Bad Bunny Sued for $16 Million Over Alleged Unauthorized Use of Voice Recordings
Bad Bunny is facing a new lawsuit in Puerto Rico alleging that he and his collaborators used a woman’s recorded voice on two commercially released songs without her consent, seeking at least $16 million in damages.
The plaintiff, Tainaly Y. Serrano Rivera, filed a 32-page complaint on Monday claiming her voice appears on “Solo de Mi,” from X 100pre, and on “EoO,” a track from Bad Bunny’s 2025 album Debí Tirar Más Fotos. According to the filing, both songs include Serrano delivering the line, “Mira, puñeta, no me quiten el perreo,” a phrase that has since become closely associated with the artist’s work and live performances.
Serrano alleges that she recorded the line in 2018 at the request of producer Roberto Rosado, known professionally as La Paciencia, while the two were students in the theater program at the Interamerican University of Arecibo. She claims she was never told the recording would be used for a commercial release, nor did she sign a contract, license, or written authorization permitting its inclusion in any song.
The lawsuit contends that the recording has since been incorporated into Bad Bunny’s catalog and public persona, appearing not only on the two tracks but also during concerts and in connection with merchandise sales. Serrano argues that this use violated her rights to privacy and publicity under Puerto Rico law and that she is entitled to compensation for the commercial exploitation of her voice.
Named as defendants alongside Bad Bunny, born Benito Antonio Martínez Ocasio, are his record label, Rimas Entertainment, and Rosado.
The lawsuit is notable in part because Serrano is represented by attorneys José M. Marxuach Fagot and Joanna Bocanegra Ocasio, who previously represented Carliz De La Cruz Hernández, Bad Bunny’s former girlfriend, in a separate voice-related dispute. In that earlier case, De La Cruz Hernández alleged that her voice was used without permission on two songs released by the artist. That matter was initially removed to federal court before being sent back to Puerto Rico’s court system, where it remains unresolved.
In her current complaint, Serrano emphasizes that she never received compensation or credit for the recording and maintains that she did not anticipate it would become part of a widely distributed musical work. She argues that the repeated use of the line, across multiple albums, tours, and promotional materials, significantly increased its commercial value while depriving her of any benefit or control.
The filing seeks damages of no less than $16 million, though it leaves open the possibility of additional relief depending on the court’s findings. It also requests that the defendants cease further use of the recording unless proper authorization is obtained.
Whether Serrano’s claims will withstand scrutiny remains to be seen. Still, the lawsuit raises broader questions about informal recording practices and the legal boundaries of collaboration in the early stages of an artist’s career.
