Lankum’s ‘Ghost Town’ Cover Signals a Broader Resurgence of Protest Music – and a New Era of Genre Fluidity
The echoes of shuttered pubs and economic anxiety are resonating again, not just in Ireland, but globally. And it’s being channeled through an unlikely source: a haunting, eight-minute reimagining of The Specials’ 1981 anthem ‘Ghost Town’ by Dublin’s experimental folk band, Lankum. This isn’t simply a cover; it’s a sonic premonition, a chilling reminder of past struggles and a potent reflection of present uncertainties, and it points to a significant shift in how artists are responding to – and predicting – societal unrest.
From Ska to ‘Folk Drone’: The Power of Recontextualization
Lankum’s version, released January 30th via Rough Trade Records, isn’t a straightforward tribute. Initially steeped in their signature ‘folk drone’ style – a crawling, discordant soundscape – it gradually builds to a cacophonous, electronic climax. This deliberate sonic evolution, born from a commission for Oona Doherty’s dance show ‘Specky Clark’, is key. Doherty’s work, inspired by her family history and the realities of working-class life, specifically requested a track that would “start out indistinguishable and woozy, before developing into the very recognisable track by The Specials.” The band embraced the challenge, venturing into 90s-inspired techno territory, a move they themselves described as stepping outside their comfort zone.
This recontextualization is more than just artistic experimentation. It’s a powerful demonstration of how established songs can be imbued with new meaning when filtered through a contemporary lens. ‘Ghost Town’ originally captured the anxieties of early 1980s Britain – unemployment, social unrest, and the perceived failures of Thatcherism. Lankum’s rendition, however, feels acutely relevant to the current moment, speaking to contemporary issues like the housing crisis, economic precarity, and the lingering effects of austerity. As Doherty notes, the line “All the clubs have been closed down” now resonates with a renewed urgency.
The Rise of ‘Protest 2.0’: Beyond Traditional Boundaries
Lankum’s ‘Ghost Town’ isn’t an isolated incident. We’re witnessing a resurgence of protest music, but it’s markedly different from the folk-driven movements of the 1960s or the punk rebellion of the 1970s. This “Protest 2.0” is characterized by genre fluidity and a willingness to embrace unconventional sounds. Artists are increasingly blending traditional protest themes with electronic music, hip-hop, and experimental soundscapes, reaching wider audiences and reflecting the complex, fragmented nature of modern anxieties.
This trend is fueled by several factors. The 24/7 news cycle and the immediacy of social media amplify societal concerns, creating a constant demand for artistic responses. Furthermore, younger generations, often disillusioned with traditional political structures, are seeking alternative forms of expression and engagement. The success of Lankum’s ‘False Lankum’ album – nominated for both the Mercury Prize and Ivor Novello Awards – demonstrates that audiences are receptive to challenging, unconventional work that tackles difficult themes. As guitarist Daragh Lynch observed, their most “weird and inaccessible” album was also their most successful, suggesting a growing appetite for authenticity and artistic risk-taking.
Genre Blurring as a Political Statement
The deliberate blending of genres isn’t merely stylistic; it’s a political statement in itself. By subverting expectations and refusing to be confined by traditional categories, artists are challenging the status quo and signaling a rejection of established norms. Lankum’s fusion of folk, drone, and techno embodies this spirit, creating a sound that is both unsettling and captivating. This approach mirrors the increasingly intersectional nature of social and political movements, where issues of race, class, gender, and environmental justice are inextricably linked.
Looking Ahead: The Soundtrack to a Precarious Future?
The success of Lankum’s ‘Ghost Town’ cover, and the broader trend of Protest 2.0, suggests that music will continue to play a vital role in processing and responding to the challenges of the 21st century. We can expect to see more artists experimenting with genre-bending approaches, utilizing technology to amplify their voices, and engaging directly with social and political issues. The demand for authenticity and emotional resonance will only increase as anxieties surrounding climate change, economic inequality, and political polarization continue to grow.
The eerie relevance of a 43-year-old song, reimagined through a distinctly modern lens, serves as a stark reminder that history doesn’t simply repeat itself – it rhymes. And Lankum, along with a growing number of artists, are providing the soundtrack to this unsettling, yet undeniably compelling, refrain. What new sounds will emerge as the anxieties of our time continue to evolve? Share your predictions in the comments below!
