**ABBA**, the iconic Swedish pop group, has voiced its discontent over the unauthorized use of their music by former President **Donald Trump** at his campaign events, particularly during a rally in Minnesota on July 27. The songs in question include classics like “Dancing Queen,” “The Winner Takes It All,” and “Money, Money, Money.”
In a statement to the Swedish newspaper **Svenska Dagbladet**, ABBA and their record label, **Universal Music**, emphasized that they have not granted permission for Trump or other Republicans to use their songs at political events. They have requested that all such instances be promptly removed.
While it remains unclear if ABBA or Universal Music will pursue legal action against Trump’s campaign, they face potential challenges. In the U.S., political campaigns can use any song registered with **BMI** if they obtain a **Political Entities License**, allowing them to play songs without direct permission from the artists. However, securing removal from the licensing database can be complicated, and enforcement of these rules can be lax, as many event organizers fail to verify that they have the appropriate permissions.
ABBA is not alone in their concerns; numerous other artists have also expressed frustration over Trump’s use of their music. **Foo Fighters**, **Céline Dion**, **Beyoncé**, and **the late Sinéad O’Connor’s estate**, among others, have publicly called for Trump to cease using their songs. The family of late soul singer **Isaac Hayes** even took legal action against the campaign.
In previous election cycles, artists like **Adele**, **Aerosmith**, and **Guns N’ Roses** have similarly criticized Trump for using their music without permission. **Axl Rose** of Guns N’ Roses articulated his disapproval on social media, condemning the campaign for exploiting loopholes in licensing agreements that weren’t intended for political purposes.
Music has long been a powerful tool in American politics, capable of swaying public sentiment and enhancing campaign messaging. Historical examples, such as **Dwight D. Eisenhower’s** successful “I Like Ike” campaign in 1952, showcase how effective music and catchy slogans can be in shaping a candidate’s image and outreach. The ongoing controversies surrounding Trump’s use of music highlight the complex intersection of art and politics, especially in the context of election campaigns.