“Charli has made seven albums, four mixtapes and one EP, and has written countless songs for other artists throughout her career. She began as a songwriter with ‘I Love It,’ and her work has been recorded by and pitched to multiple artists. She has her own personal history with publishing and production negotiations and because of this, she always shares credits fairly and appropriately, and values her collaborators tremendously. 

“Ahead of the Wuthering Heights album release, a standard review process was conducted on a small number of tracks from the album, including fragments of material originating from earlier sessions. This process involved managers, legal representatives, artists and producers, and included a thorough review of archival materials and demo recordings.

“All relevant parties were consulted throughout, and the album was played in full in advance of release to everyone. Songwriting credits and splits were determined and agreed collectively in writing, with reference to documented timelines and contributions.

“All credits were finalized and formally approved by the appropriate parties prior to the album’s release.”

—

Sky Ferreira has publicly pushed back against circulating claims about her involvement in the Wuthering Heights soundtrack, while also fuelling speculation that her creative contributions may have gone uncredited. The controversy began after an alleged “industry insider” claimed that Ferreira had written or contributed to songs associated with Charli xcx, particularly those tied to a Wuthering Heights–related project. According to the viral messages, specific tracks – such as “lol eyes of the world,” “chains of love intro,” and “alters” – were either derived from Ferreira’s earlier work or directly linked to demos she created as far back as 2015.

However, Ferreira quickly dismissed these claims in public comments, calling the insider information “close but wrong.” While she avoided confirming the exact details, she did not fully deny that there was some connection or overlap. Instead, she suggested that the situation was more complicated, stating that there had been “more than an intro” involved and that the issue spanned multiple pieces of work and timelines. This ambiguous response has led fans to speculate that Ferreira may have contributed creatively in ways that were never formally acknowledged.

In a longer, more emotional statement, Ferreira expressed frustration over how the narrative has unfolded. She emphasized that she had no control over the situation and was not allowed to speak openly about it at the time. According to her, the past decade of her career has been marked by similar experiences – being “dragged & humiliated” while important details remained hidden. She also criticized how public perception can be manipulated, suggesting that the truth is often overshadowed by more sensational or convenient narratives.

Rather than directly accusing Charli xcx of theft, Ferreira framed the issue as part of a broader pattern within the music industry. She implied that her work may have been used, adapted, or referenced without proper credit, but stopped short of naming individuals responsible. This careful wording has left room for interpretation: some see it as an indirect accusation, while others view it as a reflection of systemic problems around authorship and recognition.

Ultimately, Ferreira’s statements highlight the murky nature of creative ownership in pop music. While no concrete evidence has surfaced proving that songs were “stolen,” her insistence that the situation is “loaded” and misunderstood suggests there may be unresolved disputes behind the scenes. For now, the controversy remains largely speculative – driven by partial disclosures, fan interpretation, and Ferreira’s own cryptic but pointed remarks.

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Sky Ferreira, the quintessential alt-pop icon, has dropped her first new track in over two years, Leash, a sultry and biting original song for A24’s highly-anticipated film Babygirl. The song, released today via A24 Music, showcases Ferreira’s talent for blending vulnerability with electrifying synth-pop. It marks another pivotal moment in her storied career as she reasserts herself as one of music’s most dynamic figures.

Leash is quintessential Ferreira: sexy, bold, and tinged with danger. Its lyrics – “bit my tongue and bled the truth / as I live and breathe, I’m dead to you” – resonate with her signature blend of defiance and intimacy. Co-written with Jorge Elbrecht, the track channels the pop ethos that defined her groundbreaking 2013 debut album, Night Time, My Time, while signaling an evolution in her sound.

Sky Ferreira: A Cultural Force in Music and Beyond

Since her debut, Ferreira has been more than just a musician; she’s a cultural force. Born in Los Angeles, she emerged in the early 2010s as a unique voice in pop, defying expectations with a genre-defying blend of synth-pop, indie, and grunge. Night Time, My Time, praised for its raw confessional energy and Gaspar Noé-designed artwork, cemented her status as a trailblazer. Tracks like Everything Is Embarrassing and I Blame Myself remain cultural touchstones, earning her a cult following that has waited patiently for her long-promised sophomore album, Masochism.

Ferreira’s influence extends beyond music. As an actress, she’s appeared in Edgar Wright’s Baby Driver and David Lynch’s Twin Peaks: The Return. Her work on soundtracks, such as Emerald Fennell’s Promising Young Woman, underscores her ability to craft music that resonates across mediums.

Leash and the Cinematic Universe of Babygirl

Leash is not just a return for Ferreira but also a vital piece of Babygirl, a steamy psychological drama directed by Halina Reijn and starring Nicole Kidman, Harris Dickinson, Sophie Wilde, and Antonio Banderas. The film, slated for release on December 25, explores the fallout of a powerful CEO’s affair with her young intern. Ferreira’s song fits seamlessly into this world, amplifying its themes of desire, power, and consequence.

The Sky Ferreira Phenomenon: Why It Matters

Sky Ferreira’s cultural impact goes far beyond her music. She represents resilience in an industry often hostile to women who challenge its norms. Ferreira has navigated creative conflicts, industry politics, and personal hurdles with unyielding resolve. Her ability to stay relevant – even with sporadic releases – underscores the staying power of her artistry.

Leash is a statement reaffirming Ferreira’s place in the alt-pop canon while tantalizing fans awaiting Masochism. By pairing her music with the cinematic gravitas of Babygirl, Ferreira continues to blur the lines between mediums, creating art that is as evocative as it is enduring.

As Sky Ferreira heads back into the studio, her audience waits with bated breath. In a cultural landscape starved for authenticity, Ferreira’s voice remains as vital as ever, reminding us that some artists are worth the wait. We have added Leash to our New Music Spotlight playlist, and our TRIPPY playlist!

Header photo of Sky Ferreira by Morgan Maher

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In the lead up to Masochism (2016) the highly awaited follow up album from musical genius Sky Ferreira comes a rather pleasant surprise in the form of an incredibly crafted collaboration with the one and only Primal Scream. The track is called ‘Where The Light Gets In’ and is taken from the new Primal Scream album ‘Chaosmosis’, out March 18.

Sky duets with Bobby Gillespie on the album’s lead single, “Where the Light Gets In” produced by Gillespie, Andrew Innes, and Peter Bjorn and John’s Bjorn Yttling and the track comes with the rather charming psychedelic video above.

I’m personally floored by the song, it is so delicious both sonically and lyrically and the video and aesthetic (directed by Douglas Hart) really brings to life a side of Sky that we haven’t really seen until now.

Another musical highlight from this week are undoubtedly the Teddy Sinclair penned Kiss It Better (the third track on Rihanna’s ANTi) which was co-created by Glass John, Jeff Bhasker and Kenan Williams. You’ll have to listen via TIDAL here or buy it via iTunes.

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In a tragic turn of events, the best video that Sky has ever released also doubles as her most controversial because the mainstream press needs something to write about – apparently the ongoing Middle East crises aren’t enough and faux-racism in pop is more interesting. Anyway, the SSNESE sponsored (get that promo IMG) video (produced in collaboration with System Magazine) for I Blame Myself landed. It has choreography (as if anyone expected that EVER from Sky since Obsession, I mean she’s here to fuck with you all flawlessly), it’s bad ass and narrative based. It works, she looks fierce, I mean heroin chic has never been a more desired look right now. I love it. Fuck the haters. Peace.

Oh, you have to watch it on SSENSE because it is also shoppable, until it hits VEVO. Click the image above. Bye.

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You’re Not The One is the first official single from Sky’s debut album ‘Night Time, My Time’ out 29 October. The heroin chic (I know, the irony – Hedi would be proud) video is directed by Grant Singer. We’re not talking about the arrest, we’re not talking about the arrest, but the symmetry is all kinds of beautiful, which does make you think. Right?

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