Peci Panics Over Enough Love Copyright Dispute on Sisters Who Make Waves 7

When a performer’s face goes pale and they start shouting about fines mid-broadcast, you know you’re witnessing a high-stakes legal nightmare unfolding in real-time. This is exactly what happened recently with Pets Tseng during the filming of Sisters Who Make Waves 2026 (浪姐7). The moment a host mentioned or began to sing the classic track “Enough Love” (夠愛), Tseng didn’t react with nostalgia—she reacted with genuine panic. For those of us following the entertainment industry from the heart of Los Angeles, this isn’t just a viral TV moment; it’s a stark reminder of how brutal intellectual property disputes can be when the credits start rolling and the lawyers step in.

The “Enough Love” Lockdown: A Copyright Collision

The tension surrounding Pets Tseng’s appearance on the popular variety show stems from a scorched-earth policy adopted by songwriter Nicholas Teay and his management company, Mdf Music. While fans were eagerly anticipating a “memory kill” performance of “Enough Love”—a signature song from the drama The Ultimate Family—the reality is that the song has been effectively locked in a vault. Mdf Music has issued a definitive statement refusing to authorize the use of the song’s lyrics for the program.

This isn’t a sudden whim. According to the official statement from Mdf Music, the company, in coordination with agency Ashen Music (SP) and the Must Chinese Music Copyright Association, formally ceased all “global” authorizations for the lyrics of “Enough Love” as early as October 31, 2021. This ban covers everything from public performances to broadcasting and digital transmission. In the world of intellectual property rights, such a total blackout is a powerful tool used to protect a creator’s work, but it creates a minefield for artists who have built their careers on these tracks.

Allegations of “Forced Infringement”

The dispute has escalated beyond a simple refusal of a license. Mdf Music has gone on the offensive, accusing several artists of “forced infringement” over the past few years. The company specifically named Pets Tseng, Wang Dongcheng, and Chen Dexiu, claiming they performed the song at various events without the necessary authorization from Nicholas Teay. The list of alleged infringements is exhaustive, including:

Wang Dongcheng and Chen Dexiu’s 2023 Bilibili New Year’s Eve gala performance in “The Most Beautiful Night.”
Multiple dates of Chen Dexiu’s 2023 ARBR tour and 2024 “Survival of the Fittest” tour.
Chen Dexiu’s 2025 “Instinct” tour dates prior to August.
Pets Tseng’s Beijing stop during her “Once and After” tour on June 28, 2025.

By publicly calling out these performances, Mdf Music is sending a clear message to Mango TV and the producers of Sisters Who Make Waves 2026: there is no room for negotiation. The “pupil earthquake” and visible distress experienced by Pets Tseng on set reflect the very real financial and legal risks associated with performing a song when the copyright holder is actively seeking to penalize unauthorized use.

The Long Shadow of Legal Warfare

To understand why the atmosphere is so toxic, one has to look at the history between Nicholas Teay and Chen Dexiu. The two have been embroiled in a protracted legal battle over the rights to “Enough Love” for years. The conflict reached a boiling point when Teay created a revised version, “Enough Love 2.0,” which led to a lawsuit from Chen Dexiu. The legal system eventually sided with the copyright claims in a way that required Teay and his company to pay a combined 390,000 TWD in damages.

This history of litigation explains why the current stance of Mdf Music is so rigid. When a songwriter feels their work has been exploited or “forced” into the public eye without compensation, they often pivot toward total restriction. For Pets Tseng, this means one of her most representative works is now a liability rather than an asset. While some fans have suggested she has plenty of other songs to perform, the loss of a “signature” track can significantly dampen the impact of a competitive reality show appearance.

The Global Parallel: Los Angeles and the Music Industry

Living and working in Los Angeles, we notice this dynamic play out constantly. Whether it’s a dispute over publishing rights at the US Copyright Office or a clash between songwriters and labels over mechanical royalties, the core issue is the same: the tension between the performer’s brand and the creator’s ownership. In the US, organizations like ASCAP and BMI manage these complexities, but when a creator decides to pull a license globally, as Nicholas Teay has done, the performer is left exposed. The panic Tseng displayed—shouting “Fine!” or “Penalty!”—is the natural reaction of someone who knows that a single chorus can trigger a massive lawsuit.

Navigating Copyright Minefields in the Entertainment Hub

Given my background in analyzing industry trends and professional directories, it’s clear that the “Pets Tseng incident” is a cautionary tale for any independent artist or production house. If you are operating in a high-stakes entertainment environment like Los Angeles and find yourself facing similar copyright hurdles or licensing disputes, you cannot rely on “industry standard” assumptions. You need specialized local expertise to ensure you aren’t the next person shouting “penalty” on a live stage.

If this trend of aggressive copyright enforcement impacts your projects in the Los Angeles area, here are the three types of local professionals you should engage to protect your assets:

Boutique Intellectual Property (IP) Attorneys: Look for attorneys who specialize specifically in music copyright rather than general corporate law. The right professional should have a proven track record of negotiating “synchronization licenses” (the right to use music in timed relation with visual images) and “mechanical licenses.” Ensure they have experience dealing with international copyright treaties if your work involves artists from Asia or Europe.
Music Licensing and Clearance Consultants: These are the “fixers” of the music world. A qualified consultant doesn’t just find the owner of a song; they navigate the relationship between the publisher and the songwriter. When hiring, look for consultants who have existing relationships with major performance rights organizations and who can provide a “clearance report” that legally indemnifies the performer or production company.
Entertainment Talent Managers with Legal Oversight: A great manager does more than book gigs; they audit the artist’s repertoire. You need a manager who conducts “rights audits” before every tour or television appearance. The ideal manager will insist on written authorization for every track in a setlist, preventing the kind of “forced infringement” accusations seen in the Mdf Music statement.

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