You Can't Stop The Girl (from Disney's Maleficent: Mistress of Evil) (arr. Alan Billingsley): SSA Choral Octavo

Alan Billingsley's arrangement captures the defiant spirit of the original while making it accessible for SSA voices. The piece sits at a length and difficulty that lets singers focus on attitude and character work rather than technical struggle, which is exactly what this song demands.

Empowering and direct, with an undercurrent of swagger. The melody sits comfortably in the treble range and moves in phrases that feel natural to sing, allowing performers to deliver confidence rather than chase notes. The accompaniment provides solid harmonic support that anchors the piece without overwhelming it.

Treble choirs looking to program contemporary repertoire that doesn't rely on whisper-soft dynamics or instrumental virtuosity. This works for middle school through college ensembles and fits equally well in a pops concert or a mixed-genre mainstage performance.

• Lean into the attitude from measure one. This is not a pretty ballad; it's a declaration. Your singers should feel the push behind every phrase.
• Balance ensemble sections with the moment(s) where a soloist takes the lead. Even if you're rotating soloists, make sure the listeners hear a clear voice stepping forward.
• The rhythm section in the accompaniment drives the groove; have your singers lock into that pocket rather than floating above it.
• Pay attention to the text underlay in the descending passages. Crisp diction here keeps the energy alive instead of letting the melody sag.

Pair this with other modern pop or film selections to build a contemporary set, or use it as a statement piece in a concert mixing Disney and theatrical work. Its upbeat energy makes it a strong closer or pre-intermission number.

• Singing with stylistic authority in contemporary pop idioms
• Balancing solo and ensemble responsibilities
• Maintaining rhythmic precision against a driving accompaniment
• Text delivery for character and emotional weight