Music has always been a powerful vehicle for change, speaking truth to power when words alone fall short. From the protest anthems of the 1960s to today’s genre-blending calls for equality, songs about social justice and human rights remind us that art can challenge systems, inspire movements, and give voice to the voiceless. These tracks don’t just entertain—they educate, agitate, and motivate listeners to envision a more equitable world.
The 20 songs featured here represent both timeless classics and contemporary releases that tackle issues ranging from racial justice and LGBTQ+ rights to economic inequality and police brutality. Whether you’re discovering these tracks through your favorite high-quality headphones or streaming them during your commute, each song offers a unique perspective on the ongoing struggle for human dignity and collective liberation.
“The Bigger Picture” – Lil Baby
Lil Baby’s “The Bigger Picture” emerged in June 2020 as an immediate response to the George Floyd protests, capturing the raw anger and pain reverberating through Black communities nationwide. The Atlanta rapper, who typically focuses on street narratives and luxury rap, pivoted completely to deliver one of the most powerful protest songs of the modern era. His delivery oscillates between measured reflection and urgent pleading, particularly on lines addressing police violence and systemic racism. The production, handled by multiple collaborators including Quay Global and Section 8, maintains a somber, march-like quality that perfectly complements the gravity of the subject matter. What makes this track exceptional is Lil Baby’s willingness to be vulnerable—admitting his own previous political disengagement while calling for accountability from law enforcement and politicians. The song debuted at number three on the Billboard Hot 100, proving that conscious hip-hop can achieve massive commercial success when executed with authenticity and emotional honesty.
“Alright” – Kendrick Lamar
When Kendrick Lamar released “Alright” as part of his 2015 masterpiece To Pimp a Butterfly, he likely didn’t anticipate it becoming the unofficial anthem of the Black Lives Matter movement. Produced by Pharrell Williams with additional production from Sounwave, the track juxtaposes dark lyrical content about police brutality and institutional racism with an almost euphoric jazz-funk instrumental. Kendrick’s repetitive hook—”We gon’ be alright”—isn’t naive optimism but rather defiant resilience, a spiritual affirmation borrowed from the Black church tradition that sustained generations through oppression. The live instrumentation featuring Robert Glasper’s keys gives the track an organic feel that sets it apart from typical hip-hop production. Protesters worldwide chanted these words while marching against injustice, transforming Kendrick’s artistic statement into a collective declaration of survival. The song won two Grammy Awards and remains a defining moment in Kendrick’s catalog, showcasing how hip-hop can serve as both cultural commentary and communal healing.
“Formation” – Beyoncé
Beyoncé’s “Formation” arrived with minimal warning in February 2016, just one day before her politically charged Super Bowl halftime performance. The track is an unapologetic celebration of Black Southern culture, explicitly referencing New Orleans, Creole heritage, and the resilience of Black women. Production from Mike Will Made-It creates a sparse, bass-heavy foundation punctuated by bounce music influences and Big Freedia’s distinctive New Orleans sound. Beyoncé’s lyrics address police brutality, Hurricane Katrina’s aftermath, and the intersectionality of being Black and female in America—all while maintaining an infectious confidence that refuses to bow to respectability politics. The accompanying music video amplified the message, featuring imagery of Black cowboys, antebellum estates, and a sinking police car. Critics initially debated whether a megastar of Beyoncé’s stature could authentically speak on social justice, but “Formation” silenced doubters by centering marginalized voices and putting her considerable platform behind movements for racial equity. The song reached number ten on the Billboard Hot 100 and earned a Grammy nomination for Record of the Year.
“Glory” – Common & John Legend
Released in 2014 for the film Selma, “Glory” draws explicit parallels between the 1960s Civil Rights Movement and contemporary struggles for racial justice. Common and John Legend collaborated with cinematographer-turned-director Ava DuVernay to create a song that would honor Selma’s historical significance while speaking to modern audiences. Legend’s soaring gospel-influenced chorus provides emotional weight, while Common’s verses connect voting rights battles to Ferguson protests and mass incarceration. The production incorporates live strings and piano, creating a cinematic quality that matches the film’s sweeping visuals. What distinguishes this track from typical movie songs is its refusal to treat civil rights as a completed chapter—instead, Common explicitly names modern injustices, making clear that the march toward equality continues. The song won the Academy Award for Best Original Song, with Common and Legend delivering a powerful Oscars performance that addressed criminal justice reform. When I first heard this on quality wireless earbuds, the layered production revealed nuances I’d missed—the subtle vocal harmonies and the purposeful space between Legend’s sustained notes create moments of genuine reflection.
“This Is America” – Childish Gambino
Donald Glover’s “This Is America,” released in May 2018, became instantly iconic not just for the song itself but for Hiro Murai’s accompanying music video—a surreal, violent commentary on gun violence, entertainment distraction, and the devaluation of Black lives. Musically, the track is deliberately disorienting, shifting between trap beats, Afrobeat rhythms, and gospel choirs, mirroring America’s chaotic relationship with race and violence. Ludwig Göransson’s production uses these abrupt transitions to keep listeners off-balance, preventing the track from becoming background music. Gambino’s vocals alternate between melodic singing and aggressive rap flows, with lyrics that critique consumer culture (“Get your money, Black man”) and reference the Charleston church shooting. The song debuted at number one on the Billboard Hot 100, making Gambino the first artist to top both the Hot 100 and Billboard 200 simultaneously as a lead artist on both charts. The music video garnered over 100 million views in its first week, sparking countless think pieces and academic analyses about its symbolism and cultural significance.
“What’s Going On” – Marvin Gaye
More than five decades after its 1971 release, Marvin Gaye’s “What’s Going On” remains the gold standard for socially conscious soul music. Written during the Vietnam War era and inspired by stories his brother Frankie told after returning from combat, the song addresses police brutality, environmental destruction, and the spiritual crisis facing America. The production, helmed by Gaye himself with arrangement support from David Van DePitte, features lush orchestration, layered vocal harmonies, and a conversational, jazz-influenced delivery that was revolutionary for Motown Records. Berry Gordy initially refused to release the track, believing it was too politically risky, but Gaye’s instincts proved correct—the song became a number two hit on the Billboard Hot 100 and inspired an entire album of the same name that’s now considered one of the greatest records ever made. The saxophone solo by Eli Fountain remains one of the most recognizable instrumental breaks in popular music, and the song’s opening party chatter gives it an intimate, live-session feel that draws listeners into Gaye’s world.
“Fight the Power” – Public Enemy
Public Enemy’s “Fight the Power” was commissioned by Spike Lee for his 1989 film Do the Right Thing, and it exceeded all expectations by becoming perhaps the most influential protest song in hip-hop history. The Bomb Squad’s production is dense and chaotic, layering James Brown samples, aggressive horns, and militant drums to create an sonic assault that mirrors the track’s revolutionary message. Chuck D’s commanding baritone delivers scathing critiques of white supremacy, cultural appropriation, and systemic racism, while Flavor Flav’s ad-libs add urgency and street credibility. The song’s opening declaration—”1989, the number, another summer”—immediately grounds it in a specific historical moment while its message transcends that era. Public Enemy challenged the canonization of figures like Elvis Presley and John Wayne, questioning why Black communities should celebrate icons who perpetuated racism. The track peaked at number 20 on the Billboard Hot R&B/Hip-Hop Songs chart and was later inducted into the Grammy Hall of Fame, cementing its status as essential American protest music.
“Strange Fruit” – Billie Holiday
Billie Holiday’s 1939 recording of “Strange Fruit” remains one of the most haunting and important protest songs ever committed to tape. Written by Jewish schoolteacher Abel Meeropol (under the pseudonym Lewis Allan) after seeing photographs of a lynching, the song uses the metaphor of “strange fruit” hanging from Southern trees to describe Black bodies murdered by white mobs. Holiday’s understated vocal delivery makes the horror even more visceral—she doesn’t oversell the emotion but allows the gruesome imagery to speak for itself. Columbia Records refused to record the song, forcing Holiday to work with Commodore Records for this single session. The sparse piano accompaniment and Holiday’s controlled vibrato create an atmosphere of dignified mourning rather than sensationalized outrage. Many historians credit “Strange Fruit” as one of the earliest protest songs to reach mainstream American audiences, and Time magazine named it the “song of the century” in 1999. Listening to this track requires confronting America’s brutal racial history without the comfortable distance of metaphor—it’s direct, unflinching testimony set to music.
“Born This Way” – Lady Gaga
Lady Gaga’s 2011 anthem “Born This Way” became an immediate rallying cry for LGBTQ+ rights and broader acceptance of human diversity. The track, produced by Gaga alongside Jeppe Laursen and Fernando Garibay, borrows liberally from Madonna’s “Express Yourself” in its melodic structure while pushing the message further into explicit advocacy. Gaga doesn’t just celebrate difference—she positions queerness, disability, and non-conformity as divinely ordained, directly challenging religious justifications for discrimination. The song’s bridge includes explicit references to various identities (“no matter gay, straight, or bi, lesbian, transgender life”), making it one of the most inclusive mainstream pop songs released to that point. It debuted at number one on the Billboard Hot 100, selling over one million copies in its first week and becoming the fastest-selling single in iTunes history at the time. The production features a massive, anthemic chorus designed for arena sing-alongs, and the song has become a staple at Pride events worldwide. Critics initially dismissed it as derivative, but its cultural impact—particularly among young LGBTQ+ people struggling with acceptance—cannot be overstated.
“Say Her Name (Hell You Talmbout)” – Janelle Monáe
Janelle Monáe’s “Say Her Name (Hell You Talmbout),” released in 2015, is a powerful chant-based protest song that forces listeners to reckon with Black lives lost to police violence and vigilante killings. The minimalist production features little more than drums, bass, and call-and-response vocals, creating space for the names themselves to be the focal point. Monáe and her collaborators from Wondaland Records methodically name victims including Sandra Bland, Eric Garner, Trayvon Martin, and many others, demanding that audiences bear witness to these losses. The song’s structure mirrors traditional African call-and-response patterns and Black church traditions, connecting contemporary struggles to historical modes of resistance and collective memory. Monáe has frequently updated the song in live performances to include more recent victims, treating it as a living memorial rather than a static recording. The track never received a major commercial release or charted, but its cultural significance extends beyond sales metrics—it’s become a standard at protests and demonstrations, providing language for grief and rage. The title specifically references the #SayHerName campaign addressing how Black women victims of police violence receive less attention than their male counterparts.
“A Change Is Gonna Come” – Sam Cooke
Sam Cooke’s “A Change Is Gonna Come” was released posthumously in December 1964, just weeks after the soul legend’s tragic death at age 33. Inspired by Bob Dylan’s “Blowin’ in the Wind” and Cooke’s own experiences with racism while touring the segregated South, the song became an anthem for the Civil Rights Movement. The production, arranged by Rene Hall, features sweeping orchestral strings and French horns that give the track an almost hymn-like quality.
Cooke’s vocal performance conveys both exhaustion and hope—he sounds weary from the struggle but maintains faith that justice will eventually prevail. The song’s bridge, where Cooke sings about going to his brother for help only to have him knock him back down, references the complexity of Black experiences and the ways systemic oppression fractures communities. “A Change Is Gonna Come” peaked at number 31 on the Billboard Hot 100 but has since been recognized as one of the most important songs in American music history. The Library of Congress added it to the National Recording Registry in 2007, and Barack Obama referenced the song during his 2008 presidential victory speech, demonstrating its enduring relevance.
“Redemption Song” – Bob Marley
Bob Marley’s “Redemption Song,” released in 1980 on the album Uprising, stands apart from his typically reggae-driven catalog as a sparse, acoustic meditation on freedom and self-liberation. Recorded while Marley was battling the cancer that would claim his life months later, the song carries the weight of a final testament. The lyrics borrow heavily from Marcus Garvey’s speeches, particularly the line “Emancipate yourselves from mental slavery,” connecting Pan-African philosophy to personal spiritual liberation.
Marley’s solo acoustic guitar and unadorned vocals create an intimate atmosphere that feels like a conversation rather than a performance. The song addresses colonialism, slavery’s ongoing psychological impact, and the need for collective action toward liberation. Unlike many of Marley’s uptempo anthems, “Redemption Song” demands quiet attention—it’s not dance music but reflection music, challenging listeners to examine their own complicity in systems of oppression. The track has been covered by countless artists across genres, from Johnny Cash to Joe Strummer, demonstrating its universal appeal. When experienced through high-fidelity headphones, the subtle finger-picking patterns and Marley’s vocal inflections reveal the song’s deceptive simplicity—every note serves the message.
“Where Is the Love?” – The Black Eyed Peas
The Black Eyed Peas’ “Where Is the Love?” emerged in 2003 as a response to post-9/11 anxieties, the Iraq War, and persistent social inequalities. Featuring Justin Timberlake on the hook, the track blends hip-hop, pop, and soul with production from will.i.am and Ron Fair. The song addresses terrorism, government deception, media manipulation, gang violence, and racism within a digestible pop framework that brought social commentary to Top 40 radio.
What distinguishes this track is its refusal to offer easy answers—the repeated question “where is the love?” acknowledges systemic problems without pretending music alone can solve them. The verses, delivered by will.i.am, apl.de.ap, and Taboo, each tackle different aspects of social dysfunction, from educational failures to spiritual emptiness. The song became a massive international hit, reaching number eight on the Billboard Hot 100 and topping charts in multiple countries. Critics sometimes dismiss the track as overly earnest or preachy, but its commercial success introduced millions of casual pop listeners to critical thinking about war, prejudice, and social responsibility.
“The Revolution Will Not Be Televised” – Gil Scott-Heron
Gil Scott-Heron’s 1970 spoken-word piece “The Revolution Will Not Be Televised” predates modern hip-hop but established many of its revolutionary templates. Recorded for his debut album Small Talk at 125th and Lenox, the track features Scott-Heron’s jazz-influenced delivery over sparse percussion and bass. The lyrics satirize consumer culture, television addiction, and the ways mass media pacifies potential revolutionaries with entertainment and commercial products.
Scott-Heron name-checks specific brands, television shows, and public figures to demonstrate how capitalism co-opts resistance movements, turning rebellion into marketable content. The titular line argues that genuine revolutionary change won’t be packaged and sold as spectacle—it will happen in communities, streets, and hearts before cameras arrive. The track never charted commercially but became hugely influential among subsequent generations of conscious rappers and political artists. Scott-Heron’s delivery style, rhythmic cadence, and political content directly influenced artists from Public Enemy to Kendrick Lamar, establishing him as a godfather of socially conscious hip-hop despite predating the genre’s formal establishment.
“Mississippi Goddam” – Nina Simone
Nina Simone’s “Mississippi Goddam” was written and performed in 1964 as an immediate response to the Birmingham church bombing that killed four Black girls and the assassination of Medgar Evers in Mississippi. The song’s upbeat, almost show-tune-style melody creates jarring contrast with Simone’s furious lyrics condemning Southern racism and Northern hypocrisy. Simone deliberately structured the song to sound deceptively cheerful, forcing white audiences to confront ugly truths they might otherwise ignore. Lines like “Everybody knows about Mississippi, goddam” and “Alabama’s gotten me so upset, Tennessee made me lose my rest” call out specific states while making clear that racism isn’t regionally confined.
Radio stations in several Southern states broke copies of the single rather than play it, and Simone later said the song marked her full transformation from entertainer to activist. The live recording from Nina Simone in Concert captures the audience’s stunned reaction as Simone’s rage builds throughout the performance. The song has no conventional chorus but instead builds through repeated phrases and escalating intensity, mirroring the accumulating frustration of Black Americans demanding change. This remains one of the most direct, uncompromising protest songs in American music, refusing to soften its message for commercial palatability.
“Imagine” – John Lennon
John Lennon’s “Imagine,” released in 1971, presents a utopian vision of a world without borders, religions, possessions, or causes for conflict. Co-produced by Lennon, Yoko Ono, and Phil Spector, the track features Lennon’s gentle piano playing and a simple arrangement that keeps focus on the lyrics. While some critics argue the song’s message is naively idealistic, its call for radical reimagining of social structures aligns with anarchist and socialist philosophies Lennon explored throughout his activism.
The line “Imagine no possessions” coming from a millionaire living in the Dakota apartment building attracted accusations of hypocrisy, but Lennon acknowledged this contradiction, framing the song as aspirational rather than autobiographical. “Imagine” reached number three on the Billboard Hot 100 and has since become one of the most covered songs in popular music. The track has been performed at Olympic ceremonies, political rallies, and memorial services, demonstrating its flexibility as both an anti-war anthem and a general humanistic statement. BMI named it one of the most performed songs of the 20th century, with millions of radio plays and countless covers across genres and languages.
“We Shall Overcome” – Various Artists
“We Shall Overcome” exists less as a single recording and more as a collective cultural property of the Civil Rights Movement. The song’s origins trace back to pre-Civil War spirituals, through labor movement adaptations, to Pete Seeger and the folk revival’s popularization in the 1940s and 50s. By the 1960s, it became the de facto anthem of civil rights protesters, sung at marches, sit-ins, and rallies across the American South. Joan Baez’s 1963 recording at the Newport Folk Festival brought the song to wider audiences, while Mahalia Jackson’s powerful gospel interpretation connected it to Black church traditions.
The beauty of “We Shall Overcome” lies in its participatory structure—it’s designed for group singing, with simple, repetitive lyrics that allow massive crowds to join in collective affirmation. The song doesn’t belong to any single artist but to the movements and communities that have wielded it as a tool for solidarity and perseverance. Martin Luther King Jr. frequently referenced the song in speeches, and it was sung at his funeral in 1968. International liberation movements from South African anti-apartheid protests to Tiananmen Square demonstrations have adapted the melody and message, proving its universal resonance.
“Talkin’ Bout a Revolution” – Tracy Chapman
Tracy Chapman’s “Talkin’ Bout a Revolution” emerged from her 1988 self-titled debut album, introducing a new voice of conscious folk-rock to mainstream audiences. The acoustic guitar-driven track features Chapman’s distinctive contralto voice delivering lyrics about the poor rising up against economic inequality. Produced by David Kershenbaum, the song maintains a minimalist arrangement that highlights Chapman’s storytelling abilities and the subtle hopefulness in her delivery. Lines referencing people waiting in welfare lines and wasting time in unemployment lines spoke to Reagan-era economic policies that deepened poverty while cutting social safety nets. The song’s repeated refrain—”sounds like a whisper”—suggests revolution building quietly before exploding into visibility, a prescient observation about grassroots organizing. Chapman’s debut album went multi-platinum, and “Talkin’ Bout a Revolution” became a staple of progressive political gatherings and protests. The track demonstrates how folk music traditions of protest song can translate to contemporary contexts without losing authenticity or edge. Chapman’s unwavering commitment to social justice themes throughout her career, even as commercial pressures might have pushed her toward safer pop territory, gives this early statement added credibility and weight.
“Killing in the Name” – Rage Against the Machine
Rage Against the Machine’s 1992 debut single “Killing in the Name” remains one of the most explosive protest songs in rock history. Tom Morello’s innovative guitar work creates sounds typically associated with DJs and electronic music, while Zack de la Rocha’s commanding vocals deliver furious condemnations of police violence and institutional racism. The song’s central thesis—”Some of those that work forces are the same that burn crosses”—explicitly connects law enforcement to white supremacist violence. Producer Garth Richardson captured the band’s raw energy by recording largely live in the studio, preserving the intensity of their performances. The song’s climactic ending, where de la Rocha screams “Fuck you, I won’t do what you tell me” sixteen times, became a cathartic anthem for anti-authoritarian resistance.
Despite receiving minimal radio play due to explicit lyrics, the track reached number 25 on Billboard’s Modern Rock Tracks chart and became a global phenomenon. In 2009, a grassroots campaign in the United Kingdom successfully pushed the song to number one on the Christmas charts, beating out a manufactured reality TV contestant and proving the track’s enduring relevance. The band’s refusal to censor or compromise their message, even for mainstream success, established them as genuinely revolutionary artists rather than commercially acceptable rebels.
“Same Love” – Macklemore & Ryan Lewis feat. Mary Lambert
“Same Love,” released in 2012, became an unexpected mainstream hit advocating for marriage equality and LGBTQ+ rights at a pivotal moment in that movement’s history. Macklemore’s verses address homophobia in hip-hop culture, religious justifications for discrimination, and his own journey toward allyship, while Mary Lambert’s powerful hook samples her own composition about queer love. Ryan Lewis’s production incorporates piano, strings, and Lambert’s soaring vocals to create an anthemic quality that helped the song cross over to pop radio. The track arrived as Washington State prepared to vote on marriage equality, and proceeds were donated to the campaign supporting the referendum.
Critics debated whether a straight white rapper was the appropriate messenger for LGBTQ+ advocacy, but Macklemore acknowledged his privilege while using his platform to reach audiences who might dismiss the same message from queer artists. “Same Love” peaked at number 11 on the Billboard Hot 100 and was performed at the 2014 Grammy Awards during a mass wedding ceremony featuring both same-sex and opposite-sex couples. The song’s commercial success demonstrated growing public support for marriage equality, which the Supreme Court would legally recognize nationwide three years later in the Obergefell decision.
Frequently Asked Questions
What makes a song about social justice effective?
The most effective social justice songs balance accessibility with authenticity, delivering complex messages through memorable melodies and relatable lyrics. They often emerge from genuine lived experience rather than calculated commercial strategy, giving them credibility that resonates with listeners. Strong protest music doesn’t just identify problems but also inspires hope, solidarity, or action—even songs expressing rage or grief typically channel those emotions toward collective resilience. Production choices matter too; some tracks use sparse arrangements to highlight lyrics, while others employ dense, aggressive soundscapes to mirror social chaos.
The best social justice songs transcend their specific historical moments to speak to ongoing struggles, which is why tracks from the 1960s Civil Rights era still feel relevant today.
How has social justice music evolved across different genres?
Social justice themes have manifested differently across musical genres, reflecting each style’s cultural origins and audience. Folk music has traditionally favored acoustic storytelling and literal lyrics addressing specific political issues, from Woody Guthrie’s labor songs to contemporary artists like Ani DiFranco. Hip-hop emerged partly as social commentary from marginalized urban communities, with artists like Public Enemy and Kendrick Lamar centering Blackness and critiquing systemic oppression.
Rock music has produced everything from subtle Beatles-era peace anthems to Rage Against the Machine’s aggressive anti-capitalism. R&B and soul often blend spiritual and political messages, drawing on gospel traditions to frame social justice as moral imperative. Even pop music, typically focused on personal relationships, occasionally produces mainstream hits like “Born This Way” that advocate for marginalized groups. The democratization of music production through digital technology has enabled more diverse voices to contribute to social justice discourse across all genres.
Can music actually create social change or just raise awareness?
Music’s impact on social movements occupies a complex middle ground between direct causation and mere awareness-raising. Songs don’t single-handedly pass legislation or end discrimination, but they serve crucial functions within broader movements: building solidarity among activists, attracting new participants, articulating demands, preserving movement history, and maintaining morale during long struggles.
“We Shall Overcome” didn’t integrate schools or secure voting rights, but it provided a unifying ritual that strengthened protesters’ resolve. Contemporary tracks like Kendrick Lamar’s “Alright” give movements shared language and cultural touchstones that facilitate collective identity. Research suggests music activates emotional and cognitive processes simultaneously, making complex political messages more memorable and personally meaningful than traditional speeches or written arguments. The real question isn’t whether music causes change in isolation but how it functions as one essential tool among many—protests, litigation, organizing, journalism—that together constitute effective social movements.
Why do some protest songs remain relevant decades after their release?
Protest songs achieve longevity when they address systemic issues rather than ephemeral political moments, allowing new generations to find contemporary resonance in older material. Marvin Gaye’s “What’s Going On” still sounds urgent because police brutality, environmental destruction, and war persist fifty years after the song’s release. The best social justice music balances specificity and universality—grounding messages in concrete details while articulating broader human rights principles.
Musical quality matters too; songs with strong melodies, innovative production, or exceptional vocal performances get rediscovered by new listeners through covers, samples, and streaming algorithms. Cultural memory also plays a role, as certain tracks become so associated with historical movements that they carry symbolic weight independent of their original context. Bob Marley’s “Redemption Song” continues resonating because liberation from mental colonization remains an ongoing project for colonized and marginalized peoples globally. Sometimes contemporary events revitalize older songs, as when “Strange Fruit” experiences renewed interest during periods of heightened awareness about racial violence and lynching’s historical legacy.
How do artists balance commercial success with authentic activism?
Artists advocating for social justice face constant tension between maintaining credibility within movements and achieving the mainstream success that amplifies their messages. Some navigate this by keeping their music uncompromising while accepting that commercial limitations will follow—Rage Against the Machine accepted censorship battles and radio restrictions rather than softening their revolutionary message. Others, like Beyoncé, leverage massive platforms to introduce social justice themes to audiences who might not seek out explicitly political content, accepting criticism from both directions.
The most successful approaches tend to involve genuine long-term commitment rather than opportunistic trend-chasing; Tracy Chapman and Janelle Monáe have consistently centered justice issues throughout their careers, building trust with activist communities. Financial considerations complicate matters—donating proceeds to relevant causes, performing at benefits, and supporting movement infrastructure demonstrate authenticity beyond simply releasing songs. Ultimately, artists must decide whether they’re primarily entertainers who occasionally address politics or activists who use entertainment as their medium, as these different self-conceptions lead to very different career trajectories and artistic choices.