Coldplay and Babasha: Inclusion or Intrusion? When Ideology Ignores Context

In 1989, I participated, as the letter C, in a choreographed display spelling out „Ceaușescu” at a stadium rally in Romania, celebrating the then-dictator Nicolae Ceaușescu. I wanted to resist, to boo, to whistle, but I couldn’t. Ideology turned into state policy meant punishment. Similarly, Coldplay inviting Babasha, a controversial Romanian singer known for performing „manele” music (a mixture of Turkish, Greek,  Arabic, Bulgarian and Serbian elements, generally using modern electronic instruments and beats–a popular but polarizing genre often associated with Roma culture and criticized for its lyrics and style–translators note), on stage is an ideological gesture and was met with boos—thankfully possible now in Romania. This moment, part of Coldplay’s progressive ideology, ignored the context: in Romania, „manele” music is omnipresent, shifting from inclusion to intrusion.

Many spectators who booed Babasha were likely frustrated by „manele” music blasting from clubs, discos, parked cars, or neighboring apartments at all hours.

For many Romanians, „manele” symbolizes disturbance, discomfort, and poor taste. Not understanding this is a cultural oversight. Forcing a „manea” into the middle of a Coldplay concert-themed „Music Of The Spheres” is risky: booing at concerts is an age-old phenomenon, and if Coldplay accepted this risk, so be it.

For some, Babasha’s performance evoked memories of the June 9 elections, where far-right political parties like AUR (Alliance for the Unity of Romanians) and SOS performed well. Yes, there were people at the stadium who linked the „manea” to nationalist politicians George Simion and Diana Șoșoacă, reacting viscerally.

Were the boos a sign of racism, as Babasha claims? Perhaps there were racists among the booing crowd—Romania has its share—but I am convinced that if Damian Drăghici, a renowned Romani musician, or a traditional „lăutărească” (a type of traditional Romanian folk music) singer like Ionel Tudorache or Caliu from Clejani had been on stage, the reaction would have been different. This is simply because „lăutărească” music is not as omnipresent as „manele” and isn’t associated with intruding on private life.

The boos reflected a significant portion of the audience’s reaction to progressive ideology being forcefully imposed, on their dime. The omniscient educator attitude promoting howling as a cultural hallmark to be accepted and applauded backfired.

Is it Babasha’s fault for performing with Coldplay? Not at all. He’s an artist doing his job and seized a major opportunity. Those who invited him took the risk, evident in the concert’s diminished intensity post-performance.

The Coldplay concert exemplified what happens in Western societies. Progressive ideology, broadcast through all channels—sometimes aggressively—is being increasingly rejected. This was evident in the European Parliament elections, where Greens, Socialists, and Renew Liberals suffered significant losses. People recognize when ideology invades their private lives.

How can one speak of including „manele” musicians in a society that has already widely embraced „manele”? In a society where most private events (and even public ones, like the Gopo Awards, the Romanian equivalent of the Oscars) feature „manele”? It’s a paradox, one of those logical fractures threatening to undermine what is right in the progressive movement.

As for those embarrassed by the Romanian audience booing at the Coldplay concert, there is no shame. It’s good that we have the right to boo in stadiums, that we can express disapproval beyond subversive jokes, that we have learned to have the courage to reject what we dislike. After all, it’s a concert in a stadium, not a procession of sacred cows. I wouldn’t have wanted to be the letter „C” in Coldplay.