An exploration of being a Black woman in the alternative music scene by Creative Comms Intern, Jay Parker
Growing up, I had always loved rock music. From my first introduction to Elton John by my Stepdad, to my Dad teaching me Green Day songs in my adolescent years, rock music was always a genre that I felt deep in my soul even though it was clear to see that I did not fit the mould required for this space. The subculture I flocked to in the late 2010s was ‘scene’. Picture the scene (pardon the pun); backed combed hair, heavy eyeliner, Tumblr, ‘RAWR’ and a terrifying clash of primary colours. Although I was surrounded by like-minded friends with the same hair, the same clothes, and the same LimeWire downloads, I still stuck out like a sore thumb. My hair was not the right texture, my skin wasn’t the right shade, and no matter how heavy my eyeliner was, I never felt like it was enough.
Image of Jay taken at The Cooler in 2011 ⓒ Abi Ward
After a few years, this music became more than just a pastime. For 7 years I was a front woman of an Indie Rock band in Bristol and for 7 years I was met with disdain. Comments such as “you’re good for girls,” “we considered walking out when we saw you get on stage,” and “Oh, I thought you were the manager,” were an occurrence that I, unfortunately, became used to. Being a woman in music is hard enough, but being a Black woman in a genre that has no space for you opens up a whole new world of challenges. I am Black, therefore I am expected to like a certain type of music, the type of music that we have been told is for Black people, but when someone who is White listens to Drake or 2Pac, no one bats an eyelid, no one tells them that there is no space for them, in fact, they are welcomed with open arms and an unofficial badge of cool.
“Being a woman in music is hard enough, but being a Black woman in a genre that has no space for you opens up a whole new world of challenges.
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If I asked you to think of a Black rock musician who do you think of? People like Jimi Hendrix, Prince, and Chuck Berry typically come to mind, and although pioneers of their craft, there is still a severe lack of appreciation for the work and influence of Black women who paved the way. If you didn't know already, rock music evolved in the United States during the late 1940s and early 1950s. It originated from African-American music such as jazz, rhythm and blues, boogie-woogie, gospel, as well as country music. Musicians like Elvis took influence from Black music and culture and managed to make a career out of it. ‘Hound Dog’, originally performed by Big Mama Thornton, was Presley’s breakthrough song.
In a time when segregation was still prominent, Thornton was unable to cross over to a white radio audience, but Presley could. After the arrival of The Beatles in the 1960s, the Whitening of rock began. Although artists such as Elvis, Buddy Holly, and Carl Perkins acknowledged the influence of Black musical traditions in their work, the Rock n’ Roll space became diluted and was no longer recognised as a genre for people of colour.
America wanted to hear Black music, they just didn’t want to hear it from Black people.
“ People like Jimi Hendrix, Prince, and Chuck Berry typically come to mind, and although pioneers of their craft, there is still a severe lack of appreciation for the work and influence of Black women who paved the way.”
As the decades progressed the rise of Black female rock musicians was still stagnant despite the efforts of women such as Poly Styrene, Betty Davis, Grace Jones, and Nona Hendrix. It wasn't until 1999 when Skin from Skunk Anansie became the first Black woman to headline Glastonbury Festival. She delivered an iconic performance that paved the way for the likes of Beyonce and Stormzy who have since gone on to headline. Despite this achievement, she has also disclosed tales of explicit racism she had encountered on international tours and how this behavior was often mirrored through subtle experiences of prejudice at home. Not only has Skin had to face racism in the industry, but she has also had to deal with the prejudice of being a queer Black woman, another topic that has its own experience, bias, and damage.
More recently Black female alternative/rock musicians are on the rise, with the likes of Willow Smith collaborating with Blink 182 drummer Travis Barker and British alt-rock musician YUNGBLUD, despite being bullied in her teens for being a fan of punk-rock bands like Paramore and My Chemical Romance. Self-described London-based ‘urban punk’ duo Nova Twins have spoken out about the controversy they’ve experienced as Black women in the punk scene in a 2020 interview with NME. Nova Twin’s vocalist Amy said “Being a Black woman doing punk music is political…we called it (the album) ‘Who Are The Girls?’ because we didn’t always feel heard or accepted making the type of music we do, looking the way that we do. It’s definitely challenging and there is a stigma attached to it.” Since this interview, the band has won Best U.K. Breakthrough Band in the 2020 Heavy Music Awards, whilst their second album Supernova released this year was shortlisted for the 2022 Mercury Prize, previously won by outstanding Black artists such as Arlo Parks, Sampha, and Dave.
Image of Nova Twins © Arthur René Walwin
It’s musicians such as the Black women above that have given me the drive to get back into music again. I now play bass for gürl, a Bristol based rock band that has all of teenage angst and drama of an adolescent emo. Knowing what I know now and seeing women that look like me take up space in these predominantly White spaces only makes me want to work harder and provide escapism for other young Black girls. It’s clear that there is still work to do, even in the position I’m currently in I’m still the only Black member of the band as well as one of the only Black female alternative musicians in Bristol. But my band and our fans make me feel included, appreciated, and above all, like there is a space for me in the alternative scene.
“Knowing what I know now and seeing women that look like me take up space in these predominantly White spaces only makes me want to work harder and provide escapism for other young Black girls. ”
Music video for our single Crying in Nightclub Bathrooms
Image of gurl ⓒ Mitchell Lucas