State Champ Radio Author: djfrosty
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Trending on Billboard It was a family affair at the Warped Tour in Orlando, Fla. on Saturday (Nov. 15) when MGK teamed up with his 16-year-old daughter Casie for a Baker clan emo showcase. The teen the singer shares with his ex, Emma Cannon, hopped on the mic with her dad at the revived punk […]
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After taking a few days off to mourn, Jimmy Kimmel was back on the air on Monday night (Nov. 17), less than a week after the death of his lifelong best friend and late Jimmy Kimmel Live! bandleader, Cleto Escobedo III. Longtime viewers of the show likely noticed that when announcer Lou Wilson ran down the night’s guests, Samuel L. Jackson and comedian Ms. Pat, instead of ending with a shout-out to Cleto and the Cletones, Wilson debuted the house band’s subtly tweaked new name: The Cletones.
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The small, but significant change was another example of the huge hole left behind by Escobedo’s death on Nov. 11 due to the heart condition cariogenic shock. After a lifetime of friendship beginning when they were neighbors as children in the Las Vegas suburbs, Escobedo had been by Kimmel’s side during the entire run to date of his late night show, beginning in 2003.
Fighting through tears, Kimmel paid loving tribute to his pal during last Tuesday’s show when he announced Escobedo’s passing, calling his 22-minute homage the “hardest” monologue he’s ever had to do. “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,” Kimmel said.
“I wanted Cleto to lead my band,” he said of the late night ensemble that also featured Escobedo’s horn-playing father, Cleto Escobedo Sr. “The idea that anyone other than him would lead the band was terrifying. It had to be him. “ was so scared they would say no and I would have to have another band. I had to work up the nerve to bring it up. Because I knew [saying], ‘My best friend from growing up plays the saxophone, he could lead the band,’ wasn’t a great pitch.”
In further tribute to Escobedo, Kimmel announced over the weekend that he has started two fundraisers to celebrate the musician’s life and give back, one for UCLA Health in honor of the care Escobedo received there and The Animal Foundation to honor his “love of animals.”
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Elon Musk has hit back at Billie Eilish after the singer slammed the world’s richest man last week in an infographic suggesting how the Tesla CEO could use his historically massive wealth to do some charitable good. Borrowing a page from his former DOGE boss Donald Trump’s book of sexist insults targeting women’s intelligence, Musk posted a message responding to Eilish’s graphic, saying, “She’s not the sharpest tool in the shed.”
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Eilish’s post came amid news last week that Musk, 54, could soon become the world’s first-ever trillionaire. The 23-year-old “Bury a Friend” singer has had America’s wealth gap on her mind lately, including at WSJ Magazine‘s 2025 Innovator Awards last month, where late night host Stephen Colbert presented her with the honor, noting that she has raised more than $11.5 million for organizations addressing food insecurity and climate change through her Hit Me Hard and Soft tour.
Eilish then proceeded to lay down the gauntlet for American billionaires — including Meta boss Mark Zuckerberg (net worth $228 billion), who was in the room — suggesting that perhaps they could use some of their cash to help others in need. “I’d say if you have money, it would be great to use it for good things and give it to some people that need it,” Eilish said. “Love you all, but there’s a few people in here that have a lot more money than me. If you are a billionaire, why are you a billionaire? No hate, but give your money away, shorties.”
But it was what she said last week about Musk that appeared to get under his skin. Eilish posted the series of infographics suggesting the world of good that Elon could do with his money, including spending $40 billion every year to end hunger by 2030 or provide universal safe clean water for the planet for the next seven years with for $140 billion, save all 10,443 critically endangered species by spending $1-$2 billion annually to bring them all down to endangered status, or rebuild war-ravaged Gaza and the occupied West Bank for $53.2 billion.
Eilish doubled-down on her suggestion last Thursday (Nov. 13), specifically slamming Musk in her Instagram Story, calling him a, “f–king pathetic p–sy b–ch coward.” Billie’s remarks came after a shareholder vote paved the way for Musk — already the world’s richest man with a net worth of $465 billion — to rake in $1 trillion in Tesla stock if he delivers on specific performance goals over the next decade.
While Musk reportedly donated nearly $1.9 billion shares of Tesla to unnamed charities in 2022 — as well as $5.7 billion worth of shares in 2021 — a March 2024 New York Times story said that unlike fellow billionaire Bill Gates, who has used his massive wealth to improve health care across Africa, Musk’s philanthropy has “been haphazard and largely self-serving, making him eligible for enormous tax breaks and helping his businesses.” The paper reported that Musk has seeded his charity with tax-deductible donations of more than $7 billion in stock since 2020, noting that the foundation housing the money has “failed in recent years to give away the bare minimum required by law to justify the tax break.”
In addition, according to the Times, the foundation has not hired any staff, with the billions in its coffers overseen by a board consisting of Musk and two volunteers, one of whom devoted the equivalent of six minutes per week working on its charitable works. A Times analysis also found that the Musk Foundation’s giving in 2021 and 2022, the latest years for which the full data was available at the time, about half of the donations had some link to Musk, one of his employees or one of his businesses.
At press time a spokesperson for Eilish had not returned Billboard‘s request for comment on Musk’s post.
Check out Musk’s post below.
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Management collective The Circuit Group has launched Circuit Capital, a platform to acquire and scale music assets and cultural IP. Circuit Capital is being backed by Create Music Group, which is providing Circuit Capital with access to more than $500 million with which to execute its mission.
The fund will invest in catalogs, record labels, publishers and other music-driven ventures with a mission to build long-term sustainable value. Circuit Capital will provide capital to back upcoming projects by artists being managed by The Circuit Group, an initiative that involves back catalog investments and futures funding deals and providing artists with the resources to invest in their own music and careers.
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The Circuit Group launched in October of 2023, bringing together management companies Ayita and Seven20, whose combined rosters include electronic artists Fisher, Chris Lake, deadmau5, Cloonee, Aluna, Ninajirachi and many more. The company launched with the mission to acquire 50% ownership in artists’ IP portfolios and partner with them to build opportunities across verticals, while also offering traditional artist management.
The business was launched by dance industry executive and deadmau5’s longtime manager Dean Wilson and his wife/business partner Jessica Wilson, along with Brett Fischer, David Gray and Harvey Tadman. The Circuit Group team expanded in the summer of 2024 upon announcing seven new hires.
Now, Circuit Capital’s goal is to create a community atmosphere and serve as a home for artists, entrepreneurs and rights-holders who will work with a group of longtime professionals with a deep understanding of and footing in the electronic music industry.
“Our mission is to put culture at the center of everything we do,” The Circuit Group co-founder Harvey Tadman says in a statement. “Too often, the people buying into music don’t understand the world it comes from. We’ve built our careers inside this culture. Circuit Capital is our way of ensuring that when artists decide to sell or scale, they can do it with people who speak the same language and share the same values. We couldn’t imagine a better partner than Create Music Group.”
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Earlier this year, Create Music Group announced that it acquired the deadmau5 catalog, along with the catalog of the electronic producer’s longstanding label, mau5trap.
“We’re excited to announce this unique partnership with Circuit,” says Create Music Group CFO William Smith. “We have been impressed by their relentless focus as managers on partnering with their clients to build assets with substantial, enduring value, as exemplified by the recent deadmau5 transaction. Moving forward, we’re pleased to be backing Circuit’s strategy of investing into the same music catalogs and businesses that they’re helping to grow – in other words, ‘putting their money where their mouths are’ – by providing them with this fund.”
“Our partnership with The Circuit Group represents Create’s continued mission in building the leading technology, infrastructure, and capital platform for artists and entrepreneurs,” says Create Music Group co-founder and CEO Jonathan Strauss. “Circuit has evolved into one of the most respected and trusted management teams in the dance space, with a deep understanding of what artists need to grow, innovate, and create long-term value. Together with Circuit, we’re aligning resources, expertise, and vision to empower music entrepreneurs to build enduring, global businesses.”
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Independent U.K. live music company Electric Group has announced the launch of Electric Studios at the former site of The Leadmill in Sheffield.
Set to open its doors in spring 2026, a £2 million ($2.6 million) transformation is set to take place, with upgraded interiors and increasing capacity to 1,050 for live gigs and 1,450 for club events. It joins an established Electric Group portfolio of live music venues across the U.K., including the Electric Brixton in London, Electric Bristol (formerly known as SWX), and NX Newcastle.
A specific opening date has not yet been revealed, but Electric Group has launched a new web page where fans can sign up for updates and make booking enquiries via email.
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The refurbished venue will also operate a subsidised creative hub across its second and third floors, housing a workspace, rehearsal room, communal area and kitchen for use by emerging artists from the local area.
A new PA system, paired with advanced lighting and production installations, has also recently been installed in the space. Other upgrades include a redesigned venue layout with all-new bars and improved stage sightline. There are also new customer staircases, as well as new toilets and a cloakroom on the first floor with full DDA (Disability Discrimination Act) compliance.
In collaboration with national promoters, bookings will be helmed by Mike Weller, head of music at Electric Group. The independent music venue operator became freeholder of the Sheffield Leadmill building in 2017, and as of August 2025 owns and operates Electric Studios Sheffield.
“This is one of the most exciting projects I’ve been involved in, bolstered by the positivity and support from local bands, DJs, and promoters,” Weller said in a statement.
“The Electric Studios Sheffield music programme is built on our demonstrable passion and success in delivering an eclectic mix of live music, club, and wider events across our venues. I hope to collaborate with the best in the business, from local and up-and-coming future stars, to established and international teams and artists, in the mission to make this venue a must-book and must-attend destination for promoters, producers, performers and music fans.”
The Leadmill first opened in 1980, serving as a multi-arts co-operative that was rooted in social and political issues, while also helping to lower youth unemployment in the city. It later became a charity before operating as a live music venue, welcoming local legends Arctic Monkeys and Pulp to its stage, as well as huge acts including Oasis, Coldplay, and The Killers over the years.
Dominic Madden, co-founder of Electric Group, added: “Sheffield is a special city, and with the plans for Electric Studios, we are committed to a programme of substantial investment, refurbishment and curation for it to thrive – with a modern vision that respects the cultural significance of the building and history of the existing venue while putting the artist and fan experience front and centre of our plans.
“Work here so far is creating over 100 jobs, as it is being finalised for opening next spring, when we look forward to welcoming music lovers to the latest addition to the Electric circuit of special music venues.”
Trending on Billboard Yungblud’s 2026 Australian tour dates will move ahead as scheduled, even as the U.K. singer halts all remaining performances for the rest of 2025 due to medical advice. Explore See latest videos, charts and news The Doncaster-born artist revealed over the weekend that recent vocal and blood test results prompted doctors to […]
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Spotify launched its first Artist Party in Sydney on Monday night (Nov. 17) featuring The Kid LAROI, marking the start of ARIA Week with a tightly programmed event centered on Australian talent ahead of the 2025 ARIA Awards.
Held at the Cell Block Theatre in Darlinghurst, the event functioned as Spotify’s primary on-the-ground activation during ARIA Week and drew a cross-section of nominated artists, emerging acts and industry figures. The Kid LAROI headlined the night with a short set that included a surprise appearance by Western Sydney drill group ONEFOUR for “Distant Strangers.” The performance marked a rare public pairing for the two acts in the lead-up to this year’s ceremony.
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LAROI, who has been home in Australia ahead of his next release cycle, addressed the crowd briefly, noting the significance of performing in Sydney during ARIA Week. The Kid LAROI said: “I grew up dreaming about nights like this, so to be back in Sydney, performing this party with Spotify and surrounded by so many Aussie artists I respect, is special.”
He added, “Australian music is having a massive global moment right now, it’s so cool to be part of that!”
Several 2025 ARIA nominees also appeared on the bill. Sons of the East (Best Blues & Roots Album) and Taylor Moss (Best Country Album) delivered unannounced acoustic performances, while Young Franco — nominated for Best Solo Artist and Michael Gudinski Breakthrough Artist — closed the night with a DJ set.
The event drew notable nominees, including Ninajirachi, this year’s most-nominated artist, as well as RedHook and Larissa Lambert. Members of The Wiggles were also seen in attendance, reflecting the wide footprint of ARIA Week programming across genres and generations.
This year’s ARIA Awards arrive with higher-than-usual audience participation following the introduction of Spotify’s in-app voting tool, which the ARIAs say has driven more than 250,000 public votes across the ceremony’s open categories. That figure surpasses combined tallies from the previous two years and indicates elevated visibility for this year’s broadcast and livestream.
The 2025 ARIA Awards will be held Nov. 19 at Sydney’s Hordern Pavilion, streaming live on Paramount+ from 5 p.m. AEDT before airing later that night on Network 10.
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Aaron Nichols secured one of the most coveted spots in The Voice Season 28 Knockouts on Monday night (Nov. 17), earning Team Reba’s “Mic Drop” selection after a commanding performance that cut through an already stacked episode.
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The Knockouts continued with matchups from Teams Reba McEntire, Michael Bublé, Snoop Dogg and Niall Horan, with mega mentors Joe Walsh and Zac Brown stepping in during rehearsals. The format remains high-stakes: no steals, no saves — just three head-to-head battles for a place in the Playoffs, plus one Mic Drop pick per team. The Mic Drop nominee performs at the Rose Parade, with the final decision left to viewer votes.
This week, that honor went to Nichols, whose rugged tone on “Hurricane” by The Band of Heathens immediately grabbed Reba’s attention. Walsh encouraged Nichols to be more present in the room — “I can’t quite see your eyes,” he said — while Reba noted his command felt seasoned beyond the show.
Nichols faced off against Cori Kennedy, who delivered Lady Gaga’s “You and I” with intense, full-bodied power. Walsh suggested slight phrasing changes, while Bublé praised her natural force: “You walk out and you just destroy.” Snoop Dogg highlighted her dynamic build (“you started off mild then got real hot”), and Horan compared her energy to Stevie Nicks.
But Nichols’ emotive grit ultimately won the round. Reba called him “a seasoned veteran up on the stage” and hit the Mic Drop button, cementing him as her nominee for the Rose Parade performance slot.
This marks the third Mic Drop nomination of the season. In earlier episodes, Bublé selected 14-year-old Max Chambers after his smooth run through Stevie Wonder’s “Don’t You Worry ’Bout a Thing,” and Horan chose DEK of Hearts following their harmony-rich take on Lady A’s “What If I Never Get Over You.”
The Knockouts continue next Monday at 9 p.m. ET/PT on NBC.
Check out the performance below.
Swift recorded namesake songs for seven of her 12 studio albums.
11/17/2025
