Music is a cultural Ideological State Apparatus (Althusser 1971, 143- 148). In such a lens, this paper proceeds in the manner of Althusserâ€™s argument, and the critique applies to popular music in the Philippines vis-Ã -vis Gramsciâ€™s cultural hegemony. With such a framework, this paper looks into the albums of Musikang Bayan (Peopleâ€™s Music) from 2001 to 2019 and employs qualitative content analysis. In doing so, the themes are dealt with vis-Ã -vis the Philippine socio-politico-economic condition. The countryâ€™s socio-cultural atmosphere in the mainstream music industry is â€œnot soâ€ critical since social institutions are part of the relations of class domination (Althusser 2014, xxiv). Only if music is oriented with the peopleâ€™s struggle will it become scientific and carry forward emancipatory politics transforming society. Musikang Bayan encapsulates the militant-materialist-progressive-nationalist music against the â€˜fetish-characterâ€™ of todayâ€™s neoliberal capitalist ideology; hence, it articulates the collective consciousness through music.