It’s a strange time to be young in Europe.

For decades, music has helped young people to make sense of the world around them. To process emotion and resist norms. To voice feelings that are overlooked in political debates.

Today, music exists in an environment that is more globalised and competitive than ever. Beneath the buzz of constant news cycles, algorithmic systems, and a deeply entrenched but silent tendency to overthink, the sound of Gen Z music begins to surface. It emerges in the tension between digital connection and emotional isolation, between freedom and uncertainty, and between political awareness and a sense of powerlessness.

From Vilnius to Budapest, music has also been shaped by post-socialist histories after the fall of the Soviet Union and during the Cold War. These contexts are not the same, but have parallel histories, leading to a shared sense of Central and Eastern European sound that distinguishes these artists from their contemporaries elsewhere.

In countries like Hungary and Poland, artists often respond to democratic backsliding and cultural polarisation. In the Baltic states, themes of post-transition capitalism and distrust in systems emerge. In Ukraine, for many listeners, music stands out as a symbol for resistance to Russia’s war. In Germany – though it’s in Western Europe, it is also represented in the Perspectives cohort – questions of identity and migration remain central.

Across these different realities, a common ground appears. Beneath the political, there is something personal: anxiety, burnout, identity, and an ongoing search for belonging.

On May 13, NARA journalists, together with the MO Museum in Vilnius invite readers to an evening dedicated to Gen Z music in our region.

As we are preparing for this event, we invite you to listen to a unique 38-song playlist of the new wave of politically conscious Central-Eastern European artists. The songs were selected by Gen Z writers from Perspectives newsrooms. The writers picked artists from their own respective countries. Some of these artists count their views in millions, others – in hundreds. But each of them provides a glimpse of what it is like to be young today, in this part of Europe, at this day and age.

Let’s hear how it sounds.

UKRAINE

Selected by Polina Tolpygina (NARA)

hatespeech (хейтспіч)

Formed after the full-scale invasion in 2022, hatespeech (хейтспіч) is a Ukrainian rock band from Odesa, whose vocalist, Dmytro, is a soldier in the Ukrainian army. Their latest single, “Договорнячок”, bears an ironic title with no equivalent in English: it is the word “agreement” said in a mocking and dismissive tone, expressing the scorn Ukrainians feel towards the negotiations taking place between Ukraine and Russia. The lyrics reference recent social and political events, which continue to perturb the Ukrainian folk, among which are the elimination of Ukrainian anti-corruption institutions NABU and SAPO, general disappointment with “worldly humanism”, and the increasing number of Russian FPV drones on Ukrainian territory, all of which a semblance of a political “agreement” is trying to resolve.

Tember Blanche

After the beginning of the full-scale invasion in Ukraine, the now-married musical duet Tember Blanche, too, joined the trend and made a few songs about the war, like “You are alive” (Ти живий), or “Unborn” (Ненародженим). But they are really at their strongest, musically and lyrically, when they use Ukrainian folk soundscape and Christmas carols, as in “As day pushes the night away” (Як день посуне ніч); or when they sing of Ukrainian social phenomena, like in the song “Vechornytsi” (Вечорниці), which made the duet famous, and which is about Ukrainian in-house soirées traditionally held by the youth in the East and South of Ukraine.

MYR (МУР)

MYR is a creative collective blending music, poetry, and history to reintroduce Ukrainian cultural memory to a younger generation. Their work often draws on historical trauma, particularly the legacy of the Executed Renaissance, connecting past repression with present identity. Educational project turned creative group and musical band, MYR – or МУР, which is the Ukrainian word for “wall”, here meant to symbolize an everlasting division between Ukrainian and Russian culture and poetry – is made up of four young men committed to popularizing Ukrainian history and poetry, but with a modern bent!

The first album, which brought them country-wide fame, was “You [Romance]” (Ти [Романтика]), a musical about the Executed Renaissance, a generation of Ukrainian artists, many of whom were killed during Stalin’s Great Terror. The musical features elements of pop, jazz and rap, spoken-word interludes, and a number of collaborations with Ukrainian artists, performers and figures of the Ukrainian Zeitgeist. A song to start with: “Третя Рота”

The Unsleeping

The Unsleeping, a self-proclaimed “bedroom-punk” band formed in Uman, Kyiv region, first got together in 2013 to perform at a school event. Today, they play at festivals in Ukraine and abroad, and write songs in English and Ukrainian about nostalgia for youth, self-reflection, and yearning for a better life, among other things. Most of their songs, while socially aware, are more personal and only hint at themes of war. Still, as is the case with many Ukrainian songwriters, making music against the backdrop of the war leaves its mark on the band’s lyrics and overall mood. In this way, their song “Of glass” (Зі скла) is about missing the past, now shattered into “pieces of glass”, and imagining being in a better place – visions quickly ruined by “cuckoos buzzing with the sound of the siren”, which may be a reference to the air raid alerts in Ukraine.

HUNGARY

Selected by Emma Szilasi, a journalist from Hungary specializing in post-totalitarianism

Azahriah

Azahriah (real name Attila Baukó) grew up in a sea of Soviet-era blocks and taught himself everything – singing, playing guitar, production, mixing. His music refuses to be classified: gypsy swing into metal, hip-hop into electronica, reggae and Latin into jazz and classical. He's Hungary's most-streamed artist, and there's nobody quite like him.

His rise made him too big to ignore – including for Orbán, who borrowed his clout for TikTok videos. Then Azahriah showed up at anti-government protests, and state-aligned outlets started floating smears. He didn't blink. His video for "Four Moods 2" opens with a quote from Orbán's own political director about media control, set over archive footage of socialist-era Hungary, the dictator Rákosi, and Chaplin's Hitler.

Two days before the 2026 election, Azahriah headlined the Rendszerbontó Nagykoncert (System-Changing Big Concert) on Heroes' Square, closing the night with a brand new song written for the occasion: “Utema”. Choir behind him, tens of thousands in front.

"We are truly standing on the threshold of a new world – where the nation holds together, even when opinions differ."

Duckshell

When the song “Törpekirály” starts to play, the crowd sits down in a circle on the floor. Then slowly they start moving forward in a squat, getting faster, rising taller, until everyone is upright and running, and then the drop hits and it's a moshpit. Everytime.
The band grew out of Gólya, a leftist underground bar in Budapest's eighth district, where a group of Waldorf school kids started rehearsing under the name DjümDjüm. Their sound fuses Hungarian folk and Roma music with Brazilian rhythms from their family heritage.

Their album "Sötét Anyag" (Dark Matter) is about the Hungary most people live in – the smell of pálinka and damp plaster, retired men drinking alone in village bars on pensions that barely cover anything, opposition politicians that keep letting everyone down, nights that end with someone slipping under a train. All of it played through hardcore jazz, folk, and gypsy music.

"I'm not going anywhere, I'm not joining either side / one is false, the other even falser than expected / like two bad parents, but one family, the parliament / and the nation just watches, looking for a decent example."

Pogány Induló

Can you hear that rasp in his voice? Well, he recorded his debut album at only eighteen in 2023. And he is still the most prominent figure in Hungarian rap right now.

On the opening lines of that first record, he says he heard from above that he won't be the one to bring something new – he'll be the one to bring back the old. And that's exactly what he does, building his tracks on samples of Hungarian classics from the last century.
Pogány Induló (real name Szirmai Marcell) raps about weed, which didn't go unnoticed – the Fidesz government came after him, claiming he was promoting drug use to young people. His response was to keep pointing at the world that those young people actually live in.

"The cop had me sitting there for a wonderful twelve hours / then wonders why I won't put myself on a short leash."

But that's only part of the picture. He also raps about growing up in Szeged (third largest city of Hungary), about being the best in the game, about heartbreak – and most of all, about missing his mum. A song to start with: “Pogi Hip-Hop”

Csinszka

No Hungarian album this year landed like Transformania, the second record from Csernik Csinszka – Transylvanian folk and Székely culture mixed with autotune and experimental pop.

Despite sitting far outside the mainstream, Csinszka has built a huge following on TikTok, where shepherds, horseback riders, and farmers from across Hungary and Transylvania regularly post videos set to her songs. “Felsütött a Napsugara” became an anthem tied to the government change – chanted at protests and spread across social media in the run-up to the election.

"And as I walk home, the sky opens in three directions / it opens in three directions because I am going home / and the stars shine down on me because they know I am home."

Deva

Deva screams Hungarian folk songs over electronic beats. Her music is rooted in nature, femininity, and things that have been deliberately forgotten. When she screams, she often thinks of those old, wise women who lived connected to the earth, who served their villages as healers. They were always there. They were just silenced.

"They light the fire / and still it dies out / there is no love / that does not pass."

A song to start with: “Witchcraft”

CZECHIA

Selected by Rebeka Provazníková (revue Prostor)

Amelie Siba

It was a raw, intense psychological confession that affected me so deeply that I kept listening to Amelie Siba’s latest album repeatedly, even though I usually tend to gravitate more toward rap music. On her latest album, the artist gives musical form to feelings of anxiety and anger arising from the constant social pressure about what we are supposed to be like – and more specifically, from expectations of what women are supposed to be. She expresses frustration, rage, but also a sense of absolute emptiness and nothingness when a person reaches a state of a certain dissociation. Her music functions not only as a personal testimony but also as a subtle social commentary on performance pressure and female identity. A song to start with: "Matches"

Branko's Bridge

Branko's Bridge is a boys’ band that creates a distinctive fusion of various genres in their music – from psychedelic rock, garage, and post-punk to surf rock, as well as elements of country. Their work is energetic, raw, and full of vitality, and it is precisely this powerful energy that can get absolutely anyone moving. Their concerts are an intense experience that is truly worth seeing live.

I’ve been photographing the guys since their very beginnings, so I clearly remember the time when they played at the Povaleč festival on the very smallest stage and were known only by a few friends. Even so, with their energy, wildness, and almost madness on stage, they managed to attract a crowd of people who nearly tore down the entire big top tent they were playing in.

This year, they played at the same festival again – but this time already in prime time on the main stage. Before releasing their latest album Hobby Horse Cowboy, they introduced the single “I Feel Fine”, which addresses an experience many young people are going through today – burnout syndrome, a feeling of uncertainty, and an unclear future.

Selected by Michael Džindžichašvili (revue Prostor)

Pyraboyz

The former prime minister Petr Fiala should be discussing with Andrej Babiš (also a former and current prime minister and agro-baron) the planting of weed, not another field filled with yellow canola. Pyraboyz have just signed the orders and are crowning themselves the ministers of the Czech Rap Ministry, as well as of economics and weed production. "The Green Deal" mixtape personally attacks the entire spectrum of the political landscape, while referencing memes, political and criminal affairs, fake news, conspiracy theories, ecological issues, and, at the same time, the usual rap ego themes. After all, they claim to hold the institutional power of Czech rap legislation.

The theme of rap political satire is further developed on the 2024 EP "Cancel Culture Musick", with tracks like “Stanjura” (named after the former Minister of Finance), "Orban Broz", or "Free Pekova", about a Czech microbiologist who opposed vaccination during the COVID pandemic. These are (among others) the small details that make me question Pyraboyz’s music and their true opinions, as sometimes it feels like they will say anything just to sound good.

Kellner

Naming themselves after Czech billionaire Petr Kellner, who died in 2024 in a helicopter crash, the hardcore punk band Kellner is pretty pissed off – about capitalism, consumerism, genocide, social responsibility, and world leaders – as they scream through noisy guitars on their short and punchy 2025 album "Criminal Activity". We can also hear them targeting world leaders such as Donald Trump and Elon Musk, as well as Slovak Prime Minister Robert Fico. A song to start with: “Kapitál diss”

POLAND

Selected by Zuzia Piontke (Kultura Liberalna)

KiNi

KiNi creates introspective music focused on perception, limitation, and personal experience. He is an artist who tells emotional and personal stories. The tracks on the album PUDŁO focus on the limitations we experience and which shape our perception of reality. His work often explores how reality is shaped by internal and external bubbles. The title song “PUDŁO” reflects on distorted perception and emotional isolation.

Mata

Mata is one of the most influential young Polish rappers, known for combining youth culture with social commentary. His music often reflects education systems, privilege, and political tension. The song “GiEwOnT” addresses Poland’s ideological divisions and shifting political identities. He became widely known with the publication of his debut album, which told the story of the lives of pupils at an elite secondary school.

Bedoes 2115

Bedoes is known for emotionally direct lyrics about growing up, class struggle, and youth identity. His work connects strongly with listeners through vulnerability and authenticity. He is one of Poland’s most engaged rappers when it comes to interacting with fans. He also frequently gets involved in social projects. The song “1998 (mam to we krwi)” reflects personal and social struggles tied to background and ambition.

susk

susk is a feminist rap voice critiquing capitalism, inequality, and lack of systemic support. Her work often combines activism with personal expression. She composed the music for the film about the Abortion Dream Team, Poland’s most famous pro-choice organisation. The song “Kapitał” calls for structural change and accountability for economic injustice.

asthma

asthma is a rapper and performer whose work carries strong political undertones. He often reflects on social division, distrust, and contemporary Polish politics. The song “centrala” explores societal polarization and institutional collapse of trust. He quickly gained popularity due to the political undertones in his lyrics. “centrala” addresses the lack of public trust resulting from the current political leadership.

SLOVAKIA

Selected by the editorial team of Kapitál

Berlin Manson

A punk band founded in 2020 by Patrik Nagy and Adam Dragun. They released their debut EP "Life Ends When You're Thirteen" in 2022 and their debut album "Poor But Sexy" in 2024. Since then, Berlin Manson has become a phenomenon for criticizing capitalism and police brutality, while condemning the genocide in Palestine and drawing attention to the threat of fascism. They are authentic, bold, and hold up a mirror to society. “Netancujem, kývem hlavou” is their first big hit. It discusses the detachment from social expectations and political disillusionment.

Fvck_kvlt

Denis Bango got his start with the punk band The Wilderness, but today he experiments with a variety of genres. In his solo project Fvck_kvlt, he combines the rawness of punk with the poetry of rap and philosophical depth. His songs are primarily an indictment of capitalism and the people who blindly defend and perpetuate it. In his lyrics, Bango also addresses topics such as mental health and social frustration. His song “Mŕtva revolúcia I.” reads “The dead revolution lives forever, amen; Until it is reborn”. It critiques the system and proclaims the need for a change in mindset.

Erika Rein

Her work straddles the boundaries of avant-pop, R&B, and hyperpop, with the key to their fusion being her playful approach to blending these genres. The social dimension or political engagement of her work is not overt, but is primarily hidden in her adaptation of traditional Romani music, through which she pays homage to her roots. Erika Rein is currently collaborating with music producer Jonatan Pastirčák (Isama Zing). Her song “Bruised Knees” draws attention to sexualized violence, particularly that perpetrated by church authorities, which is often deliberately overlooked by those around them. Victims must not only come to terms with the terrifying horror they have endured but also face condemnation from their loved ones and acquaintances.

MISHINO

A young alternative guitar musician from Trnava. He blends genres such as indie rock, post-punk, and Midwest emo. Within these genres, he stands out with his distinctive lyrics and catchy melodies. He addresses the issues that define his generation: the climate crisis, mental health, the threat of war. Critics have described his album as a raw statement of his generation, full of emotion, honesty, and feelings that aren’t afraid to come to the surface. The song “Nedokážem dýchať” discusses the mental health crisis among young people, who, under constant pressure to perform, experience burnout at a young age. Who will help them break free?

Nina Kohout

In today’s Slovak alternative music scene, Nina Kohout is one of the brightest stars: a sonic storyteller who pushes the boundaries of musical obedience, forming a constant conversation between invasive horror and fragile purity. Her music intertwines the haunting ambiance of ancient Slovak folklore, classical elements, and dark electronica. In her song “Pebble Dance” she contrasts a majestic sound with lyrics that are deeply personal, even intimate. The lyrics explore how a relationship changes, matures, falls apart, or endures.

ESTONIA

Selected by Alina Baranova (Narvamus)

nublu

Nublu is one of Estonia’s most recognizable young rappers, known for ironic, minimalist songs about everyday life. Since his breakthrough in the late 2010s, he has become a defining voice of the local Gen Z scene, blending everyday storytelling with subtle humor. His music reflects urban youth culture and emotional ambivalence. "Öölaps!" captures nightlife, freedom, and emotional instability in the Gen Z experience. At the same time, it hints at themes of emotional intensity and instability, alongside playful references to changing relationship dynamics. Together, these elements create a snapshot of contemporary youth culture in Estonia that feels both personal and relatable.

NOËP

The mix of electronic, indie, and pop music is characteristic of Andres Kõpper’s music. He discusses themes of identity and emotional pressure in his work, which often reflects the pace and uncertainty of modern life. “Days Like This” was performed during the Eurovision national selection, and although he did not win, the track has remained in the hearts of many Estonians. It speaks to the experience of going through difficult periods, encouraging listeners to hold on and trust that better days will return. Lines like “the nights won't always feel this long” and “it's hard to see the stars in a storm” reflect feelings of anxiety and uncertainty that resonate strongly with Gen Z audiences. At the same time, the song offers a sense of hope and recovery.

säm

säm represents a new wave of Estonian Gen Z artists focusing on vulnerability and emotional storytelling. His music blends hip-hop, melodic rap, and alternative influences and deals with relationships and uncertainty. In his song “Kanuu” he uses humorous and light imagery, such as drifting in a canoe or describing romantic confusion. He also reflects on feelings of uncertainty, disconnection, and emotional instability. Themes of miscommunication and cultural or linguistic barriers highlight how relationships today can feel both intimate and confusing at the same time. At its core, the song balances vulnerability with moments of freedom.

LITHUANIA

Selected by Aleksandras Znamerovskis (NARA's Nauja Scena)

Palėpė

The ongoing grunge revival in Lithuania probably deserves a separate list, but here’s a fun band to poke fun at the current cultural zeitgeist. Palėpė have already dropped an EP this year named “Labai blogai” (“very bad”), which showcases their sardonic humour and wit. The first song of the EP “Šiku and scrolinu” (pooping and scrolling) makes fun of the mindless scrolling culture, which we can’t leave even in the bathroom. Their previous EP covered such grim topics as the insanity and meaninglessness of war, as well as less serious topics, such as being frustrated with the state of public transportation (“4 troleibusas”, 4th trolleybus). Palėpė are quite prolific and play live frequently, so this is definitely a band to pay attention to. A song to start with: “Šiku ir skrolinu”

Valkos

Black metal is predominantly associated with nationalism and right-wing politics, but Vilnius-based band Valkos provides a much-needed alternative. Born from the small but vibrant Vilnius hardcore punk scene, Valkos are a self-styled anti-fascist band, covering topics related to veganism and animal liberation, environmentalism and feminism. While some other bands I picked have a rather sarcastic attitude towards injustice, the first EP of Valkos, which dropped last year, seems like music made by activists, for activists, and is entirely earnest in its delivery. Hear the interview with the band's singer Gelminė here. A song to start with: “juodas akmuo”

Sipas

Perhaps less explicitly political, the hardcore punk outfit from a small town of Šilutė reminds me of Hole a lot (and no, not just because they have a frontwoman too) and perhaps for a reason, as they occasionally covered Hole when performing live. Sipas started as a grunge band, and grunge has always been a political genre, though not in the classical sense of sloganeering against injustice, but for railing against conformity, consumerism and longing for authenticity in a world that feels fake. Sipas captures this energy perfectly. Allegedly, new material is in the works and will have more political themes. A song to start with: “sugedęs telefonas”

Speechy

Rap in Lithuania is still dominated by names of the older generation but Gen Z artists are starting to crop up. Speechy (real name Justas Šiburkis) dropped his first songs in 2020, during the COVID-19 pandemic and his song “Taip ir gyvenam” (“That’s how we live”) perfectly captures the feeling of isolation and fear of the unknown most of us experienced during the pandemic. Other topics covered in his music include mental health and the pressure young people face to succeed in society. Much of Speechy’s earlier music is instrumental, however most of his recent singles do contain rapping, letting his mind shine through.

Pilaitė

Mysterious and highly prolific (released an album and multiple singles in 2025) left-field hip hop project. It’s hard to think of any other musician who captures the exuberance of the present moment as well as Pilaitė does – cryptic rapping and chaotic sampling make this project as interesting as it is disorienting. In between songs about “flirting with the devil”, you might hear a sample about the genocide of the Palestinian people. Perhaps unintentional, but such a collage of different ideas reminds me of the 24-hour news cycle of the mainstream media – topics as serious as war atrocities, being followed up with lifestyle drivel. A song to start with: “Free idea generator”

GERMANY

Selected by Sarah Bakšytė & Levo Keller (NARA & JÁDU)

01099

01099 is a rap group from Dresden whose name is derived from the city’s postal code. Their music often reflects East German identity, nostalgia, and the experience of growing up in a fast changing society. The song “2000er” is a nostalgic portrayal of the shared childhood of Generation Z, referencing early internet culture, a carefree youth of being out in nature, and a sense of generational belonging.

Paula Hartmann

Berlin-based artist Paula Hartmann is known for her portrayal of urban youth. Her music captures anxiety, isolation, and emotional disorientation in modern city life. With her song “Truman Show Boot” she evokes a detached, almost surreal experience of reality, reflecting the alienation many young people feel in large urban environments. She sings about how love passes her and asks where she needs to stand for it to reach her.

Apsilon

Arda Yolci is a Berlin-based rapper and one of the more explicitly political voices in Germany’s Gen Z scene. His music focuses on migration, class inequality, and racism, often drawing from personal and family history. He tells the story of his youth, which was strongly shaped by his grandparents, who came to Germany as Turkish Gastarbeiter (German for “guest workers”, the term referring to migrant workers, particularly those who had moved to West Germany between 1955 and 1973 seeking work as part of a formal guest worker program), thereby giving a voice to those affected by systematic oppression. His song “Köfte” reflects on questions of identity, belonging, and working-class experience in contrast to dominant narratives of success.

Nils Keppel

Nils Keppel’s music is post-punk influenced by pop and shoegaze, often linked to the Neue Neue Deutsche Welle scene. His songs reflect on disillusionment and a sense of lost youth, with lyrics that indirectly critique social environments and “false truths” within them. On his debut album "Super Sonic Youth" (2026), he sings of a lost youth that desperately turns to substance abuse to escape reality and world-weariness. The song “Keine Zukunft” addresses the youth’s feeling of a suspended future, while being emotionally numb and at the same time aware.

Blond

Blond is a German indie band formed in Chemnitz in 2011, known for blending indie pop, rock, new wave, and electronic influences. Their lyrics often challenge patriarchy and social norms while addressing feminism, equality, and everyday relationships. Alongside their political edge, songs like “Girl Boss” explore friendship, love, and sisterhood.

Traumatin

Traumatin from Bremen sings about love, heartbreak and self-doubt in a chaotic world. Emotionally charged vocals, usually with plenty of reverb, are backed by synthesisers and guitar, which, particularly in his early songs, evoke the sound of the 80s. The song “König der Welt” is about irony, ego, and emotional instability in a digital world. With his debut single “Genug” (German for: “Enough”), he became part of the Neue Neue Deutsche Welle (NNDW) in 2021. His melancholic lyrics explore a range of themes that are significant to Gen Z. These include dealing with emotions, finding one’s identity, love, and putting up a façade by hiding behind masks.

Ikkimel

Ikkimel is one of the most provocative voices in Germany’s Gen Z rap scene. Emerging in 2023, her work merges fast-paced techno beats with explicit, confrontational lyrics. Her music centers on feminism, sexuality, and drug use by linguistically subverting the misogynistic language of rap itself. Through exaggeration and satire, she reclaims agency and challenges deeply embedded gender norms. “Bikini Grell” embodies a generation that refuses to be quiet, palatable, or easily categorised.

You can stream all the songs in a Spotify playlist as well:

So what does it sound like to grow up in Europe today?

Across these tracks, there is no single answer. If anything, it shows that a generation that navigates instability and questions inherited structures does not remain silent, but listens and responds to voice the new sound of Europe.

Which artists are we missing? Reach out to the authors at nara@nara.lt