Girl Noise Takes the Bowery Ballroom

The year 2026, thanks to the efforts of Olivia Rodrigo, Chappell Roan, Doechii, Stevie Nicks, and more at the star-studded and popstar-packed Daisy Chain Fields music festival, has been viewed by many as a huge year for women in music. Why stop at Daisy Chain Fields? Artist Simone, 21-year-old musician and Brooklyn native, has brought the girl power to NYC for the third year in a row. The 47Magazine editors got the chance to talk to Simone about the impact festivals like this can have on young women and local communities. 

Lucy Anderson: What was it like putting together the festival lineup and choosing artists?

Simone: Every time I start planning an event, I have so much fun deep-diving into local bands and artists and seeing who might be a good fit for GIRL NOISE. I’m lucky to be in New York because there’s truly an endless list of talented and inspiring girls here. I do all the booking personally, and it’s a real joy to connect with artists and tell them about our mission. Everyone who plays these shows is really doing it out of the goodness of their heart. It’s really touching, and I’m so grateful to be able to share the stage with them. 

LA: Tell us about Brave House and their mission. What inspired you to collaborate with them?

S: The Brave House was one of the only organizations I reached out to ahead of this event because they were exactly the type of nonprofit I wanted to partner with. They provide a variety of free support to young immigrant women and gender-expansive youth, with a focus on survivors of gender-based violence. It’s been deeply disturbing to see our current administration treat immigrants with such brutality and inhumanity. I wanted to partner with an organization that’s doing work to combat this injustice. What the women at The Brave House do every day is beyond inspiring, and I’m so grateful they decided to work with us. 

LA: What inspired you to start Girl Noise?

S: I came up with the idea in the summer of 2024, right around the time I started writing my album. I was 19 and angry most of the time. I didn’t like how the people around me were treating me, like my voice didn’t matter and my opinion wasn’t important. All I wanted was to find comfort and community, and I realized that I’ve always found those things in women and music. I wanted to create a space where women could feel safe and supported, where they could be their most authentic selves on stage, and where everyone believed in the cause of protecting and uplifting girls. It felt like there weren't a lot of people doing something like this, so I thought, why not just do it myself? 

LA: What has it been like putting the festival together for the third year?

S: With every show, I learn more and more about what works, what doesn’t, how to write a good email, how to not stress out at all hours of the day. I also just learn to love it more and more. It’s been the most rewarding experience watching it grow these past few shows. After selling out our last show in March, we’re playing our biggest venue yet, Bowery Ballroom. I’m so committed to making these shows the best they can possibly be, for our audience and for our artists. It’s always worth it. 

LA: Girl Noise works with a lot of nonprofits; can you tell us about how you’ve connected music and community through this festival?

S: Music and community were really the catalysts for this whole thing. I wanted to make these shows fundraisers because I knew that would help people feel like they were a part of something bigger than just a show - which is true! So much of what community means to me is being proud of who we are and what we stand for. It was also important to me that we supported women in all different ways, which is why, with every show, we spotlight women-owned businesses, women-led music organizations, and women photographers and creatives.

LA: What has been your favorite part about putting Girl Noise together? 

S: Seeing it all come to fruition at the shows is always surreal. Being in a room full of women who want to celebrate each other is the most joyous experience. Talking to the artists in the greenroom, giving stickers and friendship bracelets to the girls in the audience, hanging up decorations with my best friends and my mom. They’re memories I will cherish forever.

LA: Why should people attend Girl Noise this year? 

S: Here’s an actual list, because no one wants to read full sentences anymore:

1. Free shit (stickers, temporary tattoos, zines, bracelets, etc)

2. Great music (I’m biased, but the lineup is STACKED and I never lie)

3. Great cause (all ticket proceeds go to CHARITY, so not only are you going to have FUN, but you’re also gonna be making a DIFFERENCE, and isn’t that just beautiful?) 

4. Community (make friends, bring friends, crack jokes, share secrets, fall in love, experience everything) 

5. FOMO (as in you will have it if you don’t come)

GIRL NOISE is a celebration of women’s voices in music, art, and advocacy. Founded in 2025 by artist Simone Lipkin, GIRL NOISE is creating authentic, community-driven experiences where women and like-minded individuals come together in an empowering environment. The festivals are led and produced by young, ambitious women, with a goal to uplift one another and encourage community and activism through music. The third GIRL NOISE event will take place on Sunday, October 4th, at The Bowery Ballroom, featuring seven local female artists and benefiting The Brave House, a nonprofit supporting immigrant women and gender-expansive youth in NYC.

Link to tickets here.

Thus Love: The Electrifying Post-Punk Band

Thus Love, a queer post-punk band from Brattleboro, Vermont, recently performed at the Knitting Factory (formerly known as The Pyramid) and shredded the stage where elite bands such as Nirvana, Richard Hell, Nico, The Red Hot Chili Peppers, and many more have performed. Thus Love is an incredibly talented band consisting of three multi-instrumentalists, Echo Marshall, Lu Racine, and Nathaniel van Osdol, whose goal for music is to create music that resonates with who they are, where they come from, and the community they have found in Vermont.

Before Thus Love stepped on stage, the room was full of electrifying energy after the two opening acts, Robber Robber and Flossing, set the mood for the night. They gave spectacular performances from their post-punk, grunge, and rock sound to having an eye-catching set-up with projection on the ceiling playing clips of eyes and scenes.

Thus Love’s set provided an exhilarating eleven-song set list, including three unreleased tracks. They started with an immediate bang, starting with one of their biggest songs at the moment, “In Tandem”. With every song the energy built up, and just exceeded all expectations as Echo added onto this energy by screaming, transitioning into the fourth song of the set,” House On A Hill.” This brought everyone to a new level as Nathaniel took over singing as Echo was playing into the audience. The audience was then rewarded as they performed a song called "Lost in Translation" (a song they wrote during the tour), making the night even more incredible as this tour is probably the only group of people who will hear this song for a while.

Towards the end of their set they brought to the stage a friend of theirs who played the saxophone, adding a new element to their beloved sound. They ended their set with my favorite song, "Put On Dog," where utter mayhem was unleashed on stage, from Nathaniel playing on the floor with one knee to Echo jumping onto the drums and kicking every part of the drum to the ground to Lu working with what was left of his drums, ultimately ending in Echo running into the crowd and falling to the floor without missing a beat.

Thus Love has an incredible image that perfectly meshes with their sound. They lead with love, charisma, and perform like no other band, with great stage banter that makes everyone feel welcomed and loved, creating a memorable night for everyone at the Knitting Factory

Photography by Nicole Miller

Telescreens Brought Rock to Bowery Ballroom

From performing at bars for a handful of people to performing at Bowery Ballroom for 500 people, Telescreens, the NYC rock band, is only getting bigger with every show. Telescreens includes members Jackson Hamm (lead and guitar), Austin Brenner (bass), Josiah Valerius (keyboard and synths), and Oliver Graf (drums). A band that has been making music since 2019 and went from releasing their debut album, The Return, in 2020, an electronic alternative rock album, to releasing their newest rock EP, Stare Wide, has consistently remained loved by many of their regulars and newcomers.

Despite the EP only coming out the day before their long-awaited Bowery Ballroom show, no one hesitated while shouting every word. Telescreens has been building up their fanbase for years, from performing every week to at least once a month at Mercury Lounge and the Bitter End, amounting to many performances and getting their names out there. Their setlist showcased various songs from their now-released EP, Stare Wide, giving everyone the digital privilege of listening to the songs they have loved for months. Telescreens never fails to deliver transcendental sets and performances, no matter how many people are in the audience or where they are performing.

Telescreens started the set with an eruption of energy as everyone in the audience chanted, "Telescreens, Telescreens," Hamm added to this excitement by screaming back. They started playing loud, and people wasted no time to start a mosh (It would not be a Telescreens show if there wasn't a mosh) the relationship between the band and the audience is dynamic, and you see it in the comfort they have together, effortlessly demonstrating their commitment to music and one another. Hamm can be seen conducting Graff at times, with Brenner and Valerious following along. No words are needed, they’ve become fluent in their own dynamics it’s almost mesmerizing. Oliver and Jackson have spoken about how, during the pandemic, both would practice for five to seven hours a day; many sessions consisted of blood, sweat, tears, and screams oozing out of their practice room.

Hamm said, "We are trying to carry the torch of rock and roll; we believe in this as a lifestyle, as a religion, as a movement that people can access euphoria through," This mentality is evident in the way they carry themselves at their show; in many instances, there are moments where Hamm reaches to the sky and brings it down, as if he is giving the audience something of high power. Even in simpler acts, such as opening the mosh, a moment where my friend turned to look at me and said, "It looks like he is parting the sea.", Telescreens emphasized this euphoria by creating an ambiance through their songs, such as Commotion, where Hamm started away from the mic and took a minute to himself. We are to take time and be present in the moment with the music; we cannot escape the music. There was not a moment of silence throughout the set, even when they were tuning their instruments. Graff took these moments and had two drum solos where he shredded as everyone was in awe. We are to absorb the music and allow it to enter our minds and bodies, and once the set finishes, we hope it never ends.

Telescreens aims to have music that transcends, and their live performances accomplish this as well. Similar to their digital music, they feed off of the concept of New York City and the people who live here. They have stated that New York City and its fast-paced lifestyle influence how they make their music. They thrive off of the energy their fans exude. Every show, the audience feels as if they are having an out-of-body experience.

Throughout, they played songs from their latest release, like Phone Booth and Commotion, and ended their set with songs from their debut album, Melancholy Dreaming and I Remember Dying. Right after they played I Remember Dying, people were chanting, "One more song, one more song," They could not terminate all the good high energy, so they played a final song, where members of Sid Simon and The Darlings joined. Two members join the stage as hype men and stage divers, with their saxophonists joining along with the song and the lead singer singing alongside Hamm.

As they hit the last note, Hamm said, "Rock and roll lives in New York City," and it does so because of what Telescreens is manifesting.