In the Trump era, where have all the protest songs gone?

Boston Globe

09-06-2025

Some of the most prominent and popular 21st-century songs with sharp political critiques are from the Black community, including Beyonce's 'Freedom,' Kendrick Lamar's 'Alright,' and Childish Gambino's 'This Is America.' They're all at least seven years old.
No recent music has captured the current political climate, at least not in the way that civil rights anthems of the 1960s, rap hits of the '80s, or even the anti-Bush wave of the '90s and 2000s were able to. Some of those songs dominated the charts and set the cultural tone of social movements. Bob Dylan's 'Blowin' in the Wind,' the Temptations's 'War,' and Marvin Gaye's 'What's Going On' were explicit in their purpose, and all were in the US Billboard Hot 100 Hits. But protest music has been on an inexorable decline since the highs of the '60s and '70s.
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President Trump has taken office amid silence, centralizing power and influence while blaring 'YMCA' by Village People. There's plenty to protest: the detainment, without due process, of immigrants nationwide; the blatant self-enriching crypto schemes launched by the Trump family; the struggles of everyday Americans with inflation; even the COVID-19 pandemic (remember the disastrous
'The explanation is simple. You can't make much money off these songs,' Ted Gioia, a prominent music historian,
Protest songs are now often met with indifference from a cautious music industry, while social media have opened up new opportunities to scrutinize even mildly controversial viewpoints. As mainstream audiences have become generally less receptive to musicians promoting causes, many listeners now shrug off entertainers who dabble in activism as performative, or, even worse, preachy.
'It is not just that people have lost faith in any performer to help bring about change, it is that they resent anyone who attempts to do so,' Dorian Lynskey
But as Gioia points out, protest music hasn't totally disappeared — it's just flourishing outside the United States. Beyond the confines of American music charts, movements filled with music are still alive and continue championing global causes.
Today, Palestinian rappers like
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In Hong Kong, 'Glory to Hong Kong' became the soundtrack of the 2019 pro-democracy protests and was later
This is the kind of music America needs, especially now that the Trump administration has actively targeted musicians. On May 19, Trump called for a
Some protest music is still being made, such as Nemahsis's 2023 album 'Verbathim' and Macklemore's 2024 single 'Hind's Hall,' both independently released pro-Palestinian projects. But their impact and reach is limited. As Lynskey writes, 'The right question is not, 'Where have all the protest songs gone?' but 'Is anybody listening?''
In the age of filtered algorithms and tailor-made playlists, the only stars with enough cultural cachet to break through audiences' information siloes are juggernauts like Taylor Swift, Lamar, Beyoncé, Post Malone, Charli XCX, and Ariana Grande. They have little financial incentive to protest.
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Now Swift and Grande stick to writing about their love lives. Post Malone is playing low-stakes pop country on tour with Jelly Roll. And despite a link with the Harris campaign, Charli XCX's 'Brat' is made for clubbing, not marching.
In this era, if artists are globally popular, they're not singing protest songs. And if they're singing them, they don't reach the mass audiences they might have commanded in previous decades. The levers of mass media influence for political music don't seem to exist anymore, and if listeners want to tune out politics, they can.
'I began this book intending to write a history of a still vital form of music,' Lynskey concludes in an epilogue. 'I finished it wondering if I had instead composed a eulogy.'
Rebecca Spiess can be reached at