Janelle Monáe was anything but subtle when they went off on a freestyle about Nelly, framed around his hit song ‘Hot in Herre.’ She expressed her strong disapproval towards the singer at the afterparty of the Grammys. The cause of this scorn appears to be Nelly’s participation in Donald Trump‘s inaugural function where he performed.
Monáe, in the midst of her lyrical rant, rather dramatically announced, ‘Nelly, I’m through with you!’ after reciting part of the song and transitioning into a freestyle, to make her point loud and clear. According to Monáe, the offender in question lost his appeal when he decided to perform for Trump.
Monáe went on saying she cares about women, Hispanics, Spanish speakers, and the LGBTQ+ community. Disgruntlement rippled through her words as she reiterated her displeasure with Nelly’s performance for the Republican President.
She went further, scorning Nelly for what she perceived as a downgrade in his image, due to his association with Trump. This woven lyrically into her freestyle was unsurprisingly explicit and heated.
This public denouncement of Nelly by Monáe comes after he defended his choice to participate in the celebration of the Presidential inauguration. He had voiced that performing was not a political stance for him, but rather a mark of respect for the office, no matter who held it.
Nelly elaborated on this belief in a podcast, where he stated plainly that his political involvement ceased with the election result. He acknowledged Trump as the elected leader, and thus his Commander-in-Chief.
The singer added that his patriotic sentiments were the driving force behind his willingness to perform. In his eyes, it was an honor to be invited to provide entertainment for the President, irrespective of the individual holding the position.
Interestingly, Monáe’s sharp criticism of Nelly also contrasts with her previous endorsement of Kamala Harris. However, her passionate denouncement of Nelly seems to carry an unspoken implication about her feelings towards Harris or Biden should they request a performance.
In a series of sharp comments made during an interview in November, Monáe had outlined her strong dislike for Trump’s policies and what she described as his ‘self-centric’ rhetoric. She contrasted this with Kamala’s ‘inclusive’ outlook, making it clear where her loyalties lay.
Given this background, it’s unclear how Monáe would react if a similar performance situation arose involving Biden or Harris. Her distaste for Trump-aligned performers might very well apply to them as well.
It is often said that admiration turns into scorn in a nanosecond in the world of entertainment, and Monáe’s feelings towards Nelly seem to exemplify this. The vitriol in her criticism underscores how deeply she associates him with Trump’s administration now.
Monáe appeared at the 2025 Grammys, delivering an outstanding performance to Michael Jackson’s ‘Don’t Stop Til You Get Enough’ as tribute to the indomitable Quincy Jones. Yet, amid all this celebration, her strong sentiments against Nelly and, by association, Trump cast a long shadow.
Her biting comments towards Nelly might have resonated among members of the music community who share her views towards Trump. Yet it’s undeniable – her words also point to the divisive nature of politics in the entertainment ecosystem.
In conclusion, political alignments in the arts and entertainment world can shift allegiances pretty quickly. Something as seemingly neutral as a performance at an inauguration ceremony can change personal and public perceptions overnight. Janelle Monáe proved as much with her seething lyrical rebuke to Nelly.
We might never know what went through Nelly’s mind when he took up the offer to perform for Trump. However, his action invited intense scrutiny and criticism, most publicly from Janelle Monáe, changed his image, at least in her eyes, forever.
On the thought-provoking note of this intense dynamic between politics and entertainment, and the impact on personal and professional relationships, we can distil one reality: The choices one makes, even in the realm of music, can have far-reaching consequences and are never devoid of context or political implications.