Snoop Dogg has settled a lawsuit with veteran session musician Trevor Lawrence Jr., who accused the rapper of using two unlicensed backing tracks on his 2022 album BODR (Bacc On Death Row). The joint motion to dismiss the case was filed on June 24, officially bringing the dispute to a close after months of legal back-and-forth.
The resolution, reached through mediation in April, ends a conflict that was on track for trial in Los Angeles federal court this September. The terms of the settlement have not been made public, but Lawrence’s attorney confirmed his client is “happy to have resolved the dispute.”
The Dispute: Music Rights, NFTs, and Alleged Millions
Lawrence, a respected drummer and producer with credits alongside artists like Bruno Mars, Alicia Keys, and Kendrick Lamar, had filed the lawsuit in 2023. He claimed that Snoop Dogg (real name Calvin Broadus) and Death Row Records used his instrumental tracks—originally provided “on spec” in 2020—for the songs “Pop Pop” and “Get This D--k” without securing licensing agreements.
According to the complaint, Lawrence had explicitly informed Snoop that a licensing deal would be necessary for any commercial release. Nonetheless, BODR dropped in 2022 with both songs included, allegedly without compensation or formal approval.
Lawrence also raised objections over the release of the tracks as NFTs (non-fungible tokens)—a move he claims generated tens of millions of dollars, amplifying the stakes of the lawsuit.
Snoop’s Defense: Payment Was Made, Terms Were Accepted
Snoop Dogg’s legal team pushed back firmly. In court filings, they stated that Snoop had offered a $20,000 producer fee, which Lawrence cashed prior to the album’s release. They argued that doing so signified acceptance of the deal, which included customary producer royalties.
The defense described Lawrence’s claims as an attempt at a “preposterous windfall,” contending that the case amounted to a contractual misunderstanding rather than infringement.
“If Lawrence is entitled to any monies from defendants, it is the agreed-upon producer royalties offset against the $20,000 that he was already paid,” Snoop’s lawyers stated in a December filing.
Album Performance and Industry Context
BODR—Snoop Dogg’s first release after acquiring the Death Row Records brand—peaked at No. 104 on the Billboard 200 in February 2022. Neither “Pop Pop” nor “Get This D--k” charted individually, though the album was notable for its symbolic significance, marking Snoop's return to the label that launched his career.
The case highlights the growing legal complexities surrounding music licensing in the digital and NFT era, especially in situations involving informal collaborations or “on spec” submissions.
Final Word: Dispute Ends, But Industry Lessons Remain
While neither side has disclosed settlement details, the resolution spares both parties a public trial. For Lawrence, a positive outcome reaffirms the importance of licensing clarity. For Snoop, it closes a chapter in an otherwise high-profile return to his roots.
As music rights and technology continue to intersect, cases like this underscore the need for clear contracts, especially as NFTs and digital assets introduce new revenue streams—and new risks.