If you read the NME then you’ll be only too aware of the mass trumpeting of the comeback of ‘guitar music.’ Moving aside the fact that this is the most contrived phrase currently being bandied around the indie-journo landfill, it does at least make a nice change from reading self-satisfied bollocks from Weller/Gallagher/Meighan harping on about how no bands give a shit anymore (aka, sound a bit like them).
What’s much more interesting this year is the collective of girl bands making very real inroads into the rock and roll consciousness. These ladies are taking on the men in a traditionally male-dominated environment, and by the looks of it they are going to be the ones coming up smelling of (fags n’) roses.
This duo from LA have only known each other since 2011, but have been basking in the reflected glory of none other than Josh Homme, whose Eagles Of Death Metal invited the girls to open for them.
Don’t be fooled by the fancy friends though, these two deserve all the praise coming to them. Initially bonding over a love for the blues, they spit out sleazy stompers that channel the simple slash and crash rumpus of The White Stripes, then have it voiced by the snarling, half-naked lovechild of Janis Joplin and Robert Page. The sort of girls you’d gladly club your best mate for.
Another band so new even calling them babies seems a little premature. They’ve already made the longlist for BBC’s Sound Of 2013, which means that they are at least on Radio 1’s radar. And well deserved it is too; their reverb-heavy tunes take a little while to soak in, but once they do, you realise they’re a lot more than just a band whose 70s New York influenced style will ensure they’re loved by the girls as much as they guys (though it definitely helps).
Reminiscent of the drowsier moments of Dum Dum Girls and Beach House, they’re part of a lineage that mainlines all the way back to the Velvets, and given the chance they might just make off with your ticker.
If you were so flushed to be looking for a girl band to bet your (supposedly second) house on in the next 9 months, this all-sister trio would be the ones you’d want to plump for. They won the BBC Sound of 2013 the same week they were also on the cover of NME (as one of the so-called saviours of the six-string), and since the last third of last year it’s been impossible for cunts like me to mention them in a sentence that didn’t also include the phrases ‘buzzy”, “huge at SXSW” or “hmm hmm, hmm hmm, massive in 2013.”
Popular (read: lazy) logic compares them favourably with Fleetwood Mac, and there’s an awful lot of the ‘Rumours’ legends in the sleazy bass and harmonies of ‘Don’t Save Me’. There’s far more than that though, with the band betraying their affection for 90s r n’b on the frankly massive ‘Forever’. That tune’s even got a sound affect that sounds like a steel drum, which only ramps up the sunny-pop vibe that you might expect from a bunch of girls that grew up in California. Without doubt, these will be one of the most watched bands at every festival this summer; see you at the front.
Deap Vally’s British, slightly less grubby cousin, the Manchester-born singer will be manna from heaven for all those that ever found themselves getting cross-eyed at the mention of Alison Mosshart.
First single ‘Your Sister’ clomps along while Findlay sounds like she’s spitting out the words with the microphone still in her gob; that’s when she’s not huffing, puffing and m’wah’ing into it (calm down, at the back). There’s not much else from her online, other than ‘You Gave Me Grace’, which is the sort of thing Marina might make if she wasn’t so concerned with not being very good; judging by these tunes, the pricey-looking vid and the fact Jake Bugg personally requested her as support on his tour-honest intentions, right Jakey?- she’s not far off leaving a right old trail behind her.
Misty’s already been a model for Burberry, and her twangy country-influenced indie is already drawing comparisons of her as a female version of the aforementioned (not forgetting high-selling) Mr Bugg. That notwithstanding, the girls’ got some top grade melodies that straddle that line between mainstream and mainly ace, whilst ‘Little Drummer Boy’ sounds a lot like alt-hero Sharon Van Etten if she decided to record her songs on the beach.
A little more accessible than the rest of the ladies on this list, she’s got some major label backing and, while she might be one for the other side of Bestival, she’s the sort of chick that could truly take the lady-rock revolution to the masses.