The celebration of women or women in music should not be restricted to a single day, but rather be engaged as a daily undertaking. It’s important to remember that gender is a spectrum and acknowledging and celebrating the lives, work and music of gender diverse people everywhere is equally as important. We feel honoured to be inspired by so many women and gender diverse individuals every day, be it through our work, in our lives or through music. We want to celebrate their achievements every day, but, on this day, we’ve made a playlist for you to play loud and play proud.
Paige X. Cho
I love every corner of Björk’s catalogue, but I particularly love Homogenic because it’s so incredibly timeless, and as powerful now as it was 20 years ago. She’s been a particular inspiration for me with her views about how women should be allowed to break the mould and write about whatever they bloody hell want to: “women in music are allowed to be singer songwriters singing about their boyfriends . if they change the subject matter to atoms , galaxies , activism , nerdy math beat editing or anything else than being performers singing about their loved ones they get criticized : journalists feel there is just something missing … as if our only lingo is emo …” Bechdel would approve.
I have a very soft spot for dreamy vox over lots of loud abrasive noises, and this pretty much fits the bill. ‘Nuff said.
I like to listen to this song alone at night and sing along and pretend I’m a really good singer. The joke is I can’t sing.
Nina was unapologetic, fiery and full of passion. She was playful, but knew when to call out bullshit.
My dad has always loved Joni Mitchell and so I grew up listening to her. Her music is amazing, accessible and for me, oozes with nostalgia.
Ever-creative, ever-changing, ever-dreamy.
The first time I saw Antony and The Johnsons I was particularly struck by Antony Hegarty (ANOHNI). She performed at Dark Mofo with the Tasmanian Symphony Orchestra, speaking only toward the very end of her set. She spoke of the time she had recently spent with Australia’s Indigenous Martu people and their profound connection to the land. It was very moving. I have always admired the political nature of her music, her activeness within many communities and her exploration of cultures.
One of my favourite live performers – she’s just so cool. Everyone should go and see her.
I love Julia and this song is a particular favourite. It’s beautiful, haunting and I can listen it to anytime.
This trippy and confusing psychedelic mess titled ‘Free Food / One Man Striper’ from Karen’s album back in 2013 on Opal Tapes called ‘Kiki The Wormhole’ draws the listen into a swirling vortex of sound, held together by broken off-beat rhythm. The synth-led affair climaxes in a cosmic melody-line prior the track falling apart completely, rhythm gone, sense of structure never to return. Keeping a low-key approach to her profile, Karen only plays a handful of gigs a year, so if ever presented the chance, don’t miss it!
This spacey electro-influenced number from Hamburg new-comer Helena Hauff perfectly captures the genesis of her aesthetic direction, walking the fine-line between drawing inspiration from the electro that emerged in Detroit from groups like Drexciya, and an abstracted form of the sounds of contemporary techno flowing through Germany today. This woman is making waves in a big way, expect to see her over on Australian shores for her debut tour soon.
No one does it like Joni. I come back to ‘Blue’ so often and it’s emotional honestly never loses it’s weight.
I think I’ve danced more to Maya than anyone else. She’s been making consistently singular, defiant and exciting music for over a decade now.
Bittersweet & addictive.
Floating is my favourite song on the album, ‘Floating into the Night.’ I play this to achieve perfect calm. The album was written for the ‘Twin Peaks’ soundtrack and the lyrics are written by David Lynch. Ethereal is the best way to describe Julee <3
I saw this song performed at Falls Festival many years ago and fell in love. Karen’s energy floored me.
This song was so unique to me when it was released. It was perfect for my angsty, Skins loving teen years. The Skins scene with Sid and Tony makes me cry every time.
From fearlessly questioning the lack of female representation on festival line-ups to her Woman Crush Wednesday series via her label NLV Records, Nina constantly uses her platform to celebrate the accomplishments of deserving women. Not to mention, her own material is straight club fire — Substitute being one of my absolute favourites.
Cranes in the Sky is not just one of 2016’s best releases, but it’s also a story for women about the self-doubt and emptiness Solange experienced when she split up with her son’s father. She also wrote an essay And Do You Belong? I Do, about what it’s like to be a black woman in white spaces. Worth a read.
Classically trained pianist with a whole lot of New York attitude, I love how A Keys combines her musical influences ranging from soul, classical, hip hop and jazz in her own signature style. Above all, the honesty in her lyrics whether it be about relationships, women’s rights or social injustices are delivered so powerfully, the message is felt to my core no matter how many times I hear them.
Lauryn’s debut solo album is the ultimate ode to women everywhere. Lost Ones is one of those tracks that instantly puts me in a great mood, a timeless independence anthem.
Badu’s catalogue serves as a constant reminder that I’m equipped with all I ever need to make the right choices, intuition.
⚡? ♀️ GIRL POWER ♀️?⚡
Vibes for days.
I recently found out she’s studying a PHD in Maths and Physics, which I think is generally impressive, but to attempt a music career on top of that is awesome.
The track was great in Sucker Punch.
It’s not Sia’s production, but she wrote the whole topline on her own This is the song that slingshotted Sia to a household name, against her wishes. As a fellow songwriter I have infinite respect for Sia as a songwriter and a musician. Also, this song was the point in my life where I completely gave in to pop music and publicly admitted my love for it.
This song was like, a gateway drug to pop music for me. I appreciated it for it’s emo rock foundations but also, who can deny that topline and Hayley Williams’ unbelievable voice. Her voice is rivalled only by her stage presence. What a legend. (Also, there are guys in Paramore but lets be honest, for all we know or care they could be rotated out once a week and nobody would notice, sorry dudes).
I think this song will always be one of my favourites, a perfect blend of theatrics and pop sensibilities.
I have a lot of respect for frontwoman Elena Tonra, and this is the song that brought them to my attention.
The best of Australian moody electronica.