Megyn Kelly criticized Bruce Springsteen for allegedly turning his concert performances into a crusade against Donald Trump [1, 2].
The comments highlight the ongoing tension between high-profile entertainers and political figures in the U.S., illustrating how musical performances are increasingly used as platforms for political activism.
Speaking on Sky News Australia during an interview with host Paul Murray, Kelly said Springsteen has focused his later career on hating the former president [2]. She suggested that the singer has rewritten his music to fit a political agenda, specifically targeting Trump during his tours [1, 2].
"Can you imagine hating someone so much that you make all of your elder years about that one person?" Kelly said [2].
Kelly said the singer alters his lyrics while traveling from city to city to emphasize how evil she believes he portrays the politician [2]. She described the act of "rejiggering" songs to serve as political attacks as a negative shift in his artistic approach [2].
Beyond the music, Kelly questioned the authenticity of Springsteen's political commentary. She said it is "so sad" that when the singer is asked to speak off the cuff for a minute about his dislike for Trump, he allegedly requires a teleprompter [2].
Springsteen has a long history of incorporating social and political themes into his work, but Kelly said that the current focus on a single political opponent is excessive [1, 2]. The criticism reflects a broader debate regarding the role of artists in political discourse, and whether such efforts alienate portions of their audience [1].
“"Can you imagine hating someone so much that you make all of your elder years about that one person?"”
This dispute underscores the deepening polarization in U.S. cultural life, where the intersection of celebrity influence and political opposition often leads to public clashes over artistic intent. By criticizing the use of a teleprompter and altered lyrics, Kelly is questioning the sincerity of the artist's political convictions, framing them as performative rather than organic.
