Singer-songwriter Jess Glynne has publicly expressed her disapproval after one of her songs was used in a video reportedly showing a deportation at the White House. The footage featured Jet2’s version of one of her hit tracks, prompting Glynne to label the clip as “sick” in a reaction that underlines growing concern among artists over how their work is repurposed in political or controversial contexts.
El video, que se difundió ampliamente en diversas plataformas de redes sociales, muestra un proceso de deportación contratado por el gobierno, acompañado por la versión de la aerolínea Jet2 de una famosa canción de Glynne. El tono alegre de la música contrasta notablemente con la seriedad de la situación representada, lo que provocó críticas no solo de Glynne, sino también de otras personas que consideraron inapropiada la combinación.
In her statement, Glynne made clear that she had no knowledge of the track being used in the clip, nor had she given any form of approval. She called out the mismatch between the nature of the content and the upbeat tone of the music, stating that the use of the song in such a setting was deeply unsettling. Her reaction echoes a broader debate around consent and artistic control in the age of viral content and algorithm-driven media.
Glynne’s critique taps into ongoing concerns about how creative works can be co-opted by government entities or private organizations without the creators’ input. While Jet2’s use of her music in commercial settings such as in-flight entertainment or promotional material may be legally permissible under licensing agreements, its appearance in a politically charged context—especially one involving immigration enforcement—raises ethical and reputational questions.
This scenario is not unique. Musicians from different genres have become more vocal about their opinions when their music is utilized in political movements, demonstrations, or other public events with which they strongly disapprove. For numerous artists, this extends beyond the realm of intellectual property to include maintaining the integrity and essence of their creations. In the situation involving Glynne, her response indicates significant unease regarding what she perceives as an improper use of her artistic expression.
The emotional dissonance between a lighthearted track and the somber reality of forced removals is part of what made the video so jarring to viewers. Music, when paired with visuals, can take on new meanings. When those meanings are imposed without the artist’s involvement, it often leads to backlash. Glynne is not alone in feeling that her work was taken out of context in a way that could mislead audiences or tarnish her personal values.
The conversation also reflects a growing awareness of how music is used in official operations or by state agencies. In recent years, reports have emerged of authorities using pop songs to prevent bystanders from filming police actions or to trigger copyright filters on social media. These tactics have sparked debates over whether music is being weaponized in subtle yet effective ways to control public perception or limit transparency.
In response to the outcry, neither Jet2 nor the entity responsible for the deportation video has issued a public explanation. Whether the song was licensed for that particular use or included incidentally remains unclear. Nonetheless, the controversy has once again highlighted the complex legal and moral terrain that artists navigate when their work is licensed broadly or made available on digital platforms.
Glynne’s remarks come at a time when the entertainment industry is grappling with the implications of widespread content dissemination, remix culture, and the blurred lines between endorsement and appropriation. While licensing agreements typically grant broad rights to use music in varied settings, they rarely account for the nuances of political sensitivity or an artist’s personal stance.
Legal experts note that unless an artist specifically restricts certain types of use in their licensing contracts—something that’s often difficult to enforce or negotiate—they may have little recourse once the music is distributed. This creates a disconnect between legal rights and ethical responsibility, one that many in the creative industry are now pushing to address through advocacy and updated contractual frameworks.
The general public has shown a range of responses to the video. Some perceive the inclusion of the song as inappropriate and offensive, whereas others believe that music is typically chosen for its capacity to evoke emotions, irrespective of the context. Nonetheless, many artists and rights supporters commonly agree that creators should possess greater control over the usage of their creations—particularly when they are linked to controversial or distressing actual events.
For Jess Glynne, the incident serves as an uncomfortable reminder of how quickly a song, once released into the world, can become detached from its original meaning. Her strong disapproval sends a message to others in the industry to be vigilant about how their work is licensed and used, and to demand more transparency and accountability from both corporate partners and public institutions.
In a media environment where content moves rapidly and often without context, artists face the challenge of maintaining control over their voice. Glynne’s reaction is not just about one video—it reflects a larger desire among creatives to protect the integrity of their work and ensure it aligns with their personal and professional values.
While the long-term impact of this particular case remains to be seen, it adds to a growing list of examples where musicians have pushed back against the politicization or misappropriation of their art. As debates around digital rights, licensing ethics, and artistic consent continue to evolve, cases like this will likely play a role in shaping future conversations about ownership, responsibility, and the cultural power of music.
