The riot grrrl legends reflect on nearly 35 years as a band.
It was a night of rebel and riot grrrls in Chicago on the warm Friday night of August 30th when punk legends Bikini Kill headlined the iconic venue for a second time in two years. Right off the bat, it was an absolute thrill to walk into the Salt Shed that night, as the majority female audience featured girls of all ages, each with about the same level of excitement and devotion toward the band who rose to a considerable level of fame in the 1990’s. There were several heart-warming moments of young girls ranging between the ages of 9 and 14 sprinting into the Shed, dragging their mothers by their wrists behind them, and jumping up and down excitedly as they waited for their heroes to make their stage appearance.
With Bikini Kill was yet another female punk band, Shadow Show, who hit the ground running as soon as they took the stage. Hailing from Detroit, Shadow Show consists of guitarist Ava East, bassist Kate Derringer, and drummer Kerrigan Pearce. Their debut LP Fantasy Now! was released on February 16th of this year, and their 30 minutes on the stage prompted me to immediately save their album on streaming. While the band is considered by critics and magazines as “garage-psychedelic rock,” they stated toward the end of their set that they spent much of their time listening to–you guessed it–Bikini Kill when they first came together at 18 years old to form Shadow Show. As such, the trio provided an excellent appetizer before the riot grrrl trailblazers began their 90-minute set.
At around 9 p.m., vocalist Kathleen Hanna, decked out in a poofy blue dress and a green sequin vest, bassist Kathi Wilcox, drummer Tobi Vail, and touring guitarist and unofficial member Sara Landeau walked out to greet a nearly sold-out Shed. Despite a nearly 30-song set, the band’s performance went unbelievably quickly, partly because a majority of their songs averaged between 90 seconds and two minutes but also because of Hanna’s stunning charisma and a rebellious stage act between the four women. Their nearly 35-year history has proven that age is just a number, as their show in 2024 is just as exciting as footage from their shows in the 1990’s. On several occasions, the quartet switches positions as Tobi Vail takes the mic, Kathleen Hanna takes bass, and Kathi Wilcox steps behind the drum kit. After the first switch, Hanna introduces “Sugar” and covers a multitude of topics: the genocide in Gaza, feminist stereotypes, and the trials and tribulations of living in a male-dominated, colonialist society.
Kathleen Hanna has a number of these notable, applause-worthy moments. Specifically, before the song “I Like Fucking,” she delves into her appreciation for holding each other–and herself–accountable.
“We need to challenge each other without it being punitive,” she explains. “It’s the best gift when someone calls me out.”
It is shortly after this that a fan on the rail hands her a zine titled Coming of Rage Ceremony. As many die-hard Bikini Kill fans know, the formation of the band started with Kathleen Hanna’s feminist fanzines that she would pass out at local DIY shows over in their hometown of Olympia, Washington, before they would explode onto the scene, tour across the world, and become known as the founders of the Riot Grrrl act.
It is here that she pays tribute to queer Chicago underground artist Gene Barnes and plays “R.I.P.,” centered on the loss of “another boy genius who’s fucking gone.” Further on, her unrelenting feminist statements and inspiring stories as such also include the heart-wrenching story of Hanna’s sexual assault and the aftermath as she introduced the song surrounding the topic “Star-Bellied Boy.”
As the night began to wind down, the band showed appreciation for their fans and the packed Chicago miniature stadium. Hanna slips and refers to this tour as their “farewell tour,” correcting herself with “reunion tour.” It is unclear whether or not this is the last time we will see Bikini Kill, but if it is, they certainly have gone out with a bang, leaving a trail of aspiring feminist rock stars behind them. As they finished out the night with an encore of “Suck My Left One” and “Rebel Girl” (of course), the energy still radiated throughout the hundreds of fans streaming out of the venue and into the night, and the scene of young girls and women in platform shoes, pro-choice/pro-queer statement crop tops, and the biggest grins on their faces was not unlike one you would’ve seen 30 years ago. Whether or not their touring days are soon coming to an end, the legacy of Bikini Kill is here to stay.
