Juliana Hatfield

(indie rock/singer-songwriter)

If you like: The Lemonheads, The Pretenders, Paul Westerberg

Best Coast

(Pop/rock)

If you like: Weezer, Cloud Nothings, Alvvays

Brandi Carlile

(Singer-Songwriter/rock/alt. country)

If you like: Patty Griffin, Lucinda Williams, Dar Williams

I’m With Her (Sara Watkins/Sarah Jarosz/Aoife O’Donovan)

(Singer-Songwriter/rock/alt. country)

If you like: Nickel Creek, Toad the Wet Sprocket, Alison Krauss

The Accidentals

(Singer-Songwriter/folk)

If you like: River Whyless, Nickel Creek, The Duhks

Ruby Boots

(Rock/alt. country)

If you like: Drive-By Truckers, Whiskeytown, Old 97s

Jenny Lewis

(Rock/pop/alt. country)

If you like: Neil Young, Bright Eyes, Elvis Costello

Dum Dum Girl

(Pop/rock)

If you like: The Jesus and Mary Chain, La Sera, The Cults

The Grammys, oh, the Grammys.


They suck. Not only do they suck, they are as irrelevant as they are out of touch with reality. They, like the Rock and Roll Hall of Fame inductions, were intended to be marks of honor, yet greed and money have eroded those honorable intentions.


The music industry was long corrupted before the arrival of Napster at the turn of the century further swept the legs out from under the industry. The music industry economy post-Napster is an example of how trickle-down economics doesn’t work. Major labels bank on the big acts to generate the bank that is, in theory, supposed funnel down through the system to fund upcoming talent and enable the search for the undiscovered gems in the rough. It doesn’t work. It doesn’t allow for much of an influx of talent, little alone diverse talent.


If the Grammys didn’t have enough issues to already contend with internally, they botched a punt with their latest awards ceremony. In the midst of the Time's Up movement, Record Academy president and CEO  Neil Portrow said of the lack of women on the Jan. 28 telecast, “It has to begin with… women who have the creativity in their hearts and souls, who want to be musicians, who want to be engineers, producers,  and want to be part of the industry on the executive level… [They need] to step up because I think they would be welcome,” he said. “I  don’t have personal experience of those kinds of brick walls that you face, but I think it’s upon us — us as an industry — to make the  welcome mat very obvious, breeding opportunities for all people who  want to be creative and paying it forward and creating that next  generation of artists.”


Portrow’s statement is rife with issues; the highlight is his misguided call for women needing to ‘step up’ to be recognized in the industry. The statement shows how misguided current executive attitudes are and reflects the disconnect between the industry executives and the artists. It is as offensive in its blatant sexist tone as it is in its pure ignorance of the industry that Portrow is supposed to know.


Portrow was rightfully so met with instant pushback from the major women players, like Pink and Lorde. Women step up every day in every way within the very music industry that Portrow supposedly oversees. To help Portrow out, we have compiled an excellent array of the many talented women that are making some of the best music in music today.

Letters to Cleo

(indie rock)


If you like: Matthew Sweet, American Hi-Fi, The Muffs

The Regrette

(indie rock)


If you like: Fountains of Wayne, Weezer, The Cars