Late on January 17 and into the early hours of January 18, a Miami nightclub played Heil Hitler, a 2025 song by Ye that includes chants praising Adolf Hitler and a sample from a Nazi-era speech. In the available footage, people on the dance floor do not appear to react differently than they do to other music played that night. Some dance. Some sing along. Video circulated online later that day.
The song has been covered extensively since its release and is illegal to distribute in Germany under laws banning Nazi propaganda. Major streaming platforms removed it. Jewish outlets reported on it immediately. There is little ambiguity about what the title means, what the lyrics say, or where the audio sample comes from.
Footage from the club shows several well-known online figures, including Andrew Tate, Tristan Tate, Nick Fuentes, Sneako, Myron Gaines, and Clavicular.
Their presence matters. Fuentes has publicly denied the Holocaust, praised Hitler, and said that Donald Trump did not govern like him. Tate has been reported by multiple outlets to encourage Nazi salutes and to promote conspiracy theories about Jewish control. Gaines has praised Hitler on his podcast and invoked what he called “the Jewish Question.” Sneako has said “Down with the Jews” on livestreams and promoted Ye’s song. Clavicular, a young “looksmaxxing” influencer, has spoken about “saving European culture” and has said he modeled himself after Fuentes.
Nothing about this context was subtle. The song’s title and chorus are clearly audible in the footage.
These men operate in the same online spaces and benefit from overlapping audiences. They were present while a song explicitly praising Adolf Hitler played in a public venue, and there is no indication in the available footage that the track was cut off or interrupted.
This wasn’t a private gathering or some obscure online forum. It was a nightclub open to the public, with staff, security, and management on site. In most nightlife venues, music selection is actively managed, and tracks are routinely cut when they threaten business or safety. A song called Heil Hitler playing without visible intervention reflects either a decision or a failure to act.
After footage from the night circulated, the club posted a statement on Instagram describing the content as offensive and unacceptable and saying it was under internal review. The post framed the song as a request made during a bottle parade and did not explain why the track was allowed to continue playing.
Responsibility does not hinge on who made the request or who pressed play. What matters is that Nazi language functioned as entertainment in a public space, with people present who openly praise that ideology.
Ye released the song, publicly defended it, and later tried to rework or soften it through alternate versions, a sequence that has been covered elsewhere. What stands out now is how little resistance the song encountered once it left the internet. In the footage, it appears to blend into the night rather than provoke immediate objection.
For Jewish communities, the concern is not symbolic offense. Antisemitism becomes more dangerous when it stops producing reaction, when it shows up in ordinary settings, and when institutions respond only after a video forces the issue into public view.
Nightclubs are not political institutions, but they are public environments that set boundaries through action. In this case, no intervention is visible in the available footage.
Jewish organizations condemned the incident after the footage circulated. Their responses do not alter the sequence of events documented in the videos.
This isn’t about taste or shock value. It’s about how antisemitic material circulates once it becomes familiar, and how easily it moves from online subcultures into physical spaces when no one steps in.
People kept dancing. The footage shows the night continuing without visible disruption. By the time the video circulated online, the moment and any chance of immediate intervention had already passed.
Michael Kuenne works as a journalist on antisemitism, extremism, and rising threats to Jewish life. His reporting continually sheds light on the dangers that come from within radical ideologies and institutional complicity, and where Western democracies have failed in confronting the new rise of Jew-hatred with the due urgency it does call for. With hard-hitting commentary and muckraking reporting, Kuenne exposed how the antisemitic narratives shape policymaking, dictate public discourse, and fuel hate toward Israel. His writings have appeared in a number of international media outlets, including The Times of Israel Blogs. Kuenne has become a voice heard for blunt advocacy in regard to Israel’s right to self-defense, critiquing ill-conceived humanitarian policies serving only to empower terror, while demanding a moral clarity which seems beyond most Western leaders. With a deep commitment to historical truth, he has covered the resurgence of Holocaust distortion in political rhetoric, the dangerous normalization of antisemitic conspiracies in mainstream culture, and false equivalencies drawn between Israel’s actions and the crimes of its enemies. His reporting dismantles sanitized language that whitens the record of extremism and insists on calling out antisemitism-whether from the far right, the far left, or Islamist movements, without fear or hesitation.