Jonathan Cain, the long-standing keyboardist for the legendary rock band Journey, has launched a scathing attack on fellow musician Bruce Springsteen, accusing him of being an "annoying, bitter old man" due to his outspoken political views. Cain, who identifies as a "diehard conservative" and a fervent supporter of former US President Donald Trump, expressed his frustration with artists who use their platforms to "preach" their beliefs to audiences.
During an appearance on Tom Barnard’s Complete Disaster Network podcast, Cain, aged 76, stated that he believes figures like Springsteen and actor Robert De Niro should simply "shut up" regarding politics. He asserted that entertainers should focus on their art rather than engaging in political commentary. "I try to keep politics out of my music," Cain insisted, drawing a contrast with Springsteen's approach.
Springsteen has frequently used his recent Land of Hope & Dreams American Tour to criticise Donald Trump, even commencing the tour in Minneapolis in April to acknowledge the city's anti-ICE protests. Cain particularly took aim at Springsteen's iconic track "Born in the USA," suggesting that its lyrics, upon closer inspection, constitute a "diss toward our country," despite its patriotic veneer.
Cain, who has been with Journey for over 45 years and is married to televangelist Paula White-Cain, a spiritual adviser to Donald Trump, also spoke about his own conservative Christian identity. He clarified that while he holds strong beliefs, he refrains from promoting them on stage, stating, "I don’t preach it on stage. I don’t spend 10 minutes talking about it." He compared his stance to that of fellow conservative rock artists like Ted Nugent and Kid Rock, whom he described as "unicorns" in the music industry for their political alignment.
This public rebuke highlights a growing divide within the entertainment industry, where artists' political allegiances and willingness to express them openly are increasingly becoming points of contention. While some musicians believe in using their platform for social and political advocacy, others, like Cain, argue for a separation of art and politics, preferring to keep their performances free from partisan messages.