Well, we made it. Today is the vernal equinox. Spring has sprung!

Those of you who, like me, don’t care for cold weather will no doubt agree with Mick Jagger, who, in 1973, sang, “And it’s sure been a hard, hard winter…My feet been draggin’ ‘cross the ground…”

It was colder than usual almost everywhere this winter. Snowfall was greater in many cities, and even moderate Nashville was laid low by a brutal ice storm that brought down trees and power lines, rendering much of the city without power for days on end. But, as George Harrison sang in “Here Comes the Sun,” “Little darling, I feel that ice is slowly melting.”

Now it’s time for new hope, rebirth, tulips and baseball, and maybe some spring cleaning when we’re up to it.

New love, new ventures, new opportunities, new perspectives. All of these things have been hinted at or overtly observed in popular song over the years. And while spring is most often identified with positive vibes, those in their twilight years sometimes find spring to be a tad depressing, for it can remind them of the youth and renewal that they can perhaps no longer attain…but there are lovely songs that deftly describe those feelings as well.

On this first week of spring, I’ve assembled an eclectic batch of songs that capture the moods of springtime. Regular readers know I tend to focus on music of the ’60s, ’70s and ’80s, but I was intrigued to find a paucity of songs about spring from those decades and, consequently, had to reach back into the pre-rock years and ahead to much more recent times to flesh out my Spotify playlist, found at the end of this piece.

You’ll also find that most of these songs are unfamiliar to you. I was amazed to discover that songs about spring have rarely graced the Top 40 charts.

Enjoy the season!

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“I Got the Spring Fever Blues,” Chick Webb Orchestra with Ella Fitzgerald, 1936

“I feel so lazy, can’t do a thing, /My mind is hazy, just like a smoke ring, /I’m ridin’ high on the clouds up above, I’ve got the spring fever blues! /The sun is shinin’ all round my room, I feel like I am the man in the moon, /I’m ridin’ high on the clouds up above, I’ve got the spring fever blues…”

Drummer/bandleader Chick Webb and his Orchestra was a lesser known Big Band outfit of the 1930s/1940s, but they sometimes collaborated with high profile vocalists. In 1936, the great Ella Fitzgerald recorded an album with Webb’s orchestra, and one of the better songs in that collection was “I Got the Spring Fever Blues,” a song written by Dave Bauer and sisters Kay & Sue Werner. In the lyrics, the narrator bemoans being cooped up inside during the colder months and is eager for spring to arrive.

“Spring,” Tracy Chapman, 2008

“There’s a cloud, a blue sky darkening that veils the light of the sun, and foretells the rain, /But there’s a bird, there are birds, and some are singing to greet every new day that may come, like the first of spring…”

Chapman burst on the scene in 1988 with an astonishingly accomplished debut LP and its wildly popular single “Fast Car.” Since then, she has released seven more albums of all original material over the next 20 years, winning four Grammys and earning another nine nominations in multiple categories. Her most recent release, “Our Bright Future,” came in 2008, which was nominated for Best Contemporary Folk Album. Closing out that LP is the gentle track “Spring,” on which Chapman sings accompanied only by her own acoustic guitar and minimal piano.

“Southland in the Springtime,” Indigo Girls, 1990

“There’s something about the Southland in the springtime where the waters flow with confidence and reason, though I miss her when I’m gone, it won’t ever be too long ’til I’m home again to spend my favorite season…”

This folk rock duo of Emily Saliers and Amy Ray came out of the Emory University bar scene in Atlanta in the late ’80s and established themselves as two of the better song craftswomen of the 1990s.  Their first six albums went gold or platinum, and 1994’s “Swamp Ophelia” and 1997’s “Shaming of the Sun” made the Top Ten.  This country-tinged track from 1990’s “Nomads Indians Saints” nicely captures the lure of returning home as winter turns to spring.

“Spring Wind,” Jack Johnson, 2010

“My friends are gettin older, so I guess I must be too, /Without their loving kindness, I don’t know what I’d do, /Oh. the wine bottle’s half empty, the money’s all spent, /And we’re a cross between our parents and hippies in a tent, /Love calls like the wild birds, it’s another day, /A spring wind blew my list of things to do away…”

“180 Degrees South: Conquerors of the Useless,” a 2010 documentary about the filmmaker’s journey from Ventura County, California to the Patagonia Mountains of Chile, required a compelling soundtrack. Among the contributing artists to this collection was Jack Johnson, the Hawaiian good-vibe singer-songwriter. He came up with a beauty called “Spring Wind,” which accompanied footage that reflected the song’s theme.

“Spring Will Be a Little Late This Year,” Carly Simon, 1997

“‘Cause time heals all things, so I needn’t cling to this fear, it’s merely that spring will be a little late this year…”  

This wistful piece about spring’s tardy arrival was written by the great Frank Loesser, celebrated composer of award-winning Broadway and film songs like “Baby It’s Cold Outside” and the “Guys and Dolls” music.  A rendition by Deanna Durbin was featured in the 1944 movie “Christmas Holiday,” then recorded by various jazz combos and vocalists including Red Garland, Roland Kirk, Sarah Vaughan and Ella Fitzgerald.  On her 1997 “Film Noir” collection of ’40s classics, Carly Simon did the song serious justice in a duet with songwriter Jimmy Webb.

“Spring Fever,” Elvis Presley, 1965

“In every town, there’s excitement to be found, so much is happening, don’t miss the joy of spring, the world’s in love, just look around, spring fever, spring is here at last, spring fever, my heart’s beating fast, get up, get out, spring is everywhere…”

After his legendary run as the King of Rock ‘n Roll in the 1950s, Presley’s output in the 1960s was far more erratic.  His manager, Colonel Tom Parker, persuaded him to focus on a movie career, and the soundtrack LPs were filled mostly with inferior, throwaway songs.  But a few classic tracks made the cut, including “Can’t Help Falling in Love With You” (from the “Blue Hawaii” movie) and “Return to Sender” (from the “Girls! Girls! Girls!” film).  “Spring Fever” wasn’t a hit single, but it was one of the only bright spots in the lame 1965 film “Girl Happy.”

“Spring Reprise,” Donna Summer, 1976

“Ooh, something’s coming over me, ooh, I think it’s got a hold on me, ooh, just the man I hoped you’d be, ooh, just the man to set me free, spring affair, and I’m hung on you, spring affair, and we’ve got something new, me and you…”

Disco diva Summer and her producer Giorgio Moroder were a formidable team in the mid-to-late 1970s with lush dance tracks and platinum-selling singles like “Last Dance,” “Hot Stuff” and “Bad Girls.”  The 1976 LP “Four Seasons of Love,” a concept album with four lengthy tracks devoted to each of the four seasons, didn’t do as well as others in her catalog, peaking at #29.  “Spring Affair,” which focuses on the beginning of a new relationship, clocked in at more than eight minutes and reached #1 on the disco club charts, but when boiled down to a radio-friendly 3:39 and released as a single entitled “Spring Reprise,” it could manage only #58 on the pop charts.

“Spring Vacation,” The Beach Boys, 2012

“Seems like it could go on forever as long as we can all stay together, /We used to get around, get up and hit up all the hot spots in town, /Spring vacation, good vibrations, summer weather, we’re back together, /Easy money, ain’t life funny? Hey, what’s it to ya?
Hallelujah…”

Brian Wilson and Mike Love collaborated on this fun pop track that was a highlight of the well-received 2012 comeback LP “That’s Why God Made the Radio.” It was their first album of new material in two decades, thanks to a burst of inspiration from Wilson at the time. “Spring Vacation” is overtly biographical, describing The Beach Boys’ successes. Wilson said in a 2013 interview, “I’m amazed I had somehow never written a song about spring vacation until I was almost 70.”

“Spring,” Ed Sheeran, 2023

“I’ll see my friends when all this ends, but now until then, /I’m holding out for spring, we can’t let winter win, /That’s why I’m holding out for spring, oh, what a state we’re in…”

With ten albums, six EPs and a host of unreleased tracks waiting on the shelf, all in less than 20 years, Sheeran has shown himself to be among the most prolific songwriters of his generation. He’s a perceptive lyricist and a wizard at creating melodies, and he sells out wherever he performs. On his second LP of 2023 “Autumn Variations,” he wrote songs meant to symbolize his closest friendships, and “Spring” captures that challenging transitional period when the warmer weather isn’t changing quickly enough to suit us.

“Spring Again,” Lou Rawls, 1977

“I said it’s spring again, and the grass is turning green again, /The warm air feels so good, summer’s not too far away, /Yeah, I said it’s spring again, don’t it make you feel good when you can take off your winter clothes? /Bright colors everywhere…”

Rawls had been performing and recording soul and jazz tunes since the late ’50s with the likes of Sam Cooke and Les McCann, and won a Grammy in 1971 for his recording of “Natural Man.” In the late ’70s, he signed with Philadelphia International, where he had his biggest success singing richly produced tunes by the songwriting team of Kenny Gamble and Leon Huff, including Rawls’ signature hit, “You’ll Never Find Another Love Like Mine.”  From his R&B middle-of-the-road “Unmistakably Lou” LP in 1977 came “Spring Again,” a musical breath of fresh air about springtime romance.

“Spring Can Really Hang You Up the Most,” Bette Midler, 1990

“Morning’s kiss wakes trees and flowers, and to them I’d like to drink a toast, but I walk in the park just to kill the lonely hours, spring can really hang you up the most…” 

Lyricist/poet Fran Landesman wrote the words to this song in 1952 for the short-lived Broadway play, “The Nervous Set.”  She was inspired by the legendary T. S. Eliot 1922 opus, “The Waste Land,” which opens with, “April is the cruelest month, breeding lilacs out of the dead land, mixing memory and desire, stirring dull roots with spring rain…”  It lays out a bonafide paradox:  April symbolizes spring, which means rebirth and youth, but if you’re already old, seeing rebirth and youth can be depressing…

“The Lullaby of Spring,” Donovan, 1967

“Spring has flowered from a drip, slash and trickle running, plant has flowered in the sun, shell and pebble sunning, so begins another spring, green leaves under berries, chiff-chaff eggs are painted by mother bird eating cherries…”

This simple English folk track, which features Donovan accompanied by only his acoustic guitar, celebrates nature’s spring happenings.  It was a deep track on the “For the Kids” Disc 2 of the double album package “A Gift From a Flower to a Garden,” released late in 1967.  The multi-talented Donovan was a much more celebrated artist in England than in the States, but his legacy on US charts was impressive, with ten hit singles and several Top 20 LPs in the 1966-1973 era.

“Spring Rain,” The Go-Betweens, 1984

“When will change come? Just like spring rain, /Fallin’ just like sheets, comin’ down like love, /Fallin’ at my feet, fallin’ just like spring rain…”

This Australian indie rock band found intermittent success in its native land and in the UK during its initial run (1977-1990) and again in its second life during the 2000s, but barely at all in the US. Songwriters Robert Forster and Grant McLennan wrote some catchy stuff that should’ve done better on US charts, but only one song made an impression (1988’s “Was There Anything I Could Do?”). Their 1986 LP, “Liberty Belle and the Black Diamond Express,” spawned the exuberant single, “Spring Rain,” which draws a sweet parallel between an April shower and new love.

“It Might as Well Be Spring,” Frank Sinatra, 1962

“I’m as busy as a spider spinning daydreams, I’m as giggy as a baby on a swing, /I haven’t seen a crocus or a rosebud, or a robin on the wing, /But I feel so gay in a melancholy way, that it might as well be spring…”

The legendary stage-and-screen songwriting team of Richard Rodgers and Oscar Hammerstein came up with this classic tune for the 1945 film “State Fair” starring Jeanne Crain and Dana Andrews. Among the tunes the duo wrote for the wholesome story was “It Might As Well Be Spring,” which Crain’s character sings to describe her feelings about new romance in early autumn. It won an Oscar that year for Best Original Song, and was recorded numerous times over the years. The best known version is probably by Frank Sinatra, released in 1962.

“Springtime,” Chris Renzema, 2020

“We will sing a new song, ’cause death is dead and gone with the winter, /Let “hallelujahs” flow like a river, we’re coming back to life, /Reaching toward the light, your love is like springtime…”

Hailing originally from Grand Rapids, Michigan, Renzema is a talented singer-songwriter now based in Nashville, offering a compelling blend of indie rock, contemporary Christian and folk. He has a half dozen EPs and albums to his credit, and his 2020 release, “Let the Ground Rest,” includes the spiritual tune “Springtime,” which thanks the heavens for the arrival of spring and the cycle of changing seasons.

“Spring,” Saint Etienne, 1990

“I’ve been watching all your love affairs three years now, don’t you think I care? /How many times have you looked into my eyes? Don’t you realize we’re two of a kind, /It’s only springtime, you’re too young to say you’re through, love, /It’s only springtime and I’ll be different, I’ll be different, I promise you…”

Saint Etienne, an English band consisting of Sarah Cracknell, Bob Stanley and Pete Riggs, came out of the “indie dance” scene of the 1990s, with music that cleverly blended dance-club culture with Sixties pop. They did well on UK charts in the ’90s and then found an audience in American dance clubs in the 2000-2012 period. From their 1990 debut LP “Foxbase Alpha” is yet another pleasant song entitled simply “Spring,” which reminds me of the late ’80s sound of Swing Out Sister.

“Can’t Stop the Spring,” Flaming Lips, 1987

“So you can put the clouds up in your own little way, but the sun is gonna come up the very next day… You can crush the flowers, but you can’t stop the spring, no matter what you say…”

This inventive, peculiar band from Oklahoma City, who debuted in 1986 and released more than 20 albums through 2020, is labeled on some websites as “post-punk, alternative-psychedelic-experimental rock,” and that pretty well describes their oeuvre, which is wildly eclectic. Roughly half their LPs and a half-dozen singles made headway on UK charts, while their impact in the US was milder. “Can’t Stop the Spring,” which revels in the season’s inevitable entrance, came from their second LP, “Oh My Gawd!!”  It’s a bit out there, but lots of fun.

“Spring Fever,” Orleans, 1976

“Spring’s the time to start anew, and make your wildest dreams come true, /You can help it all begin, open up, darling, take me in, /Spring fever (got spring fever), they say that it can go to your head…”

The pop/rock band Orleans, whose original Cajun influences gave the group its name, formed in upstate New York and became popular on Northeast U.S. college campuses. By 1975 and 1976 they score back-to-back Top Five hits with singer-songwriter John Hall’s “Dance With Me” and “Still the One,” and toured with the likes of Melissa Manchester and Jackson Browne. From their fourth LP “Waking and Dreaming” you’ll find the infectious “Spring Fever” (no relation to the Elvis track above), written and sung by founding member Larry Hoppen.

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“Springtime for Hitler,” Mel Brooks, 1967

Leave it to Brooks, the king of ’60s/’70s Jewish humor, to conceive of a film that made fun of Adolf Hitler. “The Producers” is a madcap farce about two con men looking to stage a Broadway play so bad that it fails spectacularly and they can abscond with investor money. Instead, the viewing public sees it as a marvelous satire and it gets rave reviews, foiling their plan. When the play debuts on opening night, it starts with an outrageous musical number called “Springtime for Hitler,” with dancing stormtroopers and lyrics that seem to celebrate the Nazi takeover of Europe: “Springtime for Hitler and Germany, Deutschland is happy and gay, /We’re marching to a faster pace, look out, here comes the master race!…”

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I’ve written about protest music before, but current events have compelled me to readdress the topic.  The “golden age” of protest songs may have been in the late ’60s and early ’70s, but that doesn’t mean artists from more recent decades haven’t felt the need to compose and record tunes that speak strongly about hot-button issues, some of which — war and racial injustice, to name just two — are the same damn issues we sang about a half-century ago.

Now, in the past year but especially within the last couple of weeks, we are seeing outrageous scenes of a federal occupying force shooting (murdering) individuals in the streets of American cities. It’s beyond the pale, and it has awakened the conscience of millions of citizens, and not just in the cities where these things are happening. People are speaking out, marching, demanding justice, and it appears those responsible may actually face consequences. We shall see.

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Art as a form of protest — in paintings, in music, in films, in photography — has been a particularly potent way of expressing our contempt for society’s ills.  In particular, protest music has been around in this country ever since pre-Civil War slaves came up with songs bemoaning their brutal lot in life.

By the 1920s and ’30s, Delta blues musicians like Robert Johnson, Blind Willie McTell, Lightnin’ Hopkins, Sonny Boy Williamson and others wrote many dozens of blues songs that protested personal concerns: lack of money, lack of food, cheating spouses, broken down cars and other woes of bad breaks and hard times.  In 1939, Albert King summed it all up this way: “Born under a bad sign, I been down since I began to crawl, if it wasn’t for bad luck, I wouldn’t have no luck at all.”

In the ’40s and 50s, folk music leaders like Woody Guthrie and Pete Seeger began writing lyrics that exposed the broader hardships of the downtrodden and the unemployed.  The songs espoused peace and humanity, and took issue with political leaders who seemed to have darker agendas.  They posed philosophical questions (“Where have all the flowers gone?”) and described the horrors every soldier endures when war is waged (“Waist Deep in the Big Muddy”).

The Sixties famously brought marches, sit-ins, demonstrations and rallies, which occurred regularly in big cities across the nation and around the Free World.  And the lyrics in songs by Bob Dylan and others seemed to play a crucial, even central role in the proceedings.  Dylan’s “Blowin’ in the Wind” and “Masters of War,” Sam Cooke’s “A Change is Gonna Come,” Barry McGuire’s “Eve of Destruction”  — these were meaningful messages that, for the first time, were infiltrating the realm of popular music.  But even Dylan knew a song had only so much power to persuade:  “This land is your land, and this land is my land, sure, but the world is run by people who never listen to music anyway.”

In a blog post ten years ago, I wrote about protest songs that had become commercially successful — songs like CSN&Y’s “Ohio,” Marvin Gaye’s “What’s Going On,” John Lennon’s “Give Peace a Chance,” Buffalo Springfield’s “For What It’s Worth,” Edwin Starr’s “War” and Creedence’s “Fortunate Son.”  I also listed another few dozen songs that, while not mainstream hit singles, nonetheless became popular in the both the counterculture and the wider culture of the time.

In this post, I’m stepping outside the comfort zone of “Hack’s Back Pages” (music of the 1955-1990 years) to explore protest music from the most recent two decades.  It seems entirely appropriate to do so as protestors and law enforcement have faced off against each other in the streets of America numerous times in the past several months.

Here are a baker’s dozen songs of protest released since 2000 that I’ve found worthy of discussion and your attention.  If there are others that strike a fervent chord with you, I’m eager to hear about them.

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“Streets of Minneapolis,” Bruce Springsteen, 2026

Coincidentally, as I was preparing this blog entry over the past week, rock legend Springsteen wrote, recorded and released this searing protest song about violent events taking place in Minneapolis, Minnesota. With lyrics that specifically call out Trump and several of his “federal thugs” as well as the two innocent victims, the track has been described as “the 21st Century equivalent of Neil Young’s ‘Ohio’ following the 1970 Kent State shootings.” Clearly, “Streets of Minneapolis” comes from that same uneasy mix of sorrow and rage, and Springsteen offers lyrics that capture that pain and defiant response: “Citizens stood for justice, their voices ringing through the night, /And there were bloody footprints where mercy should have stood… Here in our home they killed and roamed in the winter of ’26, /We’ll remember the names of those who died on the streets of Minneapolis…”

“Land of the Free,” The Killers, 2019

A Las Vegas-bred rock band since the early 2000s, The Killers have been led by singer-keyboardist Brandon Flowers, who has written or co-written nearly every song in their seven-album repertoire, all of which have reached the Top Ten on US charts (and #1 in the UK), resulting in nearly 30 million copies sold worldwide.  Six years ago, Flowers wrote “Land of the Free,” a song that makes ironic use of the title to protest issues that still bedevil us in this country, specifically mentioning immigration, gun control and racism.  In regards to the unfairness of systemic racism:  “When I go out in my car, I don’t think twice, but if you’re the wrong color skin, you grow up looking over both your shoulders… Incarceration’s become big business, it’s harvest time out on the avenue in the land of the free…” 

“Million Dollar Loan,” Death Cab For Cutie, 2016

Ben Gibbard, singer-songwriter for the popular alt-rock band Death Cab for Cutie, said he was outraged by then-candidate Trump saying during one of the 2016 presidential debates that he self-made his fortune “with just a small million-dollar loan” from his father.  “He made it sound like anyone could get a million dollar loan,” Gibbard said, “which is just insane.”  Gibbard poked a sharp stick at Trump’s silver-spoon upbringing:  “He’s proud to say he built his fortune the old fashioned way, because to succeed, there’s only one thing you really need, a million dollar loan, nobody makes it on their own without a million dollar loan, you’ll reap what you’ve sown from a million dollar loan, call your father on the phone and get that million dollar loan…”

“World Wide Suicide,” Pearl Jam, 2006 

Pearl Jam has a whole slew of overtly political songs in their catalog, and for their 2006 album “Pearl Jam,” several tracks dealt with the Iraq War and its aftermath, as well as the “War on Terror,” as it was referred to by the Bush Administration.  I think “World Wide Suicide” is the best of the bunch.  Singer Eddie Vedder has never been shy about challenging authority nor bemoaning the horrors of war in his lyrics:  “It’s a shame to awake in a world of pain, what does it mean when a war has taken over, it’s the same everyday and the wave won’t break, tell you to pray while the devil’s on their shoulder, the whole world over, it’s a worldwide suicide….”

“I Give You Power,” Arcade Fire with Mavis Staples, 2017

Arcade Fire may be a Canadian band, but they still have the right to make their feelings known about political power in a free society, be it in the U.S. or elsewhere.  Written by leader Win Butler with help from singer Mavis Staples in the spring of 2016 and released the day before Trump’s inauguration in January 2017, “I Give You Power” is a brilliantly concise reminder to those who win elections that they can lose their political power as easily as they win it:  “I give you power, power, where do you think it comes from, who gives you power, where do you think it comes from, I give you power, I can take it all away, I can take it away, watch me take it away…”

“Commander in Chief,” Demi Lovato, 2020

In the months leading up to the 2020 election, Lovato was incensed with the way she felt Trump mishandled the COVID pandemic and seemed to condone racial injustice and white supremacy. Perhaps naively, she sought a meeting with him to discuss these issues but instead chose to write a song about it, which became “Commander in Chief,” released in October of that year. Critics called it “the most potent, damning protest song of the Trump era.” The lyrics ask a series of questions that demanded answers, set to somber music that begins despairingly but swells to righteous indignation: “Won’t give up, stand our ground, we’ll be in the streets while you’re bunkering down… If I did the things you do, I couldn’t sleep, /Seriously, do you even know the truth? /We’re in a state of crisis, people are dying while you line your pockets deep…”

“Song for Sam Cooke (Here in America),” Dion with Paul Simon, 2020

Pop singer Dion DiMucci, famous for early rock hits like “The Wanderer” and “Runaround Sue,” re-emerged a few years back with Paul Simon for a powerful duet about the late Sam Cooke, one of the best soul/gospel singers of all time, who was gunned down in 1964 by a white motel owner.  The lyrics deal with the racism of those times while reminding us that race relations are still tenuous in many parts of the country today:  “I never thought about the color of your skin, I never worried ’bout the hotel I was in, here in America, here in America, but the places I could stay, they all made you walk away, you were the man who earned the glory and the fame, but cowards felt that they could call you any name, you were the star, standing in the light that won you nothing on a city street at night…”

“False Prophet,” Bob Dylan, 2020

The man who offered up such iconic ’60s protest songs as “The Times They Are A-Changin’” and “Only a Pawn in Their Game” was still at it nearly 60 years later with 2020’s “Rough and Rowdy Ways,” a new album of thought-provoking tunes.  In addition to a 17-minute epic about the Kennedy assassination called “Murder Most Foul,” Dylan wrote “False Prophet,” which commented on Trump’s first term: “Another day that don’t end, another ship goin’ out, another day of anger, bitterness, and doubt, I know how it happened, I saw it begin, I opened my heart to the world and the world came in…” Later, he makes reference to Trump and what might still be his fate, but that has, sadly, been wishful thinking so far:  “Hello stranger, a long goodbye, you ruled the land, but so do I, you lost your mule, you got a poison brain, I’ll marry you to a ball and chain…”

“Not Ready to Make Nice,” The Dixie Chicks, 2006

The Texas-based, three-woman country group, riding high in 2003 as one of country music’s most popular acts, came out against the Iraq War while performing in England, adding, “We’re ashamed that the President of the United States is from Texas.”  The backlash from the group’s conservative fan base was fierce and instantaneous, and most country radio stations began boycotting their music.  It took them off the charts for a few years before they returned with “Not Ready to Make Nice,” which reinforced their previous statements, not angrily but with a heartfelt rejoinder that defended their right to speak their minds:  “How in the world can the words that I said send somebody so over the edge that they’d write me a letter, saying that I better shut up and sing or my life will be over?  I’m not ready to make nice, I’m not ready to back down…”

“When the President Talks to God,” Bright Eyes, 2005

Since the beginnings of the nation, presidents have mentioned God and the need for guidance, but none quite as arrogantly as George W. Bush, who claimed to have actual conversations with God.  Conor Oberst, the singer-songwriter behind the indie rock band Bright Eyes, wrote this piece that took strong exception to Bush’s use of God to justify his policies and decisions.  In early 2005, NBC surprisingly gave the green light to Bright Eyes performing the song on “The Tonight Show.”  It was released as a free track on iTunes shortly after:  “Does he fake that drawl or merely nod when the president talks to God?  Does God suggest an oil hike when the president talks to God?  Does what God says ever change his mind when the president talks to God?  When he kneels next to the presidential bed, does he ever smell his own bullshit when the president talks to God?…”

“There’s a Tumor in The White House,” Dan Mangan, 2025

Mangan, a Canadian singer-songwriter whose career began in Vancouver in 2005 and earned him several Juno Awards in 2012, was motivated by recent belligerent remarks by the Trump administration against Canada write this . “Generally, in my songwriting, I’ve aimed for the timeless social criticisms — never too on the nose, never too specific,” he said. “But now we’ve got this bully in the highest seat using the lowest form of mudslinging and name-calling, and unfortunately, it just seems to keep working for him. I just wanted to call a spade a spade – bootlickers, chokeholders, chest-puffers… Is it ironic? I don’t know. Is it a joke? I worry that it isn’t.” Sample lyrics: “There’s a tumor in the White House, there’s a blowhard at the gate, /Chokeholders in the squad car, bootlickers on parade…”

“What About Us,” Pink, 2017

Alecia Beth Moore, better known as the multi-talented singer-songwriter Pink, has enjoyed a spectacular solo career since her debut 20 years ago.  Selling upwards of 90 million albums worldwide with multiple #1 albums and singles, she avoided being typecast as a mindless pop act by writing songs of real substance and using her gymnast-like dancing skills to reach new levels of artistry in her live performances.  When she wrote “What About Us” for her 2017 album “Beautiful Trauma,” she kept it general enough so it could be interpreted to be about a failed relationship, but most believe it to be a political protest song about the Trump administration:  “We are billions of beautiful hearts, and you sold us down the river too far, we were willing, we came when you called, but man, you fooled us, enough is enough…  What about all the times you said you had the answers? What about all the plans that ended in disasters?  What about love? What about trust?  What about us?…”

“Hell You Talmbout,” Janelle Monae, 2015

Not so much a song as a chant with gospel overtones, this track (the title is a contraction for “What the hell are you talking about?”) is a powerful message piece that Monae wrote and recorded with a loose collective of musicians she called Wondaland.  Originally, the verses painted vignettes of three black people who died at the hands of overzealous police, but as more such incidents began occurring, the lyrics evolved into a chanting of names of the victims, imploring listeners to “say their names!”  David Byrne, late of Talking Heads, was so impressed by it that he concluded many of his concerts with his own rendition of it.  A live recording of Byrne with a chorus and tribal drums is included in the Spotify list below.

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I’ve included two Spotify playlists.  The first features the recent songs discussed above, while the other offers a handful of classic protest songs from the Sixties and Seventies.