A federal judge says Universal Music Group and Playboi Carti didn’t abuse the Digital Millennium Copyright Act when they issued a takedown notice – erroneously, it turns out – against another rapper’s song that used the same beat.

A rapper named G-Baby (Jordan White) sued the label and artist last year after they red-flagged his song “Oi!” for using the same underlying beat as Carti’s “Right Now.” The takedown turned out to be wrong — G-Baby had legally licensed the same beat that Carti had, and he had actually released his song first.

The lawsuit claimed that the move violated the DMCA’s safeguards against improper takedowns, but a judge dismissed those claims Tuesday – citing previous decisions that such restrictions only prohibit intentionally false use of the takedown system.

“Because the DMCA requires only a good faith belief that material is infringing, a copyright holder is not liable for misrepresentation under the DMCA if they subjectively believe the identified material infringes their copyright, even if that belief is ultimately mistaken,” Judge Analisa Torres wrote.

In G-Baby’s case, the judge noted that he had effectively conceded that the UMG employee who flagged “Oi!” as a copyright infringement did not know that the rapper had properly licensed the beat: “This admission alone dooms White’s claim against UMG,” Torres wrote.

According to Tuesday’s decision, G-Baby paid $250 to producer Pi’erre Bourne (Jordan Timothy Jenks) in 2017 for a non-exclusive license to an instrumental track, which he later used as the basis for “Oi!” The next year, Carti (Jordan Terrell Carter) used the same beat in “Right Now,” a track on the album Die Lit, which reached Number 3 on the Billboard 200.

Shortly after Carti’s song was released, a UMG “content protection specialist” flagged two posts on Twitter in which G-Baby had shared his song. Eventually, the Recording Industry Association of America filed a DMCA takedown, which succeeded in getting the track pulled down from Twitter.

In his lawsuit, G-Baby claimed that UMG had intentionally sought out his song because of animosity from Carti, who he claimed was unhappy that the same beat had been used by someone else.

“Carter and Jenks knew that ‘Oi!’ was properly licensed and not infringing, yet decided to conspire with Universal,” the rapper wrote in his complaint. “Carter, Jenks, and Universal sought the take-down of White’s song with the specific intent of harming White.”

But in Tuesday’s ruling, Judge Torres ruled that even if Carti and Jenks knew that G-Baby’s song was properly licensed, there is no evidence that this information was ever communicated to the UMG staffer who flagged the song for removal.

“White cites no caselaw for the proposition that one employee’s knowledge that a use may be non-infringing should be imputed to another employee who independently issues a takedown notice on behalf of the company,” the judge wrote.

As for Carti himself, Judge Torres ruled that there was no evidence that the rapper had any involvement in or knowledge of the takedown process – meaning he, too, could not have violated the DMCA’s rules.

“Although Carter may well have been aware of (and displeased with) White’s license to use the beat, White has failed to establish that Carter had any part in the takedown notices,” the judge wrote.

Attorneys for both sides did not immediately return requests for comment.

Every month, Billboard Latin and Billboard Español editors spotlight a group of rising artists whose music we love. Think “diamantes en bruto,” or “diamonds in the rough.” These are newcomers who have yet to impact the mainstream — but whose music excites us, and who we believe our readers should make a point to discover.

Our latest edition of On the Radar Latin includes a wave of emerging artists, who we discovered either by networking or coming across their music at a showcase, and beyond. See our recommendations this month below:

Deny K

Country: Colombia / Italy

Why They Should Be On Your Radar: Born in Colombia, but residing almost his entire life in Italy, Deny K (real name: Jhon Daniel Castro) is an artist and producer whose main mission is to shed more visibility on the global reggaetón scene in Europe. At only 23 years old, Deny K is already signed to Empire Records and has released a number of singles that flaunt his experimental versatility, from reggaetón to corridos to urban fusions with Middle Eastern rhythms.

His charming and boy-next-door personality, backed up by his dulcet vocals, can be heard on his most recent collaboration “WOA,” a flirty dembow with Dominican artist Angel Dior. Deny — who fluently speaks English, Spanish, and Italian — lived in the Dominican Republic during the pandemic, where he was able to secure collaborations with key local acts such as Kiko El Crazy and El Cherry Scom, to name a few. — JESSICA ROIZ

Song For Your Playlist: “WOA,” Deny K & Angel Dior

Doble Sentido

Country: Venezuela

Why They Should Be On Your Radar: The Venezuelen pop group is not entirely new, but it has only recently started to make noise internationally. Doble Sentido started out two decades ago as a family business, playing covers at fairs, weddings and local parties. Over the years, it evolved into an independent band writing its own songs, with a different lineup. Now based in Panama and made up of brothers Ray (voice and keyboard) and JuanMa (voice and guitar) Yepez, Gustavo Calvo (percussion), Erick Reyes (bass) and Fernando Colmenarez (drums), Doble Sentido made its official debut in 2019 with the single “Magia,” produced by Emmanuel Briceño (musical director of Juanes). Since then, they’ve been perfecting their sound in songs like “Mala Vida” and “Para Los Dos.”

“We are influenced by Latin pop, we sing songs of love and heartbreak, combining between ballads, merengue, urban and a little pop rock,” they tell Billboard Español. Their latest single is “No Quiero Perdérmelo” with Argentine rock band Los Rancheros. Released on Aug. 8, it’s an exhilarating breakup anthem about still being in love with the one that got away. — SIGAL RATNER-ARIAS

Song For Your Playlist: “No Quiero Perdérmelo,” Doble Sentido & Los Rancheros

EMMA

Country: Venezuela

Why They Should Be On Your Radar: As a Latin American trans woman, Venezuelan singer Emma has something to say, and she does it in an honest and eloquent way. “Being myself has been a challenge, but I face it with a lot of dignity and a lot of strength,” she tells Billboard Español, and that is evident in her songs. From the smooth reggaeton “Tantito” in 2020 to 2022’s “Me Puse Mami” to the bachata “No Era Yo” released in January, Emma presents herself as she is, addressing her challenges and professing the importance of self-love.

Living in Mexico for seven years — where she began her career as a singer-songwriter, and also her physical transition — Emma is dedicated to music, “wanting to transform people with my message” and collaborate as a writer with other artists. Last week, she released “Como a Una Mujer,” an emotional pop ballad about how she lives (“locked in a room, hidden”) and the illusion of wanting to live it in freedom (“as every person deserves”). Co-written by Emma with her Venezuelan compatriots Sara Schell and Juan Vegas, it is the first single from a five-song EP titled HEMMATOMA that she plans to release in March 2025. — S.R.A.

Song For Your Playlist: “Como a Una Mujer”

Little Homie

Country: Dominican Republic

Why They Should Be On Your Radar: Originating from Santo Domingo, Little Homie is carving out a niche in the realm of Spanish-language rap while helping boost drill in his native island. His breakout hit, “Bailando Drill” with fellow rappers Carlos Trvp, Blacky Drippy, Keyviem and Nelly Nellz, established him as a key player in popularizing the menacing trap subgenre.

Known for integrating gritty textures of old-school samples, his latest track “Tengo Eso” interpolates the merengue classic “Suavemente” by Elvis Crespo, blending traditional rhythms with hard-hitting beats. Tonight, he debuts his next single, “X ENCIMA,” through Roc Nation, featuring a soul-stirring sample of Nancy Sinatra’s “Bang Bang (You Shot Me Down)” entwined with punchy 808 drums and fluttering guitar riffs. A vital member of the young rap collective 4TG, with artists like Lismar and Keyviem, Little Homie is definitely a promising star to keep an eye on.— ISABELA RAYGOZA

Song For Your Playlist: “Tengo Eso”

NSQK

Country: México

Why They Should Be On Your Radar: A few weeks ago, I had the opportunity to meet NSQK in Miami during the listening session of his latest album ATP (acronym for “Aún te Pienso,” which means “I still think of you”). While he passionately explained the album’s creative process, I discovered that the Monterrey-born artist has an avant-garde vision of music. His marketing plan played with nostalgia and created an “imaginary world” that transports his listeners to “Radio ATP.”

With features such as Álvaro Díaz, Paopao, Easykid, El Malilla, and Nina Mínguez, NSQK’s latest set boasts collaborations that boost his project to an international level. The singer-songwriter and producer skillfully navigates through diverse musical genres, including rap, pop, reggaeton, R&B, and even regional Mexican music. These songs serve as melodic vehicles for expressing hope and positive messages through their lyrics. — INGRID FAJARDO

Song For Your Playlist: “Tarde o Temprano”

The summer may be coming to a close, but the high-profile releases from some of the giants of African music don’t appear to be slowing down at all.

Asake continues pushing his own sonic boundaries, tapping an array of international collaborators — including Travis Scott, the UK’s Stormzy, and Brazil’s Ludmilla — for his third studio album, Lungu Boy, a triumph of both expanding musical horizons and fully embracing your status as an innovator on the scene. The Nigerian hitmaker scored his first No. 1 on Billboard‘s U.S. Afrobeats Songs chart with “Active,” featuring Scott.

And renowned British-Nigerian producer London, whose artist name is Thisizlondon, has been behind some of the biggest Afrobeats hits in recent years, from Rema‘s Billboard Hot 100 No. 3 smash “Calm Down” to Ayra Starr‘s “Bloody Samaritan.” Now, he’s getting in front of them by recruiting Starr and 6LACK for his refreshing debut single “PINACOLADA,” and collaborating with Olamide and Alpha P on the latter’s “W.”

But those are just a few of the artists who have released big tracks in August. We’ve highlighted 10 of our favorite new Afrobeats (and related) songs that have come out roughly within the last month. Check out our latest Fresh Picks, and find your new summer soundtrack with our Spotify playlist below.

Asake feat. Wizkid, “MMS”  

Asake waxes philosophical on “MMS,” a highlight from Lungu Boy which stands for “Mr. Money Sound.” Asake chants “O ye ọlọun” in the chorus (meaning God understands in Yoruba) over P.Priime’s jazzy production, as he restores faith in listeners who feel overwhelmed with life’s twists and turns by reminding them about the path God has already put them on. Meanwhile, Wizkid reflects on losing himself, especially after the death of his mother last August, and finding his purpose as one of Afrobeats’ brightest stars. “As a young striving artist in Lagos, I have always been waiting for the right song, so when the opportunity came it was a no-brainer,” Asake told Apple Music about collaborating with one of his “musical inspirations.” 

JayO, “Suns Out”  

JayO reworks the “suns out, buns out” summer slogan for the hook of his latest seasonal anthem. Skittering hi-hats and hypnotic synths, courtesy of producers WHOSDAT and RZ, underline the British-Nigerian AfroR&B artist’s smooth melodies. “Suns Out” is sure to soundtrack the last day parties of the summer (ugh, don’t remind us it’s almost over).  

Efosa, “FEEL IT”  

After co-writing Darkoo’s summer smash “Favourite Girl” – which features Rema on its recent remix – British-Nigerian singer-songwriter Efosa drops his own sensual number. On “FEEL IT,” Efosa makes the case for why a woman should be with him, with his suave vocals doing most of the convincing. The drill-esque syncopated drums mimicking his heartbeat (“Do you feel it?” he repeatedly asks her) give the ballad’s woozy synths an upbeat edge. 

Omah Lay, “Moving”  

Omah Lay pursues happiness while struggling with hardships on his latest single “Moving,” from his sophomore album Clarity of Mind, which is slated for release this winter. The propulsive percussion and resonant rhythms drive the track’s sense of urgency, which reaches a fever pitch at the bridge when he chants, “You can tell that I ran out of time/ Unavailable a lot of times.” And the affecting music video gives “Moving” a more profound meaning. “I am telling the story of how illegal immigrants travel to Europe through the desert, through Sahara…. Home is really bad where we can’t stay at home,” he said in a recent Billboard News interview. “I’m telling the story of the whole world, where everybody’s looking for some place to find peace of mind, some place to just call home and feel relaxed.”   

Thisizlondon, Ayra Starr & 6LACK, “PINACOLADA”  

Thisizlondon taps frequent collaborator Ayra Starr and 6LACK for his debut single “PINACOLADA,” crafting a tantalizing concoction of Starr’s self-confident, vibrant delivery and 6LACK’s laidback R&B vocals that he’s lent to plenty of other Afropop records, like the remixes of Omah Lay’s “Damn” and Spinall and Fireboy DML’s “Sere.” “I wanted to create a vibe that captures the essence of summer — something that’s both chill and energizing,” Thisizlondon said in a press release.  

Asake feat. Ludmilla, “Whine”

Mr. Money Worldwide has finally arrived at the peak of his powers — and he’s clearly having fun. No song off his excellent new album exemplifies that better than “Whine,” in which producer Sak Pase flips Mary J. Blige’s 1992 classic “Real Love” into a joyful celebration of the ecstasies of love, and Brazilian singer Ludmilla adds a South American flair and a largely Portuguese verse to a track that is positively bursting with vibes. It’s the most euphoric track of his career so far.

Asake feat. Stormzy, “Suru”

This isn’t the first time Asake has linked up with a British rapper — and not even the only instance on this album — but this collaboration with Stormzy is a deeply emotional appreciation of how far each of them have come to reach where they are, and an acknowledgment of the sacrifices that were made by those around them along the way. It’s summed up by the first line of Asake’s hook — “My mama tell me say surulere,” surulere meaning “patience is rewarding” in Yoruba — and each of their verses, which center on their families’ role in their success. But maybe the best line is in the outro, when Stormzy acknowledges the hard work, too: “This was not a dream, it was more like a plan I believed in.”

Darkoo feat. Rema, “Favourite Girl”

We featured Darkoo’s original version of “Favourite Girl,” which featured Dess Dior, back in May. But this new remix with Rema brings the track to even greater heights, as the Afro Rave leader adds his own flavor with an exuberant verse that oozes self-confidence. The remix transforms what was already a great song into one that will fill dance floors to capacity for years to come — and is one of the best songs of the summer.

Oxlade & Fally Ipupa, “IFA”

Oxlade has always had a great ear for melody, and a talent for engaging with unexpected harmonies and layers in his vocals. “IFA” is very much in that lineage, as he croons over a laid-back Afrobeats drum pattern. But it’s the Congolese icon Fally Ipupa who comes through and takes this song to the next level, with his distinctive tenor bringing an entirely different flavor as he croons in French of a woman he would love to keep. It’s a great team-up, and a reminder that Oxlade remains one of the more creative hitmakers of his generation.

Alpha P feat. Olamide & Thisizlondon, “W”

The young Nigerian singer Alpha P taps two of the biggest names around for this wistful love song, in the YBNL chief Olamide and the in-demand producer Thisizlondon, the latter of whom crafted the perfect vibe for Alpha’s soaring melodies. And Olamide, known for so long for his hip-hop roots, perfectly meets the moment with his verse, both melodic and filled with his patented punch lines. The track is one of the best earworms of the year by far.

Musicians and songwriters don’t tend to agree on much, but many of them want former president Donald Trump to stop playing their music at his political rallies and campaign events. Whether they can is a quadrennial quandary. The legal answer is yes, at least for songwriters: The big two U.S. performing rights organizations (PROs), ASCAP and BMI, require political campaigns to buy special licenses, from which rightsholders can pull specific works. (The other two, SESAC and GMR, do not issue campaign licenses but can make songs available.) But campaigns don’t always honor those requests.

The use of pop music in campaigns goes back at least a century: Franklin D. Roosevelt used “Happy Days Are Here Again” in his 1932 campaign, and Louisiana governor Jimmie Davis, also a singer, used “You Are My Sunshine,” to which he owned the copyright but did not write. Over the last decade, though, as politics has become more polarizing and pop culture has taken over life in the U.S., this has gone from a subject of occasional interest to one that gets considerable mainstream attention.

In most cases, the unauthorized use of music at a campaign event follows a sort of script: A candidate uses a song and musicians or writers have their lawyers send a cease and desist letter, partly because some campaigns will respect it but often because it’s just a good way to communicate their disapproval in public. How much do I dislike Trump? Enough to have my lawyer write a letter! Some musicians have these letters written, even though a public performance license for an event is only required for a composition, not a recording. Approval is only needed from musicians if the use of music implies an endorsement or involves video, which requires a separate synch license from a song’s publisher.

Now a few recent cases are making this issue more complicated. In mid-August, the estate of Isaac Hayes filed a lawsuit against Trump and his campaign for regularly using “Hold On, I’m Coming” as “outro” music at campaign events. (The estate is suing for copyright infringement, as well as under the Lanham Act, which would cover an implied endorsement, and there will be an emergency hearing in the case on Sept. 3.) Beyoncé has warned the Trump campaign about its use of her song “Freedom,” which has become a theme song for vice president Kamala Harris. And the Foo Fighters objected to the Trump campaign’s use of their song “My Hero” as Robert F. Kennedy Jr. took the stage to endorse Trump. (They have not sued.)

It seems like an accident of legal history that those three examples fall under the same law as playing a song during an hourlong wait for a candidate to take the stage. In the latter case, no involvement or endorsement is implied — the songs are just used as background music. These cases are different, though. The Hayes estate’s lawsuit claims Trump has used “Hold On, I’m Comin’” 134 times, often as “outro” music, which arguably makes it something of a theme. Beyoncé’s “Freedom” has become identified with the Harris campaign, which uses it with permission. And the Trump campaign used the Foo Fighters song to soundtrack a particular moment, knowing that it would spread widely on video, even though the campaign didn’t have a license for that.

These songs haven’t just been played in public — they have arguably been drafted into service for a cause the writers don’t agree with. “Hold On, I’m Comin’” has been played at Trump events both often and purposefully. Beyoncé should have the right to be identified with the candidate she wants to win. And the Foo Fighters song shows up in news coverage and online video, with the implication that Kennedy is some kind of hero for endorsing Trump.

Although we think of the use of music as a copyright issue involving a public performance, there’s more going on in all three of these cases. The current license system seems to work fine for the way campaigns use music at events in the background. But it would be nice if campaigns could agree with rightsholders, or even with one another, to get permission if a song is used in a way that will identify it with the candidate — and especially if it’s used for a moment that will be widely shared on video. This doesn’t necessarily follow legal logic, but it seems like common sense: If a campaign deliberately selects a song like “My Hero” to soundtrack a moment that is essentially designed to spread on video, doesn’t it make sense to get a video license? Who are we kidding?

Until the situation changes, creators will just keep objecting to the unauthorized use of their work — and they are starting to do so in more creative ways. The Foo Fighters have said they will donate the royalties from Trump’s use of “My Hero” to the Harris campaign. While the Hayes estate’s lawsuit goes forward, it might point out that although “Hold On, I’m Comin’” is played regularly at rallies — it was even rewritten as “Hold On! Edwin’s Coming” for the campaign of Louisiana governor Edwin Edwards — the song gets its name from what co-writer David Porter said to Hayes from the Stax Studios bathroom. If Trump isn’t using the restroom, perhaps another song might work better.

Politicians who use songs with permission also have some bragging rights. Tim Walz can say that Neil Young allowed him to use “Rockin’ in the Free Word” at the Democratic National Convention — an odd choice given the song’s sarcastic lyrics, but still great cred from a music icon. Harris can say the real “Freedom” is hers — and Beyoncé’s support with it. And we can all wait to see who Taylor Swift will endorse.