If you’re not interested in listening to Sean “Diddy” Combs’ music after his recent arrest and federal sex crime allegations, muting his songs is simple.

As a lead artist, his notable tracks like “Can’t Nobody Hold Me Down,” “Been Around the World,” and the renowned tribute to Notorious B.I.G., “I’ll Be Missing You,” hit their peak popularity in the late ‘90s.

In the 2000s, he notably collaborated with artists like Ginuwine, Nelly, and Keyshia Cole on various projects. Recently, Combs made a return with “The Love Album: Off the Grid,” which focused on R&B and featured artists such as Swae Lee, Summer Walker, and Justin Bieber, who has known Combs since he was a teenager.

However, Combs’ individual music output is just part of his extensive legacy as a mogul of Bad Boy Records and an influential producer. His behind-the-scenes contributions have significantly shaped the music landscape, making it difficult to completely avoid his involvement in songs.

As Combs, who is now 54, awaits trial at the Metropolitan Detention Center in Brooklyn facing serious charges including racketeering and sex trafficking, fans face a dilemma reminiscent of reactions to allegations against other famous figures like Michael Jackson, Chris Brown, and R. Kelly: Should they continue listening or walk away?

Combs’ Influence on Music by Mary J. Blige, Mariah Carey, and J. Lo

There are some unique aspects concerning the case against Combs, notably a disturbing video that shows him attacking singer and former girlfriend Cassie Ventura in a hotel hallway back in 2016.

“That footage changes the narrative,” says Anthony DeCurtis, a contributing editor for Rolling Stone. “It’s not like when Dave Chappelle joked about Chris Brown hitting Rihanna, questioning her actions. In this case, it’s impossible to diminish what you see. It’s simply shocking.”

The graphic nature of the video may push some of Combs’ long-time fans to distance themselves from his music, but completely avoiding all music associated with Combs is no easy feat, given his extensive contributions across many playlists.

Following Biggie, artists such as Craig Mack, Faith Evans, 112, and Mase joined the label. Biggie’s tragic death in 1997 was just two weeks before the release of his groundbreaking second album, “Life After Death,” which included the hit “Mo Money Mo Problems” produced by Combs—a pivotal record in hip-hop history.

Before launching Bad Boy, Combs honed his skills at Uptown Records, where he helped produce Mary J. Blige’s debut record, “What’s the 411?,” and co-wrote songs like “Leave a Message” and “Changes I’ve Been Going Through.” Two years later, he played a key role in her successful “My Life” album, producing hits like “I’m Goin’ Down.” This collaboration sparked a deep friendship with Blige, who, alongside some of Combs’ children, honored him with the MTV Global Icon Award at the 2023 VMAs.

Combs’ influence extends to a wide array of artists, including TLC (on their 1994 album “CrazySexyCool”), Mariah Carey (with the hit “Honey” from 1997’s “Butterfly”), LL Cool J (the title track of 1997’s “Phenomenon”), and Burna Boy (contributions on the 2020 album “Twice as Tall”).

Many artists who have collaborated with or were connected to Combs.

Usher and others in the music industry might be reconsidering their connections with Sean “P Diddy” Combs. Their association dates back to Usher’s teenage years, when he moved in with Combs to get a firsthand look at the music industry under the guidance of L.A. Reid from LaFace Records.

Combs’ relationship with Jennifer Lopez in the late ’90s also had musical ties—he co-wrote and produced “Feelin’ So Good” for her album “On the 6,” which has sold over 10 million copies globally. Additionally, he produced her 2001 album, “J. Lo,” which debuted at No. 1 on the Billboard 200.

Despite this, music expert DeCurtis doesn’t believe Combs’ controversies will severely impact the artists he worked with professionally.

“His own music might take a hit, but most people might not connect his past to the artists he worked with,” DeCurtis shared. “While the gravity of his actions puts him in a tough spot, it’s uncertain if listeners will reflect that in their connection to his music.”

Listeners ponder ‘Is it time to move on from Diddy?’

Fans are actively expressing their thoughts on social media, contemplating whether they should stop supporting Combs’ music, as well as that of artists connected to him professionally.

“Are we officially boycotting Diddy’s music? I’d have to give up 80% of the tracks I love from my era!” lamented one user on X.

Opinions varied, with some stating, “His rise to fame involved some really dark tactics,” while others defended his work, praising albums like “No Way Out” and “Life After Death.”

On Reddit, the debate continues, with some praising Combs’ talent for incorporating samples into music, while others criticize his lyrical style and dance moves.

While Combs may struggle, Kesha thrives on the dance floor

This controversy prompts a broader consideration within the music industry—whether personal controversies of artists should affect their music being played in public spaces. Radio and club DJs often look to audience reactions to guide their music choices during these sensitive times.

Nick Spinelli, a DJ in southern New Jersey for two decades, mentions that some of his peers take a moral stance when deciding whether to play an artist’s material.

“Ultimately, it’s about the crowd—if an artist no longer resonates with the audience, then it’s time to reevaluate,” Spinelli noted. However, he hasn’t received any requests for Combs’ songs and previously hadn’t played them due to lack of demand.

Interestingly, since Combs’ recent legal troubles, the opening line of Kesha’s 2009 hit “TiK ToK” – “Wake up in the mornin’, feelin’ like P. Diddy” – has sparked lively reactions from party crowds.

“It always gets a reaction—like laughter or groans,” Spinelli remarked. “When you have that kind of energy, you want to harness it.”

(Kesha recently announced plans to re-record the song with new lyrics, substituting ‘(expletive) P. Diddy’).

While Spinelli has removed R. Kelly from his playlist after experiencing a negative crowd response to a couple requesting “Ignition (Remix) Pt. 2” at a wedding, he’s still letting audience preferences guide his choices with Combs’ music.

“Most party-goers are uninformed about Combs’ connections with other artists,” Spinelli added. “It’s a tricky situation, so I follow the crowd’s cue. If people stop enjoying it, I’ll stop playing it.”