While music is often regarded as a medium for free expression, it can also be utilized by those in power to maintain the status quo. In this context, the response of the National Police to Sukatani's song can be interpreted as an effort to preserve institutional hegemony by controlling public narratives.

Hegemony, as conceptualized by Gramsci (1971), refers to the dominance of one group over others through cultural and ideological consensus, rather than through physical coercion or violence alone. In the case of Sukatani, the pressure exerted on the band to apologize and remove their song demonstrates how institutions can wield their authority to restrict narratives perceived as threatening.

Following the mounting public criticism, the Central Java Police questioned six officers in connection with the alleged intimidation against the two personnel of Sukatani and let the Purbalingga-based post-punk band sing the song both on the stage and digital platforms.

Music serves not only as a medium for critique, but also as an instrument of social control. According to Adorno (1941), music can be employed by those in power to reinforce existing social structures. In this instance, the pressure on Sukatani to withdraw their song can be seen as an attempt to uphold the image and authority of the National Police, an institution that ironically espouses the motto of "Protecting, Guiding and Serving the Community."

Adorno argues that mass-produced music, in particular, can dismantle false consciousness, which perpetuates structural injustices. By removing “Bayar Bayar Bayar”, the police indirectly sought to control the public narrative regarding their performance, thereby preventing the emergence of critical awareness among the populace.

However, hegemony is not always entirely successful, as there is always room for resistance. Resistance to hegemony often manifests in subtle forms, such as art and musical lyrics. In the case of Sukatani, although their song was removed, its message persisted in public discourse, conversations in coffee shops, social media and the speeches of demonstrators. This illustrates that music can function as an effective tool of resistance, even in the face of institutional pressure. Scott (1990) refers to this phenomenon as "weapons of the weak", where marginalized groups use art, particularly music, to challenge domination.