A Daisy Chain reaction: Olivia Rodrigo’s all-woman music festival
By Onella Nicholas
“Girls to the front!” You will know this rallying cry if you are either a) a fan of the feminist punk rock band, Bikini Kill, b) witnessed or researched into the Riot Grrrl movement which took place during the second wave of feminism, c) read Moxie by Jennifer Matthieu and/or watched the Netflix adaptation or d) are Olivia Rodrigo and wanting to revive Lilith Fair for a brand new audience. In truth, this mantra, alongside “Revolution! Girl Style Now!” signalled the dawn of the punk rock feminist era, where girls and women were encouraged to be unapologetically themselves, whether that was acceptable to society or not. And in the 1990s, when American radio stations refused to play two female artists’ songs back-to-back, it was most definitely not.
Sarah McLachlan, a Canadian singer-songwriter, (and later advisor for Rodrigo’s Daisy Chain Fields), debuted Lilith Fair in 1997, the first music festival with an all-female lineup. This was unheard of at the time, and whilst it was misogynistically mocked by the press, it was a huge commercial and cultural success – not only did the likes of Fiona Apple, Tracy Chapman, and The Cardigans perform, they also gave $10 million of their profits to charity. The touring festival which lasted from 1997-99 garnered even more female powerhouses over time, including Missy Elliott, Sinéad O’Connor, Erykah Badu and Nelly Furtado.
By far, the most impressive aspect of the festival was that all the proceeds went to women’s health charities
Keeping all of this in mind, it seemed inevitable that Olivia Rodrigo, who has long been taking inspiration from ‘90s women stylistically, sonically, and politically, would follow the footsteps of the grrrls before her and remind youngsters of the oft misunderstood slogan “girl power”. And do it well! Honestly, there was no doubt, as ever since she performed the song ‘F**k You’ with Lily Allen herself at Glastonbury the day after the U.S. Supreme Court overturned Roe v. Wade, it already cemented her as a true member of the ‘real punk rock musicians’ list.
Alongside consulting McLachlan for advice, every element of the Daisy Chain Fields Festival was well thought-through and highly intentional, which in this world where faster-than-light AI slop reigns supreme, is increasingly refreshing. From the name of the festival itself (Rodrigo said she imagined girls underneath a tree all making the small but mighty chains together), to the old-school Riot Grrrl-style zine distributed at the festival and the diverse, immigrant-founded food trucks, Rodrigo paid homage to the feminist icons of the past whilst presenting an intersectional and inclusive future. The lineup for the festival was not short of ‘girl icons’ either, with new femininominons Chappell Roan and Doechii taking the stage alongside rock legends Alanis Morissette and Stevie Nicks.
By far, the most impressive aspect of the festival was that all the proceeds went to women’s health charities. $10 million dollars was donated to ten non-profits, including: the Centre for Reproductive Rights; the Black Mamas Matter Alliance, which ensures African American women know their rights and have resources during their maternity journeys; Freeform, the U.S. survivor-led organization working to build economic freedom alongside survivors; and the Johns Hopkins Centre for Indigenous Health. Melinda French Gates also doubled the amount raised, making the total $20 million for non-profits. Talk about female empowerment!
The festival generated a sense of community and sentimentality which was not lost on anyone, including me, who was viewing this festival from my phone screen thousands of miles away
‘Daisies are wild and beautiful. As a chain, they are strong and unbreakable.’ This is the final sentence of the Riot Grrrl-esque manifesto Rodrigo wrote for the festival’s website, and it is this ‘wild’ and ‘strong’ flower iconography which resonated throughout the entire event (and warmed my ecofeminist heart). From girls picking beads from a fountain to make friendship bracelets, to a collectible pin scavenger hunt and a junk journaling station, the festival generated a sense of community and sentimentality which was not lost on anyone, including me, who was viewing this festival from my phone screen thousands of miles away. I have never had so much FOMO in my life, so please, Ms. Rodrigo, make this festival an annual thing. It’s on my bucket list now.
My wishes aside, these small acts of girlhood found at Daisy Chain Fields symbolise something greater. Women of all ages, races, religions and orientations coming together to celebrate the joint power and joy of womanhood is rare, and often largely ridiculed. We all know the drill: fangirls get mocked until what they love turns into popular culture and it would be criminal not to know (yes, I am talking about The Beatles). Being a fangirl, or even just a woman, is not something to be embarrassed of; there is a power in dedication, creation, enjoyment, and advocacy. I hope that this festival and the legacy it has created remind us all of that.
Image credit: Wikimedia Commons
