$45 advance $50 day of show
Buy tickets in person (without fees) at the State Theatre box office Fridays 10am-5pm, or the night of any State Theatre show starting 1 hour before doors. Please note that ticket prices may fluctuate based on demand.
Bikini Kill is a feminist punk band that started in Olympia, WA, and later moved to Washington, DC. The band was active from 1990 to 1998. Although they sometimes switched instruments, the primary lineup was Kathleen Hanna on vocals, Tobi Vail on drums, and Kathi Wilcox on bass. Billy Karren joined on guitar after the band had played several shows as a three-piece. Bikini Kill is credited with instigating the Riot Grrrl movement in the early ’90s via their political lyrics, zines and confrontational live shows.
Bikini Kill started touring in June 1991. In addition to touring the US several times, they also toured Europe, Australia and Japan. In The band recorded and released a demo tape, two EPs, two LPs and three singles. With the exception of their demo tape, which was self-released, all their records were released by the Olympia-based record label, Kill Rock Stars. In 2011, the band cut ties with Kill Rock Stars and began rereleasing their albums through their own label, Bikini Kill Records.
Bikini Kill believed that if all girls started bands the world would change. They actively encouraged women and girls to start bands as a means of cultural resistance. Bikini Kill was inspired by seeing Babes in Toyland play live, and attempted to incite female participation and build feminist community via the punk scene. They used touring as a way to create an underground network between girls who played music, put on shows and made fanzines. This informal network created a forum for multiple female voices to be heard.
Kathleen, Kathi, and Tobi (along with guitarist Erica Dawn Lyle) are thrilled to announce they will be regrouping to play shows in NY and LA in spring 2019.
For more than a half century, underground music revolutionaries have taken a whack at the mundane mainstream like a piñata. England punks spat “NO FUTURE” at germ-free adolescents. Ohio new wavers devolutionized mankind with whips. Athens art school students chomped at hero worship. MetroCard-carrying riot grrrls rebirthed the bomp with a gasoline gut. In 2020, Sweeping Promises read our pandemic minds with Hunger for a Way Out. In 2023, they return with a new message: Good Living Is Coming For You. At first glance, this nouveau wave slogan offers hope wrapped around relief. At first listen, we realize this may actually be a warning. Darker still, a threat.
A band famous for their unfussy, monolithic anthems, Sweeping Promises elegantly ravage us again with another future classic. They return as a fist of velvet rose petals roaring inside a compact wrecking ball. Gone is the Boston brutalist ambience of their subterranean concrete laboratory and the revelatory single mic recording technique. In its place, a retired and resplendent nude painting studio in Lawrence, Kansas, bathed in light with high ceilings and hardwood floors. Guided once again by their surrounding architecture, a reverb-rich space remains the defining element at the heart of their highly stylized sound. A watery ghost from the golden age of art-punk now wields sharper knives and more microphones.
If the mood of HFAWO was hungry, GLICFY is RAVENOUS. In 2023, appetite is addressed in new ways: Power struggles are aired in “Eraser,” restraints are broken in “You Shatter,” anguished exclamations sting in “Good Living Is Coming for You.” The taboo subject of aging is (s)heroically dragged out into the open. Every line is delivered with such joyous, soaring layers that each punch lands like a chef’s kiss.
Sweeping Promises are Lira Mondal and Caufield Schnug. A chance meeting in Arkansas led to a decade of playing in an eclectic assortment of projects together. Their relentless practice made perfect. Bass playing Lira is an emotive bolt of thunderous energy with the iconic blast of a girl group rolled into one robust throat. Caufield is an intentional guitar player and drummer. No note or hit is extraneous. Together they are meticulous sound engineers, using space as a key ingredient to their distinct sound. Controlling every aspect of their craft, from the first note they write together, all the way through to the final mastering process, each record is an unspoiled fingerprint unique to their dynamic chemistry.
Written before the pandemic, Hunger for a Way Out was released on Feel It Records in the summer of 2020. These songs drip with the anxious urgency of a commanding live performance yet their gauzy production transports us like the fading memory of a favorite song. This distorted sense of time resonated with thousands of quarantined listeners who turned the album into a life-saving floatation device and most beloved album of the year. This is when Feel It Records (North America) and Sub Pop (everywhere else) joined forces to divide/unite and conquer;
beginning with the 2021 single “Pain Without a Touch” and now carrying through to Good Living Is Coming For You.
The pandemic went on to trigger an absurd chain of events for Sweeping Promises. Under financial strain, Mondal and Schnug uprooted their lives. They surrendered their studio in Cambridge to take refuge with family in Texas. They completed over 50 demos between their Austin bathroom and a Marfa abode, but feeling unsatisfied, they sought another fresh start. When a disused church in Ohio proved too difficult to rehab, they ultimately found lasting inspiration in Kansas. With their home and studio all under one roof, life is music and music is life.
Good Living Is Coming For You ultimately reflects being thrust into a severely unpredictable world. A capsized boat isn’t entirely bad. In fact, it can be the necessary push toward finding solid ground.
