How music fuelled, and was fuelled by, the No Kings protests
The No Kings protests that swept across the United States and parts of Canada last week were not only characterized by their massive turnout but also by the powerful role that music played in unifying the demonstrators. From renditions of Les Miserables’ anthemic “Do You Hear the People Sing?” in Auburn, Calif., to the brass band performance of the Italian resistance song “Bella Ciao” in Atlanta, music served as a unifying force that amplified the voices of protest against President Donald Trump.
According to Benjamin Tausig, an associate professor of critical music studies at Stony Brook University, the infusion of both new and old music into the protests was instrumental in inspiring and mobilizing people. Tausig emphasized the significant impact of music in political movements, noting that certain songs have the power to galvanize individuals and incite collective action.
Noriko Manabe, chair of Indiana University’s music theory department, explained the distinction between “participatory” and “presentational” protest music. Participatory songs, such as “We Shall Overcome,” are designed to be inclusive and easy for people to join in singing, fostering a sense of solidarity and shared ideology among participants.
Moreover, Tausig highlighted the phenomenon of protest songs being co-opted by movements or figures that may not align with the original message of the music. He cited examples like Bruce Springsteen’s “Born in the U.S.A.” and Creedence Clearwater Revival’s “Fortunate Son,” which were repurposed in ways that diverged from their intended meanings.
Manabe drew parallels between historical instances of contrafacta, where opposing factions repurposed the same tunes for conflicting messages, and contemporary examples like the Hong Kong protests in 2014, where conflicting groups adopted the same protest songs.
In response to the No Kings protests, a diverse array of artists from various genres released new or reissued politically charged music to align themselves with the movement. From folk musician Jesse Welles’ viral track “No Kings” to EDM artist Subtronics incorporating a “No Kings” segment into his performance, music became a central tool for expressing dissent and resistance.
Canadian musician Grandson emphasized the potency of nonviolent resistance through music, highlighting its role in shaping the aesthetics and defining the essence of a protest movement. As artists continue to contribute their voices to the ongoing struggle for social change, the power of music as a unifying force in protest movements remains as potent as ever.
