If you tuned into the 68th Annual Grammy Awards last night expecting a celebration of American musical excellence, you were likely disappointed. Instead of a tribute to the craft, the audience at the Crypto.com Arena—and the millions watching at home—were subjected to a four-hour lecture on federal law enforcement policy. From “ICE Out” pins to expletive-laden acceptance speeches, the evening served as a stark reminder of how far the coastal cultural elite has drifted from the values of the working men and women who actually keep this country running.
The “protests” were as predictable as they were performative. Puerto Rican rapper Bad Bunny, taking the stage for Album of the Year, chose to use his platform to declare “ICE out” before even thanking God. Billie Eilish, accepting Song of the Year, echoed the sentiment with the tired radical-left trope that “no one is illegal on stolen land.” Meanwhile, Kehlani used her moment to hurl profanities at the very agents tasked with securing our borders.
It was a symphony of self-righteousness, and for those of us in the “flyover states,” the message was crystal clear: your safety, your laws, and your sovereignty are secondary to the political signaling of a billionaire artist class.
The Myth of the “Sovereign Artist”
There is a profound irony in watching a group of celebrities, surrounded by private security and shielded by the highest-tech surveillance money can buy, lecture the American public on why we should dismantle the agency responsible for public safety. These artists live in a world of gated communities and bulletproof SUVs, yet they demand that the rest of us live in a country without borders.
When Bad Bunny says “we are not aliens,” he is playing a semantic game that ignores the reality of national security. No one is arguing that immigrants aren’t human; what we are arguing is that a nation without a border is not a nation. By calling for “ICE out,” these celebrities are effectively calling for an end to the rule of law.
The radicalism, however, never seems to apply to their own front gates. Take Billie Eilish, for example. While she stands on a global stage decrying “stolen land,” she does so as the owner of a sprawling $14 million estate. If she truly believes the ground beneath her feet is “stolen,” why is she still holding the deed? On social media, the backlash has been swift, with thousands calling for her to put her money where her mouth is and sign that 14-million-dollar mansion over to Native American tribes immediately. If the land is stolen, Billie, why are you the one living on it? It’s the ultimate “rules for thee, but not for me” moment that defines the modern celebrity.
The “Free Concert” Paradox: Borders for Thee, But Not for Me
This hypocrisy extends beyond her real estate portfolio and straight into the arenas where she performs. While Eilish decries the concept of “illegal” entry onto “stolen land,” her own business model relies on the strictest possible border enforcement. If “no one is illegal,” does that mean her upcoming Hit Me Hard and Soft tour dates are now free for all?
Hardly. Fans are still expected to shell out hundreds of dollars for a “permit” (a ticket) to enter her private territory. For an artist who claims that human movement shouldn’t be restricted by “imaginary” lines, she certainly spends a lot on the private security teams that patrol the perimeter of her shows. If you try to enter a Billie Eilish concert “illegally” without a ticket, you won’t be greeted with “mutual aid”; you’ll be intercepted by a security guard and promptly deported from the venue. It seems Billie believes in walls and enforcement only when it protects her profit margins and her personal space.
The Don Lemon Circus: A Hero’s Welcome for the Lawless
Perhaps the most egregious moment of the weekend didn’t even happen during the main broadcast. At Clive Davis’s annual pre-Grammy gala, the “independent journalist” Don Lemon was greeted with a thunderous standing ovation. This is the same Don Lemon who was arrested just days ago for allegedly co-conspiring with radical protesters to disrupt a church service in Minneapolis—the very city still reeling from the tragic shootings of Alex Pretti and Renee Good.
To see the music industry’s biggest power players—from Nancy Pelosi to Stevie Wonder—stand on their feet to applaud a man facing federal charges for interfering with a place of worship is chilling. It tells you everything you need to know about the current state of Hollywood: they don’t care about the First Amendment or “journalism”; they care about the narrative. By lionizing Lemon, they are signaling that lawlessness is acceptable, so long as it’s done in the name of the “correct” political cause.
The Minneapolis Catalyst: Context vs. Narrative
The primary fuel for last night’s fire was the tragic shooting of Alex Pretti and Renee Good in Minneapolis. The media and the Grammy stage have already tried, convicted, and sentenced the federal agents involved before the first piece of evidence has been fully vetted in a court of law.
Is it a tragedy? Absolutely. Any loss of life is. But the rush to use these deaths as a battering ram to abolish an entire federal agency is the height of political opportunism. We saw this same script in 2020: take a single, high-profile incident, strip it of all context, and use it to justify the dismantling of the institutions that protect us.
The Great Divide: Super Bowl Boycotts and the “All-American” Alternative
The disconnect between the coast and the heartland is reaching a boiling point, and the upcoming Super Bowl is the next battleground. With the NFL doubling down on the “ICE Out” rhetoric by featuring Bad Bunny as the solo halftime headliner, millions of Americans are saying “enough is enough.”
A massive boycott of the Super Bowl halftime show is already gaining steam. Groups like One Million Moms and thousands of families across the country have pledged to turn off the “woke” propaganda of the NFL. But they aren’t just turning the TV off; they are turning somewhere else. Turning Point USA has announced its “All-American Halftime Show,” a celebration of faith, family, and freedom that will stream live on the TPUSA TV network, YouTube, and Rumble opposite Bad Bunny’s performance.
This is what I call the “Axe effect” in action. People are no longer content to just grumble at the screen; they are actively seeking out alternatives that don’t insult their intelligence or their country.
Where Do We Go From Here?
As we look toward the Super Bowl next week—where Bad Bunny is set to perform his “Resistance” themed set—the tension is only going to mount. The administration has already signaled that it will not back down, with Secretary of War Pete Hegseth and Secretary of Homeland Security Kristi Noem emphasizing that the rule of law is not optional.
The 2026 Grammys will be remembered as the night the music died, replaced by the shrill feedback of political posturing and the standing ovations for those who flout our laws. But there is a silver lining. Every time a celebrity takes to the stage to denounce the American people, it only strengthens the resolve of those who believe in this country.
The “Axe Room” is getting louder. The independent journalists are finding their voices. And the silent majority is starting to realize that if the elite doesn’t want to represent them, they will find—or create—their own culture.
So, to the artists who wore their “ICE Out” pins: thank you. You’ve made the choice very easy for us. We’ll be watching the Turning Point show. We’ll be supporting our federal agents. And we’ll be waiting for Billie to hand over those house keys.