✍︎ Julia Marie Estrella
Music has long served as a reflection of society, but for some artists, it also functions as a form of political reportage—documenting injustice, amplifying dissent, and recording the struggles of ordinary people. Across different generations and cultural contexts, Bob Marley, Budoy Marabiles, and Gloc 9 have used music not merely as artistic expression, but as a platform to speak on power, governance, and social inequality.
Bob Marley emerged from 1970s Jamaica, a period defined by political violence, economic instability, and deep social division. His reggae music became inseparable from these realities. Songs such as “Get Up, Stand Up” and “War” confronted oppression and human rights abuses head-on, drawing from both lived experience and political context. Rather than relying on confrontation alone, Marley delivered his message through steady rhythms and accessible language, allowing his music to reach audiences far beyond Jamaica. Even after his death, his songs continue to surface in global movements, reinforcing his role as an artist whose work documented struggle and resistance.
In Cebu, the late Budoy Marabiles carried the same spirit of socially grounded music. Widely recognized as an icon of Cebuano reggae, Budoy localized a global genre by singing in Cebuano and addressing the everyday realities of the working class. His music reflected issues of inequality, survival, and social awareness, making political messages relatable to local communities. Budoy’s influence extended beyond performance; he shaped a space where reggae became a voice for Cebuano identity and social consciousness. His death marked a significant loss for the local music scene, but it also highlighted the lasting impact of his work, which continues to influence artists and audiences alike.
In contemporary Philippine hip-hop, Gloc 9 has consistently used music as social commentary. Known for his sharp storytelling, he addresses issues such as poverty, corruption, and abuse of power. His song “Upuan” uses the image of a chair as a metaphor for political authority—symbolizing the desire to hold power at any cost. Through narrative-driven lyrics, the song exposes how leadership can become detached from public service. In recent years, “Upuan” has regained relevance amid ongoing corruption issues in the country, positioning the track as a reflection of current political discourse rather than a song bound to a specific moment in time.
Together, Bob Marley, Budoy Marabiles, and Gloc 9 demonstrate how music can function as the people’s voice when other platforms fall short. Across reggae and hip-hop, global and local contexts, their work shows that music can document social realities, challenge power, and remain relevant long after the final note fades. When music speaks for the people, it does more than entertain—it bears witness.
