Bad Bunny, Springsteen, and the search for a powerful protest song – USA Today
In the latter part of January, Bruce Springsteen unveiled “Streets of Minneapolis,” a song commemorating the Minnesota individuals felled by Immigration and Customs Enforcement agents and integrating “ICE Out Now” chants to echo the Trump-era protest. Following this, U2 surprised fans with “American Obituary,” one of the tracks on their latest album “Days of Ash,” which was crafted to address the turmoil of contemporary times.
Shortly after, Bad Bunny used his time in the spotlight at the Super Bowl to shed light on the gentrification troubles and economic hardships faced by Puerto Rico, reaching an audience of 128.2 million viewers. His performance culminated in him holding a football inscribed with the message “Together, We Are America.” Despite many prominent musicians being vocal about political matters online and in interviews, most new music lacks a defining protest sentiment. These songs come and go swiftly without leaving a lasting impact, in stark contrast to the potency of songs from the 1960s such as “People Get Ready,” “Give Peace a Chance,” and “The Times They Are A-Changin’,” which resonated deeply with the Civil Rights Movement, anti-Vietnam War protests, and the counterculture of the mid-20th century.
While today’s music landscape is filled with protest songs, it feels like there is something missing. Even as artists are more expressive about their views, the emergence of a defining political soundtrack remains elusive. Protest music has been glamorized over time, but it is not always explicitly showcased. Nina Simone’s “Mississippi Goddam” stands out as a significant protest anthem from the 1960s due to its explosive and controversial nature, prompting Simone to take a hiatus from music following excessive backlash.
Dr. Tammy L. Kernodle, a professor at Miami University’s Department of Music, underscores that Black musicians often navigated the challenge of appealing to mainstream radio with metaphorical and spiritual protest undertones instead of overt narratives during the Civil Rights Movement. Music during this period wasn’t always straightforward in its protest messaging, with many songs using subtle metaphors to convey a deeper message. Kernodle asserts that Black music, historically, has always carried a thread of resistance, whether through joyful expressions or profound reflections on oppression and societal injustice.
The ’60s resonate so powerfully because there was a cohesive soundtrack that wove through political movements of the time, shaping the broader sociopolitical consciousness. Artists like Nina Simone, Bob Dylan, and Joan Baez were instrumental in lending voice to various causes, be it anti-war sentiments, pro-feminism declarations, or youth rebellion against established norms. The music of that era reflected a collective desire for a more egalitarian and peaceful world, with songs from legends like Crosby, Stills, Nash & Young and Creedence Clearwater Revival amplifying the anti-war ethos and the call for social reform.
It appears that sustaining political music in the present day is more challenging. The streaming era has altered the musical landscape, making it harder for protest music to gain traction. While protest songs once surged in prominence during the late 1980s and ’90s with tracks like N.W.A.’s “F— tha Police” and Rage Against the Machine, today’s political music seems to lack the same resonance and staying power. The anthems of the past had a transformative impact, amplifying movements and fostering dialogue for change, a potency that seems to elude contemporary protest music.