As a lifelong music enthusiast and a proud Democrat who has attended several political conventions, I found this year’s DNC playlist to be a delightful mix of old favorites and fresh voices that truly encapsulated the spirit of America.
In most situations, if there was a widespread rumor, backed by credible news sources, that Beyoncé would perform at a globally broadcasted event, but the evening passed without any indication of her presence, it would feel disappointing. However, the light sound that echoed across the nation on Thursday wasn’t a whiff… it was a collective sigh of relief. (I suspect this feeling might have been more widely shared than not.) As a journalist, I had hoped Beyoncé or Taylor Swift would attend the Democratic National Convention; as a politically engaged individual invested in this election, I had prayed they would make it an evening more suitable for C-SPAN viewing. Being a superstar involves knowing when the world appears to want you, but in reality, it doesn’t – at least not at this very moment.
The 2024 Democratic National Convention was skillfully organized and managed, and this attention to detail extended to the handling of notable entertainers in a way that could be referred to as cautious. There were some big names involved, but none so prominent they would overshadow the main event – no disrespect intended towards Pink, who regularly fills stadiums, but it’s understood that her performance wouldn’t generate headlines. (Though it was intriguing to imagine Kamala Harris entering on a trapeze with Pink.) The risk lies in upstaging, as well as the potential backlash against an excess of “Hollywood elites.” The strategy of producers Ricky Kershner and Glenn Weiss seemed to be: Use sparingly, more for flavor than the main course… and just enough star power to subtly remind viewers that, indeed, most artists align with your views. In other years, they might have needed a larger roster. But it’s clear in 2024, the DNC already had its share of music legends, with the power of rhetoric as their musical genre.
2020’s Democratic National Convention, often recalled as the “Zoom convention,” had a more modern and youthful music selection, such as Billie Eilish, whose song “My Future” was fitting at that time. Some might argue it was a misstep to prioritize older figures for the 2024 convention, like Common who rose to fame in the ’90s, but there’s merit in a political event that doesn’t forcefully attempt to appeal to younger audiences with phrases like “How do you do, fellow kids!” The use of Charli XCX, popular among internet memes, was smart; overemphasizing hyperpop during primetime might not be, though. If the convention is essentially a four-night advertisement, it will primarily peddle centrist views. More daring and edgy forms of promotion can find their niche in digital platforms or future endorsement events.
Conservatism in music choices can have its own cleverness. One thing the musical picks of the DNC and RNC had in common — surely the only thing — was how they both leaned in hard on country music. Of course, at the Republican National Convention, that was kind of a joke: Apart from Kid Rock, who counts as an honorary country artist (much to the chagrin of most genre fans), and Lee Greenwood, who has a legit-classic song (albeit one that was buzzier when Reagan used it in the ’80s), RNC had to settle for the likes of Chris Janson and Brian Kelley, the Andrew Ridgeley of Florida Georgia Line. (Not counting the actual star Jason Aldean, who deigning to take a seat next to Trump but couldn’t be bothered with a performance slot.) If you wanted to pick out a single nadir in the history of political conventions, there’s a case to be made for it being Kid Rock adapting his profane and homophobic classic “American Badass” to rap: “I know it stinks in here, ’cause Trump’s the shhhhh…”
In my own perspective, during recent times, the Democratic National Committee has skillfully leveraged the more progressive aspects of what is traditionally perceived as a conservative genre. Reflecting on my 2005 book “Rednecks and Bluenecks: The Politics of Country Music,” I noted how apprehensive Democrats appeared to be in utilizing country songs or artists, a trend that persisted even among figures like Al Gore, who hailed from Tennessee. However, there have been noticeable shifts since then, with political figures like Barack Obama adopting Brooks & Dunn’s “Only in America” as part of their campaign, effectively snatching it away from the Republicans (though I believe the GOP managed to reclaim it at some point).
As a passionate moviegoer, I couldn’t help but notice the intentional choice of artists with roots in country music or related genres at this week’s DNC. Two particularly noteworthy acts were once mainstream superstars who found themselves on the outs due to their social and political views. These include the Chicks (formerly known as Dixie) and Maren Morris. The Chicks have been shunned for over two decades now, earning the title of the pioneers and most prominent victims of mass cancel culture. Meanwhile, Morris’ standing in country music is somewhat precarious, as she openly expressed feeling ostracized from the genre following a public spat with Jason Aldean’s wife about transgender children. The inclusion of these two artists mirrored the recurring presence of speakers who still identify as conservative but are distressed, such as former Representative Adam Kinzinger and Stephanie Grisham, who encouraged their fellow Republicans to recognize that the Harris/Walz camp is the patriotic choice for them.
Jason Isbell may not typically be categorized as a country artist, although he was labeled as such this week by some media outlets – however, with roots in Alabama, a distinctive southern accent, and nightly performances of his songs by Morgan Wallen, it’s understandable why people might think that. The Americana-inspired rocker opened the convention with “Something More Than Free,” a song that celebrated the resilience of working men but also acknowledged the fatigue faced by those overworked in blue-collar jobs. This performance echoed the values held dear by many current GOP members’ grandparents, who historically leaned Democratic in the South. While it may have appeared to most viewers as a simple country act in front of a barn, for those in the know, it felt like a reclaiming of roots and identity.
Mickey Guyton, being deeply rooted in mainstream country music, might have taken the biggest risk by performing at the DNC, as she’s the only artist who still maintains this connection. Her social media posts reveal a mix of supportive comments and those threatening to discard her music – from individuals who apparently never purchased it before. However, she may have reasoned that if radio play requests aren’t coming in anyway, why not take a bolder step and back the candidate whose views align more with hers than any other in history? Kamala Harris is breaking through her glass ceiling, and Guyton is doing the same. If singing an anthem like “All American” angers part of her potential audience, what a wonderful way to alienate them!
In essence, the DNC’s music selection was primarily country and R&B, which have been influential styles both historically and currently. There was less focus on rock, but Neil Young’s “Rockin’ in the Free World” was played loudly after Tim Walz’s speech. A tribute to Prince, a Minnesota native, featured John Legend straddling the rock/R&B divide. Unfortunately, modern times limit us to choosing between Sheila E. or Wendy & Lisa when paying tribute to Prince. Stevie Wonder and Patti LaBelle, reminiscent of the original playlist in Kamala Harris’s mother’s apartment, provided a predictable yet powerful touch during such an important event.
I don’t disagree with anyone who thinks it would be great if more recent hip-hop artists were recognized instead of just those from the 1990s. At the same time, I acknowledge that Common, as a politically progressive and family-friendly artist, doesn’t have as many popular contemporary successors as one might expect. His presence is always appreciated. Notably, Lil Jon’s unexpected appearance during the states’ roll call, DJ’d by DJ Cassidy, was the highlight of the convention. In just under two minutes, he remixed two of his biggest hits to support the Harris/Walz ticket and represent Georgia. This brief but viral performance made up for a lack of other hip-hop performances.
For pure superstar pop at the convention… well, there was Sabrina Carpenter’s “Espresso,” showing up in DJ Cassidy’s states medley to represent Guam. But it’s OK if the DNC decided this particular event needed to be the culmination of everyone’s brat summer.
As a dedicated cinema enthusiast, I must say that the most resonant aspect we took away from that realm was Pink’s performance. It wasn’t “Get This Party Started,” although it’s not difficult to envision a world where someone might have requested it, but instead, she delivered her masterpiece, the poignant and haunting “What About Us.” In a broad, symbolic sense, this song served as an authentic protest anthem, echoing sentiments that resonated deeply during the early Trump era. When Pink sang, “We are problems that want to be solved / We are children that need to be loved / We were willin’, we came when you called / But man, you fooled us / Enough is enough,” she could have been voicing the concerns of figures like Kinzinger or Stephanie Grisham, or any disillusioned Republicans. Although it didn’t quite become a generation-defining anthem, it was undeniably powerful, and I must commend the DNC producers for choosing this as a prelude to their convention finale.
It’s likely that the convention would have invited Swift or Beyoncé to perform, given the opportunity. (It’s unlikely that they were instructed to stay away.) However, musical selections, like Vice Presidential picks, should complement but not outshine the main act. Who would want Kamala Harris’ speech to be upstaged by the performer introducing or preceding her? The Republicans might have been delighted by such a scenario, using it as an opportunity to criticize the Democrats for relying too heavily on celebrity endorsements. Yet, endorsements from these artists will likely occur, just as they did four years ago, and they’ll have their own spotlight when needed – a boost in momentum. Whatever Beyoncé or Taylor Swift decide to do will undoubtedly generate excitement when it’s given its own time – possibly even more so. Everyone enjoys a surprise in October, although this campaign might be content with one in September instead.
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2024-08-23 20:48