Chlöe Bailey sued for “exploiting” and “failing to compensate” songwriter for contributions to ‘Trouble In Paradise’ album

Chlöe Bailey has been sued for “exploiting” and failing to “compensate” a songwriter for contributions to her 2024 album ‘Trouble In Paradise’.

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In court documents seen by Rolling Stone, Melvin Moore, who records under the name 4Rest, has filed a suit against Bailey, Columbia Records, Sony Music and Parkwood Entertainment.

He argues that three of Bailey’s songs – ‘Favorite’, ‘Might As Well’ and ‘Same Lingerie’ – were “derived from [Moore’s] intimate and real-life situations, reflecting his relationships, emotions and personal struggles”. The suit alleges that Moore’s “significant emotional and creative investment” in the tracks was not appropriately credited or compensated.

Representatives for Bailey and the other defendants have not publicly commented on the suit at the time of writing.

The suit, which was filed in New York on Thursday (February 20), states that Moore is seeking $5million (£4million) in damages per song and $150,000 (£119,000) per willful infringement.

Moore, who has recorded with the likes of Chris Brown and Robin Thicke, said in a statement to Rolling Stone: “My journey as a songwriter has been one of immense struggle and perseverance. I’ve faced homelessness for two years, only to achieve homeownership 17 years later. These experiences have shaped my resilience. But even after overcoming these obstacles and achieving success, I find myself still fighting for basic fairness in how I am compensated for my work.”

“Many songwriters, producers, and artists are routinely underpaid and mistreated, their talent exploited under the false promise of opportunity,” he added. “This cycle must end. It’s time for the industry to acknowledge the value of the creatives who bring the music to life and compensate them fairly. This fight is for all of us.”

‘Trouble In Paradise’ was Bailey’s second solo album, released in August 2024. She spent an extended period of time in Saint Lucia to record the majority of the record, which she described to Nylon as “a coming-of-age celebration of being a woman and having fun, not taking life too seriously”.

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