Kathleen Hanna’s favourite album of all time
Looking through the roster of influential rock stars of the 1990s, few can stack up against the pioneering figure of Kathleen Hanna. First gaining notoriety as the leader of Bikini Kill, the feminist punk group that helped define the sounds of the early 1990s, Hanna would go on to be regarded as the de facto leader of the riot grrrl movement.
With all of her bands, Hanna has shown herself to be an ally of the disenfranchised. Bikini Kill spearheaded a ’90s punk movement that saw DIY ethics and a rejection of mainstream media once again brought to the fore. Then, later, with her now more electro-influenced group Le Tigre, Hanna would once again hold up a shield in defence of queerness and feminism, pushing both musical and societal norms wherever possible.
An influential force for change in the noted boys club of alternative rock, Hanna always relied on her intelligent creativity and furious passion for pushing her head above the parapet and facing down moronic gender critics with a steely gaze that sent shivers down their spines. But while it can be easy to focus on the change in perception simply Hanna has been a force in enacting, it’s easy to forget that she’s also one of the true powerhouses of the music world.
Hanna’s songwriting speaks for itself. Whether it is the confrontational brilliance of Bikini Kill’s ‘Double Dare Ya’, the indie dancefloor-filler brilliance of ‘Deceptacon’ or the more expansive ‘Run Fast’ from The Julie Ruin, Hanna knows her way around a tune or two. With a fire-breathing delivery, she knows how to perform them, too. It means her opinion on the best records around is certainly worth paying attention to for any muso or budding performer.
When speaking with The Skinny in 2022, Hanna offered up a few nuggets of information as to what might constitute her favourite albums and how they affect her. When asked to pick her favourite LP, Hanna not only picks a live record but selects an artist that many might not have aligned with Hanna’s brash punk roots, as she shares: “I love Isaac Hayes’ Live at The Sahara Tahoe because he not only leads a fully orchestrated band and sings beautifully, but he tells great lead-in stories for many songs.”
But the reason for picking the record is certainly attached to Hanna’s tough musical upbringing and the evolution she must continue to employ as she continues to take the stage. “As a feminist musician, dudes have always yelled at me to ‘just shut up and play’ when I’m telling a story,” recalls Hanna. “Hayes reminded me that this is actually a valuable part of a musician’s performance and that I should keep doing it. He also motivated me to add more humour and get better at banter.”
There are few straight lines in the world of music, and the link between the soulful sounds of Isaac Hayes and the unapologetic noise of Hanna is certainly not without its curves. However, the defiant nature of an artist standing under the spotlight, staring into the abyss of an anonymous audience, will always strike a chord with musicians across the spectrum.
