In the days following President Donald Trump's inaugural ball, there was much furore on social media regarding the late inclusion of Irish-American dance entrepreneur Michael Flately's 'Warlord' from his show 'Lord of the Dance', and the degree to which Irish-American communities should be 'proud' or 'ashamed' (O'Doherty 2017). In the months that followed, the Irish-American presence in Trump's cabinet was increasingly noted as various senators invoked this heritage to support Trump's agendas, particularly on migration and social welfare (Van Gosse 2017). Concomitantly, there was an increase in the online use of Irish culture - language, music, artwork - and 'Irish slaves' memes amongst certain Blue Lives Matter and white nationalist groups (Fanning 2017; Hogan 2018). This paper attempts to critically locate Flately's output within this highly politicized context. My argument is three fold. First, aesthetic resonances with tenets of white nationalism (including exceptionalism and sexism) in 'Lord of the Dance' (1996) and 'Celtic Tiger' (2005) may be interpreted as foreshadowing Trump's ascension (Attali 1985), something further underscored by Flately's autobiography (2006). Second, Flately's extravaganzas may be partially viewed as artistic manifestations of the more recently articulated and controversial argument that historical and generational Irish migrants and their institutions helped to form rather than challenge the American racialized state (O'Neill 2017). Third, Flately's output is therefore not anomalous; rather, it may be located within a historical continuum of publicly staged/mediated Irish and Irish-American music and dance performances that (sometimes unwittingly) perpetuated nostalgically-inflected Irish stereotypes that compounded structural inequalities in/for black lives.