Judge Reverses Course, Dismisses Copyright Claims in Massive Reggaeton Lawsuit Against Bad Bunny and Others
A federal judge has reversed an earlier ruling, ending a large portion of a lawsuit that alleged roughly 1,800 reggaeton songs infringed on a 1989 composition. The judge agreed with defendants that plaintiffs failed to identify a single copyrighted work containing the allegedly protectable selection. The decision is a major victory for Bad Bunny, Drake, and other prominent artists.
The ruling stems from a reconsideration of a July decision that had allowed the case to move toward trial. Plaintiffs alleged that the dembow rhythm, a defining reggaeton pattern, originated from the 1989 track “Fish Market” by Steely & Clevie. However, Bad Bunny’s legal team argued that the claimed protectable elements were assembled from different parts of separate songs, not a single coherent composition. Judge André Birotte Jr. agreed, noting plaintiffs failed to pinpoint one copyrighted work containing the exact selection they sought to enforce.
The lawsuit targeted roughly 1,800 songs by over 100 artists, including Karol G, Pitbull, and Justin Bieber. Key testimony revealed that the two-measure pattern in question combined a bar from “Fish Market” with another from bar 22, while a related timbale loop appeared only in “Pounder (Dub Mix II),” a song whose composition copyright is owned by a non-party. This procedural victory does not necessarily bar future claims but significantly narrows the current litigation’s scope.
This decision could reshape how rhythm-based copyright claims are pursued in popular music, particularly for genres built on shared percussive traditions. If upheld, it may discourage plaintiffs from asserting broad ownership over foundational patterns, potentially protecting artists who draw on collective musical heritage. Conversely, it might push rights holders to file more narrowly tailored suits, leading to clearer legal boundaries. The outcome affects not only the named superstars but also independent producers and songwriters who rely on established rhythmic idioms, as it clarifies that copyright protection requires a specific, identifiable original work rather than a stylistic pastiche.