The intersection of sports and music continues to generate heartwarming moments, and recently, figure skater Ami—a rising star in the sport—received a special shout-out from singer-songwriter Tori Kelly. Kelly acknowledged Ami’s choice to skate to her song, sparking a wave of excitement among fans and highlighting the often-complex world of music rights in competitive figure skating. This exchange underscores the growing appreciation for musical artistry within the figure skating community, even as athletes and organizers navigate increasingly stringent copyright regulations.
The connection began when Ami chose to incorporate Tori Kelly’s music into her skating routine. Details about the specific song used weren’t immediately available, but the gesture didn’t go unnoticed by Kelly herself. The singer publicly expressed her support for Ami, a moment quickly captured and shared by fans on platforms like Reddit, specifically within the r/FigureSkating community. This interaction is particularly poignant given the recent challenges skaters have faced securing rights to use popular music, especially at major competitions like the Olympics.
Navigating Music Rights in Figure Skating
The use of music in figure skating isn’t as straightforward as simply selecting a favorite song. For years, the International Skating Union (ISU) had stricter rules regarding music choices, but a shift in 2014 allowed skaters to use songs with lyrics, opening up a wider range of possibilities. However, this change too introduced a recent layer of complexity: securing the necessary licenses and permissions. Unlike classical music, which often falls into the public domain, contemporary songs—and particularly those with popular appeal—require direct negotiation with copyright holders. This process can be lengthy, expensive, and, as demonstrated at the 2026 Olympic Winter Games in Milan, sometimes unsuccessful.
Recent reports from TSN detail the difficulties skaters encountered leading up to the Milan Cortina Games. Madeline Schizas, a Canadian skater, faced a last-minute alteration to her short program due to rights issues with Beyoncé. The initial 35 seconds of her routine, originally based on music from Disney’s “The Lion King,” had to be changed because of ownership claims by Beyoncé. Schizas had anticipated these issues and Skate Canada ultimately secured rights to the remainder of the music, providing a “big relief” after a year of uncertainty. Similarly, Spanish skater Tomas-Llorenç Guarino Sabaté almost had to abandon a medley from “Minions” and his accompanying costume, but ultimately gained clearance for a piece by Pharrell Williams.
Olympic Hurdles and the Role of Skate Canada
The 2026 Olympic Winter Games in Milan, taking place from February 6-22, have become a focal point for these music rights concerns. The ISU’s official website provides details on the event schedule and key information. The issues aren’t limited to individual skaters. teams also face the same challenges when selecting music for their routines. Skate Canada proactively addressed these hurdles by hiring a third-party specializing in music clearances more than a year ago, aiming to secure licenses for all athletes participating in the Games. This proactive approach proved crucial for skaters like Schizas, allowing them to compete with music that resonated with their artistic vision.
The situation highlights a broader trend: the increasing importance of legal expertise within the world of competitive figure skating. What was once primarily a focus on athletic skill and artistic expression now requires a significant understanding of copyright law and licensing agreements. This adds another layer of pressure on athletes, coaches, and national federations, demanding resources and attention that were previously directed solely towards training and performance.
The Disney Dilemma and Beyond
The challenges extend beyond securing rights to music by major artists like Beyoncé. Even Disney songs, often popular choices for their emotional resonance and storytelling potential, have proven difficult to license. The case of Madeline Schizas illustrates this point, as she initially believed she would have to scrap her “Lion King”-inspired program entirely. The complexities aren’t limited to specific songs or artists; the entire process of obtaining clearances can be protracted and unpredictable, leaving skaters in a state of uncertainty until the last minute.
The question of whether these copyright issues are more prevalent at the Olympics versus other ISU events remains a point of discussion. Some believe the heightened scrutiny and global visibility of the Olympics contribute to stricter enforcement of copyright regulations. However, the underlying issue—the need to secure licenses for copyrighted music—applies to all ISU-sanctioned competitions.
Tori Kelly’s acknowledgement of Ami’s skating performance offers a bright spot amidst these challenges. It’s a reminder of the powerful connection between music and sport, and the positive impact that can occur when artists and athletes support each other. The incident also underscores the importance of continued dialogue between the ISU, copyright holders, and national federations to streamline the music clearance process and ensure that skaters have access to a diverse range of musical options.
Looking ahead, the ISU will likely continue to refine its guidelines and function with stakeholders to address these ongoing music rights issues. The next major checkpoint will be the review of procedures following the 2026 Olympic Winter Games, where feedback from skaters and federations will be crucial in shaping future policies. The goal is to create a system that balances the rights of copyright holders with the artistic needs of figure skaters, fostering a vibrant and legally sound environment for the sport to thrive.
What are your thoughts on the music rights challenges facing figure skaters? Share your opinions and experiences in the comments below, and don’t forget to share this article with fellow skating enthusiasts!
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