Recently, it has become increasingly common for bands and musicians to engage in political activism. The current post-punk scene is brimming over with bands that incorporate political themes into their music – bands such as Idles, Fontaines D.C., and Yard Act. However, Delilah Bon does not fade into the mass of boys with guitars shouting catchy slogans about the government. Instead, her “brat punk” approach to political activism through music is refreshingly original, while at the same time transporting you back to early 90s Olympia, Washington, the birthplace of riot grrrl. While Delilah definitely has the riot grrrl energy, there is something modern and unique about her style of music.
In the small room of The Leadmill on a Thursday night, Delilah Bon’s raucous performance was all heavy and distorted bass lines and insightful lyrics. Her fusion of punk, hip hop and rap had the classic, politically charged lyrics integral to riot grrrl. Yet her style seemed less rough around the edges, her lyrics more perceptive and nuanced. Although her lyrics cover serious issues, her performance was a lot of fun. Adorned with Barbie pink hair and body glitter, she radiated joy and enthusiasm. She was supported by an all-female band consisting solely of a bass player and DJ who also doubled as dancers, making for a dynamic and entertaining show.
Perhaps it is unsurprising that the audience was predominantly female, as feminism is at the forefront of most of Delilah Bon’s music. The camaraderie of the female dominated crowd, along with the welcoming and inclusive tone from Delilah, created an intimate, and empowering atmosphere. At one point, Delilah encouraged all the girls to come to the front, telling the few men there that this next song was for the girls. The men took this in good humour, and Delilah sang Chun-Li.
She engaged with the audience throughout the gig, asking if we felt safe, thanking us for coming, and even downing a round of shots with an audience member. I was struck by how sweet she was in addressing the crowd, as if she was speaking to friends she had known for years. However, her friendly disposition did not in any way hinder her aggressive feminist energy which was present throughout the night, and was mirrored by the energy of the crowd.
One of the most memorable points in the night was just before she played her song War On Women. Delilah took the time to bring attention to the issue of violence against women dedicating a part of the gig to victims, saying, “We all have each other tonight, this is for them”. Behind her was a poster with a list of names of women killed by men. Simultaneously, the bass player held her guitar in the air, and turned it over to reveal the words “we will not be silenced” written on the back. A sense of solidarity and frustration emanated throughout the crowd.
Her encore consisted of two of her most anger fuelled, and powerful songs: I Don’t Listen To You, and Dead Men Don’t Rape. The former, a riotous number that deals with the frustration at the policing and victim-blaming directed towards women and girls based on their clothing. And the latter, a nuanced conception of fury at the normalisation of sexual assault and attacks on women’s bodily autonomy by restricting abortion access. The two songs were a powerful end to an all-round empowering and inspiring gig. Rarely have I been to a gig where there was as much of a focus on bringing attention to feminist issues as there was that night. It was exciting to be a part of it.
