The Merriweather Post Pavilion in Columbia, Maryland, on Saturday, October 3, became the epicenter of a unique confluence of music, activism, and political debate, as it hosted Tom Morello’s "Power To The People" (PTTP) festival. Billed as a one-day event dedicated to civic engagement, social justice, and human rights, the festival successfully brought together an eclectic mix of legendary musicians and rising stars, all while generating proceeds for crucial voter advocacy organizations, VoteRiders and HeadCount. The entire event was also livestreamed globally on MS NOW’s YouTube channel, extending its reach far beyond the physical venue. However, the festival’s ostensibly non-partisan mission was immediately challenged by a contemporaneous revelation from its architect, Tom Morello, casting a spotlight on the complexities of political expression within a movement aiming for broad unity.
The Genesis of "Power To The People" and Morello’s Enduring Activism
Tom Morello, widely recognized as one of America’s most politically outspoken musicians, particularly through his work with Rage Against The Machine, Audioslave, and Prophets Of Rage, conceived PTTP as a potent blend of cultural celebration and direct action. Over the summer, Morello articulated the festival’s core ethos to Stereogum, describing it as an "anti-racist, anti-fascist" gathering designed to celebrate unity and inspire participation in democratic processes. This vision is deeply rooted in Morello’s decades-long commitment to progressive causes, characterized by his fierce critiques of corporate power, systemic injustice, and militarism. His guitar work, often described as revolutionary, has consistently been a soundtrack to protest movements globally, solidifying his status as a prominent voice of the left-wing.
The choice of beneficiaries, VoteRiders and HeadCount, underscores the festival’s practical civic engagement goals. VoteRiders is a non-profit organization dedicated to ensuring that all citizens have the necessary identification to vote, addressing a critical barrier to ballot access that disproportionately affects marginalized communities. HeadCount, another non-partisan organization, focuses on registering voters at music events, fostering a culture of participation among young people and concert-goers. Both organizations align seamlessly with Morello’s long-standing advocacy for empowering individuals to exercise their democratic rights, framing the festival not just as entertainment but as a catalyst for tangible political action. The livestream on MS NOW’s YouTube channel further amplified this message, making the call to action accessible to a global audience and potentially reaching millions who share Morello’s ideals of social change.
A Political Thunderbolt: Morello’s Stance on the 2024 Election
Just as the gates opened for "Power To The People," a significant interview with Morello published by Rolling Stone sent ripples through the political and music worlds. In a candid exchange, Morello disclosed that he did not vote for Kamala Harris in the 2024 presidential election. This revelation from an artist synonymous with progressive activism and a vocal critic of conservative policies prompted widespread surprise and discussion online. Morello elaborated on his decision, stating he could not recall the last time he voted for a Democrat for president. He linked his electoral abstention to specific policy disagreements, citing the United States’ stance on Gaza and his deep-seated opposition to what he termed "corporate Democrat" candidates.
Morello’s critique of "corporate Democrats" reflects a sentiment prevalent among a segment of the progressive left, which often expresses disillusionment with the mainstream Democratic Party’s perceived ties to corporate interests and its incremental approach to social and economic change. His stance on Gaza, particularly in the context of recent global events, highlights a growing chasm between some progressive activists and the Democratic establishment on foreign policy matters. Furthermore, Morello pointed out that his residence in California, a reliably blue state, meant his individual vote "may not have moved the meter" in the presidential race, implying that his decision was more a statement of principle than an attempt to influence the election outcome directly.
This disclosure, while deeply personal, immediately became a focal point for analysis. For some, it epitomized a righteous fury at a perceived "corporate-controlled, money-controlled electoral system." For others, it raised questions about the efficacy of such protest votes, especially in high-stakes elections. The juxtaposition of a festival dedicated to voter engagement and its founder’s public declaration of not voting for the presumptive Democratic candidate underscored the complexities and internal debates within the broader progressive movement, revealing tensions between ideological purity and pragmatic political strategy. It served as a stark reminder that even within movements advocating for collective change, individual convictions can lead to divergent paths.
A Symphony of Solidarity: Notable Performances and Collaborative Spirit
Despite the political undercurrents, the "Power To The People" festival delivered a day of electrifying performances, marked by surprising collaborations and heartfelt tributes that celebrated music’s enduring power to unite and inspire. The event unfolded chronologically, building a narrative of generational connection and musical legacy.
The Rise of "Jack Sabbath" and the Next Generation:
One of the day’s most charming and impactful moments saw the reunion of Jack Black with a formidable group of young musicians: Tom Morello’s son Roman on guitar, Scott Ian’s son Revel on bass, drummer Yoyoka Soma, and keyboardist Hugo Weiss. Performing as "Jack Sabbath," they reprised their critically acclaimed cover of Ozzy Osbourne’s "Mr. Crowley" – a performance initially recorded for Ozzy Osbourne’s "Back To The Beginning" tribute last year. The ensemble then launched into Black Sabbath classics "The Wizard" and "War Pigs," the latter featuring a surprise appearance by none other than original Black Sabbath bassist Geezer Butler. This intergenerational collaboration not only showcased immense talent but also symbolized a passing of the torch, highlighting the enduring influence of rock legends on new generations. Drummer Yoyoka Soma, a prodigious talent, notably fulfilled a long-held dream by meeting Dave Grohl, who had once recorded a video message for her on "The Ellen DeGeneres Show," adding a touching personal note to the day’s events.
Morello’s Collaborative Canvas:
Tom Morello’s own set was a masterclass in collaboration, reflecting his broad influence across genres. System Of A Down frontman Serj Tankian joined Morello for their recent collaboration "Adjourn It" and a powerful rendition of Audioslave’s "Like A Stone," a poignant tribute to the late Chris Cornell. Grandson, a contemporary artist known for his politically charged music, also took the stage for their joint track "Hold The Line," showcasing the continuity of protest music across different eras. A major highlight was the segment featuring hip-hop icon Darryl McDaniels, better known as DMC of Run-DMC. Together with Morello, they ignited the crowd with Run-DMC’s "It’s Tricky" and the groundbreaking "Walk This Way." The latter song evolved into an epic ensemble piece, bringing together Public Enemy’s Chuck D, Cypress Hill’s B-Real and Sen Dog, and Jack Black. This reunion was particularly significant, as Morello, Chuck D, and B-Real were members of the late 2010s supergroup Prophets Of Rage, which itself was formed with a mission to deliver politically charged music. The fusion of rock and hip-hop, famously pioneered by Run-DMC and Aerosmith 40 years prior, served as a powerful reminder of music’s capacity to transcend genre boundaries for a collective message.
Suns Of Soundgarden: A Reverent Tribute:
One of the most emotionally resonant performances came from "Suns Of Soundgarden," a surprise tribute featuring Taylor Momsen (The Pretty Reckless), Tom Morello, Pearl Jam guitarist Mike McCready, former Soundgarden/Pearl Jam drummer Matt Cameron, and bassist Robbie Mangano. Their powerful renditions of Soundgarden’s "Loud Love," "Outshined," and "Spoonman" honored the legacy of one of rock’s most influential bands and its late frontman, Chris Cornell. This performance followed a recent, largely unbroadcast Soundgarden reunion during a Seahawks halftime show on September 9, where Momsen, McCready, and Cameron had performed with original Soundgarden members Kim Thayil and Ben Shepherd. The visibility at PTTP brought this significant tribute to a much wider audience, demonstrating the profound impact of Soundgarden’s music on the rock community.
Diverse Voices for Change:
The festival continued to showcase a diverse array of artists committed to social commentary. Guitarist Scott Ian, despite having performed with Anthrax in Mexico City the night before, joined Public Enemy’s set for their iconic 1991 collaboration "Bring Tha Noize." Earlier, Public Enemy’s Flavor Flav made a vibrant appearance, joining Cypress Hill for their energetic cover of House Of Pain’s "Jump Around." Flav also humorously found himself in a "Dave sandwich," posing for a memorable photo with Dave Grohl and Dave Matthews.
Politically outspoken artist Dave Matthews opened his set with "Don’t Drink The Water," the 1998 Dave Matthews Band single that addresses the forced displacement of Native Americans by European-American settlers, immediately setting a tone of social consciousness. He also performed Marvin Gaye’s "Mercy Mercy Me (The Ecology)" for the first time, a poignant environmental and civil rights anthem. Matthews then welcomed Nathaniel Rateliff and folk legend Joan Baez to the stage for a Woody Guthrie cover and the traditional protest song "Ain’t Gonna Let Nobody Turn Me ‘Round." Baez, at 85, proved her enduring spirit, having gone viral over the summer for her energetic dance moves alongside Matthews during Rateliff’s Newport Folk closing set, further bridging generations of activism.
Foo Fighters delivered a high-energy performance, including their first cover of Mose Allison’s "Young Man Blues" since 2021. Dave Grohl, sporting an Iowa Hawkeyes shirt, dedicated "My Hero" to his "new friend Jack," referring to former Trump special counsel Jack Smith, who was in attendance. This dedication carried a layer of contemporary political commentary, referencing a recent incident where Senator Eric Schmitt (R-MO) mistakenly confused the Hawkeyes with the Atlanta Hawks during a Senate Judiciary Committee hearing, a gaffe that had widely been lampooned online.
The Boss’s Powerful Closing Statement:
The festival culminated with a powerful closing set by Bruce Springsteen, who had enlisted Morello for his touring band earlier in the year. Springsteen began solo, his acoustic guitar filling the pavilion with raw emotion, before being joined by Morello’s band and eventually a host of the day’s performers. His set was a deliberate curation of protest songs that spanned decades, underscoring the enduring relevance of music as a vehicle for social critique. He performed "Streets Of Minneapolis" (solo acoustic), "Chimes Of Freedom" (Bob Dylan cover with Joan Baez), "Clampdown" (The Clash cover with Tom Morello), and "The Ghost Of Tom Joad" (with Tom Morello). Springsteen then delivered rare covers of Creedence Clearwater Revival’s "Fortunate Son" (first time since 2009, with Dave Matthews and Nathaniel Rateliff) and Neil Young’s "Rockin’ In The Free World" (first time since 2004, with Dave Grohl, Dave Matthews, and Tom Morello). These selections, deeply embedded in the lexicon of American protest music, resonated profoundly. The night reached its zenith with a collective rendition of Woody Guthrie’s "This Land Is Your Land" and, fittingly, John Lennon’s "Power To The People," performed by all the day’s artists onstage, a powerful visual and auditory embodiment of the festival’s core message.
The presence of artists like Olivia Rodrigo, who attended the festival following her D.C. concert, further highlighted the cross-generational appeal and the continued relevance of the themes and artists featured. Her known appreciation for ’90s rock underscored the enduring legacy of many performers on the bill.
Broader Impact and Implications
The "Power To The People" festival, orchestrated by Tom Morello, stands as a multifaceted event that simultaneously celebrated the unifying power of music and navigated the complexities of political expression in a deeply polarized era. The seamless integration of musical performance with direct calls to action for civic engagement, through its beneficiaries VoteRiders and HeadCount, exemplifies a model for artist-led activism. The livestream ensured that its message of "anti-racist, anti-fascist" celebration and empowerment reached a global audience, amplifying its potential impact on voter registration and awareness.
Morello’s personal political stance, revealed concurrently with the festival, served as a potent, if controversial, reminder of the internal debates within progressive movements. His decision not to vote for Kamala Harris, driven by concerns over foreign policy and "corporate Democrat" influence, mirrors a broader disillusionment among some progressive voters who feel that mainstream political options do not adequately address their concerns. While potentially complicating the festival’s "non-partisan" billing, it also sparked crucial conversations about the spectrum of political thought within the left and the role of individual conscience in electoral politics. This internal dialogue, while challenging, is arguably vital for the evolution of any political movement.
The festival also underscored the enduring legacy of protest music and the unique platform musicians hold in shaping public discourse. From Joan Baez’s folk anthems to the revolutionary hip-hop of Public Enemy and Run-DMC, and the rock anthems of Springsteen and Morello, the event was a living timeline of artists using their voices for change. The intergenerational collaborations, particularly "Jack Sabbath" and the numerous guest appearances during Morello and Springsteen’s sets, demonstrated a continuity of artistic and activist spirit, inspiring both seasoned activists and new generations.
In a statement released after the event, Morello and the festival organizers expressed gratitude: "To every artist, activist, organization, partner, volunteer and fan who made POWER TO THE PEOPLE possible, thank you. The music may be over, but the work continues. If you were moved by what you saw, heard or experienced, please consider donating to the POWER TO THE PEOPLE Festival Fund on our website. Your support will benefit organizations advancing civic engagement, social justice and human rights." This concluding message reinforced the festival’s core objective: to ignite a passion for justice and ensure that the energy generated by the music translates into sustained civic action. The "Power To The People" festival ultimately delivered a powerful blend of musical exhilaration and political introspection, leaving an indelible mark on its attendees and the broader conversation about the role of art in advocacy.
Bruce Springsteen’s "Power To The People" Setlist:
- "Streets Of Minneapolis" (solo acoustic)
- "Chimes Of Freedom" (Bob Dylan cover with Joan Baez) (acoustic)
- "Clampdown" (The Clash cover with Tom Morello)
- "The Ghost Of Tom Joad" (with Tom Morello)
- "Fortunate Son" (Creedence Clearwater Revival cover with Dave Matthews and Nathaniel Rateliff)
- "Rockin’ In The Free World" (Neil Young cover with Dave Grohl, Dave Matthews, and Tom Morello)
- "This Land Is Your Land" (Woody Guthrie cover with all)
- "Power To The People" (John Lennon cover with all)
