LIVE: Grace Petrie @ Stanley Arts, 12.11.2021

Having initially bought tickets to see Grace Petrie back in May 2020, it was with great excitement that I finally got to witness her politically-charged, yet beautifully uplifting, folk anthems live on 12th November. And it was with even more excitement that, having been a Croydon resident for over three years now, I was able to attend an event at charming local venue Stanley Arts (formally Stanley Halls), just down the road in South Norwood. As a South London resident, it made a particularly nice change to be able to walk to and from a gig, when normally I have to brave various modes of public transport to venture across to the other side of the city…

And the venue seems to suit Grace Petrie’s understated, yet strident, charm perfectly. Sitting in the picturesque old community hall (that now strives to be a completely inclusive space with a focus on hosting LGBTQIA+ creatives and artists of colour), as Petrie introduces us to her “songs of social justice”, a refreshing sense of togetherness seems to unite the crowd and she’s greeted with cheers for the first song of the set – ‘Farewell To Welfare’; one she says that she used to end with, but has now decided to open with as “if that wasn’t politically up your street, the rest of the gig is not for you!” And she’s right; this particularly resonant offering, this longing for a socialist revolution, continues throughout the set, and it’s right up my street – both politically, and musically. 

Continuing with an emotive track from 2017’s Heart First Aid Kit, ‘Coldwaterproofjacket’, Petrie invites us all to sing along to the catchy chorus, and we joyfully oblige; accompanying her own exquisite, rich vocals and lilting melodies to this beautifully heartwarming ballad. And the endearing, friendly vibes continue as Petrie introduces us to multi-instrumentalist Ben Moss, who is not only her musical partner, but was unintentionally her housemate for 6 months during the first of last year’s lockdowns – “We’ve come out of it much closer than we were, there’s not many people I could spend six months locked in a house with. But we got through it!” (in fact she seems to be so fond of him, and in awe of his talents, that later in the set she shares that she has considered setting up a crowdfunder to clone him…) 

It was during this first lockdown that Grace Petrie wrote her latest album, Connectivity – a poignant collection of tracks reflecting on our connection to, and unity with, other people to keep us going through hard times. Taken from this album, Grace introduces ‘Storm To Weather’ as being for “us storm-battered socialists who don’t know when this hurricane is going to stop…” A stirring sentiment oozing an empowering message of solidarity and resilience and, as we all join in with heartfelt gusto to the mainline of the chorus “I will love you forever and we’ll dance again next year”, I feel an overpowering raw emotion, heeding this political call to arms to keep going; to keep fighting for change, for better times…

Following the twinkling grace of ‘Ivy’, a song dedicated to Petrie’s niece who came into the world during Glastonbury 2014 – thankfully after Dolly Parton’s set (which I too was lucky enough to witness!), there’s another offering from the new album. A moving reflection on the confused headspace that can come from mixed messages and unrequited feelings, ‘The Last Man On Earth’ showcases Ben Moss’ immense musical skill as he switches between banjo and fiddle, alongside Petrie’s immersive crystalline charm; poignantly juxtaposing the raw emotion of its heartfelt sentiment with a refreshingly joyous musicality and instantly catchy energy. 

Taking a brief interlude from her own songs, Petrie then hands over to Moss to take centre stage as we’re treated to one of his own, solo offerings – the chiming traditional folk sounds of ‘Bold Reynard’, a lilting ode to the “modern day fox”. 

Resuming her unifying, politically-driven passion, Petrie introduces 2017’s ‘God Save The Hungry’ as an “alternative national anthem” – clarifying that, although God may not be her thing, if he was then surely there are more worthy people in need of saving than the Queen. As she sings with a fervent emotion – “God save the hungry, God save the poor, God save those desperate souls whose lives are torn apart by war. God save the homeless and those with disabilities, and all the other targets of this heartless ideology.” – I’m struck by this extremely pertinent sentiment, once again showcasing Petrie’s knack for combining resonant, necessary themes with an utterly unique, shimmering musicality. 

Reviving our appreciation of Ben Moss, we’re then reminded of a project that he and Petrie worked on together throughout lockdown. Recording a rendition of a song beginning with each of the 26 letters of the alphabet each day, the two of them united with fans at a time when small pleasures were especially important; bringing a little joy into our locked-down lives, connecting us to each other, with each of these covers, and in the process raising money for The Big Issue. Petrie explains that on each of their gigs on the current tour, they’ve been picking out of a hat which one of these covers to play, and “hope it’s not ‘Xanadoo‘”… We end up with V and so ‘Venus’ it is – a fun-filled, folk-tinged rendition of the classic ‘80s hit – such a special rendition in fact, that we forgive Grace for forgetting some of the words.

Following the rousing, heartfelt emotion of the beautifully accordion-accompanied ‘Some Days Are Worse Than Others’,  Petrie explains that the reason she is dressed so smartly is not actually because she has a snooker match after the gig, but to convey the message of the next song – the poignant and empowering ‘Black Tie’. Addressing the damaging effects of enforced gender norms, it was written as a message of hope to Grace’s younger self, and to those like her – she explains that as an unhappy teenager, she had to deal with society telling her she was wrong, but today she is proud to be a butch lesbian: “I turned 30 and instantly stopped giving a fuck.” Tonight, Petrie dedicates the song to all her trans, non-binary and gender non-conforming siblings, and urges us all to protest transphobia at this time when it is more important than ever to stand together and protect each other against those who are seeking to oppress us. And, as we all sing along to the lyrics “and the images that fucked you were a patriarchal structure, and you never will surrender to a narrow view of gender…”, I feel an overwhelming sense of unity, a fierce determination to be the best ally I can possibly be and stand with my trans siblings, today and every day. Because trans rights are human rights, trans women are women and trans men are men. Non-binary people are valid. And every single one of us, whatever gender, race or nationality we may be, deserve equal rights, safety and joy.

Following an enlivening call and response crowd participation for Queer As Folk’s ‘Northbound’, Petrie returns for a welcome encore with the closing track of her latest album, ‘The Losing Side’, for all her comrades – “If I’ve spent my life on the losing side, you can lay me down knowing that I’ve tried.” A stirring way to end the set, leaving us with a poignant sense of hope and unity. A sense of joy at finding solidarity in each other, and a determination not to give up in the face of adversity.

So, thank you to Grace Petrie (and Ben!) for such a lovely evening. A perfectly cathartic experience in these strange times, reminding me of the connection that music can bring, offering a comforting message of solidarity and resilience at a time when we need it the most.

Plus, I got to be home and in bed by 11pm! 

Listen to/buy Grace Petrie’s latest album, Connectivity, now. And read a recent interview with her on Get In Her Ears here.

Mari Lane
@marimindles

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PLAYLIST: Transgender Awareness Week 2021

At Get In Her Ears, we stand every day with our transgender and gender non-conforming siblings. We support trans and non-binary artists because they create some of our favourite music, and because trans rights are human rights and we send our love, solidarity and joy to all the trans community today, and every day.

This week has been Transgender Awareness Week, and ends with Transgender Day of Remembrance tomorrow 20th November, so today we wanted to uplift and spread awareness of just some of the incredible transgender and non-binary artists who we love to blast out of our speakers on a regular basis. Read about our choices below, and take a listen to the full playlist here.

If you need support during Transgender Awareness Week, or at anytime in the future, you can always reach out to Switchboard LGBT+ via their website or by calling 0330 330 0630.

 

Jackie Shane – ‘Comin’ Down’
As always, I can’t resist adding soul singer Jackie Shane to our playlists. Her wonderfully smooth vocals, sophisticated style and defiance in the face of transphobia in the early ’60s all make her a true GIHE icon. (Kate Crudgington)

Ms White – ‘Fuck Men’
I’m ashamed to say that I hadn’t heard of Ms White until this year, when Belfast artist F.R.U.I.T.Y thankfully introduced me to her by including this track in their recent Five Favourites feature for us. A wonderfully empowering anthem from the trans artist and for people of all genders; I challenge you to listen to this and not feel motivated and ready to face the world. (Mari Lane)

Thigh High – ‘Go Slow‘
I had the pleasure of interviewing Thigh High last year and I recommend you check out their full back catalogue – a band truly dedicated to celebrating and centring queer and trans joy in their music! (Tash Walker)

Ezra Furman – ‘I Wanna Be Your Girlfriend’
Having come out as a transgender woman earlier this year, and sharing beautiful images of herself with her child, Ezra Furman has long been a favourite of mine, since I first fell in love with her 2018 album Transangelic Exodus. This song, taken from 2019’s Twelve Nudes, is a beautiful reflection on identity, as Furman describes it – “a romantic song of transgender longing…” (ML)

The Crystal Furs – ‘Miss Hughes’
Portland band The Crystal Furs returned to our ears earlier this year with own unique brand of queer jangle pop. Tying together the band’s penchant for writing about cities with vintage b-movie vibes, ‘Miss Hughes’ is a playfully twinkling offering, complete with organ melodies and honey-sweet vocals. (ML)

Bitch Hunt – ‘Shapeshifter’
GIHE faves Bitch Hunt originally formed at the amazing First Timers fest, and this year released their debut EP via Reckless Yes. The title track of the EP, ‘Shapeshifter’ is a stirring slice of effervescent punk-pop, reflecting on themes of transition and gender identity, and how we are consistently ‘shape-shifting’ depending on our circumstances. A beautifully poignant offering, oozing a sparkling sense of optimism. (ML)

Chuck SJ – ‘Sink Your Teeth In’
This single is taken from DIY multi-instrumentalist Chuck SJ’s upcoming debut album Resist.Recharge.Revolt. Full of atmospheric guitar riffs, sparse beats and glitchy electronics, it’s an industrial-tinged rumination on the forces that construct, influence and sometimes dismantle our ways of thinking. Chuck is also one half of punk duo Byenary who you can check out here. (KC)

Adult Mom – ‘Berlin’
Consistently my most listened-to artist over the last couple of years, non-binary musician Stevie Knipe – aka Adult Mom – creates the most beautifully heartfelt music. I’m sending extra love to them at the moment as they were diagnosed with breast cancer earlier this year and are currently in recovery. I can’t wait to hear more gorgeous music from them when they’re ready. (ML)

Smoothboi Ezra.- ‘My Own Person‘
We’re big fans at Get In Her Ears of non-binary Irish artist Smoothboi Ezra, whose music so often touches on the melancholy but with such richness it is such a pleasure to listen to their music which is often SO relatable to all of us in the queer community. (TW)

YAY MARIA – ‘Template’ (feat. FRANX)
Having previously captivated our ears as the front person of Grawl!x, trans artist YAY MARIA recently released her wonderful debut solo album, OYEZ. Made in collaboration with Nottingham-based queer artist and musician FRANX, ‘Template’ is filled with a stirring lyricism that celebrates self-love, whilst oozing a dry wit, drawing attention with a raw honesty to the mundane issues of modern life; the parts of life that are often expected of us – the ‘template’ we are expected to live by – but by no means are appropriate or desired by all, particularly those in the queer/non-heteronormative community. (ML)

PET Wife – ‘B.L.O.O.D.O.R.A.N.G.E.’
Love what I’ve heard from PET wife so far! I came across them only a couple of weeks ago. PET wife are a trans/non-binary couple and art-pop duo from Bushwick, Brooklyn. This single is accompanied by a music video, that they describe as an homage to the vampire lesbian exploitation films of the 1970s, with an all-trans/gender non-conforming crew and queer cast. (TW)

Catherine Moan – ‘Fools’ (Depeche Mode Cover)
This is a fun, polished cover of a Depeche Mode b-side from Philadelphia-based electro-pop artist Catherine Moan. Her buoyant electronics and infectious rhythms give this slice of ’80s alternative music nostalgia a welcome sultry twist.
(KC)

SOPHIE – BIPP (Autechre MX) 
A pioneer in electronic music who we sadly lost earlier this year. Like so many of the people I have learned about in our British queer history, SOPHIE will live on in their music and the memories we all hold of how that music makes us feel. (TW)

Gordian Stimm – ‘Breath Diet’
I’m such a big fan of everything electronic artist & producer Gordian Stimm creates. This track is taken from their instrumental EP Flirty Lucre for Public Sector, which they released earlier this year. Their debut album, Your Body In On Itself (released by Amateur Pop Incorporated) also makes for a super listen. (KC)

LOTIC – ‘Burn A Print’
Berlin-based artist & producer LOTIC’s mission is to “live life to the fullest by not giving a fuck about what anybody thinks,” something she clearly and defiantly communicates on this track. With a name that means to “to inhabit rapidly moving water,” Lotic’s chaotic yet fluid soundscapes truly embody her passionate, fighting spirit. (KC)

HUSK – ‘My Innocence’
Manchester based trans, non-binary artist HUSK prides themselves on celebrating queer joy and equal rights in their shimmering, euphoric pop anthems. ‘My Innocence’ is the perfect accompaniment to having a dance with loved ones and uniting in the celebration of queer love and diversity. (ML)

F.R.U.I.T.Y – ‘U.P.S’
Belfast-based queer artist Dan O’Rawe – aka F.R.U.I.T.Y – released their debut EP earlier this year. Taken from the EP, ‘U.P.S’ offers a wonderfully quirky, futuristic soundscape whilst reflecting on themes of identity. As twinkling hooks flow with a cinematic splendour, it’s a glistening, uplifting slice of alt-electro-pop. (ML)

Arca – ‘KLK’ (feat. ROZALIA)
Arca is a trailblazing trans artist who has been pushing boundaries in the electronica scene for years now. I love her music, especially right now where I cannot quite scratch that live gig rave itch. Turn this up loud, close your eyes and dance dance dance, you’ll feel free. (TW)

Mavi Phoenix – ‘Boys Toys’
Mavi Phoenix is someone that we interviewed a couple of years back now, but who spoke so eloquently about equality and the importance of queer music in the world. Phoenix has found a home in their new sound and also in the pronoun “he”. This track is taken from their debut album of the same name, which was released earlier this year. This is all about Phoenix being reborn, which is what happens in the accompanying music video to this track. ‘Boys Toys’ is as important as an exploration for Phoenix’s gender identity as it is for his artistic work. And on top of all that, it’s an absolute tune. Enjoy. (TW)

Khx05 – ‘Trouble’
I have Nova Twins to thank for introducing me to North Carolina-based artist Khx05. They feature on the duo’s compilation album Voices For The Unheard, a blistering collection of alternative anthems that showcase the eclectic, tenacious range of talent from artists of colour in the heavy & alternative music scenes. Khx05 is one of the most interesting artists I’ve come across this year and I urge you to check them out. (KC)

Kae Tempest – ‘People’s Faces’
Coming out as non-binary last year, Kae Tempest is one of the most necessary and innovative artists around. The glaringly honest and completely relevant social commentary of ‘People’s Faces’ showcases their unique poetic skill at creating relevant and hugely emotive social narratives. But a subtle glimmer of hope also shines through; the comfort we gain from those we love, and the comfort we can offer them just by being there.(ML)

Shamir – ‘Cisgender’
I’ve been such a fan of Shamir for years and really admire how they’re constantly developing their sound and not shying away from being their true self. ‘Cisgender’ is a simply beautiful and moving reflection on their non-binary identity: “I’m not cisgender / I’m not binary trans / I don’t wanna be a girl / I don’t wanna be a man / I’m just existing on this god forsaken land.” Solidarity and love to you Shamir, always. (ML)

https://open.spotify.com/playlist/6lXUbSdmpTi9fwqa9fbMDc?si=f1f7e035c5424a44

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Introducing Interview: Alice Hubble

Set to release her new album Hexentanzplatz this Friday, innovative London based artist Alice Hubble has previously captivated us with poignant singles such as ‘Power Play‘ and ‘My Dear Friend‘. With her distinctive euphoric, synth-driven energy and glitchy ‘80s-inspired musicality, we’re already huge fans of the soaring, ethereal soundscapes she creates.

Ahead of the release on Friday, we caught up with Alice to find out more about the album, what inspires her and her thoughts on the treatment of women and non-binary people in music at the moment… Have a read!

Hi Alice, welcome to Get In Her Ears! Can you tell us a bit about yourself?
Hello! Thank you, it’s great to be here! I’m Alice Hubble, an electronic pop musician, based in London, originally from Leeds. I make music with my collection of vintage synthesisers, which combines pastoral instrumentals and budget pop in equal measure. My first LP came out in 2019 and the second is coming out this month via Happy Robots.

What initially inspired you to start creating music?
It’s hard to think what initially inspired me to create music cause it feels like it’s always been there. I was one of those music nerd kids, always singing and playing in music groups. In my 20s and a lot of my 30s I was in various bands, albeit to very limited successes. In mid 2018 I decided to focus on my own solo musical creation and Alice Hubble as we know it was born. I’m very inspired by creating ‘otherly’ worlds in music, recreating my imagined worlds sonically. As a person, I’m always pushing to contradict expectations and I attempt to do this in my music. Writing lyrics can be a form of therapy for me to unpack my lived experiences, but I also write about things that matter to me – particularly a highly inclusive form of feminism.

You’re about to release your new album Hexentanzplatz at the end of this week – are you able to tell us a bit about this? Are there any particular themes running throughout the album? 
The album was recorded in October 2020, with half of the songs written during the lockdown in 2020. Though I chose to stay away from writing about the lockdown, I feel the unease and anxieties of the time are very present in the music. The album is called Hexentanzplatz, named after the German mountain. The mountain is steeped in magic and legend and is famous for its Walpurligsnacht celebrations. The name translates literally to mean Witches’ Dance Floor, which really is too perfect. Recurring themes on the LP are illusion, feminism and protest. Illusion creeps into my songs a lot, whether it’s a projected myth of an unbeknown subject of my affections, the illusions we create on social media or your re-imagination of a place in your head. I’ve always been fascinated about how a real place or moment can exist so differently in two people’s minds. 

And how have you found recording and promoting an album during these strange times? 
It’s definitely been strange, I’ve been lucky that the pandemic gave me more space to focus on my music – I was on furlough with my day job, so I had time to spend writing and recording at home. I got to travel to Germany and visit the Harz mountains and learn about Hexentanzplatz and then to Ramsgate in October to record the LP. I also got to play a gig in May just after things started to lift which was really great. I spent 2019 being so busy that I was burnt out, so spending a lot of 2020 focusing on my mental health and having a quiet time was really good for me. It also gave me the chance to record a collaborative EP with Bradford based musician Andy Abbott (under the name ADRA Hubble) and do things I thought I’d never have the confidence to do like host a Facebook chat show and start my radio show. It was disappointing to have things cancelled, but it wasn’t something I dwelled on too much, there were bigger tragedies of the pandemic. I very much see myself as one of the fortunate ones over the last year and feel grateful for what I achieved in this time.

We love your shimmering, euphoric electro soundscapes, but who would you say are your main musical influences?
Thank you! Oh my, it’s hard to narrow down. The bands that have always been with me are the classic synth pop bands – Kraftwerk, OMD, New Order. The Beach Boys have also been such an influence to me. For Alice Hubble, sonically I’ve been inspired by Sally Oldfield, School of Seven Bells, Goldfrapp, Book of Love, Susan Sundfor, to name a few.

We have been particular fans of your recent single ‘Power Play’ – described as the closest thing you’ve written to a protest song, it’s inspired by the #MeToo movement. Are you able to tell us a bit more about this? And, in relation to this, how do you feel the music industry is for women/non-binary people at the moment – do you feel that things have improved over the last few years? 
Thank you! It means a lot to have people respond to the song. ‘Power Play’ is a track that was, on the whole, written in lockdown 1. I feel like a lot of anger and frustration that came out of that time was channeled into the track. At the time I’d looked at Twitter and seen that one of the musicians whose hideous behaviour had been a focus in the #metoo movement was back Tweeting and interacting with fans as normal. And it got me thinking “have things really changed? Do people move on to different things once the moment has passed?” It all started with the menacing synths and, as the track was so angry sonically, I wanted the lyrics to be a call to arms of some sorts. The mass hex of Brock Turner as an act of resistance and resilience (to quote the song) always really intrigued me as a form of activism and I read a lot around this to inform the lyrics. With the subject matter being so triggering, it was a song that needed careful consideration to get just right. It’s definitely getting better for women/non-binary people in the industry but there is still a long way to go. There is better representation generally – I just came back from Green Man where there were so many amazing women/non- binary performers at the festival. There’s also a greater understanding of mental health awareness, and discussions taking place about what behaviours in the industry are not helpful for women/non-binary people. The male ego power-trip that was accepted as the norm for years is now being recognised for what it is, and there are people in the industry trying to make changes. My brother is trans, so naturally trans rights is an issue close to my heart. I have noticed there is more awareness in the general public of trans and non-binary people compared to twenty years ago, which is great. But I feel there is still a long way to go, and a lot of educating still to do, particularly with how polarised society is. I find all the ‘anti-woke’ and TERF rhetoric very disturbing, particularly in the way that they present themselves as reasonable people (when they clearly aren’t!).

How have you been connecting with your audience and other musicians during the pandemic?
I played a few online shows including a Zoom show, the shows went ok but I’m not sure I’d rush to do them again as it’s so hard to connect with an audience that way. I’m also not sure how long people’s attention span is for a Zoom gig these days. It’s great to use digital to connect with audiences in different ways than the typical live performance. I really enjoyed doing the Hubble’s House Party chat show, partly as it felt like such an achievement and we had a great crowd watching. I also did an Instagram DJ set for Divine Schism which was great.

And has there been anything/anyone specific that has been inspiring you, or helping to motivate you, throughout these strange times? 
Hexentanzplatz and music making in general helped give me a purpose during this time. I think 2020 would have been a lot harder for me if I hadn’t had a creative project to throw myself into. I also consumed a lot of TV and books. My partner and I have done a lot of travelling through culture to take us outside of our reality. We got really into watching travel shows like Race Across the World. I also went on a bit of a deep-dive reading about the ’60s hippy trail trekkers after watching The Serpent, and found Rodham by Curtis Sittenfeld a bit silly but a welcome break from real life politics.

As we’re a new music focused site, are there any other upcoming artists or bands that you’d recommend we check out?
Sister Wives from Sheffield are awesome!

Finally, in addition to the release of your album, what does the rest of 2021 have in store for you?
Alongside the album there’s a fantastic video which will be out soon, created by illustrator Katherina Rival. I’m going on a mini tour in October which, fingers crossed, will happen as expected. It would be great to see you there!

Massive thanks to Alice for answering our questions!

Hexentanzplatz, the upcoming new album from Alice Hubble, is set for release this Friday 10th September via Happy Robots. Catch Alice on her UK tour:

7th October – Folklore, London
8th October – The Cold Store, Nottingham
15th October – Wharf Chambers, Leeds
23rd October – West Hill Hall, Brighton (supporting Laetitia Sadier)
31st October – The Moon, Cardiff

Photo Credit: Tom Hilverkus

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PLAYLIST: Galentine’s Day 2021

Grrrls, it’s one of the best days of the year – GALENTINE’S DAY! Coined by Parks and Recreation character Leslie Knope (played by Amy Poehler) back in 2010, Galentine’s has since been recognised by girls across the globe and used as a light-hearted platform to celebrate the girls and women who enrich our lives.

To celebrate, we’ve chosen tracks from some of the many female-identifying artists who inspire us and we’ve put them all together in one big playlist. We’re all about self-love & sisterly (not just cis-terly) love today, so scroll down, press play and share the Galentine’s joy!

 

Bikini Kill – ‘Rebel Girl’
This one goes out to my GIHE gals, Tash and Kate! A song about having the coolest best friend, by ultimate heroes Bikini Kill, you should listen to it at full volume and celebrate all the “queens” of your world this Galentine’s. (Mari Lane)

Nova Twins – ‘Thelma & Louise’
An iconic duo singing about another iconic duo! The GIHE team love everything that Nova Twins are about. Not only do they make genre-defying, loud music that makes our cells scream, the pair are vocal about the lack of visibility and support for women of colour in the heavy & alternative music scenes. They’re releasing a new compilation album on Blood Records titled Voices Of The Unheard, which aims to spotlight just some of the amazing artists of colour in the scene who deserve more recognition. Featuring tracks by Big Joanie and The OBGMs, it’s set to be a superb listen and all profits will be going to The Black Curriculum too.  (Kate Crudgington)

X-Ray Spex – ‘Oh Bondage! Up Yours!’
We are all so, so, so excited to see the new documentary Poly Styrene: I Am A Cliché that celebrates the life of the X-Ray Spex frontwoman. This track always reminds me of GIHE and  Tash & Mari when I hear it. I’m very grateful for all the hard work and friendship they put into running this platform with me. (KC)

T-Bitch – ‘Dressing Up’
Southend-based feminist punks T-Bitch deliver a much needed dose of defiant self confidence on this belter of a track. If you can’t dress up on Galentine’s Day, when can you? Underscored by a strong and necessary message of support for trans women, ‘Dressing Up’ is a middle finger to anyone who tries to stop you from being your true self. As the band put it: “It’s not about pleasing them, it’s about pleasing yourself / Fuck those insecurities, leave them on the shelf!” (KC)

The Other Ones – ‘Forever Young’
The latest single from GIHE faves The Other Ones, ‘Forever Young’ races with a swirling, euphoric energy, oozing a sunny sense of nostalgia with honey-sweet harmonies and scuzz-filled riffs. This uplifting anthem is an irresistibly catchy slice of shimmering punk-pop, reflecting on how “anything feels possible” when you have the right person with you. (ML)

Diet Cig – ‘Roadtrip’
Flowing with Alex Luciano’s luscious honey-sweet vocals, infectious jangly melodies and all the twinkling energy I need now more than ever, Diet Cig’s ‘Roadtrip’ (taken from 2017 album Swear I’m Good At This) reflects on a fun, carefree trip across the country with friends, with nostalgia-inducing lyrics and an uplifting sunny charm. What I wouldn’t give for a roadtrip with loved ones right now…! (ML)

Chastity Belt – ‘Joke’
This was one of the bands I discovered at the start of GIHE, all those years ago, and it just reminds me so much of what it was like at the start of it all. All these years on here’s to my two GIHE gals Mari & Kate, and all of the jokes we’ve had along the way. (Tash Walker)

ARXX – ‘The Cat Song’
At first listen, a song about appreciating our feline friends (which I have done LOADS throughout the last year, as any of my Instagram followers/Poppy fans will be aware), I think this cute song from our fave gal duo ARXX is also about the love we have for our friends. As Hanni sings “I’m going to hold you up like this”, I think of how my friends hold me up throughout the bad times and good. And there’s added actual cat sounds – what’s not to love?! (ML)

Vagabon – ‘Every Woman’
Over the last year, I’ve completely immersed myself in the soothing sounds of Laetitia Tamko, aka Vagabon. And this song seems the perfect ode to all the strong women in your life this Galentine’s. As Tamko’s rich distinctive vocals soar with a reassuring tenderness, reflecting on how “all the women I meet are tired…” she speaks out for all women who have been told they are not enough as they are, offering a gentle cathartic release for all of us ‘gals’ who are so tired of patriarchal norms. (ML)

Girlhood – ‘It Might Take A Woman’
Tash introduced me to the glorious sounds of Girlhood last year and we were lucky enough to have vocalist Tessa join us for a Zoom chat for one of our radio shows too. I remember the call so clearly, because Tessa’s passion for her music radiated through the screen. She was such a joy to talk to. She also paid me a very nice compliment when I was trying to pose for a promo screenshot we were taking. An absolute babe through and through. (KC)

Queen Latifah ft. Monie Love – ‘Ladies First’
After I kept going on about listening to the Slowburn Podcast about 2Pac & Biggie Smalls, Mari recommended I watch Netflix’s documentary Hip Hop Evolution. It’s an epic look at the origins and development of the genre, featuring big names and many artists I didn’t know anything about. One name that did strike a chord though was Queen Latifah. She released this track in 1989 with Monie Love and it’s a BANGER. The lyrics say it all: “Some think that we can’t flow / Stereotypes, they got to go / I’mma mess around and flip the scene into reverse / (With what?) With a little touch of Ladies First” (KC)

Aretha Franklin & Annie Lennox – ‘Sisters Are Doin’ It For Themselves’
It it even a Galentine’s playlist if this absolute classic isn’t on it? These two talented women coming together to sing about equality and independence never fails to make me feel good. It may have been released in 1985, but the lyrics are just as relevant today. (KC)

CMAT – ‘I Wanna Be a Cowboy, Baby!’
This charming slice of country-pop from Irish artist CMAT is a heartfelt, witty lament about urban isolation and wanting to be free from societies patriarchal shackles. She just wants to exist with the confidence of a cowboy, unafraid to down a whiskey at the bar and stagger home safely. “Wanna go to my first rodeo, what’s that cracked up to be? / I wanna stop relying on men who are bigger than me” she sings, pining for the freedom that’s naturally afforded to men, but rarely extended to women. I love everything CMAT releases and will continue to stalk her on Twitter for the rest of 2021. (KC)

Piney Gir – ‘Puppy Love’
With fond memories of Piney Gir charming our ears at the last gig we hosted on Valentine’s Day last year, ‘Puppy Love’ oozes a honey-sweet romanticism and shimmering catchy melodies. Nostalgically harking back to the simpler times of crushes and the pain of first (‘Puppy’) love, the track also reflects on the common metaphor for depression – the ‘Black Dog’ – its all-consuming nature, and the struggles of mental health. A poignant and infectious offering, it could just be the perfect, bitter-sweet, accompaniment to the mixed feelings that go hand in hand with the love-filled celebrations of the next couple of days. (ML)

Girl Ray – ‘Friend Like That’
An ode to friendship, ‘Friend Like That’ flows with the trio’s colourful energy as jangly syncopated beats flow alongside the distinctive soothing allure of Poppy Hankin’s vocals and funk-filled pop-inspired hooks, creating a dreamily uplifting offering. Of the track, the band explain: “This is a friendship anthem. Reminds us of a really smashing high five with great contact. In music, friend love is often overshadowed by romantic love and IT’S JUST WRONG. This one goes out to the mates of the world.” (ML)

Chromatics – ‘Girls Just Wanna Have Fun’
A great cover of a great track. ‘Girls Just Wanna Have Fun’ always reminds me of a story about this 60 year old Italian woman who walked into her local fire station as she was having trouble with her lock. When the firemen asked the woman where she lived, thinking she’d locked herself out of her house, she lifted her sweater and showed them her chastity belt. (TW)

Beckie Margaret – ‘Divine Feminine’
“’Divine Feminine’ is a song for people who stop you reaching your highest self,” explains Essex songwriter Beckie Margaret. Through her commanding sounds and effortless vocal delivery, Margaret elegantly balances her emotions as she warns those trying to silence her to “stay out of my way.” I absolutely love everything this young woman writes and I can’t wait to hear her debut album, which she’ll be releasing through Cool Thing Records at some point in the future. (KC)

Carole King – ‘You’ve Got A Friend’
Celebrating its 50th birthday this year, Carole King’s Tapestry continues to be one of my most favourite albums. It’s my mum’s favourite too, and I have many memories of singing along with this uplifting message of unity and platonic love with her over the years, both reaching for the tissues when we saw it live in the musical Beautiful. So, this heartfelt anthem goes out to her, my all time favourite gal, who inspires me every day and I miss so much right now. (ML)

CIRCE – ‘Ten Girls’
London based dark-pop artist Circe is inspired by the films of David Lynch, the brutality of Margaret Atwood’s fiction and the soundtracks to Stranger Things and Baz Lurhmann’s Romeo & Juliet. This single takes its title from a quote from The Handmaid’s Tale. Of the track, Circe explains: “[Atwood’s novel] is a poetic but disturbing view of women living in a dystopian oppressive world. This chimes with my own fractured generation of cancel culture, swipes of sex, and revenge porn.” I’m obsessed with Circe’s debut EP She’s Made Of Saints, which is full of sweeping, cinematic gems. (KC)

Robyn – ‘Dancing On My Own’
‘Dancing On My Own’, and what’s wrong with that!? Often I prefer to dance on my own. More space. Robyn is also an outspoken ally for LGBTQ+ rights, and we all know romance isn’t just for the heterosexuals out there! So whether you honour Galentine’s, Valentine’s, or even Palentine’s Day; make sure you have a good old dance. (TW)

Lady Gaga & Ariana Grande – ‘Rain On Me’
I am dying to hear this on a dance-floor at some point! Until then, I’ll settle for my new flatmate Rachel telling Alexa to play it at random intervals during the day. (KC)

Lizzo – ‘Like A Girl’
Turning the common derogatory phrase ‘Like A Girl’ on its head to create something wonderfully empowering, this is another ferociously fun offering from GIHE fave, Lizzo. With references to other powerful women of colour, including Lauryn Hill and Serena Williams, it’s the perfect ode to the power of being female and the power felt when women unite. So, this Galentine’s Day, I’ll leave you with the Lizzo’s words of wisdom: “If you fight like a girl, cry like a girl, do your thing, run the whole damn world”. An ultimate feel-good anthem for women everywhere. (ML)

Lotic – ‘Burn A Print’
With a name that means to “to inhabit rapidly moving water,” Lotic’s chaotic yet fluid soundscapes truly embody her passionate, fighting spirit. Her mission is to “live life to the fullest by not giving a fuck about what anybody thinks” and she communicates that with defiant flair on this track. (KC)

Britney Spears – ‘If U Seek Amy’
I just thought that this Galentine’s Day would be a good opportunity to show some solidarity with wonder woman Britney Spears. I’m sure most of you have heard about the new documentary ‘Framing Britney Spears’ – a film investigating the conservatorship arrangement that has been in place since 2009, declaring Spears unfit to manage her own personal affairs, and the grossly unfair ways in which she has been treated over the years. With her independence being so extremely restricted by a terrifying patriarchal system (and her own father), it highlights the awful ways that society can find to assert control over women. This Galentine’s Day, and all other days, we stand with the #FreeBritney campaign by singing along to one of her most controversial songs. (ML)

Destiny’s Child – ‘Girl’
I re-watched the video for this Destiny’s Child track recently with tears in my eyes, because they’re just so nice to Kelly in it?! The bit where Beyoncé wipes the tear from her cheek… *sobs* This 2004 banger is pure girl power all the way through. (KC)

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