Margo Price Surprise Releases Protest Album Days of Unrest

The surprise release of Margo Price’s protest album, Days of Unrest, is not just a timely gesture; it’s also a testament to the enduring power of folk music as a tool for social commentary. By covering Woody Guthrie classics like “Deportee (Plane Wreck at Los Gatos)” alongside more contemporary targets like Charlie Daniels’ “Long Haired Country Girl,” Price signals that, even in this era of divisive politics, there’s still room for nuance and critique.

Price draws on her influences to create a narrative thread that weaves through the decades. Her nod to Joan Baez is particularly noteworthy, as it highlights the ways in which women have long been at the forefront of social activism through music. Price notes that taking cues from Baez’s career has inspired her own path as a “cultural worker,” underscoring the importance of legacy and mentorship in shaping one’s artistic voice.

The album’s release in the midst of a heated national conversation about immigration is telling. By spotlighting migrant workers under the Trump regime, Price draws attention to an issue that has long been on the fringes of mainstream discourse. Her decision to donate a portion of the album’s proceeds to the Florence Immigrant & Refugee Rights Project adds practical weight to her message, demonstrating the ways in which art can be both a catalyst for change and a tangible expression of solidarity.

Folk music as social critique stretches back generations, with artists like Guthrie, Dylan, and Baez themselves serving as standard-bearers for this approach. However, there’s something specific about the current moment that makes Days of Unrest feel so urgent – perhaps it’s the sense that we’re living through a particularly trying era of American history.

Price draws on a rich musical heritage to inform her commentary. Her decision to cover Blaze Foley’s “Oval Room” is a case in point – written about President Ronald Reagan in 1984, the song takes on a haunting relevance when applied to the current administration. Price’s own words on the track serve as a potent reminder that, even in the face of systemic oppression, there’s always room for resistance and protest.

The album’s willingness to blend activism with musical experimentation sets it apart from other recent releases. The three-part instrumental suite “San Marcos” – co-written with Price’s partner Jeremy Ivey and recorded with the Price Tags – serves as a testament to this approach, marrying atmospheric textures with a clear-eyed commitment to social justice.

Margo Price’s Days of Unrest is not just an album; it’s a statement of intent from an artist who refuses to be silenced. By using her platform to shine a light on pressing issues and honor the legacies of those who came before her, Price proves that music can still be a powerful tool for change – even in the darkest of times.