Cleto Escobedo III, the longtime bandleader and saxophonist for Jimmy Kimmel Live, co-creator of the late-night staple’s theme tune, and best friend of its host, has died at the age of 59.

Kimmel broke the sad news on his social accounts, and gave a teary farewell to his good friend Tuesday night during his nightly show. “Early this morning,” he writes on Instagram, “we lost a great friend, father, son, musician and man, my longtime bandleader Cleto Escobedo III. To say that we are heartbroken is an understatement. Cleto and I have been inseparable since I was nine years old. The fact that we got to work together every day is a dream neither of us could ever have imagined would come true. Cherish your friends and please keep Cleto’s wife, children and parents in your prayers.”

The cause of death has not been revealed, though Page 6 reports Escobedo was hospitalized last week, with Kimmel canceling his Thursday episode to be by his side.

Born Aug. 23, 1966 in Las Vegas, NV, Escobedo’s group, Cleto and the Cletones, has been the house band for Jimmy Kimmel Live! since the show’s inception in 2003.

Escobedo and Kimmel, however, go way back. The pair hit it off as kids, when Kimmel’s family moved to Sin City back in 1977, directly across the street, two houses over from a young Escobedo.  

Kimmel was unable to hold back the tears, and he told of his best friend’s passing at the very top of Tuesday night’s Live. “We’ve been on the air for almost 23 years and I’ve had to do some hard monologues along the way. But this one’s the hardest,” he remarked. They weren’t just friends. They were 24/7 besties, enjoying countless sleepovers, crank calls, backyard ballgames, and “we definitely gave each other many concussions,” he recounted.

Across 22 minutes, Kimmel told hilarious tales of youthful pranks, parties, bad advice, and much more, the stuff that occurs only when two people live out of each other’s pockets.

“We loved all the same things. Baseball, fishing, boxing, [Muhammad] Ali, Richard Pryor, Eddie Murphy, Woody Allen, Michael McDonald, Huey Lewis, Stevie Wonder, and most of all, we loved David Letterman,” he admitted. “We never missed David Letterman. And the first time I was on the [Late Show with David Letterman] was 1999. It was a really big deal for both of us. That afternoon before the show, I was so nervous. I was walking in New York City, just walking fast, trying to burn off the nervous energy, and I called him just so we could be amazed together that this was happening and it was an amazing thing.”

As a saxophone player, he was nothing short of “phenomenal,” Kimmel enthused. “He was a child prodigy who would get standing ovations in junior high school, if you can imagine that.” Escobedo was a chip off the old block; his dad, too was a sax player in a band, but he called time on touring to spend more time with his family. “When Cleto junior became a professional musician, Cleto senior was thrilled, he got to live vicariously through his son,” Kimmel said.

Junior enjoyed an early breakthrough with Paula Abdul, initially performing with the pop star then joining her label’s roster. Later, Kimmel pitched the late-night show to ABC, with Escobedo and his father auditioning together for the gig. It was a winning formula.

“I’ve often said that the single best thing about doing this show was getting the opportunity to allow Cleto senior to pick up where he left off in 1966 and become a musician again with his son,” he remarked.

Cleto’s parents, who were watching on, were, for 47 years, like his own folks. Only they never yelled at Kimmel, he quipped.

“Cherish your friends, we’re not here forever,” Kimmel explained, through tears. Live will take a break for several days to allow its leader and team time to grieve. Watch Kimmel’s eulogy below.

Mashd N Kutcher’s next tune is a banger for a good cause.

The APRA Award-winning electronic music act dishes up the official tune for 2025 McHappy Day this Saturday (Nov. 15), the biggest annual fundraiser for Ronald McDonald House Charities (RMHC) in Australia.

The bouncing cut captures the voices of children and their families staying at Ronald McDonald House in South Brisbane, and works in the iconic “ba da ba ba ba” jingle over keys, drums, funky electric guitar and a soaring synth line.

“This song means a lot to me. Visiting the team and families at Ronald McDonald House was truly inspiring – their positivity, resilience and the way they support each other is incredible,” comments Mashd N Kutcher lead Matt James.

“Seeing the kids light up while playing instruments, sharing laughs and even singing the Macca’s jingle was magic,” he adds. “It was a privilege to bring a little fun into their day, and I think that magic shines through in the track. I hope it makes people smile and inspires them to get involved and donate to McHappy Day this Saturday.”

The track is live on Mashd N Kutcher and McDonald’s Australia’s social channels and will play in the burger chain’s 1,000-plus restaurants nationwide on the big day. Stream it, and watch footage of MNK’s visit to Ronald McDonald House below.

James knows more than most about the healing powers of music. The classically-trained Brisbane artist was diagnosed in 2023 with cancer, Multiple Myeloma, which forms in blood cells inside the bone marrow. A year later, in 2024, James and MNK made a roaring musical return with the full-length album Legacy.

It’s not the first MNK tie-in with Maccas. The lads sizzled with 2022’s “Ultimate Mix,” the music treat to accompany McDonald’s McFlurry with Cadbury’s, celebrating what was the chocolate specialist’s 100th year as an Australian favorite.

Since launching in 1991, McHappy Day has raised over A$79 million ($51 million), helping more than 69,000 families every year through RMHC, by funding various programs.

SYDNEY, Australia — After a 17-year partnership, TEG makes it official by bringing Twenty3 Live into the fold.

TEG, the Sydney-based live entertainment, data and tech giant, snaps up Twenty3 Live, a leading marketing, media, sponsorship and activation agency.

The so-called “strategic acquisition” further enhances TEG’s in-house marketing and digital capability in its global touring portfolio, and is announced on the eve of AC/DC’s Australian POWER UP tour opener Wednesday night (Nov. 12) at the Melbourne Cricket Ground, produced by TEG Van Egmond.

Through the new agreement, Twenty3 Live’s team of six music marketing professionals move across, led by long-standing marketing director Edwina Tarrant, who joined TEG’s Melbourne office in early October.

Financial terms weren’t disclosed on the deal, which formalizes a relationship between TEG and Twenty3 Live, which, over nearly two decades, delivered marketing, media, and digital campaigns for many of Australia’s biggest concert tours, including TEG Dainty-produced treks for Bon Jovi, Eminem, George Michael, Miley Cyrus, Katy Perry and more.

TEG Dainty Entertainment Company president and CEO Paul Dainty, whose business was acquired by TEG in 2016, is a major shareholder and long-serving director in Twenty3.

Meanwhile, TEG launches Ovation amp, a full-service, data-led creative agency that is said to unite expertise across media, digital, strategy, and storytelling within the group.

The new agency is led by Larissa Best, general manager, live entertainment and head of Ovation amp, whose team is “dedicated to amplifying the connection between artists, fans, and partners,” a statement reads.

As it expands commercially, Ovation amp will be expected to collaborate with promoters, artists, and brands to deliver creative strategy, data-led marketing, and more.

“This milestone represents an exciting evolution for our agency,” comments Michael Leeds, managing director of Twenty3 Group. “We’re excited to see our colleagues continue their journey within one of Australia’s leading entertainment businesses, and the outstanding work of the Twenty3 Live team has been recognised by TEG as integral to their future growth.”

According to TEG, all current client campaigns and major tours managed by Twenty3 Live will continue throughout the transition, with existing leadership and relationships maintained.

SYDNEY, Australia — Secretly Distribution has its sights set on APAC, with the launch of a new regional office.

Based in Sydney, Australia, the independent music group’s APAC activities are led by Max Thomas, who rises to head of APAC, after leading Secretly Group’s APAC marketing and strategy for the past four years.

In that time, Thomas led album campaigns for the likes of Mitski, Bon Iver, Bright Eyes, Faye Webster, Folk Bitch Trio, Khruangbin, Japanese Breakfast, Mustafa, Sharon Van Etten, Toro y Moi, Wednesday and more throughout Australia, New Zealand and Asia.

With Thomas at the helm, Secretly Distribution will focus “on supporting artists and labels throughout the Asia-Pacific region,” reads a statement.

As the company expands its global footprint (Secretly has existing offices in New York, Los Angeles and London), Secretly Distribution promotes Chris Cannon to VP of international strategy, reward for guiding the business to 30% revenue growth overseas, across both digital and physical formats, in the past year.

“I am thrilled to be leading the charge as Secretly Distribution continues expanding our global footprint to incorporate our new APAC office,” says Cannon in a statement. “As our distributed label roster expands not only in size, but in genre, geography and customer profile, SD continues to adapt accordingly.”

The new structure, led by Thomas, means the business can “localize our service whilst adopting a proactive approach in response to the organic growth we can see in fast developing markets such as the Philippines, Indonesia and China.”

The opportunities for collaboration in these markets are “vast, and we have only begun to scratch the surface,” Cannon continues.

Based in London, England, Cannon has overseen the development of Secretly’s Latin American strategy, and launched Cargo Independent Distribution, which Cargo Records, Secretly Distribution and Beggars Group created as a means to maintain and promote an independent path to market for physical music in the U.K.

A new marketing and campaigns manager in Southeast Asia will be recruited shortly, and between them the APAC team will oversee priority releases across the SD roster, including those on Australia-based labels such as Chapter Music and Spinning Top, and New Zealand labels Lil’ Chief Records and Flying Nun.

The new team will also guide relationships with long-time APAC distribution partners such as Leaplay (Korea), Rocket (Australia), Rhythm Method (New Zealand), Southbound (New Zealand) and Ultra-Vybe (Japan), plus key local retail partners with which Secretly Distribution works closely.

Formed more than 25 years ago, Secretly Distribution is part of the Secretly Group, which is headquartered in Bloomington, Indiana and which is parent to the likes of Secretly Canadian, Jagjaguwar, Dead Oceans, and Merge Records, through a 50% stake acquired earlier this year.

The distribution specialist recently struck a global partnership with high-quality vinyl leader Org Music; renewed its deal with Asthmatic Kitty Records; signed a global deal with Geoff Barrow and Redg Weeks’ Invada Records; scored a nomination for Distributor of The Year at the 2025 Libera Awards; and announced a global deal with Third Man Records.

The latest ARIA Albums Chart features, for the first time, an entry from Frankston, Victoria indie rock band the Belair Lip Bombs, the first Australian act signed to Third Man Records. The Belair Lip Bombs’ sophomore set Again opened at No. 25 on the national tally.

It’s rare that the original Broadway cast recording of Hamilton: An American Musical is not No. 1 on Billboard’s weekly Cast Albums chart. (After all, it’s been No. 1 for 454 weeks out of the 528 it has been on the chart since its debut in 2015.) So when Hamilton is not No. 1 — as is the case this week — it’s notable.

But the title that bumps Hamilton down to No. 2 this week is actually another album related to the show. A 10-song highlights edition, Hamilton: 10 Shots, arrives at No. 1 on the Nov. 15-dated chart, with 17,000 equivalent album units earned in the United States in the week ending Nov. 6, according to Luminate.

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The original Hamilton debuted at No. 1 on the Cast Albums chart dated Oct. 17, 2015, and has never left the chart.

Hamilton: 10 Shots was issued as a streaming set, digital download, CD and on an array of vinyl variants. It also debuts on a number of other Billboard charts: No. 3 on Vinyl Albums, No. 5 on Indie Store Album Sales, No. 6 on Top Album Sales, No. 6 on Top Current Album Sales and No. 28 on the overall Billboard 200.

Meanwhile, as for the original Broadway cast recording of Hamilton, it is No. 69 on the latest Billboard 200, spending its 528th consecutive week on the chart. It extends its record for the most weeks on the chart ever for a cast recording. It peaked at No. 2 in 2020, marking the highest-charting cast recording since Hair hit No. 1 in 1969.

The Billboard 200 and Cast Albums charts rank the most popular overall albums, and cast recordings, respectively, of the week in the U.S. based on multimetric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album.

Megan Moroney is trading the deep blue tones that accented her album Am I Okay? with the lush, cotton candy pink hues that are ushering in her new album, Cloud 9, set to release Feb. 20, 2026.

“It’s a long way down,” Moroney said on Instagram when announcing the new album. She also shared the angelic cover artwork of the project, which features the singer standing on a ladder and dressed in a vivid pink gown with a train that blends with the pink-tinted clouds that surround her.

According to that announcement, the album will have three sides and appears to have 15 total tracks, among them the title track (“Cloud 9”) as well as “6 Months Later” and “Beautiful Things.”

Earlier this year, “6 Months Later” reached the top 30 on the all-genre Billboard Hot 100, and has reached the top 10 on the Hot Country Songs chart.

“I am so excited for my fans and I to dive into this new world of Cloud 9 together,” Moroney said in a statement. “Similar to the first two albums, it’s all written about honest, personal experiences, but these songs were written by the strongest, most confident version of myself I’ve ever been. My feet feel firmly planted in my artistry and it was fun to play around sonically, while still sticking to my roots of what my fans and I love. Cloud 9 is a state of mind, and I have no doubt this will be the best chapter yet.”

Ahead, Moroney is gearing up to perform at the 59th annual CMA Awards, where she is tied for the leading amount of nominations. She is the reigning CMA new artist of the year, and heading into this year’s ceremony, the musician is up for single of the year and song of the year (both for “Am I Okay?”), as well as album of the year (Am I Okay?), female vocalist of the year, musical event of the year (for “You Had to Be There” with Kenny Chesney) and music video of the year (for the video for “Am I Okay?”).

See Moroney’s Cloud 9 album cover below:

Megan Moroney, "Cloud Nine"

Megan Moroney, “Cloud Nine”

Amber Asaly


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Kodak Black is collaborating with the music discovery platform Audius to launch a new artist coin.

Timed to Yak’s annual Kodak Day celebration in his hometown of Pompano Beach, Fla., the rapper will distribute the artist coin, called $YAK. $YAK holders will be able to access unreleased music, stems and other behind-the-scenes material that Kodak will provide on a regular basis. Not to mention, Kodak has already uploaded an unreleased $YAK-gated track on Audius.

“Kodak Black is beloved by legions of fans as a true innovator in hip hop,” Roneil Rumburg, cofounder and CEO of Audius, said in a statement. “He’s taking that same pioneering spirit to create an entirely new way to engage and reward his most passionate fans, using Audius technology to unlock special moments for them and build a more meaningful relationship.”

Kodak added: “You already know – YAK.”

Kodak’s annual Kodak Day celebration kicks off at 11 a.m. at the Golden Acres housing projects, where Yak was raised. The event goes until 6 p.m. and will be focused on community support for the local kids, with “groceries, food, gift cards” and “games” being listed on the event flyer.

The party comes shortly after Kodak dropped off his latest mixtape, Just Getting Started, in October, which features appearances from Don Toliver, Lil Yachty, Gunna, Chance The Rapper and others. Prior to that, the Florida native linked with former NFL player Anthony “AB” Brown for a song called “I LUV ALL THE OPPS” in late May.

Check out Yak’s Instagram post on both the coin and the celebration below.


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Beliebers and ENGENE, unite! ENHYPEN is getting hyped up for the holidays with a festive cover of Justin Bieber‘s enduring seasonal hit, “Mistletoe,” which the K-pop boy band released exclusively through Apple Music on Tuesday (Nov. 11).

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The rendition of the Biebs’ 2011 classic — which reached No. 11 on the Billboard Hot 100 almost exactly 14 years ago — stays faithful to the original version while showcasing the individual members’ smooth and soulful voices. Over the sound of jingle bells, JUNGWON, HEESEUNG, JAY, JAKE, SUNGHOON, SUNOO and NI-KI take turns singing lead while the others blend together in gorgeous harmony.

“I don’t wanna miss out on the holiday/ But I can’t stop staring at your face,” they croon. “I should be playing in the winter snow/ But I’ma be under the mistletoe.”

“Mistletoe” was released as the lead single from Bieber’s first and only holiday album, Billboard 200-topper Under the Mistletoe. The LP featured a mix of Christmas classics and original tunes, as well as collaborations with Usher, Boyz II Men, Mariah Carey and more.

ENHYPEN’s take on the album’s lead track is just the latest way the band has paid tribute to Bieber. HEESEUNG shared a cover of the Canadian pop star’s “Off My Face” a few years ago, and this past February, JUNGWON put his own spin on Bieber’s “Monster” duet with Shawn Mendes.

This holiday season will cap off another huge year for ENHYPEN, whose DESIRE: UNLEASH debuted at No. 3 on the Billboard 200 in June. Before that, the group made its Coachella debut, four months after which the members kicked off a U.S. tour with a pair of explosive shows at UBS Arena in New York.

Bieber also released new music in 2025, dropping albums Swag and Swag II after spending four years away from music.


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Sony Music reported record-high quarterly earnings on Tuesday and its Tokyo-based parent company raised its overall annual earnings forecast, as rising streaming income and the success of the anime series Demon Slayer: Kimetsu no Yaiba Infinity Castle made the music segment a standout success for the Japanese conglomerate.

Overall sales for Sony Music rose 21% from to 542.4 billion Japanese yen ($3.65 billion) and operating income rose 28% to 115.4 billion yen ($776 million) from the year-ago quarter, based on foreign exchange rates from Sept. 30.

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Sony executives raised their full-year forecast for the music division’s sales by 6% to 1.98 trillion yen ($13.3 billion) and raised the operating income forecast by 7% to 385 billion yen ($2.6 billion), adding they do not expect any meaningful impact from U.S. tariffs. Sony raised its overall fiscal 2025, forecast by 3% to 12 trillion yen ($80.7 billion).

Like Netflix’s Kpop Demon Hunters — which currently holds the No. 2 spots on the Billboard 200 and Hot 100 charts for its soundtrack and hit single “Golden” — Sony execs said Demon Slayer‘s success demonstrates how a conglomerate like Sony can increase the value of intellectual property by combining in-house production with talented creators. More than 77 million people have seen Demon Slayer generating box office revenue worth 94.8 billion yen ($637 million), as of Oct. 13, the company said. The film was distributed by Toho in Japan and Crunchyroll and Sony Pictures elsewhere.

Sony’s music segment overall reported streaming revenues increased by 12% in dollars for recorded music and by 25% for music publishing. The New York-based Sony Music Group reported double-digit growth in sales and operating income driven by the success of Bruce Springsteen, SZA, Tyler, the Creator, Bad Bunny and Tate McRae. Revenues from recorded music rose by 10.5% to 321 billion yen ($2.16 billion), supported by a 7% increase in physical sales, and publishing revenues rose 16% to 106 billion yen ($721.7 million).

Revenue from Sony’s Visual Media & Platform (VM&P), which supported Demon Slayer, rose by 70% to 106 billion yen ($712.7 million) compared to a year ago.

Here are the highlights from Sony’s music segment’s second fiscal quarter:

  • Overall Sony music segment sales rose by 21% to 542 billion yen, and operating income rose by 28% to 115 billion yen.
  • Sony raised its full year sales forecast for the music segment by 6% and its operating income forecast by 7% on increased revenue expectations for Demon Slayer and more favorable foreign exchange rates.
  • Adjusted OIBDA gained 25% to 140 billion yen on increased revenue.
  • On a U.S. dollar basis, streaming revenues for the quarter increased +12% year-on-year in Recorded Music and 25% in Music Publishing.
  • Recorded Music increased 10.5% to 321 billion yen
  • Physical grew 7% to 27 billion yen.
  • Music Publishing increased 16% to 106 billion yen
  • VM&P increased 70% to 106 billion yen resulting mainly from “Demon Slayer”


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Sony Music reported record-high quarterly earnings on Tuesday and its Tokyo-based parent company raised its overall annual earnings forecast, as rising streaming income and the success of the anime series Demon Slayer: Kimetsu no Yaiba Infinity Castle made the music segment a standout success for the Japanese conglomerate.

Overall sales for Sony Music rose 21% from to 542.4 billion Japanese yen ($3.65 billion) and operating income rose 28% to 115.4 billion yen ($776 million) from the year-ago quarter, based on foreign exchange rates from Sept. 30.

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Sony executives raised their full-year forecast for the music division’s sales by 6% to 1.98 trillion yen ($13.3 billion) and raised the operating income forecast by 7% to 385 billion yen ($2.6 billion), adding they do not expect any meaningful impact from U.S. tariffs. Sony raised its overall fiscal 2025, forecast by 3% to 12 trillion yen ($80.7 billion).

Like Netflix’s Kpop Demon Hunters — which currently holds the No. 2 spots on the Billboard 200 and Hot 100 charts for its soundtrack and hit single “Golden” — Sony execs said Demon Slayer‘s success demonstrates how a conglomerate like Sony can increase the value of intellectual property by combining in-house production with talented creators. More than 77 million people have seen Demon Slayer generating box office revenue worth 94.8 billion yen ($637 million), as of Oct. 13, the company said. The film was distributed by Toho in Japan and Crunchyroll and Sony Pictures elsewhere.

Sony’s music segment overall reported streaming revenues increased by 12% in dollars for recorded music and by 25% for music publishing. The New York-based Sony Music Group reported double-digit growth in sales and operating income driven by the success of Bruce Springsteen, SZA, Tyler, the Creator, Bad Bunny and Tate McRae. Revenues from recorded music rose by 10.5% to 321 billion yen ($2.16 billion), supported by a 7% increase in physical sales, and publishing revenues rose 16% to 106 billion yen ($721.7 million).

Revenue from Sony’s Visual Media & Platform (VM&P), which supported Demon Slayer, rose by 70% to 106 billion yen ($712.7 million) compared to a year ago.

Here are the highlights from Sony’s music segment’s second fiscal quarter:

  • Overall Sony music segment sales rose by 21% to 542 billion yen, and operating income rose by 28% to 115 billion yen.
  • Sony raised its full year sales forecast for the music segment by 6% and its operating income forecast by 7% on increased revenue expectations for Demon Slayer and more favorable foreign exchange rates.
  • Adjusted OIBDA gained 25% to 140 billion yen on increased revenue.
  • On a U.S. dollar basis, streaming revenues for the quarter increased +12% year-on-year in Recorded Music and 25% in Music Publishing.
  • Recorded Music increased 10.5% to 321 billion yen
  • Physical grew 7% to 27 billion yen.
  • Music Publishing increased 16% to 106 billion yen
  • VM&P increased 70% to 106 billion yen resulting mainly from “Demon Slayer”


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