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JoJo has picked up her pen again, but instead of crafting hit pop breakup anthems such as “Leave (Get Out),” the 33-year-old is trying her hand at authorship. Her new memoir, titled Over the Influence, arrived on Sept. 17 and joins the expanding lineup of musician memoirs that includes Britney Spears and Barbra Streisand.

You can buy JoJo’s memoir online for up to 17% off through Amazon, Target and Bookshop.org. And, if you’re a Prime member, you’ll be able to take advantage of free shipping for extra savings. (New users can score a 30-day free trial here.)

Keep reading to learn more and where to find the book online.

book cover with JoJo photo

‘Over the Influence: A Memoir’

$25 $30 17% off

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JoJo is providing fans with “unflinching vulnerability” in her upcoming memoir that will provide insight into what happened to the Aquamarine actress during the period she suddenly left the spotlight. You’ll hear straight from the artist, who was signed to a record label at just 12-years-old and catapulted to fame through her cool-girl relatability. Out of the spotlight, she was navigating growing up with parents with addiction and depression, in addition to a lawsuit with her record label.


There are a few editions to choose from, such as a hardcover for the collectors who want to display JoJo’s memoir on their coffee table, or get it digitally on the Kindle for 50% off. Audiobooks fans can have the Audible version automatically downloaded into your library (new subscribers can score a free 30-day trial here), where you’ll be able to listen to the memoir narrated by JoJo.

After initially announcing her first-ever memoir, the Billboard Hot 100 charting artist is now taking her book on tour, giving fans an opportunity to see her and listen to a discussion delving further into the creation of her debut memoir. JoJo provided a peek at the tour in an Instagram post on Sept. 17, showing off the line for her first tour stop.

“OVER THE INFLUENCE is OUT NOW. Yesterday was day 1 of my book tour/signing events and we kicked it off in my home state of Massachusetts at @allshewrotebooks . Thanks for hosting me and coming out to support ya girl. So much gratitude for this moment and everyone who has helped make it possible,” the caption read.

For more product recommendations, check out ShopBillboard‘s roundups of the best country music books, books about jazz and music books.

If you’re tempted to wish Chappell Roan some good luck, babe, at the 2025 Grammys, save it. The 26-year-old pop star isn’t gunning for any other major awards this cycle, even after winning best new artist at this year’s MTV Video Music Awards. 

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In her cover story interview with The Face published Monday (Sept. 16), Roan explained why she’s “kind of hoping” she doesn’t take home any trophies for her massive debut album era with The Rise and Fall of a Midwest Princess. “My mom would love to go to the Grammys or the Brits,” she told the publication. “[But] I’m kind of hoping I don’t win, because then everyone will get off my a–: ‘See guys, we did it and we didn’t win, bye!’ I won’t have to do this again!” 

The “Hot to Go!” artist went on to explain what’s more important to her than a golden gramophone statuette: sustainability. “That’s my biggest goal right now,” she said. “My brain is like: Quit right now, take next year off. This industry and artistry f–king thrive on mental illness, burnout, overworking yourself, overextending yourself, not sleeping. You get bigger, the more unhealthy you are. Isn’t that so f–ked up?” 

“The ambition is: How do I not hate myself, my job, my life, and do this?” she added. “Because right now, it’s not working. I’m just scrambling to try to feel healthy.” 

Roan has been open about feeling overwhelmed in the face of sudden super fame, the negative aspects of which she compared to an “abusive ex-husband” in the cover story. But whether she’s ready for it or not, the Missouri native is expected to snag nominations for many of the major Grammy categories ahead of February’s ceremony, particularly best new artist. 

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And if the Sept. 11 VMAs are any indication, Roan is a shoo-in. After delivering a fiery Joan of Arc-inspired performance of her Billboard Hot 100 top 10 hit “Good Luck, Babe!” on the UBS Arena stage in New York, the musician beat out Tyla and Gracie Abrams for best new artist.  

“I dedicate this to all the drag artists who inspire me, and I dedicate this to queer and trans people who fuel pop,” she said during her acceptance speech. “To the gays, who dedicate my songs to someone they love or hate … for all the queer kids in the Midwest watching right now, I see you. I understand you, because I am one of you.” 

It’s been seven years since Nelly Furtado released a new album, and she’s marking her comeback with ‘7.’ The renowned singer, known for delivering hit after hit, opens up about her experiences recording ‘7,’ including having her daughter watch the process. She also discusses the resurgence of her classic hits on TikTok, Kamala Harris using “Maneater,” seeing Taylor Swift at The Eras Tour, her upcoming tour, and more!

Lyndsey Havens:

Hey, what’s up? I’m Lindsey Havens for Billboard News, and we are here with the icon, the legend, Nelly Furtado. Thank you so much for coming in. 

Nelly Furtado:

Hi! Thanks for having me. 

We are such big fans of yours, and congratulations. You have an incredible new album, ‘7.’ It has been a minute since your last album. I believe it was 2017, so tell me about how you knew that this was the time to come back and why you wanted to release an album now. 

It just felt like the right time. I had taken some time to just live and go through a lot of personal things, and so I had a lot to write about A. And then B, I felt really called back to the industry. I started hearing a lot of my music on, you know, social media, especially TikTok, a lot of different DJs started remixing a lot of my old materials. I did really feel authentically that it was time to make some new music and some new vocals for everyone to remix. The music on this album is really informed by like me going out playing shows, reconnecting with audiences, brand new audiences as well, kind of really reflecting that in the sound of the album. Just kind of, I feel like I gained, like, a solid understanding of why people like my music and particular music that they love, and why, and I kind of really did keep that top of mind when I was recording this new album. 

Makes sense that you said you’re kind of going out and having fun and living life because I get that in the production and the beats of this music, but then the songwriting goes so deep into everything else that you were experiencing.

Keep watching for more!

The first year of the TikTok Billboard Top 50 chart featured an array of music that reached the fledgling ranking’s upper reaches, with 21 songs topping the weekly ranking from its inception as of the Billboard charts dated Sept. 16, 2023.

Tommy Richman’s “Million Dollar Baby,” however, was a leg above the rest.

From its coronation at No. 1 on the May 18 survey (after debuting at No. 2 the previous week) to its to-date final week atop the ranking (July 20), Richman’s summer hit crowned the TikTok Billboard Top 50 for 10 uninterrupted weeks. What’s more: as of this writing, “Million Dollar Baby” has never fallen below No. 6. In fact, the latest weekly chart (Sept. 14) finds it up one spot to No. 5.

But “Million Dollar Baby” is a fitting longest-running No. 1 for the chart’s inaugural year. To recap the story you’ve probably already been told: on April 13, Richman uploaded a 14-second clip of the song to his TikTok. It exploded immediately, having racked up nearly 14 million plays as of mid-September. Two days later, he was posting more clips featuring different music, but the demand in the comments was clear: “Drop million dollar baby rn,” one read. He released the song “Selfish” a few days later on April 19, and yet the pleas persisted: “More million dollar baby clips.”

The next week, it happened. After a few more videos promoting its impending release (including one from April 23 that has even more views – over 18 million – than the original), Richman dropped “Million Dollar Baby” on April 26, and the song immediately shot to the top of the TikTok Billboard Top 50, as well as charts worldwide. On the multimetric Billboard Hot 100 (which does not include any TikTok activity), it both debuted and peaked at No. 2 on the May 11 tally and spent the next nearly four months in the top 10.

Pent-up demand for the song helped drive initial numbers, but in the months since, “Million Dollar Baby” has had its own dance trend that’s dominated the conversation. By the end of the summer, TikTok crowned the tune its song of the summer.

Read on for more highlights of the TikTok Billboard Top 50’s chart’s first year. You can see the latest TikTok Billboard Top 50 chart here, and you can also tune in each Friday to SiriusXM’s TikTok Radio (channel 4) to hear the premiere of the chart’s top 10 countdown at 3 p.m. ET, with reruns heard throughout the week.

Gospel legend CeCe Winans is among the first round of performers set for the 2024 GMA Dove Awards. Other performers include Tauren Wells — who is also set to host the show — Crowder, Natalie Grant, Forrest Frank, Joseph Habedank and Maverick City Music with Naomi Raine.

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The 55th annual GMA Dove Awards will be presented on Tuesday, Oct. 1, at the Allen Arena on the campus of Lipscomb University in Nashville. The show will be taped and will premiere on TBN and TBN+ on Friday, Oct. 4, at 8 p.m. ET and 10 p.m. ET. An audio simulcast will air on SiriusXM’s The Message (channel 65) and on the SiriusXM App.

An encore presentation will air on TBN and TBN+ on Friday, Oct. 11, at 8 p.m. ET and 10 p.m. ET.

Tickets for the Nashville taping are sold out.

Performers were announced on Tuesday (Sept. 17) on SiriusXM The Message by host and nominee Wells, whose project Joy in the Morning (Horizon Edition) is nominated for pop/contemporary album of the year.

Prior to the 55th Annual GMA Dove Awards broadcast, Kristin Adams will host a red-carpet show on Friday, Oct. 4, on TBN+.

Brandon Lake is this year’s leading nominee, with 16 nods. Other top nominees include writer-producer Jeff Pardo (11 nominations), Chris Brown (10), Chandler Moore (10), writer-producer Jonathan Smith (10), Winans (five) and Raine (five).

The GMA Dove Awards have added a new category this year – Spanish language worship recorded song of the year.

See a list of GMA Dove Awards nominees in top categories here. For the full list of GMA Dove Awards nominees in all categories, visit doveawards.com.

The 55th Annual GMA Dove Awards are produced by the Gospel Music Association. Jackie Patillo and Justin Fratt serve as showrunners and executive producers, alongside Curtis Stoneberger and Paul Wright as producers. Russell E. Hall returns as director, Michael Nolan as scriptwriter, and Scott Moore and Go Live Productions as production manager.

The Victoria’s Secret Fashion Show is making a comeback, and it’s bringing one of music’s biggest living legends along for the ride. As announced Tuesday (Sept. 17), Cher will headline the brand’s first big runway showcase in six years — and she’ll be leading a lineup of all-women artists for the first time ever.

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The iconic fashion house shared the news on Instagram with a video of the 78-year-old superstar singing her 1998 Billboard Hot 100-topping hit “Believe,” giving fans a taste of what she’ll bring to the VS runway this fall. “It’s a woman’s world, so it’s understood that you can’t have a fashion show without the mother of fashion herself—@Cher!” the caption reads.

“But she won’t be alone…stay tuned, more announcements are coming to round out our first-ever, all-women lineup,” the message continues.

Scheduled for Oct. 15 in Brooklyn, New York, the 2024 fashion show marks a major comeback for Victoria’s Secret. The event used to be an annual prime-time TV spectacular featuring the world’s most recognizable models — Heidi Klum, Karlie Kloss and Gisele Bündchen, to name a few of the show’s “Angels” — walking the runway in lingerie and avant-garde angel wings.

Major musicians were also frequently tapped to provide a live soundtrack for the fashion show, performing on stage as the models walked. Taylor Swift, Ed Sheeran, Ariana Grande, The Weeknd, Lady Gaga, Selena Gomez and more have all taken the gig at different points.

The last show of this kind, however, was in 2018, after which Victoria’s Secret canceled the program amid growing backlash to the brand’s lack of inclusivity and perpetuation of unrealistic beauty standards. In 2019, parent company L Brands stated its desire to “evolve the marketing of Victoria’s Secret” in the show’s absence.

Four years later, it made a mini-return of sorts with VS testing out a new approach: The Tour, a Prime Video special compiling footage of A-listers Adriana Lima, Gigi Hadid, Emily Ratajkowski and Hailey Bieber modeling the company’s apparel in cities all over the world. It also featured a performance from Doja Cat, then fresh off the release of her album Scarlet.

This year, Hadid will once again walk for VS alongside another seasoned Angel, Tyra Banks. And yes, the wings will also be making a grand return.

“We’ve read the comments and heard you,” the company wrote on Instagram in May. “The Victoria’s Secret Fashion Show is ✨ BACK ✨ and will reflect who we are today, plus everything you know and love—the glamour, runway, wings, musical entertainment, and more!”

See Victoria’s Secret’s announcement below.

The New Orleans Saints shocked the NFL community on Sunday (Sept. 15) with a dominant victory over the Dallas Cowboys 44-19 to keep their undefeated season going. With vibes through the roof after pulling off the upset inside Dallas’ AT&T Stadium, Saints head coach Dennis Allen quoted Kendrick Lamar’s “Not Like Us” during his postgame speech to the team in the locker room, which fired up the players.

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“Man, that’s a hell of a win guys,” Allen said. “We said we had to come in and play our brand of football and that’s exactly what we did. We played the way the Saints have to play this game. And look, sometimes you just gotta f–king pop out and show ’em.”

The locker room exploded after hearing coach Allen quote K. Dot, and one player even dapped him up. Fans loved the move as well when the clip made its way to X on Monday (Sept. 16).

Former NFL player Gerald McCoy tweeted: “This a quote from Dennis Allen HC of the Saints IN NEW ORLEANS but yall crying on why they picked Kendrick Lamar for Super Bowl!! THIS WHY!!”

Another fan shouted out running back Alvin Kamara, who led the team with four touchdowns. “Alvin Kamara: Certified Boogeyman He the one that upped the score on ‘em!”

The Saints got out to a 35-16 lead at halftime and cruised to the victory in Dallas. Kamara turned the clock back with a performance for the ages scoring four touchdowns. Another tough test awaits as the Saints welcome the Philadelphia Eagles to town this weekend.

“Not Like Us” has remained a Billboard Hot 100 staples in its nearly five months on the chart. The Drake diss track is still holding strong at No. 10 after topping the chart in May.

Fans will have to wait and see if Lamar brings the diss record to the Super Bowl LIX Halftime Show when he takes the stage in New Orleans in February.

Watch the clip of Dennis Allen quoting “Not Like Us” below.

Federal prosecutors on Tuesday (Sept. 17) unsealed a criminal indictment of Sean “Diddy” Combs over sweeping allegations of sexual abuse, accusing the once-powerful rapper of running a racketeering conspiracy that included sex trafficking, forced labor, kidnapping, arson and bribery.

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Less than a day after the rapper was arrested Monday in New York City, Manhattan federal prosecutors unveiled the substance of their case against Combs – accusing him of operating a criminal enterprise centered on his “pervasive pattern of abuse toward women,” according to the documents obtained by Billboard.

“For decades, Sean Combs … abused, threatened and coerced women and others around him to fulfill his sexual desires, protect his reputation and conceal his conduct,” the indictment reads. “To do so, Combs relied on the employees, resources and the influence of his multi-faceted business empire that he led and controlled.”

Combs, 54, is expected to be arraigned later on Tuesday at a Manhattan federal courthouse.

The charges against Combs come after a flood of civil lawsuits in which at least eight victims have sued him over allegations of sexual abuse, starting with a high-profile case filed last year by his longtime girlfriend Cassie Ventura. That case quickly settled, but it was later corroborated by a widely shared video of Combs assaulting her at a hotel.

Criminal charges against Combs were not unexpected. Federal agents carried out raids in March on his homes in Los Angeles and Miami, and multiple news outlets had reported that he was facing an ongoing investigation that included potential allegations of sex trafficking.

In a statement on Monday, Combs’ attorney Marc Agnifilo said: “We are disappointed with the decision to pursue what we believe is an unjust prosecution of Mr. Combs by the U.S. Attorney’s Office. Sean ‘Diddy’ Combs is a music icon, self-made entrepreneur, loving family man, and proven philanthropist who has spent the last 30 years building an empire, adoring his children, and working to uplift the Black community.”

In Tuesday’s unsealed indictment, prosecutors allege that Combs violated the federal Racketeer Influenced and Corrupt Organizations Act – a law known as RICO that’s often used to target mobsters and drug cartels. Over 14 pages of details, the government claims Combs operated a similar criminal racket, but one centered “fulfilling the personal desires of Combs, particularly those related to sexual gratification.”

“Combs … used the Combs business, including certain employees, to carry out, facilitate, and cover up his abuse and commercial sex,” prosecutors write.

Many of the allegations center on so-called “freak offs,” which prosecutors describe as “elaborate and produced sex performances” between victims and male sex workers during which Combs would masturbate. They allege Combs and his associates “wielded the power and prestige” of his fame to “intimidate, threaten and lure female victims” into his orbit, then used “force, threats of force, and coercion” to get them to participate.

During the freak offs, prosecutors claim Combs and others kept victims “obedient and compliant” by providing them with drugs, then subjected them to “physical, emotional and verbal abuse,” including hitting and kicking them, threatening career repercussions, and blackmailing them with footage.

“Victims believed they could not refuse Combs demands without risking their financial or job security,” prosecutors write. “Combs also used the sensitive, embarrassing, and incriminating recordings that he made during Freak offs as collateral to ensure the continued obedience and silence of victims.”

In addition to the RICO allegations, the indictment also accuses Combs of federal sex-trafficking laws and a federal statute barring the transportation of sex workers.


From the very first notes of the Saudi National Orchestra and Choir’s rendition of Frank Sinatra’s “Fly Me to the Moon” at New York’s Metropolitan Opera House, a remarkable dialogue emerged. This unique blend of cultures unfolded within a single iconic melody, brought to life by the ornamentation of the ney – a traditional and widely cherished Arabic reed instrument. In harmony with the timeless lyrics, the Saudi choir members added a rich layer of depth, creating a captivating conversation that bridged musical geographies.

Launched in 2021 under the patronage of Saudi’s Minister of Culture and Chairman of the Music Commission, Prince Badr, “The Marvels of the Saudi Orchestra and Choir” series has successfully iterated three global performances — Paris (2022), Mexico City (2023) and New York (2023) — each time collaborating with a renowned cultural institute from its host city. Now, in 2024, The Saudi Orchestra and Choir will travel to London for a performance on Sept. 28 at the iconic Central Hall Westminster in London, alongside the U.K.’s Royal Philharmonic Orchestra.

In a press conference in Riyadh, Saudi Arabia, on Sept. 8, Paul Pacifico, CEO of the Music Commission, emphasized the orchestra’s capability to achieve multiple outcomes simultaneously, chief among them “to show the world how Saudi music can sit alongside any music from anywhere in the world on the grandest stages with the most renowned cultural institutions globally,” he says. In this way, Saudi can take its “place with pride” as it continues to pull from traditions and influences across the 13 regions in the Kingdom.

He highlights music’s unique power to “transcend cultural and linguistic barriers”, enabling musicians to connect and audiences to experience diverse sounds. This ambition is evident in their global exchanges, including performances with the International Philharmonic Orchestra of Paris, the Carlos Chavez Orchestra in Mexico City and the Dizzy Gillespie All Stars in New York.

Through world premieres that reached far beyond the live audience, the orchestra has left an enduring mark on Saudi culture. While hundreds attended in person, more tuned in to livestreams, resulting in the comment sections of these broadcasts buzzing with pride and enthusiasm as Saudis celebrated their artists shining on historic stages.

Stage 1: Paris, France – Saudi Melodies Dazzle Amidst the “City of Lights”

Their journey on the road commenced with a noteworthy performance in Paris on Oct. 7, 2022, titled the “Masterpieces of Saudi Music,” in part with the International Philharmonic Orchestra of Paris. This historic event saw the Saudi orchestra – featuring 22 musicians and 40 vocalists – embark on a classical musical dialogue celebrating the depth of Saudi folklore and modern heritage. In a reciprocal gesture, the International Philharmonic Orchestra of Paris premiered “Jeddah City,” composed by Antonio Bernardi. The exchange of performances unfolded as a compelling historical narrative, with each musical piece eloquently articulating its own chapter in the story.

Unlike Western orchestras, the Saudi National Orchestra and Choir integrates various traditional instruments that hold a notable place in the lineage of Saudi music, be it the ney, the oud or the rebab. Despite the challenge of integrating instruments like the rebab, which doesn’t have standard tuning, the orchestra is dedicated to pushing these “traditional instruments forward into a more contemporary setting,” says Pacifico. We see this play out in the exchange between the Saudi Orchestra and the French Philharmonic in their joint rendition of “Habanera,” from the famed opera Carmen.

Stage 2: Mexico City, Mexico – Ballet Folklórico de México and “Above the Clouds”

In June 2023, barely a year after its debut, the orchestra and choir performed remarkably in Mexico City. This grand performance featured 33 musicians, 39 singers, and 40 performers from the performing arts troupe, all under the baton of maestro Riab Ahmed, who succeeded the late Mohammed Amin Qari. The concert was a vibrant celebration of Saudi musical heritage, featuring iconic compositions from revered artists such as Tariq Abdul-Hakim, Mohammed Abdu and Bashir Shanan. These classic works were delivered with a masterful blend of classical elegance and energetic rhythms, capturing the essence of traditional and popular Saudi art.

The Saudi National Orchestra and Choir were joined by the Mexican Carlos Chávez Orchestra, conducted by Maestro Roberto Renteria Yrene, and the Ballet Folklórico de México de Amalia Hernández. This collaboration resulted in a musical experience that bridged the two cultures and languages, instead proposing a collective narrative through song and performance. They concluded the evening with a heartfelt rendition of “Above the Clouds,” with lyrics by poet Badr Bin Abdul Muhsin and music by Mohammed Abdu. The song, imbued with a deep affection for Saudi Arabia since the late 1980s, has transcended time and geography to be performed by new generations on the other side of the world in this historic moment.

Stage 3: New York, N.Y. – “Fly Me to the Moon” and the Dizzy Gillespie All Stars

On Sept. 17, 2023, the Metropolitan Opera House in New York City hosted the orchestra and choir, a performance that achieved a remarkable level of sophistication in a remarkably short time. The show featured a grand ensemble of 80 musicians from the Saudi National Orchestra and Choir, complemented by 60 performers from the Theater and Performing Arts Commission. Viewers enjoyed engaging representations of various art forms, including Liwa, Dana, Khatwa, Majrour, Samri, Rabash and Yanbuawi.

The presentation included a keen display of local costumes, reflecting the region’s rich geographical and historical aesthetics. Notable moments included the performers rhythmically interacting with a green barrel, which carried political and economic symbolism, and the concluding presentation of the song “al-Mujded,” which celebrated the visionary who brought Saudi creativity to the international stage.

The orchestra embraced the opportunity to honor New York City’s unique charm and rich history by presenting a memorable performance to the Metropolitan Opera audience. Collaborating with the legendary American jazz ensemble the Dizzy Gillespie All Stars, they delivered an integrated jazz segment infused with Saudi instrumental ornamentations and expressions. The standout of the evening was the exceptional young Saudi soprano Reemaz Oqbi, with her multilingual performances of iconic arias in English, French and Italian. The concert concluded with a medley celebrating contemporary Saudi music trailblazers such as Mohammed Abdu and Etab, highlighting their significant contributions that have shaped the country’s music landscape over the decades.

Stage 4: London, England – A New Stage and Fresh Horizons

This year, marking the 95th Saudi National Day, the orchestra and choir will embark on their fourth international iteration, taking the stage at Central Hall, Westminster, in the heart of London. This version, which includes 98 Saudi musicians, aims to showcase additional layers of the Kingdom’s diverse musical heritage. The concert will continue to offer a compelling blend of classical and contemporary interpretations of Saudi Arabia’s musical traditions. Notably, this performance will feature a collaboration with the Royal Philharmonic Orchestra and the world-renowned opera singer Dame Sarah Connolly, adding an anticipated cultural dimension to the evening.

On Sept. 28, the Saudi National Orchestra and Choir will continue exploring new symphonic directions, discovering its unique voice and the confidence to spark conversations rooted in harmony. As the orchestra and choir showcase their latest work, all eyes are on London this month in anticipation of the vibrant melodies that will usher in a captivating new chapter of the “Marvels of Saudi Music.” This celebration of creativity and collaboration promises to inspire while connecting audiences through the universal language of music.

Miley Cyrus has been hit with a lawsuit that claims her chart-topping “Flowers” infringed the copyright to the Bruno Mars hit “When I Was Your Man,” setting the stage for a legal battle over two tracks that many fans already saw as connected.

Filed Monday in Los Angeles federal court, the case claims that Cyrus’ track – which spent eight weeks atop the Hot 100 after it was released in January 2023 – “duplicates numerous melodic, harmonic, and lyrical elements” of the earlier track.

The complaint was filed not by Mars himself but by an entity called Tempo Music Investments that bought a share of the copyright to his song from one of its co-writers. In it, lawyers for that group claim the two songs have “striking similarities.”

“Any fan of Bruno Mars’ ‘When I Was Your Man’ knows that Miley Cyrus’ ‘Flowers’ did not achieve all of that success on its own,” lawyers for Tempo Music write. “It is undeniable based on the combination and number of similarities between the two recordings that ‘Flowers’ would not exist without ‘When I Was Your Man.’”

A spokesperson for Cyrus did not immediately return a request for comment on the allegations.

Tempo is hardly the first to note connections between the two songs. When “Flowers” was first released, many fans saw it as an “answer song” to Mars’ earlier track — with Cyrus directly responding to the song’s regrets. Where Mars laments that “I should’ve bought you flowers… take you to every party, ’cause all you wanted to dance,” Cyrus protests on “Flowers,” that “I can buy myself flowers… I can take myself dancing.”

The reason for the references? According to internet speculation, Mars’ song was a favorite of Cyrus’ ex-husband Liam Hemsworth and her allusions were a reference to their split.

At the time, legal experts told Billboard that Cyrus was likely not violating copyrights simply by using similar lyrics to fire back at the earlier song – a time-honored music industry tradition utilized by songs ranging from Lynyrd Skynyrd’s “Sweet Home Alabama” to countless rap diss records.

“This is great fodder for fan theories, but lawyers should have nothing to do with it,” Joseph Fishman, a professor at Vanderbilt Law School in Nashville, said at the time. “Using one song to issue a retort to an earlier song is not, by itself, infringement.”

But in Monday’s complaint, attorneys for Tempo argue that the similarities in Cyrus’ song extend well beyond the clap-back lyrics, including “melodic and harmonic material,” “pitch ending pattern,” and “bass-line structure.”

“Immediately upon the release of ‘Flowers,’ the public recognized the striking similarities between the song and ‘When I Was Your Man,’” Tempo’s lawyers write. “The combination of elements – both musical and lyrical – confirm that ‘Flowers’ copies extensively from ‘When I Was Your Man.’”

Following the filing the lawsuit, some copyright experts remain skeptical. On social media, Fishman said the merits of Tempo’s case were “weak” and that the musical similarities were rooted in commonplace song elements that also exist in other tracks like Gloria Gaynor’s “I Will Survive” or Ace of Base’s “It’s a Beautiful Life.” He also questioned why Mars himself was not involved.

Aaron Moss, a veteran copyright litigator at the law firm Greenberg Glusker, cited numerous other songs that “reply to other songs,” including “Love Will Tear Us Apart” by Joy Division and “Love Will Keep Us Together” by Captain & Tennille: “It’s not copyright infringement folks,” Moss said.

An attorney for Tempo did not immediately return a request for comment.