It’s no secret that the US is in the midst of a ideological identity crisis, as American values and principles are being renegotiated in real time on the world stage. As Americans deal with ICE, surprise deportations and the proliferation of data centers and private equity firms, they are also navigating a new reality where layoffs are abundant, prices and inflation are high and economic instability has become the norm.
This is not the first time America has experienced unfavorable economic conditions, a looming war or wide spread attempts at censorship and surveillance. In fact, in the past, moments like this motivated grassroots movements and brought people together to stand up for what they believe in. What was different however, was how these movements came together and grew into the iconic protest moments they became. While they were driven by the people on one end, they were also supported by a culture-shifting soundtrack on the other.
Music has always has been a fundamental part of American rebellion and protest culture. It has been used to push against conformist frameworks, and to highlight social injustices. In times of change or political conflict, it has served to galvanize the masses and engender a spirit of strength in togetherness by spreading the word and giving people permission to unify around a common goal, despite their differences.
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The 1930s marked a dark time in US history where Americans found themselves in the midst of the Great Depression. The economic collapse marked by colossal banking failures resulted in high unemployment rates, decreased GDP and a rise in poverty & homelessness. This, along with the tensions and violence faced by Black Americans during this time set the foundation for a new style of music to emerge.
Swing music became the newest sound of the times. Considered uncouth due to its ties to Black artists and Black culture, it materialized on the heals of the Harlem Renaissance and the jazz era of the 1920’s. It was an upbeat, energetic antidote to the sleepier, heavier times of the great depression- a reactive solution rooted in the enduring spirit of African American resiliency. This new genre encouraged freedom of movement and new forms of self-expression through intimate partner dancing which was deemed immoral & inappropriate by the mainstream. Its appeal to young people was also dangerous as it provided a path away from American conformity and, perhaps worst of all, challenged the parameters of segregation by unifying racial groups over a new found love for swing.
This rebellious music streak continued in the years to follow as the rock and roll era of the 1950’s, dominated by artists like Elvis Presley & Little Richard, took shape.
The backlash of this new music era was swift and led to widespread censorship across the US and abroad as white parents feared Black music’s influence over their children. This anxiety was further strengthened with the 1954 removal of the US “Separate But Equal” doctrine, originally established in 1896. As a result, an increase in pirate radio or “border blasters” played a significant role in getting the music back into the hands of the people.
When rock and roll began in the 1950s, it was a blues slang term for “sex”. This led to instant controversy. However, since this was the first integrationist music, it was widespread and growing rapidly. To many, this was a problem because they believed this low culture music would badly influence people. Rock and roll was considered low culture because the lyrics were sexuality explicit and violent. — Allie Hale
The 1960s experienced new conflicts as racial tensions rose and disdain for the Vietnam war grew which spawned a new counterculture movement. On one side of America, this gave rise to a new generation of hippies and teens who had become disillusioned with their parents’ way of life, and on the other, it spurred a new, more organized form of resistance in the form of civil rights movements. Bob Dylan called out US involvement in Vietnam with songs like “Masters of War”, while highlighting the increasingly undeniable ways that US culture was shifting in “Times They Are a Changing”. In other parts of the country, Freedom Songs, or ballads that highlighted the racial inequities experienced by Black Americans, rose in popularity out of need. Songs like “A Change’s Gonna Come” by Sam Cooke and “We Shall Overcome” became notable anthems for civil rights campaigns.
The push against conformity continued but took on a new sound in the latter part of the 1960s as psychedelic rock entered the scene with artists like The Grateful Dead who performed at Columbia University to protest the Vietnam war. Later, they supported the Black Panthers by playing outside of San Quentin Prison and raising bail money for those arrested during the People’s Park uprising. The Beatles, who embraced the love and peace moniker of the hippies movement found themselves at the center of the American conversation as they refused to play to segregated audiences and produced songs like “Revolution” and “All You Need is Love” to signify their political stances.
Eventually, music festivals like Woodstock became vital networks for Americans seeking connection with like minded individuals while sending a message to those in power that the people wanted to be heard. These tensions, combined with anti-war sentiment, planted the seeds for the preceding decade’s rock and roll era.
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Psychedelic rock encouraged people to question authority, embrace alternative lifestyles, and imagine a world grounded in peace and collective consciousness. -Tastemakers Magazine
The issues from the 60’s rolled over to the next decade and were met with a a new wave of economic uncertainty as Americans experienced a recession, an energy crisis and extreme inflation in the 1970s. It was these conditions that created the impetus for what would be the next golden-era of rock & roll.
New cultural tensions and economic anxieties led to a shift in rock & protest music, the latter of which was increasingly owned by Black artists. As Motown musicians gained notoriety, singers like Marvin Gaye released songs highlighting the inequitable conditions faced by Black Americans with “What’s Going On” and “Make Me Wanna Holler”. Famous poet Gil Scott-Heron used funk and soul to illustrate the poor, destitute conditions of his community in “Home Is Where the Hatred Is”. He later wrote the now iconic “The Revolution Will Not Be Televised” to serve as a wake up call to Black Americans who he believed would never be able to see the issues that were most important to them platformed on national television.
Meanwhile, Rock & Roll embraced its contrarian roots and shifted towards a harder, edgier sound. With so many instrumental influences, the 70s was also the decade that generated a multitude of rock sub genres. Punk rock artists like The Ramones (“I Wanna Be Sedated” and “I’m Against It”) and the Clash (“London Calling”) spoke to teenage angst while producing anti-establishment anthems. After the arrival of disco, artists like David Bowie and Elton John pioneered “Glam Rock”, a genre that brought color and flamboyant whimsy into the category through extravagant fashion, costumes and makeup. In the preceding years, Elton would use music as a form of activism against wars, HIV, and in support of the LGBTQ+ community.
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Over the next few weeks…he and Brian started paying more attention to what was actually being shown on television. They noticed the commercials, and the friends commented to each other on the insidiously persuasive power of ads for everything from toilet cleaner to breakfast cereal. The contrast between the commercials and the demonstrations in the streets could not have been more glaring: one was on TV, and the other was live. When he was finished writing, he titled the poem “The Revolution Will Not Be Televised.” — Marcus Baram
One of the effects of this economic downturn was a growing sense of pessimism among young people, particularly those of working class backgrounds. For the first time since WWII, children were not necessarily going to be as successful as their parents. In London and New York this led to the emergence of punk music, and the emergence of rap music in the South Bronx in New York City. — OSU
By the 1980s, rock and roll had become a core part of the mainstream and less tied to counterculture or a need for political activism. In fact, the emergence of hip hop seemed to supplant rock & roll’s place in elevating American consciousness with songs like “The Message” by Grandmaster Flash & the Furious Five, Public Enemy’s “Fight the Power” and N.W.A.’s “Fuck tha Police”. The theme of rebellion continued, but within a new genre.
Both categories began to merge in the 90s as groups like “Rage Against the Machine” combined the rawness of rock with the grittiness of rap while including an underlying message of social justice to create “Rap-Metal”. Limp Bizkit & Korn used the lyrical rhythms associated with rap in their music, often collaborating with notable hip hop artists with hard-hitting street reputations.
Overtime, rock and roll’s mainstream impact diminished as new genres, sounds and artists entered the music category. Protest music’s relevance also softened as young people turned to hip-hop to capture their the mood and counterculture sentiments. For a small while, “Conscious Rap”, a softer, more soulful style of rap that focused on the strife and tensions within the Black community, rose to the top of the charts with artists like De La Soul, A Tribe Called Quest, and Common.
In the 2010’s “rage rap” emerged— a new category that led with the lyrical foundations of rap, but curated the types of crowds and energy typically associated with rock and roll. Artists like Playboi Carti, Trippie Redd, Ken Carson, Yeat and Travis Scott became known for their unruly crowds filled with abrasive aggression and young men intensely crowd surfing and moshing.
Overall, the playlist for American rebellion has almost always been initiated by Black Americans, even if inadvertently. Once music is commodified for public consumption a pattern emerges: protest songs and genres led by Black artists and, separately, those led by white artists. Overtime, the evolution of the space has led to a convergence of musical categories. Today, music exists without the same rigid parameters and expectations of the past which provides us with new opportunities regarding where it can go and who can lead it.
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Despite its simple name, the subgenre’s DNA is more complex and can be described as a Frankenstein amalgamation of Internet music — hyperpop, cloud rap, EDM — that had been brewing on Soundcloud playlists for years. — Complex
Rock’s Quiet Return to the Mainstream
There has been a quiet rock resurgence happening behind the scenes.
Based on where we are culturally, this makes sense. GenZ’s obsession with authenticity has trickled down to their music tastes and selections. Initially, this translated to a preference for vinyl records over digital music. Eventually, it led to an interest in music genres that were popular in the past. Nostalgia’s heavy influence has also caused Millennials and GenX to harp on the parts of their childhoods they miss the most- the prevalence of rock music being one of them.
Evidence of this shift has shown up on social media as well. Just last year, the All American Rejects performed surprise backyard concerts across the country and were welcomed by a new generation of young fans. Hayle Williams of Paramore recently had a surprise pop up performance in NYC. Limp Bizkit released a new song for the first time in 4 years and is among a number of rock artists going back on tour. Finally, on Tik Tok, requests for garage bands to come back to the forefront have sky rocketed.
Should this trend continue, the landscape of rock music is poised to look much different than the past. For one, the defiant nature of rock and roll as a genre will be less controversial especially since, at its peak, it ascended to achieve mainstream success and broad acceptance. Perhaps the most unique aspect about its return to the mainstage will be in the diversity of new entrants as younger, more queer, and Black & brown artists are attempting to replicating aspects of the past or remixing the genre for themselves.
Young, diverse, female-led bands will likely be the number one change in a music genre that was previously dominated by men, despite contributions from legends like Tina Turner and Janis Joplin.
Break out artists The Phoebes, Muna, Cliff Diver, The Warning, Meet Me at the Alter, Ren Riot, and The Linda Lindas are just a few examples of the diversity in the types of young women finding their lane within the category. Among this group of break out artists is a heavy mix of queer identifying members, a space initially pioneered by the likes of Lucille Bogan, Ma Rainey, and the “Godmother of Rock & Roll”, Sister Rosetta Tharpe to name a few. This aspect plays a key roll in how these artists show up, and the safe spaces they intentionally curate for their audiences.
Black bands have begun to penetrate the landscape at a rapid rate as well. Groups like Hero The Band and The Paradox both hail from Atlanta and have risen in popularity almost over night. Multicultural groups featuring band members from varying cultural backgrounds will also likely be more common. Sleep Theory and Magnolia Park for example, each have Black lead singers and band members of different ethnicities.
The cultural make up of these bands reflects something else- how meanings associated with Blackness have shifted with time. Over the years, as the monolithic myth of Blackness has been dispelled, avenues for Black Americans to express themselves beyond societal stereotypes have expanded, granting the the freedom to lean into their chosen creative outlets without constraint.
"Historically, punk, emo, and alternative rock have been spaces dominated by white bands. Think My Chemical Romance, Fall Out Boy, and Blink-182. Unfortunately, that history has led some to believe that punk has a “look” or a particular demographic. But this ignores the very roots of punk, which are built on rebellion, resistance, and nonconformity. Skin color should not define what genre you can perform, and Magnolia Park has already proven that." — Collider
The next golden era of rock is potentially upon us and, given the way the category has changed, we may be in for an unprecedented sonic revolution. While many will pay homage to the origins of the genre, the diverse backgrounds of new entrants will likely encourage experimentation and motivate artists to integrate instrumental influences from their respective cultural roots, resulting in entirely new sub-genres. Despite the category’s tendency to uphold white male artists as the primary contributors to the genre, in truth, rock and roll has always has had a diverse fan base, but it wasn’t always seen or celebrated out loud. This next chapter will provide new opportunities for Americans to experience the category together, across cultural lines.
AN ESCAPE WITHOUT A PLAN
The career traits learned overtime has primed Millennials for this very moment. The future is uncertain and no longer guaranteed but their need for happiness and fulfillment continue to exist at the forefront of their minds.
We know that quiet quitting trended last year, but 2026 may be the year of quitting corporate without a dedicated plan.
For Millennials, this pivot is one of many they’ve been forced to encounter over their lifetimes. This will fundamentally reshape how they manage mid-life, late adulthood and their retirement years.
For GenZ, who are still struggling to launch, this trend will apply as well. But what it looks like for them, and the implications it will have will manifest differently.
Where It’s Headed...
THE WHITE COLLAR PIVOT
A PRIVELEGED DREAM
Despite the pull towards quitting the corporate workspace, Millennials have many financial barriers preventing them from doing so.
The responsibilities that come with age tend to cost more money and today many Millennials face the same financial burdens (if not worse) as past generations.
How they navigate the tension of managing their wants with their needs will be tricky, but not impossible. That said, this trend will not be accessible to all.
The Harsh
Reality...
AN UPHILL BATTLE
History is cyclical.
In the US, periods of economic prosperity that allow for aspirational reach are often followed by a period where systems are fractured and trust in institutions is strained. The result is a need for authenticity and a overall desire to remove the veneer of perfection to reveal hidden truths. We found ourselves here in the 1930s, the 1970s and we are here again in the 2020s. This pattern, is what sparks consumer uprisings. It should be no surprise then that, as America’s youngest generations spend the majority of their lives in uncertain and tumultuous times, that they are steadily using their voices to make a change.
Today, modern rebellion has evolved into a multidimensional spectrum where loud and disruptive organized efforts exist alongside smaller, more individually-led acts. As Americans continue grapple with an inordinate amount of economic and political turmoil while standing up for the causes they believe in, their willpower will be tested. In fact, the institutions they are rallying against are counting on their fatigue especially as Americans have grown to be more anxious and paranoid then previous generations and often seek ways to disconnect from reality. This presents a new opportunity for something that has been missing for quite some time now: a new musical anthem to guide the way forward. The impending revival of rock music may be happening at the just perfect time.
We’ve already begun to see some signs of this. This year alone, U2 and Bruce Springsteen released music condemning the actions in Minneapolis which resulted in the death of Renee Good & Alex Pretti. Artist “Grandson” also has several songs dedicated to his disdain for the new administration, technology, systemic injustice and gun violence. Finally, “Delilah Bon” uses her platform to speak against rape, and immigration violations.
In the past, the support from musicians was almost always a dual effort, as some of the most notable Black artists utilized their talents to galvanize members of their own communities. However as it shifted towards mainstream consumption, hip-hop lost its edge and its icons who, with the exception of a small few like Kendrick Lamar, have become less-known for asserting their beliefs against the system.
Perhaps, this is one reason the world is buzzing about the upcoming Beyonce album. Rumored to be her rock-inspired debut, Beyonce’s reputation for addressing inequities and calling out the institutions responsible for oppressing marginalized groups has made her album releases a key point of anticipation. On her 2016 album Lemonade, Beyonce released “Freedom” where she brings in elements of rock while calling out for freedom and asking where it’s gone:
"Freedom, Freedom, Where are you?, ’Cause I need freedom, too… I break chains all by myself. Won’t let my freedom rot in hell…I’ma wade, I’ma wave through the waters, Tell the tide, “Don’t move. I’ma riot, I’ma riot through your borders, Call me bulletproof."
Beyonce is also no stranger to genre mixing and experimentation and is even known for dabbling in rap. In Cowboy Carter, she intentionally takes on a genre known for existing at the heart of American culture- Country music. She begins the album with American Requiem by lamenting the death of the American myth and calling out the ways the country has never really changed, especially for Black Americans.
"Nothing really ends. For things to stay the same, they have to change again. Hello, my old friend. You change your name, but not the ways you play pretend. American Requiem. Them big ideas (Yeah), are buried here (Yeah). Amen. Goodbye to what has been. A pretty house that we never settled in. A funeral for fair-weather friends. I am the one to cleanse me of my Father’s sins. American Requiem. Them big ideas (Yeah) are buried here (Yeah). Amen"
While previous works sprinkled in revolutionary elements, her next album may position radical sentiments front and center while intertwining the history of the rock & roll genre and its forgotten stars. The result could be a modern battle cry to feed and sustain the protest efforts of a new generation of activists.
That said, Beyonce is only one person. To place the responsibility of capturing American sentiment and stimulating its next revolution solely at her feet would not only be unfair, but it would also not ring true of how causes have been fought and won in the past. It is a shared act of many, sustained overtime. Outside of this, there is more than enough evidence indicating that a potential new soundtrack for America’s next chapter is (or should be) on the way, even if produced by someone else entirely.
In 2026, the revolution may not be televised, but it may be captured in song, and sung in defiance.
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