Soundtrack of a Nation: Tracing Zambia’s Political Journey Through Music from 1960–2016

This study examines the intersection of political music and Zambia’s socio-political evolution from 1960 to 2016, focusing on three key political eras: the anti-colonial struggle, the one-party state, and the multiparty democracy. Employing a qualitative methodology, it integrates historical and case study approaches, analysing archival records, interviews with 12 stakeholders (musicians and politicians), and six significant political songs across Zambia’s political transitions; United National Independence Party (UNIP) Movement for Multiparty Democracy (MMD) and Patriotic Front (PF). Drawing on Gramsci’s Cultural Hegemony Theory and Habermas’ Theory of Communicative Action, the research reveals political music’s dual role as a tool for power consolidation and resistance. During the anti-colonial era, songs like Tiyende Pamodzi united people and inspired liberation. Under the one-party state led by Kenneth Kaunda (KK), music promoted African Humanism and national identity while critiquing governance, as in P.K. Chishala’s Common Man. In the multiparty democracy era, songs such as Donchi Kubeba and Dununa Reverse addressed corruption and governance, shaping public sentiment and influencing elections. Beyond reflecting socio-political shifts, political music has mobilised collective action and fostered democratic transformation. Despite challenges like censorship, musicians used figurative language and symbolism to amplify marginalised voices and critique oppressive systems. This study underlines the transformative power of political music in cultural production and societal change, advocating for artistic freedom and its integration into education to sustain its role in promoting accountability and democracy in Zambia.