WASHINGTON — Renowned banjo virtuoso Béla Fleck has pulled out of his scheduled performance at the John F. Kennedy Center for the Performing Arts, citing the recent attachment of former President Donald Trump's name to the venue as a reason for his decision. The Grammy-winning musician announced his withdrawal on social media on January 6, 2026, just days after a board vote reportedly influenced by Trump led to the name change, transforming the iconic cultural institution into what some are calling a politically charged space.
Fleck, known for his innovative fusion of bluegrass, jazz, and world music, was set to perform with the National Symphony Orchestra (NSO) at the Kennedy Center. In a statement posted to his Twitter account, Fleck explained his choice: “I have withdrawn from my upcoming performance with the NSO at The Kennedy Center. Performing there has become charged and political, at an institution where the focus should be on the music.” He added a note of optimism, saying, “I look forward to playing with the NSO another time in the future when we can together share and celebrate art.” The post included an image of the statement, underscoring Fleck's commitment to keeping artistic venues free from partisan undertones.
The decision comes amid growing controversy over the Kennedy Center's board, which sources describe as under the sway of Trump, the incoming 47th president. According to reports from Deadline, the board voted to incorporate Trump's name into the institution's branding following his electoral victory, a move that has sparked backlash from the arts community. The Kennedy Center, established in 1971 as a living memorial to President John F. Kennedy, has long been viewed as a nonpartisan hub for global artistic expression. Its transformation, critics argue, risks alienating performers and audiences who prize its apolitical heritage.
Fleck is not alone in his protest. Composer Stephen Schwartz, a Tony and Oscar winner best known for works like Wicked and Godspell, has also declined to participate in an upcoming event at the venue. Schwartz, who contributed to the Kennedy Center's opening gala in 1971 with Leonard Bernstein's Mass, issued a statement to Deadline emphasizing the center's original mission. “The Kennedy Center was founded to be an apolitical home for artists of all nationalities and all ideologies,” he said. “It is no longer apolitical, and appearing there has become an ideological statement. As long as that remains the case, I will not appear there.” Schwartz's remarks highlight a broader sentiment among veteran artists who see the name change as a departure from the center's foundational principles.
Jazz ensemble The Cookers, scheduled for a New Year's Eve performance, similarly canceled their appearance, framing their decision in the context of the genre's historical roots. In a collective statement, the group — featuring veteran musicians like Billy Harper and Eddie Henderson — declared: “Jazz was born from struggle and from a relentless insistence on freedom: freedom of thought, of expression, and of the full human voice. Some of us have been making this music for many decades, and that history still shapes us. We are not turning away from our audience, and do want to make sure that when we do return to the bandstand, the room is able to celebrate the full presence of the music and everyone in it. Our hope is that this moment will leave space for reflection, not resentment.” The Cookers' withdrawal underscores how the controversy is resonating across musical traditions tied to social justice narratives.
Other artists have followed suit, with cancellations from jazz drummer Billy Hart, choreographer Doug Varone and his dance company, pianist Chuck Redd, and singer Kristy Lee, among others. These pullouts, reported by Deadline, represent a wave of defections that began shortly after the board's vote in late December 2025. The Kennedy Center, located on the banks of the Potomac River in Washington, D.C., hosts thousands of performances annually, drawing over two million visitors. Its sudden entanglement in political discourse has prompted questions about funding, programming, and the venue's future role in American cultural life.
Background on the name change traces back to Trump's post-election influence over key institutions. As the former reality TV star and business magnate prepares for his second term, allies on the Kennedy Center's board — reportedly including donors and appointees aligned with his agenda — pushed for the rebranding. Details of the vote remain opaque, with no official minutes released as of January 7, 2026. Trump himself has not commented directly on the artists' reactions, though his supporters have celebrated the move as a way to honor his contributions to entertainment and patriotism. In related coverage, Deadline noted Trump's roster of celebrity backers, including figures from Hollywood and music who have publicly endorsed him, contrasting sharply with the dissenting voices in the classical and jazz worlds.
The Kennedy Center's history adds layers to the dispute. Opened by President Richard Nixon on September 8, 1971, it was conceived during Kennedy's presidency as a symbol of cultural diplomacy during the Cold War. Over the decades, it has premiered works by composers like Aaron Copland and hosted luminaries from Mikhail Baryshnikov to Yo-Yo Ma. The NSO, a resident ensemble since 1971, has been central to its mission, performing everything from Beethoven symphonies to contemporary commissions. Fleck's collaboration with the orchestra was anticipated as a highlight, blending his virtuosic banjo playing with orchestral arrangements of his compositions.
Reactions from the arts community extend beyond individual cancellations. Organizations like the American Federation of Musicians have monitored the situation, with local chapter leaders expressing concern over potential chilling effects on free expression. One unnamed source close to the NSO told Deadline that internal discussions have focused on maintaining artistic integrity amid external pressures. Meanwhile, Kennedy Center officials have downplayed the backlash, stating in a brief release that the venue remains committed to diverse programming and welcomes dialogue on its evolving identity.
The broader implications of these events ripple through Washington's cultural landscape. The Kennedy Center receives federal funding through the National Endowment for the Arts, and any perceived politicization could influence congressional appropriations in the coming years. Artists' groups have called for transparency in board governance, arguing that public institutions should not serve as extensions of any administration's brand. On the other side, some conservative commentators have praised the change as a bold reclamation of American heritage, though they have not addressed the performer exodus directly.
As the dust settles, Fleck and others have signaled openness to future engagements once the political climate shifts. The banjoist's career, spanning over four decades with albums like Perpetual Motion and collaborations with Chick Corea, exemplifies the cross-genre innovation that the Kennedy Center once championed unequivocally. Schwartz, reflecting on his involvement in the 1971 opening, evoked a time when the arts transcended ideology, a nostalgia shared by many in the current debate.
Looking ahead, the Kennedy Center faces a pivotal moment. With events like the annual Honors gala and holiday traditions at stake, administrators must navigate boycotts while upholding the venue's global reputation. The Cookers' hope for “reflection, not resentment” encapsulates a desire among artists for resolution. Whether Trump's name endures on the marquee or faces reversal will likely depend on public and philanthropic response in the months following his January 20, 2026, inauguration.
For now, the cancellations serve as a stark reminder of the arts' vulnerability to political winds. In a city synonymous with power, the Kennedy Center's role as a sanctuary for creativity hangs in the balance, with musicians like Fleck leading the chorus for its preservation.