Semisonic Condemns White House’s Misuse of "Closing Time" in Deportation Video

The Minneapolis-based rock band Semisonic is publicly protesting the White House’s unauthorized and, in their view, inappropriate use of their iconic song "Closing Time" in a social media video depicting the deportation of an individual. The video, posted on X (formerly Twitter) – the platform owned by Elon Musk – has sparked outrage from the band, who feel their song’s meaning has been entirely distorted.

The contentious video portrays a series of scenes related to border enforcement. It opens with a man in handcuffs being frisked, followed by shots of several individuals being escorted onto an aircraft prominently labeled "Border Patrol." Superimposed over these visuals are lyrics from "Closing Time," specifically the lines: "Closing time, you don’t have to go home, but you can’t stay here." These lyrics are also included in the text of the post, accompanied by a link to the official U.S. Customs and Border Protection (CBP) account on X. As the video progresses and shows people boarding the plane, the lyrics "I know who I want to take me home" are played.

Adding fuel to the fire, the U.S. Customs and Border Protection retweeted the initial post on X, adding their own caption: "It’s closing time. We are making America safe again." This seemingly celebratory tone, coupled with the association of the song with deportation, has deeply offended Semisonic.

Semisonic responded swiftly and decisively. On their official X account, the band issued a statement emphasizing their lack of consent or approval for the White House’s utilization of their music. "We did not authorize or condone the White House’s use of our song Closing Time in any way. And no, they didn’t ask," the band wrote. They further elaborated on the perceived misrepresentation of their song’s intention, stating, "The song is about joy and possibilities and hope, and they have missed the point entirely."

The band’s reaction highlights a fundamental disconnect between the song’s intended message and its appropriation for political purposes. "Closing Time," released in 1998 on the album "Feeling Strangely Fine," became a global anthem of sorts, often associated with the end of an evening, new beginnings, and the bittersweet feeling of transition. Its lyrics, though simple, resonate with a sense of camaraderie, possibility, and the acceptance of change. Semisonic views the White House’s usage as a blatant misinterpretation, stripping the song of its original meaning and repurposing it to represent a policy decision that many find divisive and inhumane.

This incident is not an isolated one. The White House’s use of music in its social media campaigns has been previously criticized. Last month, another video titled "ASMR: Illegal Alien Deportation Flight" drew considerable controversy. This video depicted chains and manacles being laid out on a tarmac near a waiting jet, followed by scenes of a man being shackled and escorted onto the aircraft. The stark imagery and tone of the video were widely condemned as insensitive and dehumanizing.

Furthermore, Semisonic’s protest places them within a growing list of musicians who have publicly objected to the use of their music by the Trump administration and its supporters. A diverse range of artists, spanning multiple genres and generations, have taken action to prevent the unauthorized association of their work with political agendas. These artists, including Aerosmith, Beyoncé, Phil Collins, Celine Dion, John Fogerty (Creedence Clearwater Revival), Foo Fighters, Guns N’ Roses, Elton John, Linkin Park, Panic! At The Disco, R.E.M., Rihanna, the Rolling Stones, The Smiths, The White Stripes, Pharrell Williams, Neil Young, and the estates of Prince, Sinéad O’Connor, and Tom Petty, have resorted to various legal measures, including cease-and-desist letters and threats of lawsuits, to protect their intellectual property and artistic integrity.

When questioned about the Semisonic controversy, White House press secretary Karoline Leavitt reportedly stated, "our entire government clearly is leaning into the message of this president." This response appears to suggest that the use of "Closing Time" was a deliberate attempt to align the song with the administration’s policy on border security and immigration enforcement.

"Closing Time" was a massive success for Semisonic, reaching number one on Billboard’s Alternative Airplay chart for five weeks and peaking at number eight on the Pop Airplay chart. The song’s enduring popularity and widespread recognition make its appropriation for political purposes particularly problematic.

Adding another layer of complexity to the situation is the recent success of Semisonic’s Dan Wilson, the songwriter behind "Closing Time." Wilson recently won a Grammy Award for Best Song Written for Visual Media for "It Never Went Away" from the documentary "American Symphony," which profiles Jon Batiste and his wife Suleika Jaouad. The song was also nominated for an Academy Award for Best Original Song in 2024. In addition, Wilson earned a Grammy for Best Country Song for co-writing "White Horse" with Chris Stapleton and co-wrote and produced "Treacherous" for Taylor Swift’s 2012 album "Red." These accomplishments underscore Wilson’s significant contributions to the music industry and further highlight the incongruity of his work being used to promote a message he clearly opposes.

The conflict between Semisonic and the White House raises important questions about the ethical considerations of using copyrighted music in political campaigns and government communications. While fair use laws allow for limited use of copyrighted material for purposes such as commentary, criticism, and news reporting, the White House’s use of "Closing Time" appears to fall outside these boundaries. The band’s strong condemnation and the widespread support they have received from other artists suggest that this incident could have broader implications for the music industry and the relationship between artists and political actors. The power of music lies in its ability to evoke emotion, inspire hope, and connect people across cultures. When that power is misappropriated for partisan gain, it can have a deeply corrosive effect on both the art and the body politic.