In a move that has ignited fierce debate across the music industry, social media, and political circles, Spotify confirmed in October 2025 that it ran recruitment advertisements for U.S. Immigration and Customs Enforcement (ICE) as part of a sweeping government campaign. The revelation, first highlighted by a wave of online protests and amplified by prominent record labels and musicians, has cast a harsh spotlight on the intersection of streaming platforms, government advertising, and the ethics of digital media.
According to Snopes, a Spotify spokesperson acknowledged that at least one ICE recruitment advertisement appeared on the platform this year. The company characterized the ad as part of "a broad campaign the US government is running across television, streaming, and online channels." Spotify further clarified that the content did not violate its advertising policies. "Users can mark any ad with a thumbs up or thumbs down to help manage their ads preferences," the spokesperson added, emphasizing the platform’s commitment to user choice within its advertising ecosystem.
Yet, for many in the music community, that explanation fell flat. On October 16, Epitaph Records, a respected independent label, issued a public call for Spotify to remove ICE recruitment ads, stating, "Artists and fans deserve platforms that reflect the values of the culture they sustain. We call on Spotify to remove these ads immediately." The label’s post, which quickly gained traction on Facebook, also urged other streaming giants—Meta, YouTube, Pandora, and more—to reconsider their participation in the campaign.
The controversy didn’t stay confined to industry insiders. Social media platforms from TikTok to Instagram, Facebook, and X (formerly Twitter) saw an outpouring of criticism and calls for action. Users shared recordings of the ICE recruitment ads, with one TikTok video capturing the message: "In too many cities, dangerous illegals walk free as police are forced to stand down. Join ICE and help us catch the worst of the worst, with bonuses up to $50,000 and generous benefits. Apply now." The same language appeared in ads documented in Google’s Ads Transparency Center and Meta’s Ad Library, underscoring the campaign’s broad digital reach.
It wasn’t just Spotify in the crosshairs. According to The Independent, ICE’s recruitment drive spanned Meta, Pandora, YouTube, HBO Max, and Hulu, with ads running from late August through October 20, 2025. Some Pandora users even took to the platform’s community forums to vent their frustration about hearing the ads during their music sessions. Google, which owns YouTube, confirmed the presence of ICE recruitment ads in its transparency tools, while Meta’s Ad Library displayed multiple such ads launched in August and September.
The Department of Homeland Security (DHS), which oversees ICE, has stood by the campaign’s effectiveness. Tricia McLaughlin, assistant DHS secretary, stated, "The ICE recruitment campaign is a resounding success with more than 150,000 applications rolling in from patriotic Americans answering the call to defend the Homeland by helping arrest and remove the worst of the worst from our country." The campaign’s reach, according to DHS, is unprecedented—leveraging the power of streaming and social media to attract a new generation of recruits.
But the government’s aggressive recruitment tactics have not been limited to paid advertisements. On October 23, 2025, the DHS posted a video on social media platforms that set off a fresh wave of outrage. The video, which featured federal agents arresting protesters outside an ICE facility in Portland, Oregon, was soundtracked by MGMT’s 2017 hit “Little Dark Age.” The caption read: "End of the Dark Age, beginning of the Golden Age." The band, MGMT, quickly responded with a takedown request, condemning the unauthorized use of their music in what they described as a "propaganda video."
MGMT explained in a statement on Instagram, "MGMT is aware of ‘Little Dark Age’ being featured in a propaganda video by the Department of Homeland Security and has issued a takedown request for the unauthorized use of their music." The group’s frustration was echoed by fans, who flooded DHS’s Instagram post with comments like, "MGMT would never support this," and "Please do not use their music to push your disturbing and hateful narrative." Another fan pointed out, "The irony is that little dark age is about how s*** like this is bad."
In response to the backlash, DHS deleted the video from its X account, though it remained on Instagram without the MGMT track as of October 25, and was still visible on the department’s Bluesky account. The band’s lead singer, Andrew VanWyngarden, had previously told Rolling Stone that the song was written in the aftermath of President Donald Trump’s 2016 election victory. "Apparently we were more inspired to write pop music after evil took over the world," he said in 2018, leaving little doubt as to the song’s intended message.
This isn’t the first time DHS has clashed with artists over unauthorized music use in its recruitment efforts. Earlier this month, the department was forced to remove a social media post featuring The Cure’s “Friday I’m in Love.” During the summer, they also took down a post that used Jay Z’s “Public Service Announcement” to promote ICE recruitment. The recurring pattern has drawn criticism not only from musicians but also from copyright advocates, who see the repeated takedowns as evidence of a cavalier approach to intellectual property and artistic intent.
The controversy has also reignited debate about the broader implications of government advertising on platforms cherished for their cultural significance. For many, the presence of ICE recruitment ads on Spotify and other music services feels like a betrayal of the values that music communities often champion—openness, diversity, and resistance to authoritarianism. Others, however, argue that as long as ads comply with platform policies and legal standards, streaming services are within their rights to accept government advertising, no matter how contentious the subject matter.
As for the platforms themselves, most have remained tight-lipped. Spotify pointed to The Trade Desk, the ad placement platform responsible for delivering the ICE ads, but did not elaborate further. Other companies, including Meta, Pandora, YouTube, HBO Max, and Hulu, had not responded to media inquiries as of late October. The silence has only fueled speculation and suspicion among users and artists alike.
Adding another twist, the song “Little Dark Age” has a complicated recent history. According to a 2021 report by the Institute for Strategic Dialogue in the U.K., far-right groups co-opted the track as “by far the most popular Sound among extremist creators on TikTok.” Its viral popularity in those circles has only heightened sensitivities around its use in government messaging, especially when paired with images of protest crackdowns and ICE operations.
For now, the furor shows no sign of abating. Streaming platforms, artists, and government agencies are all grappling with the fallout, as users demand greater transparency and accountability. The debate over who controls the soundtrack to America’s political and cultural battles is far from over, and the next chapter may well be written not just in boardrooms or government offices, but in the playlists and protest songs of millions.
