Live and direct from the muck of the Swamptown, U.S.A., Prophets of Rage vaulted onto the stage at Washington, D.C.’s 9:30 Club earlier this month, eager to rattle off a list of demands. Stand up. Raise your fist. Know your enemy. Jump around. It would have felt like rap-metal wokey-pokey if not for the exquisite, two-ton guitar riffs, which were as pummeling and precise as Russell Westbrook practicing his crossover on your sternum.
But if the Prophets were hoping to clarify the role of protest music in Donald Trump’s brave, new America, their music left some question marks floating in the air, including: What do we want from a protest song in an era of alternative facts, Russian meddling, white supremacist tiki torches and Pepe the hate-frog? And what does protest music want from us? Are we sure it should still sound like rock ‘n’ roll? Should it even sound like music?
Last weekend — after Trump rescinded an NBA team’s invitation to the White House, then scolded an entire league of football players for protesting police brutality — professional athletes from sea-to-shining-sea confirmed their role as the new pop avatars of resistance. This used to be the province of rock stars, of course, who once helped rally an entire generation around songs aimed at the nation’s most wicked anxieties and injustices.
When nuclear paranoia spiked in the early ’60s, Bob Dylan wrote “Masters of War.” When blood spilled at Kent State in 1970, Neil Young penned “Ohio.” And yes, rock slowly lost its countercultural foothold in the decades that followed, but protest songs still remain in high supply these days. It’s just that none of them are as efficient as LeBron James calling the president “U bum.”