British singer Adele is facing a significant legal challenge as a Brazilian judge has ordered the worldwide removal of her song “Million Years Ago” following a plagiarism claim. The ruling was made by Judge Victor Torres in Rio de Janeiro’s sixth commercial court and centers on allegations that Adele’s 2015 hit song improperly borrows from “Mulheres” (Women), composed by Brazilian artist Martinho da Vila in 1995. The complaint was filed in 2021 by Toninho Geraes, the composer of “Mulheres,” and although the case is still pending, the judge’s preliminary injunction demands an immediate global halt to all uses of Adele’s track.
The injunction explicitly instructs record labels, including the Brazilian branches of Sony and Universal, to cease all actions associated with “Million Years Ago.” This includes any form of reproduction, editing, distribution, or commercial exploitation of the song, regardless of whether it is through physical media or digital platforms such as streaming services. Reports indicate that the labels could face penalties of $8,000 for each instance of non-compliance with the court’s order. The case has drawn attention to issues of copyright and originality in music, particularly how international artists can impact local works and cultures.
Fredimio Trotta, the lawyer representing Geraes, hailed the ruling as a landmark decision for Brazilian music, emphasizing the long-standing issue of local artists frequently being overshadowed by international talents. Trotta’s firm is taking steps to notify international radio and television broadcasters, as well as streaming services, to comply with the injunction. This situation underscores growing awareness and sensitivity toward the originality of musical compositions globally, particularly in countries like Brazil where cultural heritage is rich and diverse.
Adele is not unfamiliar with accusations of plagiarism; she faced similar claims in 2015 from Turkish fans. They alleged that “Million Years Ago” mirrored a melody from “Acilara Tutunmak” (“Clinging to Pain”), a song by Kurdish singer Ahmet Kaya. Despite these claims, Kaya’s widow dismissed the idea that a prominent artist like Adele would consciously commit plagiarism. These prior accusations suggest that the complexities of musical inspiration and influence often blur the lines between homage and infringement.
This most recent plagiarism case highlights a possible shift in how music copyright is perceived and enforced, especially concerning global superstars. As streaming platforms continue to dominate music consumption, the potential impact on rights management is significant. The dynamics of cross-cultural music exchanges raise questions about the protection of local art forms against appropriation by larger international markets. The ongoing legal battles may serve to recalibrate the balance between artistic expression and intellectual property rights.
As the case unfolds, it may not only affect Adele’s career but could also set precedents for how similar cases are handled in the future. The outcome may shape the landscape of music creation, distribution, and copyright enforcement significantly. This situation serves as a reminder of the constantly evolving nature of the music industry, where innovation must be carefully balanced with respect for cultural origins and intellectual property. For artists worldwide, the implications of such legal battles could reignite discussions about collaboration, influence, and the very essence of musical creation in a globalized environment.