I didn’t even have to break out my “The Future is Female” t-shirt to sound the alarm; at South by Southwest last week, the message was loud and clear. In a whirlwind five days, I saw dozens of acts – mostly emerging or signed to small labels – and only three of those bands did not have women on stage. I didn’t even have to try to make this happen. I made, as I always do, a must-see list, hoping to catch some new-to-me projects at showcases along the way, and in both cases, the most compelling artists at this year’s SXSW were women.
Now, it’s 2017 and women playing music shouldn’t inspire an epiphany. It’s a wonder then, that at this year’s Coachella, only 25 percent of the performers are women or prominently feature a female player. After facing criticism for gender-biased exclusion in years past, GoldenVoice (the company that books Coachella and its NYC sister fest, Panorama) killed two diversity birds with one stone by booking Beyoncé, the fest’s first black female headliner (and its first female headliner in ten years – Björk was last to hold that honor, in 2007). When Bey dropped off the bill shortly after announcing her pregnancy with twins, Lady Gaga was named as a replacement. This year’s Governors Ball doesn’t fare much better, with all-male groups, male DJs, and male rappers outnumbering women performers and groups that have, say, one woman in a band of five (like the Strumbellas or The Head and the Heart) by a shocking margin of ten to one. Lorde is closest to a headlining spot (followed by Beach House and Phantogram, both male-female duos) but she only gets second billing Friday night. Most of the women are relegated to earlier daytime slots, which begs the question – why can’t more of these slots be filled with ladies?
SXSW is pretty different than either of the above-mentioned fests. It’s really just a series of shows held in venues all over Austin, and SXSW-goers can certainly pick and choose what they want to see from a much wider array of artists. But music industry honchos – reps from labels, booking and PR agencies, and, of course, journalists – make up the bulk of the crowds. This year’s buzzy performances could populate the stages of tomorrow’s blockbuster festivals, even if they don’t yet have a big enough draw. That’s what’s exciting about the chaos. It provides a peek at who’s flying under the radar but poised to reach greater heights.
And this year, women ruled. Likely the biggest name of the bunch, the line to see Solange’s headlining slot at the dazzling YouTube house showcase wrapped around the block. Lizzo and Noname, two lady rappers with critically acclaimed albums out last year, routinely packed shows all week, and bring an energy to the stage that could easily translate to large festivals. Sylvan Esso, a male-female duo who toured festival circuits a few years ago on the strength of their 2014 debut, were on hand at SXSW to play new material to dense crowds as well. Any of these acts could’ve easily populated lineups this year.
Meanwhile, there are more than a few names that are likely to crop up when it comes time to book Coachella and Gov Ball for 2018. Hurray for the Riff Raff’s alt-country, pro-immigrant vibes won tons of hearts. Melina Duterte’s solo project, Jay Som, has evolved into an arresting full-band indie rock onslaught with the release of her excellent LP Everybody Works, which came out the week before SXSW. Her former tourmate Michelle Zauner, who founded Japanese Breakfast, played some gorgeously shoegazey sets (during the one I saw, she did an excellent cover of The Cranberries classic “Dreams”), and will get a big signal boost opening for a run of Slowdive’s upcoming North American performances. She’s not to be confused with The Japanese House, an electronic trio from England led by Amber Bain who may just be heirs to the xx throne. Similarly, Sneaks, Tei Shi, and Anna Meredith all brought unique blends of unclassifiable, off-kilter pop to SXSW’s many showcases.
There were a whole bevvy of astounding punk, grunge and garage acts, too. Speedy Ortiz’s Sadie Dupuis brought her Sad13 solo project up to full-band speed with killer all-woman backup. Baltimore babies Snail Mail delivered vintage teen angst, former Swearin’ singer Allison Crutchfield and her new ensemble the Fizz, New Paltz newbies Diet Cig made a ruckus with little more than a drum kit and guitar, Cherry Glazerr veered into delirious heavy metal, and at the She Shreds showcase, Jillian Medford of Ian Sweet triumphantly announced she’d gotten her period before a raucous set – no one batted an eye. Meanwhile, Pill, Downtown Boys, and Priests, three of the most important acts currently touring, didn’t shy away from political messages and protests, either in their songs or in between them. It’s easy to imagine any one of these rockers tearing up an afternoon stage at Governors Ball, once bookers get the hint.
By contrast, of those three man-bands (which sounds as ridiculous as it should when someone refers to bands featuring women as “girl bands”) I saw, two of them bored me to tears: Floridian punks Merchandise haven’t managed to really grab my attention the way they did with thir 2012 EP Children of Desire, even though I still keep giving them a shot. And Spiral Stairs, the revived indie rock project of Pavement’s Scott Kannberg, felt like a slog rather than a celebration of their upcoming record Doris and the Daggers, their first in nine years. I would’ve rather seen a band that was actually called Doris and the Daggers, because they probably would’ve played with much more conviction. I won’t keep my fingers crossed that they’ll get a headlining slot on a big fest any time soon, but there are plenty of real, live, female-fronted bands that certainly deserve a shot, and if this year’s South by Southwest is any indication, their day could be coming soon.[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]
It is a goddamn golden age for girl-fronted punk. It’s not that there haven’t been important works by women in the ensuing years, but 2013 saw a Riot Grrrl Renaissance unlike anything since its early ’90s inception. Back then, Kathleen Hanna had to make safe spaces at Bikini Kill shows for female attendees by calling out aggressive dudes. The ladies at the forefront of the movement had to blacklist the mainstream media that painted them alternately as fashion plates, dykes, or whores (sometimes all three, and always with negative connotations; it shouldn’t be implied that to be any of these things is bad or wrong in the first place). By all accounts, they “couldn’t play” anyway, so the medium and its messages were barely worth discussing as anything more than a passing trend. Meanwhile, riot grrrls preached their radical politics one Xerox at a time.
If the wisdom of these women seemed to skip the generation that adored Britney Spears’ “Hit Me Baby One More Time” without criticism, it has finally come full circle in a way that feels vital and urgent now. Not only are we as a culture stepping up to finally examine sexism and exploitation and appropriation within the industry, there are more acts than ever completely unafraid to do their own thing – be it overtly political (see: Priests) or revolutionary in its emotional candidness (looking at you, Waxahatchee). Maybe it has to do with direct influences of stalwart ensembles like Sleater-Kinney and Bratmobile, and maybe it’s a thing that’s happened gradually as those first voices carved out room for other female performers (for instance, in establishing Rock Camps for young female musicians throughout the country, a project that initially came about through discussions and direct action in riot grrrl communities). There’s no way to make an inclusive list of all the phenomenal bands (punk or otherwise) now blazing their own trails through their various scenes but taking a tally of at least a few of these acts felt like a necessity for me as someone whose entire life was informed by music like this, and girls like them. And because fifteen years after I discovered it for myself, 2013 feels like one giant, celebratory dance party/victory lap.
CARRYING THE TORCH
If 2013 is the year female-fronted punk broke, it has to be said that not all 90’s era veterans burned out or faded politely away. In fact, two of the grunge scene’s most influential women put out intensely personal releases this year.
Body/Head, Kim Gordon’s noise project with Bill Nace, created a moving exploration of feminine and masculine tropes in the form of a noise record. I wouldn’t want to reduce Coming Apart to a document of her split from long-time partner Thurston Moore, but the whole thing feels every bit as raw and awkward as a life change that catastrophic must have been. It’s Gordon’s most powerful, wild moments in Sonic Youth distilled down and then blown up. Her vocals can sound desperate and strained at times, but this is ironically the most forceful aspect of the recordings – the anger and the vulnerability existing together in all its anti-harmony.
Likewise, Hanna’s record is not a chronicle of her late-stage Lyme Disease, the chronic illness that forced her to quit touring with socially-conscious electro outfit Le Tigre (for that, check out Sini Anderson’s brilliant Hanna doc The Punk Singer) but a testament to the triumph that creating it had over her sickness. Reviving her moniker from ’97’s bedroom-recording project Julie Ruin by adding a “The” to the front and four incredible musicians and co-conspirators at her back, the band released Run Fast in September. It manages to meld every one of Hanna’s prior sonic sensibilities, burnishing the the dance-punk of Feminist Sweepstakes with the sass and cacophony of The Singles and adopting the confessional tone of that first solo record.
This is riot grrrl all grown up; though neither project should necessarily bear that particular label, it feels like a continuation of the story that in turn validates its importance. And the influence of Gordon and Hanna and others of their ilk can certainly be heard in a whole host of bands with break-out records that landed this year. Again, it’s not that anyone in these bands are running around calling themselves riot grrrls, just that they’d be right at home on a playlist with bands who did (and bands of that era, from Red Aunts to Discount to that dog., that demanded my affection as equally).
Katie and Allison Crutchfield have been making music since they were teenagers, most notably in P.S. Elliot before splitting up to pursue creative projects as separate entities. Katie released American Weekend in 2012 and Cerulean Salt in March, Allison released a self-titled record with her band Swearin’ last year and followed it up with Surfing Strange a few months ago. The girls are mirror twins, meaning they’re identical but that their features are reversed in some instances, and that’s a good approximation of how their musical projects merge and divide. Cerulean Salt is stripped down sonically and hyper-focused on thematic subject matter, dealing directly with her family history and its personal stories. Swearin’ takes a music-making approach more classic to pop punk, its subject matter just as earnest but with a broader focus. The two have reunited for one-off projects (like an incredible cover of Grimes’ Oblivion for Rookie Mag) and live together in Philly with their boyfriends (both of whom play in Swearin’). In interviews and in their song lyrics they espouse feminist ideas unabashedly and have talked openly about finding inspiration in the riot grrrl movement.
Speaking of Alison’s boyfriend, Kyle Gilbride produced girl-punk supergroup Upset’s debut album, She’s Gone, out this year on Don Giovanni. Uniting Vivian Girls contemporaries Ali Koehler and Jenn Prince with Patty Schemel of Hole, She’s Gone is a quirky collection of catchy, rapid-fire jams that at first listen might come off as slightly superficial. But at the crux of the record is the idea of examining female experience, in particular the formative teenage years, in which break-ups and female rivalry loom large. Taking what might be written off as juvenile and giving it its due importance in song is what makes the album both accessible and relevant. If it seems precocious to compare one’s dreams to a dinosaur, at least it validates them by re-calibrating the scale.
Don Giovanni put out another astounding release in The Worriers’ Cruel Optimist. Fronted by Lauren Denitzio of Measure, the project seeks to combine her interests in literature, art, and queer activism in a way her past musical projects have not. Over hooky guitars and crashing drums, Denitzio talks about privilege in feminism and the need to re-evaluate personal politics with growing older on “Never Were”, references Jeanette Winterson as a way to talk about androgyny and gender identity on “Passion”, and ruminates on the toll that conservative politics took on a personal relationship in “Killjoy”. The album closes with “Why We Try”, a triumphant reminder of the reasons these discussions still need to happen in music and elsewhere. “If we expect something better / things won’t just move forward / Remember why we try“.
In talking about New Brunswick’s esteemed DIY circuit, we’d be remiss to not include Marissa Paternoster, active for several years now in the punk scene there, releasing work under solo moniker Noun as well as with her band Screaming Females. It’s the latter’s most recent release, Chalk Tape, that sees the band going in some very interesting melodic directions with their particularly searing brand of guitar rock, recording most of the songs without revisions based around concepts scrawled on a chalkboard. Paternoster’s commanding vocals, gliding easily between out-and-out aggressive and tender, looped sophistication, paired with her exceptional guitar work, make Chalk Tape a tour de force. Here’s hoping a few misguided Miley fans accidentally stumbled on the wrong “Wrecking Ball”.
Nestled in another well-respected DIY scene, Northampton-based Speedy Ortiz represent a collective of 90’s-era rock enthusiasts with a poet at the helm. Sadie Dupuis feels more comfortable behind a guitar than on open-mike night, but the lyrics she penned for Major Arcana and delivers with brass are practically worthy of a Pulitzer. Razor sharp wit, slyly self-deprecating quips, and vitriol marked by vulnerability characterize the general tone of the record, its particular lyrical references so nuanced and clever it begs about a million listens.
Potty Mouth sprang out of the same scene when Ally Einbinder, frustrated with the difficulties of booking shows and playing in bands with men who rarely asked her input when it came to songwriting, decided to form and all-female punk band. Einbinder and her cohorts are frequent participants in Ladyfest, which has sought to showcase feminist artists across different mediums for thirteen years running. Bursting with energy and attitude, Potty Mouth’s debut Hell Bent calls bullshit on punk scene bravado, questions obsessive tendencies, encourages punk girls in small towns “it-gets-better” style, and delivers acute, sharp-tongued kiss-offs to any doubters.
Though the pun alludes to classically trained harpist and witchy-voiced weird-folk patron saint Joanna Newsom, Alanna McArdle and her compatriots in Joanna Gruesome stray pretty far from that reference point. Instead, the UK band cherry-picks from shoegaze, twee, and thunderous punk with Adderal-fueled ferocity. McArdle is a study in contradictions, one moment singing in a sweet-voiced whisper and the next shouting psychotically, often about crushing skulls or some other, equally violent way of expressing her twisted affections. The group met in anger management, and every second on Weird Sister sees them working out some deeply seated issues, the end result proving what a gift anger can be.
This particular calendar year, it seems, is only the beginning. With a record crate’s worth of amazing releases from 2013, there’s a bevvy of bands with bandcamp profiles, demos, EPs, cassettes and singles that hold a lot of promise for future releases. Across the board, when asked how their bands formed or when they started playing, the response is “I wanted to do it so I got a guitar and I just started playing.” The DIY ethos and “fuck it” attitude are what make these projects so vital and exciting.
The DC group are explosive live, in particular thanks to Katie Greer’s spastic growl and Daniele Withonel’s revelatory drumming. The band’s been known to spout off about anti-consumerism between songs, out of breath from the high-energy set, but there’s plenty of radical content in their self-released tapes, too. Those searching for manifestos need look no further than “USA (Incantations)”, a spoken-word bruiser that skewers the non-inclusive founding of America and ends with “this country was not made for you and it was built on lies and murder”; it kind of makes me want to vote for Priests for president. Elsewhere on Tape 2, Withonel steps from behind her drum kit to flip the script on the male gaze, with perfect Kathleen Hanna pitch. Whether they’re singing about Lana del Ray or Lillian Hellman, these self-described Marxists provide an electrifying listen.
Perfect Pussy plays notoriously brief shows – if you blink during their set, you’ll miss ’em – but all have played the Syracuse scene for years now. The quartet got a lot of attention this over I Have Lost All Desire For Feeling, a four song EP with walls of guitar fuzz and synths and some forceful vocals from Meredith Graves buried low in the mix. Trained in opera but trying out punk, she’s said that because she’s insecure about her singing they’ll likely stay that way when the band records a full length. But it’s not because she’s trying to hide her words – you can read them by clicking through each song on Perfect Pussy’s bandcamp. They are well worth extracting from the sludge, coming across like a Jenny Holzer send-up of rape culture, mixed in with some personal meditations on growing past a female betrayal and catharsis through relationships thrown in for good measure.
Ellen Kempner writes off-kilter lyrics that perfectly distill the wonder and worry that comes with being a teenager, but with a wise, almost nostalgic tone that does not belie the fact that she is, actually, a freshman in college, living these experiences for the first time. Her musician father taught her how to play guitar, and in high school she was in a band called Cheerleader before releasing some solo recordings that morphed into Palehound. Their excellent Bent Nail EP came together this year, featuring the quintessential “Pet Carrot”, which seesaws from sing-songy folk to scuzzy 90’s grunge more reminiscent of Liz Phair than of Lorde.
The Philly trio are a perfect picture of female solidarity, repping other girl bands from Philly in interviews and inking their bodies with matching arrow tattoos, as well as getting involved with Philly’s Ladyfest. They sing about friendships and loss and the city around them with a raspy roar, holding back just enough on their three-song demo to hint at the spaces they’ll grow into.
Coming out of Columbus, Ohio’s great lo-fi scene (which bands like Times New Viking and Psychedelic Horseshit helped build, and contemporaries Sex Tide and Connections will only continue), All Dogs take that same energy and clean up the grime just a bit to let Maryn Bartley’s hopelessly catchy vocal melodies shine. There’s a youthful exuberance and earnestness that propels the material on their split cassette with Slouch and their self-titled 7″ released on Salinas Records. The Crutchfield sisters have been big early supporters; Katie booked them as openers on an upcoming Waxahatchee tour after saying they “made her cry”.
About an hour south in Cincinatti, Bridget Battle takes an endearing 60’s girl group intonation and spits it snottily into a microphone while her bandmates in TWEENS play messy, immediate punk rock. Their CMJ performances earned them rave reviews and helped them release a bit of the energy they’d pent up during the recording of their first full-length in DUMBO, set to see release sometime this spring. Until then, they’ll be touring with fellow Ohioans the Deal sisters for The Breeders’ extended reunion shows.
“I don’t care what you think as long as I can’t hear it / I’ll be a fly some other place. / I don’t care what you do / As long as you stay away from me / I can’t stand the way you do the things you do.” So begins “All the Girls” from Heavy Bangs’ bandcamp demos. It’s a departure from the quirky indie pop Cynthia Schemmer played as guitarist for Radiator Hospital, but it takes cues from the same attention to clever melody. The best indication of what might come from her solo project are the artful and contemplative postcards she posts to her tumblr (http://cynthiaschemmer.tumblr.com/) before sending them to to friends, apologetically explaining why Philly drew her back after time in New York, or recounting conversations she had with a therapist over the loss of illusions. Like the two tracks she’s shared, these can feel sad but are intently self-aware, the attention to detail speaking volumes between the lines.
Are those alive in a golden age ever able to really realize it? Or can it only be understood by looking back? With the passage of time we grow older and wiser and we’re better able to put things into context, but there are some moments that are simply meant to be lived. If you’re not screaming at the top of your lungs to these records or dancing in the front row at one of these shows, you’re doing it wrong.