Rocker (feedbot)
Gold Member
It’s practically an online cliché to mock “safe spaces” by now, but when you’re in one, especially at a metal show, it feels like a hug. Scene Queen has attracted a crowd who are overwhelmingly female, mostly channeling neon pink, and all of whom are absolutely comfortable being themselves. Just by creating this space, Scene Queen deserves our admiration. In her natural habitat that she’s built for herself, she’s a world away from the vocalist we saw at Download 2024 – gyrating through a set that challenged our perception of what we expected from the Opus Stage. She’s become a cross-genre avenging ringmaster, determined to take her “bimbocore” to the next level.
Yes, her set was only an hour, and – as with many acts who’ve only dropped one record – we seemingly had every song she knew crammed in to fill that time, but these aspects of Scene Queen’s show only served as more of a reward to her fans. Opener “BDSM” is a gem, a hugely bipolar anthem that flips between threat and girlish squeals, before “Pink Push-Up Bra” slams as the very definition of letting the inside thoughts out. On her home turf, Scene Queen is the manosphere meathead’s nightmare, her talent turned to blatant revenge. “Who came here tonight because you’re mad at some man somewhere? Or just because you love bad bitches?” she yells, the only two acceptable options for attendance before the grunge obscenity of “Finger” turns into a huge dance party – all sexual blatancy and power chords, bubblegum perversity and subversion that satirises and blasphemes while you’re slamming like there’s no tomorrow.
When Scene Queen drops her trashy persona for a few moments, it’s obvious that she’s deeply aware of the chaos and community that she’s growing. She’s brash and blunt, the opposite of the ethereal gothic dream girl that’s permitted on heavy stages; the blend of serious wrapped in candy that serves as an escape. New song “Platform Shoes” is disco that needs “stepdad-ass looking moves”, a blend of sweetness and riot that serves as a good omen for her next release, while the faux-country fan favourite “MILF” leads us into another moment of sincerity. With friendship and accessibility as a symbol of resistance, she inducts us into her sorority as security stare down bemused from the stairs, before “Hot Singles In Your Area” smacks us back down with sarcasm and jolting guitars.
Quoting a detractor: “Who’d want to see this ho onstage?” she laughs, “that’s the whole point of the tour, you idiot!” Normal service resumes on “Pink Hotel” – all ego and swagger wrapped in pink glitter to make a ridiculous yet serious statement. Rolling back with “Pink Rover”, she offers a huge, vitriolic close and headbang release before “18+” is shouted back at her like a bass-loaded demonstration, each lyric a slogan. Her smile, for once, is no forced rictus as she struts offstage. Regardless of whether or not her sugar-coated misandry backed by ludicrously heavy riffs resonates with you, you have to be awed by what Scene Queen is attempting to create at her shows through pink subversion. This was a space and show like no other on this year’s calendar; long live the Scene Queen and her desire for blunt, queer expression in an uptight world.
KATE ALLVEY
Yes, her set was only an hour, and – as with many acts who’ve only dropped one record – we seemingly had every song she knew crammed in to fill that time, but these aspects of Scene Queen’s show only served as more of a reward to her fans. Opener “BDSM” is a gem, a hugely bipolar anthem that flips between threat and girlish squeals, before “Pink Push-Up Bra” slams as the very definition of letting the inside thoughts out. On her home turf, Scene Queen is the manosphere meathead’s nightmare, her talent turned to blatant revenge. “Who came here tonight because you’re mad at some man somewhere? Or just because you love bad bitches?” she yells, the only two acceptable options for attendance before the grunge obscenity of “Finger” turns into a huge dance party – all sexual blatancy and power chords, bubblegum perversity and subversion that satirises and blasphemes while you’re slamming like there’s no tomorrow.
When Scene Queen drops her trashy persona for a few moments, it’s obvious that she’s deeply aware of the chaos and community that she’s growing. She’s brash and blunt, the opposite of the ethereal gothic dream girl that’s permitted on heavy stages; the blend of serious wrapped in candy that serves as an escape. New song “Platform Shoes” is disco that needs “stepdad-ass looking moves”, a blend of sweetness and riot that serves as a good omen for her next release, while the faux-country fan favourite “MILF” leads us into another moment of sincerity. With friendship and accessibility as a symbol of resistance, she inducts us into her sorority as security stare down bemused from the stairs, before “Hot Singles In Your Area” smacks us back down with sarcasm and jolting guitars.
Quoting a detractor: “Who’d want to see this ho onstage?” she laughs, “that’s the whole point of the tour, you idiot!” Normal service resumes on “Pink Hotel” – all ego and swagger wrapped in pink glitter to make a ridiculous yet serious statement. Rolling back with “Pink Rover”, she offers a huge, vitriolic close and headbang release before “18+” is shouted back at her like a bass-loaded demonstration, each lyric a slogan. Her smile, for once, is no forced rictus as she struts offstage. Regardless of whether or not her sugar-coated misandry backed by ludicrously heavy riffs resonates with you, you have to be awed by what Scene Queen is attempting to create at her shows through pink subversion. This was a space and show like no other on this year’s calendar; long live the Scene Queen and her desire for blunt, queer expression in an uptight world.
KATE ALLVEY