Throughout all of human history, we’ve used art to express ourselves, and music is no different. We often think that music is just sound and serves our simple pleasure, but it goes much further. Music often reflects the values, struggles, and power dynamics of the society in which it’s created. Whether intentionally or not, artists channel their realities into their songs.
But politics in music isn’t always loud or obvious. Sometimes, simply giving voice to marginalized experiences is a political act. Sometimes, just existing in a space where you’re not “supposed” to be is revolutionary. On the flip side, music can also serve as a power. It can be used for propaganda, national pride, or to reinforce the status quo. So whether music challenges or supports political forces, it is rarely neutral. With that in mind, let’s analyse some examples of songs that are also political:
Commander in Chief
Demi Lovato is known for using her songs to express her feelings and political positions. A powerful example is “Commander in Chief”, released during the height of the 2020 pandemic, while Donald Trump was still serving his first term as president.
Something important to note is that Demi doesn’t just talk about President Donald Trump, but she addresses him directly. It’s a bold and personal approach to protest music, aiming to criticize and confront. The song opens with a question rooted in moral reflection: “Were you ever taught when you were young, if you mess with things selfishly, they’re bound to come undone?” Lovato appeals to a shared sense of humanity — one that she suggests the president may lack.
Throughout the song, she calls out key failures of his administration: the dangerous downplaying of COVID-19, the vilification of Black Lives Matter protests, the lack of urgency around the California wildfires, and the deepening poverty caused by the pandemic. It’s a scathing portrait, framed as a clear “us vs. him” moment in American history. But with less than three weeks to go before the 2020 election, the song raises a critical point: this isn’t just about one person, it’s about the kind of leadership we’re willing to accept.
Che
In Brazil, we’ve got plenty of good examples, one of them is Caetano Veloso, who was arrested in 1968 by the military dictatorship. The reason was a song called “Che” by Caetano Veloso, which has been banned by Brazil’s Federal Police. The alleged reason? It was promoting socialist propaganda and paying tribute to a Cuban revolutionary. Rumors swirled—Caetano was said to be part of a so-called “Grupo Baiano”, a group of artists with communist leanings. And to top it all off, people claimed he and Gilberto Gil once performed a parody of the Brazilian national anthem in Tropicália rhythm.
Sounds dramatic, right? Well, here’s the thing: none of it happened.
There was no Che song. No album was banned. The “Grupo Baiano” never existed—it’s just how the press labeled a bunch of young musicians who had just moved from Bahia. And that parody of the national anthem? Also fake news. Plus, for the record, there’s no way to sing Brazil’s National anthem in a “Tropicália rhythm.”
Other songs that were listed as “subversive” are De manhã, Coração vagabundo, Superbacana, Não-identificado and Baby, but none of them are subversive and against the order.
Sometimes, the myths are juicier than the truth, but the truth still matters. This case shows us that a song and a singer can be political, even unintentionally. Due to the lies propagated by the government, he was turned into a revolutionary figure.
Mississippi Goddam
The song Mississippi Goddam by Nina Simone, released in 1964, is a landmark at the intersection of art and politics. It was composed as a direct response to the assassination of activist Medgar Evers in Mississippi and the bombing of the 16th Street Baptist Church in Birmingham, Alabama — which killed four young Black girls.
The song channels the anger and frustration of the Black community in the face of racial violence in the United States. Unlike more subtle songs of the time, Simone used direct, sarcastic, and provocative language, breaking with the expectation that Black artists should remain apolitical or conformist. In doing so, she transformed her music into a form of protest, amplifying the voice of the Civil Rights Movement.
The political impact of Mississippi Goddam was significant. Many radio stations refused to play the song, and some even returned it with the records broken — a clear sign of institutional resistance to open criticism of racism. However, this bold stance turned Nina Simone into a central figure in the fight for civil rights.
Her music began to be used in protests and marches, helping to mobilize and inspire activists. By uniting art and activism, Simone not only reflected the spirit of the era but also helped shape it, proving that music can be a powerful tool for social and political intervention.
Formation
Beyoncé’s performance at Super Bowl 50 on February 7, 2016, was far more than just a musical show; it was a powerful act of political protest and cultural affirmation, broadcast live to over 100 million people around the world. Alongside Coldplay and Bruno Mars, Beyoncé was the driving force behind transforming that stage into a space of resistance and Black pride.
She performed “Formation”, which had been released just a day earlier and already featured powerful lyrics like, “I like my baby hair, with baby hair and afros / I like my Negro nose with Jackson Five nostrils”, celebrating physical traits of Black identity that have historically been marginalized.
On stage, Beyoncé and her dancers wore outfits inspired by the Black Panthers, the revolutionary group from the 1960s and ’70s that fought against police brutality and for racial justice in the U.S. Wearing black berets and crossed bandoliers, the dancers stood in military formation, symbolizing discipline, resistance, and collective power.
Beyond the visual impact, the symbolic gesture of one dancer raising her fist, a classic sign of the Civil Rights Movement and Black pride, and the “X” formation on the field (a reference to Malcolm X) reinforced the political message of the performance. The choreography also included protest-like movements, with the dancers kneeling in a clear nod to NFL player Colin Kaepernick, who famously knelt during the national anthem to protest police violence.
The reaction was intense. Conservative politicians, police groups, and some media outlets criticized Beyoncé, accusing her of inciting hate and politicizing a sporting event. However, many praised her bravery for using such a global platform to spotlight serious issues like systemic racism and police brutality against the Black community. That performance cemented Beyoncé not only as a pop superstar but also as a powerful figure in contemporary activism, proving that art, when intentional, can challenge systems and spark vital conversations.
The Deutschlandlied
The Deutschlandlied (Song of Germany), composed by Joseph Haydn in 1797 with lyrics added by August Heinrich Hoffmann von Fallersleben in 1841, has become one of the most politically loaded and controversial pieces of music in history. Originally written as a patriotic call for unity among the various German territories, the song was not associated with any form of extremism in its early conception. Over time, however, it grew to symbolize German national identity and was later adopted as the national anthem.
During the rise of the Nazi regime in the 1930s, the Deutschlandlied was co-opted by Adolf Hitler and the Nazi Party as a tool of political propaganda. When the Nazis came to power in 1933, they officially declared the song the national anthem of Germany, exploiting its nationalistic tone to foster unity under the regime’s ideology. The line “Deutschland, Deutschland über alles” (“Germany, Germany above all”) was emphasized as a slogan, repurposed to justify aggressive nationalism, territorial expansion, and the idea of German supremacy over other nations.
The song became a staple of Nazi ceremonies, parades, and propaganda events. It was often performed alongside the Nazi salute, with citizens standing and raising their arms in loyalty to the regime. The melody and lyrics, once meant to express unity and identity, were now inseparable from the political narrative of racial superiority and militarism. The Deutschlandlied thus shifted from a unifying patriotic anthem to a symbol of the totalitarian power of the Third Reich.
Following the fall of Nazi Germany in 1945, the Deutschlandlied was heavily scrutinized due to its association with the regime. When West Germany later re-adopted the song as its national anthem, only the third stanza, which emphasizes unity, justice, and freedom, was retained. With the reunification of Germany in 1990, this version continued as the official anthem, stripped of its earlier, politically charged associations. The Nazi use of the Deutschlandlied serves as a striking example of how cultural symbols, including music, can be manipulated to support authoritarian power and ideology.
Is music also politics?
After all of those examples, and there are lots more, we definitely can say: yes, it is. Every song represents something, and that’s the key here. Whether it’s a protest anthem, a government-endorsed tune, or a pop performance with a bold message, music reflects the values, struggles, and identities of its time. It can challenge power, unite people, and even change the course of history. So next time you press play, remember: you’re not just hearing a melody — you’re hearing a message.
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The article above was edited by Beatriz Gatz.
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