Tag Archives: protest songs

From rapper to political leader: 4 songs by Balen, Nepal’s future prime minister

Nepali rapper and Kathmandu mayor Balendra Shah performing
Snapshot from the music video for “Balidan” by Balen.

When people think of protest music entering politics, the examples that usually come to mind are folk singers addressing different issues in their lyrics and sometimes even performing on the streets – surrounded by people demanding justice. One former hip-hop artist in Nepal did exactly that – only he took it a few steps further.

Balendra Shah, or Balen, is a musician who first rose to fame as a socially active rapper in the emerging Nep-hop scene (Nepalese hip-hop). His songs dealt with issues such as corruption and inequality and lifted up the voice of a generation of disenchanted young people in Nepal.

Nep-hop, Nepalโ€™s growing hip-hop scene, emerged in the early 2000s and has increasingly become a platform for social commentary and political criticism among young artists.

Shahโ€™s rise in politics began when he won a surprise victory as Mayor of Kathmandu in 2022, running as an independent candidate and defeating politicians from Nepalโ€™s established parties. The win highlighted a major shift in the countryโ€™s political landscape, driven largely by younger voters seeking change.

Now, after his extraordinary journey from socially conscious artist to political reformer, Shah is expected to become Nepalโ€™s next prime minister. His wild trip from underground rap battles to the top of national politics highlights just how powerful a vehicle for political change music can be.

Whether governing proves as powerful as his music remains to be seen. But if he does take office, Nepal may soon be led by a prime minister whose political vision was first delivered through music.

Here are four songs from the time Balen used a mic and a beat to effect change.

1. โ€œBalidanโ€ (Sacrifice)

One of Shahโ€™s most famous songs, Balidan is an uncompromising attack on corruption in Nepalese politics. The track calls out leaders who, in Shahโ€™s words, have betrayed the people they claim to represent.

The song resonated widely among young listeners who felt locked out of opportunity by a political system dominated by old elites. It quickly became an anthem for frustration with corruption and mismanagement.

2. โ€œMa Nepal Haseko Dekhna Chahanchuโ€ (I Want to See Nepal Smiling)

While sharply critical of political leaders, this song carries a hopeful message. Shah imagines a Nepal where citizens live with dignity and opportunity rather than political instability and corruption.

The trackโ€™s vision of a better future made it particularly popular among youth activists and students calling for reform.

3. โ€œSadak Balakโ€ (Street Child)

In Sadak Balak, Shah turns his attention to social inequality. The song tells the story of children forced to survive on the streets, shining a light on poverty and social neglect in Nepalโ€™s cities.

The track showed that Shahโ€™s political consciousness extended beyond party politics to broader questions of justice and human dignity.

4. โ€œNepal Hasekoโ€ (Nepal Smiling)

Another widely shared track, Nepal Haseko continues Shahโ€™s theme of imagining a happier and more just country. Its hopeful tone contrasts with the harsh political criticism found elsewhere in his catalogue, but the underlying message remains clear: Nepal deserves better leadership.

The song has often been used at youth rallies and reformist gatherings, reinforcing Shahโ€™s connection with a younger generation of voters.

I am still alive: Adib Ghorbaniโ€™s โ€œMan Zendeam Hanoozโ€ becomes a new anthem in Iran

A monochrome illustration of a person in a hoodie, head tilted back as smoke or mist rises above. The background features repeated script, creating a textured effect.

Across the world, protests have witnessed the power of music to become a rallying call and a beacon of hope. Chants turn into songs, and songs turn into anthems, all carrying the emotions of the people who might otherwise not have a platform to express themselves. In the past few years, the Iranian protest movement has seen the emergence of some incredible music that reflects the emotions of the people, including the pain, anger, courage, and hope they have managed to express through their songs.

Man Zendeam Hanooz: A Protest Song from Iranโ€™s Resistance Movement

Among the latest additions to the growing list of songs and music emerging from the Iranian protests is the powerful protest song โ€œMan Zendeam Hanoozโ€ (“I Am Still Alive”) by Iranian composer Adib Ghorbani, with lyrics by Vienna-based, Iranian poet Pooyan Moghaddassi.

This song, released in the early part of 2026 and performed by Iranian music students and a choir, has already begun to circulate on the web and among the supporters of the Iranian pro-democracy movement.

The sound of a movement

To fully comprehend the effect of โ€œMan Zendeam Hanooz,โ€ it is necessary to briefly discuss the cultural context in which this piece emerged. Following the death of Mahsa Amini in 2022, Iran is facing one of the largest protest movements in its modern history.

As a result of this protest, which featured slogans such as โ€œWoman, Life, Freedom,โ€ the Iranian people challenged their government and expressed their desire for a change in their social and political systems.



In this context, music emerged as a key component of this protest movement. Perhaps the most famous piece of music to emerge from this protest is โ€œBarayeโ€ by Shervin Hajipour, a piece of music in which a variety of protest slogans were combined into a set of lyrics.

Man Zendeam Hanooz also emerged in this context, as the lyrics of the song are based on the slogans the Iranian people were sharing on social media in the aftermath of the recent internet shutdown. When people regained access to the internet, they started letting friends and family know: “I am still alive.”

โ€œI am still aliveโ€

โ€œMan Zendeam Hanoozโ€ is a song that is performed in less than two minutes, but its brevity is part of its strength. The title is a powerful phrase, and on the most individual level, it speaks to survival โ€“ as thousands of Iranians have faced arrest or worse during the protests. But the phrase is more than that.

It is also a statement that speaks to the collective group as a whole. It is a statement that says even if people as individuals are silenced, they as a whole are still here. They are still alive.

Ghorbani writes on his Soundcloud page: “With the eternal memory of the homeland and dedicated to the noble people of Iran; to the courage that lives and the life and revolution that does not fade away.”

Art under pressure

However, the production of protest music in Iran is not without peril. Artists have been arrested, interrogated, and banned from professional practice. Some artists have opted to produce the protest music anonymously or from exile.

Despite the challenges, protest music is still being produced. This is due to the ease of disseminating the information through the internet, which helps the activists within Iran connect with the Iranian diaspora and the international community.

Thus, the protest music acts as a bridge for the Iranian people, the diaspora, and the international community, which is otherwise divided by the Iranian governmentโ€™s censorship.

To artists like Ghorbani, the production of such protest music is a statement of intent. It is a statement that the government cannot control art, and that art is a powerful form of protest.

The power of a simple message

It is precisely because of its simplicity that โ€œMan Zendeam Hanoozโ€ is so compelling. It does not require any complex lyrics or storytelling. It is simply a declaration of existence.

In situations where people are uncertain and afraid, words like these are incredibly empowering. They remind people that resistance is not simply about acts of defiance, but also about determination โ€“ the determination to continue speaking, singing, and living, in spite of those who seek to silence them.

Throughout history, protest songs have been a key tool in this kind of resistance. Whether it is civil rights music, anti-war songs, or any other kind of protest music, it gives people a common language to speak in terms of resilience and determination. Ghorbaniโ€™s piece is a perfect example of this.

To those outside of Iran, the song โ€œMan Zendeam Hanoozโ€ is a window into the inner workings of the Iranian protest movement. While the headlines tell of conflict, arrests, or political pronouncements, the song represents another level of the protest movement.

Ultimately, the strength of the song is not in the tune itself, but in what the song represents. It represents the fact that in the midst of repression, people continue to make music, to sing, to proclaim their existence.

Logo design featuring the text 'SHOUTS MUSIC .BLOG' in a distressed font within a circular border.

Songs for the community: Hardscrabble Hope by Maria Dunn

Maria Dunn has built her career around the kind of storytelling that sits at the heart of protest folk: songs about workers, marginalized communities, and the quiet resilience of ordinary people. Her latest album, Hardscrabble Hope, continues that tradition with a collection of deeply empathetic songs that blend political awareness with human-centered narratives.

Rather than delivering overt slogans, Hardscrabble Hope approaches protest through storytelling. Dunn focuses on individuals caught within larger systemsโ€”workers in extractive industries, people struggling with mental health, and communities facing social isolation. The albumโ€™s title itself reflects this balance: it’s a hardscrabble path towards a better world – but we must remain hopeful.

One of the recordโ€™s most direct social commentaries appears in โ€œCoal Is a Thirsty Business,โ€ which examines the human and environmental costs of resource extraction. In 2020, the Alberta government repealed the 1976 Coal Policy that had long protected the eastern slopes of the Rocky Mountains from coal exploration and mining. The move sparked widespread opposition from citizens concerned about the environmental threats to the region, which supplies much of the provinceโ€™s drinking water. With southwestern Alberta also facing severe drought in recent years, critics argue that coal mining could further strain already scarce water resourcesโ€”summed up by rancher Laura Laingโ€™s warning that โ€œcoal is a thirsty business.โ€

Another track, โ€œReach Out,โ€ addresses the growing crisis of mental health and suicide with deep compassion:

“Why is there money for our jails, countless legal wars
But when it comes to healing minds, endless waits in corridors?
When will we realize our greatest measureโ€™s how we treat
Someone asking for our help in their deepest need?”

– from Reach Out

Another song that captures Dunn’s beautiful storytelling is “A Pill for a Broken Heart”, which highlights the experiences of people experiencing homelessness in Edmonton, Canada, inspired by Eric Riceโ€™s video This is Where We Live. One participant recalls a psychiatrist explaining that many unhoused people are dealing with โ€œbroken hearts,โ€ reflecting deep emotional trauma rather than something that can be fixed with medication. The text also notes that research shows people are more likely to experience homelessness if they faced childhood adversity such as neglect, abuse, domestic violence, parental addiction, or time in foster care.

โ€œPekiwewin,โ€ which uses a Cree word meaning โ€œcoming home,โ€ tells the story of an Indigenousโ€‘led relief camp in Edmonton that provides safety, care, and a sense of home for people experiencing homelessness.

Meanwhile, pieces like โ€œMister Potterโ€ cover whistleblowing within the health care industry, and โ€œAccordiona/Over the Hillsโ€ is a playful tribute to the patience and support of family, friends, and roommates who live withโ€”and encourageโ€”someone learning to play a noisy new instrument during lockdown.

Musically, Hardscrabble Hope expands Dunnโ€™s acoustic folk foundation with brass, Celtic-influenced melodies, and warm ensemble arrangements produced by Shannon Johnson of The McDades. There’s a sense of communal spirit to the album – these songs sound like they’re meant to be sung as a group, as a community, and on the streets.

Ultimately, Hardscrabble Hope stands as a reminder that protest music does not always need to be loud. Dunnโ€™s songs work through empathy, observation, and storytelling, illuminating the lived experiences behind political debates. By focusing on the dignity and resilience of everyday people, the album reinforces one of folk musicโ€™s oldest traditions: giving voice to those whose stories too often go unheard.