A legal dispute has erupted between British singer-songwriter Lola Young and American producer Carter Lang, centering on songwriting credits for four of her songs. The 24-year-old artist has filed proceedings in London, alleging that Lang, known for his work with artists like SZA, Justin Bieber, and Reneé Rapp falsely claimed credit for compositions he did not co-write.

According to a statement provided to the BBC, Young’s legal team said: “It is with immense disappointment, especially given recent events, that we have had no choice but to respond to recent writing credit claims from Carter Lang on four Lola Young songs by issuing legal proceedings on her behalf.”

The disagreement reportedly stems from collaborative sessions that took place over the past two years during the creation of Young’s albums This Wasn’t Meant for You Anyway (2024) and I’m Only F**king Myself (2025). While Lang was publicly credited as a producer and occasional co-writer on several songs across both records, Young’s camp now contends that he is attempting to retroactively expand his songwriting claims.

Lang’s name appears on multiple key tracks in Young’s catalog. On This Wasn’t Meant for You Anyway, he is credited as a producer on “Messy” and “Good Books,” and as a songwriter on “Crush.” The collaboration between the two initially appeared amicable, with “Messy” becoming a breakout hit and establishing Young’s distinct alt-pop sound. However, tensions seem to have escalated during work on her latest album, I’m Only F**king Myself, released in September 2025. On that record, Lang is listed as a co-writer and producer on “One Thing,” “Post Sex Clarity,” and “Not Like That Anymore,” and as a producer only on “Walk All Over You.”

Despite those credits, the lawsuit indicates that four specific songs, which have not yet been publicly identified, are now being disputed. Young’s representatives assert that Lang’s claims are “strongly refuted” and that all previous agreements regarding authorship had been finalized long ago. “We will not allow Lola’s reputation and integrity to be called into question, particularly so long after the sessions took place and agreements were put in place,” her legal team added.

The legal action arrives during a turbulent period for Young, who announced a temporary hiatus from performing after collapsing onstage at the All Things Go festival last week. The singer subsequently canceled all remaining appearances for the foreseeable future, writing to fans: “I really hope you’ll give me a second chance once I’ve had some time to work on myself and come back stronger.”

Her team’s reference to “recent events” in the legal filing is believed to allude to this break. The timing of the lawsuit, coming as Young steps out of the spotlight, suggests an effort to resolve the dispute while she focuses on recovery.

The case highlights ongoing tensions in the music industry surrounding credit attribution, an issue that has drawn increased scrutiny in recent years as artists and producers navigate the blurred lines between songwriting, production, and arrangement. In many cases, disputes arise months or even years after songs are released, as streaming-era royalties and metadata transparency evolve.

For Lola Young, who has earned critical praise for her raw lyricism and vocal intensity, the lawsuit is as much about protecting her creative ownership as it is about setting a precedent. “Lola has always been authentic in her songwriting process and acknowledges songwriting contributions where appropriate,” her lawyers said. “This dispute has been ongoing for several months, and we look forward to the truth being established.”

Lang, who rose to prominence through his work on SZA’s acclaimed album Ctrl, has not publicly addressed the allegations.