By Danica Ward
Staff Writer
Feminist punk rockers Bikini Kill brought their 2026 North America Tour to Union Transfer in Philadelphia on Sept. 18.
The band, known for being early pioneers of the “Riot Grrrl” movement that began in the Pacific Northwest and helped define third wave feminism, came to Philadelphia on the eighth show of their 13-stop tour. Dressing in colorful, sparkly dresses and bringing the energy, Bikini Kill showed that they are just as charismatic 30 years later.
Opening the show was Kilynn Lunsford, an act local to New Jersey. Lunsford, looking like Siouxsie Sioux and wailing like Courtney Love, played a 45-minute set with her three-piece backup band. Combining synth, reverb, slap bass, maracas and a whisk being used as a guitar pick, Lunsford and company were definitely a sight to behold.
Union Transfer brought in a wide variety of attendees, from veteran punks to a new generation of “riot grrrls.” Bikini Kill, known for their feminist manifestos and passionate activism, have not only defined an era but made it accessible to young girls in the present.
The majority of the audience was young girls from their teens to early twenties. The audience pit was electric, the enthusiasm palpable and the camaraderie genuine. Bikini Kill, led by singer Kathleen Hanna with Kathi Wilcox on bass, Tobi Vail on drums and touring guitarist Sara Landeau, started their Philadelphia set with “New Radio.” Immediately, the crowd was jumping, moshing and screaming. Hanna’s energy and persona are magnetic, acting almost as an idol for her young audience.
Often, the band members would rotate instruments, with Hanna pivoting to bass, Wilcox to drums or guitar and Vail on the microphone. Songs like “Distinct Complicity” and “Tell Me So” had the pink-haired Vail up front, bouncing around the stage and using the mic as her personal megaphone.
Many of the band’s songs deal with real experiences and issues, often misogyny and instances of sexual assault. The band, Hanna specifically, used her time on the microphone to tell anecdotes, promote community and prove how healing and powerful music can be. Although she decided to skip “Outta Me,” abandoned after the first line as Hanna started to tear up, the rest of the set was just as emotionally powerful as it was loud and raw.
“This is Not a Test” and “Carnival” had the crowd screaming along and engaging with Hanna, while “Feels Blind” came from a more heartfelt place, especially for those who have read Hanna’s 2024 autobiography, “Rebel Girl.”
Speaking of, “Rebel Girl” ended the band’s almost hour and thirty minute-long set, heightening the jumping and moshing to its peak. Due to it being the song the band is most known for, the crowd of course went wild and helped end the set on a euphoric and definitely hot and sweaty note.
Combining their raw feminist energy with their sparkly personas, Bikini Kill took the stage to show how inclusive the punk community can be in times of national turmoil, and how impactful music can be across generations.
