"Dai Dai" is not only the 2026 World Cup anthem. It is a multimillion-dollar intellectual property operation that the audience never sees.
Two copyrights in every song
Every recorded song contains at least two separate rights. The composition (melody and lyrics) belongs to the writers and their publishers. The sound recording belongs to whoever financed it, usually a label. Using a song in a broadcast, an advertisement or a stadium requires clearing both. Clearing one and not the other is the most common licensing mistake there is.
Add performers and synchronisation
On top of that sit neighbouring rights for the performers, and a synchronisation license whenever the music is paired with moving images. A tournament anthem is licensed for television, streaming, social media, in-stadium use and sponsor advertising, each with its own scope and its own price.
Why this matters to a small business
The same rules apply to your thirty-second Instagram video. Using a commercial track without a license is copyright infringement even if the post generates no revenue, and platforms increasingly remove or demonetise automatically. Use production music with a written license, or commission a work and take an assignment of rights in writing.
In Mexico, works and contracts of assignment can be recorded before INDAUTOR, which is what gives you something to show when someone challenges your right to use them.
Clearing music in Mexico
Using a song in an ad, a reel or an event needs permissions from more than one owner, and each permission has to be in writing: transfers and licences of economic rights are null by operation of law if they are not (article 30 of the Mexican Federal Copyright Law).
Check the term before you sign. Where the agreement states none, the licence is taken to last five years (article 33), which is a problem when the campaign keeps running or the video stays online indefinitely.
And whatever the licence says, the authors keep their moral rights, which are inalienable, imprescriptible and unwaivable (article 19). That covers attribution and the integrity of the work, so cutting, remixing or re-recording is a separate conversation from paying for use.