The electronic music world is once again in the spotlight, and this time the debate cuts deep into questions of originality, ethics, and power dynamics within the scene. UK DJ and producer Ben Hemsley has publicly accused Hugel and Matt Sassari of plagiarism, igniting a viral conversation that is spreading rapidly across techno, house, and EDM communities.
At the center of the controversy is a familiar classic. Sonique’s iconic 90s hit It Feels So Good has inspired countless edits over the years. However, Hemsley now claims that a recent version by Hugel and Matt Sassari crosses a line that producers should never ignore.
Ben Hemsley Accuses Hugel and Matt Sassari of Plagiarism
The accusations surfaced in early February 2026 when Ben Hemsley shared a side by side comparison on social media. The post directly compared his unofficial tech house edit of It Feels So Good, released in 2017, with the version unveiled by Hugel and Matt Sassari in 2024.
According to Hemsley, the similarities between the two tracks go far beyond inspiration. Instead, he suggests that key structural and stylistic elements appear to be lifted directly from his earlier edit. The comparison quickly gained traction, with fans, DJs, and industry insiders weighing in within hours.
A Track That Shaped an Early Career
For Ben Hemsley, this issue is personal. He created his edit of It Feels So Good at just 19 years old, during the formative stages of his career. Although it was never an official release, the edit circulated widely among DJs and underground communities, becoming a recognizable staple in tech house sets.
Over time, the track helped establish Hemsley’s reputation as a producer with a sharp ear for groove and modern club energy. As a result, seeing a similar version charting under different names has clearly struck a nerve.
In his post, Hemsley emphasized that this was not a forgotten demo or obscure file. Instead, he argued that Matt Sassari would have been aware of the edit long before collaborating with Hugel.
Social Media Reaction and Hemsley’s Statement
The tone of Hemsley’s response was blunt and unapologetic. In his caption, he openly criticized what he described as a fake culture within the scene. He also made it clear that the dispute was not primarily about money.
Hemsley stated that he could pursue legal action if he chose to. However, his main motivation, according to his own words, was to expose behavior he believes undermines younger artists and independent creators.
That message resonated strongly with fans who see similar patterns across the electronic music industry. Many commenters praised Hemsley for speaking out, while others called for greater transparency around credits, edits, and unofficial releases.
Hugel and Matt Sassari Remain Silent
So far, Hugel and Matt Sassari have not issued a public response to the plagiarism claims. Despite the growing attention, their version of It Feels So Good continues to perform well on streaming platforms and charts, amassing millions of plays.
This silence has only intensified speculation. Some fans interpret it as a legal strategy, while others see it as avoidance. Regardless, the lack of response has left the narrative largely shaped by Hemsley’s side of the story.
In today’s fast moving digital landscape, silence often speaks as loudly as a statement. As a result, pressure is mounting for clarification or acknowledgment.
The Fine Line Between Inspiration and Plagiarism
Electronic music has always thrived on reinterpretation. Edits, bootlegs, and remixes are deeply embedded in club culture. However, this case highlights how blurred the line can become between homage and appropriation.
When an unofficial edit circulates for years, it occupies a gray area. Yet, many producers argue that ethical responsibility still applies, especially when a newer version closely mirrors an existing interpretation.
This situation also raises broader questions. Who owns an idea when it is not officially released? How should established artists engage with underground material that helped shape the scene?
Power Dynamics in the Electronic Music Industry
One of the most discussed aspects of this controversy is the imbalance of visibility and influence. Ben Hemsley was a teenager when his edit gained traction. Hugel and Matt Sassari, by contrast, are well established names with access to major platforms and audiences.
For many observers, this highlights a recurring issue in electronic music. Emerging artists often lack the legal resources or industry backing to protect their work. Meanwhile, bigger acts can amplify similar ideas at a scale that eclipses the original creator.
Hemsley’s decision to speak publicly rather than quietly pursue legal options has therefore been framed as a stand for creative integrity rather than personal gain.
Why This Story Has Gone Viral
The reason this news has exploded across techno and EDM platforms is simple. It taps into a shared anxiety within the scene. Producers everywhere fear seeing their ideas repackaged without recognition.
In addition, the use of a beloved 90s anthem adds emotional weight. Fans are deeply attached to It Feels So Good, and debates around its reinterpretation feel especially charged.
The viral nature of Hemsley’s comparison also reflects the power of social media. A single post can now challenge charting releases and force accountability in real time.
What Happens Next
At this stage, the outcome remains uncertain. Hugel and Matt Sassari may choose to respond publicly, adjust credits, or address the issue privately. Alternatively, the controversy could fade without resolution, leaving lasting questions behind.
Regardless of the outcome, the discussion itself is already having an impact. Producers are once again talking openly about ethics, respect, and the responsibility that comes with success.
For fans, this moment offers a rare glimpse behind the scenes of a competitive industry built on creativity and reputation.
A Moment of Reckoning for Tech House
As the dust settles, one thing is clear. This is more than a single dispute. It is a reflection of deeper tensions within electronic music culture.
Whether or not the claims lead to formal action, Ben Hemsley has forced a conversation that many believe is long overdue. In doing so, he has reminded the scene that originality still matters, even in a genre built on reinterpretation.
All eyes are now on Hugel and Matt Sassari. Until they respond, the debate continues, and the electronic music world watches closely.
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