Berlin-based swing musician David Hermlin states he is facing professional repercussions after being barred from certain engagements and accused of intimidation during a gathering organized by a pro-Palestinian organization.
The 25-year-old informed Digital that his sole actions involved asking two questions and wearing a yellow pin, signifying solidarity with the hostages still held in Gaza.
“I didn’t harass or intimidate anyone. I merely asked two questions I thought were legitimate,” Hermlin asserted.
Known on social media as “Mr. Swing,” Hermlin has cultivated a reputation not only for his musical talent but also for his distinct image. He dresses in authentic 1930s attire, featuring slicked-back hair, a vintage microphone, and a charcoal gray suit reminiscent of Fred Astaire’s style.
His appearance complements his sound. He performs classics such as “Let’s Fall in Love,” backed by his own big band, The Swing Dance Orchestra, which meticulously recreates the golden era of swing. His yellow ribbon pin, neatly affixed to the lapel of his tailored suit, garnered attention at this year’s festival and became a central point of contention.
Hermlin’s experience prompts questions regarding freedom of expression within the entertainment industry. He positions his situation as part of a broader historical pattern of exclusion.
“What kind of a world is this now that before I can play at a festival, I have to make a political statement? It’s a music festival, not a political festival,” he remarked.
The Herräng Dance Camp in Sweden is recognized as one of the world’s premier swing festivals. At this year’s event, a collective named Jazz with Palestine convened an open meeting. Hermlin was performing as a drummer with a different ensemble, not his own orchestra.
He subsequently learned that organizers not only prevented him from participating in that group’s jam sessions but also indicated they would not consider booking his individual projects, like The Swing Dance Orchestra.
“I went with the sole intention to just listen to their concerns and if possible have a dialogue,” Hermlin elaborated.
During the Jazz with Palestine meeting, Hermlin posed two inquiries. He wished to know the destination of monetary donations and the meaning of the lyrics in the Arabic song used for choreography. This exchange later led to complaints regarding his “intimidating presence.”
“The first question was, if I want to donate some money, where are the donations going?” Hermlin recounted. “The second was, what’s the meaning of the Arabic song? They said they didn’t know. I asked, wouldn’t it be nice to know before filming a choreography?”
He expressed his astonishment when a board member informed him that some attendees felt uneasy.
Hermlin also faced disapproval for wearing the small yellow lapel pin, which symbolizes solidarity with the 50 hostages still held by Hamas. Festivalgoers suggested the pin was provocative or political propaganda. Hermlin refutes this characterization.
“People pointed at my yellow pin and said, maybe people are aggressive because of your pin. I asked them, do you know what it means? They said no,” he stated. “This pin is about the hostages. It’s not about the IDF or the government. It’s about empathy.”
Following Herräng, Hermlin mentioned that other festivals began removing him from their rosters while retaining his band. “I’m the only one being excluded. Not the band, just me,” he said. “A festival told me, don’t take it personally, you’ll get a cancellation fee. But how is that not personal?”
Digital contacted Jazz with Palestine for comment but did not receive a reply. On its website and social media, the group identifies itself as a movement of jazz and swing dancers across Europe who utilize music, dance, and political action to support the Palestinian people.
Its mission statement declares that the group raises awareness and funds, and that jazz is fundamentally rooted in the “fight against racial and colonial oppression.” The group has recently promoted fundraising initiatives for humanitarian organizations in Gaza and announced plans for social dance events and educational forums.
Hermlin believes the treatment evokes parallels to both the McCarthy era and his own family’s history in Berlin during the 1930s. He also highlights the swing world’s own history of exclusion.
“It reminds me of the McCarthy era, when artists were pressed to declare if they were communists. If you said yes, you were boycotted,” he observed. “They did this in front of photos of Norma Miller, Frankie Manning, and the Nicholas Brothers, artists excluded in the 1930s. How ironic is that?”
He also cites Benny Goodman, the Jewish clarinetist who rose to become the “King of Swing” and defied segregation by employing Black musicians such as Teddy Wilson, Lionel Hampton, and Charlie Christian. “As Benny Goodman showed in the 1930s, swing is about inclusion. That’s its very soul,” Hermlin noted.
Despite the repercussions, Hermlin pledges to continue performing. “I had no choice but to speak up. Music should unite and not divide,” he affirmed.
“I never wanted to be dragged into politics. I’m a swing musician, not a politician — my instrument is the drums, not a political statement.”
“My way of fighting back is to keep swinging. That’s what I’ll do. I always end my concerts by saying, don’t forget, keep swinging. And I mean it.”