When musicians decide to sell their catalogs, they often find themselves forced to choose between the highest bidder and the best custodian of their works. In the case of Nick, Joe and Kevin Jonas, who reunited as the Jonas Brothers in 2018, they chose family.

The brothers have sold their publishing and recording rights from their three most recent albums — 2019’s Happiness Begins, which includes Billboard Hot 100 No. 1 hit “Sucker”; 2023’s The Album; and the upcoming Greetings From Your Hometown, set for release in August — as well as rights to the holiday hit “Like It’s Christmas” and the Tokyo Olympic Games anthem “Remember This,” to the investment arm of dad Kevin Jonas, Sr.‘s Jonas Group Entertainment Holdings, Kevin Sr. tells Billboard. Financial details were not disclosed.

A former indie singer-songwriter who put his career in Christian music on hold around the time his sons began performing on Broadway and in commercials, Kevin Sr. co-managed the Jonas Brothers with Phil McIntyre in their early days. He tells Billboard he won the bidding war for his sons’ catalog by pledging to care for their songs the way an artist manager would.

“I don’t know that anybody can love your music any more than I do or be any more proud of you,” Kevin Sr. says he told his sons. “I am not asking for less than the purchase price but for consideration of the passion I’ll bring to keeping your legacy thriving.”

Speaking by phone while on vacation with family, including his sons and grandchildren, Kevin Sr. says his company — which includes Jonas Group Publishing, Red Van Records and the talent management arm Jonas Group Entertainment — is exploring re-releasing some of the music and building a dedicated sync team. “Of course, collaboration with [my sons] is going to be easy,” he says.

Since leaving Disney’s Hollywood Records and buying back their master recordings, merchandise and publishing rights in 2012, the sibling trio has had significant control over their music and business empire. In a statement, the group said that selling their rights to the company founded by their dad “feels like coming full circle.”

“We are passionate about songwriting and the creative process, and Leslie DiPiero [Jonas Group Publishing president] has always been a true champion for songwriters and creators,” the Jonas Brothers said in a statement. “We look forward to working with her and the team.” 

The familial and financial structure of the deal makes it unique: Kevin Sr. purchased the assets with capital from a $300 million debt package backed by Corrum Capital, Bardin Hill, Cliffwater and One William Street. Over the past roughly 18 months, Jonas Group Entertainment Holdings has also acquired the catalogs of “Issues” singer-songwriter Julia Michaels, country star Rhett Akins, and songwriters and producers Justin Ebach and Amy Stroup.

The Jonas brothers, who kick off a North American tour in August in honor of 20 years as a group, have a co-founded several food and beverage businesses, including Backstage Popcorn, Ohza canned cocktails and Villa One tequila. They are also involved in Ember temperature-controlled mugs, OLIPOP functional sodas and Nellie’s Southern Kitchen, on which they partnered with dad Kevin Sr.

Access Media Advisory and its founder, Teresa Miles Walsh, served as financial advisors on the deal, and Corrum Capital’s Jonathan Mandle contributed to structuring Jonas Catalog Holdings 1, the investment entity that acquired the Jonas Brothers catalog.

BLACKPINK makes a triumphant return to the Billboard Global 200 and Billboard Global Excl. U.S. charts, as its new single “Jump” blasts in at No. 1 on each survey to become the biggest song in the world. It’s the pop quartet’s third leader on the former ranking and fourth on the latter.

The charts’ second-highest debut is Justin Bieber’s “Daisies,” which starts at No. 3 on the Global 200 and No. 4 on Global Excl. U.S.

Plus, HUNTR/X earns its second Global 200 top 10 as “How It’s Done” lifts 11-9. The trio — whose music is voiced by EJAE, Audrey Nuna and REI AMI — hit No. 1 on both the Global 200 and Global Excl. U.S. a week ago with “Golden,” with both songs from the hit Netflix animated film KPop Demon Hunters and its soundtrack. “Golden” ranks at No. 2 on the two latest lists.

Making history, this week’s Global 200 and Global Excl. U.S. charts mark the first in which the top two spots on each belong to all-female groups, and each have notable ties to Korean pop.

The Billboard Global 200 and Global Excl. U.S. charts, which began in September 2020 — and a month earlier marked their 250th week — rank songs based on streaming and sales activity culled from more than 200 territories around the world, as compiled by Luminate. The Global 200 is inclusive of worldwide data and the Global Excl. U.S. chart comprises data from territories excluding the United States.

Chart ranks are based on a weighted formula incorporating official-only streams on both subscription- and ad-supported tiers of audio and video music services, as well as download sales, the latter of which reflect purchases from full-service digital music retailers from around the world, with sales from direct-to-consumer (D2C) sites excluded from the charts’ calculations.

Released July 11, “Jump” launches atop the Global 200 with 123 million streams and 14,000 sold worldwide in the week ending July 17. It’s the first song in more than four months to crack 100 million streams globally, since Lady Gaga and Bruno Mars’ “Die With a Smile” on the chart dated March 15.

BLACKPINK earns its third Global 200 No. 1, following “Shut Down” for a week in October 2022 and “Pink Venom” for two weeks that September. Plus, the group’s ROSÉ has led twice as a soloist, with “APT.,” with Bruno Mars, for 12 weeks beginning last November, and “On the Ground” for a week in March 2021. Fellow BLACKPINK members Jennie and LISA each boast two Global 200 top 10s and Jisoo, one. “Jump” is the group’s fifth top 10.

HUNTR/X’s “Golden” drops to No. 2 on the Global 200 but with a 21% surge to 82.2 million streams and a 19% boost to 7,000 sold worldwide. Plus, the threesome’s “How It’s Done” rises 11-9, with 42.1 million streams (up 14%) and 3,000 sold (up 4%) worldwide.

Justin Bieber’s “Daisies” blooms at No. 3 on the Global 200 with 63.6 million streams and 6,000 sold worldwide following its July 11 release on his new album, Swag. He adds his eighth top 10 on the chart.

Elsewhere, Alex Warren’s “Ordinary” descends 2-4 on the Global 200 after 10 weeks on top beginning in May and Saja Boys’ “Your Idol” — also from KPop Demon Hunters — dips to No. 5 from its No. 3 high, although with a 9% gain to 50 million streams worldwide.

“Jump” concurrently debuts at No. 1 on Global Excl. U.S. with 109.9 million streams and 11,000 sold outside the U.S. BLACKPINK achieves its fourth leader on the chart, following “Shut Down” for a week in October 2022; “Pink Venom” for three weeks that September; and “Lovesick Girls” for a week in October 2020. ROSÉ has led two times solo, with “APT.,” for a record 19 weeks beginning in November, and “On the Ground” for a week in March 2021; LISA led for a week last July with “Rockstar”; and Jennie scored a week at No. 1 in October 2023 with “You & Me.”

“Golden” dips to No. 2 on Global Excl. U.S., though with a 22% increase to 59.7 million streams outside the U.S.

Bieber’s “Daisies” debuts at No. 4 on Global Excl. U.S., with 36.7 million streams and 2,000 sold beyond the U.S. As on the Global 200, he adds his eighth top 10 on the tally.

Also in the Global Excl. U.S. top five, “Ordinary” retreats 2-3, after eight weeks in the lead starting in May, and “APT.” falls 4-5.

The Billboard Global 200 and Billboard Global Excl. U.S. charts (dated July 26, 2025) will update on Billboard.com tomorrow, July 22. For both charts, the top 100 titles are available to all readers on Billboard.com, while the complete 200-title rankings are visible on Billboard Pro, Billboard’s subscription-based service. For all chart news, you can follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

After a year of build-up, earlier this month, Clipse unleashed the long-awaited Let God Sort Em Out to their ravenous fanbase. A 15-year hiatus marred and molded by rehabilitation, rebirth, trauma, grief and self-discovery became the foundation for the Virginia duo’s perfect storm. Debuting to 118,000 album-equivalent units this week – and a No. 4 bow on the Billboard 200, matching the duo’s career-high from 2002 breakthrough Lord Willin’ – is more than just a storybook ending for the Thornton brothers, it’s a beacon of hope for legacy artists striving to walk the tightrope between authenticity and chart success deep into a decades-long career.

For Clipse, the road to the Billboard 200 win wasn’t just an overnight miracle: It was an arduous road journey defined by wins and losses. Malice needed spiritual cleansing after retreating from the group in 2010, while Pusha T required separation from his brother to evolve into the cerebral assassin that he is on the mic. The passing of the Thorntons’ parents, six months apart in 2021 and 2022, further tested their resilience and strengthened their brotherhood. Becoming battle-tested sharpened their combat abilities; Pusha T learned how to skillfully decapitate rappers, while Malice’s God-fearing ways served as his sole compass in the fog of war. Let God Sort Em Out is the embodiment of yin and yang, or when the evolved forces of Martin and Malcolm band together for the greater good. 

This wasn’t a reunion, it was a reckoning.

With a discography Bounty-strong, Clipse knew they needed seamless execution for Let God Sort Em Out. So the duo decided to bring in Pharrell, lead sonic architect behind the first two Clipse albums, to man the decks for the entire set. Fortunately, Williams provided the same edge and grit needed to accompany this comeback album. For Malice and Push, bringing Williams into the fold tied together their worlds of spirituality and savagery. Like the Thornton Brothers, Pharrell was facing a litany of questions: Was he still an Iron Chef-caliber producer? Had his love for fashion come to supersede music for him? These men had a boulder-sized chip on their shoulders, and powered up together, rather than shrink in size.

The album’s first four tracks are prime examples of Pharrell, Malice and Pusha operating a three-man weave to precision. The theatrical production on “The Birds Don’t Sing,” paired with a timeless John Legend hook and vivid recaps about their parents’ passing, is what happens when three greats are all on the same page. Meanwhile, elsewhere on the album, the brothers land glitzy features from the likes of Nas (“Let God Sort Em Out /Chandeliers”), Kendrick Lamar (“Chains & Whips”), and Tyler, The Creator (“P.O.V “) – but never let their co-stars overshadow their own efforts, as Push and Malice execute lyrical masterclasses.

Most importantly, what also vaulted Let God Sort Em Out into top five territory on the Billboard 200 was the set’s meticulously plotted roll-out. Gone are the legacy media days of the 2000s, as A.I. and streamers continue to oust traditional outlets from the field. That didn’t shake the Clipse, as the pair had cover stories with GQ and Complex. They engaged in performance pieces for Tiny Desk and Colors. They sat down with The Breakfast Club. They even ventured into the podcast world, hosting conversations with Joe Budden, Elliott Wilson and B. Dot. Lastly, what’s a great roll-out with a little controversy to stoke the conversation? Pusha’s barbs at Jim Jones (“Chains & Whips”) and Travis Scott (“So Be It”) — in addition to the well-circulated story of the duo being dropped from Def Jam because of Kendrick’s problematic verse and its associated Drake implications — made the Thorntons’ comeback story that much more intriguing.

So, if anyone is surprised that The Clipse has pushed over 100,000 first-week units, it’s simply because they haven’t watched their story unfold from start-to-finish. Let this serve as a lesson for legacy artists trying to straddle those lines between chart wins and acclaim: Don’t chase it. Be unapologetically you, commit to a gameplan that makes sense for you (and execute it meticulously), and the rest will follow.

Def Leppard are headed back to Las Vegas for their third residency in Sin City. The Rock and Roll Hall of Fame group announced their latest stay-put on Monday morning (July 21), revealing that the Def Leppard: Live at Caesars Palace The Las Vegas Residency will set up shop at the Colosseum at Caesars Palace from Feb. 3-28 next year.

The latest run follows up on previous residencies by the “Pour Some Sugar on Me” band in 2019 and 2013. Tickets for the 12-show 2026 run will kick off with a Citi cardmember pre-sale beginning on Tuesday (July 22) at 10 a.m. PT until Thursday (July 24) at 10 p.m. PT here. A Rock Brigade fan club pre-sale will also kick off on Tuesday beginning at 10 a.m. PT, with Caesars Rewards members, Caesars Entertainment’s loyalty program and Live Nation and Ticketmaster customers eligible for access to a pre-sale running from Thursday at 10 a.m. PT until 10 p.m. PT.

Tickets for all 12 shows will go on sale to the general public beginning Friday (July 25) at 10 a.m. PT; click here for more ticketing information.

“Las Vegas has always been such a main attraction for Def Leppard. There’s no place on earth where you can have the likes of Adele, U2 and The Eagles all playing sold out shows on the same night!,” said singer Joe Elliott in a statement. “We’re really looking forward to coming back for our third Vegas residency and to do a run at the iconic Colosseum at Caesars Palace is such an honor given the giants that have blessed that stage!”

Check out a preview video and the full list of dates for Def Leppard’s Live at Caesars Palace The Las Vegas Residency shows below:

Feb. 2025: 3, 5, 7, 10, 12, 14, 17, 19, 21, 24, 26, 28