By Alix Cohen
Protest songs proliferated in the 1960s. Writer/adapters like Pete Seeger made way for original songwriters. Bob Dylan, Phil Ochs, Buffy St. Marie and Nina Simone were some of the most prominent. Too many of those lyrics continue apt. Today’s topical resistance writers, whose work circulates outside commercial music channels, are far less well known.
Michele Bettencourt’s protest songs (she also writes other material) are resolute—less about taking to the barricades than about refusing to look away. She uses plainspoken, literate lyrics to expose systems of power, gendered expectations, and the toll of injustice. Instead of proclaiming slogans, her songs provoke unease and thought.
The singer/songwriter blends personal with political. Her material doesn’t feature abuse of power as an abstract issue, but rather frames it within relationships and daily lives. There’s no promise of easy solutions or catharsis. One is held accountable. Attention must be paid.
Musically, Bettencourt favors simple chord progressions, direct vocal delivery, driving drums. Excepting ballads, texture is similarly embedded. For the most part, it’s rock n’ roll, aggressive, but not violent.
“Everybody Loves a Circus” (Michele Bettencourt/Hendrik Helmer) “Until they become the clown/Every weak cog has its purpose… until they been chased from town…” Attracted to flash and bombast, by need for belonging, social support and identity, movements create a comforting sense of shared experience. The song fades like a passing parade, dispersion of a crowd. It conjures remaining debris- posters, placards, flags- broken windows, blood?
“Taking Out the Trash” (Michele Bettencourt/Hendrik Helmer/Everett Bradley/ Sari Greenberg/Kerry Brown) calls out “spineless politicians…” with anger, determination, and dynamic rhythm. The title says it all. Emphatic repetition predicts their time will come.
“Jesus in a Red Hat” (Michele Bettencourt/Hendrik Helmer) goes right for the jugular: “They say an AR with a bump stock/How it can sure silence a crowd/ Why don’t you kill a queer for God/And make your dumb ass President proud?” Further imagery is terrific. “You know he wants to be the king…He’ll never be king,” it proclaims with conviction. Use of Hammond Organ and electric sitar with reverse reverb makes sound particularly distinctive.
“Den of Thieves” (Michele Bettencourt/Hendrik Helmer/Everett Bradley/Sari Greenberg/Kerry Brown) observes “This old house/Has somehow lost its soul” (and its East Wing) “The fools who stormed the gate/Still think they’re in control.” It arrives more pop than rock, featuring terrific trumpet- Gabriel looking on?
“Promise” (Michele Bettencourt/Sari Greenberg/Kerry Brown) and “Ten Thousand Flowers” (Michele Bettencourt/Hendrik Helmer/Everett Bradley/Sari Greenberg) are ballads. The first, unique on the album, emerges tender recollection, a melancholy plea replete with strings.
The second evokes Pete Seeger’s universal “Where Have All the Flowers Gone?” Extensive fields of flora (an army/citizenry?) are beaten lifeless and flat. Only one bloom remains standing. The song is folksy and grave. “Is it too late, too late to even try?” Back-up vocals arise ghostly, resonant.
“How Close Will You Stand By Me?” (Michele Bettencourt/Hendrik Helmer, Sari Greenberg) begins like a ballad, but is a wolf in sheep’s clothing. “I trained to win/I served them well…He wrapped himself in a blood-stained flag/Bibles signed for his ardent fans/We served bravely as we are/We will go on hand in hand.” Sari Greenberg sings about military disillusionment with heart and gut.(Other vocals are Bettencourt)
“Vampire Time” (Michele Bettencourt/Scotty Casto/Dan Bruce) is a symptom of the era. “On vampire time/The people you like/Don’t spend their days awake/They party all night..” This and “Promise” are not protest songs.
The album leans towards hard rock, perhaps a familiar spoon full of sugar to make the medicine go down, yet it’s counter intuitively smart, incisive, and perceptive. Colbert and Kimmel would love it.
Michele Bettencourt can be heard on Apple Music, Amazon Music, and Spotify. There’s an actual, elaborately packaged LP.
(Executive Producer- Kerry Brown)
She is appearing with her band at The Cutting Room Monday 1/26 2026 https://thecuttingroomnyc.com/
Batten down the hatches!
All photos courtesy of Michele Bettencourt
