When it comes to telling it like it is, Courtney Barnett has nerves of steel. Across three full-lengths, including 2018's Tell Me How You Really Feel, the Australian singer-songwriter has unpacked a host of complicated ideas throughout her wry folk rock. 

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There's the danger of ambition, on display in "Avant Gardener" where after a near-deadly asthmatic attack, she moans, "I should have stayed in bed today.". There's suburban ennui: See "Depreston," where she considers the benefits of a two-car garage. She even tells off detractors on recent track "Nameless, Faceless": "He said, 'I could eat a bowl of alphabet soup/And spit out better words than you'/But you didn't."

But when it comes to the topic of ghosts, she admits that it's easy to freak herself out, even though she likes to consider the idea. 

Barnett's open mind is an asset, since we're sitting at The Stanley Hotel, an Estes Park, Colo., resort that's believed to be one of the most haunted locations in the U.S. Whether or not it really has a spirit population is always in question. Given the building's history, which includes an explosion in room 217, multiple post-death sightings of the founder's wife, Flora Stanley, and inspiration for both Stephen King's "The Shining" and "Pet Cemetery," it's easy to believe there's some kind of strange forces at work. 

But rather than ghost-hunt, Barnett has come to The Stanley Hotel to perform as part of a tradition of small-crowd concerts dating back to Houdini performing illusions for a clutch of society women. 

It's a small room for the GRAMMY nominee, who has also performed on "Saturday Night Live," "ellen," "Late Night With Jimmy Fallon" and a host of summer festival stages. But Barnett admits that part of the goal of her solo tour was to stretch herself by performing in interesting spaces.   

Before she could charm the crowd with her left-handed guitar and seemingly endless display of quips, Barnett tells the Recording Academy about her supernatural near misses, finding the words to fight inequality and how she's still learning to tell people how she really feels.

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In honor of the fact that we're sitting at The Stanley Hotel, do you have any good ghost stories? 

Not major ones. The last town that we stayed [in], I felt I actually had like a little ghost feeling. It was weird. I just like, I was shot up in bed at 5 a.m. both mornings and I felt like someone was in the room, which has happened a few times in my life, but not that many. So when it happens, it is a really particular thing. We watched half [of] The Shining last night. I think in the lead-up to playing here, I started researching it to see what it was all about. 

What one thing, if removed from your life, would make you go as crazy as Jack Torrance from the film? 

The connection to people is probably a big one. I think it would probably send me into some sort of crazy. 

Do you get to invest in the Melbourne community when you're home? 

Home time has been pretty minimal in the last five or six years. But yeah. I have a record label [Milk Records] in Melbourne, which I started six or seven years ago. And so, that has grown and has local bands and a few that aren't local. So that keeps growing and ticking over as we put on shows and put out records and all that stuff. When I'm home, I go out and see lots of shows. 

Read: Frances Quinlan On Her New Album 'Likewise,' Love Of Visual Art And Learning To Speak Her Mind

Your label, Milk Records, recently opened a storefront.   

We did it as a pop-up store in December in the lead-up to Christmas. And then we built a little stage and we had some semi-acoustic performances, and now we're just seeing how it goes in a bit more semi-regular way. I love it. I think it's really nice. People can come in and look around, and people can do shows. And when people are visiting from out of town, I want to make it so they can pop in and play if they want to and sell some records. Milk Records has somehow created this really amazing community of people who love music and just really want to share with each other. It's just a really special thing. 

Because I'm now picturing you as a Nick Hornby-style record shop owner, what are the top five albums or songs you're currently listening to?

What I've been listening to? We've done some really good albums on this tour. I started making a list the other day of new songs, like the new TORRES. Paul Simon. Elizabeth Cotton. Julee Cruise. These are all just random songs.  

I think it's nice to listen with focus, not like background kind of music, because I ended up doing that a lot, and if I'm at Melbourne at the Milk warehouses [and] there's something on the background, we don't listen to it properly. So it's nice just putting headphones on or putting a record on and sitting and listening to it.  

Where do you fall between optimism and pessimism? 

I always would say that I'm an optimistic pessimist, because I think I am pessimistic by nature, but I'm also kind of melancholy and have always been more on that side. But I really want to be hopeful and optimistic. It's like, I don't want to be like a pessimist who's like grumpy about everything. But I can be that person. 

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Has touring with The Ally Coalition and Headcount helped change your perspective? 

Oh, yeah. I think that's been cool. It's such a small, easy thing to invite them and have them; I know that they do so many shows. It's such a simple thing to be able to broaden conversation with people who might not be aware of certain things. It's available and they can chat, or they don't have to. 

That's a huge resource I'm sure is missing from many people's lives. 

Which is kind of crazy because we think we have access to everything, but it's almost like sometimes I don't know where to look for information. Even though the internet, it like [leads us] to believe that everything is available. But sometimes, yeah, it's an overwhelming kind of overload. And to do all that research yourself is hard. So I think when you find people who are doing really amazing work and have done amazing research, you kind of can look up to them. 

If you could change one thing about society, what would it be? 

I guess an umbrella term would be inequality. I would get rid of that. 

Do you see your music in the same bucket as artists who focus on activism? I know you've been compared to Bob Dylan quite a bit. 

I don't feel like I'm outspoken enough. I kind of wish I had the words to be so. But I don't think I've written anything as powerful as some of those people. I think it's just finding the words and finding the voice to be able to say things, which I struggle with sometimes. So I ended up writing around them or, you know, I think it's still there, but in a kind of more symbolic way. 

Read: TORRES On Writing Queer Country Songs, The Power Of The Spoken Word And Her New Album, 'Silver Tongue'

It's funny to hear you say you write around things, because from an outsider point of view, your music is so personal and immediate. 

I don't even notice what is behind a lot of what I'm writing. It's kind of hidden to me until later. Sometimes, it's kind of strange to just unpack as time goes on. Two years on from making and releasing the album, I play the songs every day and play them different in different ways. Playing them solo, now there [are] certain words or phrases that, with time and distance and perspective, you just see them differently. I always find that fascinating. 

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Has there been a song in particular that has gone through that transformation?

Like the song "Need A Little Time" on [Tell Me How You Really Feel]. [When you're writing], you kind of know what you're talking about… but I don't fully know. And with different situations, the words just mean different things. Maybe I'm talking about that person or that person, or maybe I'm actually projecting something onto them and actually talking about myself. Or all of the above, which is also totally acceptable. 

How does playing solo change the dynamics of your show and the material? 

I haven't played solo in a really long time. I was a bit nervous before the tour started, but I've been kind of, strangely, quite calm and comfortable, and I think the audiences have been really, really lovely... I think I've been just experiencing the songs differently. It's inspired me 'cause it's so much more vulnerable: nothing to hide behind and no wall of sound to hide behind and dark lights to fade into. I can hear the songs again how I wrote them… it's kind of inspired me to write; I want to write better songs.

When the voice in your head is telling you that things aren't good enough or that you're not doing well enough, how do you shut it up? 

I think the most useful way is to pretend that someone else is saying it to you and you're trying to confront them. You would never talk to someone the way that you talk to yourself a lot of the time. Trying to look at it in a realistic way with none of those neuroses and hang-ups is hard. 

After writing such a direct album called Tell Me How You Really Feel, has it been easier to tell people exactly how you feel? 

No, I think it's just a learning process, growing-up process of learning how to communicate with people. I've learned that the outcome gets easier. It's normally not as bad as you think it is, and it's a kind of weight off the shoulders. It kind of uses more energy and it's more of a waste of time to just hold on to things. I guess it's an important thing to learn over time and to let go of those things that drag us down and make us resentful. It all just builds up in your body and you feel it and it's just such a waste of space. 

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Since you appear on Anna Calvi's upcoming collaborative album, Hunted, what artists would you love to hear covering your songs? 

I think that it's such a cool idea. You kind of think like, "Who could do it?" Like in a similar vein, but someone who is from a totally different musical world. I mean it's just endless. [I'd like] someone like Kim Gordon or St. Vincent, or even someone like Dev Hynes [who] could turn [it] into this whole beautifully different, amazing thing.

So, what's next? 

I kind of planned to spend most of this year at home writing, and then I accidentally organized a solo tour. I'll probably write, and I might do some kind work on some projects with some people, maybe some collaborations back home. I just kind of want to write and read and be a sponge to the world.

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Over two decades ago, Kurt Cobain famously declared his unapologetic stance — from supporting gay rights to his skepticism about reality — in Nirvana's 1993 GRAMMY-nominated single "All Apologies."

Cobain probed in the opening verse, "What else should I be?/ All apologies," Cobain questioned in the opening verse. "What else could I say?/ Everyone is gay/ What else could I write/ I don't have the right."

In this episode of ReImagined, alternative newcomer Siiickbrain delivers her rendition of the In Utero track, channeling the '90s aesthetic with a vintage camera. Like Cobain, Siiickbrain uses her songwriting to confront and address her mental health.

"[My struggles with mental health] made me want to speak on it within my music, and it kind of gave me a foundation for what I'm doing," Siiickbrain said in an interview with Kerrang! "It gave me a purpose to write about certain things and bring awareness to how common these feelings are."

On March 29, Siiickbrain released "when i fall," featuring Shiloh Dynasty and No Love For The Middle Child, which she describes to Alternative Press as based on "true events that were written and performed as [No Love For The Middle Child and I] were recovering from the challenges of a relationship while simultaneously creating music together." 

Press play on the video above to hear Siiickbrain's cover of Nirvana's "All Apologies," and remember to check back to GRAMMY.com for more new episodes of ReImagined.

Behind The Scenes With Nirvana Photog Charles Peterson

With "Hunger," rising indie star Abby Sage takes autonomy of her body. It’s a story of shameless self-discovery as she submits to her natural desires while simultaneously breaking down the toxic ideas she learned about sex in her adolescence.

"Feed my hunger/ No shame, I'm just a beginner," she croons in the chorus. "It's my own wonder/ Don't press, I'm just a beginner."

In this episode of Press Play, watch Sage deliver an acoustic performance of the single from her debut album, The Rot, which she released on March 1. According to a statement, the project is largely about "the decomposition and reconstruction of everything I was taught," including sex, anxiety, and more.

Sage said "Hunger" is "the most important song to me on the album" adding, "I wish I heard a song like this when I was first exploring my sexuality and my sexual journey, and for that reason, I hope it reaches people."

This May, Sage will embark on an international tour that begins in Los Angeles and concludes in London, with support from gglum, spiderblush, and Jayla Kai.

Watch the video above to hear Abby Sage's empowering performance of "Hunger," and remember to check back to GRAMMY.com for more new episodes of Press Play.

Watch Genia Narrate The Pain Of Heartbreak In This Raw Performance Of "Dear Life" | Press Play

Ah, springtime. For the average person, that means sunshine, flora in bloom, perhaps a figurative fresh start in the new year. But for music festival fans, it signals another season starter: Coachella.

An estimated 125,000 people will flock to the Empire Polo Fields in Indio, California for the first weekend (April 12-14) of the 23rd Coachella Valley Music and Arts Festival. While the first weekend is already sold out, tickets are still available for the second weekend (April 19-21).

Coachella's headliners have been busy: Both Lana Del Rey (headlining Friday) and Doja Cat (slated to close out Sunday) just wrapped extensive tours at the end of 2023 and, while Saturday closer Tyler, the Creator's only other 2024 festival date is at Lollapalooza, he did stage a large-scale appearance in 2023 at the Camp Flog Gnaw Carnival in Los Angeles. Still, it stands to reason that there are scores of fans who missed out on those tour stops, and Coachella would be an ideal chance to catch them in a particularly special setting. 

There's also the potential to see a slew of surprise guests (a long-standing Chella tradition) and much-hyped reunions. Coachella 2024 attendees will likely flock to see a reunited No Doubt and Sublime, the latter with a Nowell back at the helm (Bradley’s son, Jakob).

Then there’s the economic logic behind opting to see those bigger acts at a festival: for a price not much more than what you’d pay for an arena ticket, you get the bonus of catching dozens of other incredible artists while you’re at it. The diversity and quality of music throughout even the lower tiers of the Coachella lineup is staggering, so overall the price for a pass is quite the steal. Read on for the inside scoop on 10 of this year’s most exciting undercard performances.

Read More: Music Festivals 2024 Guide: Lineups & Dates For Lollapalooza, Coachella, Bonnaroo & Much More

Cimafunk

Cuban artist Cimafunk has been relatively quiet since releasing a third studio album, El Alimento, in 2021. But the success of that record — which garnered his first GRAMMY nomination for Best Latin Rock or Alternative album at the 2023 GRAMMY Awards — appears to have propelled him to new career heights. He will be the first Cuban-born artist to perform at the festival, kicking off a string of worldwide shows that begin with his appearance at Coachella on April 12 and 19. 

Read more: At Getting Funky In Havana, Young Musicians Feel The Power Of Cross-Cultural Connection

Cimafunk’s sole release since his last album was the December 2023 single “Te tango en salsa,” which expands upon his self-designated brand of Afro Cuban Funk with accents of disco and grooves filled with New Orleans-style horns. Though the track hasn’t been publicly connected to any upcoming EP or album, one might presume that his impending run of concerts is a precursor to a complete body of new music. Perhaps Coachella will function as a testing ground, and considering the inclusion on El Ailmento of prominent artists George Clinton, CeeLo Green and Lupe Fiasco, who knows what other surprises might be in store at the desert festival known for delighting audiences with plenty of guest features.

L’Imperatrice

Through the years following their inception in 2012, French pop band L’Imperatrice have played primarily in Europe and surrounding regions, so it’s no small feat that they’re poised to make their second appearance at Coachella in two years. They first played the fest in 2022, a makeup show for Coachella's 2020 COVID-19 cancellation. 

Their slots on April 12 and 19, stops on their just-launched Double Trouble Tour, follow the 2018 release of debut full-length Matahari and performances at prominent festivals like Austin City Limits and Outside Lands. Self-produced sophomore album Pulsar arrives on June 7, and its infectiously groovy and sensual debut single “Me Da Iqual” promises a Coachella set sure to incite emotional release among the masses — ideally during one of the fest’s famed golden hours to match the music’s euphoric vibes. 

Skepta

Regarded as one of the most influential rappers in the UK grime scene, Skepta is set to commence his latest return to stateside stages with appearances at Coachella on both Fridays, which marks his second time at the festival after lauded dual appearances in 2017. 

Following a semi-secret DJ set at Austin’s South by Southwest festival in March, these shows will preview a run of summer dates in the UK and Europe and the release of upcoming sixth solo album Knife and Fork. 

With that record’s release date still in question but imminent, it’s a good bet that he’ll introduce new material to build upon the January drop of lead single "Gas Me Up (Diligent)," which adopts a flow and melodic structure more akin to popular American rap. To that end, Skepta’s previous collaborations with U.S. rappers like Drake, Ye and members of ASAP Mob could lead to a loaded lineup of guests during his Coachella set. It has the potential to be a huge moment, though his reputation for high-energy and rowdy gigs are reasons enough to prioritize his performance. 

Read More: UK Drill Is An International Sensation. Will It Be Censored To Death?

Mandy, Indiana

English-French noise rock upstarts Mandy, Indiana make music that isn’t necessarily easy to digest. Minimalist and chaotic compositions, primarily from their widely celebrated 2023 debut album I’ve Seen a Way, resonate as tunes tailor-made for technically minded music nerds. Still, danceable moments emerge among the sonic helter-skelter, which combines experimental elements of industrial, classic house music and samples aplenty (think Death Grips with more palatable melodies and exclusively French lyrics). 

So far, the dynamic four-piece hasn’t played much on this side of the pond — their debut shows at Coachella arrive on the heels of a handful of U.S. appearances in 2023 that included the SXSW Music Festival. Which means Mandy, Indiana’s sets on April 13 and 20 will mark relatively rare (and therefore must-see) chances to embrace their overtly wonderful weirdness in the desert among the more prominent pop-leaning artists on the roster.

The Last Dinner Party

If you’re not yet keen on British indie rock band the Last Dinner Party, it’s time to get with the program. With only one album under their belt, Prelude to Ecstasy (released Feb. 2) — which echoes various influences ranging from Siouxsie and the Banshees to Kate Bush and ABBA —the quintet has already earned multiple awards and accolades, including topping the UK Album Chart. To boot, they opened for the Rolling Stones in London’s Hyde Park two years prior to putting out their record.

The band’s performances are reportedly jaw-dropping, further evidenced by the complete sell-out of their current U.S. tour. That jaunt wraps with their April 20 appearance at Coachella (they also play during the first weekend on April 13), so, unless you want to pay ridiculous resale prices for one of their club shows, this is a prime chance to see them live with the added benefit of catching many more amazing acts while you’re there.

Young Fathers

Young Fathers are often categorized under the umbrella of hip-hop, but it would be wrong to pigeonhole them that way. True, one can pinpoint elements of a spitting, old-school style — especially on debut album Dead (winner of the prestigious Mercury Prize in 2014.. However, their sound spans the landscape of many genres, often weaving in threads of electronic, industrial, and trip-hop. It should be telling that they’ve collaborated multiple times with Massive Attack.

The music clearly resonates with a substantial audience. They’ve reached prime positions on the UK Album charts, their fourth and latest album Heavy Heavy (released Feb. 3, 2023) won them their third Scottish Album of the Year Award, and this year marks their second invitation to Coachella (catch them on Sundays: April 13 and 20). With a full year gone since putting out new songs, there’s no telling if they’ll serve up anything fresh. Regardless, fans of heavy-hitting experimental music, assuredly energizing at any time of day or night, should prioritize seeing their set.

Oneohtrix Point Never

It’s a wonder that Oneohtrix Point Never has never played Coachellal until now given his string of consistent releases since emerging in the early 2000s (with never more than three years between albums) and Coachella’s penchant for historically championing experimental electronic artists. Following the Feb. 29 release of his latest EP “Oneohtrix Point Never - Ambients,” he debuts in the desert on April 13, with his second weekend encore on April 20. 

The Massachusetts-bred beatmaker’s music swings from sparse to compositionally complex. It's not geared toward a typical EDM dance party, but always cinematic and hypnotizing, creating a space where listeners can truly lose themselves in the sonics. Given his style, it’s safe to assume he’ll occupy an evening time slot, so if you’re the type who prefers something a little more raw to the mainstream big-timers topping the bill, Oneohtrix Point Never might be just the ticket.

Mdou Moctar

If there’s one artist on this year’s Coachella lineup that will truly thrive in a desert setting, it’s Mdou Moctar. The Niger-based musician plays rock music steeped in the style of Tuareg, guitar-based blues-rock fusion that originates in the Sahara region. However, Moctar’s music decidedly transcends the traditional sound, often reverberating as sublimely psychedelic.

His performances in Indio on April 14 and 21 precede the release of his sixth album Funeral For Justice (arriving May 3). Based on the two singles made available from that record so far (title track “Funeral for Justice” and “Imouhar”), the people of Coachella are in for a true desert trip.

Atarashii Gakko!

When Japanese “girl group” Atarashii Gakko! make their Coachella debut on April 14 and 21, anticipate the unexpected. The four singers’ have a stated goal of “redefining what it means to be a girl group.” They’re technically categorized as J-Pop, but among the many catchy choruses, their music also incorporates shades of speed metal, trap beats and alt-rap à la Rage Against the Machine, all of which you can hear on their latest album ICHIJIKIKOKU.

What you can certainly expect is an outrageously high-energy show chock-full of nonstop, self-designed choreography performed in colorful sailor-fuku uniforms (essentially sailor suits worn by Japanese students in the ‘70s and ‘80s … think Sailor Moon but intentionally less provocative). If you need an adrenaline boost on the final day of the fest, look no further than Atarashii Gakko!.

Olivia Dean

Dear America, it’s time to give a proper welcome to an artist destined for stardom:  Olivia Dean. With only a handful of U.S. shows in the bank, the 25-year-old British neo-soul singer’s debut at Coachella on April 14 — arguably her biggest U.S. gig yet — will serve as the most well-deserved of receptions. 

Sure, her nominations for the 2023 Mercury Prize (for debut album Messy) and 2024 Brit Awards (Best Pop Act, British Artist of the Year and Best New Artist) should merit attention enough for those who don’t know her. But even a few moments of listening to key album tracks “Dive” and “The Hardest Part” (don’t sleep on the alternate version featuring Leon Bridges) are the real deal-sealers. The richness of Dean’s recorded vocals are absolutely arresting, evocative of and equal to top-tier divas who preceded her. It’s thrilling just thinking about the impact she’ll make at Coachella — do yourself a favor if you have the chance and go witness it firsthand. 

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Using lively, raw instrumentals as a vehicle for emotional catharsis, Sleater-Kinney’s Little Rope takes the lead as one of their most vulnerable projects to date. 

The "Dig Me Out" singers approach their 11th studio album with a fresh perspective, influenced by their experiences during the pandemic. Despite the departure of drummer Janet Weiss in 2019, the band maintains their iconic post-riot grrrl take on rock music. Carrie Brownstein and Corin Tucker infuse Little Rope with reflective lyrics and raw energy, mirroring their personal growth and resilience. 

While working on the album one day, Brownstein received a call with news that nobody ever wants to hear, nor expects. She had been informed that her mother and stepfather had been involved in a fatal car accident while on vacation in Italy. Faced with grief and a sense of unfamiliarity, the band turned to something that always brought them comfort: making music. Little Rope was born.

Despite such a tragic, major life change and trying to make it through a global pandemic, Sleater-Kinney’s motive remains consistent.

"We hope to find people where they're at," Tucker explains to GRAMMY.com. "And it seems like we have, in each stage of someone’s life."

After hosting a GRAMMY U SoundChecks event with the Pacific Northwest Chapter of GRAMMY U, Sleater-Kinney sat down with GRAMMY.com to talk about their perspective on the ever-changing industry and the legendary bands they pull inspiration from.

This interview has been edited for clarity.

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It has been almost 30 years since you all released your first album. In what ways has Sleater-Kinney changed since then and what has stayed consistent? 

Corin Tucker: We still try to write songs that are emotional and that reach people. Our songwriting has developed over the years and I think we have different methodologies for writing. But, really the most important point of a song is that it makes people feel something. We still try to judge what we do by the same metric as we did 30 years ago.

Carrie Brownstein: One thing we set out to do is to have a unique sound and I think we created a sonic language with each other that we've tried to maintain, but also push the narrative forward and challenge ourselves with each album. That's been consistent from the beginning, we never — even in the early years — wanted one album to sound like the last one. Things change and the industry changes. We just try to stay true to ourselves, but also adapt.

Are there any of your early projects that you feel still resonate to this day? 

Corin Tucker: The funny thing about streaming is that people are finding some of those older songs and really getting into them. We found out at the end of last year that people were really into one or two songs off of our very first self-titled record. A really nice thing about having your music available digitally is that it's available to everyone all over the world. 

Path of Wellness (2021) was self-produced, as it was made during the peak of the COVID-19 pandemic and Little Rope (2024) was produced by GRAMMY-winning producer John Congleton. What was it like going from a self-produced project to having John on the next project? Was there a certain reason you chose to work with John? 

Carrie Brownstein: Self-producing for us was very anomalous. We've always worked with producers and one of the reasons is to just have an outside perspective — somebody to come in and be the tiebreaker or to just bounce ideas off of. So, it was kind of a no-brainer to return to a producer after the solitary of the pandemic. 

We have always been fans of John Congleton's work. We come from similar backgrounds and have been in talks to work with him for a while. Fortunately for this album, it worked out and we felt like these songs would be really well served by his productions. 

Could you tell us a little bit about your dynamic as a music duo? When writing songs, do you both try to work on them 50/50 or is it on-and-off, where one of you may take the lead for certain songs? And what was this collaboration like specifically with Little Rope? 

Corin Tucker: Our goal is always to make the song as strong as it can be. We’ve worked together long enough to know that that's the most important thing. Sometimes a song is more an idea of one or the other, and you need to wait until they’ve fleshed it out to come in with your parts. We have a bunch of different modalities and we just try to keep the conversation going. It's a lot about communication – it's an ongoing constant conversation between the two of us on where the song is at and what we think it might need.

Can you share any standout memories or experiences from when you were writing Little Rope?

Carrie Brownstein: My friend has an apartment in Downtown Portland and he was out of town. So, he let us use the space as a writing studio. And neither of us live in Downtown Portland, so it was interesting to be in this highrise in Portland looking out over the city — sort of being in conversation with the city and changing the landscape in which we were writing was nice to have.

As Pacific Northwest natives, how do you see your Pacific Northwest roots stick out in your music? 

Corin Tucker: A lot of the sounds from the historic bands you can hear in our music. You can hear Nirvana, you can hear the Fastbacks, so you can hear so many of those Pacific Northwest musicians. They were bands that we grew up with and bands that we still try and emulate with what we do.

I feel like a good number of Sleater-Kinney fans have stayed fans and grown with you all over the years. What about your music and your brand do you think resonates with people even in different stages of their lives, and how did you foster this dynamic? 

Carrie Brownstein: Sleater-Kinney’s a very earnest band. We wear our hearts on our sleeves and I think our audience appreciates that rawness and vulnerability. It's emotional music.

We have a lot of younger and newer fans. I think they relate to the emotionality and the honesty in the music, so that’s what we try to stick with.

You have said that The Showbox is one of your favorite venues to play at in Seattle. How does it feel being back at The Showbox for two sold-out shows? 

Carrie Brownstein: We really enjoy the intimacy of a smaller venue, allowing the fans to get a little closer to the stage and feeling more connected with them. It's just nice to feel a sense of history, a through line with our career and our relationship with the city. We're really excited to be here. 

I’m curious to know how your fans reacted to Little Rope. Have you noticed any common reactions to the project? Or any particular responses that have stood out?

Corin Tucker: People really relate to the emotion in the music. We've gotten a lot of people saying that it helped them through a hard time. Having that impact on people is pretty special when they feel like it's okay to be emotional and process things with music.

Lastly, you have the rest of your international tour to go, but what else is coming up for Sleater-Kinney? 

Corin Tucker: We're very excited to play shows internationally. There may be some cool stuff coming up that maybe hasn't been announced yet, but we're looking forward to more touring.

Carrie Brownstein: For an album cycle, it's almost two years and so, for the most part it will be, it'll be touring and then we'll write something else.

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