Sleater-Kinney / Photo by Scott Newton for KLRU
Sleaker-Kinney’s performance for their ACL taping (and live stream) last night was unlike any other I’ve seen in the history of the revered television program. One of music’s most appealing qualities lies in its ability to go beyond a simple, enjoyable activity and connect with us personally and emotionally. But music also has the potential to move beyond even this, to connect us to communities, ideologies, and culture as a whole. Even more, some music not only connects with our identities but shapes them. Sleater-Kinney is one of those bands.
Sleater-Kinney / Photo by Scott Newton for KLRU
The events of last night’s taping warmed my heart repeatedly as the evening unfolded. I saw in the crowd a few people I’ve never or rarely seen at ACL tapings — Matador Records partner Gerard Cosloy and The Statesman’s Joe Gross, true believers who turned out to see the most important band to grace the ACL stage in years. Then, there were the two young ladies in the row in front of me, perhaps age 13-15, ecstatic and grinning ear to ear as they headbanged ever-so-respectfully. When one of them exclaimed, “Look, Dad! She has the same guitar as me!” I almost died of happiness. I watched as concertgoers turned to each other with excited, wide eyes as Sleater-Kinney began classic songs like “Turn It On” and “Jumpers.” These songs garnered a devoted fan base and inspired an entire generation of young women to start bands.
Sleater-Kinney / Photo by Scott Newton for KLRU
Corin Tucker, Carrie Brownstein, and Janet Weiss sounded impeccable last night, and the Moody Theater’s sound system only solidified their sharp musicianship. The band played a significant amount of new material including “A New Wave,” “Bury Our Friends,” and “No Cities to Love,” which they swore was not about Austin. Angular guitar riffs exploded from Brownstein’s guitar as Tucker’s pulsed along with deliberate, pointed notes and Weiss pounded out powerful drum parts. Tucker and Brownstein took turns on vocals throughout the set, delivering impassioned wails impossible to ignore. This noisy, penetrating punk rock is the sound of musical pioneers laying claim to what is rightfully theirs. I couldn’t be happier that Sleater-Kinney has re-entered the world of music at a time when the conversation surrounding the ongoing struggle against sexism seems to have new life.
Sleater-Kinney / Photo by Scott Newton for KLRU
Since the last time I saw Sleater-Kinney, my own fascination with their story and their hometown of Olympia, WA has deepened considerably. I have a greater appreciation for their musical adventurousness, their decision not to incorporate a bassist, and their aggressive feminist politics. I’m thrilled that ACL shared the work of such an important band with their audience. Long time viewers of ACL who are accustomed to guys playing folk songs might have been surprised by Sleater-Kinney’s sound and aesthetic onstage last night, but if so, a dose of S-K is exactly what they need. Sleater-Kinney did give them a nod by closing their set with a song that contains a harmonica–“Modern Girl,” an apt descriptor for these trailblazing women. They play tomorrow at Stubb’s. Personally, I’d scale the walls to see them if I didn’t have a ticket.
