On this perfectly warm Monday night at Lincoln Hall, Kate Nash played to a sold-out group of somewhat homogenous (and largely homosexual) group of 20-somethings. She started with her traditional not-quite-happy indie jam songs. She continued with a mixture of head-jammin’ body slamin’ rock, lyric-driven indie pop, and darken stage poetic spoken word piece. Instead of an encore, the speakers blared stoned out versions of Disney classics.
The set made the audience sway, jump, tear-up, fist-pump, and it made one young gentleman crowd-surf. It left some wondering if Kate Nash was having a musical identity crisis. But in the end the sign in the front of her piano explains it all: “A cunt is a useful thing.”
Although she probably would tell the old-fashioned word feminist to fuck off, Kate Nash and her “identity crisis” ridden music is the epitome of today’s feminism. Her music does not scream “the cunt is a beautiful thing,” nor does it seductively whisper “the cunt is something to squeeze into a thong and a tight skirt.” Her music rants against the cunt being anything other than what it is, a part of women and a useful thing.
From songs condemning “homophobic pricks” to songs about the hurt of love to songs about the redeeming power of love to songs about derogation of young women to songs about the possibility of life, Kate Nash touches on all dimensions of modern and identity-crisis prone woman.
Locking eyes with seemingly every member of the audience, Kate Nash presents herself and her music in a genuinely unapologetic way. She is powerful and flawed, a role model for every aspiring modern feminist.