Rita Lynch: Bristol Punk Legend Discusses Her New Music Video “Killing Us”

From the backstreets of London in the 1970s punk explosion to the eclectic music scene of Bristol, Rita Lynch’s journey as a guitarist, bassist and singer is a tale of resilience, creativity, and relentless passion for music.

After leaving school in the late ‘70s, Rita started her own band Rita and the Piss Artists—one of Britain’s first all-female punk bands, playing bass guitar as it seemed the easiest choice and she has been making music ever since. A legend on the Bristol scene for over three decades, Rita Lynch’s songs are an explosion of sexual, religious, and social imagery driven by an energy that comes across just as strongly in an acoustic set as when she plays with a band.

In 1991, Rita Lynch recorded her debut album, Call Me Your Girlfriend, a process marred by frustrations due to an inexperienced record company. Her path wasn’t smooth, as she navigated through life’s challenges, including a descent into petty crime and a second near-death experience. However, with the support of friends, Lynch bounced back and recorded her second album in 2001. Rita Lynch’s story caught the attention of Channel 4, leading to a documentary titled On the road with Rita Lynch. Her collaborations extend across the Bristol music scene, including a stint with The Blue Aeroplanes in 2006, a band she continues to support in their live shows.

On December 21st, 2023, Rita Lynch released a haunting new music video for her song “Killing Us,” a track from her eighth studio album, Mrs. Lynch. This album, a poignant tribute to her mother, was written and recorded during the Covid era and reflects the isolation and experiences of that period. The album is out now on her own DIY label Shy Girl Records and available to stream on Bandcamp.

The video for “Killing Us” is Rita’s first directed music video since “Waves” (2018). It features her long-time drummer, John Langley, known for his work with The Blue Aeroplanes, The Three Johns, and The Mekons. A particularly touching aspect of the video is the inclusion of her son, Jimmy, who lives with autism, learning disabilities, and epilepsy. Directed, shot, and edited by London-based Black Triangle Films, the video filmed at The Fleece, an iconic Bristol venue that has been a second home to Rita throughout her career, and in nearby Stroud, on the land that hosts Griffstock, where Rita is a regular performer.

Rita Lynch’s influence in the punk scene has been profound and enduring, touching the lives of many across generations. Her music, characterized by its distinctive style and powerful voice, continues to strike a chord with listeners, demonstrating her lasting talent in the punk rock and indie scene underground.

In light of her recent music video release, we had the opportunity to engage in a brief yet insightful conversation with Rita. During this interview, she shared her thoughts on her latest work and her unwavering dedication to creating music that is not only deeply personal but also resonates with the universal frustrations and challenges that many people face in their lives. Thanks so much to Black Triangle Films for creating an excellent video and arranging this interview.

Given the historical blend of Pagan and Christian traditions, particularly in Irish culture, what inspired you to release your new video at the start of Yule, the Winter Solstice (December 21st)? How does this date resonate with you personally and artistically?

I created the album Mrs. Lynch about two and a half to three years ago. Finishing the album took longer than expected due to Covid. We had our studio time booked, but it often had to be canceled because of Covid. This delay affected the release of the album, and one of the tracks on it was “Killing Us.” When Black Triangle Films, with Frank and Lindsey, decided to do a video, we considered various songs from the album.

We felt that “Killing Us” really aligned with their vision and style, and we just went with it, which was fantastic. We decided to release it on the Winter Solstice because it’s such a significant time. Even though it’s usually overshadowed by Christmas, we find it special in its own right—being the shortest day and the longest night. Releasing a video on that auspicious date seemed like a great idea.

How does “Killing Us” fit within the broader context of your most recent album, Mrs. Lynch? Can you share some insights into the album’s themes and creative process?

Oh, that’s a big subject. When I was writing the album, we were in the midst of Covid, a time marked by profound separation. My mother passed away at the beginning of the Covid period, and although the songs aren’t explicitly about her, her loss naturally influenced everything to some extent. I started composing a set of songs with my drummer, John Langley. He would come over with just a hand drum, and we began acoustically, gradually developing the songs before recording them in the studio.

The album was really a reflection of that period, capturing the sense of strangeness and isolation we all felt. “Killing Us” in particular mirrors some of these feelings, focusing on the shortcomings of institutional care methods. The song also touches on the treatment of people with disabilities, a topic close to me as my son, who is disabled, appears in the video. It reflects on how people with disabilities are often not treated as well as they should be.

Black Triangle Films worked creatively and sensitively to accommodate your son Jimmy’s disabilities. How important is inclusivity and sensitivity in your artistic process, especially in a visual medium like a music video?

Yeah, Black Triangle Films did an incredible job and were very sensitive in working with my son. They managed to create something that was not only beautiful but also really well put together. It had been quite some time since I last did a video, and I haven’t made many in my career, so this entire experience was really special. We shot the entire video in one day, across two different locations.

It features both my drummer John and my son. I specifically wanted my son in the video because he loves dancing and he loves music, and I really want to give him a presence in the world, to give him visibility. That’s something that many people with autism often miss out on. It’s also empowering for other people with autism to see someone like my son, who has autism and learning disabilities, featured in a music video. I believe that’s important and empowering for people with disabilities. To me, it’s very important to show love and support for individuals with disabilities, people like my son.

You’ve been part of the punk rock scene for a really long time. Do you think today’s punk scene is more supportive of people with disabilities and making progress in that sense?

Yeah, in the punk scene, there’s definitely a greater acceptance of different kinds of people. The punk scene has always been a place where being unusual is embraced, where you can find friends and a sense of belonging. There’s not only acceptance for those who are different but also a sense of camaraderie, especially through the shared experience of making music.

I’m especially focused on keeping my son very visible in the world, as people like him are often somewhat hidden away, ostensibly for their own protection. But I believe my son is wonderful; he is really great and it’s important to bring him out into the world, to make him visible. The punk scene, in my view, is an excellent medium for this. It’s a perfect environment to showcase his uniqueness and to celebrate diversity.

Your drummer John Langley played a significant role in your latest releases. Can you elaborate on how working together has helped you evolve as a musician? Also, the video was shot in two distinct locations—The Fleece in Bristol and in Stroud. What significance do these places hold for you?

Yes, I’ve been collaborating with John Langley for about 14-15 years now, and we’ve produced quite a few albums together. We work very well together, very easily and very quickly. He is the best drummer I know, I often think he is the best drummer people will ever see in their lives. He may look like a regular guy, but he is a phenomenal drummer. I’m very lucky to play with him. I’m actually writing some new songs and I’m going to play with John tomorrow. We’re in the midst of working on my new album, and hopefully, we’ll start recording sometime next year. John is exceptional; his main band is The Blue Aeroplanes, a well-known group based in Bristol too.

The Fleece, where we filmed the first part of the video, is owned by Chris Sharp, one of the members of The Blue Aeroplanes. I’ve been playing at The Fleece since the very beginning of my music career, so it’s a venue that’s been a constant in my life. Chris generously allowed us to shoot the first part of the video there, which was fantastic. It’s a great venue, brilliant venue. The other location for the video was a field in Stroud. We know the owner of the field, and he let us set up bonfires and film the rest of the video in the evening and the night time over there. We’re incredibly fortunate to have these connections with such wonderful people.

You’ve had a solo career as a woman in the music industry for over 30 years, and you’ve faced many challenges along the way. How did you overcome these challenges and what advice would you give to aspiring female musicians facing similar issues today?

Absolutely, this advice applies to anyone, especially those beginning to make music in the public sphere. The most important thing is to discover your own voice, your own vision, and carve your own path. While it’s wonderful to draw inspiration from others, the key is to create something that is both original and stay true to yourself. This principle is applicable not just to music, but to any artistic thing, really. My advice is simply to go out there and do it. The landscape of music has evolved considerably compared to when I started, about 30 or 40 years ago. Back then, the environment, particularly for female musicians, was very different. However, things have progressed and changed since then, making it a fantastic opportunity for young people to engage in music.

The punk scene, in particular, offers numerous avenues to find your voice and express yourself. It’s a community where you can connect with an audience that shares similar mindsets and appreciations. That aspect of the punk scene makes it a valuable platform for young and emerging artists to explore and develop their unique styles and messages.

Your last few albums have been released on your own label Shy Girl Records, is this a choice you made out of necessity or because you want to have total control over your music? How do you feel about DIY as an ethic after so many years in the scene?

Yes, at that time, I felt it was a good idea to associate my music with a label name. It was definitely a choice, though I haven’t done much with it since my life took a bit of a turn. You’re right, I have released a few albums through Shy Girl Records. It’s a small little thing, but there’s still more I plan to do with it. Having a label name attached to your releases gives a certain opportunity, as opposed to releasing music without any label affiliation. I chose the name Shy Girl Records because I was quite shy as a child. The name struck me in a way, and I also thought about it in relation to the Rude Boy, 2-Tone thing. And then I had the photo that I used as the logo, I already had that, and that was the obvious photo to use. So it just kind of fell together.

Unfortunately 2023 was a bad year when we lost a lot of great people. Sinéad O’Connor passed away and she was a great artist who also dealt with issues of sexuality, Catholicism and politics, similar to you and the punk scene in general. Also, as a person of Irish descent, how do you feel about her music and influence?

Yes, I remember seeing Sinéad play in London a really long time ago, and it was an incredible experience. She was simply amazing. Her voice was absolutely mind-blowing. She was so unique in her appearance and everything about her. When I was beginning my career, she was a massive inspiration to me.

She really meant everything to me at that time. It’s deeply saddening that she died so young. As an Irish woman, she really broke the mold in many ways. She was massively influential and an incredibly brave woman. Her impact and courage were truly great. She was hugely influential and a very, very, very brave woman.

Looking back on your 30+ year music career, what other people and things have motivated your songwriting and performing?

Well, at the beginning of my career, artists like Bob Dylan, Patti Smith, and the English punk band The Fall, along with the punk genre in general, were big influences for me. Since then, my inspirations have continued to evolve. PJ Harvey has been a big inspiration, as well as the Pixies, among many others.

Additionally, people I know personally in Bristol, who are actively involved in the music scene here, have been a source of inspiration for me. Seeing people around me continually writing and making music is incredibly motivating. I draw a lot of inspiration from these local musicians I know and interact with. Their persistence and creativity in the music scene continually inspire me in my own work. So I get a lot of inspiration just from people I know.

The reason for this interview is your music video for the song “Killing Us” which just premiered online. Today’s music and artists are very reliant on the internet, especially with social media and all the streaming platforms. It’s really different than when you started your career. How do you navigate this internet age?

I just keep that presence to a minimum, I’m just happy that when I make an album there are enough people to hear it. I definitely find the current climate difficult. But still I think I’m doing really well in my own way, I’m not great with the computer stuff but I’m getting quite a few gigs and also writing songs is really my main thing. I want to write songs and then record them and if they get heard that’s great but writing songs is the most important thing for me and then recording them.

I’m also pretty busy taking care of my son so I just have that much time and that’s it. And once you’ve made the songs and they’re physically out there in the world, even if you die, other people can hear them. So writing and recording is my main thing.

So how often do you manage to play gigs these days?

It really depends, sometimes I play a lot, sometimes not so much. This year I haven’t done as much as I used to because I’m a full-time caretaker for my son and sometimes it’s really hard to be free. I also play with this band The Blue Aeroplanes, which has always been great. I just played with an orchestra the other day and I hope to have one of the songs up on my website soon. I could also use some help to get my website in a better state because it’s not that great at the moment. I think I’m doing okay with gigs and stuff, but it’s very exciting that this video is coming up.

Are you going to put up more videos from the last album, Mrs. Lynch?

Well, I’m not sure yet. I actually have an idea for one of the other songs on the album that would be nice to do a video for. Maybe it will involve more people, but we’ll see how it goes. I’m just so happy with the video now. 

Black Triangle Films have done such a brilliant job of making the video as amazing as it is, getting the vision right, and they’ve done it all really sensitively. But what I’m doing right now is working on new songs and writing a new album. I’ll be very happy to get that done and explore some new ideas and themes. I’ve got a lot of new riffs in my head and I’m looking forward to practicing with my drummer John and just having some new songs in the works. And I’m looking forward to seeing what people think of the video.

Photos from the music video courtesy of Black Triangle Films. Find Rita Lynch at Bandcamp and Shy Girl Records.

Source: diyconspiracy.net