‘The song expresses the emotional pain of the Trump era’. She gets to the fundamental incomprehensibility of Trump’s callousness: “Honestly, if I did the things you do, I couldn’t sleep, seriously.” The gospel-elevated bridge rises above the president’s toxic headspace and turns to the summer’s Black Lives Matter protests: “We’ll be in the streets while you’re bunkering down.” The final line of the chorus (“How does it feel to still be able to breathe?”) references both Covid-19, which has killed more than 215,000 Americans on Trump’s watch, and the BLM slogan “I can’t breathe”. The line, “Do you get off on pain?” reminds me of Adam Serwer’s classic 2018 Atlantic essay, The Cruelty Is the Point.
Lovato the protest singer is an exasperated everywoman, interrogating Trump’s failings as a human being as much as a politician: his corruption, his vanity, his carelessness, his sadism. Lovato has said that she has often thought of writing Trump a letter, or sitting down with him to ask him why he behaves the way he does, but that a song opens these questions up to everybody: “I’m not the only one / That’s been affected and resented every story you’ve spun / And I’m a lucky one / ’Cause there are people worse off that have suffered enough.” In the arrestingly stark video, a diverse range of Americans lip-sync the song before Lovato takes over for the final minute.Ĭommander in Chief opens with a wholesome, relatable line about the values that we are supposedly taught (unless our father is Fred Trump) when we are young. While it’s not without lyrical flourishes (“Fighting fires with flyers and praying for rain”), it is largely plain-spoken and direct, conveying grief, resilience and disgust. In a sense that’s what it is, as it expresses the emotional pain of the Trump era, and 2020 in particular.
Produced by Eren Cannata and Billie Eilish’s brother Finneas, the song sounds like a heartbreak ballad. Still, there is something wonderfully unexpected and bold about the moral clarity of her latest song that she debuted at the Billboard music awards last night. Lovato, who describes herself as “a queer, Hispanic woman”, has previously been vocal about issues such as mental health and body image: her most recent hit was called OK Not to Be OK. The likes of Beyoncé, Taylor Swift and Katy Perry have been moved to take political positions and even channel them into songs, such as Swift’s Miss Americana & the Heartbreak Prince or Lana Del Rey’s Looking for America. It’s not that it’s unusual for a mainstream pop artist to speak out at the risk of losing fans. So who would have predicted that one of the most powerful songs about Trump – Demi Lovato’s Commander in Chief – would come so late in the day, and be so direct? In songs such as Childish Gambino’s This Is America, Kendrick Lamar’s XXX, the 1975’s Love It If We Made It or Hurray for the Riff Raff’s Pa’lante, he is mentioned briefly or not at all. Trump’s influence is often oblique: his presence seeps into records like poison gas. In music, to sing about the US these past four years is to allude to the elephant in the White House. It is no surprise that his most effective satirist is the comedian Sarah Cooper, who lip-syncs to his own words rather than writing her own. Assaulting him head-on is like staring into the sun. H ow do you solve a problem like Donald? Like Nixon, Reagan and Thatcher before him, President Trump has been a great catalyst for protest in the arts but his villainy is so absurd and flamboyant that it is hard to attack him without stating the obvious.
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