"In light of the (reported) significant investments by [Spotify's] CEO in a company producing military munition drones & Al technology integrated into fighter aircraft, Massive Attack have made a separate request to our label that our music be removed from the Spotify streaming service in all territories. In our view, the historic precedent of effective artist action during apartheid South Africa and the apartheid, war crimes and genocide now being committed by the state of Israel renders the 'No Music For Genocide' campaign imperative. In the separate case of Spotify, the economic burden that has long been placed on artists is now compounded by a moral & ethical burden, whereby the hard-earned money of fans & the creative endeavours of musicians ultimately funds lethal, dystopian technologies."
"In 1991 the scourge of apartheid violence fell from South Africa, aided from a distance by public boycotts, protests, & the withdrawal of work by artists, musicians and actors. Complicity with that state was considered unacceptable. In 2025 the same now applies to the genocidal state of Israel. As of today, there's a musician's equivalent of the recently announced @filmworkers4palestine campaign (signed by 4,500 filmmakers, actors, industry workers & institutions) - it can be found @nomusicforgenocide & supports the wider asks of the growing @bds.movement . We'd appeal to all musicians"
Massive Attack requested their label remove their music from Spotify worldwide and joined the 'No Music For Genocide' campaign to geo-block streaming in Israel. The group cited reported significant investments by Spotify's CEO in a company producing military munitions and AI technology integrated into fighter aircraft as a moral reason for withdrawal. The band argued that artist boycotts were instrumental in ending apartheid in South Africa and framed current actions as a response to alleged apartheid, war crimes and genocide by the state of Israel. The statement linked the campaign to Film Workers for Palestine and the wider BDS movement.
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