LIVE: Bitch @ Rockwood Music Hall, NYC, 13.04.2022

Fresh from the release of her epic latest album Bitchcraft – which was released via legendary label Kill Rock Stars earlier this year -, queer electro-pop artist Bitch has taken up a weekly residency at New York’s infamous Rockwood Music Hall. And I’m extremely excited that this coincides with my first ever trip to the Big Apple, and I get to witness this magnificent multi-disciplinary show.

Celebrating the album, which has apparently been eight years in the making, as Bitch takes to the stage in the intimate basement venue, she exudes a magnetising vibrant charisma and infectious joyous energy. Introducing the show as “a little jaunt through my herstory“, dedicated to dear Mother Earth and our on-going battle against capitalism, she kicks things off with the fizzing electro soundscape and catchy, whirring drive of ‘Hello Meadow’. Captivating the crowd with her quirky charm and the swirling musicality of sweeping electronic violin crescendos, each of us are instantly utterly immersed in this theatrical performance, singing along to the chorus and whooping in appreciation of Bitch’s exuberant power.

As Bitch notes down her thoughts with a giant pencil, the performance starts to take on an other-worldly aura; wonderfully blurring the lines between musical performance, stand-up comedy and poignant spoken word. Going on to animatedly share with us details about her childhood, with her boomer/tap-dancing teacher mother and angry father, Bitch proves herself to be the most bewitching of raconteurs – describing how, in a world that makes women and girls feel small, the violin became her voice and she felt able to begin the journey of liberating herself from the ties of a patriarchal society.

As we all unite in the joy of empowering anthems such as ‘You’re The Man’, Bitch emanates her colourful eccentricity, casting us under her spell as we delight in the effervescent power of her unique witch – or indeed Bitch – craft. Whether she’s wowing us with her immense keytar skills, the soaring prowess of the violin, or merely her deeply stirring words, it’s clear that we’re sharing in something truly special by being here – a rapturous call to feel free to be ourselves and fight against the misogynist norms of society.

Reflecting on one of these sexist tropes that has become ingrained in our thinking, Bitch points out that words are often used in a derogatory way against women: a prime example of this being the use of ‘Pussy’ to mean weak or inferior. She invites us to reclaim the word and use it in a positive way – and so we are introduced to her ‘Pussy Manifesto’, an empowering chant that she first shared whilst on tour (alongside partner Animal) with Ani DiFranco in 1998. As we all join in with the frenzied, driving force of each of the “mother-f***ing” manifestations – being reminded of all the ways in which the pussy is magical – a vibrant, euphoric energy fills the room, guided by Bitch’s affirming spirit.

From all too resonant reflections on climate change and our need to protect Mother Nature (‘Polar Bear’), to dedications to long-suffering women everywhere – particularly those of Texas, Oklahoma and Afghanistan – as she recognises that “the witch hunts never stopped” (‘Easy Target’), Bitch showcases her utterly unique knack for highlighting necessary, poignant subject-matter in a beautifully resplendent and delightfully accessible way.

Moving on to some more personal reflections about how she “fell off her broomstick for a while“, Bitch reminds us that it’s okay to not to be okay sometimes – to take time out from the world and focus on recuperating ourselves. Visualising the metaphor of building herself back up through a time of healing by putting together her magnificent bedazzling broomstick piece by piece, she then aurally delivers the sentiment with the sweeping soundscapes of ‘Fallen Witch 2’; a track that glitters with a life-affirming majesty.

And, with her sparkling broomstick now completely built, it’s time for Bitch to close this hour of the most empowering, enlightening shared experiences. Closing the set with soulful latest single ‘Pages’, she shares with her fellow witches the positive affirmations to “keep writing” and to “let pussy manifest and freedom sing“, and I’m left feeling truly revived and motivated; basking in Bitch’s spellbinding, vivacious energy and the queer, euphoric joy that has filled the room.

A truly magical evening. And one that I urge you to witness too, should Bitch’s wonderfully wacky witchery ever come your way.

Bitch’s latest album, Bitchcraft, is out now via Kill Rock Stars.

Mari Lane
@marimindles

mariangelicalaneLeave a comment

Kindred Fawn – ‘Silver Blanket’

Inspired by the anxieties of insomnia and gloomy maritime weather, Kindred Fawn’s debut track ‘Silver Blanket‘ breathes a melancholic escape while introducing a brand new project. Ella Patenall, the voice behind Kindred Fawn is a multi-instrumentalist known for grunge-folk duo (and GIHE faves!), Naz & Ella. In search for a more genre-eclectic and experimental writing process that could focus on aural textures and pastoral musings, this serves as a project that makes space for Ella to nuance just that.

Soft sounds of waves pulling at the wind set the stage for ‘Silver Blanket’ which feels like a intermittent moment of comfort amidst a night storm. Dark acoustic guitar plucks as it sets the stage for an eerie, yet familiar, feeling that looms over the disposition of the track. Hovering over the anxious mix, Ella’s ethereal voice floats, shimmering above her hesitation while beaming a non-dimmable light that knows its resilience.

Radio samples from the British Shipping Forecast give the folk tune a charismatic, emo-acoustic twist as it calls to the heavier elements of ‘Silver Blanket’. As Kindred Fawn’s layered musicality slowly builds dynamically, it is clear that both delicate folk artists – as well as the sounds of mellow rock legends such as PJ Harvey – are influential to Kindred Fawn.

Of the track, Ella explains:

“When I started university and was living in halls, I found it hard to sleep, there was so much noise – other students, the train line nearby and the squawking of seagulls as well as some internal anxiety. I had a radio in my room and discovered the shipping forecast (which plays late at night and early in the morning). I thought it was so bizarre but also soothing, conjuring up images of sailors on the rough seas whilst I was in my comfortable bed, and it really helped...” 

Under “chalky moonlight”, ‘Silver Blanket’ brings eager anticipation for what is next from Kindred Fawn.

Jill Goyeau
@jillybxxn

jilliangoyeauLeave a comment

Track Of The Day: Tomberlin – ‘Sunstruck’

A tender ode to self autonomy and prioritising your own emotional well-being, American songwriter Sarah Beth Tomberlin has shared her latest single ‘sunstruck’. Taken from her second album, I don’t know who needs to hear this… which is set for release on 29th April via Saddle Creek, the track is a comforting reflection on the often difficult journey towards actively choosing to love yourself, explored through her gentle guitar picks and poignant lyrics.

From breaking away from her religious roots as a Pastor’s daughter in Kentucky, to relocating to New York to play music and featuring as a guest vocalist on Phoebe Bridgers’ last album Punisher, Tomberlin’s unconventional journey into music has paved the way for her exquisitely confessional songwriting. On her latest single ‘sunstruck’, she muses on the need for time with one’s self in order to move past an un-balanced relationship, as she points out in the succinct lyric “nothing will come / from an ever flowing cup / when you’re too fucked / to fill it back up.”

“This is an aerial view love song that is also not a love song,” Tomberlin explains about ‘sunstruck’. “It is more a love song to forced distance, time alone with yourself, letting go, searching for yourself and the healing that takes place when you make those things an active focus in your life. These things are choices, they don’t just happen on their own. You can choose to practice them or you can choose stagnancy. This is a love song to the growth that often can take place if you choose to tend to your own life’s garden.”

Listen to ‘sunstruck’ below.

Follow Tomberlin on bandcamp, Spotify, Twitter, Facebook & Instagram

Photo Credit: Michelle Yoon

Kate Crudgington
@KCBobCut

Kate CrudgingtonLeave a comment

ALBUM: The Linda Lindas – ‘Growing Up’

Performing at the Los Angeles Public Library last year, Mila de la Garza, drummer for LA-based Asian/Latinx punks The Linda Lindas, explained that their most aggressive song on the setlist, ‘Racist, Sexist Boy’, was written after a negative classroom experience. “A boy in my class came up to me and said that his dad told him to stay away from Chinese people. After I told him that I was Chinese, he backed away from me.” Changing the polarity in a 1-2-3-4 count, The Linda Lindas slam all racist, sexist jerkfaces hard with crushing riot grrrl rhythm and positive affirmation. “We rebuild what you destroy!”

It was a defining moment for the band that caught the attention of the legendary Epitaph Records. Known for working with punk heavyweights like Bad Religion (featuring guitarist and Epitaph co-founder Brett Gurewitz), Refused and The Offspring, Epitaph seemed like a no brainer to release The Linda Lindas’ debut LP, Growing Up; a collection of effortlessly cool and catchy feel-good punk.

Taking their name from the Japanese film Linda Linda Linda – a coming-of-age comedy featuring a group of teenagers who quickly form a band to cover songs by The Blue Hearts – Mila (current age 11), alongside guitarists Lucia de la Garza (14), Bela Salazar (17), and bassist Eloise Wong (13) formed the punk quartet after joining Kristin Kontrol for a one-off performance at Girlschool (later Gxrlschool) in 2018. As The Linda Lindas, they opened for riot grrrl pioneers Bikini Kill just a year later at the Hollywood Palladium – later covering their song ‘Rebel Girl’ in Amy Poehler’s 2021 feminist flick MOXiE! for Netflix – before self-releasing their self-titled EP in 2020. So far, so DIY, so punk!

Growing Up – produced, engineered and mixed by Mila and Lucia’s father, Carlos de la Garza (ex- Suburban Rhythm, Reel Big Fish drummer) – is not a cliché album title. “We’ll sing to people and show / What it means to be young and growing up,” sings Lucia on the title track, a celebration of friendship and the determination to “make every moment last.” For the ferocious ‘Oh!’, the band tap into the pop sensibilities of The Go-Go’s with an infectious bassline, dynamic rhythm, snarling lead vocals from Bela, and self-reflective lyrics written by Eloise: “Why do I say something / Say anything at all (Oh!) / It seems that when I try / I always take the fall (Oh!) / But when I don’t speak up / There’s nothing but regret (Oh!) / I can’t stop thinking of / What could’ve happened next!”

Wise beyond her age insight from Mila features on the bubblegum flavoured ‘Talking To Myself’ (“We’re all talking to ourselves / About things we cannot help…”) whilst Eloise spits lyrical angst on riot grrrl rager ‘Fine’. (“It’s not fine!”) ‘Nino’ follows as a spiritual successor to ‘Monica’, a track from the band’s self-titled extended play, written about Bela’s cat! Similar to the unconventional lyrics of Shonen Knife, Bela sings “I have a cat / His name’s Nino / He’s a savage cat / Killer of mice and rats” over savage pop-punk riffs before Eloise returns with the heartbreakingly heavy, Jawbreaker-esque ‘Why’. “I just drown out everything / Cause I cannot feel this way.”

Taking inspiration from Latin culture and bossa nova beats, Spanish-language ‘Cuántas Veces’ is for the misfits; a deeply personal song from Bela. “Cuántas veces tengo que decir / Ya estoy harta de sentirme asi.” Whilst ‘Remember’ – an outpouring of frustration – leaves Lucia optimistic that “maybe tomorrow will be bigger, brighter, bolder.” Sharing vocal duties for the deceptively whimsical ‘Magic’, the de la Garza sisters trade verses over shimmering guitar hooks before the band closes their electrifying debut with a cathartic studio recording of their aforementioned anti-hate anthem, ‘Racist, Sexist Boy’.

All killer, no filler, each member of The Linda Lindas has brought their own unique style of songwriting to Growing Up, through self-reflection and social awareness. They are a band growing up both musically and personally – developing their identity and DIY ethos together, one punk song at a time – yet already confidently stage-diving into punk rock history.

Follow The Linda Lindas on bandcamp, Spotify, Twitter, Instagram & Facebook

Photo Credit: Zac Farro

Ken Wynne
@Ken_Wynne

kenwynneLeave a comment