The project is expected to unite Andrea Bocelli, David Guetta, Megan Thee Stallion and EJAE, with DNA set to feature around the tournament and at its launch event. Yet Goudie, who co-wrote the song with Ashley Milton, says he was unsure until the eve of release whether the track would actually reach the public.
That uncertainty is striking for a song carrying such a significant label. World Cup anthems are built to become part of football’s shared memory, accompanying broadcasts, ceremonies and celebrations across continents. The public sees the finished performance; the writers can be left waiting for basic information.
The track reportedly began at a workshop in Berlin as a more emotional song about self-acceptance and imperfection. It later moved towards football after the team around Bocelli became involved, with changes made to its lyrics and presentation.
That evolution is normal in pop music. The troubling issue, Goudie argues, was not simply that the song changed, but that its creators were kept away from key decisions. He says the authors were fortunate to receive any warning before publication, even though the process remained chaotic.
Goudie’s criticism reaches beyond DNA. He says “não há regulação” - there is no regulation - and that composers remain “na base da cadeia”, at the bottom of the chain, with less recognition, weaker financial rewards and limited access to information.
For a tournament marketed around unity, that imbalance creates an uncomfortable contrast. The anthem may represent football to millions, but the people who shaped it reportedly had little control over how its story unfolded.
The next test will come when the 2026 World Cup begins. If DNA catches fire in stadiums, its creators may finally receive the visibility they believe was missing behind the scenes.