Written and Photographed by : Lisa Melograno

On September 10, 2024, the iconic punk rock band Bikini Kill graced the stage at Franklin Music Hall in Philadelphia, delivering a performance that was as electrifying as it was nostalgic. The venue was brimming with energy, a testament to the band’s enduring influence on multiple generations. Fans, spanning ages from sixteen to seventy, filled the room, embodying the spirit of rebellion that Bikini Kill has championed since their inception. From combat boots paired with short skirts to casual jeans and T-shirts, the diverse crowd was ready to unleash their inner punk for a night that promised to be unforgettable.

Before the show began, I had the pleasure of meeting a mother who was there with her 16-year-old daughter, both of whom were excited about seeing Bikini Kill live for the first time. The mother shared her own history with the band, revealing that Bikini Kill was her favorite when she was sixteen years old. However, she had never had the chance to witness them live. Her daughter, having discovered the band on her own, had quickly become a devoted fan. This beautiful generational connection highlighted the band’s ability to resonate across ages, proving that their message of empowerment and resistance is timeless.

As the lights dimmed and the crowd buzzed with anticipation, the members of Bikini Kill took the stage, each one a visual representation of the punk ethos. Kathleen Hanna, the band’s charismatic lead singer, wore a whimsical dress with a poofy skirt paired with a sparkling green sequin top that caught the stage lights beautifully. Tobi Vail, the drummer, sported bright pink hair and oversized funky sunglasses, while the bassist, Kathi Wilcox, donned a black dress coupled with bright pink leotards and sneakers. Sara Landeau, the guitarist, completed the eclectic ensemble with a sleek black blouse and pants. Their vibrant wardrobe mirrored the colorful energy of the audience, creating an atmosphere of self-expression and defiance.

The show kicked off with Hanna’s warm and engaging presence. She instantly connected with the audience, spotting a fan in the front row wearing a homemade T-shirt, inspired by one of her original designs. Recognizing the effort and creativity, Hanna praised the girl and dedicated the first song, “Double Dare Ya,” to her. This moment set the tone for the night: a celebration of individuality and the strong bond between the band and their fans.

Hanna also took a moment to acknowledge the political climate outside the venue. With a presidential debate occurring just four blocks away, she expressed her surprise at the packed house. She expressed gratitude to the fans for attending despite the closures and traffic alerts, highlighting their rebellious spirit in choosing punk rock over politics for the night. The atmosphere in Franklin Music Hall was charged with a sense of camaraderie, a reminder that music often serves as a powerful form of protest and connection.

Bikini Kill’s setlist was a delightful journey through their most beloved tracks, creating an atmosphere of nostalgia and empowerment. The band performed fan favorites, including “Carnival,” “Reject All American,” “Alien She,” “Lil Red,” “Jigsaw Youth,” and “Suck My Left One” (a tribute to Hanna’s sister, nicknamed “Good Times”)

Each song resonated with the audience’s collective energy, making it clear that Bikini Kill’s message of empowerment was still incredibly relevant. One particularly touching moment came during “Suck My Left One,” where Hanna drew from her memoir, *Rebel Girl*, released earlier this year, to share a heartfelt story about her sister’s strength and defiance. Her sister, known as “Goodtimes,” embodied resilience and often declared “suck my left one” as a way of refusing to take any nonsense. This song serves as a tribute to her sister’s spirit, capturing the essence of defiance that permeates Bikini Kill’s work. Hanna’s storytelling added depth to the performance, showcasing her eloquence and ability to connect with the audience on a personal level.

Throughout the performance, the band members displayed their versatility by alternately switching instruments and taking on vocal duties. Vail even left her drum set to come to the front and sing, further enriching the dynamic of the show. This fluidity not only highlighted their musical talent but also embodied the spirit of collaboration and empowerment that the Riot Grrl movement represents, highlighting that punk is not just about the music but about community, solidarity, and shared experiences.

As the concert reached its climax, the audience erupted in cheers for the band’s anthem, “Rebel Girl.” The atmosphere was electric as fans chanted the song’s name, hoping for an encore of this beloved Riot Grrl anthem. Bikini Kill did not disappoint. They returned to the stage, and Hanna encouraged everyone to sing along, creating a euphoric moment where thousands of voices united in celebration. The sheer volume of the crowd singing together was a powerful reminder of the community that punk music fosters—a space where individuals come together, regardless of their backgrounds, to share in a collective experience.

The song “Rebel Girl” encapsulates the essence of Bikini Kill’s message: empowerment, rebellion, and pride in one’s identity. As the chorus echoed through Franklin Music Hall, it felt as if the very walls were vibrating with the collective spirit of empowerment that the band has inspired for decades. The energy in the room was palpable, with fans jumping, singing, and celebrating the moment, creating a sense of unity that transcended generations.

As the final notes of “Rebel Girl” reverberated through the venue, it was clear that this concert was more than just a performance; it was a reaffirmation of Bikini Kill’s legacy and their ongoing influence in the music world. For many in attendance, it was a night of liberation, nostalgia, and empowerment, where the past and present collided in a celebration of punk culture. The powerful connection between the band and their fans, coupled with the vibrant energy of the crowd, made for an unforgettable evening.

Bikini Kill continues to inspire new generations, proving that their message of feminism, activism, and rebellion is as relevant today as it ever was. In a world that often feels divided, their music reminds us of the importance of unity, self-expression, and the relentless pursuit of change. The concert at Franklin Music Hall was not just a reminder of where punk has been, but a bold statement of where it is going. As the lights dimmed and the echoes of their final song faded, it was evident that Bikini Kill had once again ignited a fire in the hearts of their fans, encouraging everyone to embrace their inner rebel.

With each note played and every lyric sung, Bikini Kill reaffirmed their place in punk history, not just as musicians but as activists who continue to inspire and provoke thought through their art. The night served as a powerful reminder that punk is not merely a genre of music but a movement—a call to arms for anyone who dares to stand against the status quo. The echoes of this concert will undoubtedly linger long after the last chord was struck, reminding us of all that the spirit of rebellion is alive and well.

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Rebel Girl, by Kathleen Hanna

Written by: Lisa Melograno

As I dove into Kathleen Hanna‘s “Rebel Girl,” I was captivated by her vivid descriptions of her life, from childhood and beyond. Her recollections of the shows she watched, dance classes, music, and fashion struck a chord with me, evoking memories of my own upbringing. Hanna’s engaging narrative had me eager to delve further into her inspiring story. In this captivating memoir, Hanna offers a candid glimpse into her remarkable journey, marked by personal struggles, triumphs, and a relentless spirit that solidified her place in the punk rock scene and feminist movements.

As a musician, activist, and founding member of the bands Bikini Kill and Le Tigre, Hanna invites readers into her extraordinary life with an unapologetic voice and fearless storytelling. Hanna’s reflections on growing up in a turbulent home with an alcoholic father, who was a labor union leader, weave a powerful tale of strength amidst challenges. Kathleen Hanna was born in Portland and spent her early years in Maryland. During middle school, her sister overdosed on Jimsonweed and spent some time in a coma. As Hanna walked through the halls of her school, she would hear students discussing the incident. This event marked her first experience with “unwanted media training,” which she described as becoming “famous in a bad way.” Hanna’s family later moved back to Washington, and she started high school at Lincoln High School. She found the school to be filled with “mostly rich kids that knew each other since they were babies,” as she described it. When Hanna’s sister got married, she sang at the ceremony. After her performance, Walter Cole, her late cousin and the proprietor of Darcelle XV nightclub, praised her vocal talent. Hanna recalls him saying, “If you were a boy, I’d hire you right now to sing in my cabaret show.” She expressed feeling as if she had been “knighted by entertainment royalty.” This experience motivated Hanna to return to singing, as she realized it gave her a sense of purpose and something to live for.

In “Rebel Girl,”  Hanna invites readers on a candid journey through her college years, offering an intimate look into her personal evolution. As she pursues a photography major at Evergreen College, her memoir explores the defining moments that molded her identity and ignited her rebellious nature. From late-night sessions in the print room to the heartbreaking discovery of her roommate’s assault, her experiences range from volunteering at SafePlace‘s call center (a facility aiding victims of rape and domestic abuse) to the creation of zines, launching an art gallery, and forming a band. It was during this period that she crossed paths with her future Bikini Kill bandmates, Tobi Vail and Kathi Wilcox. Reko Muse, the gallery’s name, was a collaborative project among friends. For their grand opening, they decided to organize a concert, and Tammy Rae, an artist and close friend of Kurt Cobain, arranged for a local band, Nirvana, to perform at the gallery due to their significant following. It was at Reko Muse that Hanna first encountered the local band Nirvana and its lead singer, Kurt Cobain, marking the beginning of their friendship. Seeking refuge from her male roommate and hesitant to return home, she frequently stayed at Cobain’s apartment, which she shared with his new drummer, Dave Grohl. One night, in a state of drunken revelry, Hanna scrawled “Kurt smells like teen spirit” above his bed, drawing inspiration from a teenage girl’s deodorant ad she had seen with Tobi, who was Kurt’s girlfriend at the time. Kurt was later asked to use the phrase in a song, inadvertently sparking the creation of a legendary rock anthem. Furthermore, when Bikini Kill was asked to participate in the music video, they declined to avoid being objectified and to uphold their feminist principles. Hanna later regretted missing her final chance to see her friend Kurt Cobain. As Hanna navigated relationships and dedicated her time to volunteering at SafePlace, she found herself drawn to the ideals of the feminist movement. Volunteering at SafePlace was “gratifying but super upsetting.” She began journaling and writing poetry to cope. Unknowingly, the suppressed memories of past traumas inflicted by the men in her life started to resurface in her writing. Despite the emotional turmoil, it felt like she was “coming alive for the first time.” Tobi Vail’s fusion of punk and feminism in her songs left a lasting impression on Hanna, inspiring her to propose starting a band. With Kathi Wilcox joining their ranks, Bikini Kill was born.

In “Rebel Girl,” Hanna delves into her journey through music, activism, and feminism, shedding light on the challenges she faced as a woman in the predominantly male-dominated punk rock scene. She provides readers with a firsthand account of the hurdles she met in the music industry and highlights how she used her music and voice to combat sexism and empower women. Noticing the gender dynamics at her concerts, where males tended to dominate the front rows and harass the girls, Hanna began her performances with the empowering directive, “girls to the front.” This simple yet impactful gesture marked the dawn of the Riot Grrrl movement. The narrative explores the genesis and impact of Bikini Kill, from the iconic concert opening chant “Girls to the Front” to the practice of collecting addresses from attendees to distribute zines and updates on forthcoming shows. Drawing hearts and stars on one’s hands with a Sharpie at concerts signifies having received a postcard and being embraced as part of the community.

While on tour in Australia, Bikini Kill and The Beastie Boys both performed at the Summersault Festival, where Hanna first met Adam Horovitz of the Beastie Boys. She was enamored by him, considering him “the sexiest boy in the world,” despite his marital status at the time. Their paths crossed again after Horovitz’s marriage ended. When Hanna returned from the tour, she bought a Beastie Boys poster to admire him, kissing his face so much that the lips on the poster became distorted. During Horovitz’s first visit to Hanna’s apartment, he noticed the altered poster. Hanna initially tried to downplay it, claiming she bought it for her cousin. However, Horovitz, seeing the changes to his mouth, asked, “What’s wrong with my mouth?” Hanna tried to evade the question by suggesting water damage, to which Horovitz playfully responded, “Only on my mouth?” Hanna realized she had been caught in her lighthearted deception. Kathleen Hanna’s partnership with Adam Horovitz of the Beastie Boys brings a profound dimension to her story. Hanna recalls her surprise at his kindness, as it wasn’t something she had experienced often from men. Their relationship represents not only a shared passion for music and activism but also serves as a testament to the enduring power of love in the face of adversity. Hanna’s candid account of her battle with Lyme disease and the unwavering support from her husband during her darkest moments reveal a heartwarming aspect of her journey. Together, Hanna and Horovitz weathered storms and built a family, adopting a son named Julius.

“Rebel Girl” serves not only as a tale of personal development and self-realization but also as a narrative of collective mobilization and empowerment. Hanna’s portrayal is profoundly introspective, shedding light on her internal struggles and vulnerabilities while also illustrating the communal essence of the Riot Grrrl movement. Her narrative stands as a tribute to resilience, the significance of female solidarity, and the profound impact of art as a tool for societal transformation.

“Rebel Girl” transcends the boundaries of a mere memoir; it stands as a testament to resilience, empowerment, and the transformative force of self-expression. With unwavering courage and conviction, Kathleen Hanna’s narrative becomes a rallying cry for individuals daring to challenge the norms and embrace their distinct voices in a society that often tries to suppress them. In this captivating and profoundly personal memoir, Kathleen Hanna shines as a symbol of resilience and rebellion, underscoring the influence of our narratives in shaping our paths and motivating others to overcome challenges.

“Rebel Girl” stands as essential reading for those in pursuit of inspiration, empowerment, and the bravery to challenge conventional norms. As Hanna grapples with the complexities of fame, creativity, and personal struggles, “Rebel Girl” is a poignant exploration of resilience, love, and the transformative power of self-discovery. Her unwavering commitment to speaking her truth and challenging societal norms reverberates throughout the pages, inspiring readers to embrace their authentic selves and confront life’s obstacles with courage and defiance. In “Rebel Girl,”  Hanna emerges not only as a cultural icon but as a beacon of empowerment and authenticity. “Rebel Girl” is a compelling and inspiring account of Hanna’s life and career, showcasing her unwavering commitment to using her voice and platform to advocate for social change and gender equality. It is a must-read for fans of punk rock, feminism, and anyone interested in the intersection of music and activism. Kathleen Hanna’s unwavering courage and commitment to speaking her truth challenge societal norms, inspiring readers to embrace authenticity and face life’s obstacles with determination. Through her profound journey, Kathleen Hanna emerges as a symbol of resilience, urging us all to become rebels with a cause and fight for a more equal and expressive world. As Hanna navigated the complexities of fame, creativity, and personal struggles, her memoir stood as a call to action. “Rebel Girl” invites us to find our voice, own our stories, and reclaim our power in a world that often seeks to silence us. This captivating and deeply personal memoir is essential reading for those seeking inspiration, empowerment, and the courage to defy conventional norms.

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Run Fast

Reviewed by: Stephen Krock

“I’m gonna yell it out / I’m gonna scream it out,” Kathleen Hanna, leading lady of The Julie Ruin, proclaims on one of the many awesome tracks to the band’s debut album, Run Fast. And you’ll want to do just that as their infectious energy pumps through your eyes and into your veins. With a front man hailing from Bikini Kill and indie darlings Le Tigre, it’s easy to expect badassness. But with a supporting cast including the co-founder of notorious drag duo Kiki & Herb, a fellow former Bikini Kill member, and a major contributor to the Rock Camp for Girls movement, this is a show you’d want to watch all day.

It’s Riot Grrrl punk perfection from beginning to end. The foot stomping, pelvis thrusting “Kids in NY” and “Cookie Road” have a distinct B-52s touch to them. But a B-52s that could kick your butt into next Tuesday. And the latter track has a killer piano rock segment that begs you to boogie. Kenny Mellman’s deep and sexy vocal assistance is fantastic when paired with the Hanna’s raucous pixie wails, particularly on “South Coast Plaza.” The 80s laced “Girls Like Us” is spectacularly fun while hammering away at that glass ceiling without being overtly messagey. “Girls like us pick up the hot handles and burn our hands and we get over it.” Great. Also, great are the album’s surprisingly tender moments. “Just My Kind” being Hanna’s loving tribute to her Beastie Boy husband. And the title track having that epic, fist raising “Don’t You Forget About Me” rolling credits moment as the set comes to a close.

Run Fast is a seamless blend of punk past, present, and (hopefully) future. It kicks off with speed and never loses momentum. Every song is essential. There’s not much else to say except: Yes. This.

Rating: Iconic 

Self titled

Reviewed by Michele Zipkin

The tunes on the first self-titled, Slumberland-released album of Glasgow-based Golden Grrrls are catchy and addictive.  Perhaps inspired by (or definitely similar to) ’80s and ’90s riot (girl) bands like Bikini Kill or Beat Happening, Rauri Maclean, Eilidh Rodgers and Rachel Aggs are keeping it simple and kicking it old school with their brand of indie garage rock.  In their case, less is certainly more.

Take the song “Paul Simon” for instance- you’ve got your typical drums/bass/guitar and vocals as main components in the song, but those two simple riffs that drive the beat are so easy to like.  Let’s get real- nine times out of ten all you need is an infectious riff and you’ve got a good song.  “Past Tense” is a strong track and really has a melody and overall vibe (between the bass-line  guitar lick and very nonchalant vocals) that sounds like it genuinely fits in with all those ‘80s underground bands.

The instrumental work on a lot of these songs (“Think of the Ways”) is stronger than the vocal work- the singing seems to blend right into the rest of some of the tracks, like the volume on the amps is too high, and sometimes lacks distinct melody (“Older Today”).  That’s the one thing left to be desired on this record- if the vocals were a bit more in the forefront, those main melodies (some of which are quite lovely and are really the heart and soul of a song) would be more audible.  We could however chalk this up to the riot/punk/garage style, in which case the band is just following in the footsteps of tradition.  However, strong vocal performances can be heard in “Date It”.  The album definitely has the slight distort of live performances recorded to tape.

With their varying musical tastes and backgrounds, the three musicians are writing songs that come from the heart- they’re not faking anything here or trying to sound like anybody in particular, and there’s something to be said for that.

Rating: listenable