Published on March 22, 2026
Musicians are once again voicing their discontent with the use of their songs at the Conservative Party conference, highlighting a trend that has seen various artists take issue with the interpretations and contexts in which their music is used . Florence Welch, the lead singer of Florence + the Machine, recently took to Twitter to express her frustration after the Tory conference used her band’s hit “You Got the Love” without permission. Welch emphasized that the track was “not approved would it have been had they asked,” making it clear that she does not support the Tories’ use of her music.
Scottish DJ and producer Calvin Harris also chimed in on the controversy after his collaborative song with Rihanna, “This Is What You Came For,” was played as part of Prime Minister Theresa May’s entrance music. Harris tweeted his displeasure, stating, “I do not support nor condone happy songs being played at such a sad event.” This statement not only reflects a broader dissatisfaction with the political landscape but also offers a biting critique of the event itself.
The criticism directed at the Conservative Party is not a new phenomenon; it follows in the footsteps of previous disputes involving well-known bands. Artists like Keane and the Dandy Warhols have similarly objected to their music being co-opted for political purposes, often pointing out the disconnect between the spirit of their songs and the messages conveyed .
The issue raises questions about consent, artistic integrity, and the often misaligned interpretations of music in the political arena. The Tory conference has previously featured performances and song selections that many believe fail to resonate with the actual sentiments of the music, leading to claims of tin-eared politics that distort meaning.
As the relationship between artists and politicians continues to evolve, it remains evident that many musicians are keen to distance themselves from political affiliations they do not support. Welch’s and Harris’s objections serve as a reminder that music, at its core, is an expression of individual and collective emotions, and when those emotions are misrepresented, artists may feel compelled to speak up.
In the end, one can only speculate how much attention these grievances will receive from the politicians themselves. As Theresa May faces her own challenges, her ability to relate to the artists she chooses to associate with remains a topic of discussion, underscoring the broader disconnect between the music world and political figures.