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.

Lucky Break brings it home.

Upon entering Night Club 101 before the show, I immediately felt that this space was for someone looking to build community through music.

Not only were the Lucky Break fans in attendance that night so lovely and willing to talk to a stranger, hugging the wall, but it also felt like a space where new fans are made.

Night Club 101 is known for staging new artists and musicians who are still finding their sound, or artists who have already established their base and are looking to host a space a safe space for other user music lovers to land.

That's why this venue was perfect to host Lucky Break’s East village show ahead of her tour across the U.S. Lucky Break played an amazing show that indeed captured the vibes of nostalgia, family, hope and most of all fun.

Inside night club 101

Before attending the show, I sat down with Emma of Lucky Break to chat about her new album, her tour and what’s in store for this new creative chapter. 

Ann Tankersely: You came out with your new album, made it!— Why now (for this album)?

Lucky Break: This album is an accumulation of me (at ages) 19 to 23. So I really wanted to take my time, and I wanted to jump into the visual world of Lucky Break as a character first.

AT: Why did you take this album on tour?

LB: That’s what it’s all about for me. The live aspect is the most important part of the whole equation. My mom was a singer/songwriter, and I grew up watching her play bars around here (in the East village). Watching her connect with people live solidified for me that being in a room with people is really the center of the musical experience and the job of the musician.

AT: You grew up here (in the East Village). You're here tonight with your friends. How do you feel about tonight’s show versus the rest of the tour? 

LB: It does feel like a homecoming, and it’s celebratory being with my friends. I get really nostalgic coming to the East village, I know it by heart. I feel so connected to this place, and it’s so essential to who I am. It feels like coming home, it feels really good.

AT: Are you traveling with the band on this tour?

LB: It’s just me and my guitar. I started this by playing at SXSW with tracks. I realized I just like playing with my guitar, I have more direct access to people. I like how intimate it feel, and it’s so essential to the kinds of artists I listen to. I like the “no-frills” aspect; it’s so simple.

Lucky Break on stage

 The character of Lucky Break bleeds through every song from the album and provides an interactive yet transcendent experience for every listener.

If you have the chance to go see Lucky Break on their tour, don’t delay your plans. Not only are there sounds to blast all Summer long from a hyperpop idyllic landscape of their album, but there is also the awesome indulgence of the Lucky Break character in the world that has been built for them. 

Follow their journey at linktr.ee/imyourluckybreak, listen to their album made it! streaming now, catch them on tour with upcoming dates in Memphis and across the U.S. this Summer, and check out their super cute merch on Bandcamp or at the show!

Lucky Break CD, Stickers, and Post Card

Lucky Break T-Shirt

Fandom Spaces Have a Boundary Problem

At the end of February, amid the ever-persisting Heated Rivalry craze, an article was published for New York Magazine called “The Great Fujoshi Awakening: Why Do So Many Women Love Men Who Love Men?” In the article, the author made very specific references to works of fanfiction online, going so far as to link one of the works within the article. There was immediate public outcry by fans on Twitter discussing the impropriety of bringing free fan works into a for-profit space without the fanfiction author’s consent. While the work was delinked soon after, it brought attention to the rapidly increasing lack of boundaries in fandom spaces, both by fans, people interacting from an outsider perspective, and people involved in the source material.

A multitude of comments have surfaced recently regarding a “separation of church and state” in an analogy for keeping fandom spaces separate from the creators and/or cast and crew of the source material the fans are for. This idea is not new, as there have been conversations around the legality of fanfiction for quite some time. There can be copyright problems, which fans of Anne Rice’s literary works are probably familiar with. Rumors around Anne Rice suing fans for writing fanfiction in the 1990s have circulated for years, but in reality, she just took a stance against fanfiction out of a desire for creatives to come up with their own stories and leave her alone. Some fans said they received cease-and-desist letters from Rice’s lawyer to remove their fanfiction from the internet. It is important to note that Rice later changed her opinions on fanfiction due to realizing she could easily avoid coming into contact with fan works. Because similar problems have occurred over the years, some fanfiction websites, like Fanfiction.net, even have a list of authors whose works are prohibited from the site on account of the authors’ stricter copyright claims. 

Most of the time, copyright claims are only an issue for fanfiction if the creator is somehow profiting from the material. Fanfiction is on public websites with free access, and there are rarely instances where fanfiction authors are making money from their works because they know it would be a copyright issue. Part of the problem with the aforementioned article was that it was behind a paywall, indirectly profiting off of someone’s fanfiction that was temporarily linked. It’s incredibly important to note that Heated Rivalry itself stemmed from fanfiction. Author Rachel Reid adapted her first book in the series, Game Changer, from fanfiction she wrote about Steve Rogers and Bucky Barnes from the Marvel Cinematic Universe. She’s far from the first person to do so: Fifty Shades of Grey began as Twilight fanfiction, and The Love Hypothesis by Ali Hazelwood began as Star Wars fanfiction. 

It’s incredibly important to note that what all of these published authors have in common is that they’re women. To recenter Heated Rivalry, much of the backlash revolved around the idea that straight women were fetishizing gay men. There are plenty of straight female fans of Heated Rivalry, but to act as though they’re the only fans of the show or book series is disingenuous. There is a wide array of queer people who are fans of both, and there are queer people in the cast and crew. The show creator himself is a gay man, and he’s spoken at length about the nuances of why women are drawn to the show. The inflammatory comments surrounding the fanbase of Heated Rivalry are steeped in thinly veiled misogyny. When one Twitter user asked, “Why do men keep calling things women are into mass psychosis?”, another replied, “Cause they can’t use female hysteria anymore.” The fanfiction writer whose work was linked in the New York Magazine article made a statement on Twitter about the situation and also called attention to the rampant misogyny and ignoring of just-as-present queer fans. He (@/subc0rax) wrote, “It feels like a shame that an article that’s seemingly willing to engage with the reasons women enjoy this kind of romance and explore the fact that not all of these fans are even women doesn’t seem to be able to connect the dots and entertain the possibility that there are gay men enjoying the current Heated Rivalry craze with the same fervour and adoration as its female audience.” 

Many of the problems stem from fan works reaching the eyes and ears of the authors and other direct participants of the source material. Many of these instances have been brought up in relation to the Heated Rivalry article. One situation was on the Graham Norton Show, where Norton displayed romantic fan art between the X-Men characters Charles Xavier and Erik Lensherr to actors James McAvoy and Michael Fassbender. It is uncertain as to whether or not Norton received permission from the artist to project it on television and/or show it to the actors, but it also didn’t feel like it was in good faith and was much rather poking fun at the fan art. There have been similar issues in The Pitt fandom, where interviewers have been asking actors directly what their opinions are on ships (desired romantic pairings between characters, short for “relationships”) of their characters, sometimes even asking if they’re going to happen in the course of the show. An article was recently posted titled “‘The Pitt’ Fans Are Horny Little Freaks,” to which the author was essentially berating fans for shipping characters and creating fan works based on the show. The Pitt actors have also been shown erotic fan art in recent interviews, as a means for inciting some sort of reaction, once again without any consideration for the artists who very probably did not intend for the actors to see it. One Twitter user (@/midwestprincsss) commented, “I really don’t like that fanfic and fanart are being used to make actors give a reaction that’s profitable for the publication interviewing them. Fan work is not for corporations or the folks in the project. It’s for fans.” Most fans feel similarly, especially since the people showing the actors or whoever is involved with the source material are often doing so in bad faith.

Within fandoms, there are boundary problems surrounding parasocialism, in which fans act overly familiar with celebrities as though they know these people in real life. A divisive aspect of fanfiction in many fandoms is real person fiction (RPF), where people write about real people. While plenty of people write and make fan art for their own enjoyment, there are also plenty of people who take it too seriously and begin to intrude on the celebrities’ personal lives. Some will comment cruel things on a celebrity’s Instagram page, and some will go so far as to stalk a certain celebrity and their family. This was a longstanding issue in the Dan and Phil fandom, which kept the YouTubers from talking about their sexualities, relationships, and personal lives for well over a decade. There have been more recent issues for actors in the Disney+ Percy Jackson television adaptation, too, as the teenage lead Walker Scobell took to Instagram to call out “fans” who have been stalking and harassing his friends and family. These examples illustrate that this is not a one-sided issue of outsiders intruding on fandom but also fandom intruding on the lives of the creatives involved in the works they claim to love. 

This is not any one fandom’s problem, as these issues have been arising since before the age of the internet. However, the increased amounts of social media platforms and the rise of public-facing fandoms have made these issues more apparent. So what should we do? First, news outlets need to stop using fan works without the creators’ consent, especially when they’re profiting off of it. Otherwise, fandoms are always going to have problems. There will always be plenty of kind, welcoming, and respectful fans, just as there will always be some fans who start arguments, breach boundaries, and give their fandoms a bad reputation. As many things do these days, many of these problems boil down to critical thinking and media literacy skills. There needs to be a boundary between fans and what their fandom is for, or we will lose any worthwhile contact going forward. Fanfiction writers and fan artists shouldn’t be afraid of their works being exposed on television or published articles, and actors and other creators shouldn’t be afraid of their lives or the lives of their loved ones being aggressively disrupted.