New York – Afro-fusion megastar Burna Boy has landed in a legal battle as Haitian music legend Fabrice Rouzier files a copyright infringement lawsuit against him in the United States District Court for the Eastern District of New York. The suit alleges that Burna Boy, whose real name is Damini Ogulu, unlawfully used key elements of Rouzier’s 2002 hit Je Vais in the recent track 4 Kampe II, a collaboration with French-Haitian singer Joe Gilles, popularly known as Joe Dwet File.
Rouzier, a titan in Haitian kompa and jazz circles, claims the remix borrows extensively from his original work — not just musically, but thematically and visually — without his knowledge or consent. In the legal filing, he argues that 4 Kampe II, released on March 28, 2025, infringes upon his storyline, musical composition, sound recording, and visual materials.
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The lawsuit is as layered as a Burna Boy beat — and equally resonant in its implications for global music. According to court documents first reported by Peoples Gazette, the dispute actually traces back to late 2024, when Joe Dwet File released the original version of 4 Kampe. Rouzier promptly issued a cease-and-desist letter, alleging the song had lifted from Je Vais. In a dramatic twist, the suit claims that Gilles admitted to using Rouzier’s material without permission — an admission that now plays a central role in the case.
Rather than backing off, Gilles allegedly doubled down, enlisting Burna Boy for 4 Kampe II — a remix that, Rouzier insists, amplified the unauthorized use of his intellectual property. One particular line under scrutiny is the French lyric “Chérie, ou sou sa kampe” (“Darling, let’s do this in the standing position”), which Rouzier argues closely mirrors his own song’s distinctive lyrical phrasing and romantic theme.
“This isn’t just about a song,” a source close to Rouzier said. “It’s about respect — for creativity, for cultural heritage, and for the rights of the artist.”
Rouzier is demanding compensatory and exemplary damages, coverage of legal fees, and an injunction to prevent any further use of his music, image, or artistic identity in connection with either 4 Kampe or 4 Kampe II. He is also calling for the destruction of all physical and digital copies of the disputed works.
What’s more, the lawsuit comes amid a growing wave of legal scrutiny around major Afrobeat stars. Just two weeks prior, Burna Boy’s fellow Nigerian heavyweight David Adeleke (a.k.a. Davido) was also hit with a copyright suit in the U.S., with four Nigerian artists accusing him of unauthorized use of their track Work.
Observers note that these back-to-back legal challenges mark a critical moment in the global expansion of African music — where skyrocketing international fame brings increased legal accountability.
With African fashion and music continuing to dominate global stages, the intersection of creativity and copyright is becoming impossible to ignore. Whether Burna Boy’s signature sound crossed the legal line remains for the courts to decide, but one thing is clear: intellectual property is now a headline act in the Afrobeat revolution.
