The musician, actor, author and comedian is heartened to see young women adopting and reconfiguring the tenets of the movement she helped pioneer with punk trio Sleater-Kinney.
Las Vegas is only a couple of hours’ flying time from the unglamorous street in Olympia, Washington, that gave Sleater-Kinney their name. It just feels like further. “I would not be in Vegas if we weren’t playing here,” Carrie Brownstein declares as she paces backstage corridors, looking for the sweet spot between soundcheck noise and phone reception.
It’s 30 years since Brownstein and Tucker made the first Sleater-Kinney album in a single night while holidaying together, as it happened, in Melbourne. Their respective earlier bands — Heavens To Betsy, Excuse 17 — are cited today as torchbearers in the American feminist punk wave of the early ’90s. But Brownstein’s outsized emotions have always chafed against categorisation.
“That consistency and loyalty becomes more striking with every year. We’ve seen each other through so many iterations and changes, and yet we return to this language that we built together. “I think if you’re tuning in to certain discourse, then it can feel that we’ve become humourless or that we’ve become oversensitive,” she responds.“But in the offline world, and the sections of our lives that aren’t mediated by online discourse, I think people are very much willing to laugh at themselves and laugh at their communities in a way that is well-intentioned and not mean-spirited.
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