Freedom continues to be present as a fundamental principle in current societies, understood in the Chilean political-cultural context as a right inherited from liberal currents through the emancipation of Latin American independence movements. Thus, both liberal democracy and neoliberal ideological doctrine have placed it at the center of their discourse. The purpose of this article is to analyze the problematic treatment of freedom in two songs of Chilean poetic-musical production from the perspective of its social representation: "Yo canto la diferencia", a song by Violeta Parra from 1960, which appeared on the album Toda Violeta Parra. El folklore de Chile Vol. VIII (1961), and "Las llamas de la impotencia", a song by Nano Stern from the album Las Torres de Sal (2011). Both productions are understood to be situated within the tradition of the Nueva Canción Chilena. Specifically, the problem of freedom in Chile is approached from a recent social and historical perspective, to move towards a conceptual framework that allows us to see the contradiction between social reality and the denial of this concept in the analysis of these productions.Entendiendo a la libertad como un concepto heredado de las corrientes liberales a través de la emancipación propia de los independentismos latinoamericanos, tanto la democracia liberal vigente -el simulacro de la democracia representativa-, como la doctrina ideológica neoliberal la ha puesto en el centro de su discurso. El propósito de este artículo es analizar cómo se reflexiona este devenir del concepto a través de su representación social en dos canciones de la producción poético-musical chilena que se encuentran en el marco referencial de la Nueva Canción Chilena: por un lado, “Yo canto la diferencia” canción de Violeta Parra, de 1960 y aparecida en el disco Toda Violeta Parra. El folklore de chile Vol. VIII (1961), y “Las llamas de la impotencia”, canción de Nano Stern del disco Las Torres de Sal (2011).