About this Event
NICKY CLICK (New Hampshire)
"Freaks, you can call me Mom," Nicky Click boldly proclaims on her newest album.
A one-femme band based in New Hampshire and specializing in electro-pop performance house music, Click addresses the tough stuff: not only widespread injustice but also survivorship, physical and mental challenges, and coming of age. “The platform of performance art happens to be a perfect way for me to channel all my anger I saw and felt,” they admit. “I’ve been given an opportunity to discuss these things on that platform.” Click has released videos on MTV, toured internationally, and released six albums, including her most recent, Reductive Nostalgia, composed during the quarantine. Click takes their work seriously, but doesn’t skimp on joy and is open about their own struggles. “I have had the opportunity to serve the LGBTQ+ community and open discussions about mental health and disability justice through dance music,” Click says. “I put myself out there in hopes that people can heal while dancing and sharing.” (GO Magazine, June 2023) https://gomag.com/article/nicky-click/
Influenced equally by riot grrl and pop divas, she released her first album, You’re Already A Member, right as the DIY-electro and queercore boom of the mid-aughts was gaining steam. Nicky built a fanbase the old-fashioned way, through constant international touring and festival appearances alongside Peaches, The Gossip, Lady Sovereign, Gravy Train!!!, Scream Club, Brooke Candy, Vagina Jenkins, and Kin4Life. Each Nicky Click show is a personal and political queer feminist statement wrapped up in a dance party. She makes many of her own wigs and outrageous stage costumes, and she’s performed and headlined at pride festivals, dives, hotels, bars, and film festivals; catching airplay on radio stations and gracing the pages of art and literary magazines. She manages to seamlessly blend spectacle with introspection, so it’s no surprise that when she released her second album in 2008, the video for the title track, “I’m On My Cell Phone,” became one of Logo’s most-played. The queer community was hungry for what Nicky had to say. Her sixth album, titled Reductive Nostalgia, explores the intangible but universal feeling of losing something to time, but not knowing quite what that something is or whether you ever really had it in the first place. The album as a whole was an experiment in creating and recording during a pandemic. For the first time in her career, Nicky recorded the entire album herself, sometimes in the isolation of quarantine. But Reductive Nostalgia is proof that when one thing is lost, something else is gained. “The pandemic caused so much anxiety for me,” Nicky explains. “But that anxiety led to the deepening of certain relationships, and made me want to create, to do everything to the fullest extent possible, but also look back on the past and appreciate everything that’s happened. I think I’ve learned to feel more content.” She sums this sentiment up perfectly on the album’s title track, bringing us full-circle with the lines, “I want more / I wanna eat the apple to the core / yeah, I really want ya / thinking ’bout you back in the day.” https://nickyclick.blogspot.com/
MUSIC:
https://nickyclick.blogspot.com/2022/07/new-album-reductive-nostalgia-available.html
VIDEOS:
HONEYCHILD COLEMAN (New York)
Loops, beats, guitar and vocals
“When I started getting into punk and even new wave, I was a big Blondie fan…And I discovered that they did really strange kind of outside punk stuff. And also just their fashion style was more punk and more DIY. And I started sewing and making my clothes..because I realized, Oh, you can express yourself visually this way…But at the same time, I was also super into ’50s music and rockabilly and Bo Diddley. I talk about Bo Diddley a lot because he was a big influence on me for guitar and also for fashion. It was his wit, his lyrical humor. He’s a great storyteller. And also maybe I have an affinity because he’s southern. He worked on cars, and he also did hair. And he also had these amazing custom guitars. And then his fashion sense was insane. Also, his side guitarist was a woman. He always really uplifted women players, which—again, for some strange reason, between the ’50s and the ’80s, that stopped happening.” The Beauty and Freedom of Black Punks by Kaitlyn Greenidge (Harper’s Bazaar, December 2022)
Kentucky native Honeychild Coleman started her musical career during the hot summer of 1993 in the real underground – the New York City Subway system. Busking there, and eventually performing freestyle and improv weekly sets with DJs Olive (we™ /Liminal), Sasha Crnobrnja (Organic Grooves), Lloop (we™), Delmar (Liquid Sky/Jungle Sky), Fred Ones (Mike Ladd/Sonic Sum) and Badawi (Raz Mesinai) contributed to the unique niche that Coleman created within the New York City electronic scene of the mid-90's. Her club-to-studio path led to recording with we™ Apollo Heights (TVOTR's Dave Sitek's remix of "Disco Lights" + a cover of House of Love's "Christine"), and Italian electronic group HERE: Jim "Phylr" Coleman(Cop Shot Cop), M.Teho Teardo (Matera / Meathead) and Matteo Dainese (DEJLIGT/ Jitterbugs /Meathead / Ulan Bator).
Featured in documentaries “Afropunk,” (James Spooner, USA), "Firelies" and "Getting My Name Up There" (Katarina Cibulka, AUSTRIA) Rock Chicks (Marita Stocker, GERMANY), and upcoming Rude Girls (Brigid Maher, USA) her compositions appear in the Dee Rees Sundance awarded film "Pariah" (Focus Features) and Maria Paraskevopoulou’s Indie short “P.R.” (U.K./Greece). From 1998 onward Honeychild has fronted her own alt-rock band (currently Bachslider), organized "riott" shows with fellow Sistagrrls & "Afropunk" documentary artists (Simi Stone, Maya AKA MotherGoddess,and Tamar-kali) all over NYC's East Village (CBGB's,Brownies, The Cooler, Webster Hall) and Brooklyn, released CDs on her bedroom label 8RM Records Brooklyn (USA), and spins records as DJ Sugarfree BK. Solo electro pop performances include SXSW, Punk Black, Ladyfest Manchester, Rooftop Films, S.H.A.R.E., Decolonize & Discover Fest, Bushwick Open Studios and a D.I.Y. tour of Europe with visual/projection artist Jane D’Arensbourg at the Wooshi-Wooshi and Cable Records festivals (Barcelona), The OskarvonMillerStrasse Gallery/Performance space (Frankfurt) ultimately opening for Peaches at the CO-OP Club (Berlin).
Coleman played guitar on the final with The Slits (guitar), performed and recorded with Mad Professor (S.O.B.s and Cielo), Death Comet Crew (with Rammellzee) at CMJ, and the late Greg Tate’s Burnt Sugar Arkestra (electric mountain dulcimer).
Coleman currently fronts Blues-Punk outfit The 1865 (Mass Appeal Records) on lead vocals and baritone guitar with musician/filmmaker and fellow songwriter Sacha Jenkins (Fresh Dressed / Of Mics and Men / Bitchin’ -The Sound and Fury of Rick James). The 1865’s music is in Hulu series “Woke!” (USA, 2021) and Showtime’s “Everything’s Gonna Be All White” (USA, 2022). Coleman’s fiction writing appears in Razorcake’zine (Issue #130, 2022) and James Spooner and Chris Terry’s book BLACK PUNK NOW! (Softskull Press, October 2023)
MUSIC:
https://honeychildcoleman.bandcamp.com/music
VIDEOS:
image of Honeychild by Ed Marshall Productions NYC
Flyer by Nick
Event Venue & Nearby Stays
Von, 3 Bleecker Street, New York, United States
USD 0.00
