The Riot Grrrl movement emerged in the early 1990s as a response to the male-dominated punk rock scene and broader societal issues affecting women. Originating primarily in Washington State, particularly in cities like Olympia and Seattle, this feminist punk subculture aimed to empower young women through music, zines, and activism. Of course, no scene comes about fully formed, and there were the proto-riot grrrls that helped pave the way. Moreover, Riot Grrrl paved the way for future generations of female artists and activists, influencing not just punk music but broader pop culture. Its legacy persists today, as discussions around intersectional feminism and women’s rights continue to thrive, proving the enduring relevance of the movement’s core values in contemporary society. Right now we will consider a chronological list of 25 tunes that chart the ongoing evolution of the riot grrrl movement. One song per artist.
Abortion Song – The New Haven Women’s Liberation Rock Band (1972)
When making a list like this, it is hard to establish a starting point, and there were others that were important precursors. For example, there was Fanny, the first all-woman rock band to sign to a major. Made up of Filipina lesbians, their presence could be considered political, and at times, they weren’t afraid to address serious issues. But they were a straight up rock band (a damn good one, who David Bowie was a big fan of), but lacked the punk roots of the riot grrrl movement. The Runaways were also important in the development, but they weren’t as politically direct. Punk poetess Patti Smith also deserves special mention, but I decided to opt for this tune, which shared the DIY roots and fiercest feminism of the riot grrrl movement.
The New Haven Women’s Liberation Rock Band and their Chicago counterpart were formed to challenge the misogyny propagated by a male-dominated rock industry. This pro-choice anthem was recorded prior to Roe v. Wade and appeared on their 1972 split album with The Chicago Women’s Liberation Rock Band, Mountain Moving Day. Lyrics such as “We’ve got to get together and fight. They tell us to get married and have three or four kids. Change the diapers, be a good wife. But we will decide how many children to bear. We’ve got to control our own life” has regained renewed resonance with current developments. Also, when Mountain Moving Day was re-released in 2005 under the title Papa Don’t Lay That Shit on Me, it featured two bonus tracks from the Kathleen Hanna fronted Le Tigre.
Oh Bondage Up Yours! – X-Ray Spex (1977)
“Some people think little girls should be seen and not heard
But I think
“Oh bondage, up yours”
One, two, three, four”
The lyrics to this classic feminist anthem were influenced by the personal experiences of lead singer and songwriter Poly Styrene (real name Marianne Joan Elliott-Said), born to a Somali father and a Scottish/Irish mother. Growing up as a multi-racial female in London, England, she experienced discrimination from all sides. In a 2008 interview with MOJO Magazine, she explained how her experiences influenced the tune: “I come from a religious background, and in the scripture, the whole idea of being liberated is to break free from bondage.”
Survive · The Bags (1978)
The Bags were considered one of the first bands to emerge from the Los Angeles punk scene. Fronted by Mexican-American Alice Bag, the band only had one single, “Survive,” during their brief existence. Nevertheless, this powerful track solidified their legacy, which included an appearance in the iconic punk documentary The Decline of Western Civilization. Afterwards, Alice Bag found success as an author and was involved in multiple musical projects, including finally releasing her debut solo album in 2016. The video for her 2018 tune “77” (which deals with the gender pay gap) also features riot grrrl pioneers Kathleen Hanna (Bikini Kill, Le Tigre) and Allison Wolfe (Bratmobile).
Typical Girl – The Slits (1979)
This anthem by the UK post-punk band explores themes of gender identity and societal expectations. The lyrics challenge traditional notions of femininity, encouraging listeners to embrace individuality rather than conforming to stereotypes. The tune is a timeless declaration of self-expression and empowerment that future generations of riot grrrls tapped into.
Bata Motel – Crass (1981)
This tune is from the UK anarcho-punk band’s third album, Penis Envy. On the album, vocalist Steve Ignorant took a break from vocals, handing the reins exclusively to female vocalists Eve Libertine (including this tune) and Joy De Vivre. This allowed the band to become trailblazers in providing space for feminist themes within punk. The lyrics to this song tackle misogyny and the pressure for women to conform to oppressive and sexist societal expectations.
No One’s Little Girl – The Raincoats (1982)
This tune by one of Kurt Cobain’s favorite bands was released as a B-side to “Running Away,” even though it was the first tune bassist Gina Birch wrote, a few years earlier in 1977. The song is an empowering tune about not conforming to the expectations thrust upon females by a male-dominated society. It is about exercising self-determination.
Me Gusta Ser una Zorra – Vulpes (1983)
This tune by Spain’s first all-girl punk band was their rendition of the Stooges’ “I Wanna Be Your Dog,” which translated as “I Like Being a Slut.” In a conservative Catholic country where contraception just became legal in 1978, divorce in 1981, and abortions were still illegal at the time, this anthem for sexual freedom was considered highly controversial.
Shove – L7 (1990)
This is from the punk band’s sophomore album, Smell The Magic. Released just before “riot grrrl” entered the common vernacular, it is a powerful anti-conformity and anti-establishment anthem. The lyrics convey a sense of frustration and defiance, tackling themes of societal pressure and “shoving” against those who try to oppress personal autonomy.
Lost Woman Song – Ani DiFranco (1990)
The folk singer with a punk attitude doesn’t generally get linked with riot grrrl, but she shares the same DIY spirit and her explicit feminism. A common theme in her lyrics is women’s reproductive rights, and this song from her self-titled debut is an example of this. The tune is a gripping autobiographical account of an abortion she had when she was 18 years old.
Dead Men Don’t Rape – 7 Year Bitch (1992)
This tune remains as powerful now as it was in 1992, when it was featured both on the Seattle band’s collection of singles Sick ‘Em and the queercore EP compilation There’s a Dyke in the Pit. It served as a vital response for women grappling with ongoing physical intimidation, particularly those who had experienced sexual assault. The righteous indignation is well expressed in the provocative lyric: “I’d rather get a gun and just blow you away. Then you’ll learn firsthand/Dead men don’t rape.”
What Kind of Monster Are You? – Slant 6 (1993)
Featuring driving guitars by D.C. punk fixture Christina Billotte, the tune is a scathing takedown of creepy men. The biting lyric “Why should I be scared of you?” in particular resonates as a statement of empowerment.
Rebel Girl – Bikini Kill (1993)
Not only were the band pioneers of the 90s riot grrrls movement (the term “riot grrrl” is often attributed to Bikini Kill’s drummer Tobi Vail, who coined the “grrrl” spelling for her feminist zine Jigsaw), but with “Rebel Girl” they composed one of the theme songs of the movement. This explosive feminist anthem challenges the heterosexual patriarchal norms evident in the alt-rock of the 1990s.
Cool Schmool – Bratmobile (1993)
The focal point of the band’s debut album, Pottymouth, the tune strikes a playful tone, mocking the superficiality of mainstream culture. It’s a statement against conformity and a call to embrace individuality.
Her Jazz – Huggy Bear (1993)
Considering the UK’s considerable contributions to feminist punk, it should come as no surprise to have a UK band play an important role in the riot grrrl movement, including releasing a 1993 split album with Bikini Kill (Huggy Bear’s Our Troubled Youth & Bikini Kill’s Yeah Yeah Yeah Yeah). This single loudly called out male predators and promoted a “girl-boy revolution.”
Terrorist – Heavens to Betsy (1994)
This tune by the duo made up of future Sleater-Kinney member Corin Tucker and drummer Tracy Sawyer appeared on their sole proper studio album, Calculated. The lyrics are a murder fantasy of seeking vengeance on street harassers who make Tucker “feel like a piece of meat.”
Fallopian Rhapsody – Lunachicks (1995)
This tune provides compelling reasons in support of safe and legal access to abortions. It also indicts so-called pro-lifers who stop caring about the life once it is born and exposes the hypocrisy of religious fanatics who are willing to kill abortion doctors while praying.
What Are Little Girls Made Of? – Spitboy (1995)
Even though they were contemporaries, the anarcho-punk band did not consider themselves to be part of the riot grrrl movement, but they covered similar themes, such as criticizing the patriarchy and gender roles. This scathing tune features vocalist Adrienne Droogas proclaiming, “I am pink, I am weak. I am red, I am whore.” The band paved the way for women in hardcore to rage against systemic sexism.
This Is Not Your Wedding Song – Excuse 17 (1995)
This trio featured Carrie Brownstein, who found greater fame with Sleater-Kinney. This chilling tune is from the perspective of a rape victim who observes her rapist seemingly enjoying a guilt and consequence free life, which includes getting married.
D.A. Don’t Care – Team Dresch (1995)
This tune is from the pioneering queercore band’s excellent debut album Personal Best. The D.A. is a reference to the district attorney who don’t care about justice for rape victims. They engage in victim blaming instead of prosecuting rapists.
Wrong Bathroom – Tribe 8 (1996)
Possibly the most controversial band to emerge from the queercore scene. The band employs raunchy humor as a means to explore gender politics and misogyny. This particular song is a humorous tale of being misgendered.
Little Babies – Sleater-Kinney (1997)
The lead single from the band’s third album, Dig Me Out, this catchy protest tune speaks out against traditional maternity roles. The lyrics emphasize a desire for autonomy and critique the romanticization of motherhood, presenting it as a nuanced experience rather than an idyllic notion.
V.G.I. – Julie Ruin (1998)
This tune is from the solo project of riot grrrl pioneer Kathleen Hanna, recorded under the moniker of Julie Ruin. A departure from the aggressive punk of Bikini Kill, Hanna decides to take a lo-fi bedroom recording approach. This particular tune is an abbreviation for “Valley Girl Intelligensia,” and it challenges the stereotype of valley girls being dumb; instead, it presents them as intelligent forces to be reckoned with. Even though Hanna did not grow up in the valley, she did state that growing up, she did imitate the speech and style.
Deceptacon – Le Tigre (1999)
Yet another Kathleen Hanna project, this tune features catchy hooks and dance-punk vibes. The lyrics critique consumerism and promote self-expression and defying expectations.
Oh, Deadly Nightshade! – New Bloods (2008)
One of the more compelling and underappreciated punk bands of the aughts. Two-thirds of the Portland-based trio were African American, and their music prominently featured violin. This tune served as both a haunting elegy and a cautionary. The lyrics draw on themes of poison, darkness, and the myth of Persephone, a narrative of female abduction frequently embraced by feminist writers.
I Believe You – White Lung (2014)
The Canadian punk trio had a throwback riot grrrl sound. This tune offers powerful support to a friend who was rape. The simple but powerful words “I believe you” resonate with anyone who was ever raped, but was vitcim blamed, or dismissed as lying.
And Breeding – Priests (2014)
This fiery tune by the Washington D.C. punk band expresses feelings of disillusionment while exploring the concept of “procreating without fucking and breeding.” Singer Katie Greer skillfully envisioned a world on the brink of collapse, resembling a Handmaid’s Tale-esque scenario.
Anarcha – War On Women (2018)
The tune by the Baltimore hardcore band captures a dark moment in US history. It deals with three enslaved black women, Anarcha, Lucy, and Betsey, who were experimented on by James Marion Sims. Sims is commonly referred to as the founding father of modern gynecology. The video juxtaposes footage of the band performing with flashes of images related to Sims and the enslaved women he violated. Front woman Shawna Potter made the following statement about her motives for composing the tune and making the video: “This song is about all the stories our country has buried or ignored. I wanted to memorialize Anarcha, Lucy, and Betsey in the best way I knew how, through song, and the shooting of this video just happened to coincide with tearing down a statue of J. Marion Sims, the man who experimented on them and other enslaved women.”
Racist, Sexist Boy – The Linda Lindas (2021)
Back in March 2020, ten-year-old Mila was approached by a boy in her school whose father told him to stay away from Chinese people. “It was my first experience of racism, and I didn’t really know how to respond,” said Mila, who told the boy she was Chinese, and he backed away.
Considering the spike in anti-Asian racism since the pandemic outbreak, this could be considered a relatively mild example, but it still illustrates the discrimination that Asian youth are exposed to in either subtle or blatant forms. In the case of Mila, she happened to be part of the garage punk band The Linda Lindas, so this allowed her to compose the tune “Racist, Sexist Boy” with Eloise, her 13-year-old bandmate and cousin. The tune is a direct response to the boy and others who express similar hateful ideologies. The video of them performing the tune inside the LA public library for AAPI Heritage Month ended up going viral. During the performance, Mila was wearing a Bikini Kill shirt, and they have since covered “Rebel Girl” (they also have covered Sleater-Kinney’s “Little Babies”).
Baby, I Had an Abortion – Petrol Girls (2022)
This explosive tune, by the UK feminist punk band, was released on the same day that Roe v. Wade was overruled. Fittingly, the band’s name is derived from Les Pétroleuses, a Paris-based 1800s revolutionary group of working-class women.
i90 – Ekko Astral (2024)
This harrowing tune from the Washington D.C. stunning debut album, Pink Balloons, features the sobering line “have friends still hiding while you throw a parade”. This tune and the rest of the album deal heavily with the personal experience of trans frontwoman Jael Holzman.
Also, check out the Spotify playlist. The song by Julie Ruins wasn’t on Spotify, so I replaced it with “Vagina Police” by the UK feminist punk band Dream Nails.
