The intersection of art and power has always been a volatile space, but few could have predicted the sheer intensity of the recent clash between Stockholm and Washington. Björn Ulvaeus, the visionary songwriter and co-founder of the legendary Swedish quartet ABBA, has issued a scathing rebuke regarding the unauthorized use of the band’s music in American political campaigns. This move, which has sent ripples through the halls of power in D.C., serves as a powerful reminder that while music may be universal, its meaning is fiercely protected by those who create it.
The controversy erupted when several of ABBA’s most iconic hits—including “The Winner Takes It All”, “Money, Money, Money”, and the perennial floor-filler “Dancing Queen”—were played at high-profile political rallies in the United States. For Björn, this wasn’t merely a matter of copyright; it was an affront to the emotional and artistic integrity of the music itself. In a series of pointed statements, he expressed his “staggered” disbelief, particularly at the choice of “The Winner Takes It All” as a victory anthem. As he rightly pointed out to the press, the song is a heartbreaking narrative of loss and total defeat—the furthest thing from an “uplifting” political rallying cry.
For those of us who have followed ABBA from their 1974 Eurovision triumph with “Waterloo” to the technological marvel of the ABBA Voyage arena in London, we know that the group has always maintained a policy of political neutrality. They have spent over fifty years crafting a catalog that belongs to everyone, regardless of their leanings. By stepping into the fray now, Björn is defending the sanctity of that connection. He and his fellow band members—Agnetha Fältskog, Benny Andersson, and Anni-Frid Lyngstad—through their record label, Universal Music, have formally demanded that all such footage be removed and that the use of their intellectual property for “party political reasons” cease immediately.
This “shockwave” in Washington is part of a larger, growing movement of veteran artists standing their ground. From Adele and The Rolling Stones to the estate of Tom Petty, the message is clear: a “blanket license” from performing rights organizations like ASCAP or BMI does not equate to an endorsement. Björn, who also serves as the President of CISAC (the International Confederation of Societies of Authors and Composers), has used this moment to advocate for clearer global laws. He argue that creators should have the right to decide the context in which their art is presented, especially when it involves the divisive world of modern politics.
What makes this rebuke so “scathing” is the intellectual weight Björn brings to the argument. He is not just a pop star; he is a philosopher of the industry. His criticism highlights a fundamental misunderstanding in Washington about the nature of art. When a campaign plays “Chiquitita” or “Fernando”, they are attempting to borrow the warmth and nostalgia associated with those melodies. Björn’s intervention strips that away, forcing a conversation about respect, consent, and the ethical responsibilities of those who wish to lead.
For the readers of this blog who remember the first time they heard those soaring harmonies on the radio, there is something deeply admirable about Björn’s stance. He is protecting our memories as much as his own work. He reminds us that music is meant to unite us in our shared humanity, not to be weaponized in a quest for power. As the dust settles in Washington, one thing is certain: the “Unstoppable Blonde” legacy of ABBA remains untarnished, guarded by a man who knows that some things are more important than a campaign theme song.