Lexie Brown is distancing herself from the online gossip mill amid rumors linking her to Klay Thompson, whom Megan Thee Stallion recently alleged cheated on her.

In a Sunday (April 26) post on Instagram Stories, the WNBA star wrote, “I’ve seen what’s being said online, and I want to be clear, none of it is true.”

“I have no involvement in this situation,” she continued. “This week marks the start of an important and exciting new season for me, and my focus is fully on that.”

At press time, it’s unclear where the speculation tying Thompson to Brown came from. One person on X alleged that the Seattle Storm guard had shared screenshots of incriminating messages between herself and the NBA player on her private Story, but Billboard was unable to verify. Billboard has reached out to Thompson for comment.

Brown’s statement comes one day after Meg put Thompson — whom she dated for a little under a year — on blast, writing on Instagram Stories, “Cheating, had me around your whole family playing house… got ‘cold feet.’”

The hip-hop star also accused the Dallas Mavericks athlete of “HORRIBLE mood swings and treatment towards me during [his] basketball season,” adding, “Now you don’t know if you can be ‘monogamous’????”

In a statement shared with Billboard shortly afterward, Meg confirmed that she’d “made the decision to end” things with Thompson. “Trust, fidelity and respect are non-negotiable for me in a relationship, and when those values are compromised, there’s no real path forward,” she continued.

The breakup was shocking to fans, as the hitmaker had seemed blissfully in love with Thompson in the months leading up to the split. After first getting together in summer 2025, the now exes often shared sweet videos together, such as Meg filming their (now-deleted) couple’s workout routine at one point. While making their red carpet debut together in July at the musician’s Pete & Thomas Foundation Gala, she told Page Six, “I have never dated somebody so kind. This is my first relationship where I’ve ever been with somebody who’s genuinely a nice person, and he makes me genuinely happy.”

Billboard unveiled a slate of presenters and additional honorees for its 2026 Women in Music event on Monday (April 27), broadening the scope of the annual ceremony with a mix of established artists, global acts and industry figures set to take part.

The presenters announced are Bella Poarch, Brandi Carlile, Cara Delevingne, Ciara, Coco Jones, Dionne Warwick, Eva Longoria, Victoria Monét, Kim Petras, Lainey Wilson and Tyla.

The event, set for April 29 at the Hollywood Palladium in Los Angeles, will stream live on Billboard.com and the Billboard YouTube channel.

In addition to the presenter lineup, Billboard revealed the new Global Force honorees, with BINI receiving the Billboard Philippines Global Force Award and The Beaches set to be recognized as Billboard Canada’s Global Force, presented by FACTOR.

The announcement builds on a previously revealed list of award recipients, highlighting a wide cross-section of artists and executives across genres and markets. Among the key honors, KPop Demon Hunters‘ HUNTR/X (EJAE, AUDREY NUNA and REI AMI) will receive Women of the Year, while Elizabeth Matthews has been named Executive of the Year.

Other honorees include Kehlani (Impact Award), Laufey (Innovator Award), Mariah the Scientist (Rising Star Award), Tate McRae (Hitmaker Award), Teyana Taylor (Visionary Award), Thalía (Icon Award) and Zara Larsson (Breakthrough Award).

Host Keke Palmer is also set to perform during the ceremony, alongside appearances from several honorees.

On the digital side, Billboard is expanding audience engagement around the event. Creator Drew Afualo and Billboard executive editor Lyndsey Havens will cohost the red carpet livestream, with Afualo inviting fans to submit questions via social media for use during the broadcast.

The Global Force additions further emphasize Billboard’s international strategy, spotlighting artists who have built audiences beyond their home markets. The inclusion of BINI and The Beaches reflects the increasing role of regional scenes in shaping global pop consumption, particularly as streaming continues to blur geographic boundaries.

Now in its latest iteration, Women in Music remains one of Billboard’s flagship events, bringing together artists, executives and creators to recognize achievement across the industry while also serving as a platform for performance, collaboration and cross-market visibility.

Sometimes dreams do come true. Just ask Geese bassist Dom DiGesu, who achieved a lifelong wish when he got to throw out the ceremonial first pitch at the New York Mets game on Sunday (April 26) at Citi Field against the Colorado Rockies.

And, unlike so many celeb first pitchers, southpaw DiGesu nailed it, hurling his effort right down the middle, if a little high. He was joined by his bandmates on the mound — singer Cameron Winter, guitarist Emily Green and drummer Max Bassin, all wearing their own custom Mets jerseys — and he enthusiastically celebrated afterward with a big bear hug from his home team’s mascot, Mr. Met, and his bandmates.

A caption on an Instagram Story from the band celebrating the windup, the pitch and the Mr. Met embrace, read “Absolutely honored,” with DiGesu adding “Best day ever.” The Brooklyn-proud band have a history with Mr. Met, with the ball-headed mascot showing up to pose with the group backstage at their Brooklyn Paramount show in October and DiGesu rocking a Mets shirt for the band’s NPR Tiny Desk concert in December.

In an interview with WNYC last week, DiGesu said he was “really excited” about the first pitch, explaining that after Mr. Met showed up to the Paramount show last year “he made it clear he was a fan, and that if we wanted to work together in the future on something that [the team] was down to do something. I immediately was like, ‘Oh my God!’ It’s always been an idea of mine to have Geese throw out the first pitch. I’ve wanted to do that my whole life, ever since I was a kid.” He also noted that his bandmates are “casual” Mets fans, revealing that they will throw on sports radio in the van on tour and listen to games at his request.

The bassist, who play a bit of Little League and messed around on the field with friends in high school, admittedly did practice a bit, just to brush the “dust off.” Luckily for DiGesu, his spotlight pitch came after the Mets stopped a franchise-record 12-game losing streak by beating the Minnesota Twins 3-2 on Apr. 22. The Mets are currently tied with the Phillies for last place in the National League East with a 9-19 record; the Mets lost Sunday’s game to the Rockies 3-1, completing a clean sweep of the three-game weekend series.

Last week, Geese announced the dates for their fall 2026 Getting Killed Again North American tour in support of their fourth album, last year’s Getting Killed.

Post Malone closed out the 2026 Stagecoach Country Music Festival on Sunday night (April 26), bringing a spectacle of songs, fireworks, some pyro, and collaborative spirit to the fest’s Mane Stage. Throughout his career, Post Malone has released music that melds a variety of styles, including his 2024 country album F-1 Trillion, which featured numerous collabs with major country artists.

His set at Stagecoach followed a similar ethos, as he performed not only some of his major pop hits such as “Circles” and “Sunflower,” but also found that Stagecoach gave him the opportunity to dive deep into his country influences and favorite country songs. In some ways, his set recalled his first time playing Stagecoach in 2024, where his set that year also featured Post playing a plethora of country covers. Sunday night, he opened his set with a version of Craig Morgan’s “International Harvester,” and later offered up more cover songs, including a rendition of Garth Brooks’ 1991 hit “Rodeo.” One of the key reasons fans attending the show seemed to love the set was not only the songs, but Post’s ability to turn a massive stageshow into something that felt intimate, casual and not overly polished. During one song, he even dropped to the stage to do pushups.

Throughout, he stayed as close to fans as possible, even heading down near the crowd during the show, taking pics with audience members along the front row, and accepting a fan’s cowboy hat. Fireworks lit up the night sky at various points during his set, while fiery pyros were also employed throughout his show.

Curiously, his own set was rather short on songs from F-1 Trillion; rather, he covered Kenny Chesney’s “How Forever Feels,” and welcomed Jake Worthington for a collaboration on George Strait’s “Give It Away.” Braxton Keith also made an appearance to sing his song “Cozy.”

As the set ended, Posty had one more surprise for the crowd, welcoming Shaboozey to the stage to join him on a rowdy and celebratory rendition of “I Had Some Help.” He then closed out his set with a rendition of Toby Keith’s “Courtesy of the Red White and Blue (The Angry American),” a song that was played before a few artists’ sets throughout the weekend. Post Malone’s Sunday set followed Brooks & Dunn, who also roared through three decades of hits. With two consecutive sets full of classic, well-loved songs, Sunday night at Stagecoach became a shared singalong, and an appreciation of nostalgic songs from country music’s canon.

Fred again..‘s 2025/26 USB002 tour was part of the growing trend of phone-free shows, with the producer encouraging attendees to keep their devices tucked away during the performance and just be present for the show.

Now, two months after the end of USB002, Fred and his team, in partnership with Dropbox, are sharing a motherlode of photos, videos and other working files from the tour that fans can access now, for free. This drop includes photos of Fred, photos of fans, slo-mo videos, imagery of the tour’s large-scale fabric installation by artist Boris Acket, show posters and more.

Access these files exclusively here.

A press release about the drop notes that everything being shared makes up the actual working Dropbox files that Fred’s creative team used to develop USB002, reflecting the way so many global creative teams do their collaborative work. Those who access the files are encouraged to download, edit and generally get creative with the content, with reps for the project envisioning new tours posters, videos and other ephemera.

“We’re excited to give fans a glimpse into the process and the chance to connect with the creative work around his music in a more tangible way,” the press release states.

USB002 was a dance world phenomenon during its run, with the producer announcing the location for each show a day before it happened, sending fans into hype overdrive along the run. So too did the producer release a song (or two) in conjunction with each show, with the USB002 album therefore unrolling over the 10-plus weeks of the tour. (The tour then tacked on an early 2026 run of shows in New York and then a final stretch in London.)

Each show also presented one or more special guests, with luminaries including Four Tet, Skream, Caribou, Haai, Yousuke Yukimatsu, Skin On Skin, Floating Points, Sammy Virji and more joining over the run.

The USB002 concluded with two shows at London’s Alexandra Palace in February, with the final night featuring a b2b with Fred and Daft Punk‘s Thomas Bangalter, who played a set that Fred later called “the greatest show of my life.”