Paula Cole Urges Fans to Use New Version of ‘I Don’t Want to Wait,’ Sends Love to James Van Der Beek

Paula Cole is proud to be connected to the Dawson’s Creek legacy.

The singer, 57, shared PEOPLE’s video of James Van Der Beek‘s daughters, Emilia and Olivia, singing her single, “I Don’t Want to Wait” at the reunion event for the beloved series that was held in New York on Monday, Sept. 22.

“Sending so much love and highest vibrations to you @vanderjames and your beautiful family 🙏❤️❤️❤️. Paula,” she captioned the reposted video.

James’ wife,  Kimberly Van Der Beek, commented, “❤️❤️❤️❤️.”

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Paula also shared another angle of the cast singalong to her 1997 single, a particularly sentimental moment for the handful of fans who got to take in the one-night-only charity event.

“Wishing you well, @vanderjames,” Cole captioned the video.

“I Don’t Want to Wait” became the Dawson’s Creek theme song after Kevin Williamson couldn’t get clearnace for the theme he’d originally envisioned, Alanis Morissette‘s “Hand in My Pocket.” Over the years, it’s come to mean a lot, not only to Cole’s fans but fans of the series it became synoymous with.

Kimberly later returned the kindness when she shared video of Paula explaining why there are two different versions of “I Don’t Want to Wait” — the original recording and the 2016 20th anniversary edition — asking fans of the show to use the latter in their celebrations of all things Capeside.

The video, originally recorded in Jan. 2024, was reshared by both Kimberly and Paula as a reminder to fans. In the clip, she explains, “I want to talk about my song. ‘I Don’t Want to Wait,’ because usually what you hear is the recorded version from the 90s.”

She continued “And that was a result of the horrible, terrible. no good, ultra bad recording contract I signed, like so many of us did in the 90s.”

“I don’t see anything from the master use of that song, so I re-recorded it, and in 2016, put out my version, which is called the artist’s preferred version or the artist’s 20th anniversary edition. And if you want to use my songs for your creative work, please, please consider using my master, so that not only do the pennies come to me and not the man, but also that we care about equality,” she asked.

“Because I don’t own my work from the 90s — I was considered a contractual work for hire, which is a very obsolete notion that keeps us bound. This is my work. I want to share it with you. Please support me. Thank you and I’ll see you soon.”