Bad Bunny Demands $456k in Legal Fees from Mr Eazi’s emPawa Africa

Bad Bunny "Enséñame a Bailar" Lawsuit Why emPawa Africa Faces $456k Penalty:

Bad Bunny’s legal team has officially petitioned a federal court to order Mr Eazi’s emPawa Africa to pay $456,312 in legal fees following the dismissal of the "Enséñame a Bailar" copyright infringement lawsuit.

emPawa Africa vs. Bad Bunny: Court Battle Ends in $456,312 Fee Motion

Bad Bunny Seeking $456,000 in Legal Fees Following Dismissal of "Enséñame a Bailar" Copyright Suit:

The high-stakes copyright battle between Puerto Rican superstar Bad Bunny and Nigerian music powerhouse emPawa Africa has reached a decisive turning point. Following the dismissal of a year-long lawsuit, legal counsel for Bad Bunny and Rimas Entertainment has filed a formal motion in a California federal court, requesting that emPawa Africa be held liable for $456,312 in attorneys' fees and associated litigation costs. 

This move signals a shift from defense to offense for the global icon as his team seeks to recoup the financial toll of what they describe as a meritless legal campaign.

The dispute stems from the 2022 global hit "Enséñame a Bailar," featured on Bad Bunny’s record-breaking album Un Verano Sin Ti. In May 2025, Nigerian producer Ezeani Chidera Godfrey (Dera) and emPawa Africa the label founded by Afrobeats pioneer Mr Eazi initiated a lawsuit alleging that the track utilized an unauthorized sample of the 2019 Joeboy single "Empty My Pocket." The plaintiffs argued that the rhythmic and melodic similarities constituted a breach of intellectual property, seeking millions in damages and a share of the song’s lucrative royalties.

Bad Bunny’s defense team, led by Rimas Entertainment, remained steadfast throughout the proceedings, asserting that all necessary permissions had been obtained prior to the album's release. They maintained that the sample was legally cleared through Lakizo Entertainment, the distributor originally responsible for the Joeboy track. The defense argued that any internal disputes between Lakizo, emPawa, and the producer regarding ownership rights did not invalidate the good-faith license acquired by Bad Bunny’s camp.

The tide of the case turned sharply in early 2026 when internal fractures appeared within the plaintiffs' legal strategy. In March, the presiding judge dismissed the lawsuit in its entirety after Dera’s legal representatives withdrew from the case, citing "irreparable differences" with their clients. Following this withdrawal, the plaintiffs reportedly failed to meet critical court deadlines or appear for scheduled hearings, leading the court to rule that the litigation had essentially been abandoned by the Nigerian counterparts.

In the newly filed motion for fees, Bad Bunny’s attorneys characterize the lawsuit as a tactical maneuver designed to "extract an undeserved, multimillion-dollar settlement" from one of the world's most successful artists. The filing emphasizes that the defense was forced to expend significant resources to combat claims that lacked a substantive legal basis. By requesting nearly half a million dollars, the defense aims to set a precedent against what they term "frivolous" copyright claims targeting high-profile musicians.

Notably, the motion specifically targets emPawa Africa for the payment, rather than the producer, Dera. The legal filings suggest that emPawa was the primary financier and strategic driver of the litigation, while Dera played a secondary role in the decision-making process. This distinction highlights the complexities of international music administration, particularly when multiple entities claim a stake in the intellectual property of rising Afrobeats stars.

As the court deliberates on the motion for fees, the outcome could have lasting implications for how international sampling disputes are settled. For Mr Eazi and emPawa Africa, the ruling represents a significant financial and reputational hurdle. Meanwhile, for Bad Bunny, the successful defense of "Enséñame a Bailar" reinforces the importance of meticulous clearance protocols in an era where global sounds frequently cross borders and genres.