Music generates passion and emotion, so it’s little surprise that popular tunes have been featured in presidential contests since the days of George Washington and Thomas Jefferson.

But as a scholar of music’s role in American politics and patriotism, I’ve never seen music assume as much electoral importance as it has in recent months.

Taylor Swift’s endorsement of Kamala Harris is headline news, as were the mere rumors that Beyoncé might perform at the Democratic National Convention. Donald Trump, too, has his pop culture supporters, including Kid Rock and Lee Greenwood.

In a tight race, music has the potential to make a big difference. Most voters today have already made up their minds, and the presidential race remains a statistical dead heat, according to polls. In this situation, I think music offers a deceptively simple, emotional hook that can inspire the party base without alienating those few undecideds in the middle.

When crowd size matters, getting your supporters to sing, scream and dance can cultivate an aura of electoral triumph.

Fired up, ready to go

Music had a starring role in this year’s dueling nominating conventions.

Beyond the expected fare of the national anthem and the background music that filled the voids between speakers, pop hits were used to transform each party’s typically tedious state-by-state roll call. When Florida’s 125 votes took Trump over the top, confirming that he would be the official Republican nominee, organizers played Kool & The Gang’s 1980 No. 1 hit, “Celebration.”

Over at the Democratic convention, celebrity emcee DJ Cassidy turned the relatively banal proceedings of the roll call into a dance party. As each state and territory was called to vote, a signature song burst forth to introduce, welcome and energize the crowd. Alabama’s call-out was Lynyrd Skynyrd’s “Sweet Home Alabama,” Eminem’s “Lose Yourself” announced Michigan, while California featured the music of native emcees Dr. Dre and Snoop Dogg.

And in a moment designed to go viral, Atlanta native and crunk rapper Lil’ Jon answered the call for Georgia with the guttural shout “Heyaaah … ” followed by the opening lyrics of his party anthem “Turn Down for What?”

Soon afterward, Axios posted a full Democratic convention roll call playlist on Spotify, and its 61 songs showcase a tactical musical advantage held by Democrats.

None of the artists featured at that convention have publicly objected to their songs being used. In contrast, dozens of musical artists have disavowed Trump’s use of their music at rallies. In 2024 alone, they include ABBA, Adele, Celine Dion, Foo Fighters, Jack White and the heirs of Isaac Hayes.

Rather than fulminate against these slights, Trumpworld seems to embrace the headlines they generate. The objections of these artists reinforce the candidate’s trademark outsider status, and are yet another sign that he and his supporters are scorned by the nation’s political and cultural elites.

Both candidates’ soundtracks claim very different ideological territory. Harris favors youth-oriented hits with a high proportion by artists of color and women. Her selections send a message. Playing Chappel Roan’s “Femininomenon,” for example, signals both an inclusive, affirming message about gender fluidity while also suggesting to fans who know the song that it’s about time for a woman to be in charge.

Trump often features classic hits, including James Brown’s 1966 single “It’s a Man’s Man’s Man’s World,” which emphasize traditional masculinity. Rock anthems and patriotic hymns dominate the Make America Great Again playlist, such as Kid Rock’s “American Bad Ass” and Queen’s “We are the Champions,” though the British band has protested its use. Greenwood’s “God Bless the USA” has become an unofficial Republican hymn, and rally attendees routinely sing along.

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