The Chicago punk band Sweetie’s frontwoman, Birdy (she/her, right), shreds the guitar as Joe (he/him) plays the stand-up bass. PC: @vacanteraphotography on Instagram

I was invited to Hands Off Our Fest (or HOOF Fest) by local punk band Sweetie’s frontwomen, Birdy. This was HOOF’s second festival, but I was previously unfamiliar with the all woman and femme punk rock music festival happening just south of me in the city of Chicago in the brewery Blue Island Beer Co.  With my only expectation being some loud music and beer I hadn’t tried before, I packed up my notepad and made my way out there.

When I got there, I instantly met Birdy, Sweetie’s frontwoman and organizer of the whole event. She enthusiastically introduced me to some of the artists that were to perform and showed me around the festival grounds. Past steel casks of brewing beer sat a backroom that reminded me of a barn, but one where a tattoo gun whirred and members of multiple bands sat around selling t-shirts, CDs, cassettes, and posters. I quickly learned this was more than just a punk show; as well as an incredible lineup of musicians, there was going to be an intermission where Queeny, a local stand-up comedian, would perform followed by a drag show. 

After I walked around a bit, Birdie brought me to the green room with her and the rest of Sweetie; their stand up bass player Joe Soldati and drummer Ryan Gowdy. As people prepared their drag outfits, or musicians their Halloween costumes, the four of us sat around a table to discuss the importance of what was happening. First and foremost, I wanted to know what had inspired Birdy, the musician and event organizer, to originally embark on setting all of this up. 

“Being a woman in the punk scene, I was getting really fed up, intimidated, and even afraid sometimes with how the spaces-or men-can be,” Birdy said. “Everytime Sweetie played we kind of created a space; there was always drag and a lot of femme vibes, and it was unique. There had been so many times where just icky shit had happened with dudes in the scene, and I have known so many women who stopped making music because of it. They’ve been pushed out of it. I got to a point where I was just like ‘we’re not fucking doing this anymore.’”

Joe from Sweetie screams into the stand-up base. PC: @vacanteraphotography on Instagram

“Furthermore, so many festivals like this [focusing on femme and queer artists] were set up by men, and often men that didn’t have the best intentions or even had records,” she continued. “They weren’t trying to shine a light on these talented bands in the scene. I was just like ‘Men need not to be doing this, we need more women doing this.’ It’s something I’m passionate about, so I just fucking did it.”

When talking about why they chose to do this festival at Blue Island Beer Co., Birdy explained that they were looking for a place that would be queer friendly and safe, with good energy. Birdy talked about a time where she was at a drag show when she was looking for a venue and Allan, the owner of Blue Island Beer Co., came out with a birthday cake and sang to one of the performers. Upon seeing this, Birdy knew who would be perfect for the kind of festival she wanted to run. 

The only other option was Liars’ Club, a place Birdy has always felt very safe at. “I’ve always felt safe there as a woman, and queer people always love performing there,” Birdy tells me. However, they also wanted more space for the event. “The first year, I recruited a lot of the local rugby teams,” Birdy explains. “I wanted them to use it as space. I played rugby for ten years, and recruiting  a tackle sport for women is hard. But I came from the punk scene, and I kept trying to tell the rugby girls that if you’ll go into a mosh pit, you’ll play rugby. This year, we invited the local roller derby team.” As if on cue, one of the roller derby people invited appeared to discuss the ins and outs of their set up. Smiling, Birdy tells them; “Please, use this as a recruitment facility!” Birdy begins to talk to the recruiter about how everyone in rugby and roller derby has nicknames, and explains that that’s how she got hers. “It’s short for bird bones since I kept spraining my ankle,” she says with a laugh.

Ryan (he/him) on drums at HOOF Fest PC @vacanteraphotography on Instagram

As I continue to talk to Birdy, Joe, and Ryan I learn more and more about how HOOF fest has been building a community where there wasn’t one, and creating a needed space for that community to thrive. From allowing recruiters for rugby or roller derby to attend the event and shine light on what they do, to giving the stage to local queer musicians, stand-up comedians, and drag artists-HOOF succeeds in its mission to cross multiple artistic mediums and create g a space for everyone to thrive in. I had the chance to talk to Queeny, the stand up comedian performing the event, about the importance of HOOF fest, and they said; “If you don’t create these spaces, it’s all going to be monotony. If you’re not actively trying to create a space that has diversity, then no one is going to make room for you. You have to create something where everyone can come and get better at.” 

Soon after all my discussions, the show was set to begin. I leaned back and prepared some sort of objective look I felt I was supposed to have, readied myself against being wowed and caught up in it all, reminding myself that I was here for work-and failed at all three endeavors. Each band was an explosive yell-a rebellion-and stunning to witness live. Despite my bad knees, I found myself roused by the music to start running around the room! There were two parts to the evening, and the first four bands each continued to knock homerun after homerun out of the festival grounds with their loud, roaring, music. The festival kicked off with Sparkling Urbana, followed by Carnivore Mommy who has had a sudden-but exhilarating-start, playing Cafe Mustache later the following week then Liar’s Club immediately after. Not to be outdone, Peach Vomit from Harvard, Illinois roared onto stage after, singing songs that made you laugh and rage. A favorite line of mine from their set was; “The dinosaurs will kick your dick off!” The ribbon of the first set was then tied by Second City Seance, who gave yet another amazing performance. 

During the intermission, Queeny did a comedy set that made me laugh until my ribs were hurting (I really insist you all go see them perform live). Following Queeny was the first drag portion of the festival, as there were to be two. The show was filled with haunting performances that befitted the season, and truly showed the artistic power our city has to offer. Birdy summed this up for me as we were discussing the performances with wonder; “New York drag is very theatrical,” she said. “L.A. is much more about fashion. Chicago drag is artsy.”

Birdy (she/her) shreds at HOOF fest. PC: @vacanteraphotography on Instagram

As the drag shows concluded, the drum beats of punk continued as local legends, The Cell Phones, got on stage. Following their amazing performance which included a punk cover of Rihanna’s “Only Girl In The World,” a glam rock touring band from Kentucky got the stage, and for the first time I can safely say I was curious about the Kentucky music scene after seeing The Daddy Sisters perform, giving a stunning and fashionable performance. After they exited the stage, it was time for the two bands I was familiar with before (though now, safe to say, I’m a fan of all who performed) get on stage. A band who has been featured on our semi-weekly “Songs by Local Artists You Should Be Listening To” story-segment on the Raging Opossum Instagram, Boybrain, got on stage. Having already been a fan of their music, I knew they would be great, but seeing them live I was nonetheless stunned. Where I had felt compelled to move before, I now damned my bad knees and jumped around in front of the stage with everyone else. Once they concluded, it was time for the organizer’s themselves to play us some songs; Sweetie got on stage.

Ryan jumped right on drums as Joe and Birdy bantered and laughed into their mics. Soon, Sweetie began, launching into a flurry of beloved songs. The crowd roared and yelled, moved and bounced, as Birdy sang out songs like “Devil Girl” and “Howl” from their album Bad Thing Sweet Thing, Joe wielded his stand-up bass with maniacal ecstasy, and Ryan broke into his drum kit with concise reckless abandon that spoke volumes to his talent. Each band member truly demonstrated that they are masters of their craft.

In the days following HOOF Fest, I have been to a few other concerts or out and about, and chatted to people about how fun the festival was and the wonderful time I had chatting to the members of Sweetie. Unsurprisingly, I have received similar responses everytime of people exclaiming either how they were at the last one, or how much they want to go to the next one, and how the existence of this fest is so meaningful. HOOF fills a space that was lacking in our Chicago scene while simultaneously showing, and rebelling against, the common monotony that can exist in any music scene by providing a safe place for people to express themselves. Though there’s only been two so far, HOOF carries with it a momentum that lets anyone listening know it’ll be around for awhile, continuing to exist as the festival we all need. 

By Samuel Plauche

Chief Editor, Founder, Writer at Raging Opossum Press

For inquiries, @sam.plauche or @ragingopossumpress on Instagram

Published 11/05/2024