Love them or hate them, political songs have become a familiar soundtrack in Saint Lucia’s election season. The rallies are rarely quiet affairs; they thrum with music, some penned by local artists in direct praise of a party, others borrowed from well-known regional hits and reworked with new lyrics. For the parties, it is political theatre meant to fire up a crowd. But behind the scenes, there are questions of perception and artistic and legal risk.
An anonymous survey among a dozen Saint Lucians of varying backgrounds showed that some don’t take these songs at face value. A 34-year-old woman from Vieux Fort said, “I assume the artist supports that political party, but also don’t think much of it.”
Others agreed, suggesting they naturally link the performer with the party.
Some respondents said they see it as simply business. A 31-year-old from Canaries saw it as artists just trying to make a living, and viewed the songs as a form of artistic expression. Yet even those who brushed it off still believed that artists have the power to sway voters.
Not everyone was convinced of that influence. A 63-year-old from Gros Islet said she assumed performers supported the party they sang for but doubted their ability to shift voter behaviour.
The reality? Perceptions differ, but very few believe the performances are politically neutral.
For the artists themselves, appearances at rallies can be a double-edged sword. A gig may bring a cheque and a cheering crowd, but it can also leave them painted in partisan colours, opening them up to backlash from supporters of the opposing side.
And then there’s the matter of copyright. Campaign playlists often include remixed versions of foreign hits that, legally, require permission before they’re adapted or performed publicly.
Martin James, CEO of the Eastern Caribbean Collective Organisation (ECCO), explained the process: “The artist must identify and approach the relevant rights holders. This usually involves contacting the songwriter or publisher to secure adaptation rights, and the record label or producer for rights in the sound recording.”
He stressed that there is no political exception. “The Copyright Act does not provide a general exemption for non-commercial or political use. Whether the remix is exploited commercially or used solely in the context of campaign events, it remains an adaptation of a protected work and requires permission from the rights holder(s).”
If campaigns skip that step? “An unauthorised remix constitutes copyright infringement under the act,” James said. Rights holders can pursue damages, injunctions, seizure of infringing copies, and in some cases, criminal charges. He added that international rights holders are increasingly willing to act, particularly when unauthorised remixes are high-profile or broadcast during campaigns.
Even when an artist is remixing their own work, it’s not always straightforward. If they’ve signed away publishing or recording rights, they may still need approval to reuse the material.
At a recent press briefing, Minister for Creative Industries Ernest Hilaire acknowledged the subject, saying, “We have legislation in Saint Lucia that covers those provisions, and no matter who you are, you have to respect them. Not because you’re in politics or your political party; you should wilfully and knowingly disregard those requirements.”
