After lingering in the courts for nearly a year, a contentious copyright infringement lawsuit against a Pitbull track has concluded with an undisclosed settlement in 2025. The legal dispute, which began in 2024, centered on allegations that “I Feel Good” improperly borrowed elements from a 2006 composition titled “Samir’s Theme,” to which All Surface Publishing held the rights.
The lawsuit significantly targeted a Universal Music Group subsidiary and DJ White Shadow, who featured on the track, rather than Pitbull himself. According to court documents, the infringement claim hinged on specific musical similarities between the two songs, particularly three descending notes that begin the melody. “Samir’s Theme” utilized F#, F, and E, while “I Feel Good” employed G, F#, and E in a remarkably similar pattern.
While Pitbull escaped direct naming, the lawsuit centered on three descending notes forming strikingly similar melodic patterns in both tracks.
The plaintiff’s case was built on both musical resemblance and a timeline of access, claiming that “Samir’s Theme” had been sent directly to DJ White Shadow in 2011, years before “I Feel Good” was released in 2021. This established opportunity for copying, a vital element in copyright infringement cases.
Music industry experts following the case noted the critical distinction between coincidental similarity and provable copying. “Common musical phrases exist throughout popular music,” explained one musicologist, “but courts look for both access and substantial similarity to establish infringement.”
The case’s quiet resolution follows a pattern seen in similar disputes, where parties often prefer settlement to avoid lengthy litigation costs and public scrutiny. Critics argue that such settlements represent a growing concern that common musical structures can become grounds for litigation despite their widespread use in the industry. Neither Pitbull’s representatives nor All Surface Publishing issued statements regarding the settlement terms.
The resolution leaves ambiguity regarding the merit of the claims, as settlements typically include no admission of wrongdoing. For composers and producers, the case underscores ongoing tensions in an industry where musical elements frequently overlap. Cases like this highlight why many songwriters register with performing rights organizations to protect their compositions and ensure proper attribution and compensation.
At the heart of the dispute was the practice of audio sampling, which requires producers to transform source material significantly to avoid copyright complications. It also highlights the increasingly active role of publishing companies in pursuing copyright claims, often acting independently from the original creators whose work they represent. The defendants were fortunate to avoid the substantial financial penalties seen in other cases, where unsuccessful parties have been ordered to pay up to $186,000 in costs.
