Oo Antava Goes Global — But DSP’s Tune Has Changed
- Reuben Saldanha
- Jul 9, 2025
- 2 min read
In an industry where musical inspiration travels faster than copyright claims, Devi Sri Prasad (DSP) has once again made headlines. This time, not for a new chartbuster, but for publicly alleging that his viral hit Oo Antava from Pushpa: The Rise has been copied by a Western artist.
At a recent fan event, DSP claimed that an “English” singer had lifted his composition. Though he didn’t specify the name, online speculation quickly pointed toward Turkish pop singer Atiye and her 2024 single Anlayana, which shares unmistakable rhythmic and melodic similarities with Oo Antava. The composer didn’t rule out legal action and seemed both proud and perturbed by the global reach of his song.
But here's where it gets complicated: is this a genuine case of plagiarism—or a classic case of selective outrage?
A Short Memory: DSP’s Own Borrowing Habits
This isn’t the first time DSP has been caught in a swirl of plagiarism debates. Over the years, many of his songs have drawn inspiration—some would say lifted elements—from Latin pop, Arabic music, Balkan folk, and even Western EDM. His musical catalogue is rich, no doubt, but originality has often taken a back seat to remix culture and marketable fusion.
Oo Antava itself was hailed more for its bold visual storytelling than for musical innovation. The composition leaned heavily on globalized sounds—club beats, minor key seduction, layered with regional lyrics and Samantha Ruth Prabhu’s magnetic screen presence.
So when DSP now claims that the West has stolen from him, it raises an uncomfortable but important question: where does inspiration end and imitation begin? And more critically—why does DSP draw the line only when he is the one being “copied”?
Double Standards in the Industry
What DSP is doing isn’t unusual—many Indian composers have walked the same path. Borrow globally, repackage locally, and defend your “creativity” until the tables turn. When the West borrows from India, it’s “theft.” But when Indian artists borrow from the West, it’s “homage” or “global influence.”
This double standard reveals a deeper issue within the industry: an unwillingness to admit that musical cross-pollination is a two-way street. If we want Indian music to be respected globally, the industry must also start respecting originality at home—and acknowledging when it plays fast and loose with source material.
What Happens Now?
If DSP pursues legal action, he may very well be within his rights—if the similarities are legally substantial. But the bigger conversation isn’t about one track; it’s about how the Indian music scene treats ownership, influence, and fairness.
There’s no doubt DSP is talented. But this moment demands more than defensiveness—it demands introspection. Because in the global music arena, credibility isn’t just built on hit numbers; it’s built on consistency, transparency, and owning your own game.
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