PHOTOGRAPHY Ripley Litchfield
Punk never really died – it just shapeshifts. Since exploding in the late ’70s, its grit and attitude have resurfaced through grunge, indie, alt-rock, and countless subcultures. But today’s resurgence looks different: the loudest, rawest voices aren’t coming from male-dominated bands, they’re coming from women rewriting the rulebook. Among them are Amyl and the Sniffers, Witch Fever, and the unapologetically feral Lambrini Girls.
After the release of this year’s album Who Lets The Dogs Out, and a run of sold-out shows – including a riotous night at London’s O2 Kentish Town Forum – the Brighton trio are proving why they’re fast becoming one of the most essential acts in modern punk. Rooted in a mash-up of shared tastes and clashing influences, they’ve honed a sound built on tension, humour, and razor-sharp honesty.
We caught up with the band to dig into their creative chaos, and the energy driving the Lambrini Girls universe.
Can you unpack the message of “Who Let the Dogs Out”?
Phoebe: I think the album was very much like an observational piece on a lot of societal ills – not because it was supposed to be us going down a checklist (because that’s trivial), but more just because the world is on fire. It was equal parts cathartic as it was supposed to be educational and protest-like.
Why do you think confrontation is important, especially in the topics you talk about?
Phoebe: If you let things go under the rug, you won’t ever get anything sorted. On a personal level, I hate confrontation, but I can absolutely point the finger at other topics, because I’m doing it from a distance, and I have privilege.
On a personal level, I hate confrontation, but I can absolutely point the finger at other topics, because I’m doing it from a distance, and I have privilege.
Phoebe
Selin: It’s one of the most important pillars of a functioning society – things need to be questioned, and things need to be talked about. Confrontation can be a way to deepen connections and build trust by ensuring that everyone feels heard, included, and not pushed to the margins
Do you both have a favourite song on the album?
Phoebe: “Special Different”. The subject matter is very vulnerable. It’s about being neurodiverse, which I think there’s not enough songs about that, even though everyone’s autistic as f*ck. There’s a lot of dialogue and conversations about neurodiversity, but not so much within the narratives of music. The lyrics are super visceral, and they always go straight to my heart. Altogether, it’s compositionally f*cking great.
How did the David Shrigley album-art collab come about?
Phoebe: I love David Shrigley. I never imagined that working with him would even be possible, but it turns out he’s actually a fan of the band – which is wild. It ended up being the perfect fit. He has a real talent for abstracting ideas and playfully poking at society in a way that still feels deeply artful.
What’s the pettiest revenge you’ve wanted?
Phoebe: I want to throw a flaming bag of shit and set it on fire by someone’s doorstep.
Selin: The guillotine.
Biggest “poseur” encounter you’ve ever had?
Phoebe: I’m not going to name and shame anyone, but in the music industry, you see a lot of people who can’t just rest on their morals – they’ll preach certain values but never back them up with real action or understanding. I know plenty of men who will proudly declare that they show a ‘safe space’ for women, and then turn around and hit on women in their own audience. It happens constantly. That’s what I call a poser. I don’t care how leftist or progressive someone claims to be – if they’re doing stuff like that, they’re not putting their money where their mouth is, and it shows that their supposed beliefs and values are, honestly, pretty hollow.
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