femme mag

#
The Orielles – Yassassin – Pixx – Onyda - Girli

Rosie Smith

Heaps of sweat, tears, and glitter have gone into the making of the
first issue of Femme. Femme started as a weekly radio show
dedicated to increasing gender equality within the music industry,
a place where women and non-binary artists are often overlooked,
sexualised etc ..
Femme zine is a creative space, showcasing not only the best in
female music talent around, but also some extremely talented photographers,
artists illustrators and much more. There’s still a lot
more to be done in the name of equality in the music industry, but
we’re hoping Femme will have a postitive impact on this pressing
issue.
We hope you enjoy reading Issue #1 as much as we enjoyed
making it.
D & G x
C
O
N
T
E
N
T
S
New music
The Orielles 3
Yassassin 7
Pixx 11
Femme introducing
Onyda 15
Cover story
Girli 21
Think piece
Stand up for the
lineup 29
Femme international
Revoltionary Swedish
punk bands 31
Art
Rosie Smith 36
Poppy Crew 38
Girls support girls
Girls Against 39
Bitch Craft 40

The
Words by Mel Svensen
Photography by Ema Crompton
Orielles

After meeting at a house party and bonding over a love of music, The Orielles
have seen male contemporaries overtake them over the years. Held back by
no means bytheir music – which is certainly on par with, if not better than,
said peers – but rather by an industry that continues to be widely dominated,
and working in favour of, men, The Orielles face a battle that is sadly far too
common. That being said, for one so common, it’s seemingly not picked up on
until you’re thrown in the middle of it. Indeed, as The Orielles admit: “we were
quite young and naïve and so the concept of being a woman in a band didn’t
seem unusual… we weren’t fully aware that there was so much sexism in the
music industry.” They also mention music should never be gender specific, so
it would be wrong to assume the industry that creates it is.
And they’re right: music isn’t gender specific. But the scenes and culture
surrounding it quite often are, and are a huge factor in dissuading girls from
joining bands. From the football chants of Courteeners gigs, to the constant
reports and rumours of unwarranted sexual advances (from both fans and
bands), the music scene often isn’t a safe space for girls. “I certainly hope
it doesn't deter young girls from picking up instruments and starting bands,
but due to it being such a male dominated industry I can see how it would,
especially with bands like Cabbage actively dissuading girls from even
attending gigs through their behaviour,” says Esme, the frontwoman of The
Orielles. This is understandably more than enough to put anyone off – why
would women want to be a part of a scene where they feel so threatened
and unwelcome? Despite this, Esme also hopes, with an apparent rise of girl
bands occurring, that it is doing the opposite: “it gives them an excuse to
begin playing as they have something to prove!”.
It’s this idea that women have to prove something, however, that is so
troubling. “Our drummer, Sid, often gets belittling comments about how good
her drumming is ‘for a girl’… and I always get the standard ‘why don’t you
smile more?’”. It’s unfortunately a discrimination that transcends to other
bands in the scene too, with The Orielles admitting they often feel unwelcome
in green rooms or after parties as “people seem to direct conversation about
songwriting towards Henry (the band’s bassist), expecting that he writes
all of the material”. These dismissals and discriminations are one of the
contributing factors making breaking the industry as a girl-band or a woman
so difficult; the idea that women are good ‘despite’ their gender, rather than
their musical ability, means women have to work ten times harder to prove
their talent.

“I always get the
standard ‘why don’t
you smile more?’”

Yet within all this, we face another issue. In tackling issues of being a woman in
music, it feels as though we’re feeding into the idea of women being an ‘other’, or
a novelty. This mentality is widely prevalent across the media, where Wikipedia has
a ‘Women in Music’ page, without a male counterpart. The suggestion that women
are somehow encroaching on, or ‘attempting’ to break into, an industry that is
naturally male is highly upsetting. Yet, until it becomes ‘normal’ to be a woman in
music, it seems we should highlight and celebrate while also normalise women in
the music industry. “We always get clichéd comparisons to female musicians due
to our female presence in the band, even if we sound nothing like the artist,” tell
The Orielles. “I think we can only combat this by getting people to normalise the
idea of being a woman in a band”. Though it seems the logical solution to this is to
not label women in music as just that, in doing so women seem to be ignored. Until
then, the only way is to stand up and shout that women and non-binary talent are
here, and they don’t expect to be treated any differently due to their gender.
However, throughout all of this, The Orielles seem hopeful, and the future definitely
looksbrighter for female musicians. “Girls just need to feel as encouraged as
possible to start playing music and not take shit from anyone in the industry, and
not give up when they experience sexism, but use it as a catalyst into making
something super special to say, ‘you know what, fuck you!’”. While gender
inequality in the music industry has been present for decades, projects like Girls
Against and FEMME are certainly doing all they can to break down barriers. While it
may take a little more effort, there’s no doubt that female dominant bands like The
Orielles are on their way up, despite their gender.

Y
A
S
S
A
S
S
I
N
Words by Dani Ran Photography by Poppy Marriott

London five-piece
Yassassin are
tired of being
SEEN as a novely
It’s an unusually sunny Tuesday
afternoon when I meet Yassassin,
AKA Anna, Joanna, Ruth, Raisa,
and Moa, ahead of their gig at
The Garage in North London. The
streets of Highbury & Islington
hung heavy in the aftermath of
500-odd Harry Styles stan-girls
following the singer’s debut solo
show at the same venue just a
couple days before. “Can you
believe it, we’re playing the same
venue as Harry Styles!” Ruth,
Yassassin’s drummer sarcastically
says to me. I could believe
it - pretty much a modern day Le
Tigre meets The B52’s, Yassassin
are arguably one of London’s
most exciting new bands, and
certainly deserve to be on any
stage, let alone one Harry Styles
has been on. What I couldn’t
believe, however, was how someone
like Styles, former One Direction
member and quite frankly
woeful musician (no shade, Haz),
was gaining headline shows and
worldwide notability – far more
than Yassassin have in their
18-months as a band - simply
for being a moderately attractive
male with a less than average
musical ability. Thus sparking the
question: why?
There’s certainly no shortage of
female-led, queer, and all female
bands in the UK at the moment,
but if you asked a member of
the general public to name any,
they’d probably struggle to think
of anyone other than Spice Girls
or Little Mix. Yassassin’s bassist
Raisa reckons it’s to do with press
coverage of the underdogs in music.
“Magazines aren’t looking for
any good indie music anymore,
[they’re] just going with bands
pushed to them from some record
label” she says. “There’s no risk,
it’s almost like clickbait. Just like
feminism, they want to please
the reader without any effort and
without knowing what they’re talking
about” she continues jokingly.
Raisa’s point is spot on. Women,

especially within the indie scene,
are highly disregarded across the
board as the big dogs are booking/promoting
people-pleasing
(male) acts more than ever. Yet,
Yassassin certainly don’t let this
dissuade them from writing and
playing music. “We view ourselves
equally to other bands. Like, we
don’t think of it as a novelty that
we’re an all-female band, we just
create the music we want” says
Anna, Yassassin’s front-woman.
Somehow, girl bands are still
widely seen as a novelty act, like
a bearded lady in a circus. Passers-by
gawk in disbelief at women
being any part of a band other
than a singer, backhandedly complimenting
female instrumentalists
for being “pretty good for a girl”
- PSA, it’s not a compliment. One
thing that all members of Yassassin
made clear was how fed-up
they were of being asked what it’s
like to be a woman in the music
industry. Of course, it does play a
huge part for Yassassin lyrically as
“all of [our] uniquely female experiences
go into our songwriting,
like being catcalled or sexualised”,
however, there is a huge differ-
ence between commenting on oppressive
gender experiences your-
self and being deprecated down
to solely your gender by others.
“Even though we’re women, we’re
musicians too,” says Anna.
It’s understandable how Yassassin
would want to avoid the
gender topic altogether when it
seems to be the only thing some
people focus on, however it does
still play a huge part in terms of
their influence on younger women.
The band made clear that
although they don’t have a set
target audience, what they really
hope to achieve is playing an
all-ages show. “We got so much
feedback when we supported
GIRLI at her all-ages show. Young
girls came up to us after our set
and told us we’d inspired them to
start a band. I guess that’s quite
an important thing to factor in, as
when I was young I didn’t really
have that role model or idol”.
And fantastic role models they
are, with lyrics surrounding the
subjects of sticking out from the
crowd and being yourself in the
ode to social standards ‘Social
Politics’ and defiance to conform
to society’s standards of beauty
in ‘Pretty Face’, hurling “If you like
my pretty face, I’ll wash it off”.
Admittedly, I wish I had role models
like Yassassin to look up to
when growing up – kick ass girls
with a brilliant message; be your-
self and fuck social standards.

“Even though we’re women,
we’re musicians too”

Pixx
Words by Grace Goslin
Photography by Rhi Barton
In a central London
Wetherspoons amidst the
throng of an unhappy couples’
break- up, perhaps there was
not a more apt time to speak
to Pixx about the success of
her debut album, its inspiration,
and the importance of girls
supporting girls in creative
industries.
‘The Age of Anxiety’ is an
ethereally electronic and
flawlessly crafted ode to our
increasingly social media
obsessed generation. Its
creator, 22-year-old Hannah
Rodgers, best known as Pixx.
The album’s title is taken from
a W.H Auden poem and feels
just as apt in 2017 as in 1947
when the poem was curated.
Anthemic choruses culminate
with soaring and equally
haunting vocals in an album
that is essentially a musical
reflection of Rodgers herself.
The album’s artwork itself
channels the future, but ‘The
Age of Anxiety’ is very much a
hopeful album for the uncertain
present.
Recorded “over the duration of
a year”, listening to ‘The Age of
Anxiety’ you get a sense that
you could either lounge, cup
of tea in hand, or alternatively
(almost always preferably)
dance around to the record,
carefree and enlightened. In
response to this refreshing
juxtaposition of ideas that her
album promotes, Pixx told us
“I think the reason it comes
across in that way is because
I’m quite extreme. The album
is very much representing me
as a person. I aimed for it to be
like that, because there are so
many sad albums, where I will
listen and think “oh my god,
this is so sad”, and then there
are albums which are way more
vibey! I feel like the mixture
is quite important. I kind of
wanted to represent what the
songs were standing for, in the
fact that a lot of them are about
battling with mental health. The
up’s and down’s are a portrayal
of that.”
Pixx’s captivating live shows,
which are “quite a lot heavier
than what you hear on the
record” channel these ‘vibes’
which punctuate her record.
Through creating a “different
listening experience”, Pixx
spoke of the difficulties
associated with performing a
studio album live: “It’s hard with
electronic music, lots of artists
have found, as I have found,
it’s hard to do it justice live and
also keep a good vibe. I didn’t
like the idea of it not being a
band, even though obviously
I write all the music, I want to
have a live band behind me for
my own fun and also for the
listeners to be able to vibe way
more. It’s different. I don’t think
that’s necessarily a bad thing,
something people can spend
however much time trying to

“Using
music as
an escape
is one of
the most
important
reasons
I think
music
exists”

ecreate something they’ve
done in the studio live, but I
don’t understand why there
can’t be different versions of
the songs. It just means it’s a
different listening experience,
as it should be because it’s
live!”
At present, there are large
amounts of political uncertainty
creating a largely uncomfortable
social climate which we are
all subjected to. Music as
a form of escapism is not a
new idea, but a necessary
one nonetheless. We asked
Pixx whether this sense of
escapism was intended in
‘The Age of Anxiety’. “Yeah,
definitely!”, she answered. “It’s
an interesting one actually,
because a lot of the time I
think my writing comes from
subconscious as well, like,
I’m not necessarily aware of
what I’m writing about, and I
can end up looking back and
realising that I am telling myself
something through music.
Using music as an escape
is one of the most important
reasons I think music exists.
People can use it for that, and
they can shut off. It doesn’t
have to be “I understand this”
or “I relate to this” or “I’m going
to pick this song apart” - it’s
about being able to listen to
an album and shut off and
let your mind go wherever it
needs to”. This idea of simply
listening to music is a needed
simplification in complicated
times. Overanalysing isn’t
necessary with ‘The Age of
Anxiety’. However, shutting
off is becoming increasingly
difficult.
With a generation damagingly
obsessed with social media
presence and creating an online
persona, our unhealthy reliance
on social media is something
that Pixx finds “weird”, and
rightly so! “Mostly the thing that
I’ve found weird over the past
couple of years is how much
social media has an impact
on my life and everyone’s
lives. And feeling like you can
never really escape because
you’re never really alone. I
find it quite disturbing, and I
think it can allow us to ignore
what is going on in the world
and things that are politically
incorrect, and ignore things
that we would otherwise have
to deal with straight up! Also,
it allows people to become
weaker if they have a front on
social media, like “I do this”
“I do that” and “I can say
what I want”, but in real life I
think it makes you more of a
coward. I find [it] particularly
difficult, some artists opt out
of having any kind of social
media – part of me wants to
do that, then part of me thinks
that would be denying what
is happening. I have to be a
part of it, otherwise I would be
living in the past.” This internal
confliction with social media
is one which is relatable in its
entirety.
In times that have the potential
to create such hostility, women
supporting women and
showcasing female talent is
crucially important. In response
to this need for creative support
among female and non-binary
creatives, Pixx told us “I think
it’s very important at the
moment that there are so many
young females, or non-binary
people coming around and
bringing awareness, and giving
people the confidence to be
outspoken about it. It’s difficult,
but I still have conversations
with old friends, where I’m
like “what the fuck!?” “what
page are you on”, you know.
Particularly with men, but also
quite often with women where
they cannot understand that
it’s ridiculous that we’re in 2017
and women still don’t have any
kind of equal chances to men,
and that’s just how it is, and
we are just meant to accept it.
I think it’s important that young
people are rising and drawing
attention to it, that’s exactly
what we need!”

FEMME
INTRODUCES..
ONYDA
Words by Grace Goslin
Photography by Poppy Marriott

Femme got to know upcoming musician Onyda, talking
labels, social conventions, gender, industry
pressures, musical inspiration and future goals.
20-year-old Stoke based Onyda, AKA Shae Maunders, creates
a wall of singer-songwriter smoothness which is both ethereal
and electric, an apt backdrop for instinct lead and honest lyrics.
Drawing upon multiple musical influences, Onyda’s music cannot
be categorised as simply one thing or another - rather an organic
combination of relatable narratives, fitting sampling and
hauntingly soulful vocals, making for the ultimate light-listening
experience. With just two Spotify singles swirling amongst new
music algorithms, Onyda’s lack of released content boasts anticipated
future releases, supported by the likes of BBC Introducing.
How would you
Describe your music?
Hmm, how would I describe
it? I don’t think it’s something
that I’m conscious
of, I would say it tends to
be electronic. I just love so
many different types of
music that I end up making
something that’s just to my
instincts, but I don’t actually
know what that is.
What does it mean to you
to be a woman in music?
Well, I think to be woman in
anything in the world that
we live in is something! It
means something to be noted.
We don’t even get paid
the same as men, so to be
a woman doing anything is,
in a way, is to be a woman
defying every man doing the
same thing.
How do you find being
referred to as a female
artist, would you rather
gender didn’t play
a role and you were
judged purely
musically?
It doesn’t bother me personally,
I think some people
wonder how I identify because
of my shaved head
and I always seem to dress
differently to other people,
but it’s not something I think
about. I don’t really care to

e honest. It’s bullshit that
people even have to come out
ect… people need to chill out!
Have you come across any
difficulties in the industry
so far as a result of
gender?
I haven’t personally, but my
time in the industry has been
limited so far. Obviously, even
though I’ve never experienced
any I do feel affected by what
is expected of a woman in the
music industry. There is a lot of
pressure to be a lot of things, as
we get older in the industry we
lose appeal, there’s a pressure
to be attractive…that’s how I
feel affected.
I think there’s a lot of
pressure to be femininely
beautiful to have worth in
the industry.
I think there is a lot of competition
in the industry between
women because of those pressures.
Not only in music though,
I think that’s society.
I really enjoyed the line in
‘Young and Stupid’ where
the words “nobody said I
couldn’t be trashy” were
included. I thought it was a
‘fuck you’ to what society
tells you to do, was that
the idea? And if so, how did
that line come about?
Yeah, actually! I have a friend
who posts loads of provocative
photos on Instagram, well she’s
the same in real life, what you
see on social media is what
she is like. The point being that
she doesn’t give a fuck! It’s the
whole thing about not needing
to wear clothes because we are
told we should. It’s about not
listening to set boundaries.
Who’s to say what ‘proper’
is anyway! What are your
favourite things to write
about?
Mainly my relationships with
people, whether that be a
friend, or boyfriend or family,
and just how people relate to
each other. Humans are the
most mind boggling people,
and I think they are both so stupid
and so amazing and beautiful
at the same time. I think we
are so fragile that there is a lot
going on. I always other think, I
feel like when I’m with a person
my brain is always ticking trying
to figure them out.

What are you goals for
the future?
Just to make as honest music
as possible, and to make
enough money to get by. I’m
kind of fucking sick of being
broke, (that’s another one liner
for a song aha)! Yeah, I just
want to make honest music.
It’s hard with the pressure to
pump out music and stay on
the hype and momentum in
the industry, it’s hard to have
room to breathe. I want to put
out the music out that I actually
want to make, and make
sure it’s alright.

Welcome
to...
Girli’s room
Words by Dani Ran
Photography by Ed Little
Illustration by Poppy Crew

GIRLI
THE
IS
THE ROLE
MODEL
WE WISH
WE HAD
GROWING
U
P

19-year-old Milly Toomy, more
commonly known by her stage
name GIRLI, is likely to be your
middle-aged Conservative father’s
worst nightmare. Fluorescent
magenta locks drape her unconventionally
painted face, stick-andpoke
tattoos cover her traditional
English rose complexion, and profanities
are generously sprinkled
throughout her patriarch-attacking
lyrics. To us young femmes,
GIRLI is the perfect revolutionary
role-model teaching us to stick
our middle finger up to the world,
as we attempt to exist in a time of
political uncertainty, mass gender
inequality, and a time where Donald-fucking-Trump
is essentially
the most important person in the
world.
In such a quite frankly uncomfortable
time, it’s important to have
role-models like GIRLI to say “you
know what, screw this. Be yourself,
and forget what anybody else
thinks”. Girli is fully aware of her
unorthodox appearance, firing
“Don’t you think you would look
nicer with brown hair / When you
have children they’ll sit in their high
chair / Look at their mummy and
see the disaster / Don’t you forget
that appearances matter” in her
most recent single ‘Not That Girl’.
Her avante-garde appearance and
don’t-give-a-toss attitude to style,
both musically and fashionably,
comes as somewhat of a refreshment
to us millennials, where
we’ve ultimately been brainwashed
to conform to gender
stereotypes and uniform style
since birth. “My parents always
talked about politics at home and
spoke their minds, which taught
me that it was good to have an
opinion and discuss issues”, Girli
admits. Unfortunately, debates and
discussions of important issues,
like gender inequality, are rare to
come-by without a bit of prodding
nowadays, so kudos to Papa and
Mama GIRLI.
The singer’s encouraging upbringing
has definitely had a positive
effect on her music. Her music,
which mirrors the style of PCmusic
and Harajuku bubble-gum
pop, certainly stands out from
the majority of music around
today. If you’re a young female
musician just starting out in the
industry, it’s likely that people will
assume you’re going to sing your
bog-standard standard Saturday
night X-Factor ballad. The assumption
is dreadful, but undeniably
something that has been ingrained
into all of us over the past 50-odd
years; women sing sad, slow, ladylike
songs. This expectation to live
up to society’s standards, especially
musically, is something that
Girli addresses in one of her earliest
singles ‘So You Think You Can
Fuck With Me Do Ya’. “Hey, you
thought I was gonna do a ballad? /
Fuck off” is what the singer howls
after a verse of singing perfectly

in tune, then continuing on to her
signature cyber-pop and rap hybrid
style. “I wanted to play with the
fact that so many people would
probably see me, a young woman
all dressed in pink, and assume
that I was going to sing them a
pretty ballad. So I gave them that
pretty ballad for 30 seconds, then
threw a load of abrasive shit in
their face that they weren’t expecting”,
Girli confesses.
Being a small fish in a pond so
large can be extremely difficult,
especially for a young woman.
Being thrown in said pond at just
15-years-old, Girli found herself
more than capable of swimming.
The music industry can be a frightening
place for people of all ages
and genders, let alone someone
so young. Instead of conforming
to what the industry could have
shaped her to be, Girli stuck to
her guns, and her confidence and
independence is something to be
admirable of. It’s no wonder her
music resonates with so many
young people who are just find
their feet and coming into their
own, as Girli eludes such a blithe
attitude towards fashion preferences
and social standards. When
asked whether she felt she had a
responsibility as a role-model to
the next generation of riot-grrls
(and boys), Girli replied “Yes, I do
definitely. I wanna make music that
would had inspired me when I was
a young girl. I want to make music
that’s relatable, and not so far off
people’s reality”. We’re currently
living in a surreal and hapless reality,
one that preaches short skirts or
ripped tights are synonymous with
the word “slut”, one that suggests
it’s better to be monotonous than
be labeled outlandish.
Call her what you like, but it won’t
phase Girli. She admits that fame
isn’t necessarily the motive, moreso
social and political commentary
that will reach the masses and
eventually change perceptions.
Until we reach that point however,
we’ll just keep having to point our
middle finger up to the patriarchy
in true Girli fashion.
“I WaNNA MAKE MUSIC THAT
WOULD HAD INSPIRED ME
WHEN I WAS A YOUNG GIRL”

S TA N D
UP
FOR
THE
LINE
UP
Words by Grace Goslin
I know for a fact that when in the throng
of the summer sun, tent finally pitched,
and crumpled warm fosters in hand, the
not so small matter of lineup injustice is
hardly at the top of a festival goer’s priority.
However, now mid festival season and
with all the post glastonbury enthusiasm
we can muster, it’s time to talk about line
up inequality.
Whilst commercial festivals such as
Coachella and Glastonbury have boasted
headliners such as, Beyonce, Sia, Adele
and Florence and the Machine in recent
years, female artists are still a minority on
a line up. According the Huffington Post
the percentage of singularly all female
artists (not including mixed acts) stood at
a mere 5-19% at the festivals they explored.
With Reading and Leeds Festival
often scrutinized for misrepresentation
of female and non binary artists, with the
lineup reportedly consisting of around
56% all male bands. Festival organisers
often speak out about the lack of female
talent on a line up and aren’t blind to the
injustice, often championing progressive
changes to reach equality. Then why, if
there is an awareness of casual sexism

in the music indiustry isn’t more being done to counteract its effects?
Emerging female talent is some of the most inspiring and
exciting. I think it can be agreed that Kate Tempest’s cut throat
politically charged spoken word piece reached Glastonbury and an
entire nation this year.
Not only do festival line-up’s prioritise male acts, but also when
women do headline festivals they are often undermined as standin’s.
Florence and the Machine’s 2016 Glastonbury headline slot
was issued as a controversial stand in slot for the absent Foo
Fighters. This isn’t the first time that female headliners have been
championed by simply filling in for male absentees,an offensive fact
that almost diminishes female artists talent and capabilities. It is
wrong that a headline status should only be gained by filling in the
gaps for male counterparts. In their own right, both artists deserved
headline slots independent of absent acts. In 2014 Lily Allen took
to the Latitude headline spot, filling in for Two Door CInema Club.
Both Florence and the Machine and Lily Allen have received brilliant
credit throughout their continued careers, and rightly so. It seems ill
fitting that capitalist and commercial success isn’t echoed on that
star studded line up that makes you dish out £250 pounds of your
hard earned cash.
Leaving the issue of headline acts, an argument made by many
who endorse the lack of female artists on a line up is the flippant
statement that “there isn’t enough emerging female talent”,or “female
artists just aren’t as big as male artists”, to which we say with
fluttering eyelashes a giggle and a polite curtsy - Bullshit!. This isn’t
to say that male acts shouldn’t headline, or undermine their talent in
the slightest, there is a huge amount of creativity found in male artists
in 2017 with more and more acts pushing musical, artistic and
creative limits often with a much needed political narrative. However,
the girls are out there doing it too, with just as much creativity,
artistry and political awareness.
. . .

Femme International presents.. Swedish punk bands
Words & design by Johanna de Verdier

A
R
T

ROSIE SMITH
@SMOSIERIFFY
Bristol based 3rd year photography student, Rosie Smith, creates
drawings and embroideries as a self confessed creative avoidance of
university work. Her quirky designs range from winking hearts to Toploader
‘Dancing in the Moonlight’ lyrics, creating the basis for an effortless
and entirely relatable

POPPY CREW
Poppy Crew is an Oxford Brookes illustration graduate telling it how it
is. Much of her work is centred around self-love and the desexualisation
of women, often showing women in their natural forms.

@POPPYCREW
Through her illustrations, Poppy encourages women to love their
flaws, which can be anything from stubbly pits to tummy rolls.

GIRLS SUPPOR
GIRLS AGAINST
John Peel Stage, Glastonbury, 2017. On a lazy Sunday afternoon Frank
Carter uses his precious time on stage to make a request of his fans, a
request that during his last song only girls in the crowd were allowed to
crowd surf, giving way for a sea of young female fans to glide across the
crowd and towards the stage. Similarly, Run the Jewels bound across the
Pyramid Stage and announce that anyone acting inappropriately towards
female fans will be personally beaten up by the band themselves. But
where has this wave of female acknowledgement at gigs come from? Enter
Girls Against…
In 2015 a group of teenage girls based all around the UK came together
with a common experience, that of sexual harassment at a gig. After
founder Hannah had to deal with unwanted interest from a member of the
opposite sex at a Peace gig, she formed a squad of girls with the intention
of raising awareness and breaking down the barriers of groping and harassment
within the gig circuit. Focusing their attention mainly on the bands
they themselves loved, they rallied big names such as Slaves, Jaws and
Swim Deep, who all supported their notion to make sexual harassment an
issue we could talk about.
Their name might suggest that they’re all about the ladies, however like all
good feminists they acknowledge that it isn’t just women who suffer. No
one deserves to be groped, regardless of their gender, especially not in
an environment that is meant to be a happy one. People wait years to see
their favourite bands, and to have that evening ruined by harassment is an
absolute travesty. It’s fair to say that bouncers and venue owners should be
taking responsibility in stopping this, however experiences collected by the
Girls Against crew have proved that bouncers often turn a blind eye to it.
Once again the girls are left doing it for themselves.
In the two years since their founding these girls have made a huge impact
on the way we approach harassment at gigs. Their merch has been worn
by a multitude of acts, their posters adorn the walls of venues in order to
reach out to people, and the girls themselves provide a listening ear to anyone
who’s experiences groping in a gig environment. Would bands playing
huge main stages at Glastonbury be reaching out to their fans to stop
groping without this movement opening up the conversation? Probably not.
Girls Against have started a war against groping.

RTING GIRLS
BITCH CRAFT
Words by
Maisy Farren
With its ever growing selection of bands and its venues running from
strength to strength, Brighton is the buzz place for the UK’s music scene
at the minute. Acting as a seaside get-away from the rush of London
life, Brighton will never cease to offer a gig or a half-decent club night. I
couldn’t think of a better stage for a new female collective, Bitch Craft.
Back in 2016, Polly Miles noticed the imbalance in the music industry whilst
running Acid Box Promotions, and after meeting girls DJing and performing
all over Brighton she formed the collective, in order to give more girls the
chance to show off their musical talents and work together in an equal and
friendly environment. Since then they have developed a regular club night
at Sticky Mikes Frog Bar. Each month they pay tribute to a female musical
icon, with the likes of Courtney Love, Beth Ditto and Stevie Nicks being
celebrated, and a selection of Brighton’s finest female musicians topping
the bill.
Not satisfied with just creating a safe, equal and fun environment for women
in music, they have also gone on to pair up with the Brighton’s Women
Centre, raising over £100 for them by selling an album: ‘Bitch Craft Vol.1’.
This charity’s aims mirror Bitch Craft’s ethos all too well, committing to
‘supporting and empowering vulnerable and disadvantaged women in the
community’, welcoming all women, regardless of their ethnicity, sexuality,
age or religion. Fitting the individuality of the collective, the girls got together
to hand make each album cover, creating heaps of unique purchases,
and donating 100% of sales to the charity.
Despite music being their main interest, Bitch Craft holds jobs for everyone,
with roles within the group being devoted purely to promotions, artwork
and even glitter application. Their success has hit the mainstream
with female indie-rock band Deap Valley DJing their club night, and inviting
Bitch Craft along to DJ after their Fluffer Pit Party show in London. Polly
reckons that the music industry is absolutely full of kick arse girls, and of
course they can do anything that men can do. If you can’t get down to one
of their club nights (last Friday of every month, FYI) then Polly encourages
you to get a collective going closer to home, by chatting to other girls and
supporting each others work, growing and working together. Till then catch
Bitch Craft at Sticky Mikes Frog Bar and in and around Brighton, kicking
ass as always.

instagram.com/femmecolllective
facebook.com/thefemmecollective
www.thefemmecollective.blogspot.co.uk
Wanna get involved? We’re looking for writers,
photographers, artists, musicians, poets, illustrators,
all sorts! Email us femmedaniandgrace@gmail.com.

Founders
Dani Ran Grace Goslin
Contributors
Dani Ran Grace Goslin Johanna de
Verdier Maisy Farren Mel Svensen
Photographers
Ed Little Ema Crompton
Poppy Marriott Rhi Barton
Artists
Poppy Crew Rosie Smith
Creative Direction
Imogen Wilson
Logo
Sophie Draper