In order of occurrence...

Afrodisiac was critically acclaimed, but Brandy's new image alienated her from her fans and the promo from the label was horrible

Being exposed for lying about being married

The car wreck...the investigation went on so long a lot of people thought she was getting charges

Throw in the fact that these issues made a lot of people start to believe the longstanding rumors of she and her mother being difficult were true

Brandy survived the 2000s because she is still relevant today. The things you listed made her 2000s pretty rough but she made it and still standing. Whether it's true or not of her being difficult that shouldn't have factored with her having success. Tons of celebrities are difficult and are still finding success.

When you look at Brandy the first thing that will come to mind is that when debuted in 1994 she was a positive role model for all ages and had something rare that all singers did not have music with lyrics to sing along with and so when her self-titled debut album came out she was destined to be a superstar. And when she released her second album Never Say Never in 1998 Brandy was on the road to success and so with Moesha and filming Rodgers And Hammerstein's Cinderella Brandy showed no sign of stopping. But when Full Moon came out in 2000 Brandy knew she had regained her new audience but as soon as her fourth album came out Brandy went downhill and so that's why her album Human recieved no promotion from Epic Records but when Two Eleven came out Brandy was back on top. But one thing that I think slowed down her career was she became pregnant with her daughter and divorced her husband and now that she was a mother Brandy thought she could still be the good role model she was meant to be. I have been a Brandy fan since she came out and I think if she can make a TV comeback she really should and the new album will prove it
Bestie

Brandy is making her return back to tv this fall in Queens for abc. She had a decent music comeback last year, she got 3 top ten hits and one reaching the top spot and getting her a Grammy nomination. Brandy is doing fine for herself imo.

Brandy had to lose most of her audience to find her masterpiece with ‘Afrodisiac’ (https://aseatintheaisle.wordpress.com/2020/04/08/brandy-had-to-lose-most-of-her-audience-to-find-her-masterpiece-with-afrodisiac/)

By 2004, Brandy had established a steady, solid career as a singer/actress. She amassed 9 top 20 hits, three multi-platinum albums, and a six-season stint as a lead on her own sitcom Moesha. Her work at this point was radio-friendly pop-R&B, expertly-produced, seemingly tailor-made for top 40 radio and MTV. As an artist, it didn’t look like she was being challenged.

But personal and professional changes in her life set the stage for her fourth studio effort, Afrodisiac in 2004. Jettisoning longtime producers Keith Crouch and Rodney Jerkins, she found a musical kindred spirit in Timbaland, who moved the singer away from the shiner pop of her past for something funkier and more souful.

Judging from her past albums, there was no reason to expect the brilliance of Afrodisiac. Though not the first neo-soul or alternative soul album, it is a pioneering, groundbreaking album that brought alt-soul into the mainstream. Though she didn’t write any of the lyrics, the army of expert songwriters – including Timbaland, The Clutch, Warryn Campbell, and a then-up and coming Kanye West – was able to connect with Brandy. The lyrics were moody, rueful, and pained. The songs told stories of heartache, heartbreak, and disappointment. The producers also set up a luxurious, thoughtful soundscape, with multi-layered sounds, that recalled 70s soul, alternative pop, hip-hop, rock, and symphonic orchestral music. When sampling, Afrodisiac boasts a diverse and rich list of songs including Iron Maiden’s “The Clansman,” Coldplay’s “Clocks,” Janis Ian’s “Jesse,” even finding a place for Hans Zimmer.

By 2004, Brandy had established a steady, solid career as a singer/actress. She amassed 9 top 20 hits, three multi-platinum albums, and a six-season stint as a lead on her own sitcom Moesha. Her work at this point was radio-friendly pop-R&B, expertly-produced, seemingly tailor-made for top 40 radio and MTV. As an artist, it didn’t look like she was being challenged.

But personal and professional changes in her life set the stage for her fourth studio effort, Afrodisiac in 2004. Jettisoning longtime producers Keith Crouch and Rodney Jerkins, she found a musical kindred spirit in Timbaland, who moved the singer away from the shiner pop of her past for something funkier and more souful.

Judging from her past albums, there was no reason to expect the brilliance of Afrodisiac. Though not the first neo-soul or alternative soul album, it is a pioneering, groundbreaking album that brought alt-soul into the mainstream. Though she didn’t write any of the lyrics, the army of expert songwriters – including Timbaland, The Clutch, Warryn Campbell, and a then-up and coming Kanye West – was able to connect with Brandy. The lyrics were moody, rueful, and pained. The songs told stories of heartache, heartbreak, and disappointment. The producers also set up a luxurious, thoughtful soundscape, with multi-layered sounds, that recalled 70s soul, alternative pop, hip-hop, rock, and symphonic orchestral music. When sampling, Afrodisiac boasts a diverse and rich list of songs including Iron Maiden’s “The Clansman,” Coldplay’s “Clocks,” Janis Ian’s “Jesse,” even finding a place for Hans Zimmer.

As a singer, Brandy doesn’t posses the most powerful voice in pop music, but it is very distinct. It’s a sexy, murmur that earns grit, gravitas, and an appealing rasp on the album. She connects with the songs on the album in a way that she hadn’t before (or has since) and the album maintains a sterling consistency through a sprawling 15 tracks. Like most mainstream pop albums, the majority of the tunes deal with love, but these aren’t sticky love ballads. The songs resonate because they tap into a kind of raw energy that Brandy rarely showed before in her music. In the song’s opener “Who I Am” the diva lays into her ex, ironically thanking him for putting her through hell because she’s emerged a stronger woman. “Who Is She 2 U” casts Brandy as a scorned woman who is railing against her partner’s gaslighting. “I Tried” works the guitar work of Iron Maiden’s “The Clansman” as the song’s lyrics reproach a cheating spouse. And the grand, epic “Finally” has Brandy empowering herself by realizing that she’s ultimately responsible for her her own happiness – the over-the-top production being topped off by Hans Zimmer’s heroic orchestral music.

The album’s best moment is the closer, “Should I Go.” Working on top of Coldplay’s “Clocks” iconic tic-tocing piano riff, Brandy sings with a moody resignation about the pop music industry, in particular, her place in the industry. As a former teen-pop star, Brandy had to grow up in the public eye, mature as an artist and a celebrity. It’s a heartbreaking song in which the singer is trying to figure out how and where she fits in; By 2004, Brandy was a vet, but also saw that her position being usurped by younger pop stars. It’s the high point of the record and really the point of Afrodisiac. It’s an artist who is wrestling with her work. Part of the song’s lyrics highlight the unique position Brandy is in – not a struggling, hungry artist, but someone who can take risks with her music.

And that’s what Afrodisiac is – a record that took risks. Brandy had a winning formula but the record played with that formula – in fact, it blew it apart. For her efforts, Brandy was rewarded with some of the best reviews of her career. Somewhat expectedly, Afrodisiac didn’t sell as well as her other efforts, and her singles failed to make it to the top 20. Part of that could be explained because the other albums were state-of-the-art pop records that leaned on pop radio trends. Afrodisiac ignored urban pop trends and instead reveled in its eccentricities. Though Brandy lost a sizable chunk of her audience after its release, Afrodisiac proved to be a magnum opus, one that predicted a slew of urban-pop records for years to come.