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The Australian colonial nation state has always had a particular relationship to crime, with sovereign land stolen, and First Nations people policed, in order to build a penal colony based on punishment and redemption. Music has been inextricably involved with this history, with popular music holding complex associations with both state construed criminality and community resistance. Australia's unofficial national anthem,ÌýWaltzing Matilda, is about a sheep thief who suicides rather than be taken by troopers; Aboriginal artists have historically been prevented from playing specific types of music. In the 1990s one of Australia's most popular performers Nick Cave made his name singing murder ballads.

The policing of music is not just an historical issueÌýwith intensified drug searches of dance parties and police use of various crime prevention orders against drill rap groups often playing out along race-based, ethnic, and cultural lines. Moreover, we have seen feminist singer-songwriters voice support for theÌý#metooÌýmovement, and First Nations hip-hop artists such as Dobby and BARKAA resist state power though the Black Lives Matter lens with songs likeÌýI can't breathe.

However, at the same time as attracting censure, rap music is also seen as a legitimate resource for redemption. Rap workshops and ‘hip hop therapy’ are commonly deployed in state institutions for incarcerated or ‘at-risk’ youth. This project uncovers, compiles and analyses the processes by which popular music is policed and explores the power of music to resist policing or regulation, and to initiate positive social change.Ìý

This project is funded by an Australia Research Council (ARC) Discovery Projects (DP), Grant IDÌý.