Summer Walker Blasts London On Da Track For Claiming He Had A Hand In The Creation Of Her Album

Whew! Summer Walker left no stone unturned on her new album ‘Still Over It’, where she made many revelations about the pain she endured while in a relationship with super producer London On Da Track. After the album was released, the gworls were riding the London hate train, but it looks like things have taken a turn.

As we previously reported, fans flooded London’s comment section on the ‘gram after Summer made claims about his cheating ways in some of her songs. Some fans even mentioned that Summer didn’t need London in order to make musical hits–a narrative he wasn’t trying to go with.

London took to his Instagram story with a series of posts, telling fans to continue streaming the album, and even had some choice words for Summer. In a recent post, however, London joked about being making money off of a diss album. Turns out, London’s name is mentioned in the writing credits for 10 out of the 20 songs on ‘Still Over It’ and Summer was not feeling his lil’ jokey joke.

“He didn’t WRITE sh*t & he didn’t PRODUCE sh*t either,” Summer wrote in The Shade Room comments. “He just handpicked the n*ggas he wanted to do all the work and attached his name to it while he was out screwin h*es while I was PREGNANT.”

According to Apple Music, London did have some sort of hand in the creation of Summer’s album, as his name–London Tyler Holmes–is listed as a contributing writer. Summer seems to have a different recollection of what happened, and said all he did was “sprinkle a wind chime effect” on one song.

“The most he did was sprinkle a wind chime effect on a song that was already done then put his name on it, the last album he actually did the work, and it was a great project,” she continued. “He super talented, but for this alum, lol no sir, but I guess the city boys is up, taking credit for ash you didn’t do and not actually having to take care of the kids you made.”

Despite the drama, Summer Walker’s album is reportedly heading toward the #1 debut on the U.S. albums chart with 185k-210k streams within the first week of its release.

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