There was undeniably a fuck ton of Bad Shit that happened this year, but let’s end it with a look back at some of the Good Shit we’ve witnessed! Team LOUD WOMEN members Keira, Lucy, Karis, Chris, Tony and Cassie told us which bits of 2019 were their Top Shit.
Keira Anee: The picking Up The Pieces EP By The Other Onesdeserves a mention I think! Plus I loved the Nova Twins‘ releases, the emergence of Big Sea Creature, every gig I saw Gold Baby, Gaygirl, Junodef, Calva Louise, Ghost Car, Lilith Aiand Cocaine Pissplay and a great unexpected album by Amy Studt. Discovered Straight Girl, Sudan Archives, Secondhand Underpants, The Empty Page, Cable Ties and loved seeing Adia Victoria, Gaptooth and band, Pleasure Venom, Miss June and LIINES live! Dammit – and LibraLibra for sure!
Cassie Fox: Yessssss. Seeing Bikini Kill kicking supreme ass this summer was hugely inspirational. On smaller stages though, LOUD WOMEN has done a lot this year … we’ve put on some amazing bands, in London, New York, LA and Perth. Too many to mention here (maybe I’ll do a separate 2019 hall-of-fame!) but extra special joy was sparked by T-Bitch, SlutMagic, TheNoiseand the Naive, GGAllan Partridge, MissEaves, HAVVK, Shitsick, Gaptooth, Hagar the Womb, and – fuck it I’ll say it – my brilliant I, Doris, who I am superproud of achieving so much this year. And we got to put on a gig at the Royal Albert Hall, with the awesome ILL! My top highlight was of course LOUD WOMEN Fest in September, where PleasureVenom absolutely blew my head off and completely made all of the hard work organising the festival worth it.
Karis: For me, DEFINITELY seeing Bikini Kill for the first time and seeing the Gossip for the first time in a long time. But particularly getting to see Big Joaniesupport both of these bands – I’m so happy that they’re doing so well!
Chris Fox: I really liked that Misfortune Cookie Record. And the Lakes record – the Constance LP. And I really liked Pleasure Venom – I thought they were amazing at LOUD WOMEN Fest. Those are my top LOUD WOMEN things of the year.
Tony Rounce: “Good shit that happened in 2019”? How much space have I got! The unstoppable rise of ARXX on their way to future world domination, the impossible not-to-adore double whammy emergence of the Slugs and Breakup Haircut, the Phoenix-like arrival of Big Sea Creature, truly great records from all of the aforementioned except the yet-to-debut BSC – plus Gaptooth, Personal Best, The Other Ones, Scrounge and Lauran Hibberd, beautiful live and vinyl memorials to LongTeeth, Loud Women 4 and the prospect of Loud Women 5, some super download-only stuff from Lemondaze, Goddammit Jeremiah, PartyFears, I, Doris and above all Currls, great gigs and the prospect of great recordings from newbies Lime and Wife Swap USA, the rebranding of CrypticStreet as Genn (although they’ll always be CS to me), the double-headed vinyl 45 of the year in Bloom’s ‘Ground’ and ‘Escape’, great shows from other old favourites Nervous Twitch, CalvaLouise and the Regrettes, a rare chance to see the wonderful CatlowMorris on another wet night in New Cross – so much more besides, and did I mention ARXX (who are always worth a second mention if not more).
“Best good shit gig day of 2019” was the Saturday of the Great Escape Festival in Brighton in May, started it by seeing Cryptic Street in New Cross in the afternoon and ended it by seeing Cryptic Street (again!) at 1AM on Sunday in Brighton, with gigs from Bloom, Lime and ARXX (there they are again!) in between…
“Bad shit that happened in 2019?” Mercifully very little that affected my listening habits, but I’m sad that WolfGirl called it a day, QueenZee and the Sasstones fragmented and my lovely, completely adored Bloom went on a hiatus from which I hope with all my heart they will return…
…I’ll raise a glass to the oncoming new decade with the same optimism that I’m saying goodbye to the current one. Let’s try to keep it LOUD!
Dolly Daggerz is the fiery powerhouse behind, at the front of, and often twirling round a pole high above rock band Tokyo Taboo. She recently disclosed online that she had been sexually assaulted during a performance – an assault further compounded by vitriolic backlash from internet commenters keen to blame her for the assault. Clearly some still have lessons to learn from the #metoo movement. With those lessons in mind, Dolly writes about the experience here in her own words (as told to Cassie Fox).
I’ve been sexually assaulted so many times I can no longer count. This is not me ‘bragging’. This is me being brutally honest.
I’ve found myself in the most absurd and, at times, dangerous situations. The most extreme: Once a man who claimed he was an A&R executive locked me in a room and told me I couldn’t leave until I had sex with him. Luckily I got away, but when I spoke about reporting him I was talked out of it by a barrister friend of mine. He said, ‘Look at your sexy image. No jury will care.’ This seems to be a common theme: If a woman is attractive she becomes the ‘temptress,’ the one in the wrong. Poor men are ‘confused’ and can’t help themselves.
Now that I’ve added a pole onstage, things have gone from bad to worse, in terms of unwanted sexual attention. But I am not to blame for being a ‘pole addict’. Pole has simply exaggerated the issue that has been there throughout my life from the age of fourteen.
I remember once walking along a busy main road in the middle of the day. A guy approached me from behind, put his hand up my skirt, and asked ‘Can I have your phone number?’ Seemed a little odd that he felt he could grab what he liked and then ask for my number. How about a simple, ‘Hello?’ Or just leave me alone as I walk along the street with headphones on? He seemed shocked when I was angry, as if he had no idea what he was doing was disgusting and actually illegal. He quickly ran away when I mentioned the police. A common reaction. It’s just ‘a bit of fun’ and that I need to ‘lighten up.’ Such casual assault, as if it doesn’t mean anything to these creeps.
Now, men, I know this isn’t all of you. And I know some women who haven’t experienced anything like this (albeit very few, after the ‘me too’ movement revealed how awful and widespread this problem is). But there are lots of instances in my life like this. You can victim-shame and blame me, or you can wake up and realise that young women (especially those in the entertainment industry) are very vulnerable. I’ve been in rooms with modelling agents who offer work in exchange for sex. I’ve worked with music producers who have made a move on me simply because they had the upper hand. If you are young, female and dream big you might (naively) think these men will help you. They will guide you in your career as they have the knowledge and experience to do so. But in fact the worst kinds simply take advantage.
Even as we approach a new decade, women are still massively vulnerable. If a woman walks into a male-dominated space she generally feels unsafe. You won’t catch a man feeling worried about being surrounded by women. At gigs I’m very aware that men are everywhere and it’s so important that women should feel safe whilst watching bands and artists they love.
Things hit a new low for me recently. A guy decided to grope me whilst I was walking back through the crowd after singing in the audience. This has hit me hard. When I am performing I am ‘Dolly Daggerz’: a superwoman character who is physically and mentally strong, a woman who doesn’t take any shit. I’ve dreamt up this persona that, I thought, terrible things could never happen to. So this assault felt like a kick in the face and I was so shocked I could barely react. I went from feeling strong and empowered to small and weak in an instant.
During our ten-gig ‘Lips Can Kill’ tour I counted five instances of sexual assault and inappropriate behaviour: A man asking for a kiss who I’ve never even met before. A man actually kissing me to say goodbye. A drunk man sweeping his hands down my ass when leaving. And so on. It’s something I can shrug off at first. Maybe chat to the guys in my band about it all the next day and be like ‘weirdos…yuck’ but after a while it’s actually exhausting. Hands Off Gretel’s Lauren Tate, who spoke out publicly about this same behaviour recently, revealed that she ‘doesn’t enjoy’ touring anymore due to the harassment she receives. She claims, ‘I had guys taking the piss out of me asking if they “had the consent to kiss me now.” Disgusting.’ Speaking out about it is apparently not always very effective. Following this last assault, what’s been particularly scarring is the backlash about this awful incident online. I’ve had (a very small percentage of) people saying if I dress like a stripper and pole dance, it’s my fault. ‘Of course men will grope at you! What do you expect?’ Then lots of laughing emojis. I’ve had direct messages from fake accounts saying I ‘might as well whore myself’ and should ‘sell naked photos’ as I already ‘sell my body’. Wow, and I thought that I could dress how I wanted whilst on stage and perform how I want without any random old man touching me? Crazy thinking!
I also read someone saying that posting about sexual assault is ‘jumping on the bandwagon’ and that some people do it to ‘seek attention’. All men commenting of course. Another female jokingly wrote that she’s unsure of why she hasn’t been assaulted herself or seen anything at shows. Maybe she’s not ‘good looking enough’ or doesn’t ‘behave in a way that attracts attention.’ Maybe because she is ‘moody and unapproachable at gigs.’ These remarks point to an underlying consensus that it’s about the victim: how they look or act might provoke assault in some way. I’m sure that since performing pole onstage I’ve received more male attention. However I have also been assaulted when walking in the street, when dancing in a club, when singing in a recording studio. I’ve been harassed whilst in full make up, no make-up, in pyjamas, in running gear. This has nothing to do with how hot someone is or what they are doing at the time of assault. If someone wants to grab flesh they will. The victim is not to blame.
Let me write that again: THE VICTIM IS NOT TO BLAME.
I’ve received hundreds of comments writing how unacceptable this incident was. And mostly men in shock and horror that someone would grab at someone else without consent. But then I’ve read a post with someone confused. ‘Why is someone who dresses so sexy upset with male attention? Stop complaining’.
Attention is fine. Touching out of turn isn’t.
When it comes to such a sensitive topic, I wish people would please think before commenting online. Women are made to believe they ‘deserve’ assault, rape and violence. If you dress sexy it’s ‘your own fault.’ If you pole dance or show skin expect to be groped. We are moving into a new decade where I want to encourage women to report sexual assault no matter what the outcome. I wish I had ignored my barrister friend and reported the fake A&R guy who I naively believed wanted to help me.
Make sure you publicly support women and question the assailant not the victim. A woman could be completely naked and we still need to look at the guy who grabbed her inappropriately. It’s our human right to feel safe.
Also, a message to young women starting out in music: some male producers are full of shit and want to take full advantage of your hopes and dreams. If it seems to good to be true, sadly, it probably is.
What am I going to do to feel safer? I’m currently considering hiring security at our gigs (though part of me thinks this is giving in to those guys who don’t know how to behave). Maybe pepper spray in my bra somewhere, microphone in one hand whilst my other hand grips the pole?
An interview with artist Maedb, founder of $exquisite, by Ngaire Ruth – legendary feminist music journalist, and Maedb’s mum.
Working towards making the unconventional, conventional, the invisible, visible: Maedb. She’s a writer, poet, performer, curator and the producer of $exquisite events – a night of stigma-defying art, activism and glamour from artists, performers and comedians who work in the sex industry, which aims to bring the audience and artist closer through performance, debate and Q&A discussion. The next is on 15th November, at London’s Bethnal Green Working Men’s Club.
Why did you decide to work with multidisciplinary arts and sex workers?
Well, I’m an artist – poet and theatre maker – and knew I wanted to curate a cross-arts night. It was only in discussion with a friend – a full-service sex worker and human rights law student – that I was informed of a law passed in the states, FOSTA-SESTA. This prohibits sex workers all around the world who work online, and the bill was passed with the view to stop sexual exploitation but has in turn prohibited sex workers working safely. It has shut down various sites sex workers use to work safely online and feeds into algorithms designed to silence sex workers on Tumblr, Instagram and other social platforms. This is really dangerous and prevents workers from screening their clients and could even potentially push sex work into the streets. I was shocked that no-one was talking about it, at least in my circle. So, I thought it would be really cool to create a celebratory space for sex worker artists, to build a community and have conversations.
You’ve pin pointed a feminists’ armour: female friendship and support – which seems especially key for isolated online sex workers. Events like $exquisite give sex workers an opportunity to share their art, but also where they can meet other sex workers, creatives and have some kind of camaraderie, fun and friendship. It’s really important; did you consider that at the time?
No, I didn’t. I do think it is important to mention that issues that exist within and for the sex worker community certainly expand that of those who work online – of which I am learning about now. But, in regard to camaraderie, fun and friendship – no I didn’t expect it. I really just was focused on creating my first event and set on getting to know the women first. I guess it is just an amazing by-product, and one I definitely want to build on. In the future I am planning to start a collective, so a community can exist beyond the events.
What was some of the feedback you got from the first event?
Many people approached me afterwards and presented good feedback. But I was most shocked by those of my university friends, who said that the event had opened their minds and changed their views on the industry. Some said it was a journey of education and were pleased that there was a space to speak on such ‘taboo’ topics. I think it’s really important that the night remains a space where people outside of the industry attend. I want creating conversations, with a view for it to continue beyond the event, to be a strong focus. That way we can make a ripple effect.
So, you have performances – what sort of things have you had before and what can we expect?
We try to have a consistent mix of different art forms, and primarily focus on poetry, theatre, dance and comedy. I think the event lends itself well to cabaret and burlesque so we will be seeing a bit more of that this time, alongside some drag.
So what about sexuality, are you an intersectional feminist? Do you believe that using your sexuality as an object is empowering?
Different things empower different women. I simply can’t say that it is empowering, or I would be speaking for everyone. I don’t think we have the agency to speak for every woman. The best I can do as a feminist is to support other women. Patriarchy has and will continue to divide us; I don’t believe you are a feminist if your feminism is exclusionary. And, furthermore, I don’t agree with the assumption that sexuality is an object. I’m not quite sure by what you mean, but if you mean to make money. I don’t think it is empowering, I don’t believe in a ‘happy hooker’ narrative to defy stigma. I think it is work, and sometimes it is shit, but having stigma and a society that isolates you is even shitter.
And, do you have men coming to your events?
And, do they behave themselves?
Yeah, and I think there’s nothing wrong if men want to come
and enjoy themselves. It’s a safe, powerful and feminine space. It’s always a
celebration and never an exploitation.
What do you think you’ll do next?
I would love to start a community where we will have monthly meet-ups. I think sex work can be really isolating – the stigma can destroy lives. Some people can’t even be open with their friends or family, as the judgement can often be so harsh. So, I really think it’s important that we have spaces where we can just make friends and form our own families and even debrief about our days. It’s just a job. Society makes it a label.
What about helping people develop their art?
Yes, I would love to eventually programme workshops where
people can develop their craft. I remain in contact with the artists throughout
the creation process in the lead up to events and am there if they ever want
feedback or a second eye.
Do you think you’ll come across stigma when applying for grants or rehearsal spaces? If so, what’s your argument? In the past, feminists have, for example, picketed Soho saying sex work is demeaning to women.
I think that type of feminism is very exclusionary. It’s one type of middle-class, white, feminism that cannot speak for everyone. A lot of women who enter sex work are generally working-class women and it’s a very small minority that enter it with a “Hey I wanna have sex and get paid for it” mentality. The bottom line is that people need to make money, pay their rent and we are all victims of capitalism. Survival sex work and sex work are two different things. But most people enter it with a view to make money and I don’t think you are a feminist if you put down another woman for doing things you wouldn’t do.
A lot of people fall victim to sex trafficking, or, begin sex work because of poverty or abuse. Arguably it’s not a choice, even when empowering as financial independence, or enabling the pursuit of further education, but a result of a patriarchal society in which women are de-humanised. Bringing it out into the open is a most brilliant way to make the invisible visible.
Yes! If we decimalise sex work, it will certainly cut down sexual exploitation. Decriminalisation equals regulation. The more something is pushed underground, the further room for misconduct. The more it is pushed into the darkness, the more room for those entering underage or trafficked. Currently the law in the UK states if two or more girls are working in a location, it is a brothel and therefore illegal. But if one works, it’s okay. Tell me how on earth can that be safe?! If it is legalised it allows for monitoring, screening and ultimately safety.
Have you considered giving money to any charities related to sex work?
Yeah, so at our next event we are hosting an ‘afterhours’
pop up strip club which will take place after the art section of our night from
11pm-2am. This is in collaboration with East London Strippers Collective to
raise money for United Strippers of the World and United Voices of the World
Union; who provide legal advice and action for sex workers.
Is there anything else you want us to know, is there any way we can get involved?
We would love to have your support, come and listen to what sex workers have to say and join the conversation. All the money raised will go back into $exquisite, we hope to eventually programme a sex worker festival where we can further support sex workers and sex worker artists. Share some love with us on Instagram, we just want to build an online platform and a real-life community.
A blissfully tired and wee-bit-emotional Sunday following what must be one of my very favourite LOUD WOMEN gigs of all time last night – our 4th birthday celebrations at the Hope & Anchor, with performances Hagar the Womb, Rabies Babies, The Menstrual Cramps, I, Doris, The Other Ones, and Smalltown Tigers. Pure punk rock mayhem, cake everywhere, clothes-swapping, crowd-surfing, all-grrl-mosh-pitting, wall to wall good vibes – we thoroughly birthdayed.
Hopefully someone will post some proper photos of the night, but in the meantime here’s my phone snaps!
Our lovely friend Tony Rounce was, of course, in attendance, and wrote this beautiful post about the evening that was too gorgeous not to share …
I’ve mentioned before that I believe we are living in a new Golden Age for live music.
Anyone doubting my word should have been at the Hope and Anchor last night for Loud Women’s 4th birthday party.
It was rammed to the roof, mind you, but you would have been most welcome and I’m sure a space would have opened up for you.
Five hours of fab bands from locations as far apart as Rimini and, er, Bristol.
Some of the best music you could have heard anywhere in the U.K. last night.
Some of the nicest people you could spend 5 hours in a room with.
All coming together to celebrate the fourth birthday of an impressive collective that exists to promote and further the cause of women/womxn/non-binary/LGBTQ+ in music.
In its four years Loud Women’s live profile has progressed from putting on small gigs in small rooms like the Hope to presenting probably the best and best organised one day annual festival on the planet – this year’s September event showcased 21 bands and singers in 10 hours across two adjacent venues in North London. LW has established itself internationally with overseas chapters across the globe, and has inspired many others across the U.K. to promote the regeneration and growth of a vibrant music scene.
My hat and my whole head is off to the indefatigable Cassie Fox for founding and maintaining the high profile of such a fantastic thing as LW. I am inordinately proud of my own very modest contributions to Team Loud Women as a writer and reviewer, and grateful for the opportunities to say nice things about nice people.
The ‘nice people’ on stage last night all brought plenty to the party, and I am delighted to have added The Other Ones and Italy’s Smalltown Tigers to the ever growing list of ‘bands I must see again in a hurry’. It’s a bit unfair to single anyone out for special commendation but the Menstrual Cramps – to my mind, one of the most important bands to have emerged in the last 40 years – were in unbeatable form (as they usually are, to be fair) and ignited an outbreak of pogoing the likes of which the Hope’s cellar probably hasn’t seen since the late 70s. My own pogoing days may be long gone, but I was there in spirit…
Props, too, to Rabies Babies, LW’s own delightful ‘in house’ combo I, Doris and a back from the dead but very much alive Hagar The Womb. They all did their bit to make the evening fun for one and all and it would have been that much less fun for the absence of any of them.
Oh, and I won the raffle. A couple of times! As sure as I’m a Doris I swear to you it wasn’t fixed…
These are great times to have catholic tastes in music. I’m glad that I still have the energy to be a part of what’s going on and, more importantly perhaps, to feel a part of it.
LW is doing God’s work and I am sure she’s totally impressed…
DIY collective Loud Women has been championing women in music since 2015 and on Saturday 12th October will be celebrating their 4th birthday with a gig at legendary Islington punk venue The Hope & Anchor with sets from Hagar The Womb, Rabies Babies, The Menstrual Cramps, I, Doris, The Other Ones, Mindframe and Smalltown Tigers.
We got in touch with LW’s Cassie Fox to talk about the upcoming anniversary and why, four years on we still need promoters like Loud Women on the DIY scene.
When did the idea of Loud Women first arise and why? Was there a particular incident that sparked it?It started as a one-off gig in 2015. Having played on the gig circuit for a little while, I was feeling frustrated at the amount of ‘man-band’heavy’ lineups all the time, and macho crowds. I was particularly tired of my all-female band always being the token women on the bill, and wanted to put on a fundraising gig with my friends’ bands that could be relaxed and inclusive and fun … so I did! Since then, a whole heap of media activity and community has organically grown around the events, but that ethos is still at the heart of what we do – putting on events full of awesome music and a no-bullshit atmosphere with womxn and non-binary people at the heart.Have you noticed any change in the representation and treatment of female musicians in the four years since LW began?On a small scale, yes – a bit! Certainly in the cosy bubble of the London gig circuit there seem to be loads of new opportunities for “bands who are not cis het white dudes” to play, with seemingly new promoters springing up every day, which is brilliant. Outside of London though, I’m still often told by touring bands playing LW gigs that it’s the first time in ages that they’ve not been the only women on a lineup. And outside of DIY music… there’s plenty of conversations being had about major festivals supporting female artists, but still very little noticeable difference in the gender balance on bigger stages.Can you take us back to the very first Loud Women gig? Who played and what was it like?It was 3rd October 2015 at the (sadly now closed) Silver Bullet in Finsbury Park. The headliners were Blindness (featuring our awesome friend Debbie Smith), with my then-band The Wimmins’ Institute, Argonaut, and Dream Nails. I didn’t know what to expect, and feared we’d be playing to an empty room … but was delighted to find the room full for the first band, Dream Nails, who were playing their first ever gig and had brought all their friends! It was the first time I’d been at a gig with a majority-female crowd – and oh the luxury of being 5’3″ and able to actually see the stage! There was a really fun atmosphere, and we raised a decent amount of money for Women’s Aid too. So it was a no-brainer to keep the momentum going and put on more gigs … and here we are!There have been hundreds of bands playing countless Loud Women shows over the past four years, are there any nights that particularly stick in your memory?The Little LOUD WOMEN gigs we’ve done for families have been by far my favourite! I’m a mum of two, and also a big kid myself, so I love any excuse to get extra glittery, get the balloons out, and start a little toddler moshpit! I loved seeing the kids enjoying music up close, invading the stage, seeing what the instruments feel like, and what their voices sound like down a microphone. And parents really appreciated getting to see ‘proper music’ without having to pay out for a babysitter. At one gig there was a particularly humbling moment when a little girl of about 9 grabbed the mic and gave an impromtu speech about how important it was for everyone to be included – I can’t wait to see if she reappears fronting a punk band in a few years!Aside from the gigs, what else has Loud Women been involved in?Our music blog loudwomen.org and monthly ezine have really taken off in the last few years, I’m really proud of those – we have a lot of contributors, so a lot of different voices and opinions and experiences, and they really help spread the word to audiences and influencers. We’ve also released compilation records – the latest of course being LOUD WOMEN Volume Two! Between the two albums there’s over 40 different bands – all killer – £5 each to you! loudwomen.bandcamp.com
With four years under your belts, what does LW have in store for the future? More of the same I guess, until there’s no need for LOUD WOMEN any more! Keep an eye on the LOUD WOMEN socials for news of exciting 2020 events …Loud Women’s 4th Birthday Party takes place on Saturday 12th October at The Hope & Anchor. More information and tickets, priced £8 + booking fee, can be found here.Check out Cassie’s Loud Women playlist featuring 49 artists who’ve played LW shows over the past four years:
October is my favourite month – there are very important birthdays to celebrate, it’s no longer summer and I can wear jumpers again, and there are always oodles of great gigs to go to. Here’s the LOUD WOMEN top recommends for your diaries.
1 – The Primitives and The Popguns at the 100 Club, London, as part of Indie Daze Week. Info here. Very few tickets remaining, here.
2 – Cheerbleederz and BadIdea at Wharf Chambers, Leeds. Info here.
5 – All Tamara’s Parties festival at the Jericho Tavern, Oxford. With Wolfs, RainbowReservoir, Death of the Maiden, DrunkenButterfly, Winnieand the Rockettes, The Other Ones and more. Info here.
5 – Anarchistwood at The 100 Club for World Zombie Day. Info here.
5 – Punka presents Miss Kill, Nervous Rex, Ragdolz (14+ gig) at The Exchange, Bristol. Info here
7 – DreamNails, TheBabySeals and NadiaJaved at The Old Blue Last, London. Info here.
9 – Suggested Friends, WitchingWaves and GoldBaby at the Shacklewell Arms, London. Info here.
10 – LIINES + BIS + Bugeye at Boston Music Room, London. Details here and tickets here. This awesome threesome also head to Manchester on the 11th, Glasgow on the 13th.
11 – Get in Her Ears presents ĠENN, The Weird Things, BitchHunt and Breakup Haircut at The Finsbury, London. Info here.
12 – The LOUD WOMEN 4th Birthday Party at Hope & Anchor, London. With Hagar the Womb, The Menstrual Cramps, Rabies Babies, Mindframe, I, Doris, Smalltown Tigers and The Other Ones. Tickets here info here!
12 – Lunar Sounds (debut single launch), DUCK and Bad Idea at Wharf Charmbers, Leeds. Tickets here
12 – The mighty ILL kick off their tour in Manchester, supported by Glove and God Speed You Peter Andre – full dates and towns listed here
13 – The Nitty Gritty Autumnal Hair Hopper’s Ball at The Constitution, London, with DJ Dapper D and DJ Daddy Wrong. Info here.
17 – Hurtling launch their album at The Islington, London. Info here.
17 – DeuxFurieuses launch their album at the Dublin Castle, Camden. Info here.
17 – The NHS vs The Big C: In a venue next to Homerton Hospital, where her breast cancer surgery took place, JanineBooth reads extracts and poems from her new book, ‘The Big J vs The Big C’. Hackney-based comedian and activist KateSmurthwaite aims some feminist comedy at austerity and sexism. Info here.
18 – Skating Polly and She Makes War at The Lexington, London. Info here.
25 – Weenfest at DIY Space for London. Awesome spooky punk fest featuring IrnBrunette, BreakupHaircut, Tuffragettes, Cecilia and more. Info here.
26 – T-Bitch and Anarchistwood at the Railway, Southend – halloween special. Info here.
26 – StraightGirl at The Victoria in Dalston. Info here.
30 – EilisFrawley (of PartyFears) solo with XyloAria at EartH, Hackney. Info here
DIY punk witches Dream Nails have scooped the 2019 LOUD WOMEN Hercury Prize for their album ‘Take Up Space’ – available on Bandcamp.
The prize was announced in a ridiculous DIY ceremony broadcast on Facebook live, by Cassie and her son Dylan.
The Hercury Prize is judged by Team LOUD WOMEN, who whittled down a Top 12 from nearly one hundred albums by UK-based self-identified female and non-binary artists released in the twelve months from July 2018: that’s albums released on any format, with any level of industry distribution. This year’s shortlist was:
Big Joanie – Sistahs (Nov, 2018)
Brix & the Extricated – Breaking State (Oct, 2018)
Desperate Journalist – In Search of the Miraculous (Feb, 2019)
Dream Nails – Take Up Space (Jan, 2019)
Neneh Cherry – Broken Politics (Oct, 2018)
Grace Petrie – Queer as Folk (Sept, 2018)
Little Simz – Grey Area (March, 2019)
Muncie Girls – Fixed Ideals (Aug, 2018)
Petrol Girls – Cut and Stitch (May, 2019)
Queen Zee – Queen Zee (Feb, 2019)
She Makes War – Brace for Impact (Oct, 2018)
Trash Kit – Horizon (Jul, 2019)
Dream Nails accepted their award on tour in Madrid!
For all those who support putting women on stage, and turning up the volume