed by Antoine Fuqua, chronicles the life of pop icon Michael Jackson, focusing on his rise to fame and the challenges he faced. From the formation of the Jackson Five to his solo success with 'Thriller' and 'Bad,' the film explores the complexities of his relationship with his family and the music industry. Spoiler alert: the movie ends with a promise of Michael's return, highlighting his enduring legacy.
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