The debate surrounding messaging through music is similar to the one often made about literature: is literature created purely for creativity’s sake, or is it a tool for reflecting life, addressing human suffering, and challenging injustice? This debate is likely to persist; however, music has long served as a powerful medium for propagating political narratives, inspiring movements, and shaping public opinion, as debated in John Street’s book, Music and Politics. He argues that music embodies political values and experiences, and organises our response to society as political thought and action.
Music connects with individuals on a deeply emotional level, making its influence difficult to escape. Historically, every society has had its own songs for special occasions, whether for birth, death, or war. Music reflects their cultures, ideals and values. However, a paradigm shift in music occurred during the 20th century, as themes moved from personal longing and shallow romance to universal concerns about humanity, social justice, and the rise of communism. This shift, further embedded by advancements in postmodernism, irrevocably altered the landscape of music during this period.
The 20th century is often regarded as the most eventful in human history. It began with a multipolar world, endured two world wars, swung between bipolar worlds during the Cold War, and ultimately ended in a unipolar world with the fall of the USSR. Amidst this tumultuous period, music underwent significant transformation. It became a powerful vehicle for propagating ideas and stirring emotions, particularly during times of war.
In his documentary Soundtrack for a Revolution, Bill Guttentag examines the importance of music during the US Civil Rights Movement of the 1950s and '60s. Bob Dylan’s “Blowin’ in the Wind” became an anthem for the movement, with its poignant lyrics questioning social justice and equality. Dylan later became the first musician to be awarded the Nobel Prize in Literature in 2016. Similarly, music played a pivotal role during the Vietnam War, inspiring resistance against the US. John Lennon’s song “Give Peace a Chance” is another glaring example of how music can influence political unrest and amplify anti-war sentiments in the public discourse that compelled US President Lyndon B Johnson to say, “We lost the war in the streets of America, not in Vietnam.”
In the Soviet Union, music was also used as a tool to motivate the working class to overthrow capitalism, fuel revolutions, and sustain resistance against oppressive rulers. Even during the harsh years of communist rule, folk songs served as forms of protest against government policies. Composers like Dmitri Shostakovich faced censorship, yet still used their music to challenge the regime.
This new wave of music reflected the changing political and social landscape, especially in war-torn Europe. Influential musicians emerged, their works shaped by dominant themes such as emotional and psychological struggles, separation, nationalism, and power dynamics. Pink Floyd’s “The Wall,” released in 1979 and later adapted into a musical drama in 1982, exemplifies this shift. The album was inspired by lead vocalist Roger Waters’ experiences during World War II, including the death of his father and the senseless loss of life. Similarly, Michael Jackson’s songs, including “Heal the World,” “Black or White,” and “Earth Song,” addressed issues such as apartheid, deforestation, and climate change, reflecting the prevailing socio-political narratives of the time. Likewise, Sinead O'Connor’s songs, such as “The Rebel Song” and “Don’t Cry for Me Argentina,” testify to the significant influence of political narratives in music.
Some artists are politically motivated, using their music to express strong opinions about societal issues. Others create music with a market-driven approach, understanding what the public wants to hear
The impact of political messaging in music was not confined to the West. In the Indian subcontinent, particularly in Bollywood, global trends also influenced musical themes. Notable figures such as Kaifi Azmi, Sahir Ludhianvi, Salil Chowdhury, and Naushad, known for their leftist ideologies, infused political messages into their music. They popularised socialism and Marxism in India, with Naushad’s composition for Mother India being a prime example. Songs like “Duniya Mein Hum Aaye Hain” and “Chaudhriya Kati Jaye” highlighted issues of feudalism and the caste system, resonating with millions.
In Pakistan, artists have similarly used music to promote socio-political messages. The rock band Junoon, for example, popularised the works of Sufi poets like Baba Bulleh Shah and Allama Iqbal, blending Sufism with patriotism. Their music revitalised these themes among the youth. At the start of the new millennium, another rock band, Noori, shook the Pakistani music industry with their message-driven music. Inspired by deep psychological dilemmas, songs like “Sunno Kay Main Hoon Jawan” and “Meray Log” encouraged the youth to take positive action for themselves and society. Noori’s debut album deviated from the clichéd formula of cheesy love songs, focusing instead on motivating listeners to change the world, emphasising the beauty of life, and promoting women’s empowerment. Likewise, sub-nationalism in provinces like Sindh has been fuelled by music inspired by local poets and the masses' struggles for regional autonomy.
From this analysis, two key factors emerge. Some artists are politically motivated, using their music to express strong opinions about societal issues. Others create music with a market-driven approach, understanding what the public wants to hear. In either case, music remains a potent tool for artists to challenge the status quo and advocate for a more just and equitable future. Music has long been used to sustain soldiers during the hardest moments of war, offering emotional resilience to survive. Similarly, messaging through music has inspired millions worldwide to aspire to change and overcome injustice.
Recently, however, this trend has declined, as music has returned to older themes of love and personal longing, with a renewed focus on the beauty of the beloved.