Laeke’s Lawsuit Against Meedo Records Could Reshape Ethiopia’s Music Industry
In a case now sitting before Ethiopia’s Federal Supreme Court, the critically acclaimed Ethiopian artist and producer Laeke has accused his former record label of breach of contract, unpaid royalties, and exploitation.
Ethiopian musician Laeke is now suing Meedo Records in a case that could reshape the country’s music industry.courtesy of Laeke
When Laeke first signed with Meedo Records in December 2021, he thought he had found a musical home where he could grow as both a producer and an artist.
“I saw it as an opportunity to learn about the industry, because I was 19… 20 at that point,” Laeke, born Laeke Getachew, tells OkayAfrica.
At the time, Meedo Records was positioning itself as a rare 360-degree label in Ethiopia, promising everything from artist development to branding and international reach. “It just gave me the promise that they would help me make my sound and also build my ground.”
Eventually, Laeke became known in the industry as an alchemist of sound, blending traditional Ethiopian music with rock, jazz, and hip-hop in ways rarely heard in the scene. His creativity and technical chops saw him produce for some of the label’s top talent, while also releasing his Reqiq EP in 2023 and his full-length album in 2024 — both met with critical acclaim.
Now, four years later, Laeke is suing Meedo Records, with the case currently sitting before Ethiopia’s Federal Supreme Court. With a verdict expected next week, the lawsuit accuses the label of breaching its contract, withholding royalties and master rights, and fostering a culture of silence that left Laeke feeling exploited and voiceless.
What began as one artist’s frustration is now a potentially precedent-setting lawsuit that could reshape the Ethiopian music industry and push it toward becoming safer and fairer for future generations of musicians and creatives.
A Label That Changed the Game
Since its founding during the pandemic, Meedo Records has been celebrated as a beacon of possibility in Ethiopia’s storied yet underdeveloped music industry. The label tapped into Ethiopia’s raw talent, pioneering a fresh sound that won awards and established its reputation for bold, innovative artistry reflecting a modern Ethiopia.
Its biggest artist to date is Kassmasse. His breakout EP Maleda was a pivotal moment in Ethiopian music, merging the golden-era sounds of the ‘60s and ‘70s with contemporary hip-hop production and staying true to traditional Amharic lyricism. The project not only catapulted Kassmasse to stardom but also helped redefine what Ethiopian hip-hop could be. In 2023, he won Best East African Male Artist at the AFRIMA Awards.
Alongside Kassmasse, Meedo Records brought forward a cohort of boundary-pushing artists, including Jemberu Demeke, Uno, Wegdayit, Dagmawit Ameha, and Laeke. As one of the few independent labels offering full 360-degree support — spanning brand development to promotion — Meedo Records provided a vital lifeline. This was crucial in an industry where piracy dominates sales, contracts are notoriously exploitative, and local artists often lack access to global platforms like Spotify and YouTube or fair compensation.
For many, Meedo Records represented the possibility of doing things differently.
“I think the plan for Meedo Records was genuine at the beginning,” says Wubeshet Tewedaje, who is part of Laeke’s legal team. “When they started with a few artists, I believe there was something genuine in what they were trying to do. Everybody's hope was with Meedo Records.”
Laeke began at Meedo Records as a producer, helping shape breakout projects for fellow artists before stepping into the spotlight himself.courtesy of Laeke
A Promising Start That Quickly Unraveled
Laeke joined Meedo Records first as a producer, before stepping into the spotlight as an artist. In a previously unpublished 2024 interview with OkayAfrica, Maranata Tegegne — a co-founder and former creative director at Meedo Records who has since left the label — said he first met Laeke while working with Jemberu.
“We saw that he was very talented and wanted to do something more than hip-hop,” Tegegne said. That recognition led the label to sign him.
Laeke immediately jumped in and helped produce breakout projects for label-mates, including Jemberu Demeke’s self-titled debut album, Wegdayit's debut album Asalafi, and Dagmawit Ameha's unreleased debut album Hateta. However, when he was finally ready to focus on his own music, Laeke says he was met with neglect.
“It was time for me to do my album, and there was no funding to support it,” he says. “ These things were not formally communicated. Most things were just brushed under the rug.”
His debut album was never released, and much of it was lost due to a lack of support. By then, payments had dried up, and communication was evasive. Laeke also says Meedo deliberately restricted him from pursuing production opportunities outside the label, even going so far as to block his attempts to DJ as an alternative source of income.
The emotional toll was compounded by watching Meedo Records’s public image flourish while he struggled privately. “A lot of musicians and a lot of people would comment, or reach out, saying it was an amazing place for us to be… but you know what’s happening on the other end.”
OkayAfrica reached out to Meedo Records for comment but did not receive a response.
“The main thing that I wanted to accomplish was get my masters and my full rights, because [the work] is something that I produced fully on my own,” Laeke tells OkayAfrica.courtesy of Laeke
Critical Acclaim, No Support
After the collapse of his debut album, Laeke turned to smaller projects just to release music. The idea for his 2023 EP Reqiq came from Tegegne, who personally stepped in to help finance it after the label failed to provide backing.
When Reqiq was released — followed by Bahire Tibeb in 2024 — Laeke says Meedo Records’ contribution was little more than stamping its name on the project. Laeke had to self-finance and promote both projects.
“On behalf of Meedo, there was no promotion for it,” he says. “There was no branding. There was no financial support. There were no logistics. It’s just putting their logo on it and putting it out.”
And yet, both projects found acclaim on their own terms. Laeke’s work on Bahire Tibeb earned him a mention in OkayAfrica’s Best East African songs of 2024 for his track "Deg Wutn" with Kassmasse. In August 2025, he was nominated for Best African Rock Artist at the 2025 AFRIMA Awards.
“[The projects] received a lot of praise, especially from the industry here,” Laeke said. “It’s critically acclaimed.”
Laeke’s album Bahire Tibeb was received with critical acclaim.Courtesy of Laeke
By late 2024, Laeke had fulfilled his two-album obligation and asked Meedo Records to return his masters, given they had not upheld their side of the contract. When the label refused, he filed a lawsuit in December.
“The main thing that I wanted to accomplish was get my masters and my full rights, because [the work] is something that I produced fully on my own,” he says. “I was done with my contractual obligations… but still Meedo wasn’t willing, or even had the conversation of giving me back my rights.”
The case, now before Ethiopia’s Federal Supreme Court, centers on several key allegations. Laeke’s legal team argues that Meedo Records breached its contract by failing to provide the promised financial resources, support, and obligations. Laeke’s team is arguing that this is a violation that nullifies the agreement altogether. They also allege that Laeke has received no payment and royalties for his work with the label, apart from a few live shows paid in cash, despite producing three albums for other artists and preparing two projects of his own.
“To this day, none of the payments have been made,” Laeke says.
The lawsuit seeks compensation for Laeke’s financial losses, missed opportunities, and the psychological toll of years of neglect. Most importantly, it calls for Laeke to regain ownership of his masters and all music created during his time with Meedo, while also setting a precedent to ensure that other artists are properly compensated for their work.
According to the lawyer, Tewedaje, this is also about a wider pattern of exploitation in Ethiopia’s music industry. Most artists, he explains, have little understanding of contracts and how certain clauses can strip them of rights. “Record labels like Meedo use this to their benefit,” he says. “Artists here are full of creativity and new ideas, but they don’t have the financial power to be able to put their music or their creative works into the public and promote it properly. They look to labels as a way to make their dreams come true.”
Laeke has launched NGAT Records, with the goal of creating a label that centres integrity with its artists.courtesy of Laeke
What Comes Next?
However, the tide may be turning. Since going public, Laeke says he has received overwhelming support from Ethiopia’s wider music community. “That definitely empowered me. To this day, I get, like, constant support and advice from people.”
Now, he is channeling that community energy into building something new. He has launched NGAT Records, his own label, where he has already signed two artists. Ngat means “dawn” in Amharic, and it symbolizes both a fresh beginning and a break from the cycles of exploitation he endured.
At just 24, Laeke has learned the hard way what integrity in the industry should look like, and he is determined to ensure none of his artists experience the same trauma he did.
“It’s about integrity. It’s about character. And telling the story of musicians … not forcing them to be something they’re not, and not making them go through experiences where they have to doubt themselves or lose hope.”
