Here’s something from the top of my head:

If we look back in time, there’s always been this interconnection between music journalism and more significant social topics. Look at Hunter S. Thompson, for example, whos long-form reports on politics were published in the Rolling Stone. Or think about the 50s, rock’n’roll, Elvis — manifestations of a changing society. Or the protest songs that accompanied the civil rights movement. Or punk. Or the origins of hip-hop where artists pointed out issues in the black community.

Now, how should music journalism act in today’s political climate? Well, I’m not working in the U.S., but of course, there are many urgent topics all over the world. Music is, at its core, a form of art. In my opinion, art is a mirror of society. Therefore, if music is apolitical, we should not condemn the artist because of that but searching for the underlying thing that drives this sort of music. What does it say about pop culture that music is mostly keeping a distance to politics? What does it say about our society?

If music journalism wants to answer those questions honestly and constructively, then the blame game is toxic. An artist can do whatever he wants; he hasn’t any obligation to be critical or outspoken.

Personally, I’m always striving to link the music I’m writing about to the broader social picture. Sometimes, I succeed; sometimes, I don’t. But it’s a mindset you need to have: Thinking about what social or political significance a particular song, album, artists has.