The 2026 Winter Olympics in Milan Cortina have become a proving ground not just for athletic prowess, but for navigating the increasingly complex world of music copyright. What began as isolated incidents of skaters scrambling to alter their programs at the last minute has quickly escalated into a broader conversation about the rights of artists and the logistical challenges facing figure skating’s creative core.
The issue isn’t new, but it’s been amplified by recent changes to the International Skating Union (ISU) rules. Music-rights issues have become more common since , when the ISU loosened its rules to allow songs with lyrics, a departure from a century-old ban. While intended to allow for greater artistic expression, the shift has introduced a layer of legal complexity that many skaters and federations are struggling to manage.
The most recent high-profile case involves U.S. Figure skater Amber Glenn. Glenn found herself in a delicate situation after Canadian artist Seb McKinnon, who produces music under the name CLANN, discovered that his song “The Return” had been used in her Olympic free skate without permission. McKinnon initially expressed surprise on social media, questioning whether such usage was standard practice. However, the situation quickly resolved itself, with Glenn stating she had cleared the concerns with McKinnon and potentially forged a new friendship in the process.
“The issue of music rights can be complex and confusing,” Glenn said in a statement released on . “Seems like there was a hiccup in that whole process. I’m glad we cleared things up with Seb and I look forward to collaborating with him.”
Glenn’s experience isn’t isolated. A Russian figure skater was also forced to change their Olympic music due to copyright concerns, and a Spanish skater reportedly faced a similar crisis with music from the Minions franchise before competition began. Even a Czech ice dance team faced scrutiny for using AI-generated music, raising questions about the copyright implications of emerging technologies in artistic performance.
The core of the problem lies in the often-opaque process of obtaining copyright permission. Figure skaters are required to secure the necessary rights for any music they use, but the process is described as “confusing and prone to mistakes.” The stakes are high. skaters risk disqualification or being forced to alter their routines on short notice, potentially impacting their performance and years of training.
The ISU acknowledged the growing concerns in an amendment to its Musical Requirements published on . The update was specifically designed to “reduce the exposure of Skaters to legal risks related to music rights.” However, the amendment alone hasn’t solved the problem, as evidenced by the ongoing issues in Milan.
The situation highlights a broader tension between artistic freedom and intellectual property rights. For over a century, figure skating adhered to a strict rule of using only classical music, a restriction rooted in the belief that vocals would distract from the skater’s performance. This rule remained in place until , when the ISU began allowing songs with lyrics, opening up a vast new landscape of musical possibilities.
But with that freedom came responsibility. Skaters and their teams must now navigate a complex web of licensing agreements, performance rights organizations, and individual artist permissions. The process can be particularly challenging for skaters who are not affiliated with large federations or who lack the resources to hire dedicated music rights specialists.
The incident with Seb McKinnon and Amber Glenn offers a glimmer of hope. Their amicable resolution suggests that open communication and collaboration between artists and skaters can lead to positive outcomes. McKinnon confirmed on , that the copyright issues had been resolved, and Glenn expressed her desire to collaborate with him in the future.
“It was a dream come true to perform at the Olympic Games and to have Seb acknowledge my performance and congratulate me afterward made the moment even more special,” Glenn said. “It’s my sincere hope that I was able to help create new fans of both figure skating and Seb. We will move forward and continue supporting both artists and the skating community.”
The events unfolding in Milan are likely to prompt further discussion within the ISU and the broader figure skating community about how to streamline the music rights clearance process and provide skaters with the resources they need to navigate this complex landscape. The goal will be to strike a balance between protecting the rights of artists and fostering the creativity that makes figure skating such a compelling and emotionally resonant sport.
