Lola Young in ‘Messy’ Songwriting Dispute With Producer: ‘Strongly Refuted’

Lola Young has taken legal action against “Messy” collaborator Carter Lang following a dispute over songwriting credits.

The BBC reports that Young has filed an intellectual property court claim in London against Lang after he claimed songwriting credits on four of her songs, something which she “strongly” refutes. The songs in question have not been named at this time.

“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,” a statement from Young’s lawyers reads. The case was filed on Wednesday (Oct. 1), one day after Young canceled all upcoming live performances following a stage collapse in New York.

“Carter’s claims are strongly refuted and 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,” the statement continued. “Lola has always been authentic in her songwriting process and acknowledges songwriting contributions where appropriate. This dispute has been ongoing for several months and we look forward to the truth being established.”

Billboard U.K. has approached Lang and Sony Music Publishing for further comment. He has not yet responded to the claim.

Carter Lang is a Grammy-winning songwriter and producer who has credits on SZA’s studio albums Ctrl (2017) and SOS (2023), and has also worked with Justin Bieber, Post Malone, Doja Cat, among others.

Lang has credits on three songs on her second album, 2024’s This Wasn’t Meant for You Anyway (“Good Books,” “Messy,” “Crush”), and a further four on her recent album I’m Only F-king Myself (“One Thing,” “Walk All Over You,” “Post Sex Clarity,” “Not Like That Anymore”).

Lang is credited as a producer on her U.K. chart-topping hit “Messy” alongside fellow producers Solomonophonic and Manuka Monsune. The track spent four weeks at No. 1 on the U.K.’s Official Singles Chart, and is the second-most streamed song of 2025 to date.