Giving background score to the revolution: A silent partner to the Gen Z protest comes into its own
Protest reels find a new anthem in a digital-age wave of political music
Bharatmorningnews.com – A new rap song is becoming a familiar sound beneath videos of youth-led demonstrations against Chief Election Commissioner Gyanesh Kumar and the Special Intensive Revision, or SIR, process. “Gyanesh, It’s Done Bro” has travelled rapidly across social media, showing how protest music is increasingly shaped by memes, short-form video and audiences who can reshape a track for their own posts.
Released on September 25, the song has appeared in more than 3,800 Instagram reels. Its reach varies widely from one video to another: one reel has drawn 41,700 views, while another has reached 22 lakh views. The result is a modern protest soundtrack designed less for a single rallying chorus and more for circulation across Instagram, YouTube, Spotify, reels, stories and posts.
The phrase behind the song’s hook had already developed a life in political protest. Salman Khan used it on July 23 during the Cockroach Janata Party, or CJP, protests while urging activist Sonam Wangchuk to end his hunger strike. Rahul Gandhi, the leader of the opposition, later carried the phrase on a poster on October 6 during a demonstration demanding the CEC’s resignation.
Between those moments, a 22-year-old undergraduate student in New Delhi turned the line into music. Working with FL Studio, Suno AI and audio plug-ins, he added verses and produced a rap track around the meme. He uses the Instagram name Bluflamë and is listed as Amit Kumar on Spotify; both names are pseudonyms intended to protect his identity.
“‘It’s done bro’ was trending everywhere. I thought let’s integrate with ‘Gyanesh’. It might make a catchy hook,”
The musician said the repeating line gave the song its immediate appeal, while the rest of the lyrics were meant to carry the grievance and urgency felt by those protesting.
“I built the chorus around ‘It’s done bro’ to make it catchy and memorable, while using the verses to convey the seriousness of the issue and people’s frustration. The lyrics had to be relatable, rhythmic and easy to understand,”
From a meme to a message
The rapid spread of “Gyanesh, It’s Done Bro” reflects a shift in how political expression moves online. A meme may combine a phrase, image, sound or gesture that can be instantly recognised and repeated in fresh situations. Its usefulness lies in that flexibility: users can attach it to a new clip, alter the context and keep it circulating without needing to reproduce a full speech or slogan.
In this case, the widely shared “It’s done bro” phrase was converted into a musical device. It can sit beneath a 10-second visual, support a longer reel or accompany a protest image in a story. The track therefore operates both as a song and as a reusable piece of online language, connecting separate videos through the same recognisable hook.
“I belong to the unheard clan, and I make music for the unheard, the people surviving broken systems. My music comes from the very people whose stories often go unheard,”
That sense of identification is central to the current use of music in protest videos. Instead of requiring everyone at a march to sing the same composition, digital protest songs can be adopted individually. A person filming a crowd, a placard or a speech can choose a track that frames the clip as part of a larger demand for accountability.
Older tracks return in a new political moment
“Gyanesh, It’s Done Bro” is not the only song being recirculated during the protests. Hip-hop artist Yashraj Mehra, known professionally as Yashraj, released “Tax” on July 30. The track has since found renewed momentum in protest-related videos and has been used in 10,000 reels. Instagram’s figure does not include posts or stories.
Although “Tax” addresses vote chori, a slogan associated with July demonstrations and the allegation that names were removed from electoral rolls through the SIR process, one question from its hook has proved especially adaptable: “where is my tax money?” The line has also become a frequent soundtrack for the “I know how I love” meme. Its appeal lies in the way it turns a broad public concern into a direct demand for an answer.
Such reuse means a song’s original subject does not disappear, but its audience can discover a new connection to it. A lyric focused on voting can become relevant to clips questioning public authority, spending or institutional responsibility. In short-form video, the strongest fragment often becomes the point through which listeners encounter the larger track.
Another example is “Saheb,” written and released in 2024 by Rajesh Nirmal. The song was created before the 2024 Lok Sabha election and issued in seven languages, including Kannada and Assamese. It has received lakhs of views on YouTube and is now appearing in the newest wave of protest reels.
“I think the word, ‘saheb’, is culturally specific and relatable. We Indians have a tendency to assume that a position of power automatically makes the person occupying it better than the common man. It’s a psychology I am deeply familiar with, especially where I hail from, in Ayodhya (Uttar Pradesh),”
Nirmal continues to develop work inspired by Gen Z protesters. The renewed attention to “Saheb” illustrates how a song can return to public conversation when its theme meets a new political atmosphere.
A familiar purpose, delivered through new formats
Aditi Sharma, who performed the Hindi version of “Saheb,” has also contributed to other Janta Radio project songs, including material focused specifically on votes. Yet “Saheb” has become the track that appears most visibly in the latest set of protest videos.
“Protest music has always served the same purpose: to call out power imbalances and the injustices around us. The most viral protest songs arrive at the right moment, speak a language people understand, and”
Even as the delivery system changes, that underlying purpose remains recognisable. Protest songs have long helped participants express anger, solidarity and demands that may be difficult to compress into a single slogan. The present cycle adds a distinctly online dimension: songs can be clipped, remixed into visual narratives and shared by people far from the immediate site of a demonstration.
For the young users driving many of these reels, the soundtrack is not simply background audio. It is part of the argument. A memorable hook can make a political clip more legible, more shareable and more likely to join the wider stream of videos documenting a protest movement.
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