Russian figure skater Petr Gumennik has joined a growing list of Olympians forced to change their music due to copyright issues, highlighting a persistent problem in the sport that has left athletes scrambling just days before competition.
Russian figure skater Petr Gumennik has become the latest Olympian to change his short program music due to copyright issues, joining a growing list of athletes forced to scramble for approval just days before competition. Gumennik, competing as a neutral athlete at the Milan Cortina Olympics, had been preparing to skate to music from the psychological thriller Perfume: The Story of a Murderer but discovered last-minute that he lacked proper permission.
With the men’s short program scheduled for Tuesday night, Gumennik faced a tight deadline. Unable to secure rights for his original choice or last season’s music from Dune, he pivoted to “Waltz 1805” by Edgar Hakobyan, which he successfully cleared for use. This marks the third high-profile case of copyright-related music changes at the Winter Games, underscoring a systemic issue in figure skating.
TheCopyright Crisis in Figure Skating
The copyright dilemma has plagued figure skating since the International Skating Union (ISU) relaxed its rules in 2014, allowing athletes to use modern music with vocals. Previously, skaters relied on public-domain compositions, but the shift to contemporary tracks has led to frequent rejections from artists and studios unwilling to grant permission without Compensation or approval.
ISU President Jae Youl Kim acknowledged the severity of the problem, stating, “It is a very, very, very serious problem. We don’t want athletes to be worried about the music.” Yet, despite efforts to streamline clearance processes, issues persist. The lack of centralized licensing and inconsistent enforcement has left skaters vulnerable to last-minute disruptions, particularly during high-stakes competitions like the Olympics.
Gumennik’s Journey to the Olympics
Gumennik’s path to Milan has been fraught with challenges. As a Russian athlete, he was barred from international competition following the country’s invasion of Ukraine. After being vetted and cleared of Kremlin ties in May 2025, he earned his Olympic spot by winning the Skate to Milan qualifier in September, a last-chance event for neutral athletes.
His situation was further complicated by Russia’s isolation in the sport. With limited exposure outside his home country, Gumennik’s music selections went largely unnoticed until the Olympics, leaving him with no prior warnings about potential copyright violations. His free skate, set to music from the Russian historical romance Onegin, remains unaffected, as he had already secured approval for that program.
A Pattern of Last-Minute Changes
Gumennik is far from alone. Earlier this week, Spain’s Tomas-Llorenc Guarino Sabate faced a similar crisis when Universal Studios threatened to reject his short program music from the Minions soundtrack. Sabate worked frantically to obtain approval for three of the four tracks, ultimately securing the final piece, “Freedom” by Pharrell Williams, just days before his performance.
Belgium’s Loena Hendrickx also switched her music after concerns arose over her use of “Ashes” by Celine Dion from Deadpool 2. Hendrickx opted for “I Surrender,” another Dion song that was easier to clear. These cases highlight a broader trend: artists and studios are increasingly active in enforcing copyright protections, even for music used without commercial intent.
The Fan and Athlete Experience
For fans, these changes disrupt the emotional connection built around skaters’ programs. Many enthusiasts follow athletes throughout the season, becoming invested in the music and choreography. Last-minute changes can alter performances’ mood, affecting both the skaters’ confidence and the audience’s experience.
Sabate, who had performed his Minions routine multiple times this season, acknowledged the difficulty: “It hasn’t been an easy process, but the support of everyone who has followed my case has been key to keeping me motivated and optimistic these past few days.” The pressure to adapt quickly, while maintaining peak performance, adds stress to an already high-pressure environment.
Looking Ahead
The ISU has attempted to address copyright issues through pre-approval systems and collaborations with music licensing organizations, but gaps remain. The organization’s struggle to balance artistic freedom with legal compliance underscores the need for a standardized solution. Until then, skaters will continue to face uncertainty, with some potentially avoiding modern music altogether to prevent last-minute disruptions.
For Gumennik, the immediate focus is on delivering a strong short program despite the setback. His misfortune serves as a reminder of the broader challenges facing figure skating’s artistic evolution. As the sport embraces contemporary culture, it must also navigate the complexities of intellectual property rights in the digital age.
Fans and analysts will be watching Milan closely, not just for the performances, but for how the sport’s governing bodies respond to this ongoing crisis. The question remains: will the ISU implement long-term solutions, or will future Olympics see more last-minute music changes?
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