You Can't Stop The Beat (from Hairspray) (arr. Roger Emerson): SATB Choral Octavo

Roger Emerson's arrangement captures the infectious energy and rhythmic drive of the original without losing the song's theatrical heart. The SATB voicing sits comfortably for developing choirs while maintaining enough punch to feel genuinely exciting, and the pop sensibility appeals to singers who might otherwise resist standard choral fare.

This is unbridled joy wrapped in a driving rock rhythm. The song radiates optimism and forward momentum, with a celebratory quality that feels earned rather than forced, inviting singers to commit fully to both the energy and the earnest hopefulness at its core.

Choirs seeking contemporary material that engages younger singers and audiences alike will find this arrangement hits the mark. It works equally well for mixed ensembles ranging from developing high school choirs to strong adult community groups looking to program something with immediate appeal.

• Lock the rhythmic precision in the ensemble sections; the fun of this piece lives in tight, snappy articulation across all four parts.
• Balance the soloistic moments (likely featured in the arrangement) so they cut through without the choir dropping back too far.
• Keep the tempo moving forward with steady energy; any dragging will drain the contagious quality that makes this song work.
• Emphasize the text clarity, especially on rhythmic syncopation where diction can get muddy if singers aren't precise with consonants.

Use this as an uplifting closer for a concert or as the centerpiece of a Broadway-themed program where you want to leave audiences smiling. Its familiar melodic hooks and accessible style make it ideal for mixed audience concerts or events where you're introducing people to contemporary choral music.

• Rhythmic precision in syncopated pop idioms
• Blend and balance across four-part harmony in contemporary music
• Text declamation at faster tempos with clear consonant articulation
• Stylistic interpretation of pop/rock vocal production in a choral context