In the middle of another successful touring season for his reunited band Creed, Scott Stapp has offered something unexpected: a 9-minute, high-octane short film, in which he stars as a man of faith who, Lord forgive him, has to go back to the old him.

Deadman’s Trigger: A Short Film, which was unveiled on YouTube on Thursday night (July 31), serves as both a music video for Stapp’s “Deadman’s Trigger,” from last year’s solo album Higher Power, as well as a Western shoot-‘em-up. Directed by Tyler Dunning Evans, the project stars the Creed frontman in action-hero mode and his 7-year-old son, Anthony, as the impetus for the return to his gun-slinging ways.

“It all was inspired through the song,” Stapp tells Billboard of “Deadman’s Trigger,” which is lyrically focused on a peaceful man being pushed beyond his breaking point and toward retribution. “The narrative was born of the Wild West — this stoic, patient, humble man, and those who target him forgetting how dangerous he can be. And as you’ll see, they find out real quick.”

Stapp says that “Deadman’s Trigger” is all about “life imitating art” and touches upon his devotion to family, which is part of the reason why he wanted to involve his children in the short film. While Anthony co-stars — and gets entangled in the action by the end — his 18-year-old daughter Milan also served as a production assistant on the project, which was filmed over two days at Whitehorse Ranch in Landers, Calif. 

“Anthony is a key part of the video, and a key part for how the song came about,” says Stapp. “All my kids have grown up doing acting and being behind the camera, so it wasn’t anything super new for them, but I definitely wanted to go the extra mile with him, and make sure that we understood exactly what was going on and had the proper safety protocols. And he just jumped right in, like he had been making movies his whole life. I’m so proud of him for what he did, how he owned his role, how he understood the concept of all the scenes emotionally even though his lines were short, and how he carried himself.”

While “Deadman’s Trigger” is being promoted as the third single from Higher Power, Stapp has been leading Creed through another North American tour — including an inaugural Summer of ’99 and Beyond festival last month — after the best-selling band reunited last year. With the latest leg wrapping up later this month, Stapp says that the reunion has felt similar to Creed’s discovery in the late ‘90s, with the commercial success exceeding all expectations.

“It’s been so rewarding, and so fulfilling,” he says. “We’re selling 80% of our tickets to fans between 18 and 35. There’s even younger fans there now! To see our music stand the test of time and reconnect like it’s brand new to an entire generation — I know it sounds cliché, but I’m just so grateful. I’m at a place in my life where I have a deeper sense of appreciation for how rare this is, and how fortunate I am to be able to do what I do.”

Now, that job description includes starring as an action hero in a short film. “It was a lot of fun, and a really cathartic experience,” says Stapp. “Hopefully the fans connect to it, and enjoy it as much as we did.”

SESAC Music Group has closed on an $889 million bond sale through senior, five-year notes, the company announced Thursday (July 31).

SESAC’s fourth securitization is a “whole business securitization” that is secured by SESAC’s assets and revenues, including its performing rights and music services businesses. Traditional securitizations are backed by specific assets, not the assets and operating revenue of an entire company. Most music companies’ securitizations — including those closed this year by Concord and HarbourView Equity Partners — are the traditional type backed by the rights to various music catalogs.

Following this securitization, SESAC has outstanding senior notes of approximately $1.1 billion.

The company’s performing rights division represents such songwriters as Kurt Cobain (Nirvana), Ariana Grande, Billie Joe Armstrong (Green Day) and Axl Rose (Guns N’ Roses). The music services division provides services to songwriters, publishers, collective management organizations and digital service providers. Through AudioSalad, the services division also provides metadata and media asset management, delivery and distribution services to artists and labels.

The securitization received a BBB (sf) rating from Morningstar and was three-times oversubscribed, indicating strong confidence. Guggenheim Securities LLC, Barclays Capital Inc., and ING Financial Markets LLC acted as joint book runners, with Blackstone Securities Partners L.P. serving as co-manager. Guggenheim Securities LLC also served as the structuring agent, while Virtu Global Advisors, LLC provided valuation services. Legal counsel to SESAC was provided by Latham & Watkins.

Purchased by private equity giant Blackstone in 2017, SESAC had been attracting interested suitors at the end of 2024, sources told Billboard. Blackstone was said to have fielded offers from private equity firms that bid unsuccessfully on Global Music Rights, which was valued at $3.3 billion when TPG replaced Hellman & Friedman as majority owner in January.

Michael Clifford has officially joined his 5 Seconds of Summer bandmates in the ARIA Albums Chart history books.

The Aussie guitarist’s debut solo album Sidequest lands at No. 10 on the ARIA Albums Chart dated Aug. 1, marking his first chart entry as a solo artist. Clifford is the second 5SOS member to score a top 10 solo debut this year, following Calum Hood’s Order Chaos Order, which hit No. 1 in June.

Clifford’s milestone comes after more than a decade with 5SOS, the chart-conquering Australian band whose five studio albums — 5 Seconds of Summer (2014), Sounds Good Feels Good (2015), Youngblood (2018), Calm (2020), and 5SOS5 (2022) — all peaked at No. 1 in Australia. The band has also collected six ARIA Awards and countless global accolades.

Sidequest, which Clifford described as a “love letter to video games, fantasy, and finding your own path,” marks a stylistic shift from his 5SOS output. The album includes the previously released singles “Potion,” “Haunted Player,” and “Healing Light,” and was met with praise from fans who’ve followed Clifford’s creative evolution both within the band and beyond.

The album’s release week was bolstered by Clifford’s press run across Australian radio and Twitch gaming channels, where he discussed the album’s nostalgic influences and independent production. Clifford recorded most of Sidequest in his home studio in Los Angeles, collaborating with producers including Zakk Cervini (Bring Me the Horizon, Poppy) and Pete Wentz on select tracks.

Elsewhere on the ARIA Albums Chart, Tim Minchin’s Time Machine debuted at No. 4, his second solo project to chart after 2020’s Apart Together (No. 3). Fellow Aussie act Folk B***h Trio landed at No. 19 with their debut Now Would Be a Good Time, while The Dreggs entered at No. 63 with The Art Of Uncommon Practice.

Over on the Singles Chart, “Golden,” the lead track from the KPop Demon Hunters soundtrack, climbs from No. 2 to No. 1 this week, becoming the fourth K-pop song to top the Australian charts. Three other songs from the album are also in the top 10: “Your Idol” (No. 4), “Soda Pop” (No. 5), and “How It’s Done” (No. 7).

Meanwhile, the recent triple j Hottest 100 countdown of all-time Australian songs sent several classics back into the charts — including Crowded House’s “Don’t Dream It’s Over” (No. 22), INXS’ “Never Tear Us Apart” (No. 28), and Hilltop Hoods’ “The Nosebleed Section,” which scored a new chart peak at No. 31.

Australian surf-rockers Skegss are back in the triple j studio, putting their own fuzzed-out spin on Sheryl Crow’s 1996 hit “If It Makes You Happy” for the latest installment of Like A Version.

The Byron Bay trio reimagined the alt-country classic through their signature laidback lens, dialing up the distortion while keeping the song’s emotional core intact. The cover arrives hot on the heels of their recent Australian headline tour, with the band riding high on fan momentum after wrapping their winter run of shows.

Skegss frontman Ben Reed shared the inspiration behind the cover, pointing to a mix of nostalgia and admiration. “I like her lyrics, she always seems to have fun, comical lyrics,” he said during the studio session. “She’s got that country-esque storytelling, she paints a good picture, but has a lot of fun with it… She’s a real clever lyricist.”

While brainstorming cover options proved tricky — especially following their memorable 2019 Like A Version debut with Pixies’ “Here Comes Your Man” — Reed recalled his sisters playing “If It Makes You Happy” on repeat in the early 2000s. After jamming the song once in rehearsal, the band knew they had their pick.

In addition to the Sheryl Crow tribute, Skegss also performed their original track “Ain’t for the Faint” live in-studio, bringing their infectious energy to the new cut.

First released in 1996 as the lead single from Crow’s self-titled sophomore album, “If It Makes You Happy” became one of the singer’s signature songs, peaking at No. 10 on the Billboard Hot 100 and winning Best Female Rock Vocal Performance at the 1997 Grammy Awards.

Skegss’ cover adds a raw, sun-drenched twist to the song’s alt-rock roots, earning praise from fans who flooded triple j’s YouTube comments calling it “an instant classic” and “exactly what Like A Version was made for.”

Watch both performances via triple j below.

Reneé Rapp isn’t holding anything back on her new album Bite Me, released today (Aug. 1) via Interscope.

On her new album, the Sex Lives of College Girls alum leaves behind the heartbreak ballads of Snow Angel and leans full tilt into raucous pop rebellion. Over 12 tracks and 33 minutes, Rapp trades vulnerability for attitude, letting her inner chaos take the wheel as she sings about sex, fame, parties, and the power dynamics that come with them.

The album reunites her with Snow Angel executive producer Alexander 23, and brings in heavyweight collaborators including Omer Fedi, Ryan Tedder, Julian Bunetta, and Carter Lang. Together, they craft a sound that draws from ’90s alt-rock, early 2000s pop-punk, and glammy synth-pop — all while centering Rapp’s unfiltered voice.

Lead single “Leave Me Alone” set the tone back in May, combining punchy guitars with lyrical confrontation. Follow-ups “Mad” and “Why Is She Still Here?” further fueled anticipation, with Rapp balancing aggression and playfulness across themes of obsession, resentment and messy intimacy.

The project also features her real-life partner, Towa Bird, on the disco-tinged standout “At Least I’m Hot,” where the two flirt over a funky guitar line in one of the album’s lighter moments.

In a recent AP interview, Rapp said of the album, “I wanted to love this. I wanted to be able to walk away from this and be so proud of myself and impressed, no matter what anybody else thought.”

“That intention, and also wanting to prove it to myself, was really grueling,” Rapp told The Associated Press. “And also really fun.”

While Snow Angel dealt in emotional fallout, Bite Me thrives in the aftermath — messy, unbothered, and unapologetically loud. From the snarling opener “I Can’t Have You Around Me” to the closing piano ballad “That’s So Funny,” Rapp makes it clear she’s not interested in being palatable.

Stream Bite Me below.