By Azzam Bilal 
HangupsMusic.com – LONDON, The streets of London are preparing to echo with the sounds of rebellion once more as a monumental celebration of feminist punk history approaches. In a significant cultural milestone, members of some of the most influential bands of the late 1970s and early 1980s are set to converge for a one-of-a-kind performance. This upcoming event, titled “God Save the Queens,” serves as a centerpiece for the 50th anniversary of feminist punk, a movement that redefined the role of women in music and social activism. Organized by the Up Yours! collective, the festival is scheduled to take place at Electric Brixton on October 16, offering a rare opportunity to witness a supergroup comprised of legends from the Raincoats, the Slits, and X-Ray Spex.
The significance of this gathering cannot be overstated for students of subculture and music history. The lineup features a staggering array of talent, including Gina Birch of the Raincoats and Hollie Cook, who carries the legacy of the Slits. They will be joined by Lora Logic and Paul Dean of X-Ray Spex, forming a collective that bridges the gap between the raw energy of the original punk explosion and the evolving sounds of the decades that followed. This performance is intended to be a "one night only" engagement, emphasizing the ephemeral yet impactful nature of the punk ethos.
Beyond the music, the festival serves as a precursor to a major new exhibition at the Museum of Youth Culture in Camden. This exhibit aims to document the evolution of the movement, utilizing archival materials, photography, and personal artifacts to tell a story that has often been relegated to the margins of mainstream rock history. Many of the artists scheduled to perform at Electric Brixton have played an active role in the curation of this exhibit, contributing never-before-seen artwork and historical documents that provide a behind-the-scenes look at the birth of a revolution.
The narrative of feminist punk is often described as a lineage of resistance. Vivien Goldman, the esteemed punk historian and author of Revenge of the She-Punks, is a key figure in the upcoming festivities. Goldman, who has spent decades documenting the intersection of gender and music, will not only appear at the festival but also brings her academic and personal expertise to the fore. In discussing the event, Goldman emphasized that the festival is a physical manifestation of the global history she chronicled in her writing. She noted that the objective has always been to map out the international network of women who utilized music as a tool to dismantle restrictive stereotypes and carve out their own creative territories. For Goldman, the "God Save the Queens" event is a living continuation of that rebel culture, asserting that the female narrative in punk is a driving force rather than a secondary thought.
The inclusion of Lora Logic adds another layer of depth to the proceedings. As a founding member of X-Ray Spex and later the leader of Essential Logic, her contributions to the saxophone’s role in punk and post-punk were revolutionary. Logic’s involvement in the Camden exhibit includes the donation of archival artwork, a move she describes as "completing a full circle." According to Logic, the creative expression inherent in the punk movement was always multi-dimensional, blending visual art, fashion, and sonic experimentation into a singular, confrontational package. Her participation highlights the idea that punk was never just about the three-minute song; it was about an entire aesthetic and philosophical overhaul.
The bill for the evening is further bolstered by a diverse range of performers who represent different eras and styles of the movement. Akiko Matsuura, known for her high-energy performances with Pre and Comanechi, will be present, as will Rhoda Dakar, the iconic voice of the Bodysnatchers and the Special AKA. Dakar’s presence brings the vital influence of 2-Tone and ska into the conversation, reminding audiences of the intersectionality that defined much of the UK’s alternative scene.
In a poignant tribute to the past, Celeste Bell, the daughter of the late Poly Styrene, will also take part. Poly Styrene, the frontwoman of X-Ray Spex, remains one of the most revered figures in punk, known for her insightful lyrics on consumerism and identity. Bell’s involvement ensures that her mother’s pioneering spirit remains central to the celebration. Representing the newer generation of artists is the trio Hot Wax, a band that has been gaining traction for their modern take on the raw, unpolished sound that the Raincoats and the Slits pioneered decades ago. Their inclusion signals that the feminist punk movement is not merely a retrospective look at the past, but an ongoing dialogue that continues to inspire young musicians today.
The venue choice, Electric Brixton, adds to the weight of the evening. Located in a district with its own deep history of social resistance and musical innovation, the space will provide a fitting backdrop for a night dedicated to "rebel culture." The event is expected to draw a multi-generational audience, from those who were present at the 100 Club in 1976 to younger fans who discovered these bands through digital archives and modern feminist movements.
Central to the "God Save the Queens" celebration is the concept of the "She-Punk." As Vivien Goldman has explored in her work, this term encompasses a wide variety of sounds—from the scratchy, avant-garde textures of the Raincoats to the dub-influenced rhythms of the Slits. What united these artists was a shared rejection of the "rock chick" trope. They were not there to be ornaments to a male-dominated scene; they were there to disrupt it. The Raincoats, for instance, famously avoided the traditional blues-based structures of rock and roll, opting instead for a more communal, non-hierarchical approach to songwriting that influenced everyone from Kurt Cobain to Sleater-Kinney.
The upcoming exhibition at the Museum of Youth Culture in Camden will delve into these nuances. Camden has long been the spiritual home of London’s alternative scenes, and the museum’s focus on the social history of young people makes it the ideal venue for such a display. By showcasing the visual art and clothing of the era alongside the music, the exhibit will illustrate how punk provided a platform for women to experiment with identity in ways that were previously unavailable to them.
As the 50th anniversary of the movement is marked, the conversation often turns to the legacy of DIY (Do It Yourself) ethics. This ethos allowed women to bypass the traditional gatekeepers of the music industry, recording their own sessions, designing their own record sleeves, and booking their own tours. The "God Save the Queens" festival is a testament to the endurance of that spirit. It is organized by a collective rather than a major corporate entity, staying true to the grassroots origins of the genre.
The impact of these bands on the modern musical landscape is pervasive. The Slits’ 1979 album Cut remains a blueprint for post-punk experimentation, while X-Ray Spex’s Germfree Adolescents is cited as one of the most lyrically sophisticated albums of its time. By bringing members of these groups back together, the festival offers a chance to reflect on how far the industry has come, while also acknowledging the work that remains to be done regarding gender parity in the arts.
Tickets for the October 16 event are expected to be in high demand, as the rarity of such a collaboration is well-understood by the punk community. For those attending, it will be more than just a concert; it will be a historical gathering of the architects of a movement. As Lora Logic noted, the synergy of noise, art, and fashion that defined the early days of feminist punk is still a potent force. The "God Save the Queens" festival and the accompanying Museum of Youth Culture exhibit ensure that this vital chapter of cultural history is not only remembered but celebrated with the volume and intensity it deserves. This October, London will once again become the epicenter of a movement that proved, half a century ago, that the most powerful thing a person can do is claim their own space and speak their own truth.
