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The upcoming 2026 Milano Cortina Olympic Games are poised to highlight the artistry of figure skating, yet many athletes are confronting the complexities of music rights issues. As they prepare to captivate audiences, skaters such as Madeline Schizas are navigating a maze of legalities that could influence their performances.
For example, Schizas, who has enchanted audiences with her routine inspired by the beloved Disney film The Lion King, faced a significant modification in her program due to the high-profile nature of the music involved. Originally, her routine was set to feature a piece by Beyoncé, but complications arose from stringent music rights regulations.
Music rights and figure skating regulations
Since the International Skating Union (ISU) updated its rules in 2014 to allow the use of songs with lyrics, the landscape of music rights in figure skating has grown increasingly complex. The integration of contemporary music, as opposed to classical pieces, presents challenges since many popular tracks are not in the public domain. This evolution has led to a spike in copyright-related issues, particularly as athletes gear up for prestigious events like the Olympics.
Challenges faced by athletes
In the lead-up to the Games, Schizas expressed relief when Skate Canada secured the necessary rights for the latter part of her routine, easing some of her concerns. However, reaching this resolution involved extensive back-and-forth communications regarding music approvals.
Tomas-Llorenç Guarino Sabaté, a Spanish skater, made headlines when he learned shortly before the Olympics that his routine—set to a medley from The Minions—had not been cleared. Fortunately, he managed to replace his original selection with a track by Pharrell Williams, averting a potential disaster.
Adapting under pressure
Adaptability has become an essential skill for many figure skaters as they contend with music clearance challenges. Canadian ice dancers Marie-Jade Lauriault and Romain Le Gac faced a similar situation, needing to switch from Thunder and Cream by Prince to a remix of Sexbomb by Tom Jones after discovering their original choices would not be approved. Fellow ice dancers Marjorie Lajoie and Zachary Lagha also had to remove tracks by AC/DC from their routine to avoid copyright violations.
The silver lining
Despite these obstacles, some skaters have discovered that changing their music can yield unexpected benefits. Lajoie noted that the original song they selected was somewhat repetitive, and their new music provided greater creative opportunities. This perspective reflects the resilience and adaptability required in the competitive figure skating arena.
Veteran skaters like Piper Gilles and Paul Poirier had previously secured rights for their music and faced fewer hurdles. Gilles emphasized the significance of continuous communication with their legal team to ensure that all aspects of their performances comply with copyright laws.
Looking forward to the Games
As the Milano Cortina 2026 Games draw closer, the focus remains not only on athletic performance but also on the complexities of the music that accompanies these stunning routines. With a total of twelve Canadian athletes competing across various disciplines, including ice dance, pairs, and singles, all eyes will be on how they manage their programs amid the challenges of music rights.
Fans can anticipate witnessing the artistry and skill of these athletes as they take the ice, showcasing their talent while navigating the hurdles presented by music licensing. The journey to the Olympics transcends mere medals; it encompasses overcoming obstacles and adapting to a continually evolving competitive landscape.