It looks like Drake has added more legendary jewelry to his collection.

During a Kick livestream last night, the Toronto rapper showed off a platinum Cash Money chain he apparently got from his former label boss Birdman as he was starting off a night of gambling with Stake. While talking to the chatroom and enjoying a freshly made cocktail, he shouted out his streamer friend comedian BenDaDonn who was gambling with him before shouting himself out for rocking a new chain.

“Shout out to BenDaDonnn. Shout out to me too, what do you mean? What do you mean? Birdman, platinum, Cash Money,” he boasted to the chat. “What, are you guys crazy? You think you guys could buy our artifacts like how we buy your artifacts? No, it’s in the family, dummy. What’s wrong with you guys?”

If you remember, Drake bought a bunch of Pharrell’s jewelry at auction and flaunted his purchase in the music video for “Jumbotron Sh– Poppin” back in 2023. He also said he melted them down in his guest verse on Travis Scott’s “Meltdown” and once again showcased the Virginia producer’s rare collection in the music video for “Family Matters.” Pharrell, however, said the jabs didn’t really bother him while also referring to the jewelry as artifacts. “I think beyond all of the on-goings, at the heart of all of it, he’s a fan of music,” he told GQ when asked about the disses. “He’s a fan of the history of what it is, and I happen to be a part of that, and those artifacts are a part of it.”

During one of those same streams, he revealed that some unreleased songs from his FOMO short film will hit DSPs on Thursday night. “Go watch FOMO. It’s a bunch of songs coming to streaming on Thursday,” Drake said. “So, all the songs that you guys have been asking [about]. Well, not all of them. Enough of them are coming on Thursday. That’s it.”

Caleb Flynn, the former American Idol contestant accused of fatally shooting his wife, has been found guilty of murder.

An Ohio jury reached the verdict Tuesday (Sept. 29) after about 2.5 hours of deliberation, determining that the 40-year-old musical pastor is guilty on all charges, which span aggravated murder and multiple counts of murder, felonious assault and tampering with evidence in connection with the death of his wife, Ashley Flynn. Going into the trial, Caleb had pleaded not guilty.

Following the court’s decision, defense attorney Patrick Mulligan told reporters, “While we respect the system, certainly we’re disappointed … there’s a lack of evidence on prior calculation and design.”

Caleb was charged in February with murdering Ashley — with whom he shares two daughters — after she died via gunshot in their Tipp County home earlier that month. After the shooting, he’d called 911 and told the dispatcher that a burglary had taken place and that the intruder had been the person who killed his wife.

Text messages read in court, however, showed that Caleb had been having a 1.5-year affair with now-24-year-old Alleigha Botner, who worked at his church as an intern and gave hours of testimony during the trial. “If I could literally kill her and not go to hell, I would do it in a heartbeat,” Caleb texted Botner in May 2025, according to CNN. “That’s how dark and hateful I feel.”

The exchanges also showed Botner asking Caleb to get a divorce from Ashley so that they could be together instead. On Feb. 15, the day before the shooting, Caleb — having told Botner that he was planning to tell Ashley he was leaving her the following day — sent in a message: “It’s kind of crazy. I’m not scared tomorrow. I mean, I’m not looking forward to it, and it’s about to be a crap-fest here moving forward, but I’m not scared of it.”

Caleb made it as far as the televised judges’ auditions on the 12th season of American Idol in 2013, but did not advance to the main competition. In his “Road to Hollywood” interview for the TV show, he repeatedly mentioned his love for Ashley, his marriage to whom lasted about 16 years before her murder.

“I love to sing, so that’s why I auditioned — and my wife kind of nudged me a little bit too,” he said in the clip. “I love my wife more than anything. She is very, very pretty.”

Watch Caleb receive his verdict above.

Megan Thee Stallion is still picking up the pieces and moving forward after the “abrupt” end to her relationship with NBA player Klay Thompson in April. The Houston Hottie reflected on the split in her cover story with Marie Claire on Tuesday (Sept. 29).

“It was so abrupt. I’m in shock still,” she admitted. “I’m not pretending I’m 100% okay. I ain’t never been through nothing like that in my whole life. I’ve never, ever, ever been in a relationship like that, ever. So I’m definitely not worried about another one for a long time.”

Meg has been busy working on her Act: III album and is not looking for another relationship at the moment. “I’m not thinking about anything romantic,” she said.

The Billboard Hot 100-topping rapper continued to explain that she was in a constant state of panic while with Thompson. “I feel like that’s what I was in, constantly on edge. My nervous system needed to calm down,” Meg added. “I feel like I was in a panic 24/7. I’m still not eating all the way right. I’m feeling all the feelings. I’m not trying to take no shortcuts.”

Rumors of Megan Thee Stallion and Klay Thompson getting cozy in the first half of last year were confirmed when they went public with their relationship with a red carpet appearance at Meg’s Pete & Thomas Foundation Gala in NYC in July 2025.

They dated for less than a year, as Megan released a statement confirming they had split in April and claimed infidelity was at the center of the breakup. Thompson has never addressed her allegations.

“Trust, fidelity and respect are nonnegotiable for me in a relationship, and when those values are compromised, there’s no real path forward,” Megan told Billboard in an April statement. “I’m taking this time to prioritize myself and move ahead with peace and clarity.”

Earlier Tuesday (Sept. 29), Megan unleashed her “Tina Tuesday Freestyle” and she was announced among the performers for the 2026 Victoria’s Secret Fashion Show.

The Grammy-winning rapper’s most recent album came with Megan in June 2024, which debuted at No. 3 on the Billboard 200 with 64,000 total album-equivalent units.

The Victoria’s Secret Angels will share the runway with some pretty big names across country, pop and hip-hop: KATSEYE, Megan Moroney, Megan Thee Stallion and Tate McRae are all set to perform at the 2026 Victoria’s Secret Fashion Show next month, Billboard can exclusively reveal.

The all-women lineup will perform at the fashion show on Oct. 18 in Los Angeles.

The performance announcement comes amid world tours for both KATSEYE and Megan Moroney. KATSEYE kicked off their WILDWORLD Tour earlier this month in support of their brand-new WILD EP, which gave the group their first No. 1 on the Billboard 200. Moroney also scored her first No. 1 on the albums chart in March with Cloud 9, and is currently on her Cloud 9 Tour.

Last month, Megan Thee Stallion signed a distribution deal between Interscope and her Hot Girl Productions company, letting her fans know: “ACT III IS ON THEE WAY HOTTIES.” Also in August, McRae put on a buzzy headlining set at Lollapalooza and teased her next era on Instagram.

The Victoria’s Secret Fashion Show has long been known for its blockbuster music performances, including Taylor Swift in 2013 and 2014, Rihanna in 2012 and 2015, Lady Gaga in 2016 and another epic all-women lineup last year of Karol G, TWICE, Missy Elliott and Madison Beer.

This year’s show will take place in Los Angeles at a yet-announced venue, where it will stream live globally on Sunday, Oct. 18. Viewers can tune in through YouTube at 7:30 p.m. ET/4:30 p.m. PT, while Victoria’s Secret will also stream the event across its Instagram and TikTok accounts.

Miley is over the moon. The singer could not contain her joy after news broke that her new album, Bass Persuades, debuted at No. 1 on the Billboard 200. “Bass Persuades being #1 transcends a win. This process has been some of the best times for me. Everyone involved made it possible and more importantly fun and memorable,” Miley wrote on Instagram.

“Thank you Atlantic, my team, and everyone who walks beside me with conviction. I love you,” she added before giving a special shout-out to her beloved Smilers. “To the fans you make my world go round. Making music for you brings immeasurable joy to my life. Forever. 🖤 MILEY.”

The post included a picture of a gigantic No. 1 made out of white roses, as well as one of Miley (who recently went mononym after going by Miley Cyrus until this point) posting next to the flower arrangement. She also included a note from Atlantic Records chairman/CEO Elliot Grainge, who wrote, “Miley, congratulations on the #1 debut! We are so proud and lucky to get to do this with you. Here’s to many more!”

Bass Persuades debuted atop the Billboard 200 on the list dated Oct. 3, launching with 61,000 equivalent album units earned in the U.S. in the week ending Sept. 24, according to Luminate. It’s her sixth total chart-leading album and 16th top 10-charted LP; she last topped the chart in 2013 with Bangerz. The album’s title track and first single debuted at No. 35 on the Billboard Hot 100 (dated Sept. 19), marking Miley’s 24th top 40 hit. Her previous album, last year’s Something Beautiful, debuted and peaked at Nov. 4 on the June 14, 2025-dated Billboard 200.

Miley, who hasn’t toured in years and rarely performs at big venues, will celebrate her 10th studio album with two rare Hollywood Bowl shows on Oct. 16 and 18. “I’ve sat in those seats many times, but I’ve never taken the stage,” she said while announcing the gigs. “L.A. is my heart and I’m bringing it home. See you there.”

Linkin Park’s reformation and comeback — with a hit album (2024’s From Zero), three No. 1 Mainstream Rock chart singles and two Grammy Award nominations — is one of rock’s top stories of the decade so far.

Now the band is telling the story behind it.

The documentary Linkin Park: Unshatter, directed by group member Joe Hahn, hits theaters for a limited release on Sept. 30, five days after it drops the concert album Unshatter (Live in Sao Paulo).

That Brazilian concert, held on the day of From Zero’s release (Nov. 15, 2024), is a framing device for the film, which chronicles Linkin Park’s decision to get back together six years after vocalist Chester Bennington’s suicide put the brakes on a career that, since 2000, saw sales of more than 100 million records worldwide, five No. 1 albums on the Billboard 200 and 19 Top 5 Mainstream Rock singles.

“Originally the film was slated to just be that (São Paulo) concert, the actual experience of watching the show. I thought that wasn’t good enough,” Hahn – who, as Linkin Park’s creative director, has been responsible for most of the group’s music videos — tells Billboard via Zoom.

“I felt like everything deserved an explanation. I wanted to really show what it took to get back on our feet, to explain how this came about, because there’s so much newness. It’s not a switch you can just flip on; it was really a process.

“The process of making this documentary was a healing process as well, because there was so much reflecting involved, and acknowledgement of things that did go right. I think the overall sentiment is a message of hope.”

That said, Hahn considers the film’s Sao Paulo performances (Linkin Park played two shows, also on Nov. 16, before nearly 97,000 fans each at the Allianz Parque stadium) to be incendiary highlights. “There couldn’t have been a better place to do it,” he says. “The Brazilians have always begged us to come play there; we hadn’t played there very much before that. And they were just…insane.”

Like his bandmates, Hahn had no idea when, or if, Linkin Park would come out of the indefinite hiatus it called after Bennington’s death on July 20, 2017 — the birthday of Soundgarden’s Chris Cornell, a friend and mentor who committed suicide two months prior — at the age of 41.

“We were just moving, moving, moving since we were kids,” he explains, “gaining success when we’re, like, 20. It didn’t stop, and then it did and all of a sudden we’re in our 40s. For it to have ended the way it did, there are so many feelings that go with that — loneliness, embarrassment, you name it.

“I think when we just started talking to each other again, there was a great deal of empathy all around, and openness — and also similarity. We were all going through similar enough things to relate to each other in a way that others might not, just because of our own life experience together. We’re kind of an old band but really see ourselves as a new band at the same time. Somehow we got to start over and pick up where we left off. We did it for the right reasons, mainly ’cause we love the music, and we love being together.”

In addition to the concert footage — from Sao Paulo and from the Sept. 11, 2024 Los Angeles concert where Linkin Park revealed its plans as well as new vocalist Emily Armstrong and drummer Colin Brittain — Unshatter features loads of fly-on-the-wall footage, including initial discussions between Hahn, frontman Mike Shinoda and bassist Dave “Phoenix” Farrell about resurrecting the band.

Videographer Mark Fiore, a childhood friend of Farrell’s, has been working with the band (previously known as Xero and Hybrid Theory) since its early days; Hahn refers to Fiore as “almost a seventh member” and says that at this point “we’re so used to it we don’t really know that cameras are rolling. And when I tour, I make sure to take a camera with me and capture as much as I can…Sometimes it can be annoying, but then two years later, 10 years later, 30 years later, I’m like, ‘Oh, wow, I’m so happy I took that picture…’”

The hour-and-50-minute film — subtitled The Hardest Part of Ending Is Starting Again — takes viewers through the reformation process, including the arrivals of Armstrong and Brittain and the writing and recording of From Zero. In one memorable scene, Blink-182’s Mark Hoppus visits and professes “goosebumps” listening to the new tracks in progress.

“I think we were confident in what we were doing,” Hahn recalls, “but at the same time doubtful. We’re human. Things can pop in your mind — ‘Are we doing the right thing?’ What’s so-and-so going to think?’ Some of that stuff never goes away. So to get encouragement like that, and relying on each other for encouragement, kept us going.”

Unshatter references the band’s history, including some early rehearsal footage with Bennington during the end credits, but maintains a focus on recent events. It treads lightly on drummer Rob Bourdon’s decision not to return but goes in-depth with guitarist Brad Delson about his initial reservations, ultimately contributing to From Zero but opting not to tour with Linkin Park.

One thing you won’t see in the film, however, is a moment of dramatic disconnect ala James Hetfield’s temporary walk-out on Metallica in 2004’s Some Kind of Monster — because nothing like that happened, according to Hahn.

“I just approached this to be as honest as possible, don’t manufacture anything, don’t look for conflict,” he says. “Things that are obvious will just be there. This was the aftermath of something terrible that happened. It’s a film about healing. People know the history. They know the tragedy involved and probably already have an idea of what happened. There’s enough there.” That also provided Hahn with impetus to direct the film himself after an “initial instinct” to have someone else helm the project.

“It’s impossible for anyone to come in and be objective,” he notes. “They’re trying to create a story. They’re gonna look for drama, great stories, blockbusters, whatever you want to call it. The whole film revolves around some kind of chaos. It was important to me not to do that…and just tell the story that’s there.”

It’s a story that will continue, Hahn says. As Unshatter rolls out (tickets and theater information can be found via linkinpark.com) the group is planning what’s next — including, Hahn says, some more music videos. He offers no concrete details on new music and other plans, meanwhile.

“I feel like this film is just perfect timing for us,” Hahn says. “It’s bookending everything we’ve done from From Zero and reflects on what it took for us to get here. Everyone was like, ‘OK, let’s make sure we take at least a month off and then let’s get back to work,’ so we’re now writing music again. There’s no timetable, but I think there’s an urgency. We know we can work fast, ’cause we’re so excited to output a lot, so it’s not going to be another five years or a long time before we come out with something new. At the same time we’ve been so in your face a lot with (From Zero) that it’ll be nice to give people a little bit of a break and then reconvene and come up with something really great.”

What can a musician do next after being in, arguably, the greatest band of all time? Academy Award-winning filmmaker Morgan Neville’s 2026 documentary, Man on the Run, seeks to answer just that. With never-before-seen footage of Paul McCartney, his family, and his second band, Wings, Neville shares McCartney’s challenging journey from Beatles frontman to soloist to leader of a new group.

Set between about 1968 and 1980, McCartney starts on his isolated Scottish farm with his wife, Linda, and growing family, wrestling with what to do with his newfound freedom. The Beatles had called it quits — it was John Lennon’s idea, says McCartney — but the world didn’t know it yet.

Over the course of its runtime, Man On The Run shows McCartney as he makes his way back to headlining arenas across America and all the bumps along the way to get there. Unflinching, the documentary does not shy away from addressing the critics’ panning of much of McCartney’s solo work, the murder of John Lennon, his brief stint in a Japanese prison and his bold choice to sue the Beatles.

Key figures like Stella and Mary McCartney, Mick Jagger, Denny Laine, Laurence Juber, Chrissie Hynde, Joe English, as well as Paul himself shared stories for the documentary. Linda, who passed away in 1998, also shared several stories via archival footage, voice-over, and photos.

The documentary, which is available now on Amazon Prime, was screened at the Academy Museum in Los Angeles on Monday (September 28), and the presentation was followed by a Q+A with McCartney and Neville, hosted by filmmaker Judd Apatow. A condensed and edited version of that conversation can be found below.

Apatow: So, Paul, when someone says, “Let’s do a Wings [documentary],” do you think, “Great, I really want to dig into that period of my life,” or, “Oh, God”?

McCartney: No, I like that period. Well, you know, now it’s a fond memory. What do you do after the Beatles? The Beatles break up. That’s been your only job you’ve ever had, and then you don’t have it anymore. It’s like you got sacked. And so that was Wings, you know—trying to figure it out. And as you can see in the film, we did well. It was kind of madcap, you know. But, yeah, no, I like that period.

Oh, and then on top of [leaving the Beatles], there was this business guy, Allen Klein, who was basically stealing from the Beatles, and I was the only one who thought that. The other guys thought, “We love him.”

Apatow: Why were they so dumb? Honestly, because I think the business people knew he was a kind of shady character.

McCartney: I’ll tell you why. Because you’d be at a meeting with him, and you’d go, “What do you want? The New York guy, what do you want? What do you want? A million dollars?” “Yeah.” “Okay, you got it.”

He just promised the earth and didn’t deliver it. But meanwhile, I could see that this was a crook. It was me against the other guys, and that was the worst thing. You know, I mean, I’d come up against the guys making music, but it was okay because you could say, “Well, I know I really think this is right,” and so on. And I did either agree or they wouldn’t, and I’d go with their version, you know. But it was relatively easily solved. This was suddenly everything we’d ever earned—everything we’d ever, all the money we’d ever earned—was going to go into this guy’s bank account, and I just really had to fight it.

Apatow: And it’s your best friends, so you’re suing your best friends

Well, that was it. I said, “Okay, I’ll sue Allen Klein. I’ll get him.” My lawyers were Linda’s dad and brother, and so I said, “Yeah, let’s go. We’ll get this guy.” They said, “You can’t, because he’s not a party to any of the agreements. The only people who are parties to these agreements are the Beatles.” They said, “So you’ll have to sue them.” I said, “Well, I can’t.” This went on for months. I said, “I can’t do it, you know. It’s just like the world will go against me, number one, and I’ll go against me, and it’s not a great idea.” So in the end, that was the only way. I had to do it.

Tons of people do amazing things when they’re really young, and then for the rest of their lives they never get close to it. Was it a terror for you?

Yeah, I think just being on my own was very scary because I’d always had the union of the group, but then I had to figure out how I would do it and make it different. That was the trick, because I thought, “Well, I could just write some more kind of Beatles-y songs, and we could imitate it. We’d be like a Beatles cover band.”

When you look back, Ram is considered a classic. A lot of people think it was even the beginning of a certain kind of indie rock and home recording. But when people attacked you for it at the time, was that devastating that people didn’t know how to enjoy it for what it was?

Yeah, I think so. I thought we’d got something special, and the critics didn’t. Critics criticize, and they criticized me. So, with all these hopes—with the young family and this record—I thought, “This is a good record.” The worst bit is, I bought into it. I listened to the critics and thought, “Maybe they’re right. I don’t know.” For years, I thought it wasn’t a very good album. Then one of my nephews came up to me one day and said, “You know, my favorite album of yours is Ram.” I went, “What?” And I suddenly liked it again.

Why do you think that period annoyed John Lennon? Was it the joyfulness of it, while he was doing Primal Scream and you were having fun? What do you think got under his skin about it?

It’s just one of those things. I mean, I loved John and love him to this day and always will. It wouldn’t matter, as it didn’t matter, what he said or did, because I’d known him since I was 15, and so he was this mad guy I knew, and I really looked up to him.

When you’re 13 and a half or something—and, when I was a little older, I was 15, and he’d be 16 and a half—there’s that kind of guy who’s cruel and witty and right on. You look up to them and say, “Wow, he’s really cool.” I always thought John was very cool, and I still do. But he could be a complete idiot over some things. He was a lovely guy. And the thing is, if you look at his life, there’s reason for him to be crazy. A lot of bad things happened to him.

At what moment did you wake up and say, “I want to start another band”?

We were watching Johnny Cash on TV, and he’d put together a band with Carl Perkins and some country guys that we really liked. I just thought, “Wow, Johnny’s just put together a band. What a great idea!” I turned to Linda and said, “Do you want to? Should we start a band? Do you want to be in it?”

I knew she had no musical education, but then I thought, “Well, neither did we in the Beatles. We didn’t know anything.” But we learned a couple of chords, and we learned together. That was the great thing: We climbed the steps together. She got a lot of flak for that, and I got a lot of flak for that. “Oh, Mick Jagger, what’s she doing with this old lady in the band?” Fuck off. What’s it got to do with him?

You guys had such an amazing blend as singers—the two of you and Denny Laine. Did you understand that there was a kind of magic to that sound?

I listen to it now and think, “Wow.” Linda’s voice in particular is really good. It adds a very interesting flavor. You’ve got to remember, there were no Auto-Tune systems, so she had to just sing it right. Listening back to it, I think it’s very good. It was a great blend.

Eventually, we did what the Beatles did: We got better. We stuck at it and got really good in the end. We could come to America, sell out the kingdom or whatever it was, and put on a good show in the end. But it took a lot of work.

Keanu Reeves lived out a fan’s dream in San Francisco, introducing Peter Hook & The Light onstage before being spotted dancing enthusiastically to Joy Division’s “Love Will Tear Us Apart” — a song the actor has called his all-time favorite.

The moment came at the Warfield on Sept. 21, where Hook — the co-founding bassist of Joy Division and New Order — performed with his band The Light. Reeves took the mic to bring them on, telling the crowd, “The one, the only Peter Hook and the Light! Playing the music we all love from then, today and tomorrow,” before embracing Hook as he took the stage.

Reeves is a longtime Joy Division fan and once told The Late Show With Stephen Colbert that “Love Will Tear Us Apart” would be his desert-island song. Fittingly, Hook dedicated the 1980 classic to Reeves late in the 26-song set, which ran through Joy Division and New Order material along with a couple of tracks from Monaco, Hook’s mid-1990s project. Footage shared online shows Reeves losing himself to the song from a private box.

The appearance came the night before Reeves’ own band, Dogstar, played San Francisco’s Fillmore on their All In Now tour. Reeves formed the alternative-rock trio — completed by vocalist-guitarist Bret Domrose and drummer-actor Robert Mailhouse — in Los Angeles in the early 1990s, and the group has drawn on the same post-punk lineage Hook helped define. After breaking up in 2002, Dogstar reunited in 2020 and returned in 2023 with Somewhere Between the Power Lines and Palm Trees, which reached No. 6 on Billboard’s Vinyl Albums chart. Their latest album All In Now, released this year via the band’s own Dillon Street Records, produced the single of the same name, which gave Dogstar its first appearance on a Billboard songs chart in more than 25 years when it debuted on Mainstream Rock Airplay in April.

For Hook, the night lands during a milestone year. He is set to be inducted into the Rock & Roll Hall of Fame this fall as part of the class of 2026, honored for his work with both Joy Division and New Order. The class also includes Phil Collins, Billy Idol, Iron Maiden, Oasis, Sade, Luther Vandross and Wu-Tang Clan.

The warm soul of R&B and the sleek polish of electronic music might seem like an unlikely pairing at first. But TUIDE, HYBE’s newest girl group, is carving out a path between the two with a sound they call “Soultronic.” Rather than following an established formula, the seven members have blended their distinct personalities into something only TUIDE can offer, giving themselves room to move freely.

For TUIDE, music is more than a matter of executing a concept handed down to them. Coming from different backgrounds and experiences, the members approached one another with openness, learning to recognize each other’s strengths and shaping a group identity from those differences. Over the Shibuya-kei and Soultronic production of GroovyRoom, they show that vocals and performance don’t have to be confined to a single genre. Each member’s voice keeps its own character while fitting naturally alongside the others, and that interplay is a big part of what makes the songs work.

The name TUIDE comes from “Tune the tide,” a bold statement of intent to set and steer the currents of the music scene. It’s also a useful key to understanding where the group is headed musically. On the B-side “ABD,” they playfully skip past the D that’s supposed to follow A, B and C. The lead single “SUN KISS” encourages listeners to trust their instincts and move forward. In both cases, TUIDE isn’t looking for the right answer inside a preset frame. They’re opening up possibilities of their own. The members say their teamwork grew out of being honest and unguarded with one another, and that attitude carries through to the album title, TUNE & PLAY, which reflects their desire to play freely on stage.

Starting from what they do best and enjoy most, TUIDE hopes to bring listeners the ease and positive energy of a close friend. Now that they’ve made their debut riding a fresh wave of Soultronic sound, how far can they go in K-pop? With their sights set on this year’s rookie awards, the seven members are ready to tune the tide. Here is TUIDE’s story.