Women On Vox is our series highlighting talented ladies in music by tipping over 100 brilliant bands where women take centre stage.
Over the previous four installments we’ve tipped a cool 100 artists. Part 1 celebrated the female flair of some of our guitar-driven favourites, before Part 2 took a sugary turn, featuring alt-pop and electropop picks.
Part 5 profiles the final 25, from a varied pool of genres and headlined by several of the bands that we didn’t mention elsewhere but just couldn’t leave out.
There’s some big hitters that indie music followers will surely know already – and if you don’t, make it your priority to do so – as well as a few fledgling picks, including one or two ladies we think might do exciting things in the future.
As always, we’ve included profiles of every artist from FEISTY editor and Women On Vox assembler Katy, plus a few vital statistics and the discography you’d need to collect each band’s entire essential output.
Read on for Part 5, or alternatively skip straight to the music with our Spotify playlist:
The Big Moon
In a sentence: High-profile indie rock foursome that had a massive 2017, topped by the release of their celebrated first full-length Love in the 4th Dimension.
We’ve picked: Debut album opener Sucker, originally featured on their 2016 The Road EP.
Selected discography: Albums – Love In The 4th Dimension (2017); EPs – Acoustic (2017), The Road (2016); Singles – Happy New Year (2017), Formidable / Hold This (2017), It’s The Most Wonderful Time Of Year (2016), Silent Movie Susie / Beautiful Stranger (2016), Cupid / Something Beautiful (2016)
In a sentence: Powerful post-punk from an underrated British band that excel through tight instrumental work, able production and Jo Bevan’s articulate vocals.
We’ve picked: It Gets Better, a single released in January 2018. Resolution, from their second album Grow Up, is another favourite.
Selected discography: Albums – Grow Up (2017), Desperate Journalist (2014); EPs – Good Luck (2015), Cristina (2013); Singles – It Gets Better (2018), A Phase (2016), Hesitate (2015), Happening / Vengeance (2013), Organ / Distance (2013)
In a sentence: A garage band that emerged from the rarely-heralded Spanish scene to conquer the global stage, blending their slack female harmonies with jangly guitars for wonderful lo-fi results.
We’ve picked: New For You. It’s from I Don’t Run, the second album set for release early next month.
Selected discography: Albums – Leave Me Alone (2016); EPs – Very Best Of Hinds So Far (2015); Singles – The Club (2018), New For You (2018), Caribbean Moon (2017), Holograma (2016), Barns (2014); Splits – El Sueño De Benilandia (2017), Hinds ♡ Parrots (2015); Demos – Demo (2014)
In a sentence: Peppy alternative rock songsmiths that first appeared as a teen pop-punk band before seriously stepping up with their punchy debut album.
We’ve picked: The insatiable fuzz-pop of T-Shirt, taken from the aforementioned first full-length Late Show.
Selected discography: Albums – Late Show (2017); EPs – Heights (2014), The Beaches (2013); Singles – I Love You All The Time (2016)
In a sentence: Vancouver trio creating lush power pop that’s firmly underlined by frizzy guitars and inspired by Teenage Fanclub and Pavement.
We’ve picked: Lost Boys from The Courtneys II, a nostalgic track that demonstrates their preference for a breezy instrumental break. The music video features a shorter cut.
Selected discography: Albums – The Courtneys II (2017), The Courtneys (2013); Singles – Mars Attacks (2014), K.C. Reeves (2012)
In a sentence: Jangle pop favourites producing fluffy, thickly-layered sounds that were misty on their debut before taking on a gleamier finish on album number two.
We’ve picked: Plimsoll Punks, our favourite single from last year’s Antisocialites.
Selected discography: Albums – Antisocialites (2017), Alvvays (2014); EPs – Alvvays (2018); Singles – Adult Diversion / Underneath Us (2013)
In a sentence: Although bass guitarist Chloe Little doesn’t always take on lead vocals for INHEAVEN – she shares that duty with James Taylor – we’re such fans of both their early lo-fi and more polished alternative rock that we couldn’t not mention them.
We’ve picked: Drift, a stupendously brilliant indie pop song. For one of Chloe’s fierier solo leads, try Treats.
Selected discography: Albums – INHEAVEN (2017); EPs – Acoustic (2017); Singles – Sweet Dreams Baby (2018), Treats / Wasted My Life On Rock N Roll (2017), Baby’s Alright / Meat Somebody (2016), Bitter Town / Tangerine (2015), Regeneration / Slow (2015)
In a sentence: Warm garage pop duo from Berlin, taking cues from ’60s girl groups and recording sprightly sounds that retain an organic charm by avoiding an overpolished finish.
We’ve picked: Moby Dick, from their debut album In My Head. The Vivian Girls style girl group influences are worn most openly on album cut Rollerskate.
Selected discography: Albums – In My Head (2016); EPs – Furry Dream (2015), Gurr (2014); Singles – Walnuss / Walnuts (2016); Splits – Burnt Palms / Gurr (2014)
In a sentence: A cute clash of the usually irreconcilable worlds of garage and pop-punk, with urgent guitars from Noah Bowman and animated vocals from Alex Luciano.
We’ve picked: Link in Bio, lifted from their Swear I’m Good At This debut album.
Selected discography: Albums – Swear I’m Good At This (2017); EPs – Over Easy (2015); Singles – Sleep Talk / Dinner Date (2015)
In a sentence: Noisy indie rock newcomers fronted by Leeds girl-around-the-scene Jess Huxham, and – as revealed by their bouncy debut single – ones to keep an eye on.
We’ve picked: Bridgewater Way is the only track they’re released to date.
Selected discography: Singles – Bridgewater Way (2017)
In a sentence: Manchester five-piece who’ve blazed a trail since 2011 with their brand of gritty, hook-rich, and initially self-produced indie rock.
We’ve picked: Serve The Rich, their seething – yet still fabulously earworm – protest single from last year.
Selected discography: Albums – Wild Nights (2015), Girls Like Us (2013); EPs – Bad Thing (2017), LUVU4LYF (2012); Singles – Serve The Rich / LUVU4LYF (2017), Trouble / I’ll Get Mine (2016), Hybrid Moments (2015)
In a sentence: We’re big fans of this Liverpool solo prospect, whose impassioned guitar pop has been streamed hundreds of thousands of times on Spotify to date.
We’ve picked: Get Off, her 2016 debut single. It’s been over a year since she last released fresh material, cooling a bit of the hype, but as she’s about to go back on the road we’re hopeful we’ll be hearing something new soon.
Selected discography: Singles – What You Want (2017), Get Off (2016)
In a sentence: Six glittery teens creating slender indie pop music, something of a local phenomenon in hometown Sheffield and sure to be noticed elsewhere in the future.
We’ve picked: Wonderland, the debut, demo-like single released last July.
Selected discography: Singles – Max And Archie (2017), Lost (And Found) (2017), Wonderland (2017)
In a sentence: Indie electronica from spouse duo Danielle and Drew McTaggart that’s an instant fit for the alternative dancefloor.
We’ve picked: Modern Shakedown, the second single from new album Phases, with its sensational shades of Goldfrapp.
Selected discography: Albums – Phases (2018), Black To Gold (2015); EPs – Dear Rouge (2015), Kids Wanna Know (2012), Heads Up! Watch Out! (2012); Singles – Tongues (2015)
In a sentence: Accurately labelling themselves as “lush punk”, Leggy are razor-edged children of ’90s rock that also cite Lana Del Rey, about whom they’ve recorded a song, as an influence.
We’ve picked: Not What You Need, their most recent single. (Even Lana from Leggy is the song about Del Rey, by the way.)
Selected discography: Albums – Leggy (2016); EPs – Dang (2016), Nice Try (2016), Cavity Castle (2014); Singles – Not What You Need (2017)
In a sentence: Swedish girl band that released magnetising, essential feminine noise rock until they made a sudden jolt into sleazy electropop territory last year.
We’ve picked: Their personal anthem The Haze Is Forever, taken from the 2016 debut full-length of the same name. Their most recent single, White House, is one of the most remarkable shifts in genre we’ve heard from a band ever.
Selected discography: Albums – The Haze Is Forever (2016); EPs – Dolores Haze X Stand For Something (2015), Accidental (2014), I Did Not Kill Sam (2013); Singles – White House (2017), Touch Me (2015)
In a sentence: Noisy dreamers from the States that customarily fuse Gretchen Williams’ celestial vocals with a heavy soaking of reverb and weighty guitar lines.
We’ve picked: Destroy Yrself, from second album Hush.
Selected discography: Albums – Hush (2017), Everywhere Else (2016); EPs – No Generation (2017), Galaxies (2015), Spike & Wave (2014); Splits – Kindling / Kestrels (2017)
In a sentence: Wistful indie pop with a provocative punch, dripping in retro vibes and highlighted by Sanna Colling’s yearning vocal style.
We’ve picked: Love Can’t Make You Stay (Can’t Fuck My Heart Away), a 2017 single.
Selected discography: EPs – Alexander (2017); Singles – Love Can’t Make You Stay (Can’t Fuck My Heart Away) (2017), There Is A Light That Never Goes Out (2017), Under The Palm Trees (2016), I Go Places / Cry On The Floor (2015)
In a sentence: Lifelong musician Sophie Allison’s glistening bedroom pop project, infusing folksy guitar vibes with her delicate, reflective vocals.
We’ve picked: Your Dog, the popular single from Clean, the album released – with the help of her band – earlier this month.
Selected discography: Albums – Clean (2018), For Young Hearts (2016); EPs – Songs From My Bedroom (Pt. 2) (2016); Songs From My Bedroom (2016); Songs For The Recently Sad (2015); Compilations – Collection (2017)
In a sentence: Drum-driven duo with a perky discography of garage pop, rock-and-roll and – in their own words – “1960s girl group shimmy”.
We’ve picked: Sugar High, the opener from their third album Heavy High.
Selected discography: Albums – Heavy High (2017), Sweet Static (2015), Swears (2012); EPs – In Your Room (2013)
In a sentence: Four tenacious women playing proper rock-and-roll that overflows with fleshy guitar riffs, barefaced solos and Molly Sides’ commanding vocals.
We’ve picked: Speed Queen, the opener to their new Greatest Tits EP. Their self-titled debut album, after years of being asked about it, is finally expected this year.
Selected discography: EPs – Greatest Tits (2018); Singles – Christmas (Baby Please Come Home) (2017), No Heaven (2017)
In a sentence: Tina Halladay’s dominant, unvarnished vocals combine with hotfooting riffs to create a unique sound, while their deeply expressive lyrical content speaks of social justice, attacking racism and celebrating the Stonewall riots.
We’ve picked: The impossibly catchy Need to Feel Your Love, title track to Sheer Mag’s first full-length.
Selected discography: Albums – Need To Feel Your Love (2017); EPs – III (2016), II (2015), I (2014)
In a sentence: Dramatic, gently experimental synthpop highlighted by Ellinor Sterner’s sharp vocal lustre.
We’ve picked: Quit Everything and Become a Princess, her challenge to gender norms. A music video was released on International Women’s Day last week.
Selected discography: Singles – Quit Everything And Become A Princess / Sterner (2017), The Oracle / Safe (2017), Blindfolded (2017)
In a sentence: Astounding dark-toned electropop – with shades of folktronica and more experimental genres thrown in – from 4AD’s new ethereal heroine Hannah Rodgers.
We’ve picked: I Bow Down, the opener to her wondrous debut album The Age of Anxiety.
Selected discography: Albums – The Age Of Anxiety (2017); EPs – Fall In (2015)
In a sentence: Concluding Women On Vox with a bang, no compendium of essential women in music can be complete without the towering and seminal talent of Wolf Alice’s Ellie Rowsell.
We’ve picked: Beautifully Unconventional, the contagious second single from Visions of a Life. For something more vehement, check out Yuk Foo – or just delve into their entire discography.
Selected discography: Albums – Visions Of A Life (2017), My Love Is Cool (2015); EPs – Creature Songs (2014), Blush (2013); Compilations – B-Sides, Demos and Shit (2016)