Eminem, \u2018Campaign Speech\u2019 (2016)<\/h2>\n\n\t\t\t![\"LONDON,](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/trump-protest-songs-eminem.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Kevin Mazur\/WireImage\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tEminem has long been a spokesman for the kind alienated white working class male that Trumo is alleged to draw the core of his support from, but he was on the anti-MAGA train early, releasing this eight minute freestyle in October 2016. Moat of the song is more about Eminem\u2019s issues than any political ones. But amidst the track\u2019s rapid fire rhymes, offensive jibes, and pop culture references, he takes time to address the kind of people who might be on the fence about casting a ballot for Trump in a couple weeks. \u201cYou say Trump don\u2019t kiss ass like a puppet\/\u2019Cause he runs his campaign with his own cash for the fundin\u2019\/And that\u2019s what you wanted\/A fuckin\u2019 loose cannon who\u2019s blunt with his hand on the button\/Who doesn\u2019t have to answer to no one\/Great idea!.\u201d\u2013Jon Dolan<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nJello Biafra, \u2018Nazi Trumps Fuck Off\u2019 (2025)<\/h2>\n\n\t\t\t![\"SAN](\"https:\/\/www.rollingstone.com\/wp-content\/themes\/vip\/pmc-rollingstone-2022\/assets\/public\/lazyload-fallback.gif\")
![\"SAN](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/trump-protest-songs-jello-biafra.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Miikka Skaffari\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tFormer Dead Kennedys frontman Jello Biafra claimed that the band\u2019s 1981 song \u201cNazi Punks Fuck Off\u201d was directed at violent \u201cjock-type\u201d slam dancers of the time, not literal fascists. 45 years later, warns Biafra, literal fascists have entered the chat\u2026and the White House. First premiered during a 2017 performance with heavy music supergroup Dead Cross, \u201cNazi Trumps Fuck Off\u201d just swaps in the new title, but its singularly-focused ire makes the jab feel even sharper.\u2013Jason Roth<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nNicki Minaj and Mike Will Made It, \u2018Black Barbies\u2019 (2016)<\/h2>\n\n\t\t\t![\"NEW](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/trump-protest-songs-nicki-minaj.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Theo Wargo\/MTV1617\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tWhen Nicki Minaj\u2019s version of Rae Sremmurd\u2019s \u201cBlack Beatles\u201d dropped in December 2016, Donald Trump had just won the presidential election, thanks in large part on a promise to enact a massive deportation apparatus. That led Minaj to admit her worries about the incoming Trump administration\u2019s plans for immigrants like her. \u201cIsland girl, Donald Trump want me go home,\u201d she harmonizes amid the usual bars about flexing and flossing. There\u2019s been much speculation about why the Trinidad-born Minaj has evolved into a staunch Trump supporter and whether her shift was due to a sincere political awakening<\/a> or a craven desire to get US citizenship<\/a>. Regardless, her anxious thoughts of \u201cBlack Barbies\u201d are now a relic of the past.\u2013Mosi Reeves<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nLow Cut Connie, \u2018Livin in the USA\u2019 (2026)<\/h2>\n\n\t\t\t![\"NEW](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/trump-protest-songs-low-cut-connie.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Al Pereira\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tLow Cut Connie frontman Adam Weiner protests by way of reclamation on \u201cLivin in the USA,\u201d a response to that way MAGA reactionaries appropriate American culture for their own oppressive goals. \u201cI made this record because I refuse to let these motherfuckers steal our art and steal our joy,\u201d Weiner said in a statement. \u201cThis country goddamn right invented rock n roll, hip hop, jazz, R&B. Music with soul communicates on a level that no algorithm or tech bro or artificial intelligence or political machinery can ever understand or contain,\u201d he said. \u201cAmerica created these table-flipping artforms. Rock n roll is a table-flipping artform. It\u2019s time to flip the table again.\u201d--Kory Grow<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nSuperchunk, \u2018Cloud of Hate\u2019 (2018)<\/h2>\n\n\t\t\t![\"MADRID,](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/trump-protest-songs-superchunk.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Mariano Regidor\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tSuperchunk\u2019s 11th<\/sup> studio album, 2018\u2019s What a Time to Be Alive<\/em>, was a surprisingly politically charged turn for the veteran indie band, best-known for angsty, reflective mini-anthems about dead-end jobs, brutal breakups, and general discontent. \u201cCloud of Hate\u201d stands out among the album\u2019s most poignant songs because it\u2019s less about Trump himself than the latent societal darkness that Trumpism has revealed. But even the song\u2019s most stinging line gives a glint of hope for the future: \u201cI hope you die scared\/Of all the kids who know the truth.\u201d\u00a0\u2013J.R.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nThe Coup, \u2018Pimps (Free Stylin\u2019 at the Fortune 500 Club)\u2019 (1994)<\/h2>\n\n\t\t\t![\"Portrait](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/trump-protest-songs-the-coup.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Bromberger Hoover Photography\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tIn the Nineties, rappers celebrated Donald Trump as an outrageously rich and boisterous personality, the real-life equivalent of Scrooge McDuck, no matter Trump\u2019s real-life struggles with bankruptcy throughout the decade. The Coup, the Oakland funk-rap group led by future filmmaker Boots Riley, was the rare act that saw through Trump\u2019s BS. On \u201cPimps,\u201d he and E-Roc portray the likes of David Rockfeller and John Paul Getty as street pimps exploiting the public, \u201cgetting rich off petroleum wars\u201d and \u201cmaking you eat Top Ramen.\u201d The final verse finds an unidentified member of the crew mocking Trump in a raggamuffin style. \u201cTrump Trump check out the cash in my trunk,\u201d says the member in a mocking tone. \u201cI am Donald Trump me think you might have heard about me \/ How me last wife Ivana come and catch me money.\u201d\u2013M.R.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nMargo Price, \u2018Oval Room\u2019 (2026)<\/h2>\n\n\t\t\t![\"Margo](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/Margo_Price_-_Days_Of_Unrest_-_Photo_1_by_Jamie_Harmon.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Jamie Harmon\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tRight before Independence Day of 2026, adventurous country artist Margo Price released Days of Unrest<\/em>. a collection of protest tunes. Alongside versions of Bob Dylan\u2019s \u201cMaggie\u2019s Farm\u201d and Woody Guthrie\u2019s \u201cDeportee (Plane Wreck at Los Gatos),\u201d on which Price joined by Joan Baez, she included a version of \u201cOval Room,\u201d a 1984 tune by Texas songwriter Blaze Foley. The song was originally written about Reagan, but as Price noted, the greedy, unfeeling politician in the song could easily by Trump. \u201cHe thinks everything is his to keep\/He\u2019s a real cowboy with his make-up on ,\u201d she sings. The song\u2019s video is highlight reel unflattering Trump imagery.\u2013J.D.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nClipping., \u2018Chapter 319\u2019 (2020)<\/h2>\n\n\t\t\t![\"LONDON,](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/trump-protest-songs-clipping.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Jack Hall\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\t\u201cDonald Trump is a white supremacist\u2014full stop,\u201d clipping. MC Daveed Diggs matter-of-factly states on this smoldering cut., which was initially commissioned in 2017 and used in a Mass MoCA exhibit two years later before being released amidst the tumult of 2020\u2019s summer. The group\u2019s combination of nimble, righteous rapping and apocalyptic atmospherics\u2014as well as a song-opening DJ Screw sample\u2014makes \u201cChapter 319,\u201d, a searing statement that remains relevant in 2026.\u2013M.J.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nBilly Bragg, \u2018City of Heroes\u2019 (2026)<\/h2>\n\n\t\t\t![\"LONDON,](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/trump-protest-songs-billy-bragg.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Guy Smallman\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tThe singer-songwriter, who already has a plentiful back catalog of protest songs, wrote \u201cCity of Heroes\u201d after Rene Pretti\u2019s killing in Minneapolis. Echoing Pastor Martin Niem\u00f6ller\u2019s Holocaust protest poem\u00a0\u201cFirst They Came,\u201d<\/a>\u00a0Bragg flips the message to show he\u2019s in on the fight. \u201cWhen they came for the immigrants, I got in their face,\u201d he sings, repeating the refrain for ICE agents who came for refugees, 5-year-olds, and \u201cmy neighborhood.\u201d \u201cI wrote this song yesterday as a tribute to the bravery of the people of Minneapolis who, knowing that these trigger happy ICE thugs operate with seeming impunity in their midst, are still willing to put themselves in harm\u2019s way to defend their community,\u201d Bragg commented. \u201cTheir resistance is an inspiration to us all.\u201d\u2013K.G.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nDJ Shadow feat. Run the Jewels, \u2018Nobody Speak\u2019 (2016)<\/h2>\n\n\t\t\t![\"THE](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/trump-protest-songs-dj-shadow-rtj.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Andrew Lipovsky\/NBCU Photo Bank\/NBCUniversal\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\t\u201cFlame your crew quicker than Trump fucks his youngins,\u201d raps El-P on \u201cRun the Jewels\u201d as he gives voice to scurrilous gossip surrounding then-presidential candidate Donald Trump and his family \u2013 and has since gained new resonance considering revelations about Trump\u2019s friendship with the late financier and pedophile Jeffrey Epstein. Both El and Killer Mike weave darkly satirical lines over DJ Shadow\u2019s booming, horn-inflected track about their brash behavior. But it\u2019s only in the accompanying video<\/a>, which depicts a circle of world leaders voicing the group\u2019s words as they brag about their capacity for violence, that the meaning of \u201cNobody Speak\u201d becomes all too clear.\u2013M.R.<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nAnderson .Paak \u20186 Summers\u2019 (2018)<\/h2>\n\n\t\t\t![\"Anderson](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2024\/06\/Anderson-Paak-news.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Israel Ramos*\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tThe Southern California rapper\u2019s funky \u201c6 Summers\u201d opens with an image based in rumors that the president fathered a child with a former housekeeper: \u201cTrump\u2019s got a love child and I hope that bitch is buckwild\/I hope she sip mezcal, I hope she kiss se\u00f1oritas and black gals\/I hope her momma\u2019s El Salv\u2019, I hope her poppa stick around.\u201d Considering the way Trump loves unsubstatiated attacks on his political opponents, it\u2019s innuendo that seems like fair game. .Paak follows that bold assertion with lyrics that take on serious issues like consumerism, gun violence, and police brutality.\u2013J.D.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nDropkick Murphys, \u2018Citizen ICE\u2019 (2026)<\/h2>\n\n\t\t\t![\"LOUISVILLE,](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/trump-protest-songs-dropkick-murphys.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Stephen J. Cohen\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tTwo decades after recording \u201cCitizen C.I.A.,\u201d a song off their album\u00a0The Warriors Code<\/em>, the Dropkick Murphys started performing \u201cCitizen I.C.E.\u201d in November. A tongue-in-cheek recruitment song, the Murphys\u2019s ICE job description includes, \u201cToo scared to join the military, too dumb to be a cop.\u201d The band released a clip of the song, which they recorded for a split LP with the band Haywire, in tribute to Renee Good, writing that her family is in their prayers. They ended their\u00a0Instagram post<\/a>\u00a0with this message, \u201cICE may you rot in hell.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nPaul Metsa and Alan Sparhawk, \u2018No Kings No Crown\u2019 (2025)<\/h2>\n\n\t\t\t![\"Paul](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/trump-protest-songs-metsa-sparhawk.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Youtube\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tTwo Minnesota music luminaries \u2014 activist and folkie Paul Metsa and Low genius Alan Sparhawk \u2014 team up for this cut, which cloaks its sharp sentiments on Alligator Alcatraz, DOGE\u2019s chainsawing of American institutions, and other Trump-administration offenses in chiming guitars and swirling vocal harmonies. That\u2019s by design: \u201cAs a songwriter and artist I hope, of course, that it may help others deal with the darkness, give them something to sing about and dance to, inspire them and at the very least, know they have a neighbor that shares their American ideals and beliefs,\u201d he said around its release.\u2013M.J.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nL7, \u2018Dispatch From Mar-A-Lago\u2019 (2017)<\/h2>\n\n\t\t\t![\"LOS](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/trump-protest-songs-L7.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Phillip Faraone\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tIn 2017, female grunge-punk pioneers L7 returned from an 18-year hiatus with a seemingly prescient fantasy: a pack of zealous rioters attacking Donald Trump\u2019s gilded Florida compound \u2013 nearly four years before the violent events of January 6. Beneath a steady chug of the group\u2019s punky, subversive spin on cock-rock, growling frontwoman Donita Sparks imagines DJT firing off panicked tweets from his \u201cgolden throne\u201d as a punk mob storms the gates.\u2013J.R.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nAimee Mann, \u2018Can\u2019t You Tell\u2019 (2016)<\/h2>\n\n\t\t\t![\"LONDON,](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/trump-protest-songs-aimee-mann.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Imelda Michalczyk\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tIn October 2016, author Dave Eggers launched \u201c30 Days, 30 Songs,\u201d an anti-Trump musical protest: A song-a-day project designed to raise awareness in the 30 days leading up to Election Day, it included contributions from artists like R.E.M., clipping., and Adia Victoria. (After Trump\u2019s victory, the titular numbers swelled to 1,000, with artists like Tim Heidecker and JPEGMafia signing on.) Aimee Mann\u2019s ability to get inside her subjects\u2019 heads is on sterling display in the project\u2019s Day Two offering, which opens with Trump seething over being mocked at the 2011 White house Correspondent\u2019s Dinner: \u201cThat bastard making fun of me in front of all my peers\/Those people think I own this town, you\u2019re stripping all my gears,\u201d she grimaces over chiming yet strident strumming. Mann continues to pick apart Trump\u2019s psyche with devastating accuracy and dry wit: \u201cYou handing me grenades is just compelling me\/To pull the pin,\u201d Mann-as-Trump declares near the song\u2019s close, a description of Trump\u2019s brawling approach to governance that rings even more true nearly 10 years later.\u2013M.J.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nPussy Riot, \u2018Make America Great Again\u2019 (2016)<\/h2>\n\n\t\t\t![\"Pussy](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/trump-protest-songs-pussy-riot.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Youtube\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tThat Pussy Riot\u2019s 2016 vision of a dystopian Trump America proved strikingly prescient should come as no surprise \u2013 the radical feminist art collective, whose key members fled Putin\u2019s authoritarian Russia after years of arrests and imprisonment, have been there, done that. In the group\u2019s hands, MAGA\u2019s signature slogan is stripped of its empty campaign rhetoric and recast as a full-throated demand: \u201cLet other people in\/Listen to your women\/Stop killing black children\/Make America Great Again.\u201d The music \u2013 a deceptively breezy acoustic bossa nova repeatedly ruptured by harsh electronic blasts \u2013 captures the unsettling feeling of ordinary life continuing as democratic norms steadily erode.\u2013J.R.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nTom Waits and Massive Attack, \u2018Boots on the Ground\u2019 (2026)<\/h2>\n\n\t\t\t![\"SAN](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/trump-protest-songs-tom-waits.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Steve Jennings\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tWaits\u2019 first new song in fifteen years, done in collaboration with veteran U.K. hip-hop crew Massive Attack is a raw, stripped down anti-war screed that arrived a few weeks after Trump went back on his \u201cno new wars\u201d pledge and commenced military operations against Iran. In many ways, it taps a deep well of anti-war anger that predates Trump, especially in the way in connects racial, social, and class oppression with war machine hypocrisy: \u201cWe trim your hedges, we fight your wars,\u201d Waits sings. The accompanying video brings the anti-Trump point home via stark authoritarian imagery and closing text that lists the names of people who\u2019ve lost their lives at the hands of ICE.\u2013J.D.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nJesse Welles, \u2018No Kings\u2019 (2025)<\/h2>\n\n\t\t\t![\"LEXINGTON,](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2025\/09\/jesse-welles-charlie-song.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Stephen J. Cohen\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tA Woody Guthrie for the TikTok era, Welles has garnered millions of views with his clever lefty folk tunes. Of course, Trump has been a target on songs like \u201cTrump Trailers,\u201d which imagines the Donald trying to pull of his egomaniacal huckster shtick if he was raised in a trailer park, or \u201cJoin ICE\u201d a satiric ad for new recruits. \u201cNo Kings,\u201d written to inspire demonstrators at the protest rallies of rhe same name, embodies the spirit of \u201cGuthrie\u2019s \u201cThis Land Is Your Land,\u201d imagining a better world beyond Trumpism with lines like, \u201cNo hatred, no violence\/No starvation and no greed\/And no kings, no kings.\u201d\u2013J.D.<\/p>\n<\/div>\n<\/article>\n<\/li>\n
- \n
\nDowntown Boys, \u2018A Wall\u2019 (2017)<\/h2>\n\n\t\t\t![\"LEEDS,](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/trump-protest-songs-downtown-boys.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Andrew Benge\/Redferns\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tThe opening track of Downtown Boys\u2019 2017 full-length\u00a0Cost of Living<\/em>\u00a0has the brass-propelled churn of a classic-rock anthem at first. But when lead yelper Victoria Ruiz comes in, there\u2019s no doubt that this band is punk: \u201cHow much is enough?\/ And who makes that call?\u201d she bellows, her bandmates rising up to yell \u201cFuck it!\u201d as guitars chime like warning sirens. Ruiz\u2019s railing against the border wall that Trump promised during his 2016 campaign is simply dismissive\u2014\u201cA wall is a wall\/ And nothing more at all,\u201d she spits, revealing the empty symbolism that propelled his rise to the White House with a spirit that shows the joy that resistance can offer. \u201cIf you\u2019ve been held back or been oppressed by forces around you, taking away options from you, taking away [your future], we can demand all those back,\u201d Ruiz\u00a0told\u00a0Rolling Stone<\/em>\u00a0in 2017<\/a>. \u201cAs long as there is at least one future to believe in, I think there is positivity there.\u201d\u2013M.J.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nPublic Enemy feat. DJ Premier, \u2018State of the Union (STFU)\u2019 (2020)<\/h2>\n\n\t\t\t![\"Photo](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/trump-protest-songs-public-enemy.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Carlos Gonzalez\/The1point8 for Rolling Stone\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\t\u201cReal estate bozo\/Nazi cult Gestapo\u201d is an unambiguous current-day Trump dis, but the sonic assault of Public Enemy\u2019s 2020 protest anthem harkens back to a time when calling rap music \u201cthe Black CNN\u201d (as frontman Chuck D infamously did) actually meant something. The song\u2019s confrontational, militaristically barked rhymes recall PE classics like \u201cFight the Power,\u201d and Hank Shocklee from the group\u2019s peak-era Bomb Squad production team returns with an apocalyptic classic-beat attack that draws a through-line straight back to the Fear of a Black Planet <\/em>age.\u2013J.R.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nEntrance, \u2018Not Gonna Say Your Name\u2019 (2017)<\/h2>\n\n\t\t\t![\"LOS](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/trump-protest-songs-entrance.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Scott Dudelson\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\t\u201cI might have to see your face a hundred times every day\/But I\u2019m not gonna say your name.\u201d So says (or doesn\u2019t) Guy Blakeslee, who records as Entrance, on this 2017 compilation track. The L.A.-based artist understands that the most crippling fear of any good serial egotist is being marginalized, or worse, completely ignored. In refusing to utter the name of a certain current White House occupant, Blakeslee denies him the kind of attention and notoriety he craves, proving that sometimes the most powerful thing a protest song can do is to not take the bait.\u2013J.R.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nNeil Young & the Chrome Hearts, \u2018Big Crime\u2019 (2026)<\/h2>\n\n\t\t\t![\"MINNEAPOLIS,](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/trump-protest-songs-neil-young.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Gary Miller\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tWhile Neil Young has openly criticized Donald Trump for years, only a handful of his songs have addressed him directly. The most recent, 2025 standalone single \u201cBig Crime\u201d from his current Neil Young & The Chrome Hearts incarnation, is nothing if not direct: explicitly calling out The Don for turning the presidency into a brazen criminal enterprise with the plainspoken outrage of early Young protest anthems like \u201cOhio\u201d and a defiant new battle cry: \u201cNo More Great Again.\u201d\u2013J.R.\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nFiona Apple, \u2018Tiny Hands\u2019 (2017)<\/h2>\n\n\t\t\t![\"AUSTIN,](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/trump-protest-songs-fiona-apple.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Rick Kern\/WireImage\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tFiona Apple has always excelled at writing sharp songs that poke holes in self-important males. Released on Soundcloud a few days before the 2017 Women\u2019s March, \u201cTiny Hands\u201d prominently samples Trump\u2019s infamous utterance \u201cgrab \u2019em by the pussy\u201d from Access Hollywood <\/em>tape. Apple chants \u201cWe don\u2019t want your tiny hands anywhere near our underpants\u201d over a martial rhythm and spare piano. The song clocks in at just under a minute, but that\u2019s all the time it takes to make Trump\u2019s sexism look pathetic while also giving the Women\u2019s March a signature anthem.\u2013J.D. <\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nBruce Springsteen, \u2018Streets of Minneapolis\u2019 (2026)<\/h2>\n\n\t\t\t![\"Bruce](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/trump-protest-songs-bruce-springsteen.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Jesse Roberson for Rolling Stone\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tIn January, federal immigration agents killed Minneapolis residents Ren\u00e9e\u00a0Goode and Alex Pretti. Shortly after the incidents, Springsteen released \u201cStreets of Minneapolis,\u201d one of his most immediate and powerful political songs, recalling Sixties protest folk as well as the stark realism of his acoustic classic\u00a0Nebraska<\/em> and his 1993 song \u201cStreets of Philadelphia,\u201d written in response to the AIDS crisis.\u00a0He excoriated \u201cTrump\u2019s federal thugs,\u201d and \u201c[Stephen] Miller and [Kristi] Noem\u2019s dirty lies,\u201d and celebrated the memory of Pretti and Goode, channeled the street protest chant \u201cICE out now,\u201d and got loads of local credit for pronouncing Nicollet Avenue correctly.\u2013J.D.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n- \n
\nYG, \u2018FDT\u2019 (2016)<\/h2>\n\n\t\t\t![\"INGLEWOOD,](\"https:\/\/www.rollingstone.com\/wp-content\/uploads\/2026\/07\/trump-protest-songs-yg.jpg?w=300\")
\n\t\t\t\t\tImage Credit: Tim Mosenfelder\/Getty Images\t\t\t\t<\/figcaption><\/figure>\n\t<\/p>\n
\n\n\tRaised on Ice Cube and 2Pac, Compton firebrand YG knew how to cut right to the issue in a gangsta-rap song. The result was Black Lives Matter protesters across the country taking to the streets and chanting \u201cFuck Donald Trump\u201d like it was \u201cThis Land Is Your Land.\u201d Recording in the run-up to the 2016 election, YG and Nipsey Hussle were critical of the Republican candidate\u2019s opinions of Mexicans and tired of just talking among themselves. Their scabrous attack brought the energy of vintage Nineties rap into the 21st century: \u201cHave a rally out in L.A., we gon\u2019 fuck it up,\u201d rapped YG. \u201cHome of the Rodney King riot, we don\u2019t give a fuck.\u201d\u2013Christopher R. Weingarten<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul><\/div>\n<\/div>\n<\/div><\/div>\n
\t<\/p>\n
\n\tEminem has long been a spokesman for the kind alienated white working class male that Trumo is alleged to draw the core of his support from, but he was on the anti-MAGA train early, releasing this eight minute freestyle in October 2016. Moat of the song is more about Eminem\u2019s issues than any political ones. But amidst the track\u2019s rapid fire rhymes, offensive jibes, and pop culture references, he takes time to address the kind of people who might be on the fence about casting a ballot for Trump in a couple weeks. \u201cYou say Trump don\u2019t kiss ass like a puppet\/\u2019Cause he runs his campaign with his own cash for the fundin\u2019\/And that\u2019s what you wanted\/A fuckin\u2019 loose cannon who\u2019s blunt with his hand on the button\/Who doesn\u2019t have to answer to no one\/Great idea!.\u201d\u2013Jon Dolan<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tFormer Dead Kennedys frontman Jello Biafra claimed that the band\u2019s 1981 song \u201cNazi Punks Fuck Off\u201d was directed at violent \u201cjock-type\u201d slam dancers of the time, not literal fascists. 45 years later, warns Biafra, literal fascists have entered the chat\u2026and the White House. First premiered during a 2017 performance with heavy music supergroup Dead Cross, \u201cNazi Trumps Fuck Off\u201d just swaps in the new title, but its singularly-focused ire makes the jab feel even sharper.\u2013Jason Roth<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tWhen Nicki Minaj\u2019s version of Rae Sremmurd\u2019s \u201cBlack Beatles\u201d dropped in December 2016, Donald Trump had just won the presidential election, thanks in large part on a promise to enact a massive deportation apparatus. That led Minaj to admit her worries about the incoming Trump administration\u2019s plans for immigrants like her. \u201cIsland girl, Donald Trump want me go home,\u201d she harmonizes amid the usual bars about flexing and flossing. There\u2019s been much speculation about why the Trinidad-born Minaj has evolved into a staunch Trump supporter and whether her shift was due to a sincere political awakening<\/a> or a craven desire to get US citizenship<\/a>. Regardless, her anxious thoughts of \u201cBlack Barbies\u201d are now a relic of the past.\u2013Mosi Reeves<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tLow Cut Connie frontman Adam Weiner protests by way of reclamation on \u201cLivin in the USA,\u201d a response to that way MAGA reactionaries appropriate American culture for their own oppressive goals. \u201cI made this record because I refuse to let these motherfuckers steal our art and steal our joy,\u201d Weiner said in a statement. \u201cThis country goddamn right invented rock n roll, hip hop, jazz, R&B. Music with soul communicates on a level that no algorithm or tech bro or artificial intelligence or political machinery can ever understand or contain,\u201d he said. \u201cAmerica created these table-flipping artforms. Rock n roll is a table-flipping artform. It\u2019s time to flip the table again.\u201d--Kory Grow<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tSuperchunk\u2019s 11th<\/sup> studio album, 2018\u2019s What a Time to Be Alive<\/em>, was a surprisingly politically charged turn for the veteran indie band, best-known for angsty, reflective mini-anthems about dead-end jobs, brutal breakups, and general discontent. \u201cCloud of Hate\u201d stands out among the album\u2019s most poignant songs because it\u2019s less about Trump himself than the latent societal darkness that Trumpism has revealed. But even the song\u2019s most stinging line gives a glint of hope for the future: \u201cI hope you die scared\/Of all the kids who know the truth.\u201d\u00a0\u2013J.R.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tIn the Nineties, rappers celebrated Donald Trump as an outrageously rich and boisterous personality, the real-life equivalent of Scrooge McDuck, no matter Trump\u2019s real-life struggles with bankruptcy throughout the decade. The Coup, the Oakland funk-rap group led by future filmmaker Boots Riley, was the rare act that saw through Trump\u2019s BS. On \u201cPimps,\u201d he and E-Roc portray the likes of David Rockfeller and John Paul Getty as street pimps exploiting the public, \u201cgetting rich off petroleum wars\u201d and \u201cmaking you eat Top Ramen.\u201d The final verse finds an unidentified member of the crew mocking Trump in a raggamuffin style. \u201cTrump Trump check out the cash in my trunk,\u201d says the member in a mocking tone. \u201cI am Donald Trump me think you might have heard about me \/ How me last wife Ivana come and catch me money.\u201d\u2013M.R.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tRight before Independence Day of 2026, adventurous country artist Margo Price released Days of Unrest<\/em>. a collection of protest tunes. Alongside versions of Bob Dylan\u2019s \u201cMaggie\u2019s Farm\u201d and Woody Guthrie\u2019s \u201cDeportee (Plane Wreck at Los Gatos),\u201d on which Price joined by Joan Baez, she included a version of \u201cOval Room,\u201d a 1984 tune by Texas songwriter Blaze Foley. The song was originally written about Reagan, but as Price noted, the greedy, unfeeling politician in the song could easily by Trump. \u201cHe thinks everything is his to keep\/He\u2019s a real cowboy with his make-up on ,\u201d she sings. The song\u2019s video is highlight reel unflattering Trump imagery.\u2013J.D.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\t\u201cDonald Trump is a white supremacist\u2014full stop,\u201d clipping. MC Daveed Diggs matter-of-factly states on this smoldering cut., which was initially commissioned in 2017 and used in a Mass MoCA exhibit two years later before being released amidst the tumult of 2020\u2019s summer. The group\u2019s combination of nimble, righteous rapping and apocalyptic atmospherics\u2014as well as a song-opening DJ Screw sample\u2014makes \u201cChapter 319,\u201d, a searing statement that remains relevant in 2026.\u2013M.J.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tThe singer-songwriter, who already has a plentiful back catalog of protest songs, wrote \u201cCity of Heroes\u201d after Rene Pretti\u2019s killing in Minneapolis. Echoing Pastor Martin Niem\u00f6ller\u2019s Holocaust protest poem\u00a0\u201cFirst They Came,\u201d<\/a>\u00a0Bragg flips the message to show he\u2019s in on the fight. \u201cWhen they came for the immigrants, I got in their face,\u201d he sings, repeating the refrain for ICE agents who came for refugees, 5-year-olds, and \u201cmy neighborhood.\u201d \u201cI wrote this song yesterday as a tribute to the bravery of the people of Minneapolis who, knowing that these trigger happy ICE thugs operate with seeming impunity in their midst, are still willing to put themselves in harm\u2019s way to defend their community,\u201d Bragg commented. \u201cTheir resistance is an inspiration to us all.\u201d\u2013K.G.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\t\u201cFlame your crew quicker than Trump fucks his youngins,\u201d raps El-P on \u201cRun the Jewels\u201d as he gives voice to scurrilous gossip surrounding then-presidential candidate Donald Trump and his family \u2013 and has since gained new resonance considering revelations about Trump\u2019s friendship with the late financier and pedophile Jeffrey Epstein. Both El and Killer Mike weave darkly satirical lines over DJ Shadow\u2019s booming, horn-inflected track about their brash behavior. But it\u2019s only in the accompanying video<\/a>, which depicts a circle of world leaders voicing the group\u2019s words as they brag about their capacity for violence, that the meaning of \u201cNobody Speak\u201d becomes all too clear.\u2013M.R.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tThe Southern California rapper\u2019s funky \u201c6 Summers\u201d opens with an image based in rumors that the president fathered a child with a former housekeeper: \u201cTrump\u2019s got a love child and I hope that bitch is buckwild\/I hope she sip mezcal, I hope she kiss se\u00f1oritas and black gals\/I hope her momma\u2019s El Salv\u2019, I hope her poppa stick around.\u201d Considering the way Trump loves unsubstatiated attacks on his political opponents, it\u2019s innuendo that seems like fair game. .Paak follows that bold assertion with lyrics that take on serious issues like consumerism, gun violence, and police brutality.\u2013J.D.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tTwo decades after recording \u201cCitizen C.I.A.,\u201d a song off their album\u00a0The Warriors Code<\/em>, the Dropkick Murphys started performing \u201cCitizen I.C.E.\u201d in November. A tongue-in-cheek recruitment song, the Murphys\u2019s ICE job description includes, \u201cToo scared to join the military, too dumb to be a cop.\u201d The band released a clip of the song, which they recorded for a split LP with the band Haywire, in tribute to Renee Good, writing that her family is in their prayers. They ended their\u00a0Instagram post<\/a>\u00a0with this message, \u201cICE may you rot in hell.\u201d<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tTwo Minnesota music luminaries \u2014 activist and folkie Paul Metsa and Low genius Alan Sparhawk \u2014 team up for this cut, which cloaks its sharp sentiments on Alligator Alcatraz, DOGE\u2019s chainsawing of American institutions, and other Trump-administration offenses in chiming guitars and swirling vocal harmonies. That\u2019s by design: \u201cAs a songwriter and artist I hope, of course, that it may help others deal with the darkness, give them something to sing about and dance to, inspire them and at the very least, know they have a neighbor that shares their American ideals and beliefs,\u201d he said around its release.\u2013M.J.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tIn 2017, female grunge-punk pioneers L7 returned from an 18-year hiatus with a seemingly prescient fantasy: a pack of zealous rioters attacking Donald Trump\u2019s gilded Florida compound \u2013 nearly four years before the violent events of January 6. Beneath a steady chug of the group\u2019s punky, subversive spin on cock-rock, growling frontwoman Donita Sparks imagines DJT firing off panicked tweets from his \u201cgolden throne\u201d as a punk mob storms the gates.\u2013J.R.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tIn October 2016, author Dave Eggers launched \u201c30 Days, 30 Songs,\u201d an anti-Trump musical protest: A song-a-day project designed to raise awareness in the 30 days leading up to Election Day, it included contributions from artists like R.E.M., clipping., and Adia Victoria. (After Trump\u2019s victory, the titular numbers swelled to 1,000, with artists like Tim Heidecker and JPEGMafia signing on.) Aimee Mann\u2019s ability to get inside her subjects\u2019 heads is on sterling display in the project\u2019s Day Two offering, which opens with Trump seething over being mocked at the 2011 White house Correspondent\u2019s Dinner: \u201cThat bastard making fun of me in front of all my peers\/Those people think I own this town, you\u2019re stripping all my gears,\u201d she grimaces over chiming yet strident strumming. Mann continues to pick apart Trump\u2019s psyche with devastating accuracy and dry wit: \u201cYou handing me grenades is just compelling me\/To pull the pin,\u201d Mann-as-Trump declares near the song\u2019s close, a description of Trump\u2019s brawling approach to governance that rings even more true nearly 10 years later.\u2013M.J.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tThat Pussy Riot\u2019s 2016 vision of a dystopian Trump America proved strikingly prescient should come as no surprise \u2013 the radical feminist art collective, whose key members fled Putin\u2019s authoritarian Russia after years of arrests and imprisonment, have been there, done that. In the group\u2019s hands, MAGA\u2019s signature slogan is stripped of its empty campaign rhetoric and recast as a full-throated demand: \u201cLet other people in\/Listen to your women\/Stop killing black children\/Make America Great Again.\u201d The music \u2013 a deceptively breezy acoustic bossa nova repeatedly ruptured by harsh electronic blasts \u2013 captures the unsettling feeling of ordinary life continuing as democratic norms steadily erode.\u2013J.R.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tWaits\u2019 first new song in fifteen years, done in collaboration with veteran U.K. hip-hop crew Massive Attack is a raw, stripped down anti-war screed that arrived a few weeks after Trump went back on his \u201cno new wars\u201d pledge and commenced military operations against Iran. In many ways, it taps a deep well of anti-war anger that predates Trump, especially in the way in connects racial, social, and class oppression with war machine hypocrisy: \u201cWe trim your hedges, we fight your wars,\u201d Waits sings. The accompanying video brings the anti-Trump point home via stark authoritarian imagery and closing text that lists the names of people who\u2019ve lost their lives at the hands of ICE.\u2013J.D.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tA Woody Guthrie for the TikTok era, Welles has garnered millions of views with his clever lefty folk tunes. Of course, Trump has been a target on songs like \u201cTrump Trailers,\u201d which imagines the Donald trying to pull of his egomaniacal huckster shtick if he was raised in a trailer park, or \u201cJoin ICE\u201d a satiric ad for new recruits. \u201cNo Kings,\u201d written to inspire demonstrators at the protest rallies of rhe same name, embodies the spirit of \u201cGuthrie\u2019s \u201cThis Land Is Your Land,\u201d imagining a better world beyond Trumpism with lines like, \u201cNo hatred, no violence\/No starvation and no greed\/And no kings, no kings.\u201d\u2013J.D.<\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tThe opening track of Downtown Boys\u2019 2017 full-length\u00a0Cost of Living<\/em>\u00a0has the brass-propelled churn of a classic-rock anthem at first. But when lead yelper Victoria Ruiz comes in, there\u2019s no doubt that this band is punk: \u201cHow much is enough?\/ And who makes that call?\u201d she bellows, her bandmates rising up to yell \u201cFuck it!\u201d as guitars chime like warning sirens. Ruiz\u2019s railing against the border wall that Trump promised during his 2016 campaign is simply dismissive\u2014\u201cA wall is a wall\/ And nothing more at all,\u201d she spits, revealing the empty symbolism that propelled his rise to the White House with a spirit that shows the joy that resistance can offer. \u201cIf you\u2019ve been held back or been oppressed by forces around you, taking away options from you, taking away [your future], we can demand all those back,\u201d Ruiz\u00a0told\u00a0Rolling Stone<\/em>\u00a0in 2017<\/a>. \u201cAs long as there is at least one future to believe in, I think there is positivity there.\u201d\u2013M.J.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\t\u201cReal estate bozo\/Nazi cult Gestapo\u201d is an unambiguous current-day Trump dis, but the sonic assault of Public Enemy\u2019s 2020 protest anthem harkens back to a time when calling rap music \u201cthe Black CNN\u201d (as frontman Chuck D infamously did) actually meant something. The song\u2019s confrontational, militaristically barked rhymes recall PE classics like \u201cFight the Power,\u201d and Hank Shocklee from the group\u2019s peak-era Bomb Squad production team returns with an apocalyptic classic-beat attack that draws a through-line straight back to the Fear of a Black Planet <\/em>age.\u2013J.R.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\t\u201cI might have to see your face a hundred times every day\/But I\u2019m not gonna say your name.\u201d So says (or doesn\u2019t) Guy Blakeslee, who records as Entrance, on this 2017 compilation track. The L.A.-based artist understands that the most crippling fear of any good serial egotist is being marginalized, or worse, completely ignored. In refusing to utter the name of a certain current White House occupant, Blakeslee denies him the kind of attention and notoriety he craves, proving that sometimes the most powerful thing a protest song can do is to not take the bait.\u2013J.R.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tWhile Neil Young has openly criticized Donald Trump for years, only a handful of his songs have addressed him directly. The most recent, 2025 standalone single \u201cBig Crime\u201d from his current Neil Young & The Chrome Hearts incarnation, is nothing if not direct: explicitly calling out The Don for turning the presidency into a brazen criminal enterprise with the plainspoken outrage of early Young protest anthems like \u201cOhio\u201d and a defiant new battle cry: \u201cNo More Great Again.\u201d\u2013J.R.\u00a0<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tFiona Apple has always excelled at writing sharp songs that poke holes in self-important males. Released on Soundcloud a few days before the 2017 Women\u2019s March, \u201cTiny Hands\u201d prominently samples Trump\u2019s infamous utterance \u201cgrab \u2019em by the pussy\u201d from Access Hollywood <\/em>tape. Apple chants \u201cWe don\u2019t want your tiny hands anywhere near our underpants\u201d over a martial rhythm and spare piano. The song clocks in at just under a minute, but that\u2019s all the time it takes to make Trump\u2019s sexism look pathetic while also giving the Women\u2019s March a signature anthem.\u2013J.D. <\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tIn January, federal immigration agents killed Minneapolis residents Ren\u00e9e\u00a0Goode and Alex Pretti. Shortly after the incidents, Springsteen released \u201cStreets of Minneapolis,\u201d one of his most immediate and powerful political songs, recalling Sixties protest folk as well as the stark realism of his acoustic classic\u00a0Nebraska<\/em> and his 1993 song \u201cStreets of Philadelphia,\u201d written in response to the AIDS crisis.\u00a0He excoriated \u201cTrump\u2019s federal thugs,\u201d and \u201c[Stephen] Miller and [Kristi] Noem\u2019s dirty lies,\u201d and celebrated the memory of Pretti and Goode, channeled the street protest chant \u201cICE out now,\u201d and got loads of local credit for pronouncing Nicollet Avenue correctly.\u2013J.D.<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n \t<\/p>\n \n\tRaised on Ice Cube and 2Pac, Compton firebrand YG knew how to cut right to the issue in a gangsta-rap song. The result was Black Lives Matter protesters across the country taking to the streets and chanting \u201cFuck Donald Trump\u201d like it was \u201cThis Land Is Your Land.\u201d Recording in the run-up to the 2016 election, YG and Nipsey Hussle were critical of the Republican candidate\u2019s opinions of Mexicans and tired of just talking among themselves. Their scabrous attack brought the energy of vintage Nineties rap into the 21st century: \u201cHave a rally out in L.A., we gon\u2019 fuck it up,\u201d rapped YG. \u201cHome of the Rodney King riot, we don\u2019t give a fuck.\u201d\u2013Christopher R. Weingarten<\/em><\/p>\n<\/div>\n<\/article>\n<\/li>\n<\/ul><\/div>\n<\/div>\n<\/div><\/div>\nJello Biafra, \u2018Nazi Trumps Fuck Off\u2019 (2025)<\/h2>\n
Nicki Minaj and Mike Will Made It, \u2018Black Barbies\u2019 (2016)<\/h2>\n
Low Cut Connie, \u2018Livin in the USA\u2019 (2026)<\/h2>\n
Superchunk, \u2018Cloud of Hate\u2019 (2018)<\/h2>\n
The Coup, \u2018Pimps (Free Stylin\u2019 at the Fortune 500 Club)\u2019 (1994)<\/h2>\n
Margo Price, \u2018Oval Room\u2019 (2026)<\/h2>\n
Clipping., \u2018Chapter 319\u2019 (2020)<\/h2>\n
Billy Bragg, \u2018City of Heroes\u2019 (2026)<\/h2>\n
DJ Shadow feat. Run the Jewels, \u2018Nobody Speak\u2019 (2016)<\/h2>\n
Anderson .Paak \u20186 Summers\u2019 (2018)<\/h2>\n
Dropkick Murphys, \u2018Citizen ICE\u2019 (2026)<\/h2>\n
Paul Metsa and Alan Sparhawk, \u2018No Kings No Crown\u2019 (2025)<\/h2>\n
L7, \u2018Dispatch From Mar-A-Lago\u2019 (2017)<\/h2>\n
Aimee Mann, \u2018Can\u2019t You Tell\u2019 (2016)<\/h2>\n
Pussy Riot, \u2018Make America Great Again\u2019 (2016)<\/h2>\n
Tom Waits and Massive Attack, \u2018Boots on the Ground\u2019 (2026)<\/h2>\n
Jesse Welles, \u2018No Kings\u2019 (2025)<\/h2>\n
Downtown Boys, \u2018A Wall\u2019 (2017)<\/h2>\n
Public Enemy feat. DJ Premier, \u2018State of the Union (STFU)\u2019 (2020)<\/h2>\n
Entrance, \u2018Not Gonna Say Your Name\u2019 (2017)<\/h2>\n
Neil Young & the Chrome Hearts, \u2018Big Crime\u2019 (2026)<\/h2>\n
Fiona Apple, \u2018Tiny Hands\u2019 (2017)<\/h2>\n
Bruce Springsteen, \u2018Streets of Minneapolis\u2019 (2026)<\/h2>\n
YG, \u2018FDT\u2019 (2016)<\/h2>\n