Keith Urban's got a new tour, a new show and zero interest in acting
In the nearly 20 years I've been an entertainment reporter, I can count on one finger how many times a celebrity has called me themself — no publicist or agent on the line, no Zoom link setup. Keith Urban changed that one week ago when, as I poured my first cup of coffee, I had the pleasure of picking up the phone to one of country music's biggest stars on the other line: "Hey Taryn, it's Keith!"
"Mr. Urban! Hi!" I said, surprised.
"Oh, definitely call me Keith!" he laughed. "Even my dad hated 'Mr. Urban.' I don't think anyone in the Urban lineage has ever liked 'Mr. Urban.' Sounds way too official!"
Urban's breezy, fun and down-to-earth attitude was on display during our 20-minute chat, and he's taking it on the road this summer. Urban kicked off his High and Alive tour on Thursday night in Orange Beach, Ala., eight months after the release of his 11th studio album, High. And yes, the 57-year-old country music star wants you to feel high and alive — "literally" — when you come and see him.
"It sums up the energy that I like to play with. The energy I want to bring, the energy I want everybody to feel. I'm not a sort of sit-down contemplative, pensive kind of artist. I love firing everybody up and bringing everybody together," he told Yahoo Entertainment. "We're high and alive in '25, it's just tailor-made."
Urban's had 16 No. 1 Hot Country songs, with hits like "Blue Ain't Your Color," "Long Hot Summer" and "Somebody Like You." Although he's been busy building what he likes to call a "playlist," not a setlist, for his upcoming shows, Urban had a surprising response when asked about his approach to this tour.
"It's crazy, I've always been wired to be very — I don't have any sense that I've done anything," Urban said.
To be clear, the New Zealand-born Australian singer has accomplished more than most in his three-decade career. He's won four Grammys, 12 Country Music Awards (including Entertainer of the Year twice) and 15 Academy of Country Music Awards and has sold out arenas all over the world. The list goes on. Hasn't done anything? I let him explain what he means.
"I'm highly aware that I've done a lot of tours and I've made a lot of albums," he laughed. "I get all of that, but I don't think about it. Everything is just very now."
Urban said preparing for High and Alive made him realize he's as driven now as he was when he released his self-titled stateside debut album in 1999. "Even when we went down to rehearsals a couple of weeks ago and I had a massive whiteboard on the stage as I was chipping away at shaping a playlist, it felt like my first tour," he explained.
It's been three years since Urban last hit the road with his band, and while his 2024 hit song "Messed Up as Me" made the playlist, there are several others he broke out for the first time, including covers of Post Malone and Morgan Wallen's "I Had Some Help," plus Chappell Roan's "Pink Pony Club." He also covered New Radicals' "You Get What You Give" during his encore. Embracing this "blank canvas" feeling means he has no preshow rituals or superstitions.
"I got a lot of new band members. It's a new stage, it's a new production, so there's more things new about it than there isn't. I just feel a sense of freshness and excited energy to get out and play and see what works, what doesn't work, what we have to move and shape, and just be in the moment with the audience," he said. "It always feels brand-new to me."
While Urban is embracing a "blank canvas" professionally, his personal life is happily colorful. In June, he and his wife, Oscar-winning actress Nicole Kidman, will celebrate their 19th wedding anniversary. Urban gave his family, including daughters Sunday, 16, and Faith, 14, a sweet shout-out earlier this month when he was honored with the Triple Crown Award at the Academy of Country Music Awards.
Urban considers himself a family man, which is something his fans deeply connect with. Being away from home and on the road, though, is something he and Kidman are used to. When asked if they have any two-week rule, or they have a maximum amount of time they can go without seeing each other, Urban said no.
"I've never believed in rules," he said. "It's gotta be a want, you know? And I don't want to be away from my family for too long, so I don't need a rule. I'm really lucky that I get to tour the way I do, which is kind of three shows in a row, and then three to four days off. Then three shows in a row. It's pretty rare to even be gone for two weeks. It's fortuitous where Nashville is [located] in that it's a fairly decent flying time to a lot of places."
Urban thrives on connecting with his audiences to take them on an unforgettable ride. Part of the reason he has such a passionate fan base isn't just because of the songs themselves, but because of his songwriting, which touches on themes like love, loss and redemption. His self-reflective lyrics typically mirror where he's at in his phase of life.
"I think I've gone from writing about things I'd like to experience to being able to write from experience," he explained when I asked how his songwriting has evolved.
"A lot of my early songs were imagining what it would be like to have a particular feeling, to be a particular person because I wasn't that person but wanted to be," he continued. "These songs probably just have more depth to them. And there's just more things to write about. It doesn't have to be family, it's just experience. It's losing parents. It's friends who have been in your life for a long time. Moving. Things changing in life. New seasons. Chapters coming to a close, and new ones opening that are equally as exciting, if not more so."
Urban categorizes his current chapter as "unfolding." Given all he has on his plate in 2025, that seems fitting.
This fall, Urban will headline the new country music competition series The Road on CBS. Unlike other singing competition shows, this one puts aspiring singers straight on tour, as contestants will join Urban onstage this summer and trade off opening for him. The series, which doesn't have a premiere date as of yet, is executive produced by Blake Shelton and Yellowstone creator Taylor Sheridan.
This isn't Urban's first stint on reality television: He was a judge on American Idol from 2013 to 2016 and on the inaugural season of Australia's The Voice in 2011. When asked if he's taking any learnings, good or bad, from those experiences to The Road, he said it's wildly different.
"I don't know if I took any specific things from those other shows other than — because this show is not really not like those in so many ways," he explained. "It's quite extraordinary what Blake and Taylor envisioned for this thing. To put it back into this real-world environment — being in clubs where you don't have hair, glam, a stylist and all this noise and nonsense. You've got your talent, your drive, your ambition and you've got a stage and a house band. You've got two songs, one original and one cover, and you've gotta grab this audience that hasn't come to see you. This audience has come to see me play at the end of the night, and you gotta grab 'em."
Urban said the "do or die" feeling is really what it's like when you start out in the music industry.
"I came from another country. Having the odds stacked against you is something I've spent my life having to continue working through," he added. "I'm not comparing my journey to anybody else's. It's just aspiring to be the best you can always be, staying curious, passionate, hungry and never giving up. Staying the course is always key, and in the end, I think it works."
Urban also had a blast working with Shelton, who he called a "unique guy." "I love being around his energy. He's just funny," he said.
As for Sheridan, who is known for creating the Yellowstone universe, Urban admires his talent — but has no interest in throwing on a pair of ranching boots.
"Absolutely not," Urban said. "I've never had any interest in acting. I just bought a studio here in Nashville because that's my passion. I don't have any hobbies. I just love playing music. I love being in the studio. I love creating, I love recording."
For what it's worth, there's zero pressure from his wife to get on set. Kidman recently said in an interview that she and Urban have no desire to work together. ("We're together in life, so we don't need to do our show together," she told People. "Our life is a show.")
"I've been on enough sets now to know that that's absolutely not anything I ever want to do," Urban laughed. "It's not for me!"
Right now, it's curiosity in the studio that's fueling the artist.
"That's literally what powers me forward and drives me and has always driven me, is curiosity about writing songs, playing, putting on a show, connecting with an audience," he said.
"I don't know if you can cook, but I can't cook," Urban continued, 'but I realize that's what I do in my head. I hear ingredients, and I imagine what those things together might taste like to my ears. Having a studio now gives me the chance to really explore those kinds of opportunities to blend things that I hear and see what goes together. ... I'm constantly curious to explore musical art, which [is what] my life is."
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2 hours ago
- Yahoo
'Karate Kid: Legends' took me back to the '80s. For the tweens I watched with, the film packed an emotional punch.
This post contains spoilers. Don't say we didn't warn ya. Hello, Yahoo Entertainment readers. My name is Suzy Byrne, and I've been covering entertainment in this space for over a decade — and longer elsewhere, but … details! I am not the cinephile who sees every big, splashy new release the moment it hits theaters. What brings me big-screen joy are kid-friendly flicks — like Lilo & Stitch, which had humor and heart, with my ohana. I'm a tenderhearted moviegoer who doesn't need two hours of explosions/violence/death. But also, as a busy working parent, getting two hours to turn off my phone, put up my feet and eat whatever I want while my child is fully entertained is the definition of movie magic. So that's what this is — one entertainment reporter + her 10-year-old + friends — seeing family-friendly fare, indulging in film-themed treats and replying all, to you, about the experience. Welcome to the kids movie club. 'Wax on, wax off' — those were the last words I heard, courtesy of the guy behind me, as Karate Kid: Legends started and our party of six (three moms, three kids, ages 8-10) settled in to watch. With a 41-year-old franchise — which has spawned six films and the Netflix show Cobra Kai — there's a lot of familiarity with the martial arts franchise from different eras. I remember seeing Karate Kid in the theater during the summer of 1984 — and doing crane kicks on the beach for the rest of my vacation when I wasn't trying to catch flies with chopsticks. When I went home, I cut out photos of Ralph Macchio from Teen Beat and taped them to my bedroom wall. I also vividly remember someone giving me what they claimed was 20-something-year-old Macchio's phone number and calling it — on a corded phone, youngsters — with my friends. I'm pretty sure we hung up on whoever answered. While to this day I could recite most of the film, with all the life lessons Mr. Miyagi taught Daniel-san, you don't have to have seen it or any of the others to enjoy Legends — and my daughter hadn't. Though it makes for a better watch. One mom-daughter pair in our crew saw the original the night before, and the tween yelled 'Johnny!' in delight during the mid-credits scene. My kid had no idea who Johnny (William Zabka) was. (He's come a long way, baby.) This installment of the martial arts franchise, which I enjoyed while sipping a Ruby Red Kicker (a mocktail with ruby red grapefruit, cream of coconut, agave and lime), sees Macchio (Daniel in the first three movies as well as in Cobra Kai) and Jackie Chan (Mr. Han in 2010's The Karate Kid with Jaden Smith) reprising their roles as they come together to help Li Fong (Ben Wang) best his bully rival in the 5 Boroughs Tournament. Li, who is Han's great-nephew, studied kung fu in Beijing before moving to New York City. However, his brother was fatally stabbed during a dispute they had with a kung fu opponent after a tournament. Li is haunted by that — and so is his mother, played by Ming-Na Wen, who doesn't want him to practice kung fu anymore. And what's a Karate Kid movie without a love story? Li meets Mia (Sadie Stanley) — daughter of Joshua Jackson's Victor, a former boxer turned pizza shop owner who owes money to the wrong guys — and their PG relationship sparks trouble with her ex, karate champ Conor (Aramis Knight). Legends takes place three years after Cobra Kai's series finale. It includes nods to its history, starting early on with a throwback scene of Daniel and Mr. Miyagi (the late Pat Morita) from Karate Kid II. It led to the explanation of the deep connection between Miyagi and Han. Han also visits Daniel at Miyagi-Do dojo in California, with the iconic yellow convertible parked outside, to convince him to come to New York to train Li. But there's lots of forward momentum to the story, down to the crane kick being replaced by the acrobatic, spinning dragon kick. While the film may be lagging in box office expectations, the room of moviegoers I was with clapped at the end — and I can't remember the last time that happened. Our young film enthusiasts again liked the funny parts: They laughed as masters Daniel and Han squabbled over which of their martial arts styles was better while training Li. ('What happened to two branches, one tree?' Li asked. 'One branch stronger than the other,' Han replied.) They cracked up when Johnny brainstormed Miyagi-Dough pizza ideas with an exasperated Daniel. ('Olives on, olives off' was the funniest thing to the kids, despite none of them ever even trying one.) They also liked Li's tutor turned friend Alan (Wyatt Oleff) with his comedic relief. While nobody needed comfort during the movie, the eldest girl in our group told me the PG-13 rated film was the 'most violent' and 'intense' movie she had ever seen. Moments included Jackson's character being knocked unconscious and hospitalized as well as a recurring flashback of Li's brother's death. 'I don't hate Karate Kid, but I don't love it because I'm afraid of violence,' she said. (The same kid also danced excitedly through the closing credits, so it was a range of feelings.) My own child felt 'on guard the whole time,' telling me, 'I liked it, but it was not a relaxing movie. Everyone was jumping around. Fighting. The drama. The violence. The emotions. And it was so sad that Li's brother died.' The adults lapped up all the nostalgic elements. Before we even got in the theater, we had gone from talking about Macchio in Karate Kid to 10 minutes on The Outsiders, which came in 1983, also featuring Macchio, and had the cast of the century. It was all: 'I loved Johnny.' 'I loved Ponyboy.' 'Oh, Matt Dillon.' 'Ah, Rob Lowe.' 'Tom Cruise got so much better looking after that movie.' 'Emilio Estevez was my favorite.' Speaking of teen heartthrobs, during Legends, I was amused when, after Jackson had already appeared onscreen several times, my friend leaned over and said, 'Ohhh my gosh, it's PACEY!' just realizing the Dawson's Creek alum was playing a middle-aged movie dad. Someone has clearly not been watching Doctor Odyssey. Jackson was a nice addition to the film, and his pizza shop training with Li was a fun callback to Daniel and Miyagi of old, but then his character practically disappeared toward the end, even after all the training he did for the role. The team behind Legends wasn't trying to reinvent the wheel here. While there were new faces and impressive martial arts moves, the story played out in a similar way to past films, with a big tournament finale as a defining moment. In this one, Li bested Conor to win, and while he celebrated his winning moment, Conor came at him. Li not only stopped him, again, but then showed him mercy by not punching him when he could have. Li actually extended a hand to his rival. It reminded me why I liked the franchise in the first place, and it was a good lesson for the kids. There are so many movies the kids want to see this summer (shortlist: Elio, How to Train Your Dragon, The Bad Guys 2, Smurfs), yet we were served a trailer for R-rated Don't Let's Go to the Dogs Tonight followed by a Blair Underwood Lexus commercial. It was definitely not a preview to remember. 'We went home and googled the ages of Pat Morita when the first Karate Kid came out (52) and Ralph Macchio in the current one (63),' my friend wrote. For the last few days, I've been stuck on the fact that Daniel is now older than Mr. Miyagi. Rule No. 1: Karate is for defense only. Rule No. 2: Googling your teen crush's current age as an adult is instant regret.
Yahoo
8 hours ago
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10 years ago, a country radio pro dismissed female singers — and 'Tomatogate' was born. Are they getting more respect now?
In 2015, women singers in country music were told they were just the "tomatoes" in a salad of male stars — a juicy soundbite that became known as Tomatogate. One decade later, frustration is still real as country radio stations seem confused about the ingredients that make a perfect salad. "If you want to make ratings in country radio, take females out," Keith Hill, a radio consultant, told the trade publication Country Radio Aircheck in its May 26, 2015, issue. He suggested female country music artists are not the lettuce in the salad, but rather tomatoes who should be "sprinkled" on a playlist and not in back-to-back rotations. "Trust me," Hill, whom the publication called "the world's leading authority on music scheduling," continued. "I play great female records, and we've got some right now; they're just not the lettuce in our salad. The lettuce is Luke Bryan and Blake Shelton, Keith Urban and artists like that. The tomatoes of our salad are the females." "The story made national headlines and riled up both men and women in the music industry. Female artists united. Martina McBride sold "Tomato Lover" T-shirts for her charity, which supports equal rights for women in the music industry. There were think pieces and interviews calling out "Bro Country" and research studies done about gender representation on country radio. Has anything really changed in the last decade, aside from online outrage? While covering the Academy of Country Music Awards (ACMs) earlier this month, I talked to some of the biggest female artists in country music to get a state of the union, of sorts. I also spoke with professors doing research on gender representation in country radio. Here's where we stand. Singer-songwriter Mickey Guyton had an emphatic "Oh yeah" when I asked her if she remembered Tomatogate 10 years ago. "Not much has changed. It hasn't," Guyton, who was honored at Variety's Power of Women: Nashville earlier this month, told Yahoo Entertainment. She believes there needs to be more female artists played on the radio right now. "But at a certain point, there's a lot of people that can fight for the system that oppresses us. Until they stop doing that, there's nothing much that we can do to press forward. Like, when do we all decide to say stop accepting the crumbs? Billie Jean King said that," Guyton said, referencing the American tennis great. "We have to stop accepting the crumbs. When's enough enough? I don't know." Singer Kassi Ashton, who was nominated for New Female Artist of the Year at the ACMs, agreed, saying, "We still have a ways to go" in terms of female representation on the radio. "Last year, there was only one female number one the entire year." Ella Langley was the only female artist to top the Billboard Country Airplay chart in 2024. There are plenty of charts one can look at, but Billboard's is considered crucial, as it tracks the week's most popular songs ranked by country radio airplay audience impressions. Langley scored her first No. 1 with her hit song "You Look Like You Love Me," which also features male singer Riley Green. In 2018, Miranda Lambert scored her first No. 1 in four years for her and Jason Aldean's summer hit "Drowns the Whiskey." She infamously called out radio chart disparity and how she "had to sing with someone with a penis to get a number one." "I do like this person, Jason Aldean, a lot … so it was a great song with an old friend,' she told the Washington Post, adding how "it is interesting that I haven't had even a Top 20 in a long, long time. And then it goes No. 1 because it's a dude." Kate Duncan, director of the School of Music and Theatre Professions at Loyola University New Orleans, sees that trend reflected in the charts. "An artist like Miranda Lambert saying she had to have a male feature in order to get recognition is not far off the mark because the bar seems to be so much higher for female accomplishment across the industry," she explained to Yahoo. "We're just seeing that the bar is almost unattainable right now." Sara Evans, known for hits like "Suds in the Bucket" and "A Little Bit Stronger," told me on the 2025 ACMs red carpet that this is still an issue. "Radio hasn't played any new music of mine in years — six years probably," she said. Evans won Top Female Vocalist at the awards show in 2006. She was nominated for Female Vocalist of the Year in 2011 and has churned out plenty of music, her latest album getting released in June 2024. "It's crazy. I don't understand it. What would we do without Kacey Musgraves and Dolly Parton if they had never played them?" It's a point Carrie Underwood, who's one of the biggest faces of country music, made in 2018. "Even when I was growing up, I wished there was more women on the radio, and I had a lot more than there are today," she said in a podcast interview. "You think about all of the little girls that are sitting at home saying, 'I want to be a country music singer.' What do you tell them? ... How do you look at them and say, 'Well just work hard sweetie and you can do it' when that's not the case right now." Prior to Langley topping the Billboard Country Airplay chart in December, it had been nearly one year since a woman was featured in the top spot. Lainey Wilson, who was featured on Jelly Roll's "Save Me," hit No. 1 for two weeks in December 2023. Langley ended the second-longest break — 51 weeks — between women topping the chart since a record 61-week shutout in 2003 and 2004, according to Billboard. It's a troubling trend, despite singers like Wilson and newcomer Langley being two of the biggest names in country music right now. Tomatogate caught the attention of University of Ottawa professor Jada Watson a decade ago, who was awarded two research grants to study different facets of these representational issues. She explained to me how she started out by analyzing representation on Billboard's long-running Hot Country Songs. "I started to realize that when you have such a deficit of songs by women who are being programmed at radio, they're not getting into the charts," she told Yahoo. "The chart is a formulaic representation of what's going on, because Billboard has a formula for how they calculate it. But it doesn't necessarily tell you what's happening on the day-to-day — radio airplay gives you a better sense." Watson analyzed radio airplay data, and that's when she said she saw "the source of these issues within radio programming." "It's been really disheartening. To a certain extent, it almost feels like the more we've spoken about it, the more we've analyzed it, the more we've written about it, the more we've advocated for change, the more radio has clamped down on these practices of not playing songs by women back-to-back of using a quota to relegate a smaller percentage of airplay," Watson said. Five years after Tomatogate, there was a promising trend — albeit a small one. According to Watson's data analysis of Billboard's gender representation on its Country Airplay chart, from 2018 to 2020, songs by women increased from 13.3% to 18.4%. But in 2021, it dropped, and the trend has been troubling since. "Songs by women in 2024 received 8.39 percent of the airplay," Watson said. "And 8.23 percent of that was for songs by white women, 0.09 percent was for songs by Black women. What's important to highlight there is that this is the year that Beyoncé releases the Grammy-winning Album of the Year [Cowboy Carter]." Yes, Beyoncé essentially made up most of that .09%. "As her song was being released, and as radio was playing it, there was also this backlash about radio not playing it," Watson continued. "It's interesting because they clearly were. And at that time, we were all like, 'Yes! you should be playing it. You can't miss an opportunity to platform Beyoncé with this really fresh, great country song.' But you should also be playing Black women who are in Nashville building their careers right now." Watson confirmed the trend Lambert pointed out, which is that over the last 10 years, "there is a decline in songs by solo female or all-female groups charting within the top 10. It seems, at times, like the only way a song with a woman can get to [the] top is when it's alongside a man." While Watson pointed out Wilson and Langley "deserve all of the wins that are coming their way," people shouldn't use that "as a measure of change within the industry." "We're ignoring the underlying issues. This is not to take away from their talent and their drive and their success because they deserve to win awards — but they get tokenized then. Everyone will say it's getting better for women because this one year, two women really dominated the awards... that's after years of women really not winning awards or even being nominated for awards," Watson continued. "We have to be able to have the conversation that both celebrates their accomplishments, but acknowledge that nothing is changing, that somehow they're winning in spite of what's going on in the industry." Despite acknowledging that country music still has a gender representation issue in terms of radio play, the stars I talked to wanted to make it clear how supported they feel by other female artists. "I do agree that it's better than it's ever been — and is growing," Reba McEntire told me at the ACMs. "It's a lift up, not a competition anymore." "Female country music is back, baby. Not that it was ever really gone, but there's so many of us — Ella, Megan [Moroney]— we're all making music that sounds completely different," Ashton said. Guyton added, "It can't be a competition. It's too hard out there for women for there to be a competition. If anything, we need to lean into each other and really do what we can together to stop accepting the crumbs and getting out there and building a bigger table for us." Singer Avery Anna told me she feels "blessed to be a woman in country music." "Sometimes I think it's harder for us girls out here, but now more than ever the women before me have paved the way for artists like me who are up and coming to say what we want to say, be how we want to be and be ourselves — Shania Twain, Taylor Swift, Kacey [Musgraves]," she said. "I just feel blessed they did what they did so I can be more authentic and not be so boxed in." Gabby Barrett, who came in third on American Idol in 2018, has had a positive experience with radio play. "I can only speak for myself on that front and I know they've been really kind to me in the past on the radio," she said. "All the radio [representatives] I have met have been very nice and I was just a girl getting into it at the time. I was just a girl coming off a television show, hadn't done the whole 10 years in Nashville kind of story yet and they were still kind enough to play my music. With [Ella Langley] leading in recognition at the ACMs, I definitely think we are in a much better place." Duncan said that, in terms of the music industry, "the needle has not moved" when it comes to radio play or women "on the production or business side of things." "The more recent figures on that look like a 3 percent occupation of the music industry is female-led, which is really staggering," she explained. However, Duncan is hopeful. "What has changed is we're saying that out loud now in ways that had been a bit more hush-hush or a bit more easily brushed off 10 years ago," Duncan continued. "I think there are some really good — we'll say crowbars — cracking some light into the the [underrepresented] industry spaces, but we are we're in the red so significantly with representation that we just need an influx of help to make it more equitable and to make it a safe space for underrepresented people of all those categories."
Yahoo
18 hours ago
- Yahoo
Young stars sparkle as Thunder and Pacers seek first NBA titles
NBA Most Valuable Player Shai Gilgeous-Alexander of Oklahoma City drives to the basket around two defenders for the Indiana Pacers, who will play the Thunder in the NBA Finals (William Purnell) Powered by young star talent and deep rosters, the Oklahoma City Thunder and Indiana Pacers open the NBA Finals on Thursday, each trying to bring their city a first-ever crown. Oklahoma City, fancied by oddsmakers after an NBA-high 68 regular-season wins, will host game one in the best-of-seven championship series. Advertisement Both teams are fast-paced squads with young star point guards, 26-year-old NBA Most Valuable Player Shai Gilgeous-Alexander for the Thunder and Indiana's 25-year-old Tyrese Haliburton. The Pacers seek the first NBA crown in their 58-year history while the Thunder, who moved from Seattle in 2008, took the franchise's only title as the SuperSonics in 1979. "It's a new blueprint for the league," Pacers center Myles Turner said. "The years of the superteams and stacking, it's not as effective as it once was. "The new trend now is kind of what we're doing. OKC does the same thing. Young guys, get out and run, defend and use the power of friendship." Advertisement Oklahoma City's only prior NBA Finals appearance was in 2012, when Kevin Durant, James Harden and Russell Westbrook lost to LeBron James-led Miami. Indiana's only prior trip to the NBA Finals came in 2000, a loss to the Los Angeles Lakers, but the Pacers also won three 1970s titles in the American Basketball Association, which sent four teams into the NBA in 1976. Gilgeous-Alexander could become the first league scoring champion to win an NBA title in the same season since 2000, when Shaquille O'Neal led the Lakers past the Pacers. "SGA" averaged 32.7 points, 6.4 assists, 5.0 rebounds, 1.7 steals and 1.0 blocked shots a game in leading the Thunder to the NBA's best regular-season record at 68-14. Advertisement With forwards Jalen Williams and Chet Holmgren, Gilgeous-Alexander has formed a formidable trio. The Thunder swept Memphis in the first round of the playoffs, outlasted Nikola Jokic-powered Denver in seven games then dispatched Minnesota in five. The Pacers went 50-32 behind 20.2 points and 6.9 rebounds a game from Pascal Siakam and 18.6 points, 9.2 assists, 3.5 rebounds and 1.4 steals a game by Haliburton, who helped the USA win Paris Olympic gold last year. "What makes him very good is that he's very confident," Williams said of Haliburton. "It makes him a very dangerous individual." Indiana eliminated Milwaukee and Cleveland in five games each and took out New York in six. Advertisement Oklahoma City beat Indiana twice in the regular season with Gilgeous-Alexander averaging 39 points, eight assists and seven rebounds while Haliburton struggled, averaging 11 points, three rebounds and 5.5 assists. The Thunder dominate defensively, leading the playoffs with 18 turnovers forced and 10.8 steals a game plus a 42.6% opponent shooting percentage from the floor. The Pacers, however, average 117.4 points a game in the playoffs and own the top shooting percentage overall at 49.7% and from three-point range at 40.1%. - 'Be who we are' - Each team helped build their current lineup by trading NBA star Paul George. The Pacers sent him to the Thunder in 2017 for players that were later traded for Haliburton and draft picks that landed Andrew Nembhard and Ben Sheppard. Advertisement "This franchise took a chance on me, saw something that other people didn't see in me," Haliburton said. The Thunder traded George to the Los Angeles Clippers in 2019 in a deal that landed Gilgeous-Alexander and a draft pick that was used on Williams. Oklahoma City has a player who won an NBA title in Alex Caruso, who helped the Lakers win the 2020 crown, while the Pacers boast Siakam from Toronto's 2019 title run. "You don't have to do anything special," Caruso said of winning an NBA crown. "You just have to be who we are. That has worked for us throughout this whole year." Indiana coach Rick Carlisle won an NBA title guiding the 2011 Dallas Mavericks and could become only the fourth coach to win NBA crowns with multiple teams. js/rcw