Jaheem Toombs’ “Dream Come True” Is Exactly That in Zombies 4

“Dream Come True” isn’t just the title of Jaheem Toombs’ new song in Zombies 4—it’s exactly what the moment feels like. The actor and musician has stepped into the world he once dreamed of as a kid, contributing a standout track that’s already earning a place in fans’ summer playlists.

For Jaheem, who grew up dancing around his living room to High School Musical and Camp Rock, getting the call to write a song for Zombies 4 felt like everything coming full circle. “Dream Come True” channels the same magic that first inspired him—blending layered vocals, conversational lyrics, and a sound that feels ripped straight from a 2000s DCOM, while still being entirely his own.

Pop Culturalist caught up with Jaheem to talk about the creative process behind the song, how his background as a child actor shaped the way he writes, and how Malachi Barton and Freya Skye helped bring “Dream Come True” to life with heart, chemistry, and a little bit of Disney magic.

PC: You’ve spoken about how much Disney Channel musicals like High School Musical and Camp Rock meant to you growing up. How did they influence your love for storytelling and shape your journey as an artist—and what was it like getting the call that your song was selected for Zombies 4?
Jaheem: HSM and Camp Rock fully lit the spark for me. Those movies were more than just entertainment—they were my safe place. I knew I wanted to be part of that world, whatever that meant and however I could. I even found myself wishing I could crawl inside the screen and live there. There was something so magical about it: being in harmony, finding community, creating common ground through music. I carry that feeling into everything I do as an artist. So getting the call for Zombies 4 felt like a full-circle moment—like I was pouring back into the very well that once gave me so much comfort, and hopefully passing that same feeling down to a new generation.

PC: You were given some direction about what the scene and song needed to capture—how did you take that and turn it into something that felt authentic to both the moment and your sound?
Jaheem: Victor and Nova’s star-crossed love story did most of the heavy lifting. I was instantly invested. My mission was to understand them so they could understand each other—and to share that in a way the audience could feel, too. There’s nothing like being seen without having to explain yourself.

The song is super conversational—lots of finishing each other’s sentences and overlapping lines to drive home the idea that these two are cosmically aligned. An invisible string. They’re already in each other’s heads. That concept shaped everything: the sound, the cadence, the structure.

And obviously, I can’t run from my influences. People keep saying it feels like a 2000s DCOM, which warms my heart. My music always pulls from whatever was on the radio when I was a kid. So this song ended up as a chaotic but surprisingly cohesive jambalaya: a little Orpheus and Eurydice, a little Troy and Gabriella, maybe some Ne-Yo, Owl City, Mitchie and Shane—I could go on forever.

PC: You got your start as a child actor, and there’s so much visual storytelling in “Dream Come True”—you can really see the scene unfold as you hear it. How do you think that early experience shaped the way you write songs that feel so cinematic and emotionally resonant?
Jaheem: Growing up as a child actor shaped my lens on songwriting in such a big way. I spent my adolescence practicing empathy—speaking through fictional people and trying to make them real. Honestly, I honed that skill before I even fully knew myself. I was still discovering who Jaheem was, but I could tell you everything about Fenwick. The girls who get it, get it.

Whether that’s a good thing in real life is still up for debate—but it’s a gift when writing for TV, film, and theater. I know what feels natural to say or sing because I’ve had to sell some very unnatural dialogue (never on 100 Things…everyone ate, love you all). I put myself in both the character’s shoes and the actor’s. Sometimes I’ll even keep a diary as them—what’s on their mind, who’s on their playlist, anything that helps me find their truth. And then, of course, there’s some cinematic trickery in the production—some details as obvious as big crashes, risers, and timpani, and others as subtle as wind and rustling trees. I’m a visual listener, so I want the world of the story to be alive, even in the soundtrack version.

PC: After writing the song, how did working with Malachi and Freya help take it to the next level? Did their input or performance shape the final version in any surprising ways?
Jaheem: Freya and Malachi are brilliant. I could scream about them all day—I’m such a fan. They showed up so professional, so willing, so excited—and they are those characters. The magic and charm of the song live in them. You can hear their smiles. You can hear their chemistry. They brought a level of personality and heart that exceeded anything I imagined. Working with them was truly a producer’s dream come true.

PC: You shared that you wanted to make a song eight-year-old you would want to twirl around to. If you could go back and tell that version of yourself about this moment, what would you say?
Jaheem: Keep twirling. It pays off.

You won’t believe where you’re headed. Don’t let anyone tell you what’s possible or impossible. One day, you’ll have a whole community of singing, dancing friends who get you. You’re not wasting time hitting replay and singing along—you’re learning. And no, Hannah Montana is not just for girls. So sing it louder for the people in the back. And be good to mom and dad—they could’ve told you to turn the music down, but instead, they’re nurturing your dream.

To keep up with Jaheem, follow him on Instagram. Watch Zombies 4 on Disney+ today.

Photo Credit: Austin Martinez