British band Radiohead have condemned the unauthorised use of their song Let Down in a US Immigration and Customs Enforcement social media video, issuing a blunt public statement demanding its removal.
by Paul Cashmere
Radiohead have issued a strongly worded statement after a cover version of their song Let Down was used in a promotional video published by the United States Immigration and Customs Enforcement agency, commonly known as ICE.
The track, originally released on Radiohead’s landmark 1997 album OK Computer, appeared as the soundtrack to a social media clip posted by the federal agency. The video featured a montage of individuals ICE claimed were victims of crimes committed by undocumented immigrants and concluded with the slogan “This Is Our Why.”
The accompanying caption asserted that thousands of American families had been harmed by what it described as “criminal illegal alien violence,” framing the agency’s enforcement activity as a response to those incidents.
Radiohead responded quickly once the video circulated online, stating the music had been used without the band’s permission and demanding its removal.
In a statement released to media outlets, the band said:
“We demand that the amateurs in control of the ICE social media account take it down. It ain’t funny, this song means a lot to us and other people, and you don’t get to appropriate it without a fight.
Also, go f*** yourselves…”
The uncompromising response reflects a long-standing pattern of artists objecting to political or governmental use of their music without consent, particularly when the messaging conflicts with the intent or values associated with the original work.
Let Down, one of the emotional centrepieces of OK Computer, has long been regarded by fans as a defining song in Radiohead’s catalogue. The album itself marked a turning point for the Oxford band, expanding their sonic identity beyond alternative rock into more experimental territory while exploring themes of alienation, technology and modern anxiety. Over time, OK Computer has become widely recognised as one of the most influential albums of the modern era.
The ICE video reportedly used a choral-style reinterpretation of the song, with portions of the lyrics audible beneath the imagery. Radiohead said the use constituted unauthorised appropriation of material that carries deep personal and cultural meaning for both the band and its audience.
ICE did not immediately respond publicly to requests for comment following the band’s statement.
The controversy arrives amid broader criticism of immigration enforcement policies in the United States. Human rights organisations have repeatedly raised concerns about detention practices and deportation measures connected to recent federal immigration crackdowns. Advocacy groups have also reported deaths occurring in ICE detention facilities over the past two years, adding further scrutiny to the agency’s operations.
Radiohead are not alone in objecting to their music being used in immigration-related messaging. Several prominent artists have previously criticised similar uses of their songs in government or political media campaigns, arguing that such usage can imply endorsement where none exists.
The dispute also follows a separate music rights issue involving Radiohead guitarist Jonny Greenwood. Earlier this year, Greenwood and filmmaker Paul Thomas Anderson raised objections after a piece from Greenwood’s score for the film Phantom Thread appeared in a documentary about former US First Lady Melania Trump. Greenwood stated he had not been consulted about the third-party use, describing the situation as a breach of his composer agreement, although producers of the documentary maintained they had secured legal rights to the music.
Together, the incidents highlight ongoing tensions between artists, copyright holders and political institutions over how music is licensed and contextualised in public messaging. While licensing agreements may grant legal permission in some cases, artists increasingly view moral and artistic intent as equally significant considerations.
Radiohead, formed in the early 1990s and fronted by Thom Yorke alongside Jonny Greenwood, Ed O’Brien, Colin Greenwood and Philip Selway, have historically maintained tight creative control over how their music is presented. Their catalogue has often carried strong thematic messaging, making unauthorised associations particularly sensitive for the group.
The band have not indicated whether further legal action will follow, but their demand for the video’s removal signals a firm stance on protecting the meaning attached to their work.
The ICE video remains at the centre of debate around artistic ownership, political messaging and the limits of music licensing in the digital era, an issue increasingly confronting musicians as social media accelerates the reuse and reinterpretation of recorded material.
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