Trump, Music, and Legal Battles: A History of Unauthorized Use

Throughout his presidential campaigns and beyond, Donald Trump’s use of music at rallies and events has frequently drawn criticism and legal challenges from artists who oppose his political views. This practice, often involving unauthorized use of copyrighted material, has sparked debate about copyright law, political messaging, and artist rights. Whereas blanket performance licenses often cover music played at venues, specific cases involving pre-1972 recordings and direct campaign use have led to legal disputes, and settlements.

The Pattern of Unauthorized Use

A recurring theme in Trump’s campaigns has been the use of songs without obtaining direct permission from the copyright holders. This has prompted numerous musicians to publicly object and take action to prevent their music from being associated with his political events. The issue extends across his 2016, 2020, and 2024 campaigns [1].

Copyright Law and the Pre-1972 Dilemma

The legal landscape surrounding music rights is complex, particularly when dealing with sound recordings made before 1972. Prior to 1972, federal copyright law did not protect sound recordings, leading to a patchwork of state laws and common law protections. This creates a unique situation where the rules governing the use of these older recordings differ from those applying to more recent works. The application of blanket licenses from performing rights organizations like ASCAP and BMI may not fully cover these pre-1972 recordings, potentially requiring direct permission from the copyright holder [Source: Techdirt].

Notable Legal Cases and Settlements

• Eddy Grant: Trump’s campaign faced a copyright suit from Eddy Grant for the unauthorized use of his music in a campaign video.
• Isaac Hayes Estate: In February 2026, the Trump campaign settled a lawsuit brought by the estate of Isaac Hayes over the song “Hold On, I’m Comin’,” co-written by Hayes and performed by Sam & Dave [Source: Techdirt]. The financial terms of the settlement were not disclosed, but Hayes’ son and estate manager expressed satisfaction with the outcome, emphasizing the importance of protecting intellectual property rights.
• Pharrell Williams: Pharrell Williams publicly objected to Trump’s use of his music at a rally shortly after a mass shooting in Pittsburgh, noting that the venue did not have the appropriate license.

Artist Opposition and Collective Action

Beyond individual legal challenges, a group of artists including Mick Jagger, Lorde, Sia, Blondie, Sheryl Crow, Green Day, Lionel Richie, Elvis Costello, Keith Richards, Steven Tyler and Rosanne Cash, in collaboration with the Artist Rights Alliance, have signed a letter demanding that politicians seek permission before using their music at campaign rallies and public events [1].

Trump’s Musical Choices and Campaign Strategy

Despite the controversies, Trump has consistently incorporated music into his campaign rallies, often favoring 1970s and 1980s pop hits. In 2024, songs like “YMCA” by the Village People were frequently played at his events, aiming to create a jubilant atmosphere and appeal to his base [2]. This strategy reflects Trump’s background as an entertainer and his understanding of the power of music to energize crowds and reinforce his political message.

Key Takeaways

• Donald Trump’s campaigns have repeatedly faced criticism for using music without authorization.
• Copyright law surrounding pre-1972 sound recordings is complex and often leads to legal disputes.
• Artists are increasingly asserting their rights and demanding that politicians obtain permission before using their music.
• Music plays a significant role in Trump’s campaign strategy, aiming to create a positive atmosphere and connect with his supporters.