In the grand tradition of American politics, music has often been a battleground, not just for cultural values but for identity, rebellion, and representation. Yet in recent years, a fascinating trend has emerged: some conservative politicians and right-wing figures publicly embracing rock, punk, and even hip-hop artists whose political beliefs are staunchly progressive or explicitly critical of the very ideology these fans support. The result is a kind of cultural irony: Republican figures rocking out to protest anthems, seemingly unaware that the songs were written in opposition to their worldview.
Misreading the Message
This phenomenon isn’t new. Bruce Springsteen’s “Born in the U.S.A.” has long been misused as a patriotic rallying cry, most notably by Ronald Reagan during his 1984 re-election campaign. The anthemic chorus masks lyrics that explore the bleak realities of Vietnam veterans abandoned by the American Dream, a narrative of disillusionment, not nationalistic pride. Springsteen, a vocal progressive, publicly objected to Reagan’s use of his song.
More recently, Donald Trump’s campaign repeatedly used songs by artists like Neil Young, The Rolling Stones, and Tom Petty, despite explicit objections from the artists themselves. Petty’s estate issued a cease-and-desist order, stating that Petty “would never want a song of his used for a campaign of hate.” Similar actions were taken by Queen and Pharrell Williams, who were aghast at their songs being co-opted by a political movement they did not support.
Punk Rock Paradox
Perhaps the most jarring contradiction lies in the appropriation of punk and metal genres rooted in anti-authoritarianism and social dissent. Conservative fans of bands like Rage Against the Machine or the Dead Kennedys often miss the overtly leftist, even anarchist, messages in the lyrics. Rage Against the Machine’s guitarist Tom Morello, himself a Harvard-educated political activist, has routinely pushed back against conservative fans, once tweeting: “You’re literally the machine we’ve been raging against.”
The Dead Kennedys, whose songs rail against corporate greed, war profiteering, and fascism, have had their music quoted by libertarian-leaning figures who perhaps only heard the aggressive guitars and missed the critique entirely.
Nostalgia Over Nuance
Part of the issue stems from a broader trend in politics: the selective consumption of culture. Many listeners form attachments to songs through personal nostalgia or emotional resonance, often without engaging deeply with the lyrics. A booming chorus or rebellious hook can override a song’s intent. When that music is later repurposed at political rallies, the underlying context gets lost.
Moreover, the tendency to idolise artists as figures of personal rebellion can lead to cognitive dissonance when confronted with the artists’ actual political views. For example, Kid Rock, one of the few artists who has openly aligned with conservative politics, is often contrasted with musicians he once shared stages with, many of whom are outspoken progressives.
