Urban Gilaki popular music genre, from northern Iran, functions as a symbol of resistance against hegemonic musical cultures of the region and as a tool for expressing Gilaki ethnic identity within Iran’s multiethnic society. Focusing on the music of Gilan in the mid-20^th century—a northern province in Iran, near the Caspian Sea and the border of the former Soviet Union—I examine the important role of Iranian radio and the policies of its administrators in redefining local music and legitimizing the presence of ethnic cultures in homogenized Persian public sphere. I argue that the Soviet occupation of Gilan during World War II served as a catalyst for the invention of a hybrid Gilaki musical genre that functioned as a means of cultural preservation and resistance against both the Allied invasion and the marginalizing policies of the Iranian government, while ironically incorporating non-native musical elements—such as harmony, large orchestras, and Iranian classical melodies—in this process. This study examines the archives of Gilaki music that was broadcast on Iranian radio and analyzes ethnographic interviews with musicians and historical documents from an insider perspective. The strategic use of music and the role of radio broadcasting as a response to two dominant cultures, the Soviet influence during the 1940s and, later, the dominant Persian culture prevalent in mass media throughout the 1950s and 1960s, resulted in a musical practice that both participates in and resist against these forces.

The interplay between tradition and modernity is a critical topic in current Iranian society (Jahanbegloo 2004). As Reza Shah’s policy (1920s) of “authoritarian modernization gradually changed Iran’s traditional social as well as political setting” (Katouzian 2007: 49), the practice and performance of music changed accordingly. Modernity in Iranian music is typically attributed to Ali-Naqi Vaziri (1887-1979). Following Vaziri, his students continued to expand the idea of modernization with a variety of perspectives. In 1968, Dariush Safvat established the Centre for Preservation and Dissemination of Iranian music. The Centre has often been categorized as a ‘revival’ endeavour. This paper argues that the Centre only contemporized the ongoing interplay of tradition and modernity. By the late 1970s, a vital music industry had emerged. The 1979 Revolution and significant cultural policy alterations halted such advancement. The evolution of music, however, did not stop but continued in private spaces, and some of the masterpieces of art music were produced in the first decade. Shortly after the Iran-Iraq war and especially following Ayatollah Khamenei’s leadership, the restrictions gradually eased, and multiple schools of thought continue to expand. This paper, supported by recent fieldwork in Iran, argues that the interplay between tradition and modernity in Iranian music has been constructive rather than dichotomous, resulting in many schools of musical thought. Furthermore, it elucidates how, in the past decade, a musical industry has developed that surpasses that of the 1970s, despite ongoing restrictions.

Avoiding overt political engagement has historically been a means of navigating authoritarianism among Iranian musicians. However, in a context that severely limits political expression, music may inevitably be heard as an act of resistance or complicity, placing musicians in precarious positions. Social media has further complicated these dynamics, as users reframe, reshare, and debate musicians' actions, addressing public perceptions and political narratives.

A sentimental song by Alireza Talischi went viral during the Women, Life, Freedom movement after being used—seemingly without his involvement—in a commemorative video honoring a protester killed. Afterward, Talischi became one of the first artists to break the months-long silence in Iran’s music scene and performed this song—some heard it as subtle resistance, others as exploitation of public sentiments or endorsing the regime’s desire to normalize the situation. Since then, the song has held a central place in Talischi’s repertoire without mentioning the protester’s name. Meanwhile, he has achieved unprecedented commercial success, touring nationally and internationally.

This paper focuses on Talischi to open up discussions about the relationships between music career, authoritarianism, and social media. I use digital ethnography and online archival analysis to illustrate how Iranian musicians distance themselves from contentious politics by performing compliance with the regime’s rules while subtly navigating public expectations. Drawing on the work of Nomi Dave, Laudan Nooshin, and Lisa Wedeen, I argue that by playing with the ambiguities of permissibility and accountability, musicians seek to craft careers that can endure within the intricate web of power, pleasure, and ideology in Iran.