I'm Fabrizio Moreira, a producer and songwriter. This is my account, and every fact rests on a document I keep. The companies' account is in The other side.
My company signed contracts with Tu Música for eleven songs on “Camisa 10”, the album released on June 9, 2026 and distributed by ADA, a Warner Music Group company.
Those contracts require royalty statements to be delivered periodically. As of October 6, 2026, my company has not received a single one. It has not received any payment either.
I don't know how much those songs earned. That is what a royalty statement is for.
“Agua” and “Equipo Preferido” were released on that same album. They are productions I created with my team.
On this project, each of my songs was authorized by a contract. For these two I never received one, and I did not authorize their release. Before the release I wrote to Tu Música that they were my team's production and that my participation still had to be agreed.
After my notices, the two songs were taken down from the platforms.
I signed a split sheet for “Equipo Preferido” with the other creators. A split sheet divides the percentages of the composition among the people who wrote it. Tu Música is not a party to that document.
For “Agua” I signed nothing.
The person who brought these two songs to the project confirmed in writing, through his attorney, that he had no authority to license them and that authorization had to be requested from me.
I did not invent these rules. The U.S. Supreme Court set them more than thirty years ago. Under each one is what happened with “Agua” and “Equipo Preferido”, according to my documents.
Community for Creative Non-Violence v. Reid, 490 U.S. 730 (1989)
“the author is the party who actually creates the work, that is, the person who translates an idea into a fixed, tangible expression entitled to copyright protection.”
In my caseI created these two productions with my team. I signed no contract with Tu Música covering them.
Harper & Row v. Nation Enterprises, 471 U.S. 539 (1985)
“The right of first publication implicates a threshold decision by the author whether and in what form to release his work.”
In my caseBefore the release I wrote to Tu Música that they were my team's production and that my participation still had to be agreed. They were released on June 9, 2026 without my authorization.
Stewart v. Abend, 495 U.S. 207 (1990)
“So long as the pre-existing work remains out of the public domain, its use is infringing if one who employs the work does not have a valid license or assignment for use of the pre-existing work.”
In my caseMy productions existed before the vocals were recorded. On September 30, 2026 I asked Warner to say whether it holds any signed authorization to use them. It has not answered.
The two songs are no longer on the platforms. Nobody has told me under what authorization they were released or what happened to what they earned.
This is my position. No court has decided this case, and Tu Música maintains there was no infringement: its argument is in The other side. None of this is legal advice.
On August 3, 2026, Warner Music Group replied to me in writing that it acts only as a distributor, that it had referred my claim to Tu Música, and that it would come back with an answer.
Warner's answer has not arrived.
Warner replied on the date shown in the timeline.
On September 30 and October 6, 2026, I wrote to Warner again. I asked for the revenue figures and for written confirmation of whether it is holding the revenue from the two songs. I asked for a reply by October 13, 2026.
Tu Música did reply, on August 28, 2026, through its attorney. It rejects all of my claims. Its position is summarized in The other side.
“WMG is very well positioned for a future of serving artists and songwriters, as well as their fans.”
Two songs I created with my team were released and distributed without a contract with me. Does the company know?
On September 30, 2026 I wrote directly to its chief executive officer. Warner's Office of Compliance has had my written notice since August 28, 2026.
I have received no answer.
I filed a claim with the Copyright Claims Board (CCB), the body of the U.S. Copyright Office that decides small copyright claims. The claim is against Tu Música, one of its executives and Warner Music Group. The docket number is 26-CCB-0551 and it is public: it can be consulted at dockets.ccb.gov.
The CCB reviewed the claim and found that it complies with the requirements for bringing a claim. That does not indicate how it will rule. Service on the respondents is under way. Once served, they have 60 days to decide whether to participate or opt out; if they opt out, the claim can be taken to federal court.
On August 28, 2026, Tu Música's attorney wrote to me that the only exchange between us would be that of documents filed in a formal proceeding. On September 29, when I notified him of this proceeding, he replied that he is not authorized to accept service and that no documents will be accepted or forwarded. The next day he demanded that I stop contacting him. He has not confirmed whether he represents his clients before the CCB.
In August 2026, the Rio de Janeiro Court of Justice reinstated a fine of R$ 5.2 million against the influencer Luva de Pedreiro for breaking his contract with ASJ Consultoria, Allan Jesus's company (source). According to the Brazilian press, the decision can still be appealed. Allan Jesus then wrote: “A verdade pode até demorar, mas uma hora ela aparece”, that is, “the truth may take a while, but sooner or later it comes out” (source).
On July 15, 2026, ASJ Consultoria celebrated on Instagram that Tu Música had passed three million monthly listeners.
On July 27, 2026, Allan Jesus replied to an Instagram story of mine and wrote that he would help me. That same day I explained to him that the promotion agreed in my contract had not been carried out and that my team had not been paid. He replied that he would help me solve it and asked for time. After that I stopped receiving replies and my messages stopped being delivered. As of October 6, 2026, I have received no solution.
I share the principle he defended in court: a signed contract is honored. I ask that it also apply to the contracts this project signed with me.
I do not publish contracts, private messages or recordings. If you are a journalist and want to verify a fact, write to contacto@juegolimpioenlamusica.com.