Is it possible for one minute to change the course of a cultural institution? Ben Folds seemed to think so. Just sixty seconds after Donald Trump assumed control of the Kennedy Center, Folds handed in his resignation as the National Symphony Orchestra’s first-ever artistic adviser—a move that sent shockwaves through the arts world and signaled a new era of protest in music.
For eight years, Folds was a driving force behind the NSO, working closely with Kennedy Center President Deb Rutter and fellow artistic advisor Renée Fleming. He cherished the chance to bring “thousands of fresh new audiences to appreciate symphonic music”, as he wrote on Instagram, and he reserved special praise for the musicians themselves: “just the best!” But when Trump ousted the Center’s bipartisan Board of Trustees and installed himself as chairman, Folds decided the new direction was “not for me.” He wasn’t alone. TV powerhouse Shonda Rhimes, soprano Renée Fleming, and others also stepped down, as the Kennedy Center’s legacy of artistic freedom and inclusion came under threat. The mass exodus of artists and cancellations of performances became a bold statement against what many saw as a clampdown on creative expression.
Folds’s protest didn’t end with his resignation. Last October, he recorded “Ben Folds Live with the National Symphony Orchestra” at the Kennedy Center, joined by special guests Regina Spektor and Tall Heights. The album, described as “part protest, part celebration,” captures the electric energy of those nights—a “time capsule of the last moment before it all got torn down,” as Folds put it. The setlist weaves together his biggest hits and new compositions, blending pop, rock, and orchestral textures in a way that feels both urgent and uplifting. In his own words to WKPK FM Louisville, Folds insisted, “I still believe there’s more good than not. But you must work for it. You have to say something. Especially now.”
The album’s release isn’t just a musical event—it’s a cultural flashpoint. Folds’s decision to step down echoes a long tradition of artists using their platforms for protest. From Nina Simone’s civil rights anthems to contemporary performers canceling shows in response to political changes, the arts have always been a battleground for values and voices. Folds himself warned in a CBS News interview, “There is an instinct, an authoritarian instinct, that is true in all authoritarian times in history: Take control of the culture, take control of the arts early on.” His concern wasn’t just about his own role but about whether future artists would feel safe expressing themselves at one of America’s most iconic venues.
Yet, even as the Kennedy Center’s future hangs in the balance, Folds is charging ahead. He’s just announced a nationwide orchestral tour—his first since the resignation—featuring collaborations with major ensembles like the Colorado Symphony, Atlanta Symphony Orchestra, and Louisville Orchestra. These concerts promise to be more than just performances; they’re poised to be gatherings of solidarity, celebration, and resistance, continuing the tradition of pop and rock musicians joining forces with symphony orchestras to create something bigger than the sum of their parts.
In a world where the lines between art and activism are blurrier than ever, Ben Folds’s journey from the Kennedy Center stage to the frontlines of cultural protest is a reminder that music can still be a powerful force for change—and that sometimes, the most resonant notes are struck in moments of defiance.
