In an unexpected turn just days before the start of the Milano Cortina Winter Olympics, Spanish figure skater Tomas-Llorenc Guarino Sabate disclosed that he has been prohibited from using the medley he performed all season, which features music from the animated film "Minions" produced by Illumination Entertainment. This revelation spotlights long-standing issues regarding music clearance that have complicated figure skaters' routines globally.
Speaking on Monday, only four days before the opening ceremony, Sabate expressed disappointment but determination, saying, "I was informed that I am no longer permitted to use this program due to copyright clearance issues. I will face this challenge head-on and do everything I can to make the best of the situation."
While Sabate is not viewed as a frontrunner for Olympic medals, his Minions-themed performance had captivated audiences worldwide, particularly due to his costume choice of a yellow T-shirt and blue overalls that echoed the animated characters’ iconic look. However, now the 26-year-old athlete must revert to a previous routine for his upcoming men's short program scheduled for next Tuesday at the Milano Ice Skating Arena.
Complicating this substitution is the fact that Sabate’s prior short program last season featured music by the Bee Gees, which he also employed during this season’s free skate. Consequently, he faces the less than ideal situation of skating twice to the same soundtrack in a single competition.
The issue of music use in figure skating has evolved considerably over recent years. Historically, the sport did not face significant copyright conflicts because the use of lyrical music was prohibited, and much of the classical repertoire utilized was in the public domain, allowing free use without permission.
This changed in 2014 when the International Skating Union (ISU) amended its regulations to permit lyrics in skating music, aiming to modernize the presentation of the sport. Yet, this shift brought with it challenges because most contemporary music is protected by copyright, requiring permissions and clearances that did not previously need to be addressed. These problems became especially visible during the 2022 Beijing Winter Olympics.
At those Games, American pairs skaters Alexa Knierim and Brandon Frazier were found to have used a cover version of "House of the Rising Sun" by Heavy Young Heathens in their short program without securing proper authorization. This oversight led the band to initiate lawsuits against the skaters, the U.S. Figure Skating association, and broadcaster NBC.
In response to ongoing music clearance complications, the ISU and various national governing bodies have spent the past four years developing frameworks to assist athletes in obtaining the necessary rights. However, these systems have yet to offer an entirely clear or predictable process. Sabate himself said that he had followed the recommended procedure in August, before the skating season began, utilizing a platform called ClicknClear to seek approval for his music track.
A spokesperson for the ISU acknowledged awareness of Sabate’s predicament but refrained from detailed comment, noting the organization’s ongoing collaboration with rights holders to try to ensure that performances can be accompanied by music without legal difficulties. ISU President Jae Youl Kim emphasized the matter's complexity, particularly concerning social media, and said that discussions with music companies are continuing toward workable solutions.
Responsibility for music clearance ultimately falls on individual skaters, according to U.S. Figure Skating, which partners with ASCAP (American Society of Composers, Authors and Publishers) and BMI (Broadcast Music Inc.) to help athletes navigate rights issues. Skaters often consult Songview, a database developed by ASCAP and BMI that details copyright ownership, but if a piece is not listed, they may be required to approach artists or publishers directly.
Examples of successful direct artist relationships exist, such as world champion Alysa Liu, who has cultivated a close working relationship with singer Laufey Lín Bing Jónsdóttir, allowing Liu broad freedom to use the artist's music in her programs. Liu commented on the critical role music plays in skating, saying, "We are such an artistic spot and we really rely on our music. Without music, we’re not really our sport."
Meanwhile, fellow American skater Amber Glenn described the process of clearing music rights as "pure chaos." Glenn explained that initial systems to track clearances are often unreliable or inconsistent, creating uncertainty for athletes who must focus primarily on training and performance rather than legal or broadcast rights formalities.
Glenn expressed frustration that these challenges transform into sudden problems for skaters, citing Sabate’s experience as an example right before the Olympics. She criticized what she perceived as music companies being primarily motivated by commercial interests, lamenting that the creative inspiration derived from their work often seems underappreciated.
These incidents illuminate the ongoing difficulties within figure skating as the sport navigates the intersection of athletic performance, artistic expression, and increasingly complex copyright law. For competitors like Sabate, resolving these issues in time for major events remains a critical and sometimes elusive task.