LOUD WOMEN eZine Issue #9 | The Nyx | Slags | IDestroy | Hot Sauce Pony | Gaygirl | Graceland
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LOUD WOMEN eZine issue #1


Now That's What I Call 
Cowtown: Tweak
Now That's What I Call 
Lilith Ai: Rude Grrrl

LOUD WOMEN eZine issue #9

LOUD WOMEN is a DIY collective that champions women in music. This eZine will bring you the latest scoop on women-led music, events, ideas and action that we love and you want to hear about. And if that floats your boat, get involved and contribute to the next one!

our next gig:

Friday 2 December, Veg Bar in Brixton – a very special Christmas grotto party with:
  • The Nyx
  • The Baby Seals
  • I.V.
Plus DJ set from Kris of The Ethical Debating Society and poetry from Nadia Drews

A little Christmas treat for those of you who didn't make it to our 18 November gig - noone should miss out on seeing SLAGS! Here's their song about, yep, Janine off Eastenders. (And there's another SLAGS video over on the LOUD WOMEN YouTube channel too.)
Slags – 'Oh Janine' – LOUD WOMEN at the Hope & Anchor, 18 Nov 2016

interview: The NYX
words and photos by keira cullinane, exclusively for LOUD WOMEN


The Nyx are incredible. They are also known as Collette (on drums), Becky and Simone (on V’s and G’s) and Ruby (on bass), and they’re playing for LOUD WOMEN aat the Veg Bar in Brixton on Friday 2 December.

First of all - the first date stuff. Where did you meet, when did The Nyx get together and is it an equal relationship??
Becky: We used to be in an old band called Rouge, and we felt we had kind of outgrown the old band. We’d finally found our sound and wanted disassociate ourselves with Rouge. So we wrote some new material, added Collette on drums, and that’s when it became The Nyx and got really exciting!

Who, or what, was your inspiration for being in this band and when did you realise you wanted to do it yourself?
Not necessarily a drummer, but, Annie Lennox for me? She is so inspirational - not even just music; politics, social stuff - she was just such an icon.
Becky: I think i’ve always just loved Janis Joplin. It’s not even really from a musical perspective, she’s an amazing musician, but it’s not that aspect that attracted me to her. More the attitude, the emotion and rawness and authenticity. She’s just being herself, she doesn’t give a shit what everyone thinks, she’s gonna do it anyway, a sort of ruthlessness! Just completely being herself and expressing herself which made me think, ‘that’s what rock ‘n’ roll’s about.’  Not necessarily about writing a song to a certain structure, but living it. But growing up, I listened to a lot of hard rock bands, like ACDC, Nirvana - all male bands. It was no one influence, but these sort of bands made me want to do it.
Simone: For me it’s similar to Becky, like Nirvana, I guess male dominated rock. Then the Spice Girls, I was kind of a mix between Sporty Spice and Crazy Spice.
Ruby: ...There wasn’t a Crazy Spice
Simone: Was she not crazy? What was she?? ... Then I got into Skunk Anansie, and that for me was a mix between the crazy and the sporty.
Ruby: Growing up, everyone says Foo Fighters. Again, there weren’t that many female bands on the scene when we were growing up if you were into rock. But the first female in a rock band was probably Haley Williams from Paramore. I wouldn’t say she was necessarily an inspiration, but she was the first person I really saw doing it in a rock band, that was in Kerrang! Magazine and was in a mainstream capacity.
  • "Yeah, I don’t think I had that pivotal moment when I was a kid, of “look at that girl go!” ... I didn’t get that inspiration from women, it was always GUYS."

When I first started going to gigs it was 2001 and there was a massive hard core scene. So all I was seeing at that age when I was a sponge waiting for inspiration was guys with long side partings, screaming into a microphone, without melodies. I was there thinking, “Is this what rock music is like?” I had to sort of forge it for myself.

(We discuss the platform (or previous lack of) for women making rock music and people like Courtney Love’s fame being divided between a talented musician and being seen as ‘Kurt Cobain’s Wife’.)

Simone: I used to buy CDs from a guy at school who used to download music from the internet, and I think without any background to what i was listening to, it through you more into the music side of it.
So how did you all find music, and how do you find new music now?
Becky: It used to be the portable CD players! But definitely CDs. Late at night with it under my pillow.
Simone: Or running with it, and it skipping!
Becky: There just wasn’t any cool music, I was listening to the P!nk album and S Club 7, that’s what it was like for a kid in the noughties, it was a horrible time! [All laugh]
Collette: I’m a little bit older than you guys and at college I used to go to gigs, and speak to friends older brothers and sisters about music. I used to go to little independant festivals, like the local ‘Dog and Duck’ down the road, and it just kind of ripples through; every now and then something would come out of it.
Becky: ..I suppose guys screaming into a microphone isn’t necessarily true - where we grew up, in High Wycombe, there was such a cool little scene when we were growing up. We were just too young to really experience it properly. When I started putting on my own shows at 15, it was like the scene had kind of died. I feel kind of let down!

As a band, if you had the opportunity to record a double A side with another band or musician, or record a song with them, who would you choose?
I’d say personally, probably Sufjen Stevens? I just really like his kind of despondent music.
Becky: Amy Winehouse or Jeff Buckley.
Collette: That’s a really, really difficult question! I might even say someone like Jonathan Davis or something, because ‘Queen Of The Damned’ is one of my favourite films of all time and he did the soundtrack. He can branch out into so many different genres and still bring it back and make it authentic. It would be the right kind of vibe, and he also has that kind of flexibility within the genre.
Ruby: I’ve been listening to Queens Of The Stone Age a lot again recently and would say Josh Homme. It’s the same sort of style of music and he can collab with other people too! And he’s with Brody Dalle too..
Collette: She was my first girl crush.. I saw them [The Distillers] at Reading when I was 16 she was in this leather onesie, like a motorcycle get up.

We tail off talking about moon cups (top tip; make sure to buy the right size!) and about intersectional politics, and about how apart from a few exceptions, the bands ‘rock’ influences have come largely from white males in the mainstream. We discuss an article [by Stephanie Phillips] I read in the ‘Intersectional Politics For Punx Zine’ about Brody Dalle, from the perspective of a black female growing up listening to rock music.

scene report: BRIGHTON

Brighton's DIY music scene is volcanic, so where better to start with the first of our LOUD WOMEN UK scene reports. Many thanks for the tips from our seaside sisters: Cess Greenness, Maeve Devine and Chuck Hay.

Artists to check out

Venues we love

The Hope and RuinArtista and the Marwoods cafés although they do have stairs so they're not wheelchair accessible, same with The Hope and Ruin. The Brunswick has good sound in both rooms. Junkyard Dogs is lovely (and small) and ran by two awesome ladies. An increasing number of venues don't allow drums anymore due to noise restrictions. The Marlborough pub and theatre is "dead queer" and has an exhibit in call 'the museum of transology' – they do gigs upstairs sometimes.

Top nights out

  • FemFriday, 1st Friday of the month. Fallopian TunesAcoustic acts and small bands at Artista.
  • FemRock at the Green Door Store. Riot grrrl/punk/rock.
  • The Cowley Club (anarchist club) has riot grrrl events on now and then.
  • Bitch Craft at Sticky Mike's Frog bar: last Friday of the month, lady-led psychedelia with free entry.
  • Party in Your Pants at the Joker: a "Free the Nipple" type club night, with body painting by Judi Thomas.
  • Fallopian Tunes put on gigs and club nights with female DJs in Brighton and surroundings (Worthing)
  • FemAle is an ale festival dedicated to beer brewed by women, usually with female bands on 
  • Gal Pals is a new girls/queer club night at the Komedia.
  • Riots Not Diets shows at the Westhill Hall are usually really nice too:
    BYOB, accessible and lots of women in bands.

While you're down there ...

  • Go record shopping at Resident Records
  • Check out the Burning of the Clocks on 21 December
  • Swim in the sea!


LOUD WOMEN's not-so secret plans for world domination in 2017

Yep, we're taking over. The patriarchy has had his chance to run things, and he's just made a complete dog's breakfast of it, 2016 being case in fucking point. Time for revolution woman-style ... and here's how the LOUD WOMEN are planning on doing their bit.

Step 1: The LOUD WOMEN compilation album - out in March!
We're putting together a CD featuring some of the amazing acts that have played LW nights so far, and we're going to be selling it far and wide to help spread the word, and music. All profits from the CD will go to Women's Aid. And I can now exclusively reveal that the artists contributing to the CD will be: 
  Argonaut | Bratakus | Bugeye
| Deux Furieuses | Dolls | Dream Nails | Fightmilk | Fight Rosa Fight | Gladiators Are You Ready | Grace Petrie | GUTTFULL | Janine Booth | IDestroy | Lilith Ai | Little Fists | Madame So Nervous Twitch | The Empty Page | The Potentials | The Wimmins' Institute

Step 2: Friends of LOUD WOMEN 
Sharing is caring, so we're teaming up with awesome
friends to curate our regular London gigs, keeping the nights varied and bringing along new friends on the way. See the gigs list for details of gigs coming up with Parallel Magazine, Abigail's Parties and Who Run the World.

Step 3: LOUD WOMEN on tour
With London gigs rocking away nicely, it'
s time to turn our attention elsewhere. We're going to be holding gigs in major towns and cities around the UK throughout the Spring. Dates and locations coming soon ... but if you would like to get involved and help put on a LOUD WOMEN show in your home town, drop us line at

record reviews

by richard archer

Dizzyfruit (s/t)
yfruit is a project of Satori Kurosawa, the bass player for London ear-bleeders Flemmings. In this self-titled album she plays guitar and sings across 7 tracks that flirt between Crypt Records-styled rock n’ roll and late 1970’s punk. Backed by members of The Mule Team, this set is as quick as lightning and devastatingly direct in it’s execution. But simple is often the most difficult thing to nail and songs like ‘Unico’ bounce along for a good minute and a half without it ever really mattering that you’ve been listening to just the one chord.

The track titles often give clue as to the kinetic effect of the songs themselves. ‘Rollrecoaster’ is just that, full of leaps and falls, ‘Shake It’ makes with an instant lip-curl and ‘Flying Supercar’ is a no-brakes adrenaline rush of fantastical pop melody.  The great band performances show a genuine understanding of the genres they are drawing from and their easy grooves make this excellent fun to drink, dance and sing along to.

Overall, it’s a tantalising listen – at end of the last song you’re cued up for another and that’s the way it ought to be. Topped off with great cover art by Satori, this is one of the best records you’ll hear this year.

Nervosa – ‘Agony’ 
When I used to enjoy the thrash metal of the 1980’s, it felt like it was a fresh atom-split from the hardcore punk genre. Labels such as Roadrunner specialised in releasing records with very home-made cover artwork and a fixation on gloom, all of which carried a peculiar charm. Later on down the road it all got a bit rhythmically convoluted, moving away from the loud and fast template that it shared with the likes of Motörhead and Dead Kennedys. Where it had broadened in scope (no bad thing), it had also lost some of the snotty immediacy.

Brazil’s Nervosa have the same appeal as that exciting first wave of thrashers, without being throwback. ‘Agony’ is a harder and more straightforward album than their spirited debut ‘Victim of Yourself’, with assured performances running parallel to a refined approach in arrangement. Prika Amaral’s distinctive punchy guitar playing style holds the foreground in the production but she has dialled down on the guitar breaks – check out the brief but blistering solo towards the end of ‘Hostages’ for confirmation. For metalheads, this might be akin to the original punks hearing the staggering two-note guitar solo on the Buzzcocks ‘Boredom’ for the first time. 

It’s not an album without curveballs though. The aforementioned ‘Hostages’ includes some unexpected jazz swing from drummer Pitchu Ferraz on the song’s introduction, ‘Guerra Santa’ (meaning ‘Holy War’) has almost folky vibes despite it’s short sharp delivery and final twister ‘Wayfarer’ shows off bluesy skills and reminds me of ‘Sabotage’-era Sabbath. Bassist/vocalist Fernanda Lira holds the album's final surprise – an acapella sign-off with a slinky croon that you never knew was in there. 

It’s tantalising to think where album number three will take the band, but I hope they stay true to their roots. This album will win a lot of new ears and re-energise older ears to the ways of thrash. Loud fast rules.

Charla Fantasma – ‘No Excuses, Baby!’ 
Charla Fantasma have a slightly cartoonish quality to them, although it feels like a cartoon could be based on them rather than the other way around. Their brash pop songs are funny and quirky in a way that never presents as contrived, and as such there are no cloying side-effects either. For confirmation of their odd charm, look no further than their tale of zombie-related tardiness ‘Late for Work’ – “I turn on my computer as my manager hands me another compliant/ I turn round to ignore him but his breath smells of brains”! 

They rock hard too. From the opener ‘Aint Nobody Sure’ onwards the band musters up a mean chug, pushing the guitars way up front in the mix. But the gangs’ secret weapon is their vocal arrangements, at various points we get counter-melodies from drummer Camille Fry and bass thumper Elsa Vincent, a lot of tuneful aaah-ings in the background and some lovely group shout-a-longs.

Consolidating the music is some excellent punk-packaging , (literally) spiky cover art, a fold-up lyric book insert and a cassette in a very pleasing light blue all make this worth the time and modest price tag.  
The Lovely Eggs – ‘Drug Braggin’
The Eggs have always backed up their 'do what we want' mandate  with the necessary skills – abrasive noise, untypical melody and acerbic lyricism – which seem to sharpen with each record. They've really nailed a big production here - it's immersive and augments their usual high quality performance without compromising the immediacy of their set-up.

This of course means that it's a headphones treat – fuzz-thick guitar and dino-thud drums accompany a tale of mindless excess sung through a nastier version of that effect that Black Sabbath used on 'Planet Caravan', plus other studio tricks and trinkets that only enhance the song’s focus. 

Clocking in at nearly 4 minutes, it sustains itself with it’s catchy melody that varies only slightly between the verse and chorus sections, hammered into the ears until just the right point for a soaring third section to break the pattern and pierce the brain. The lyrics have a simple and repetitive quality which work perfectly in the psychedelic mix (“I’ll take what you’ve taken/whatever you’ve taken I’ll bite it in two”) and make it very easy to sing along to.

Stylistically speaking, ‘Drug Braggin’ ticks a load of boxes – ‘stoner rock’, punk and of course pop are all conjured up. Weirdly it reminds me of Donovan but I don’t know why, perhaps there’s a folky element in there too. Regardless, this is my favourite thing they’ve done thus far and I haven’t even heard the flipside yet. 

record review  
by timothy forster

Petrol Girls – Talk of Violence
This is a band fuelled by feminist convictions, leftist politics, compassion, and righteous anger with an integrity backing up their words. 

I've seen the band a few times and they seem to keep getting better so I was interested to see if they had managed to transfer the intensity and energy of ‘live’ on to album, and I'm glad to say they have!

Of the ten tracks on 'Talk of Violence' only one has been previously released physically so basically you’ve got an album of new material, though fans will recognise some of the tracks from gigs. For instance, ‘Touch Me Again’ ... They’ve turned a good song into something amazing. Complete ferocious anger at the experience of sexual harassment and assault that women experience in a misogynistic culture. The repeated line “Touch me again and I will fucking kill you” is delivered with all the indignation and anger it deserves. This track has gone up another level in recording.

The album kicks off with the sounds of a protest and the declaration “We want to stop the false peace”, and ‘Clay’ and ‘Fang’ keep up the energy level, with ‘Fang’ living up to my hopes after hearing it live.

Another track fans will recognise is ‘Treading Water’ which has been online as a taster for a few months, it seems to confront the violence of Fortress Europe and its response to refugees before going on to list various forms of insidious and structural violences that are often ignored or justified.

‘Phallocentric’ critiques men’s preoccupations with themselves and their dicks in both public and private life, “Erect shaft-like monuments for your wars’...’Phallocentric we're not done when you are, Phallocentric I'm bored of your art, I want to play not perform a routine, I want pleasure not just here to please”.

Over the 10 tracks Petrol Girls are focussed, intelligent and intent on highlighting inequality, oppression and injustice wherever and however they are expressed- if you’re offended by this band you might want to have a think why. 

All in all ‘Talk of Violence’ actually exceeds my expectations in so much as it does the Petrol Girls I know from gigs complete justice. Live they are ferocious, articulate, angry and confrontational- somehow they’ve managed to translate that into this album. Faultless.

[jump back to the top]

Now That's What I Call 
Desperate Journalist: Hollow
Desperate Journalist - Hollow

interview: IDestroy

by tim forster
IDestroy: L-R Jenn Haneef, Bec Jevons and Becky Baldwin. Tim interviewed Bec via email.

Could you give us an overview of IDestroy? Had you been in other bands before? 
We met whilst studying in Bristol and formed the band about a year and a half ago. Since then we have been playing shows all over the UK and into Spain. We’ve all been playing in various other bands since we were in school. I currently also play with The Blue Aeroplanes and Becky plays with Triaxis and Dorja. We’re the kind of people who love playing and collaborating with new people.

How did you decide on the name? 
One of the first songs I wrote to be played in the band was a track called I Destroy. We were really excited about this song and we felt it summed up the direction of the band, so we decided to make it one word and name the band after it.

Did you have a clear idea od the sound you were aiming for from the start?
Yes, I had a pretty good idea when we were forming the band what I wanted it to sound like. It has come together in a really natural way, particularly our live show.

You release the 4-track EP 'Vanity Loves Me' earlier this year. What's it about?
The subject matter ranges from feeling the need to destroy everything, to enjoying getting drunk with your friends … so I think there are a lot of relatable themes in the lyrics! The theme of the whole EP is an observation of human feelings and behaviours.

How do you write songs?
I usually start with getting some lyric ideas down and then I’ll write the song around them. I’ll get a rough demo recorded with all the riffs, chords and vocal melodies to a basic beat. We’ll then all go into a rehearsal room and work more parts of the arrangement and getting a solid structure down.

What's been your experience like so far of sexism in the music industry?
Luckily, I think we have avoided sexism at most of our shows. This is possibly because we often play with other female and mixed gendered bands, so most audiences and other bands on the bill are good to us. When we are the only female band on the line up we get comments made about us which just reflects people’s assumptions about female musicians. Sometimes we are approached after our set by people who seem so surprised that we are good at what we do. Sound engineers don’t expect us to play ‘properly’ or to know about our own gear…
  • People often think that someone else is booking for us and managing us when we've always done it ourselves.

Sometimes we enjoy proving people wrong!

What are your plans for the rest of 2016 and into 2017?
We are currently on tour, playing dates all across the UK. In between the shows we will be recording the next release ready to put out early next year.

What music have you been enjoying lately?
I’m currently checking out Jamie T’s new album, which is sounding pretty good so far. Slotface, Martyrials and a band we met in Spain called The Strangers all get shout outs for featuring on my current playlist!
Check out IDestroy on Facebook and Soundcloud 

Tim Forster's full interview can be found here

live reviews

by jen macro

Christine and the Queens, Brixton Academy, 3 Nov 2016 
This was an extra date added as the 2 Nov show sold out faster than an American applying for a Canadian visa after the US election. Initially I was only aware of Heloise Letissier’s alter ego Christine and the Queens in passing, as my boss had mentioned the name and, because it bore a resemblance to Marina and the Diamonds, I didn’t pay much attention. That was until I saw Letissier perform with her dancers on The Graham Norton Show, after which I scraped jaw off floor and tried to find out how I could see them live.  A Later with Jools Holland slot plus Glastonbury and Latitude performances meant the extra Brixton date sold out too, and on arrival, the 5000 capacity venue was heaving. 

The great thing about Brixton Academy is the sloping floor, meaning short-arses like myself have a chance of positioning themselves where they can see (at least most of) the stage. The bad thing about Brixton Academy is the sloping floor, as after 2 hours standing in the same spot with your feet at a 45 degree angle, you can no longer feel your toes, and the lactic acid has built up so much I your calf muscles that you can barely walk come exit time. This aside, the gig was fantastic. The sparseness of the set (a sparingly used video screen and three black podiums) and simple black clothing of the performers gave it a very minimal and post-modern feel. 

There were points when a row of fluorescent tube lights lower down over the stage and ripple and contort, it is futuristic whilst being all sorts of elegant. The music, mostly electronic rhythm section and sparse melodic instrumentation leaves lots of space for the lilting vocals to standout, mostly in English but sometimes in French. The energy is infectious throughout, even when Letissier performs solo, quiet and still, the intensity is other worldly. The whole show is a lesson in the effectiveness of keeping it simple.

There is a lot of talking to the audience in between songs, from encouraging us to just ‘be what we want to be’ for the next 90 minutes, to stories of being a tiny angry French person in her youth navigating gender stereotypes, to ‘finding’ Christine in Madame JoJos and calling for the venue to be reopened. Whilst recalling the origins of the track ‘Saint Claude’ she stops to explain that a heckler just asked her (in French) to take her clothes off, to which she responded ‘no, I’m in the middle of a story here!’

She is likeable. Humble. She puts on an absorbing and highly entertaining show, describing herself as a ‘broken Beyonce’, or ‘reject Rihanna’. She is already a big female artist, at points she reminds of a more self-effacing Madonna (with better tunes), or Kylie with more passion and less shiny things, and like them, she will most likely fill stadiums at some point. For now I was happy being in a large bubble with her and 4999 others as opposed to watching a tiny dot on the stage. I thought it was interesting however, that she, like fellow ‘strong woman in music’ PJ Harvey - who played two nights at Brixton Academy earlier that week, surrounded herself with male performers on stage.

Hot Sauce Pony/Gaygirl, Brixton Hill Studios, 4 Nov
Hot Sauce PonyThe first two bands to feature in the rehearsal studio’s 7” singles club, played live in the practice rooms in sarf lahndahn. The launch of the Brixton Hillbilly record label brought down quite a crowd. Gaygirl, led by Bex Morrison are a bit goth, bit sassy, bit heavy, bit moody. As well as sounding very contemporary, there are hints of All About Eve to their melodies, crossed with some of the slightly heavier lady-led alt-pop bands of the nineties. Their set preceded the well-honed, full-toned Hot Sauce Pony, who enticed a slightly more mature crowd, including BBC 6Music DJ (and superfan) Tom Robinson. Hot Sauce Pony mean business. They are powerful and gnarly with tunes that get right under your skin.
I spoke to both bands pre gig – you can see what they said in this video:
Hot Sauce Pony - interview by Jen Macro for LOUD WOMEN
Hot Sauce Pony interviewed by Jen Macro for LOUD WOMEN
Gaygirl interviewed by Jen Macro for LOUD WOMEN

live reviews cont.

by jen macro

Graceland, Debut London gig, The Old Blue Last, 11 Nov
Much excitement led up to the London debut of this all woman four piece. Fans of popular shouty trio Fever Fever were keen to see what Rosie and Ellie did next. 
Well, they joined forces with twins Maxie (drums) and Stevie (bass), Gedge who some may recognise for the band The Brownies and formed Graceland – (apparently named after the Paul Simon album as opposed to the Elvis residence). Graceland are focussed, pounding joyously dark, hook laden indie pop somewhere with a whiff of Warpaint, at points chucking in a bit of a light surf rock vibe that wouldn’t go amiss in a Go Go’s song. Although completely ‘of the now’, there is a nod to the 80s in their sound and the band would not sound out of place playing in the nightclub at the beginning of San Junipero (Black Mirror).

Charley Stone and I caught up with Ellie and Rosie from the band after the gig:
Graceland interviewed by Charley Stone for LOUD WOMEN

live reviews cont.

by jen macro

Fear of the Forest, Debut album launch, New River Studios, 12 Nov
Never been to the New River Studios before, which is daft, cos it’s lovely, they even have a cat that pads around the bar. It’s very ‘community’ there are signs asking attendees to support the studios by purchasing drinks at the bar, rather than BYOB. I understand that the venue is a rehearsal studio, with a room at the end of a log corridor where they put on gigs. 

Fear of the Forest are playing the launch of their debut album ‘Fairytale Endings’. The driving force behind the band, which includes a cellist, daf player and hurdy gurdy player, is Kate Arnold who sings and alternates between violin and dulcimer. Roots steeped in dark folk, with tales of a family history that involves terrible accidents, and the futility of modern society, Kate steers us through the songs on the album with heart-warming banter, explaining (but not ‘artistsplaining’) a bit about the songs origins. The lyrics are thought provoking and the music has space that allows your own musings to float about on the soundscapes. The instrumentation, scales and shifting time signatures give the songs a middle-eastern feel at times, not hugely surprising when Kate explains how she had spent time in Syria and environs. 

Ending with a cover of Julian Cope’s Charlotte Anne, we get even more of an insight into Kate’s influences and a last chance to enjoy the excellent musicianship of her band. She thanks for helping her make her first album, which, according to their Facebook page took a while, but hopefully there will be another one soon.
Now That's What I Call 
The Empty Page: Wardrobe Malfunction
The Empty Page -  Wardrobe Malfunction [Official Video]

lorna draws ... a 2017 calendar

How better to keep track of your gig dates than with one of these awesome 2017 calendars from our favourite cartoonist, Lorna Tiefholz, beautifully illustrated with her punk cartoons. Details on how to buy one these from

Lorna Tiefholz plays in Rabies Babies and Mountain of Fire and Miracles.

Hi I'm Toby and I started Youth Anthems in August 2013.  My Daughter had been born the previous November and I'd already been getting a bit frustrated with putting on gigs and found that losing precious sleep hours wasn't as appealing anymore.  I'd been talking to my next door neighbour who has two children about how hard it was to stay active within the DIY community when you have children as it really is geared towards people for whom staying out late mid-week isn't an issue (there's a great bit about this by Mike Watt in "This Band Could Be Your Life" - in the Minutmen chapter).  I was also thinking a lot about the sort of ways in which my daughter would be introduced to live music and as much as I have no problem with her going to see big arena gigs (I'm off to see Iron Maiden in May so I can't really moan about this too much) I wanted her to be aware that she could be in a band, put on gigs and generally get involved but I didn't know how I could show her all of this.

So I decided to try out the idea of DIY gigs in the same venue I put on evening gigs (Wharf Chambers in Leeds).  The venue is buggy and wheelchair accessible has a separate room for when it gets too noisy (with a bar, comfy chairs, games and table football) and is generally a prime example of what a welcoming community space can be.  The first gig went really well with about 45 adults and about 20 Children and in December we'll be having our 14th gig!  We get around 65-100 adults at each gig now with about 30-50 Children.  The gigs are £4-£5 entry for adults with people 14 and under getting in for free.  We have vegan cakes from an incredible local patisserie (That Old Chestnut) and I try and make sure we have bands that are as diverse as possible and a mix of acoustic and electric bands of varying genres so children can see what's out there.

I'm really happy with how it's all gone so far and how we've hooked up with local organisations and charities.  We've put out a colouring in book and a CD and all the money from those goes to a great local charity (Leeds City of Sanctuary).  We also have the Free Shop hosted by my friend Kate at our gigs where people can drop off/swap/pick up clothes and toys for free and we generally have a great time.

My friend Emma has just opened up Youth Anthems to Brighton and the first gig was a great success so we're hoping to see more of those in 2017.  If you're ever in Leeds get in touch and come along or ask about a gig!  


@youth_anthems (Twitter)

@YouthAnthemsLeeds (Instagram)

G.L.O.S.S. - Trans Day of Revenge (Full Album)
Now That's What I Call
G.L.O.S.S.: Trans Day of Revenge

LOUD WOMEN gigs diary

Fri 2 Dec @ Veg Bar, Brixton - XMAS GROTTO PARTY!
GUTTFULL | Baby Seals | I.V. | The Nyx | The Ethical Debating Society DJ set 
20 Jan @ Hope & Anchor, Islington
LOUD WOMEN curated by Parallel Magazine

17 Feb @ Hope & Anchor, Islington
LOUD WOMEN curated by Parallel Magazine

8 March @ Fiddler's Elbow, Camden
International Women's Day - fundraiser with Who Run the World

17 March @ Hope & Anchor, Islington
LOUD WOMEN curated by Abigail's Parties

The return of LOUD WOMEN Fest. To apply to play, see
Kate Nash - My Little Alien
Now That's What I Call 
Kate Nash: My Little Alien
Downtown Boys - Monstro (Official Audio)
Now That's What I Call 
Downtown Boys: Monstro

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