LOUD WOMEN ezine Issue #23 | Allison Wolfe | Stephanie Phillips | LOUD WOMEN Fest 2018 | Janey Starling | Jen Doveton | Bugeye | Silva | Belle Scar | The Slits | Dream Wife | Dream Nails | U.S. Girls
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Video preview: LOUD WOMEN Fest 3!

LOUD WOMEN gigs diary

12 May @ Hope & Anchor – 
Belle Scar | Silva | Stef Fi

20 May @ Amersham Arms – 
Dubais and the Wolfs | Knight of the Comet | Big Joanie

27 May @ Lady Luck, Canterbury – 
Bugeye | Salvation Jayne | Vulpynes | Guttfull | ARXX | Tokyo Taboo | Miffy Englefield

9 June @ Hope & Anchor – 
Think Pretty | Charismatic Megafauna | Casey Tufnell

16 June @ The Prince Albert, Brighton – 
Guttfull | Gulls | & more 

26 June @ Camden Assembly
Dolls | Peach Club | I, Doris

30 June @ Bow Arts Centre – 
Matchwomen’s Festival 2018 
Maddy Carty | I, Doris | Samba Sisters Collective

14 July @ Hope & Anchor – 
Tokyo Taboo | Concrete Bones | Helen McCookerybook

3 August @ Golden Lion, Bristol
Line-up TBC 

11 August @ Hope & Anchor –
 Cryptic Street | Vertigo Violet | The Muffin Heads

18 August @ The Lexington –
 The VERY LOUD WOMEN Summer Party
Nova Twins | Shit Sick | I, Doris

15 September – LOUD WOMEN Fest 2018 at The Dome, Tufnell Park
Confirmed so far …
Petrol Girls | ZAND | The Franklys | Grace Savage | Dream Nails | You Want Fox | the twistettes | PUSSYLIQUOR | Ms. Mohammed | Crumbs | Sister Ghost | The Menstrual Cramps | WOLF GIRL | Sam Amant | The Baby Seals | Art Trip and the Static Sound | Drunken Butterfly | Jemma Freeman and The Cosmic Something

LOUD WOMEN Fest is back on Saturday 15 September 2018 – bigger and louder than ever! Building on the massive success of our last two Festivals, we’re expanding to two much larger venues: The Dome, Tufnell Park, and Boston Music Room.

Line-up so far:

Petrol Girls
The Franklys
Grace Savage
You Want Fox
The Twistettes
Ms. Mohammed
Sister Ghost
The Menstrual Cramps
Wolf Girl
The Baby Seals
Art Trip and the Static Sound
Drunken Butterfly
Jemma Freeman and The Cosmic Something

Plus DJs including Mammory Tapes and more bands TBA – watch this space!

Stalls, zines, food, AND cake stall from Ladies of the Lock – The WI group for Camden, Kentish Town & Tufnell Park

Tickets £15 in advance from
£20 on the door
£10 NUS / JSA / over 60s

Get your LOUD WOMEN Fest tickets now!
Our next gig is this Saturday! 12 May 2018. Belle Scar, Stef Fi and Silva - at the Hope & Anchor, Islington, London N1. Tickets £6 in advance, £8 on the door. See you down the front!
21 of the BEST!

The LOUD WOMEN: Volume One compilation album is now just £5 from

Allison Wolfe: Queen of the Riot Grrrls – Interview


Allison Wolfe is best known as one of the founders of the riot grrrl movement back in early ‘90s Olympia, Washington, and frontwoman of feminist punk band Bratmobile. Times have changed, but some things stay the same – Allison is still kicking out the counter-patriarchal jams. Cassie Fox caught up with her ahead of her upcoming UK tour with ‘Dubais and the Wolfs’.

Let’s start with your band CV! Have you been performing continuously since the 90s, without a break?
Yeah, not much of a break! I started with Bratmobilein the early 90s and not long after we broke up I started a band with Erin of Bratmobile, Cold Cold Hearts. After that, in the late ‘90s, I had my boy band, Deep Lust. Actually the drummer from Deep Lust – Steve Dore – now lives in Crystal Palace, and he’s going to be the drummer on this UK tour coming up! So after Deep Lust I was back in Bratmobile – we got back together for a few years. Then I was in Partyline in the middle 2000s and we toured in England and Europe. Then I moved to LA and I was in band called CoolMoms with some girls for about five years … then I was in SexStainsa couple of years ago, and now I’m in ExStains! So yeah, I never really quit I just keep it going. I think it’s important to maintain a creative outlet, as long as you still have something to say you might as well keep doing it.

What’s the biggest difference you’ve found in between being in bands over that time?
I guess I don’t feel as much of a sense of urgency as I did when I was in my 20s! Ha! Also, it’s funny … I always used to do vocal warm-ups to old country songs – like Loretta Lynn, Dolly Parton, Jean Shepard – but I’ve realised lately that I can’t hit those notes any more. Of course, that was 20 years ago that I first started doing warm-ups to those songs! So I’ve actually started doing my warm-ups now to George Jones cos it’s a lower register.

What role does music have in your life now?
I live alone and I have done for a long time, but I’m an identical twin and my sister and I have not lived near each other for many years, so I think there’s something about that being alone –  that’s why I feel like I need to have voices around me all the time. I actually listen to talk radio constantly – public radio – when I’m at home. I put on a record the other day I was like, this is so awesome , I remembered how happy it makes me!

Tell us about the tour with Nadia Buyse.
I’m really excited! Nadia is an old friend of mine and also just a prolific artist and musician. Everything she does is gold, and it’s always really engaging, politicised, fun and funny too – I just love everything she does! She used to live in Portland, near my sister so I’d see her a lot when I was visiting, and sometimes whatever band she was in at the time would be playing, and she’d ask me to sing back-ups. She’s always in another band, I can’t keep up! And they’re all great. Nadia contacted me a few months ago and said, ‘Hey, will you come over to the UK for Jon Slade’s 50th birthday party?’ [Jon Slade of HuggyBear, who lives in Brighton]. And I was like, ‘Yeah cool!’, and I thought there was a big to-do happening, but then once I got on board I realised that he just wants to go some bar that night that he DJs at … and I was like, wait what? I can’t just go there for his birthday can I? And then Nadia said, ‘Let’s play some shows!’ She’s like, ‘I’ve been wanting to set up a mini tour in the UK – will you play with me and sing with me?’ So I was like, ‘Sure!’

It’s inspiring to hear that you’re still making politicised music. How important do you feel music can be in modern politics?
Obviously I don’t really think that music ever ‘does the job’ – we’re up against too much. But I do think it’s important for everyone to struggle and resist in whatever way makes sense to them – little ways or big ways. I mean, I don’t see music necessarily as straight-up activism, but I do believe in it as cultural activism. It’s important for all of us to express our feelings against the administration through our art. I’m not very good at writing songs with political slogans, but I tend to write songs that focus on how the personal is political or how these things might seep into your daily life. And feelings of self-esteem etc in girls. But yeah, we’re fucked! So I’m not sure a song is going to cut it! 

I was in DC during the whole Bush administration and the big difference between then and now is that the media didn’t say one thing – in fact the Washington Post and the New York Times were totally on board with all those lies, and people who spoke out were really frowned upon or fired. And there weren’t many bands even speaking out or singing political songs or whatever, even after 9/11, and that really pissed me off to no end. I couldn’t believe it – everyone drank the KoolAid, or they just shut up or something, and I’m still mad about that. So it’s funny now during the Trump administration all these media outlets speaking out all the time. OK I’m glad so that we don’t go crazy, but a lot of those people didn’t speak out before and I’m like, no, I remember you, you weren’t there when it mattered, and now you’re speaking out when everyone else is – fuck you.

Looking back now at the riot grrrl movement … do you feel it was successful overall?
I think right after it all imploded, a lot of us who had started it didn’t think so. A lot of us felt ashamed and scampered off into a corner and ignored it. But I also think there was a lot of backlash against riot grrrl in the late 90s, but I think by the time we hit the 2000s we started acknowledging …like, okay, what were the good things about it? And considering maybe it does have a place, in history or whatever, but we never thought that until 2000-something.

To me, it’s a strain of 3rd wave feminism that belonged to the early 90s so I don’t really feel like it carries into now. I guess don’t really mind if feminists use the term to describe themselves or their groups, but I think it’s important for people to come up with new terms, new groupings, new ideas. And obviously there were flaws and faults with riot grrrl, and a lot of complaints against it. And I understand a lot of it, but some of it isn’t exactly accurate. But, you know – whatever it doesn’t really matter. I think it was important because it was a gathering of women in punk together. Like, hey – strength in numbers! It was like, let’s network, let’s share our stories, let’s communicate, let’s not be jealous of one another, let’s not compete with one another. ‘Cos that’s what society does to women – and to all marginalised people. Mainstream society pits marginalised groups against each other, and people against each other within their own groups, using this idea of scarcity against you like, hey, there’s only room for one of you, or one or two tokens … and that’s what we were really trying to speak out against and really name. And so I think that if that part of the legacy carries on, and if that’s what people appreciate about it, then that’s great. But also a big point of it was to build self-esteem in young girls and women and to look at ‘girly’ culture and uplift things that are typically are relegated to women or girls. I think a lot of feminism didn’t really address the world of young women and girls at that time. Second wave feminism didn’t really make a space for you know, girly girls, and lipstick lesbians and so on! That was important for us. Not only to make our punk rock lives more feminist, but to make our feminist lives more punk. To speak more to the real lives of all kinds of people – all kind of punks, girls, whatever.

It’s interesting to consider the #metoo and #timesup movement now as a mirror of the riot grrrl ethos – the idea of women banding together, strength in numbers against abuse.
Yeah, in riot grrrl that was exactly what we were doing – speaking out about and bringing up sexual violence. These things happening to women is not new at all, but what’s changed is that rich and famous women spoke out, and the rich famous women were believed, you know, which is great, so now maybe they’ll believe everyone else. But I don’t think it was taken seriously for a long time. I’ve always believed in this: you have to put the fear of god into men who harass you. Guys do it cos they think they can get away with it. But if they think you’re going to go ballistic on them or get them into trouble they’ll think twice. When I lived in Washington DC – it’s very much a man’s town, it’s super-aggressive, and I used to get into confrontations a lot. Jocks coming out of a bar at the end of a night and they’d be bugging me … I’d just smack them upside the head, you know, with my purse or my umbrella or whatever. But dammit I just kept breaking too many vintage purses and umbrellas! But I felt it was important to do that – so that they’d feel the fear that the next woman they bothered might punch them in the face too.

What message would you like to give to the girls of the 20-teens?
I don’t want to talk down to the millennials … I’m really inspired by a lot of stuff that’s going on now. There’s a lot more people of colour in bands and outside of bands who are speaking out and really just ‘timesup’ing as well. I think that’s really important and those voices are the most exciting to me – things like Black Lives Matters and also just a lot of cool stuff that’s going on in LA. There’s a lot of scene that revolves around brown people speaking out and being really vocal about really cool stuff going on within their own scenes and culture, and promoting that. But also talking about issues or racism and classism, sexism, homophobia, everything. So I feel like in a lot of ways things are more intersectional now, and bands that really inspire me are Downtown BoysShopping … AliceBag! She inspired me before I even started music and she still inspires me now – she’s still doing stuff, and I think that’s really great. I see more women in bands now, and I almost feel like they don’t think twice about it anymore – I feel like that has a lot to do with the GirlsRockCamps that are all over. That’s a really tangible way you can influence culture. So, my only thoughts are … I just feel it’s really important to let it all hang out on stage! It bothers me when you see bands all just trying to look cool or pretty or whatever, and I don’t really go for that. I prefer seeing a little bit of crazy onstage ­– or at least seeing something that’s honest, interior, and aggressive.

Catch Allison Wolfe with Dubais and the Wolfs, Knight of the Comet (feat. Jon Slade of Huggy Bear) and Big Joanie, at LOUD WOMEN on 20 May, The Amersham Arms. Tickets on sale now.

Video: Bratmobile – Peel Session, 1993

Stephanie Phillips: 10 question interview

  1. Who would you most like to cover one of your songs? 

I’d love to write a song FKA Twigs would want to cover, or maybe Kristin Hersh.

  1. If you could add one member to your band – any person, living or dead, musical or otherwise – who would it be, and what would they play?

Stevie Nicks on vocals and tambourine and Carrie Brownsteinon lead guitar.

  1. What was the last song you wrote, where were you when you came up with the idea, what inspired it, and how did it turn out? 

I haven’t written a song in what feels like forever. I think the last song I wrote might have been a new one called ‘You don’t see the way you hurt me’. It doesn’t really have a title yet. It’s about abusive relationships but I have no idea where the idea came from. It’s nearly finished, it just needs one more hook to finalise it.

  1. Which was your favourite gig you’ve a) played and b) watched?  

Our last gig at DIY Space for London with Twinken Park was my favourite gig. It was the first time Stef Fi played as a band and it went really well. People seemed to enjoy us even though we still only have about five songs. We’re working on more though.

  1. Recommend a record and a book that you think our readers might not have heard of.

I just started listening to Child’s Pose, a new post punk band from London, and I really love their sound. It’s quite 80s but really joyful. You’ve probably heard of this but I really loved Jenn Pelly’s 33 1/3 book on The Raincoats. It was a really insightful overview of an influential band.

  1. What’s your best piece of advice for young musicians? 

Don’t expect to be a genius from the get go. Just write and trust your instincts.

  1. Your top 3 most beloved albums ever – go. 

Dig Me Out – Sleater-Kinney

Hounds of Love- Kate Bush

A Seat at the Table – Solange Knowles

8. What are your musical goals?

To make something I’m proud of. I don’t know what that looks like but I assume I’ll know when I see it.

  1. What’s the most important thing we need to know about your band right now? 

We’re new and ready to get out into the world so invite us to play your venue. Also we mainly play slow, sad songs that you can still dance to.

  1. Give your top 5 contemporary bands/musicians.

Childs Pose because they’re fun

Pillow Queens because they make straight to the point pop punk music.

Shopping because .. well they’re Shopping

Martha are always leaps and bounds ahead of everyone

Solution Hours because I really love their spoken word meets punk aesthetic.

Stef Fi will be playing LOUD WOMEN on 12 May at the Hope & Anchor, along with Belle Scar and Silva.

Video: Nervous Twitch – Promised Me the World

Nervous Twitch are longtime faves of LOUD WOMEN, and their new single ‘Promised Me the World’ just reminds us why we love these garage indie-pop babes, led by the phenomenal bassist Erin. The band describe the track as:

“Spikey and bass-driven with a hypnotic atmospheric groove, ascending into an uplifting contagious refrain. Lyrically the song reaches anthemic heights and is a rallying cry against the promise breakers, time wasters, users and abusers of the world.”

The ‘Twitch are hitting the road soon so catch them in your town, if that happens to be one of these towns:

26th May – Springboard Festival, Cottingham
27th May – Nice n Sleazy, Glasgow
30th May – New Cross Inn, London
1st June – Bad Apples, Leeds
9th June – O’Rileys, Hull

Follow them on social media:
Bandcamp Twitter Facebook

Hosted by Cassie Fox, Abby Werth and Minja Smura!


The 3rd episode of the LOUD WOMEN radio show on WRS is now available on Mixcloud for your listening pleasure! Listen here. Featuring:

  • live performance by Stef Fi / Stephanie Phillips
  • preview of Decolonise Fest
  • tracks played:
    • Belle Scar – Escalade
    • Ill – Space Dick
    • Big Joanie – Baby Rust
    • Silva – Like a Doll
    • Ms Mohammed – ‘Written in Time’
Petrol Girls – Survivor
Video: Screech Bats – That Valentine Song

Here To Be Heard: The Story Of The Slits – film review

by Sarah Lay, published on Storge

Last night the provincial tour of Here To Be Heard: The Story of The Slits rolled into Derby for a showing at QUAD.

Told mainly from the viewpoint of bassist Tessa Pollitt, the film looks over her shoulder as she reminisces through a scrapbook of age-spotted newspaper cuttings and blurred photographs. Interspersed with interviews – including with Viv Albertine, Bruce Smith, Kate Korus, and later members Holly Cook and Anna Schulte – it evokes a loneliness, and the contrast of quiet reflection against the violent energy of the band brings a poignancy to the film which no amount of cloying nostalgia would have managed. This is very much a personal telling of a story of cultural importance to us all and it’s a credit to director William Badgley that he gets out of the way and let’s The Slits tell their story, their way with little interference.

From the beginnings of the band, rising from the squatter scene and the birth of punk it follows the tangle of relationships within the band and with the bands around them. It shows chaos in all its creative glory – individuals who found a way to be free within themselves because the fear of conforming to society’s tight ideals elicited more fear than being hated or failing ever did.

Musically it tracks how the band sped through a few early line-ups before hitting the magic combination and immediately getting out there and finding their way through doing rather than planning. From the controversy caused by their very presence, never mind behaviour, on the Clash‘s White Riot tour, through to the influence of reggae and dub on their sound, to the creation of iconic album Cut there should be no doubt of this band’s creative chops. Indeed, while subsequent album Return Of The Giant Slits may have afforded them less attention it too showed a band who were unafraid to move forward and explore – not for them the pigeonhole of punk, it just happened to be the scene in which they first appeared. This was a band who stayed true to themselves, while moving sound forward even after a long hiatus and a reformation in a very different line-up.

Culturally then this band embody the ethos of punk; destroying to create time and again. They blend genres, they don’t let technical ability hold them back, and they give a great big fuck you to any idea of how they should present themselves or behave because of their sex. The very nature of a girl group is subversive – the rejection of the idea of competition in favour of community – a bond which meant however vitriolic the energy between them it was always them against the world.

And this is the brilliant surprise of this imperfectly perfect film: the honest portrayal of female friendship on screen. No sugar-coated gentility here. Love is brutal – friendship no less so than the romantic kind – and this film didn’t shy from that. It showed the solidarity, and the separation, the rushes of joy and the crushes of grief. That the film was driven in no small part by Ari Up both before and after her death (in 2010 at the age of 48) shows not just the power of her as a person, but the positive impact she had on the lives around her. Again, credit here that her life and death were treated with dignity – no mythologising, just huge respect paid.

The story of The Slits is long overdue – a band vital to music; intrinsic to a period of our culture; inspiring, adventurous and creatively brave – they rightly deserve to be honoured and celebrated. They paved the way for female artists, and more fundamentally for women to have their own agency in creative expression and self-sovereignty in identity, and Here To Be Heard simply and honestly captures this and more.

If you missed the showing at QUAD you can see Here To Be Heard at the Broadway Cinema in Nottingham on Thursday 19 April 2018, with Q&A hosted by Forever Records with a DJ set to follow.

Find Here To Be Heard:

Video: Trailer for 'Here to be Heard: the Story of The Slits'

LW Politics & Music

by Kris Smith

The media regularly bemoan a lack of politics in music, compared to a mythical 60s/70s/80s ‘good old days’ – only to salute as an exception the occasional gobby indie-boy band trying to kickstart their career with some token rebellious rhetoric. Meanwhile, every year there are more fiercely-politicised, intelligent and committed activists getting busy on the DIY feminist punk scene, far from the plaudits and pitfalls of the spotlight. In the first part of a new series of interviews, LOUD WOMEN meets them and asks them some of the questions that the music industry won’t.

Part 2: Janey Starling (Dream Nails)


What made you decide to use your songwriting to express political viewpoints?
Politics is about delivering a message and building communities based on shared values. There’s no better medium for that than live music – and as a woman, it’s a radical act to express anger publicly and create a space for other women to do the same. I’m a feminist direct action activist and Dream Nails is an extension of that.

Do you use songs as tools to put across prefigured messages – or is it more that you self-express in general through music, with politics just one aspect of that?
It’s both. I’m an activist through and through, so the songs that I tend to write (though not exclusively) are political because that’s what’s on my mind; and that’s what’s important to say. After shows we get so many women and non-binary people thanking us for singing so openly, recently a woman told us that our gig was “like therapy”. Politics is often positioned as this serious and dry thing when in truth there’s nothing more passionate, and we have a lot of fun with it too. It’s not an abstract, academic thing or a topic to speak about – it’s in the way we host our shows. 


Is the function of politics in music to affirm views within a reciprocal social group, or convert – or at least converse with – a wider public?
Those two things aren’t mutually exclusive, as you’re always playing to a different audience. It serves both purposes, but ultimately there are limits on how much you can express through the music alone – often I do a lot of talking onstage, and will share the national domestic violence helpline number too. That kind of stuff is always useful to say and share, because you never know who’s in the crowd and who might take something away.

Explicit or ideological politics is a rarity in music, even most punk/DIY scenes: is that something you’re conscious of, and does it matter?
It’s interesting you say that, because I agree. I expected there to be more activists within the punk/DIY scene. Music alone will not resolve the structural issues we face, but it can empower individuals with the strength they need to take concrete action, and by that I mean strategic and direct responses like campaigning, direct action and grafting at community building (which is different to socialising). It also comes down to how you live your politics and political identity; for me it’s a lifelong learning as opposed to a label I wear, and that learning can only be done through action, dialogue and often feeling uncomfortable. Like, it’s great to be in a punk band, but make sure you’re actively involved in migrant rights activism, campaigning against police violence and volunteering on your local rape crisis helpline.

Do you see yourself as part of, and drawing influence from, a tradition of politicised music/art?
I do things very instinctively and in honesty, what I do doesn’t come from identifying as a musician, more an activist with a microphone. I don’t really listen to music and think “I want to do that”. When I have something I want to say, I’ll write some lyrics and the band will discuss the idea, and the band then builds a song around it.

There are various ways that a performer’s politics might not communicate to an audience, but you also make a point of speaking between songs to reinforce the message. Did that come naturally, in terms of the confidence needed? Is it to break the ice, to break down barriers with a crowd, or to clarify  – or all of those?
I’ve always done it and never thought twice about it, mainly because punk venues have shitty sound and nobody can actually hear the lyrics I’m singing!

The success of someone like Billy Bragg (approachably media-friendly, active in mild, non-threatening campaigns) might suggest that in terms of politics-in-music the music can actually be of secondary importance: is that true?
Yeah definitely. It’s an important aspect of what I do, but writing a song isn’t going to change a law or stop a fascist party coming into power. However, saying that, the music I write and the politics I hold aren’t mild or designed for mass appeal: they’re unapologetically radical, intersectional, trans-inclusive and queer. I do think that writing this music has the power to give other people the confidence to do the same, and convince them that what they have to say is important and they have a right to be heard – that in itself should open up more public space for radical voices.

Is there a pressure that comes with being known as a political musician? And is there a balance to strike between work on the one hand, and fun and self-care on the other?
Dream Nails have so much fun whatever we do. Sometimes we’re angry, sometimes we’re laughing – it’s all a release. We have a really great time away on tour together, though touring is unimaginably exhausting.  However, it does feel like we fall in this weird middle area where you’re open to a lot of criticism – too political and radical for the mainstream crowd, but not articulate or nuanced enough for the activist crowd. There’s definitely a pressure to always say the right thing. It’s really hard to do that in the music alone, and even through the spaces we have between the music, but we’re always conscious, listening and trying. I do think we’re held to a higher standard than, for example, standard dry man bands – because we’re openly political, and because women are immediately open to more criticism anyway.

As with most traditions, what we think of as political or “protest” music has previously been white/male dominated. Have things changed?
We live under hetero-patriarchal white supremacy so yeah, everything is white male dominated. Well, except the global market in care work, or NHS nursing, or everyday emotional labour, but that’s a different conversation. The DIY scene is doing really great things to challenge the lack of female representation and to skill-up musicians, but I still see all-white line ups and I still see DIY promoters fucking over working class female musicians by not paying them enough, or not at all. The DIY scene is as much about the promoters and venues as it is the musicians – everyone has a part to play.

How do you view the contemporary music industry as a whole?
Exploitative. We get paid 5x more (I’m not even exaggerating) by DIY promoters than we do by big bookers, so we have to balance out the gigs that we do in order to make sure we can financially survive. Like so many other creative industries, if you have a financial safety net then you can take risks, swallow losses and afford to spend more time cultivating your artistic expression. To be honest, if it wasn’t for the DIY scene, we wouldn’t exist! What is exciting though is the fact that DIY is growing.

What are the primary political issues we face, in the UK and globally?
Instead of naming an issue or cause, I’d say that one of the primary issues we face is an inability to put our egos aside and listen to one another – and to view oppressions as intersecting and connected. That requires honesty, humility and discomfort and in order to feel those things in a constructive way and to nourish each other to build a better world together, we need to create a kinder and more patient, reflective politics. It goes back to what I said about politics being a lifelong learning, not a label – we’re all learning and growing, all the time, and in order to do that we need to also express forgiveness and gratitude.

Find Dream Nails on Facebook

Part 4: Jen Doveton (Colour Me Wednesday)

What made you decide to use (some of) your songwriting to express political viewpoints?
I’m not sure whether all political musicians think in this way but I think it’s because it feels like it’s something that isn’t being said, so it’s something I feel like I want to rant about. And it feels like a topic that is important enough to play to people over and over.

Do you use songs as tools to put across prefigured messages – or is it more that you self-express in general through music, with politics just one aspect of that?
I am always going on political rants anyway, but to be a song something has to have an emotional core, to me. That’s why it’s going in a song rather than an essay or something else.

Is the function of politics in music to affirm views within a reciprocal social group, or convert – or at least converse with – a wider public?
We hope we’re saying something people haven’t heard before but actually, when we started the band we were a group of fairly isolated left wing kids in a tory London borough and it came as a surprise to be preaching to the converted (once we found our crowd). I think hearing someone confirm or express how you already feel is really good for your mental health so it’s just as worthy to speak to people who share your views as it is to present a persuasive argument to people who might not agree in the wider public.

Explicit or ideological politics is a rarity in music, even most punk/DIY scenes: is that something you’re conscious of, and does it matter?
I am conscious that it makes some people bristle. Either they don’t like [us talking about] politics or they don’t like the over-earnestness of political music. People are much more comfortable with political satire (i.e. topical panel shows and sketch shows) than with political music. But that might have something to do with most satire being a bit toothless, does it really challenge people’s beliefs? Does music? I don’t know.

Do you see yourself as part of, and drawing influence from, a tradition of politicised music/art? 
Yes I suppose I do, but I don’t know what names I am supposed to drop here. I studied fine art and political art felt deeply unfashionable at the time. So I felt like I would never fit in to that scene, cos I saw political issues everywhere. That’s why I turned to DIY punk, and zines. I definitely see myself as part of the radical crafts movement, if that’s the right term. I was made to make zines/handmade cd covers. Being a politicised artist for me means, obviously, being broadly left wing but also having a community-based consciousness. So you’re creating stuff that can be really personal, because of who you are, the personal is political but you’re also aware of the larger community. I’m aware of the space I’m taking up, aware of how it impacts the scene and aware of how I can collaborate with others. In a way this seems incompatible with what we’re being told about being an artist. We’re brought up thinking being an artist is very individualistic and naval gazing. We’re taught about larger than life icons without learning properly about the complexities of the community that built them, who influenced them. I feel like I learn more about being a DIY musician from activist traditions and community-building than from any artistic or business tradition. I guess my head is more in the process than the output when I’m thinking about your question.

Is there a pressure that comes with being known as a political musician? And is there a balance to strike between work on the one hand, and fun and self-care on the other?
I feel like men have it easier when it comes to politics, they’re less likely to be told to ‘stay out of politics’ for a start. Being a woman and being read as quite young, it’s really intimidating to express a political opinion, particularly online where a man, usually from an older generation, is always ready to pop up to tell you to ‘stay out of politics’, or to try to correct or “mansplain”. And going ahead with writing now, I do feel like there’s a pressure to be able to encapsulate a lot of the political issues going on right now in my music. But sometimes I just feel like writing song after song about how fucking suffocating winter is. All I really want to do is watch netflix and eat pasta. Harriet and I are the types of people who are very task-oriented. We don’t set aside time to socialise and you have to force Harriet to relax. I’ve lost friends, I think, because I don’t make time to invite them round or do relationship maintenance. I have to tell people now, if you want to be my friend you just have to invite yourself round. I’ll cook for you, and I’ll probably give you some merch to package up or you’ll have to sit there while I make CD covers. Being in a DIY band, there’s no line to tell you to stop working, cos you’re working at what you are passionate about and it’s entirely self-propelled. There’s also a huge burnout cycle where you push yourself too hard on tour, have to be ‘on’ in terms of socialising every night and come home and get ill and beat yourself up for not being able to bounce straight back into work or into a social life. I’m not sure how to remedy this because most of my friends are exactly the same, they’re in bands and we only really see each other ‘at work’.

As with most traditions, what we think of as political or “protest” music has previously been white-male dominated. Have things changed?
The pocket that I’ve found myself in definitely doesn’t feel male centred. But it has to be said, that is not a very profitable or high-status pocket. It doesn’t feel like that long ago that I felt that I would never feel at home in the punk or rock or indie scene because I could or we could never compete with the ideal of what a band should look like. A bunch of white men, anything else would be an exception, novelty, or a bad emulation of what people expected to see. I’m not sure how much society has progressed, but I know we’ve moved out of that crowd so we’re not exposed to it as much. There has been more criticism of white-male dominated music scenes in the mainstream press – like in the case of calling out male-dominated festival lineups – which is promising. If you’re asking whether political and protest music in particular is white-male dominated in its own right, aside from the fact that most of the arts are – I don’t know. Anecdotally, white men seem to get more praise for what I see as fairly obvious political statements and mediocre creative output than people in other demographics. People aren’t always aware of their prejudices and give more time and consideration to white men in general in all fields, it seems. I think in terms of activism, some people think that being a good left wing activist is about being passionate, loud and angry. Maybe that idea does stem from the same ideas that make toxic masculinity so toxic. Most long term political activists aren’t fuelled by anger – I don’t think anger is a sustainable state of being.

How do you view the contemporary music industry as a whole?
I see it as very streamlined to create the most amount of profit for the smallest amount of effort. The radio stations, magazines, TV shows, festival bookers are all told who to play/promote/book by the handful of major labels and their subsidiaries. No one else gets a look in apart from this small top tier. The talent-show TV format (which I love, don’t get me wrong) gives us the vague, background idea that it’s a meritocratic lottery – that deserving young kids are plucked out of obscurity and it’s a beautiful thing. In the real world, anyone who isn’t in this top tier – getting regular radio play etc. – is forced to undersell themselves and work for basically nothing. There’s no one to regulate for when they are short changed or fucked over and they have to rely on the personal, individual patronage of their fans to survive and succeed. The internet has made it infinitely more possible to reach fans and cut out this middle man of mainstream media promo, which has guaranteed its own obsolescence by being such a gated industry.

What are the primary political issues we face, in the UK and globally?
The normalisation of fascism? Maybe everyone took for granted that nazi=bad and forgot to keep hammering that point home. Or maybe it was hammered home too narrowly? Because people are failing to recognise nazis when they are out of the context of grainy footage of 1940s Germany? Or they don’t understand what’s wrong with platforming fascists because they’ve been placed on an arbitrary/bogus spectrum which makes them the equal and opposite number of the only people willing to oppose them, the ‘far-left’? I dunno.

Colour Me Wednesday's second album is available now to pre-order from

Video: Bugeye play a LOUD WOMEN Kitchen Session

Just before Christmas, Bugeye popped in to Cassie Fox’s kitchen, to play a couple of songs, and have a chat about releasing their new album, a career spanning the 90s DIY scene, Wembley stadium and everything in between, and how to play a guitar with a baby bump!

Video features live performances of ‘Wake Up’ and ‘Hey You’. Look out for cameo appearances from Abby Werth, Ernie the cat, and baby Beth.

Belle Scar: 8 question interview

  1. What was the last song you wrote, where were you when you came up with the idea, what inspired it, and how did it turn out?  
    It’s about good luck versus bad luck and the confusion of it all and how we have no control over certain things. Why do some people go through horrific things in their lives … Destiny, random luck, journeys, denial, fears… It’s still in the making. I guess It will be intense and emotional like most of my work.

    2. Which was your favourite gig you’ve a) played and b) watched?   
    A – a venue in Kwidzyn, Poland was very memorable … but there’s so many.
    B – I would definitely put Iggy Pop in my top and Diamande Galas too.

    3. Recommend a record and a book that you think our readers might not have heard of.
    A Coney Island of the Mind by Lawrence Ferlinghetty. It’s a great poetry book. It should be in your collection, and Silvia Plath’s Ariel too.
    Yma Sumac‘s Mambo! Crazy vocals, exotic, intense and a totally unique voice from the 50s.

    4. What’s your best piece of advice for young musicians? 
    Let it all out and practice the hell out of it!

    5. Your top 3 most beloved albums ever – go.  
    There’s so many but these are a few I’m thinking of at the moment. Nick Drake’s Five Leaves Left, All of Nick Cave’salbums, Pink Floyd‘s Dark Side of the Moon, David Bowie The Rise and Fall of Ziggy Stardust and the Spiders from Mars; Songs of Leonard Cohen,

    oops I think that`s too many … But there’s so many and I did not even get into Jazz, Classical … Nina Simone, Ennio MorriconePatti Smith …

    6. What are your musical goals? 
    Always create new and interesting pieces and always get better as an artist and as a human being. Always staying true to myself.

    7. What’s the most important thing we need to know about your band right now? 
    You absolutely must see Belle Scar live!

    8. Who would you most like to cover one of your songs? 
    Nick Cave

Belle Scar will be playing LOUD WOMEN on 12 May at the Hope & Anchor, along with Stef Fi and Silva.

Video: Belle Scar – Escalade

Silva:10 question interview


1. Who would you most like to cover one of your songs? 
We’re big fans of Radiohead so would be interested to see how they would cover one of our tracks, maybe make them eerier and more electronic.

2. If you could add one member to your band – any person, living or dead, musical or otherwise – who would it be, and what would they play?
Ellie Roswell (Wolf Alice) or Shirley Manson (Garbage)

3. What was the last song you wrote, where were you when you came up with the idea, what inspired it, and how did it turn out? 
Our newest track which we have been playing at recent gigs called ‘Breathe In’ – it’s about the tug and pull in a relationship and feeling like you’re constantly walking on eggshells.

4. Which was your favourite gig you’ve a) played and b) watched?  
Our favourite gig we’ve played so far was at the Roundhouse Sackler Space for the Rising Sounds Album launch in March. Our track ‘Like a Doll’ is featured on the compilation album of Roundhouse Rising Sounds acts of 2018. The atmosphere was great with the smoke machines and moody lighting, and the crowd was fun they were grooving along with us which was great to see.
Favourite gigs we’ve seen – 
Kerstin (Bassist) – Acid Mother Temple
Esther (Guitarist) – Paramore (first gig)
Sylvia (Synth player and lead vocalist) – Godspeed You! Black Emperor 
Shakira (Drummer) – Warpaint 

5. Recommend a record and a book that you think our readers might not have heard of 
Both albums by Khruangbin, ‘The Universe Smiles Upon You’ and their recent release ‘Con Todo El Mundo’ – chilled summery psychedelic vibe. Book: Norwegian Wood by Haruki Murakami

6. What’s your best piece of advice for young musicians? 
Practise, keep writing, have fun, be bold (and save up!).

7. Your top 3 most beloved albums ever – go.
Hmm too hard a question for all of us to agree on, but off the cuff between us we think Bloom by Beach House, Ok Computer or In Rainbows by Radiohead and Lemonade by Beyonce. 

8. What are your musical goals? 
We want to record our album asap and then tour tour tour.

9. What’s the most important thing we need to know about your band right now? 
We’ve got gigs lined up from now til July in London so come and say hey! Looking to gig outside of London very soon. We’re constantly writing and playing new material. You can hear our track ‘Like a Doll’ on the Roundhouse Bandcamp or come dance to it live!

10. Give your top 5 contemporary bands/musicians
Wolf Alice – We love their first album but the evolution of their sound in the second is amazing, and they’re incredible live
Beach House – Consistently explosive
Mitski – fills a room herself
Grimes – inspiring that she does everything herself like self-produces, and love her sound 
Beyonce – BeychellaWhat was the last song you wrote, where were you when you came up with the idea, what inspired it, and how did it turn out?  

Silva will be playing LOUD WOMEN on 12 May at the Hope & Anchor, along with Belle Scar and Silva.

Keira Anee: photographer of a scene

interview by Kris Smith

(c) Keira AneeHow long have you been a photographer, and how did you get started?
Since I’m enjoying the attention, I’ll go for the long answer! I remember watching my dad take photos when I was young, and in some way I think the control he had over people – to mould them in some small way for the photo, was what first got me interested. I asked for a camera for my 7th birthday, and can remember every Christmas and birthday after that asking to have a film developed, and loving the anticipation of seeing the prints.

I’ve been working professionally since I finished studying (photography!) and rather than the early influence I had of ‘moulding’ a photograph, I prefer to leave that to the frame rather than the subjects and prefer candid shots, a big one being live music photography.

Is photography a hobby, a career, or something in between?
All three! It’s something I’ve never been without, although I wouldn’t know how to begin to summarise it. I know that when I was a teenager taking photos of things and people it helped me to realise how I felt about them, and also I suppose in some ways helped me to look at the people around me in more detail and understand them better. It has become very personal and a lot of myself goes into the photos. But having said that, most of my teenage photography was friends play fighting and smoking under bus shelters, so…

Can you tell us what equipment you use?
I use four main cameras, but each is not necessarily what I would be using if I had a better budget. All of my equipment is second hand, about from two budget prime lenses – a Canon 50mm and a YONGNUO 35mm. I shoot digitally on a Canon 5D mark ii with Canon speedlite 430 EXII, and on film a Canon 5 EOS, an Olympus Infinity Zoom 220 and a Mamiya RZ67 Pro. If I had a choice I’d be shooting on a Nikon D810, some version of a 35mm Leica and a Mamiya 7, but hey, one day!

Petrol Girls at LOUD WOMEN Fest 2016 – (c) Keira Anee
We know you for ‘live’ band photography, but what else do you get up to?
“A bit of everything” would be accurate, but portraiture is my main area; band shoots included. I think you’ve probably seen some of my projects like ‘Lily; at a gig’ (over the span of three years, seeing the same woman at gigs) and the Sour Sweets project (undecorated photos of peoples expressions whilst eating a sour sweet) and the untitled project (two photos of the same persons face. In one their clothes are off, unseen to the viewer. It’s to see the facial expression change, and how it differs for different genders). I am also Deputy Editor for 98 Wounds which a lot of photography goes into, and I pay the bills by doing weddings, baptisms and club nights!

I’m conscious of the dubious ‘man asking woman how it feels to be a woman’ line of questioning, but in your experience are women in photography still a minority, and if so does that come with any associated challenges?
This is actually a tough one, as all the male photographers know have been patronised or mistreated by people in the same way. However, I do feel that they do not feel the same threat that I do as a woman. Often I am expected to present my worth in the form of my equipment, or get double looks with the line, ‘that’s a big lens!’

Generally speaking, the photo community in London is very supportive of each other, and I would say being a female photographer has many of the same disadvantages as being a woman in many other fields; perhaps the biggest being that my size is rarely accounted for in big gigs.

I am lucky to know so many incredible photographers. Sara Amroussi Gilissen and Carolina Faruolo are just two of the amazing women regularly blowing my mind.

Are there any particular highlights of your time behind the camera?
Ahhhhh so many! But it’s always THE BEST feeling taking a photo of someone and them feeling it represents them well, being happy with the results. It can sometimes feel that you’ve managed to show someone just how amazing they are through my eyes, it’s a great connection.

The highlight for me is making people feel comfortable with the camera and bringing their personalities out for it, whether at a small gig, a wedding, or just in form of a snapshot.

What are your current favourite bands and records?
There have been some really great compilations out this last year – the ‘We Can Do It’ first compilation was how I first discovered Krush Puppies, and the Loud Women compilation opened my eyes to many great bands too. But to answer your question, I cannot stop listening to Big & the Fat, Calva Louise, Syrra, Meatraffle, HUSSY, Ghum and Indian Queens. As well as the latest USA Nails album…

Where would you like your photography to take you in the future?
I love touring with bands, so would be wonderful to go abroad and explore gigs outside of the UK! (I’m confident that wherever I go, Lily will be there).

Finally, can you show us some of the photos you’re most proud of,  and tell us a bit about them?
I’ve been trying for more than ten years now to put a definitive portfolio together, and I‘ve been too harsh a self-critic to ever manage it. So here are a few I’m liking at the moment!

I’d like to tell you about them and as I’m sure you know, I can talk forever… But I hope that looking at them tells you what you need to know (else cancel everything, I’ve failed miserably).
(c) Keira Anee
(c) Keira Anee
(c) Keira Anee
(c) Keira Anee
(c) Keira Anee

Dream Nails: Vagina Police/Fascism is Coming

Single review by Jelly Cleaver

I can’t say enough good things about this double A side Vagina Police/Fascism Is Coming, so I jumped at the chance to review it so that I could at least start saying some of them.

I was at the single’s launch gig at The Shacklewell Arms and got a copy of the free zine on Reproductive Justice they’d made to go with it. It’s an incredible, intersectional collection of contributions which highlight marginalised communities fighting for their rights. Their passion, honesty and sense of mission is obvious in their delivery both in the recording and as a live band, and you know that they bloody mean every word they say. Their amazing frontwoman Janey Starling manages to say “fuck you” in the funest way possible, and guitarist Anya Pearson is somehow magically able to be two very good guitarists at once, combining rhythm and lead with some mega riffs. They are the personification of girlpower and it sounds as good as you’d think it would.

Vagina Police is a proper rocker, wrapped up like a bow with a great guitar solo at the end. You should check out the video for it as well, although it’s hard to find because the powers that be at facebook keep taking it down because it has the word “vagina” in it. Fascism is Coming begins with Mimi Jasson’s sleepy indie bass line and croons of “nana 27657922_1356522484452998_4757159637541951631_nohh”, and then bursts in screaming “Fascism is Coming!”. It fantastically tears apart the mentality of “someone else will do something” which is allowing the Western world to complacently goosestep back into a very dark recess of history.

I love the way that all of Dream Nails’ lyrics get their point across as clearly as a placard at a protest, in a screaming chorus that you can already sing along to by the second time they play it. They turn a serious and overwhelming issue like fascism into something you feel like you can scream at, and then dance to, and then go and do something about.

We should obviously all be doing something in the fight for Reproductive Justice, and buying their single is a good place to start. All proceeds will go to Abortion Support Network (ASN), an all-volunteer organisation providing accommodation and financial assistance to women forced to travel from Ireland to have a safe and legal abortion.

Dream Nails: Vagina Police/Fascism is out now on Bandcamp

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Video: Dream Nails – Vagina Police

Dream Wife (LP)

review by Zoe Biggs

Upon discovering that their genesis lay in a performance art project whilst still at university, I started to hunt for more information on the Icelandic-British garage rock outfit Dream Wife. The truth (they take their name from a 1950’s film starring Cary Grant and Deborah Kerr) and the falsehoods (that they entered their Spinal Tap mockumentary into a film contest and their prize for winning was to go to Canada and play Canadian music with the band with a film) both delighted in equal measure.

Hot off their sell out gig at Heaven, Dream Wife have announced a Halloween show at the legendary Koko, so now seems a fitting time to put pen to paper (or finger to keyboard if you prefer) about their self-titled debut album. Kicking off the proceedings is the explosive ‘Let’s Make Out’, channelling a Babes In Toyland vibe, and with an infectious bassline from Bella Podpadec holding it all together, this sets the album up nicely. It would surely be an error to throw comparisons out there solely to the other riot grrrl acts who have come before them. Influences that really come through on this album range from Peaches, to Yeah Yeah Yeahs to The Strokes.

‘You were a cute girl standing backstage, it was bound to happen’ singer Rakel Mjöll states simply as the opening line of ‘Somebody’, a phrase that makes me shudder, but also stokes  my anger that someone had the audacity to utter that drivel to her. As if simply existing is a justifiable provocation for some. The chorus chant of ‘I am not my body, I am somebody’ is perfectly straight to the point – can we make it any clearer for those who are still refusing to pay attention? ‘Somebody’ gives the album a bit more depth that it may otherwise be lacking in.

Fuzzed out riffs from guitarist Alice Go propel us through the catchy and handclap-laden homage to Le Tigre that is ‘Hey Heartbreaker’; an instantly loveable vibrant and colourful track.

‘Love Without Reason’ is one of my favourites on this album, a blissful and haunting refrain with a sweet innocence about it that you can just picture being sung back to the band by the crowd during a bittersweet moment at a summer festival.

Honourable mention to the closing track ‘F.U.U.’ a collaboration with Fever Dream, starting off as brash and as raw as you want, but then swaggering into a finishing breakdown of ‘I spy with my little eye, bad bad bad bad bitches’, which, if you weren’t singing along with this album already, then this is going to hook itself into the dark recesses of your mind and appear screaming out at inopportune moments.

Overall a really fun and energetic offering from Dream Wife, and I’m eager to see what they will come up with next.

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Video: Dream Wife – Let's Make Out

Rainbow Reservoir: Channel Hanna

LP review by Kris Smith

Like Nervous Twitch and BisRainbow Reservoir are a female-fronted power-pop/punk trio. Like Schande and Death of the Elephant, they’re a British, but American-fronted, indiepop/riot grrrl-influenced trio. That’s about all I can tell you about Rainbow Reservoir, except that they’re clearly some genus of digital outlaw, having their own website but no Facebook page. Oh, wait, there’s more: this seems to be the group’s third record, and their second on Odd Box Records, after a self-released EP and 2016’s ‘Coco Sleeps Around‘ – none of whose tracks appear again on this 12-track LP, which by the way you should totally purchase on pink vinyl immediately if you haven’t already by the end of this paragraph.

Not only does the record begin with a tune mocking Queen Liz the 2nd (‘Brenda’, to Private Eye readers), with its stand-out lyric “stealing is a crime unless you’re born behind the palace gates,” [see also: The Clash’s ‘Know Your Rights’ – Punk Ed.] but it follows up with the excellent pun-tastic title track hymning Kathleen The Great (“change the station – channel Hanna!”) which, like following track ‘Podium Girls’, has Angela backing herself on vocals.

After establishing a strong formula of keening vocal and fast, crunchy guitars, the albums’ pace slows for ‘Man O’ War’, picks up again for ‘Forest Fire’ and changes completely for synth-lullaby ‘Rainbows Don’t End’, with no drop in songwriting quality. At first listen the slower tracks weren’t to my taste, but on repeated listen they’re some of my favourites – a solid sign of a multi-layered record. Next track ‘Fuzzy’ ticks too many twee boxes for my liking, but rattles (and fuzzes) along nicely enough. Next track ‘Drunk Maria’ (“kept the nuns up all night!”) is better, with a beautifully-gnarly chord sequence reminiscent of something from legendary West Coast punk label Dangerhouse Records [note to self: update references – Ed.] and some great group b.v.’s from the band.

‘Gold Star Girl’ is another gentler song, and ‘Blue Crab’ another stripped-down lullaby which somehow both pass through my cynical filters intact, while the crunchy guitars kick back in for ‘Posh Ponytails’ (“the world doesn’t need any more!”) and the slower ‘Big Bunny’ which ends the record on a surreal lyric that, potentially for the first time in song, manages to rhyme “habit” with “rabbit”.

With the passing of labels like Fortuna Pop, Tuff Enuff and Soft Power, Odd Box Records’ already-strong credentials in the field of quality indie punk pop (much of it female-driven) now look more vital than ever. This album is a worthy follow up to last autumn’s excellent Suggested Friends debut and can be filed alongside PeanessWolf GirlWitching WavesNervous Twitch, the Ethical Debating Society and the reformed Darling Buds as part of an increasingly impressive Odd Box roster. Long may the bands and label continue.

'Channel Hanna' by Rainbow Reservoir is out on OddBox now.


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Video: Rainbow Reservoir – Fuzzy

U.S. Girls: In a Poem Unlimited

LP review by Jelly Cleaver

In my standard mindless streaming through Spotify, something in U.S. Girls’ single Velvet 4 Sale made me very quickly skip to the whole album, and then very quickly afterwards book a ticket for their next London gig in May.

In A Poem Unlimited is about the collective rage of women done wrong by centuries of patriarchy. With struggles like the #MeToo movement and more survivors of sexual violence and harassment coming forward, these voices are starting to be heard where the Trumps and Weinsteins of the world use to silence them. U.S. Girls presents an anthology of complex female narratives of women confronting power, but the tone is never passive, the stories never simple. Rage of Plastics is from the point of view of a woman made infertile from working at an oil refinery. On M.A.H. her rage is directed against former president Barak Obama for charming America while continuing to wage wars abroad. By telling this story in the formula of a bad break-up song, she echoes the feminist academic argument that the everyday violence and abuse women experience from men mirrors the violence and warfare throughout the world.

Fitting with these complex and often uncomfortable stories is her wonky art-pop style. Her collaboration with members of the Toronto funk and jazz collective The Cosmic Range gives the record an unmistakably funky undercurrent which finally gushes through in the final track in an 8-minute jam on the appropriately named Time. Killer guitar effects, weird synths, and a voice like a possessed Madonna:there’s plenty of stuff in there to leave you feeling just the wrong side of comfortable. There’s something a bit apocalyptic about it, like a high school disco in approximately 1982 being gate-crashed by the Rocky Horror Show. It reminds me of one of my favourite albums of the last few years – ANOHNI’s Hopelessness. Like Hopelessness, it is calling the world out for its shit in the most glorious-sounding way possible.

Video: U.S. Girls - Pearly Gates
The bands for Decolonise Fest 2018 have been announced! 22nd-24th June at DIY Space for London – a weekend of punx of colour awesomeness! Feat. several LOUD WOMEN faves, including:

Bob Vylan
The Fish Police
Great Wight
Kapil Seshasayee
Ms. Mohammed
No Home
Secret Power
Shocks Of Mighty
Video: The Other Ones – Perfect Girl
Video: Cryptic Street – Let's Go Suki

Our fave Maltese girls! Looking forward to welcoming them to London this summer when they play LOUD WOMEN 11 August at the Hope & Anchor
Video: Basic Bitches – How Come None of Your Ever Want to Hang Anymore?
Video: Hawk – Keeps Me Out
Video: Tami Neilson: Stay Outta My Business
Video: Lithics – Specs
Video: Alpha Maid – So Pretend

That's all folks!

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