Daveed Diggs Broke His Post-'Hamilton' Rule For 'The Boys' Musical Scene

Daveed Diggs usually keeps his vocal cords on ice when taking on new television roles. Ever since his show-stopping, dual-role performance as Thomas Jefferson and the Marquis de Lafayette in *Hamilton*, the Tony and Grammy winner has actively shied away from singing on screen. But Prime Video's flagship superhero satire *The Boys* managed to crack his golden rule for its fifth and final season. Diggs signed on to play Oh Father, a charismatic superhero preacher navigating the chaotic universe of Vought International. As soon as news broke that Diggs was coming aboard, series composer Christopher Lennertz immediately saw a golden opportunity. Reports reveal that Lennertz reached out to showrunner Eric Kripke right away, insisting the show needed to leverage Diggs' legendary musical talents. Kripke hesitated initially, pointing out that a musical sequence was never part of the original blueprint for the character.

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Kripke mulled over the composer's pitch for several months before finally approaching Diggs with a cautious proposal. According to accounts from the production, Kripke apologetically asked the actor if he would consider performing a musical number for the series. Diggs admitted that he almost always rejects singing roles post-*Hamilton*, but he ultimately felt the idea fit seamlessly into the irreverent world of *The Boys*. However, Diggs agreed under one strict condition: he had to be directly involved in the songwriting process. He refused to simply sing a pre-written television tune without bringing his own creative signature to the table.

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The collaboration between Diggs and Lennertz did not hit a home run immediately. The pair initially drafted a modern hip-hop track, but the genre felt out of place for the theatrical superhero preacher persona. Pivoting quickly, Diggs and Lennertz co-wrote "Raise Him Up," a roaring funk-gospel track that gave Oh Father a powerhouse musical introduction. The high-energy performance sees Diggs strutting across the stage in full evangelical flair. The risky creative gamble paid off in a big way, earning the track an Emmy nomination and proving that even strict post-*Hamilton* rules can be broken for the right show.