Lets go back to the 1970s, the UK is in political and economic turmoil and the many of the working-class are feeling cheated and forgotten. From the anger emerges bands like The Sex Pistols and The Clash, who with inherently political messages, spat in the face of the established order and flooded the streets with youths clad in ripped clothes and a DIY ethic, using the music as inspiration to revolt.
Fast-forward almost 50 years later and amidst the uncertainty of Brexit, many of the working classes are again feeling overlooked and pockets of distaste for the countries diversity are becoming worryingly outspoken. This climate is one where punk music is primed once again to rear its troublesome face and incite something within the people.
Despite it not being as popular as it was back in the 70s, you need not look further than this years Mercury Prize to see the recognition it’s getting. Both IDLES of Bristol and Fontaines DC of Dublin were nominated for album of the year for Joy as an Act of Resistance and Dogrel respectively. Joy as an Act of Resistance being 11 songs of pure radical rage. Touching on modern issues like immigration, the toxicity of masculinity and austerity; all within a package of ferociously intelligent punk music. Dogrel on the other hand is more about identity, with Fontaines painting a raw and authentic picture of their hometown, promoting pride in history and culture and interweaving a poetic Irish charm into the core of the ragged post-punk music they were making. Both are poignant but necessary, whilst still being excellent records.
Not only is the genre back in its recognisable form, but its ideals are seeping throughout modern music. Most recognisably in rap & grime, which are genres that are infinitely more popular than punk nowadays, but ones where similarly, the artists are exposing unknown truths and struggles in the lives of the lower-classes. If you need an example, just look at Slowthai and his critically acclaimed debut: Nothing Great about Britain. An album that champions this exact narrative and one thats title alone is a political statement you’d expect to have come from the Sex Pistols.
Whilst the punk of today does not wear all black, grow long hair and cause chaos like it used to. Its political and nonconformist essence is being nurtured within the uncertainty of modern Britain, an influence that is defying genre and creating a breeding ground for important discussion across the board.
