Philadelphia-based rock group Low Cut Connie alleges their spot at the free “Rocking the River” festival in Wilkes‑Barre, Pennsylvania, was pulled by organizers for “political” reasons tied to their outspoken views. Frontman Adam Weiner, citing the July 25 show, said festival promoters feared the band would spark controversy—ironically replacing them with an AC/DC cover group instead. He called the move “cowardly” and “so disappointing and upsetting”.
Weiner emphasized that Low Cut Connie’s performances promote diversity and inclusion—values he frames as intrinsic to American strength. He defended those ideals forcefully, noting he “won’t apologize” for using the word diversity, which “should not be dirty”. He also highlighted the possible catalyst: their May release, “Livin’ in the USA,” which addresses opposition to ICE raids and escalating social unrest. He framed the removal as a suppression of principles, even likening it to conservative culture figures like President Trump and Fox News personalities being silenced in modern media spaces.
A Luzerne County official responded that the festival intends to stay “free of politics and propaganda,” creating a supposedly neutral setting for community enjoyment. This incident, combined with Low Cut Connie’s historic boycott of a Kennedy Center engagement over Trump’s role there in March, reveals a deeper collision between art and ideology.
Low Cut Connie isn’t alone. Artists such as French band Yelle canceled their U.S. tour citing a “very worrying” political climate, while others like Red Jumpsuit Apparatus explicitly bar Trump supporters from attending—enforcing ideological purity, not neutrality. These trends suggest culture is increasingly stratified by political allegiances.
