A copyright lawsuit that had been looming over Travis Scott, SZA, and Future for nearly a year has officially come to an end—but not because of a courtroom victory.
Instead, gospel singer and songwriter Victory Boyd has voluntarily dismissed the case, saying she reached a personal decision to move on after what she described as a spiritually and creatively draining experience.
The lawsuit, originally filed in 2024, centered around allegations that the trio’s 2023 collaboration “Telekinesis” improperly borrowed from Boyd’s unreleased 2019 demo, “Like the Way It Sounds,” a song she created alongside Kanye West. The legal battle quickly drew attention due to the high-profile artists involved and the complicated creative history surrounding the track.
While Travis Scott, SZA, and Future consistently denied any wrongdoing, the dispute remained active in federal court for months. In fact, the case appeared poised to continue after a federal judge declined to dismiss it earlier this year, signaling that Boyd’s claims warranted further examination through the legal process.
That trajectory changed dramatically this week.
According to court filings obtained by Billboard, Boyd officially dropped the lawsuit on Wednesday (June 3). Notably, the dismissal did not involve a settlement agreement, meaning there was no financial resolution reached between the parties.
Instead, Boyd’s decision appears to have been driven by personal reflection rather than legal negotiations.
Her attorney, Keith White, explained that the singer underwent what he described as “an internal spiritual process” before ultimately deciding to end the case. White also noted that Boyd has long been credited as a co-writer on “Telekinesis” and will continue receiving publishing royalties from the song moving forward.
The legal action had sought additional damages beyond those existing songwriting credits, but Boyd has now chosen not to pursue those claims.
“After some internal reflection, Victory decided to forgive Travis Scott and move past a legal process that felt like it was draining her creatively and spiritually. Victory is moving forward to focus on her art, her ministry and her life. She sends her blessings to all of the parties in the case and is excited to move forward,” the lawyer said in the statement.
The conclusion of the lawsuit brings an end to one of the more unusual copyright disputes in recent memory. Unlike many music industry battles that end with confidential settlements or prolonged court fights, this case concludes with a public statement centered on forgiveness and personal growth.
The controversy itself stemmed from the origins of “Telekinesis,” a standout track featured on Travis Scott’s Utopia album. Boyd argued that the song was derived from her earlier composition with Kanye West, who was heavily involved in various iterations of the track before it ultimately landed on Scott’s project.
Interestingly, Ye was never named as a defendant in the lawsuit despite his connection to the song’s development. Reports surrounding the case suggested that the track had evolved through multiple stages during the creation of Ye’s albums Jesus Is King and Donda before eventually being passed along to Scott for use on Utopia.
As a result, questions about authorship and creative ownership became central to the legal dispute.
Now, however, those questions will likely remain unanswered in court.
For Travis Scott, SZA, and Future, the dismissal removes a significant legal cloud that had been hanging over one of Utopia’s most talked-about songs. For Boyd, the decision marks the end of a chapter she says was taking a personal toll.
Rather than continuing a potentially lengthy courtroom battle, she is choosing to focus on music, ministry, and the next stage of her career—a move she says comes from a place of reflection, healing, and forgiveness.
