damage band tour

Sat, Apr 13

The Sugar Loaf Performing Arts Center

Damage, Inc: Southern California's Tribute To Metallica

Equipped with an extensive library spanning Metallica’s entire catalog, from their timeless classics to today's hits, Damage Inc captivates their audiences with their authentic representation of the pulse-pounding intensity of a live Metallica concert.

Time & Location

Apr 13, 2024, 8:00 PM – 10:00 PM

The Sugar Loaf Performing Arts Center, 231 Creamery Pond Rd, Chester, NY 10918, USA

About the Event

SLPAC VIP Ticket - ( First 4 Rows): $79 -  FAST PASS Venue Admission Line includes specialty VIP Entrance & early admission time (6:45 PM), 1 Free Drink, & SLPAC T-Shirt per VIP ticket purchase

Next 8 Rows: $55.00

Rest Of Orchestra: $45.00

Balcony Rows A & D: $45.00

Rest of Balcony Seats: $35.00

Damage, Inc. is currently on tour with Metallica as part of their 2023 M72 World Tour Weekend Takeover event, ...And Tributes for All, performing every Saturday of Metallica's North American Tour.

Damage Inc was hand-selected by Metallica to perform as part of their 40th Anniversary San Fransisco Weekend Takeover in 2021.

Also seen on AXS TV’s “The World's Greatest Tribute Bands”, Damage Inc, Southern California's Tribute to Metallica, is the foremost Metallica tribute band in the United States.

Formed in 2004 by Southern California natives and brothers, rhythm guitarist and lead vocalist Chris Knight and bassist Kevin Knight. Over the course of their almost 20-year career, they have performed over 450 electrifying concerts for Metallica fans across the US, Canada, and Mexico!

Equipped with an extensive library spanning Metallica’s entire catalog, from their timeless classics to today's hits, Damage Inc captivates their audiences with their authentic representation of the pulse-pounding intensity of a live Metallica concert.

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Upcoming concerts (5)

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O2 Academy 2 Liverpool

O2 Academy2 Leicester

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A solid group of friends throughout their childhood, Rahsaan J Bromfield, Jade Jones, Noel Simpson and Andrez Harriott (and former member Coreé Richards) together formed the group ‘Damage’ in 1995. To kick off their career, the group did a cover of Jackson Five’s ‘Anything’ to Big Life Records in 1995 and although impressed by their music, they waited eighteen months before being given their first record.

Records including “Ghetto Romance” and “Still Be Lovin’ You” that were set to be a mix of Garage and R&B were a club faze as the band became prominent for slagging down fellow music competition – including Craig David. As they squeeze in to a majority of genres including Pop-Rock, R&B, Garage, Urban and Dance-Pop the band rapidly reaped in a lot of fans and especially with the member Jade Jones and her close friendship with Baby Spice (Emma Bunton), their second single “Love II Love" peaked at number 12, whereas in the Christmas period their follow-up single “Forever” – which peaked at number 6 – was caught by the ear of Simon Cowell, who gave the groups producer, Steven Mac, a promotion in becoming Chief Songwriter-Producer for Cowell’s future projects.

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Past concerts

Theatre Royal, Castlemaine - Cinema

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Damage tour dates and tickets 2024-2025 near you

Want to see Damage in concert? Find information on all of Damage’s upcoming concerts, tour dates and ticket information for 2024-2025.

Damage is not due to play near your location currently - but they are scheduled to play 5 concerts across 1 country in 2024-2025. View all concerts.

Next 3 concerts:

• Bristol, UK
• Birmingham, UK
• Liverpool, UK

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• London (29)
• Melbourne (17)
• Manchester (9)
• Glasgow (8)
• Liverpool (5)

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• Big Reunion (14)

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Exciting news! Damage Inc, Southern California’s tribute to Metallica, has been chosen by Metallica to be a part of the bands US and Canada 2023 weekend take over tour! See below for more info….

“…AND TRIBUTES FOR ALL!

For the fans, for the love of metal, and for the diehards! An entire WEEKEND of METALLICA MUSIC!

DAMAGE INC, MOTORBREATH and SANDMAN, the world’s top 3 METALLICA tribute acts come together to bring you this exclusive ‘Tallica Takeover’ event to keep the Metallica fans headbanging through every weekend of METALLICA’S 2023 US tour!

…AND TRIBUTES FOR ALL! Is going to give all of you metal fans a taste of the old and the new, from Kill ’em all to Ride, Master to Justice, from The Black album, all the way to 72 Seasons!

Each event will bring a unique combination of Metallica’s catalog with no repeats and will include a variety of both timeless classics as well as those rare deep cuts… all culminating in a Jam finale with all three bands performing together, reminiscent of the BIG 4 tour!

This extraordinary event will take place on every Saturday of METALLICA’S U.S. 2023 tour! Come and be a part of this rare opportunity to celebrate the music of the greatest metal band of all time!

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Damage Inc. Tour

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The Damage, Inc. Tour was the fourth concert tour by American Heavy Metal band Metallica , beginning in the Spring of 1986. The name being inspired by the last song on the touring album Master of Puppets . The album's release landed Metallica on a high profile supporting act gig for metal giant, Ozzy Osbourne , from March to August. From September to the end of the tour Metallica would be the headlining act. The tour would also be the last to feature the late Cliff Burton on bass, as he would be killed in a bus accident on September 27, 1986. The band would cancel all shows scheduled for October, during that time they would seek out a new bass player, eventually finding Jason Newsted .

The Meadowlands Arena show marked one of few Eb-tuned live performances prior to Escape from the Studio '95 ; the A448 standard was used for this performance.

• 1.1 With Cliff Burton
• 1.2 With Jason Newsted
• 2 Tour Dates
• 4.1 March 27 - ?, September 26, 1986
• 4.2 July 27 - September 25, 1986
• 4.3 November 8, 1986 - February 13, 1987
• 5 References

Typical Setlist [ ]

With cliff burton [ ].

• Master of Puppets
• For Whom the Bell Tolls
• Welcome Home (Sanitarium)
• The Thing That Should Not Be
• (Anesthesia) Pulling Teeth
• Damage, Inc.
• Fade to Black
• Seek & Destroy
• Creeping Death
• The Four Horsemen
• Guitar Solo
• Am I Evil? Diamond Head cover

With Jason Newsted [ ]

• Ride the Lightning
• Fight Fire With Fire

Tour Dates [ ]

• ↑ Show cancelled after James Hetfield broke his arm stakeboarding.
• ↑ 2.00 2.01 2.02 2.03 2.04 2.05 2.06 2.07 2.08 2.09 2.10 2.11 2.12 2.13 2.14 2.15 2.16 2.17 2.18 2.19 2.20 2.21 2.22 Show cancelled after the death of Cliff Burton during a tragic bus accident.

Songlist [ ]

Personnel [ ], march 27 - , september 26, 1986 [ ].

• James Hetfield - Vocals, Rhythm Guitar
• Kirk Hammett - Lead Guitar
• Cliff Burton - Bass
• Lars Ulrich - Drums

July 27 - September 25, 1986 [ ]

• James Hetfield - Vocals
• John Marshall - Rhythm Guitar

November 8, 1986 - February 13, 1987 [ ]

• Jason Newsted - Bass

References [ ]

• 1 Dave Mustaine
• 2 M72 World Tour
• 3 Lloyd Grant

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Damage emerged onto the British music scene in 1997 with their debut album "Forever" and quickly became recognised following hits such as Love 2 Love more...

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How to handle storm-damaged trees safely and wisely

JOPLIN, Mo. — If you’ve lost trees, or they’ve suffered damage during the past few days of stormy weather, you have a lot of company.

What causes some to come down while others don’t?

The employees of G.W. Construction Services typically don’t cut down trees for a living, but the job they were supposed to do on this day got rained out so they answered the call of a previous client who needed their help.

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And that leads to a second job.

“And their insurance company said find somebody to take care of it and they saw us working on this one and they asked if we’d come next door and take care of it and we said absolutely,” said Gaylon Ward, G.W. Construction Services.

So why do some trees come down during stormy weather while others don’t?

Jon Skinner with the Missouri Department of Conservation says it has to do with unseen damage that’s been done to a tree in years, or even decades ago.

“Many of the trees that failed were not structurally sound and we didn’t know it, they had root rot, they had too much decay in their trunks, and under the stress of the storm with a full canopy, they failed,” said Jon Skinner, Community Forester, MO. Dept. of Conservation.

So, if a tree doesn’t come down, and isn’t in imminent danger of doing so, but has suffered damage, what should you do about to it?

Skinner says it might be best to wait for a few months before you make any final decisions.

“A lot of companies are very busy now, and again, waiting is not a problem, the tree’s still going to be there, if you can wait till November, it’s better biologically for the plant,” said Skinner.

For the latest news, weather, sports, and streaming video, head to KSNF/KODE | FourStatesHomepage.com.

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Steve Albini, Studio Master of ’90s Rock and Beyond, Dies at 61

A musician and audio engineer, he helped define the sound of alternative rock while becoming an outspoken critic of the music industry.

By Ben Sisario

Steve Albini, a rock musician and revered studio engineer who played a singular role in the development of the sound of alternative music in the 1980s, ’90s and beyond — recording acclaimed albums by Nirvana, PJ Harvey and Pixies, along with hundreds of others — while becoming an outspoken critic of the music industry, died on Tuesday at his home in Chicago. He was 61.

The cause was a heart attack, said Taylor Hales of Electrical Audio, the Chicago studio that Mr. Albini founded in 1997.

With a sharp vision for how a band should be recorded — as raw as possible — and an even sharper tongue for anything he deemed mediocre or compromised, Mr. Albini was a visionary in the studio and one of rock’s most acerbic wits.

On his own, he led the bands Big Black and Shellac, both of which venerated loud, abrasive guitars and snarling vocals. In those groups, and in virtually every project he worked on, Mr. Albini clung to punk’s defiant do-it-yourself ethic with an almost religious tenacity.

He also long maintained an impish zeal to provoke and offend. Big Black’s last, most acclaimed album, from 1987, has a typically unprintable title, and he once dismissed Nirvana — the group that later hired him to record the album “In Utero” (1993), at the peak of their fame — as nothing but “R.E.M. with a fuzzbox.”

A withering and prolific critic of the music business’s exploitive extremes, Mr. Albini wrote a widely quoted 1993 article, “ The Problem With Music ,” describing in clinical detail how naïve bands are lured into major-label deals that, in most cases, leave them broke and in debt.

In that article, which was published in The Baffler, Mr. Albini laid out a hypothetical ledger for a rock group that had signed a $250,000 record deal, but whose work, according to his math, netted the label $710,000 and the producer $90,000 — and just $4,031.25 for each member.

“The band members have each earned about ⅓ as much as they would working at a 7-Eleven,” Mr. Albini wrote, “but they got to ride in a tour bus for a month.”

However, in the 1990s, when his work as a recording engineer — he scoffed at being called a producer, thinking that term implied control over an artist’s work — was in highest demand, Mr. Albini made no apology for accepting big checks for recording major-label acts.

His recording approach, for underground bands like the Jesus Lizard and Slint, captured their muscular power with clarity, and brought out a drum sound you could feel in your gut.

Those bands also worked with Mr. Albini at their own risk; in those days, he was known for ridiculing the bands he recorded after the fact.

“Never have I seen four cows more anxious to be led around by their nose rings,” he wrote after recording “Surfer Rosa,” the seminal 1988 album by the Boston-based quartet Pixies, which became one of the defining classics of 1980s alt-rock. (Even so, Mr. Albini remained a close friend of Kim Deal, the bassist in that band, and recorded her other project, the Breeders.)

But to those who followed Mr. Albini closely, he was far more than a two-dimensional character. He became a champion poker player — winning more than $196,000 at the World Series of Poker in 2022 — and embraced social media, answering questions at great length and often with eye-opening honesty.

In recent years he also surprised many of his followers and detractors alike by revisiting his often-obnoxious past persona with a sense of contrition.

“A lot of things I said and did from an ignorant position of comfort and privilege are clearly awful and I regret them,” he wrote on Twitter , the platform now called X, in 2021.

Steve Albini was born in Pasadena, Calif., on July 22, 1962, and grew up in Missoula, Mont., where his father, Frank, worked as a wildfire research scientist.

He has described his young life in Montana as unremarkable until, as a teenager, he heard the Ramones’ first album, a blueprint of punk rock that was released in 1976. Its aggression, simplicity and puerile sense of humor opened up a new world for him.

“It was the first time I felt like there was any part of culture that represented the irreverence and goofiness and kind of mania that my friends and I were displaying,” Mr. Albini told The Guardian in an interview last year.

He enrolled at Northwestern University in Evanston, Ill., near Chicago, and began to develop his approach as a provocateur and a self-reliant musician. As an art project, he once stood behind a pane of plexiglass and taunted the audience to throw whatever they wanted at the barrier.

While at Northwestern, he recorded the first Big Black EP, “Lungs” (1982), almost entirely by himself on a borrowed reel-to-reel tape machine. It had cold, echoey, synthetic rhythms, and it sketched out a dark, nihilistic worldview in its opening lines: “The only good policeman is a dead one/The only good laws aren’t enforced.”

Big Black soon became a full band — though it continued to use drum machines — and the group’s output came to define a particularly raw form of the post-punk vanguard. At its best, on songs like “Kerosene” and “Jordan, Minnesota,” the band presented a nightmarish view of America, populated by arsonists, killers and child abusers, set to an impossibly intense, screeching soundtrack.

At the same time, Mr. Albini made a name for himself as a splenetic commentator on music. His written work, published in various fanzines, could seem like a form of insult comedy. He dismissed the Replacements’ beloved 1984 album, “Let It Be,” for example, as “a sad, pathetic end to a long downhill slide.”

In the late 1980s, he reached perhaps the height of his provocation with a new band he called Rapeman; the name, he said, was borrowed from a Japanese comic book, though he never denied it was meant to goad the audience. At some shows, the band faced protests. “The really annoying thing,” he once said, “was that the majority of the people on the picket line were precisely the kind of people that we would have liked at the gig.”

After making “Surfer Rosa,” which brought Pixies to wide attention, Mr. Albini became an in-demand producer for underground acts like Boss Hog, Superchunk and Urge Overkill. He recorded PJ Harvey’s “Rid of Me” (1993) with serrated guitars and — unorthodox for a major album — vocals set notably low in the mix.

He was soon courted by Nirvana for its follow-up to “Nevermind,” the album that became a global smash and ignited a revolution in the music business. Before agreeing to work with the group, he sent its three members a letter giving advice and laying out his terms.

“Bang out a record in a couple of days, with high quality but minimal ‘production,’” he wrote, “and no interference from the front office bulletheads.” He also told them, “I would like to be paid like a plumber” — meaning that he wanted a flat fee and not “points,” or a percentage of sales, a common practice among top record producers that Mr. Albini disdained as unethical.

But when the album was completed, the band’s record label, DGC, pushed for changes, and several of its tracks were remixed by Scott Litt, who had worked with R.E.M. “They waged a publicity campaign to try to shame the band into doing the record again,” Mr. Albini once told Tape Op , a magazine about audio recording.

He said his reputation had been damaged by the incident, though it was resuscitated when Jimmy Page and Robert Plant of Led Zeppelin recruited him for their 1998 album, “Walking Into Clarksdale.”

Since then, he had continued to work as an engineer and producer for countless bands, often at Electrical Audio, his studio; in a 2018 interview , he estimated that he had recorded “probably a couple thousand” albums to that point. Among the most acclaimed of them are records by Joanna Newsom, Nina Nastasia, Neurosis and Will Oldham.

His survivors include his wife, the filmmaker Heather Whinna, and his mother, Gina. Complete information on survivors was not immediately available.

When asked by The Guardian last year how he would like his career to be seen if he were to retire then, Mr. Albini answered: “I’m doing it, and that’s what matters to me — the fact that I get to keep doing it. That’s the whole basis of it. I was doing it yesterday, and I’m gonna do it tomorrow, and I’m gonna carry on doing it.”

He added, with an expletive, that he didn’t care.

Ben Sisario covers the music industry. He has been writing for The Times since 1998. More about Ben Sisario

Boy fighting to survive after falling into storm drain, being swept under neighborhood streets

CHRISTIANA, Tenn. ( WSMV /Gray News) – A 9-year-old boy is fighting for his life after falling into a storm drain and being swept under neighborhood streets as severe weather washed through Tennessee Wednesday.

Jimmy Sullivan, Rutherford County Director of Schools, said his son Asher fell into the drain while neighbors were helping to pick up debris from the storm. A neighbor told WSMV the boy was trying to grab his shoe.

Sullivan’s son eventually came out in a drainage ditch, and CPR was administered.

Asher’s heartbeat was eventually reestablished, but the damage to his organs was substantial, Sullivan explained.

“His lungs are severely damaged, and he is not showing much brain activity outside of muscle jerks,” Sullivan said in an update on Facebook. “Specifically, pray for healing for his lungs and most importantly brain activity to occur.”

He finished the post saying, “Asher needs a miracle.”

Copyright 2024 WSMV via Gray Media Group, Inc. All rights reserved.

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Mike + The Mechanics to “play all the hits and drift into Genesis” on 2025 UK tour

The band, led by Genesis' Mike Rutherford, will play 30 dates across the country in early 2025

Mike + The Mechanics have announced a 2025 UK tour, on which they will “play all the hits” as well as “drift into Genesis ”. See all the dates below.

The shows, titled ‘Looking Back – Living The Years 2025 Tour’, will kick off on March 3 next year in Glasgow’s Royal Concert Hall, and run for a total of 30 nights, concluding at London’s Royal Albert Hall on April 14. You can get your tickets here .

The band were formed in 1985 by guitarist and bassist Mike Rutherford as a side project to Genesis, and originally featured vocalists Paul Young and Paul Carrack. After achieving commercial success, they separated in 2004 after Young’s death, before reuniting in 2010 with new vocalists Andrew Roachford and Tim Howar.

Speaking about the new tour, Rutherford has said: “It’s exciting to announce that we will be touring The Mechanics again. Getting back on the road with the guys last year was a real pleasure. Even though it had been four years, we slotted back into the old ways, the old jokes and the camaraderie like it had been a day!”

Referring to their 2023 ‘Refuelled!’ tour, he added: “We had so much fun on the last tour and the audiences were so gracious and warm, when we played the final show in Dusseldorf we all agreed then that we wanted to do it all again. We can’t wait to see you.”

Mike + The Mechanics will play: 

MARCH 3 – Glasgow, Royal Concert Hall 4 – Aberdeen, Music Hall 5 – Edinburgh, Usher Hall 7 – Perth, Concert Hall 8 – Stockton, Globe Theatre 9 – Manchester, Bridgewater Hall 11 – Nottingham, Royal Concert Hall 12 – Stoke, Victoria Halls 14 – York, Barbican 15 – Ipswich, Regent Theatre 17 – Cambridge, Corn Exchange 18 – Sheffield, City Hall 20 – Halifax, Victoria Halls 22 – Gateshead, Glasshouse 23 – Llandudno, Venue Cymru 24 – Liverpool, Philharmonic Hall 26 – Leicester, De Montfort Hall 27 – Basingstoke, Anvil 29 – Bournemouth, Pavilion 30 – Portsmouth, Guildhall 

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APRIL 1 – Southend, Cliffs Pavilion 2 – Northampton, Derngate 4 – Birmingham, Symphony Hall 5 – Eastbourne, Congress Theatre 6 – Oxford, New Theatre 8 – Guildford, G Live 10 – Bristol, Beacon 11 – Swansea, Arena 12 – Plymouth, Pavilions 14 – London, Royal Albert Hall 

Genesis played their last show together in March 2022 at London’s O2 Arena. Rutherford later described the gig as “bizarre” and “emotional” .

“It was nice afterwards when everybody, including Peter [Gabriel] and Richard McPhail [tour manager from the seventies], were together in the dressing room,” he said. “Apart from that we kept backstage closed off.”

“But the actual show felt bizarre. I was kind of okay until I saw on my setlist that there were just four songs left. Seeing that in print made me emotional, but having got through all of the problems with Covid, it felt very good to see things through.”

Playing 23 tracks in total, Genesis ran through a long list of their biggest hits including ‘I Can’t Dance’, ‘Mama’, ‘Turn It On Again’, ‘No Son Of Mine’ and ‘Invisible Touch’.

Before playing ‘Land Of Confusion’, Phil Collins addressed the crowd and announced that it would be Genesis’ final show. As the crowd applauded the band, Collins sat looking thoughtful, seemingly taking in the fact that it was the last hoorah. He then quipped: “After tonight we’ve all gotta get real jobs.”

Collins performed that show in a wheelchair, after a period of health problems relating to damaged vertebrae in his neck.

Rutherford later offered an update on Collins’ condition , saying: “He’s much more immobile than he used to be, which is a shame, but at the tour, he was in good spirits.

“He’s fine now at home, enjoying life. He’s worked so hard over the years. I think he’s enjoying his time at home.”

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Punk pioneer Kathleen Hanna recalls the dark side of the music scene

“Rebel Girl,” the new memoir by the Bikini Kill frontwoman and reluctant leader of the Riot Grrrl movement, is stoic and empathetic in equal measure.

One night before either of them got famous, Kathleen Hanna and her friend Kurt Cobain got drunk and trashed the bedroom of his Olympia, Wash., apartment. At one point, Hanna took a marker and wrote “Kurt is the keeper of the kennel … Kurt smells like Teen Spirit” on the wall. She’s not sure what she meant, exactly, she admits in her new memoir, “ Rebel Girl: My Life as a Feminist Punk .” She’d seen Teen Spirit deodorant in a store earlier and thought it sounded funny. When Cobain later called and asked if he could appropriate the phrase for his band, Nirvana, she absent-mindedly said yes.

For Hanna, the success of “Smells Like Teen Spirit” changed everything, and nothing. It made Nirvana the biggest band in the world, but Hanna, frontwoman of the underground punk band Bikini Kill and reluctant leader of the Riot Grrrl movement that birthed it, remained largely as she was.

Life in Bikini Kill was a constant physical, emotional and financial struggle. Hanna took a second job as a stripper named Sage at a gentleman’s club near Embassy Row in D.C. to get her tour van out of hock. She lived in constant fear of discovery: Stripping wasn’t very punk rock. One night, a pitiless hipster played “Smells Like Teen Spirit” on the jukebox for her to dance to. It was meant to humiliate her, and it did. “I’m sure it was hilarious,” she writes. “I was taking my clothes off to a song I’d written the title to. Kurt was on his way to being a multimillionaire while I was jiggling my a-- in a broke-down strip club. Hahaha.”

“Rebel Girl” is an unblinking, purple bruise of a memoir charting Hanna’s tumultuous childhood, her younger years astride the ungovernable force that was Riot Grrrl and her fraught adulthood beyond.

It’s stoic and empathetic in equal measure, particularly in its accounting of Hanna’s girlhood. She grew up in “a home full of creepy tension punctuated by random crises,” with an abusive, alcoholic father who acted so inappropriately with her that Hanna later realized his behavior constituted a form of incest. She escaped to the Evergreen State College in Olympia, where she would soon help launch the DIY collision of feminism, political activism, music and art that would become known as Riot Grrrl.

In Riot Grrrl, she found community. In punk rock, Hanna, a former theater kid, found confidence. “Performing for an audience was changing me,” she writes. “I began entering rooms like a warrior instead of a victim.”

The best parts of “Rebel Girl” detail Hanna’s difficulties navigating a world she and her peers had to make for themselves. In the early ’90s, it wasn’t just novel for women to front punk bands, it was novel for women to watch punk bands. In their early days, Bikini Kill would summon women toward the stage with the now-famous rallying cry “Girls to the front.” But by the band’s middle years, the mood had darkened. “I wasn’t just saying ‘Girls to the front’ so girls could see us play anymore — we needed them to protect us from guys who wanted to beat us up,” writes Hanna, who once narrowly escaped an audience member swinging a chain at her head.

Although they never sold many albums, Bikini Kill’s fame grew in Nirvana’s slipstream. In 1993, “ Rebel Girl ,” their ferocious, funny ode to female friendship, became an underground hit — and an unofficial movement anthem. They were followed by paparazzi on their first European tour, and someone sold a candid bathing suit photo of the band to Newsweek. Because much of “Rebel Girl” involves well-meaning people making things unnecessarily difficult for themselves, Bikini Kill decided not to talk to the press, though ancient footage does exist of Hanna giving an interview while wearing a ski mask.

She watched in alarm as cheerier, more compliant versions of Riot Grrrls invaded pop culture: They showed up on the sitcom “Roseanne,” in the form of the Spice Girls and in glossy magazines Hanna couldn’t afford to buy.

Meanwhile, the movement soured . Famously uninterested in intersectionality, beset by scene tourists and what Hanna calls “bullies disguised as progressives,” Riot Grrrl began to eat itself. Even “Girls to the front” had outlived its usefulness; Hanna worried the phrase might alienate trans women. “And what about trans men, nonbinary folks, and BIPOC men? I didn’t want to tell them to go stand in the back.”

Hanna’s female peers resented her for leading a movement that wasn’t supposed to have leaders. Many men saw Bikini Kill as uppity man-haters and separatists. Courtney Love, her finger on the zeitgeist as always, hit Hanna in the face the first time they met. She received no jail time.

A niche celebrity with neither money nor layers of people to insulate her, Hanna felt exposed. “I couldn’t sit at a coffee shop without someone dropping a zine they’d written about how much they hated me down on the table,” she writes. “I’d spent my whole life being treated like a rag doll by men and now fellow punks were following suit. I wasn’t a person anymore; I was ‘Queen Riot Grrrl.’”

“Rebel Girl” can sometimes feel like an unceasing parade of indignities and outrages. Hanna is repeatedly insulted and threatened, mauled, stalked and harassed. She is sexually assaulted several times, once by a close friend.

In her memoir’s final third, Hanna endures the wrenching end of Bikini Kill (they have since reunited several times) and a punishing bout with a debilitating mystery illness that turned out to be Lyme disease — and it’s still the book’s cheeriest section.

When Hanna recounts falling ridiculously in love with Beastie Boy Adam Horovitz after the two grew close on tour, the previously unsentimental “Rebel Girl” turns goofy and sweet, warmth practically radiating off its pages. Hanna, whom Bikini Kill had not made rich, worked an overnight data-entry job to be able to afford bus tickets to visit Horovitz, then in his peak mainstream rock-star era, in New York. Their relationship and eventual marriage almost certainly represented a major shift in altitude for Hanna, though the otherwise candid “Rebel Girl” hardly mentions it.

Hanna also forms and reforms two groups, the Julie Ruin (born from an early lo-fi project) and electro-rock band Le Tigre, with whom she achieves the kind of modest major-label success that would have been unthinkable even a few years earlier.

Last year, Le Tigre reunited for their first tour since 2005; Bikini Kill will tour this summer.

“Singing gave me a career I was once too damaged to enjoy but now find thrilling,” Hanna writes. “Singing has never stopped being the tiny tornado I most want to be in.”

Allison Stewart writes about pop culture, music and politics for The Washington Post and the Chicago Tribune. She is working on a book about the history of the space program.

My Life as a Feminist Punk

By Kathleen Hanna

Ecco. 336 pp. $29.99

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