Morgan Wallen’s I’m the Problem notches its 12th nonconsecutive week at No. 1 on the Billboard 200 chart (dated Aug. 30). The set earned 121,000 equivalent album units in the United States in the week ending Aug. 21 (down 4%), according to Luminate. I’m the Problem debuted at No. 1 on the May 31-dated chart, spent it first eight weeks in the pole position, stepped away from the top for two weeks and then returned to No. 1 for four weeks running.

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Also in the top 10 of the latest Billboard 200, Conan Gray scores his highest-charting album yet as Wishbone bows at No. 3, Billie Eilish’s Hit Me Hard and Soft jumps back into the top 10 after a new one-year anniversary vinyl variant was released, and Taylor Swift’s The Tortured Poets Department returns to the top 10 following the buzz surrounding the announcement of her upcoming The Life of a Showgirl album.

The Billboard 200 chart ranks the most popular albums of the week in the U.S. based on multi-metric consumption as measured in equivalent album units, compiled by Luminate. Units comprise album sales, track equivalent albums (TEA) and streaming equivalent albums (SEA). Each unit equals one album sale, or 10 individual tracks sold from an album, or 3,750 ad-supported or 1,250 paid/subscription on-demand official audio and video streams generated by songs from an album. The new Aug. 30, 2025-dated chart will be posted in full on Billboard‘s website on Aug. 26. For all chart news, follow @billboard and @billboardcharts on both X, formerly known as Twitter, and Instagram.

Of I’m the Problem’s 121,000 equivalent album units earned in the week ending Aug. 21, SEA units comprise 116,000 (down 4%, equaling 154.02 million on-demand official streams of the set’s songs — it leads Top Streaming Albums for a 13th nonconsecutive week), album sales comprise 4,000 (up 1%; it moves 21-17 on Top Album Sales) and TEA units comprise 1,000 (up 1%).

Cumulatively, Wallen’s three No. 1 albums (I’m the Problem, One Thing at a Time and Dangerous: The Double Album) have spent a total of 41 weeks at No. 1 on the Billboard 200. That puts him in second place for the most weeks at No. 1 this century, surpassing Adele’s 40 weeks on top. Only Taylor Swift, with 86 weeks at No. 1 since 2000, has more. Before I’m the Problem’s 12 weeks at No. 1, One Thing at a Time ruled for 19 nonconsecutive weeks in 2023-34 and Dangerous: The Double Album was tops for 10 straight weeks in 2021.

The KPop Demon Hunters soundtrack holds at No. 2 on the Billboard 200 with 108,000 equivalent album units earned (up 3%). The album debuted at No. 8 nine weeks ago and has never left the top 10. The last soundtrack to spend its first nine weeks in the top 10 was Fifty Shades of Grey in 2015, which spent its first 14 weeks in the top 10.

Further, KPop Demon Hunters has spent five nonconsecutive weeks at No. 2 — its peak to date. The last soundtrack to spend at least five weeks at No. 2, without reaching No. 1, was Forrest Gump in 1994, which notched five straight frames in the runner-up spot (behind another soundtrack, The Lion King). KPop Demon Hunters is likely to sport further gains on next week’s charts, with the Netflix film getting a wide release in movie theaters for a sing-a-long event this weekend.

Conan Gray scores his highest-charting album ever on the Billboard 200 as Wishbone bows at No. 3. It launches with 71,000 equivalent album units earned — his best week by units earned. Of that sum, album sales comprise 53,000 (his best sales week yet — it debuts at No. 1 on Top Album Sales), SEA units comprise 18,000 (equaling 23.71 million on-demand official streams of the set’s songs; it debuts at No. 27 on Top Streaming Albums) and TEA units comprise a negligible sum. The set’s first-week sales were bolstered by its availability across seven CD variants (including signed editions) and seven vinyl editions (some signed) and a standard digital download edition.

Gray previously hit the top 10 of the Billboard 200 twice, with Superache (No. 9 in 2022) and Kid Krow (No. 5 in 2020).

Wishbone was preceded by its single “Vodka Cranberry,” which peaked at No. 38 on the Pop Airplay chart.

Gunna’s The Last Wun falls one spot to No. 4 on its second week on the Billboard 200 (48,000 equivalent album units, down 40%), while Alex Warren’s You’ll Be Alright, Kid is steady at its No. 5 high for a second week (nearly 40,000 units, down 6%).

Billie Eilish’s Hit Me Hard and Soft rallies 24-6 after the release of a one-year anniversary vinyl edition of the album. The set, counting all versions of the album, including the new vinyl variant, earned 38,000 equivalent album units in the tracking week (up 64%). Of that sum, vinyl sales accounted for nearly 18,000. The anniversary edition of the vinyl was pressed on bio-vinyl dark blue and orange splatter with its cover printed on silver mirror foil board and contains a poster.

Hit Me Hard and Soft, which peaked at No. 2 in its debut week (chart dated June 1, 2024), was last in the top 10 on the June 7, 2025-dated list (at No. 9) and last ranked as high on the Feb. 22, 2025, chart (when it was also at No. 6).

Morgan Wallen’s chart-topping One Thing at a Time rises a spot to No. 7 on the latest Billboard 200 (nearly 38,000 equivalent album units, down 1%), SZA’s former leader SOS is up two spots to No. 8 (35,000, down 1%) and Justin Bieber’s SWAG falls 7-9 (nearly 33,000, down 15%).

Closing out the top 10 is Taylor Swift’s former No. 1 The Tortured Poets Department, which jumps 18-10 with 30,500 equivalent album units earned (up 18%). Swift’s most recent studio album, which led the chart for 17 nonconsecutive weeks beginning in May 2024, returns to the top 10 for the first time since the Feb. 15-dated list (No. 9).

Poets’ vault back into the top 10 comes after Swift’s Aug. 12 announcement of her forthcoming new studio album, The Life of a Showgirl (due Oct. 3). On Aug. 13, Swift provided further details about the album, including its tracklist and producers, and appeared on her boyfriend Travis Kelce’s podcast, New Heights, to chat about the project. YouTube announced that the pod peaked at 1.3 million concurrent livestream viewers — more than any other podcast has garnered since the platform launched a “dedicated podcast experience in 2023,” per the company.

Luminate, the independent data provider to the Billboard charts, completes a thorough review of all data submissions used in compiling the weekly chart rankings. Luminate reviews and authenticates data. In partnership with Billboard, data deemed suspicious or unverifiable is removed, using established criteria, before final chart calculations are made and published.

Halsey is standing by her new film Americana as co-star Sydney Sweeney faces controversy over a recent American Eagle ad campaign.

The 30-year-old singer and actress, who stars in the crime thriller alongside Sweeney, took to social media on Thursday (Aug. 21) to show support for the Tony Tost-directed feature, which has become the subject of online debate amid calls for boycotts tied to Sweeney’s involvement.

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“You should go see this movie,” Halsey wrote on her Instagram Story, sharing a poster for Americana, according to screenshots published by Page Six. “Because @tonytost made an exceptional film, in honor of a genre he knows intimately. Because his work and his vision are greater than the 24 hr gossip tabloid denim bulls—t.”

The “Without Me” singer continued, “He’s an incredible artist who made a great film with a group of hardworking, talented people. If you love cinema, than you should know that cinema comes first. This is cinema.”

Halsey’s remarks appear to address the backlash over Sweeney’s recent American Eagle campaign, which launched in late July. The ad features the Euphoria star using the phrases “great jeans” and “great genes” interchangeably. Critics online called the messaging tone-deaf, especially given its emphasis on Sweeney’s blue eyes and blonde hair — imagery some likened to racist and eugenicist propaganda from the WWII era.

“I do agree that our words are important in this climate,” Halsey wrote in a second post. “I don’t, however, think that it’s fair for the news cycle to predatorily rip a hardworking director and his hardworking crew for this film that is completely separate-from and unrelated-to a (pretty dumb) advertising take.”

She closed, writing, “If it’s not clear who the actual people I’m standing up for are, I’m sorry look closer.”

Americana, which follows a group of characters in pursuit of a rare Native American artifact, earned a disappointing $500,000 from its Aug. 15 launch in more than 1,100 theaters, according to The Hollywood Reporter. The cast also includes Paul Walter Hauser, Eric Dane, Zahn McClarnon and Simon Rex.

Director Tony Tost, making his feature debut, addressed the surrounding controversy on X a day before the film’s release.

“One of the great things about movies is that they outlive the zeitgeist into which they were released,” he wrote. “As someone whose first film sorta got gobbled up by the zeitgeist, I’ll be curious to see how it’ll stand up after this moment is over. Hopefully fairly well!”

Sweeney had not commented on the controversy at press time. It marks the second time in recent months the White Lotus alum has come under fire for an ad campaign. In June, she partnered with Dr. Squatch on a bar soap made with her actual bathwater, an idea that was widely criticized as antifeminist and exploitative.

Lady Gaga received a heartfelt pep talk from her fiancé, Michael Polansky, ahead of her Mayhem Ball tour stop in New York City.

The 39-year-old pop superstar returned to her hometown on Friday (Aug. 22) for a two-hour show at Madison Square Garden, marking her first performance in the Big Apple since headlining MetLife Stadium during The Chromatica Ball in 2022.

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During the concert, Gaga paused to share the words of encouragement she received from Polansky, 41, and a close friend before taking the stage.

“I think about walking on the concrete, going all around the city and just — I remember fighting really hard, fighting really hard for my dreams and what I believed in and for myself,” she told the crowd, according to People. “I was with my friend China before the show… and I said to her, ‘I think I might just fight my way through this whole show, ‘cause when I’m in New York, I fight. I gotta earn it, and I gotta go for it.”

Gaga said her friend responded with something that shifted her mindset. “Sometimes you don’t have to fight, you just have to show up,” she said.

The singer and actress added that Polansky echoed a similar sentiment. “Right before I came onstage, my fiancé, Michael, said, ‘When you go out there, let them fill you up,’” Gaga recalled, visibly emotional.

From there, Gaga introduced her next song “Hair,” which peaked at No. 12 on the Billboard Hot 100 chart in 2011. It marked the first time she had performed the Born This Way track on the Mayhem Ball tour, which launched in mid-July.

She described her second album as “very special” and credited New York as its creative foundation. “I’m sure all my albums could not be made without New York, but I am sure that this album would not have been made without New York,” she said. “This is for all of you and for all your dreams, for maybe sometimes no more fighting, just showing up.”

As noted in Billboard‘s recap, Gaga’s homecoming concert marked the start of a six-night run at Madison Square Garden as part of her globe-spanning Mayhem Ball tour. Check out the best moments from Friday’s show here.

Just before unleashing Man’s Best Friend, Sabrina Carpenter is looking back fondly at Short n’ Sweet, last year’s hit album that spent four weeks at No. 1 on the Billboard 200. Short n’ Sweet popped up one year ago, on Aug. 23, 2024, led by the trio of singles “Espresso,” “Please Please Please” and “Taste.”

Carpenter not only earned her first No. 1 with the set, but also her first Grammy, in the pop vocal album category. Short n’ Sweet had the entertainer living life on the road on an arena tour across North America and Europe that resumes this October (perhaps with a set list refresh incorporating tracks from Man’s Best Friend, out Aug. 29).

Man’s Best Friend promo saw a brief interruption Saturday (Aug. 23) when the pop star penned a note on Instagram giving Short n’ Sweet one more minute to shine. There, she also posted a carousel of visual memories from the past year — looking back at on-set moments, photo shoots, live performances, award show wins and more.

“pausing from MBF to say happy one year of Short n’ Sweet,” Carpenter wrote. “one year of kiss marks, camaraderie, and being so f—ing horny.”

“this album is one of my most prized possessions and brought me closer to myself as well as so many beautiful people and places,” said the singer, who in just a week will release her next studio album — her seventh — featuring the Billboard Hot 100-topping lead single “Manchild” among the 12 tracks found on the standard version. (There’s a bonus 13th track expected on a special edition vinyl variant.)

Celebrating Short n’ Sweet in her Instagram post, she added, “Thank you for still listening every single day x thank you for coming to the shows and singing till your lungs give out, thank you for loving these songs and every damn lyric as much as i do! Thank you to all my friends i got to make every song with, every video with, create the live shows with. One of the most fun years I’ve had in my whole life. I’ll never take it for granted!!! Love you all infinitely.”

See the photos Carpenter shared on Instagram. Soon after releasing Man’s Best Friend, she’ll be performing on Sept. 7 at the 2025 VMAs.

Mastodon is honoring the memory of their late bandmate and co-founder Brent Hinds.

On Friday (Aug. 22), the heavy metal band paid tribute to the guitarist during a performance at the Alaska State Fair, part of the ConocoPhillips Alaska Concert Series at the Borealis Theatre in Palmer, Alaska.

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At the end of the set, drummer and vocalist Brann Dailor stepped to the front of the stage to deliver a heartfelt message about Hinds, who died earlier in the week following a motorcycle accident in Atlanta. He was 51.

“We lost somebody very special to us yesterday,” Dailor told the crowd. Brent Hinds, 25 years with us as our guitar player, one of the most creative, beautiful people that we’ve ever come across in this world, tragically left us. Very, very unfortunate. We loved him so, so, so very much.”

“We had the ups and downs of a 25-year relationship. You know what I mean? It’s not always perfect, it’s not always amazing, but we were brothers to the end. And we really loved each other and we made a lot, a lot of very beautiful music together. And I think that that’s gonna stand the test of time, evidenced by you people here tonight.”

Dailor aslo reflected on the band’s decades-long journey with Hinds. “So we will continue to play Brent’s beautiful, beautiful music that he helped us make, that we formed this band together and traveled the world together, slept in a van together, laid our heads down on beds of f—king kitty litter, got way too drunk to remember anything the next day about a thousand, million times over and over again with the love that we shared and the beauty, all the audiences that we played, for all the stages we stepped on,” he said.

He concluded, “I don’t know. We’re just at a loss for words. We’re absolutely devastated and crushed to lose him and to be able to never have him back again. But you guys made it okay for us to come on stage and do this tonight. So that was for f—king Brent, okay? Thank you guys so much. We will see you real soon.”

Hinds co-founded Mastodon in 2000 in Atlanta alongside bassist Troy Sanders, guitarist Bill Kelliher and drummer Dailor. Over a 25-year career, the band released nine albums that charted on the Billboard 200, including The Hunter (2011), Once More ’Round the Sun (2014), and Emperor of Sand (2017) — the latter two peaking at No. 1 on Billboard’s Top Rock Albums chart. In 2018, Mastodon won a Grammy for best metal performance for “Sultan’s Curse.”

In March, the band announced that Hinds would be stepping away from the lineup.

Following his passing on Wednesday (Aug. 21), Mastodon shared a statement on Instagram.

“We are in a state of unfathomable sadness and grief… Last night, Brent Hinds passed away as a result of a tragic accident,” they wrote. “We are heartbroken, shocked, and still trying to process the loss of this creative force with whom we’ve shared so many triumphs, milestones, and the creation of music that has touched the hearts of so many. Our hearts are with Brent’s family, friends, and fans. At this time, we kindly ask that you respect everyone’s privacy during this difficult time.”

The Last Dinner Party withdrew from their scheduled performance at Victorious Festival on Saturday (Aug. 23) in protest of an incident involving fellow band the Mary Wallopers, whose set was cut short after they showed support for Palestine.

The British indie rock-pop group announced their decision on social media Saturday morning, referencing the previous day’s events in which the Mary Wallopers displayed a Palestinian flag on stage and called for a “Free Palestine.”

“We are outraged by the decision made to silence the Mary Wallopers yesterday at Victorious,” the Last Dinner Party wrote on Instagram. “As a band we cannot cosign political censorship and will therefore be boycotting the festival today.”

They continued, “As Gazans are deliberately plunged into catastrophic famine after two years of escalating violence it is urgent and obvious that artists use their platform to draw attention to the cause. To see an attempt to direct attention away from the genocide in order to maintain an apolitical image is immensely disappointing.”

The Last Dinner Party also encouraged fans to donate to medical aid for Palestinians and closed their message with “Free Palestine.”

On Friday (Aug. 22), members of the Mary Wallopers took the stage at Victorious Festival carrying a Palestinian flag and voiced the message, “Free Palestine and f—k Israel.” Their sound was cut off after a crew member removed the flag, prompting the band to lead a chant of “Free Palestine” and encourage festival-goers to leave.

The incident was documented in a video posted on the Mary Wallopers’ Instagram.

“We are uploading this video so everybody can see @victoriousfestival cut our gig short for having a Palestinian flag on stage,” the Irish band captioned the post. “The festival have released a misleading statement to the press claiming they cut our sound because of a discriminatory chant and not the band’s call to Free Palestine. Our video clearly shows a Victorious crew member coming on stage, interfering with our show, removing the flag from the stage and then the sound being cut following a chant of ‘Free Palestine.’ The same crew member is later heard in the video saying ‘you aren’t playing until the flag is removed.’”

On Saturday, Victorious Festival organizers addressed the incident in a statement on their Facebook page.

“We are in the business of putting on great shows, not cutting them off and this is the last thing we wanted, for the band, their fans and ourselves,” the statement read. “We didn’t handle the explanation of our policy sensitively or far enough in advance to allow a sensible conclusion to be reached. This put the band and our own team in a difficult situation which never should have arisen. We would like to sincerely apologise to all concerned.”

The organizers added, “We absolutely support the right of artists to freely express their views from the stage, within the law and the inclusive nature of the event. Our policy of not allowing flags of any kind, which has been in place for many years for wider event management and safety reasons, is not meant to compromise that right.”

The statement concluded, “We accept that, although mics remained live for longer, sound for The Mary Wallopwers’ audience was cut as described in the band’s video and that comments after that were not audible to the public. We are sorry that this situation has come about and will be making a substantial donation to humanitarian relief efforts for the Palestinian people.”

Several other acts, including The Academic and Cliffords, have also announced they will be boycotting this year’s Victorious Festival.

The 2025 edition of Victorious launched on Friday and runs through Sunday (Aug. 24), with headliners including Queens of the Stone Age, Vampire Weekend and Kings of Leon.

When Chappell Roan made her U.K. live debut in June 2023, she played the 600-cap London venue The Garage. Now, a little more than two years later, she’s headlining one of the country’s most beloved festivals.

Roan’s ascent has been so stratospheric that when she stepped on stage at Reading Festival on Friday (Aug. 22), it wasn’t just her first time as a U.K. festival headliner, but her first-ever appearance at a British music festival. And it was no one off: she’ll also headline Reading’s sister fest in Leeds on Saturday (Aug. 23) and venture to Scotland for two huge outdoor shows at Edinburgh’s Royal Showground next week.

Roan’s debut album The Rise and Fall of a Midwest Princess has been warmly embraced in the U.K., where it hit No. 1 in August 2024, almost a year after its release the previous September. She’s also sent five songs into the top five of the U.K.’s Official Singles Chart — “Good Luck, Babe!,” “Hot to Go!,” “Pink Pony Club,” “The Giver” and “The Subway” — so her performance was always going to contain unifying, roar-along moments.

But, given that she only has one album to draw from, would Roan have enough copper-bottomed bangers to sustain a headline set? As it turned out, there was no need to worry. After arriving on stage in a gothic ensemble that made her look a little like a Transylvanian Stevie Nicks, Roan kept the crowd — one of the festival’s biggest ever — enthralled for nearly 90 minutes.

Traditionally, Reading Festival is a rite-of-passage for British teens looking to let off steam after they receive their exam results. On Friday, there was no doubt that Roan passed with flying colours. Here are seven highlights from her stellar set.

From career milestones to new music releases to major announcements and those little important moments, Billboard editors highlight uplifting moments in Latin music. Here’s what happened in the Latin music world this week.

Maria Becerra’s Acting Debut

Argentine singer-songwriter Maria Becerra has made acting debut on Netflix’s new series En El Barro, the spin-off of the series El Marginal, produced by Netflix and Underground, a division of Telemundo Studios. Becerra, who also performs the series official song, “7 Vidas,” steps into the role of Cleo, “a young woman from the neighborhood who falls in love and faces motherhood while struggling to keep her child close in the midst of extreme circumstances,” according to an official description of her character. “Through this character, Maria portrays the fight for motherhood and the sacrifices made under adverse conditions.” The series is now streaming on Netflix — watch the trailer below:

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Leading Ladies of Entertainment Class of 2025

The Latin Recording Academy announced on Tuesday (Aug. 19) its 2025 Leading Ladies of Entertainment honorees. The program, created nine years ago, honors and recognizes professional and socially conscious women in the arts and Latin entertainment fields who have made significant contributions and inspired future leaders.

The honorees are singer-songwriter Rozalen, and Latin music executives Maricarmen “Tuti” Bou, Amarilys Germán, and Paula Kaminsky. The women will be celebrated during Latin Grammy Week in Las Vegas, with Amazon Music joining as presenting sponsor for the second consecutive year.

“I am proud to present our Leading Ladies of Entertainment honorees, an exceptional group of women who have distinguished themselves not just through their successful careers but also through their work outside of the professional realm,” Manuel Abud, CEO of The Latin Recording Academy, said in a statement. “Our past honorees have helped grow our Mentorship Program, and we look forward to having this year’s class continue that legacy and empower future generations of young women.”

Gloria Trevi’s Special Honor

Mexican star Gloria Trevi will be the 2025 Hispanic Heritage Legend Award honoree, the Hispanic Heritage Foundation announced earlier this week. “Her fearless artistry, record-breaking tours and unwavering advocacy embody the spirit of this recognition,” Antonio Tijerino, Hispanic Heritage Foundation president/CEO, said in a statement.

The ceremony will take place on Sept. 4 at the Warner Theater in Washington, D.C., and will air nationally on PBS. Rauw Alejandro was previously announced as the 2025 Hispanic Heritage Award honoree for Vision.

DY Returns to Latin Music Week

DY is set to speak at the 2025 Billboard Latin Music Week, slated to run Oct. 20–24 at the Fillmore Miami Beach. The Puerto Rican superstar will lead the panel titled “The Power of Reinvention,” where the hitmaker will open up about his “legendary career, the evolution of his artistry, and how he is shaping his next chapter,” according to a press release.

Latin Music Week will feature panels, live performances, workshops, and networking events, wrapping up with a special celebration concert on Oct. 24. The event aligns with the 2025 Billboard Latin Music Awards, airing live from Miami on Thursday, Oct. 23 on Telemundo and Peacock. Tickets for Latin Music Week 2025 are now available at BillboardLatinMusicWeek.com.

Dorothy Gale famously said that “there’s no place like home.” But Lady Gaga put it a bit more succinctly on Friday (Aug. 22) night: “I’M HOME, NEW YORK CITY!!“

Mother Monster touched down in New York City on Friday for her first live performance there in just over three years since she took MetLife Stadium by storm with The Chromatica Ball in 2022. But arguably more important was the setting. For the first time in more than 10 years, Gaga returned with a vengeance to Madison Square Garden — the site of previous tours like the Monster Ball and ArtRave — for the first of six shows she’s set to play as part of her globe-spanning new tour The Mayhem Ball.

For just over two hours, Gaga kept her fans’ energy high as she powered through a masterful set of world-dominating hits, beloved B-sides and a plethora of her latest songs off of March’s Mayhem, all while delivering a high concept, artfully-crafted live show that embraced the chaos and theatricality of live performance.

Gaga even gave fans at the show a surprise performance of “Hair,” her beloved Born This Way B-side as a special treat for the fans in her hometown. “New York, you made me a star, you raised me,” she told the screaming crowd at MSG. “Thank you so much for always believing in me — it’s good to be back home.”

Below, Billboard takes a look back at the seven best moments from Gaga’s first show back home at Madison Square Garden for The Mayhem Ball.

Missy Elliot has reached a settlement with a music producer who claims to have co-written several of her songs from the 1990s, resolving the nearly seven-year-old dispute just as a trial was about to begin.

Law360 and Courthouse News Service both reported on Friday (Aug. 22) that Elliott’s lawyers and Terry Williams, who’s representing himself, arrived at a settlement in a Philadelphia federal courtroom just minutes before they were set to start selecting a jury for their copyright trial.

Details of the settlement were not immediately available, and neither Elliott’s attorneys nor Williams returned Billboard’s request for comment on Friday.

The lawsuit, which has been making its way through the court system since 2018, centers on the R&B girl group Sista, where Elliott got her start before breaking out as a solo artist in the late ’90s.

Williams, a music producer who once owned a Philadelphia recording studio, claims he and Elliott co-wrote four songs off Sista’s 1994 album 4 All the Sistas Around da World: “Sweat You Down,” “Secret Admirer,” “I Wanna Know” and “I Wanna Be with U.” He alleged that Elliott unfairly left him off the songwriting credits, and was seeking through the lawsuit to get royalties dating back to the 1994 album release.

Elliott, meanwhile, maintained throughout the case that Williams “did not write a single lyric or in any manner contribute to any of the songs” off 4 All the Sistas Around da World. Elliott said she did not even meet Williams until after she’d delivered the album to Elektra Records.

Judge Nitza I. Quiñones Alejandro ruled last year that due to these conflicting narratives, the lawsuit could only be resolved by a jury weighing the evidence and deciding who to believe. But the judge threw out an additional claim from Williams that alleged he and Elliott also co-wrote the 1996 Aaliyah song “Heartbroken,” saying this part of the case was barred by the statute of limitations.

Williams’ lawsuit also targeted Timbaland, who produced 4 All the Sistas Around da World, as well as Elektra, Atlantic Records, Warner Music Group and Reservoir Media. Those claims were all paused until the outcome of the Elliott trial, and they still remain pending.