Introduction
Phil Collins Tells Trump Rally Organizers: Stop Using My Music
Phil Collins, the legendary singer, songwriter, and drummer best known for hits like “In the Air Tonight” and “Against All Odds,” has joined the growing list of artists objecting to the use of their music at political rallies. Recently, Collins’s team issued a firm statement demanding that organizers of Donald Trump’s campaign events stop playing his songs without authorization.
The controversy began after Trump supporters were filmed entering a rally to the unmistakable drum beats of “In the Air Tonight.” Almost immediately, Collins’s representatives moved to clarify that the song had not been licensed for such use and that the musician did not endorse the political event. In a written statement, they emphasized: “Phil Collins does not support Donald Trump, and his music is being used against his wishes.”
Collins is not alone in taking such a stand. Over the past several years, artists from Adele to The Rolling Stones have voiced frustration with political campaigns that use their songs without permission. While public performance rights are often covered by blanket licenses through organizations like ASCAP and BMI, artists have argued that political use implies endorsement, misleading audiences into believing that musicians support a candidate or cause when they do not. For Collins, who has generally avoided overt political statements during his career, the unauthorized use of his work marked a clear line being crossed.
The timing of the incident has only heightened attention. In a politically polarized climate, music at rallies serves as more than entertainment—it becomes a tool for identity and emotion. For Trump supporters, “In the Air Tonight” may have represented power and nostalgia. For Collins, however, the association risked compromising his artistic independence. Fans quickly took to social media to defend the musician’s right to control how his art is used, many applauding him for drawing a boundary.
This dispute also underscores a larger debate about the intersection of art and politics. Should musicians be able to restrict how their songs are played in public spaces licensed for performance? Or does the political context make the use different, giving artists greater moral authority to object? Legal experts note that while performance rights organizations cover broad use, artists may have grounds to claim damage to reputation if their music is tied to political messaging without consent.
Phil Collins himself has kept his personal comments limited, but his representatives’ statement was clear and unequivocal. For an artist whose music has touched generations, the issue is not partisan—it is about respect. Music, in Collins’s view, should not be co-opted to serve political ends, especially when the artist has explicitly refused such an association.
As the debate continues, one fact remains: “In the Air Tonight” is one of the most iconic tracks in modern music, a song remembered for its haunting atmosphere and legendary drum break. Collins intends for it to stand on its own artistic merit—not as a soundtrack to political rallies.