Author: space4knews

March 6, Kathmandu – At the end of February, when the United States and Israel launched attacks on Iran, songwriter and musician Joseph Terrell found himself unable to shake the conflict from his mind. Soon, his thoughts began to take shape as lyrics.

Terrell, a resident of North Carolina, said, ‘I began reflecting on the mythology we Americans create around ourselves, imagining we’re some kind of violent explorers riding proudly toward a setting sun.’

‘So I titled the song I wrote “Cowboy Movie,” in which I explore how these myths originated and how we are not the “good guys.”’

Terrell emphasized that the song does not target any particular politician, as many politicians are implicated, and limiting it would be unjust.

However, it does reference specific events, such as the bombing of a school in Iran on the first day of conflict, which killed at least 165 people, the majority of whom were children.

This new wave of protest songs is marked by directly naming political figures and government actions using ‘hyper-specific’ language.

Responsibility for the bombing remains unclaimed, but according to a New York Times report, preliminary investigations indicate possible American involvement.

Terrell has shared the first verses and chorus of many of his songs on TikTok. His most popular political song early this year addressed the killing of Reny Good by ICE agents in Minneapolis, garnering over 735,000 views.

Many of his contemporaries online see younger artists reviving the ‘folk protest song’ genre for digital audiences, infusing politically deep-rooted songs with fresh energy.

The New Era of ‘Folk Protest Songs’

Noriko Manabe, professor and chair of music theory at Indiana University and a scholar of performance music, explains that until the 1900s, folk was the primary medium of protest music. However, by the late 1960s, commercialization and declining popularity led to political songs being associated with rock and roll.

Only recently has the singer-songwriter style of folk music reemerged as a political genre. Manabe notes, ‘The rising popularity of country music has strengthened this trend. The simplicity of this form in today’s tech-enabled era also adds to its appeal.’

She adds, ‘In the age of AI, there’s originality, personal touch, and artistry when someone picks up a guitar and sings with their own voice. It provides a certain authenticity and vitality.’

Songs like ‘Tylenol’ respond directly to false claims from former President Donald Trump, who falsely linked Tylenol use with autism.

This new era of protest songs boldly calls out politicians and administrations by name, often released online within days of a major news event. Manabe points out that their timeliness and concise wording help these songs rapidly spread on social media.

Terrell’s ‘Cowboy Movie’ is part of this effort, but perhaps the best-known name in sharp, direct protest music is Jesse Wells.

Wells, a musician from Arkansas, has amassed 1.5 million followers on TikTok by writing songs about issues such as the Gaza war, the renamed Department of Defense (formerly the War Department), and immigration enforcement. He recently appeared on popular late-night shows like Jimmy Kimmel and Stephen Colbert.

His songs are released quickly and with focus. For example, ‘Tylenol’ answers false assertions by former President Trump, while ‘Charlie’ is a swiftly released song expressing sympathy following the killing of Charlie Kirk.

In 2025, Wells released six albums based on contemporary topics.

A More Responsive Generation than Before

The use of such pointed lyrics differentiates this new era of folk music from the past. Historically, folk music with messages has existed since the Civil War, with songs like ‘John Brown’s Body’ serving as important anthems for soldiers.

However, artists often wrote new lyrics over familiar tunes. In the 1930s and ’40s, artists like Joe Hill and Woody Guthrie tackled labor rights this way, though some original melodies were created.

In the 1960s, artists such as Joan Baez, Phil Ochs, and Bob Dylan wrote many original songs about the Vietnam War and civil rights, reviving some traditional folk tunes in performances.

According to Holly Swartzendruber, co-chair of music at Bethel College in Kansas, direct naming of politicians or administrations was rare in older folk songs.
‘Few songs did this, like Crosby, Stills, Nash & Young’s “Ohio,” which named President Richard Nixon regarding the Kent State shootings. Other songs focused on issues such as racism with “Strange Fruit” and anti-lynching themes,’ she explains.

Swartzendruber notes, ‘Words like “Ku Klux Klan” or “white supremacy” were seldom directly heard in those songs, but the themes were undoubtedly present.’

From TikTok to the Real World

However, this new age of protest music largely remains online rather than at concerts or political rallies. Swartzendruber cautions that the internet’s rapid trend cycles could make this movement short-lived.

‘Will this just become a small voice after some time? Will people seek something different rather than another new song?’ she asks.

Swartzendruber says that if this wave of political folk songs is to endure, it must have tangible impacts in the real world.

Manabe agrees, explaining that the purpose of protest music is not just personal dissent or organizing, but becoming a powerful medium within political movements.

Terrell acknowledges that his songs alone may not bring change but hopes they still play a role, however small.

Manabe adds, ‘I want many people to step out from Instagram and onto the streets to connect with their audiences in real life.’

She recently attended a Jesse Wells concert and noted the venue was packed with an audience singing along to complex songs, demonstrating Wells’ dedicated fan base.

A Medium That Connects to the People’s Hearts

Massachusetts folk artist Olive Klug recently toured with a ‘call and response’ style, engaging audiences directly in performances.

Klug left her job to pursue music full-time and often sings about AI’s negative impacts and conspiracy theories.

At each show, Klug teaches audiences a song called ‘I Don’t Want Your Millions Mister’ by The Almanac Singers, written during government shutdowns affecting the unemployed.

‘After concerts, many people told me, “That song gave me hope in these painful times,”’ Klug says. ‘Everyone singing so loudly was truly inspiring.’

American musicians like Karsy Blanton also set up ‘sign-up’ tables at concerts to inform fans about local issues and mobilize campaign participation. Both Klug and Terrell donate portions of their merchandise or song proceeds to charity.

Terrell emphasizes that although his songs alone cannot effect change, he believes they contribute meaningfully.

‘We need more than music; we need real, concrete change. But as long as music can guide people toward that, it will remain an important part of the conversation.’

(Translated from material originally published by CBC)

March 6, Kathmandu – Toward the end of February, when the United States and Israel launched attacks on Iran, songwriter and musician Joseph Terrell found himself unable to shake the conflict from his mind. Soon, those thoughts began to take the form of song lyrics.

Terrell, a resident of North Carolina, said, “I started reflecting on the myth America has constructed about itself, where we see ourselves as violent explorers proudly riding our horses toward a setting sun.”

“That’s why I named the song ‘Cowboy Movie,’ and in it, I address how these myths began and question the idea that we are the ‘good guys.’”

Terrell explains that the song does not target any single politician, as most politicians are implicated in these narratives, so limiting the critique would be unfair.

However, the song does reference specific events, such as the bombing of a school in Iran on the first day of the conflict, which resulted in at least 165 deaths, most of whom were children.

In this new wave of protest songs, artists are directly naming politicians and administrations using hyper-specific language to challenge them.

Responsibility for the bombing remains unclaimed by any nation so far, but initial investigations cited by The New York Times indicate possible U.S. involvement.

Terrell has shared the opening verses and choruses of many of his songs on TikTok. His most popular political song early this year, about the killing of Renée Good by ICE officers in Minneapolis, has surpassed 735,000 views.

Many of his contemporaries note that this new generation of artists online is revitalizing the ‘folk protest song’ genre, imbuing songs with deeply political roots with new energy for digital audiences.

The New Era of ‘Folk Protest Songs’

Noriko Manabe, a professor and chair of music theory at Indiana University and a scholar of protest music, explains that until the 1900s, folk was the primary medium for protest songs. However, by the late 1960s, as commercialization increased and popularity declined, politically charged songs were often labeled as ‘rock and roll.’

It is only recently that this singer-songwriter style of folk music has reemerged as a political genre. Manabe says, “The growing popularity of country music has strengthened this trend. In this tech-enabled era, the simplicity of this genre also adds to its appeal.”

Manabe adds, “In the age of AI, there is originality, personal touch, and artistry in individuals grabbing a guitar and singing in their own voice. This provides a sense of authenticity and vitality.”

Songs like ‘Tylanol’ respond directly to unfounded claims by former U.S. President Donald Trump, who alleged a connection between the drug Tylanol and autism.

This new era of protest music challenges politicians and administrations by name with hyper-specific language. These songs typically appear online within days of major news events. Manabe notes that this immediacy and concise phrasing help them spread quickly across social media.

Terrell has sought this approach in ‘Cowboy Movie,’ but among such sharp and direct protest singers, Jesse Wells stands out as the most prominent.

The Arkansas-based musician has garnered 1.5 million followers on TikTok by addressing topics like the Gaza war, the renamed Department of Defense (formerly the Department of War), and immigration enforcement in his songs. He recently performed on the popular late-night shows of Jimmy Kimmel and Stephen Colbert.

His songs are released swiftly. ‘Tylanol,’ which counters Donald Trump’s disputed claims, and ‘Charlie,’ a song expressing sympathy after the killing of Charlie Kirk, are among those quickly shared online.

In 2025 alone, Wells released six albums tackling contemporary issues.

A More Responsive New Generation

The use of such direct language distinguishes this new era of folk music from the past. Message-driven folk music has existed since the Civil War, with songs like ‘John Brown’s Body’ serving as significant anthems for soldiers.

However, artists typically added new lyrics to well-known tunes. During the 1930s and ’40s, artists like Joe Hill and Woody Guthrie followed this method for labor rights songs, though some original melodies were also created.

In the 1960s, artists such as Joan Baez, Phil Ochs, and Bob Dylan wrote many original songs on the Vietnam War and civil rights issues, while also reviving older folk tunes for performances.

Holly Swartzendruber, associate professor of music at Bethel College in Kansas and an expert in folk music, notes that earlier folk songs rarely mentioned politicians or administrations by name.
“Only a few did, such as Crosby, Stills, Nash & Young’s ‘Ohio’ about the Kent State shootings, which names then-president Richard Nixon. Other songs focused on themes like racism, with songs such as ‘Strange Fruit’ and those opposing lynching,” she explains.

Swartzendruber adds, “Words like ‘Ku Klux Klan’ or ‘white supremacy’ were seldom heard explicitly in such songs, but their themes were implicit.”

From TikTok to the Real World

However, this new era of protest music mainly appears online and less frequently in concerts or political rallies. According to Swartzendruber, the internet’s fast-moving trend cycles may make this movement short-lived.

“Will this become just a small voice heard for a time? Will people soon seek something different rather than another new song?” she questions.

Swartzendruber believes that if this wave of political folk songs is to endure, it must eventually have a tangible impact in the real world.

Manabe agrees, explaining that protest music’s purpose is not only private dissent or building organizations, but to become a powerful tool within political movements; she says this genre exemplifies that.

Terrell acknowledges that his songs alone won’t bring change but hopes they will play a small part.

Manabe adds, “I want more people to step off Instagram and onto the streets to connect genuinely with their audience.”

Manabe recently attended a Jesse Wells concert, noting the packed venue and audience participation in singing complex songs, a testament to Wells’ dedicated fan base.

A Medium that Connects with the Public’s Heart

Massachusetts folk artist Olive Klug recently completed a music tour where she actively engages audiences in a ‘call and response’ style during performances.

Klug had previously left her job to pursue music full-time and often sings about the negative impacts of AI and conspiracy theories.

In each concert of her tour, Klug teaches the audience to sing a part of “I Don’t Want Your Millions, Mister,” a well-known song by The Almanac Singers, originally created to support unemployed workers during government shutdowns.

“Many people approached me after concerts saying, ‘This song gave me hope during a difficult time,’” Klug said. “Everyone singing so loudly made for an inspiring experience.”

Musicians like Karsy Blanton also include sign-up tables at their U.S. shows to inform fans about local issues and invite them to campaigns. Both Klug and Terrell donate some proceeds from merchandise or song sales to causes.

Terrell reiterates that while his songs alone cannot drive change, he believes they contribute meaningfully.

“We need more than music; we need real and concrete change. But as long as music can inspire people toward that, it remains an essential part of the conversation.”

(Translated from material originally published by CBC)