BOUDICA

Named after the warrior queen who led the Iceni tribe against the forces of the Roman empire, club night Boudica operates with a similarly trailblazing imperative. A platform dedicated to creating space for women, trans+ and nonbinary people within the dance music community, Boudica was founded by Italian-born, London-based Samantha Togni. Alongside fellow activist groups like Women in CTRL and 2% Rising, Boudica looks to rectify the structural inequities that are deeply embedded within DJ culture. Starting out five years ago as a club night, Boudica has since grown into an arts platform with its own annual conference, hosting panels discussions and mentorship sessions, and more recently has launched its own record label. 

Listen to the TANK Mix below, and read our interview with Togni on pinkwashing, the technology of techno and the release of Boudica’s first solo EP.

TANK Boudica is a club night, a record label and a space for discussion. How do you manage these intersections?
ST A few years ago I was a tutor at an electronic music academy teaching DJing and production. I noticed that young female, trans, and non-binary individuals – especially those from lower socioeconomic backgrounds – were often made to feel undervalued by a society that tells them they are not good enough. This didn’t sit right with me. I decided that I wanted to create a comfortable space where they could explore electronic music, feel comfortable and become the headliners and role models of tomorrow, surrounded by others with similar stories. That’s how our events series started at The Pickle Factory, an intimate venue in East London that supported our vision from the start. When the pandemic hit, we didn’t want to lose touch with this emergent community, so we focused on hosting radio shows and podcasts. A few months later we launched our music conference. It was originally meant to be a streamed panel discussion between friends working in the community, but very soon it snowballed into a fully-fledged conference programme. We filmed the first edition at Freemasons’ Hall, bringing together a mixture of smaller DIY collectives and leading music organisations for a day of talks and DJ sets to empower FLINTA* and LGBTQ+ people. Four years later, the conference is now supported by the Arts Council, Musicians’ Union and Pioneer DJ to name a few. Soon after, we started our record label which shares the same values: giving a spotlight to marginalised artists. Holding our very first record was a feeling I will never forget. Artists such as Yazzus, Animistic Beliefs and Jasmine Infiniti have graced us and we’re just about to release Wallis’ solo EP, the debut EP released on the label. Everything we do has grown organically from Boudica’s start in 2019, always driven by our commitment to inclusivity and empowerment.

TANK In the time you have been active within the music scene, DJ equipment has become much more accessible and the barriers to entry have never been lower. However, at the same time, DJing has become highly commercialised, increasingly assuming a ‘star’ system similar to that of Hollywood or the mainstream music industry. How has this corporatised shift affected bookings and the culture at large?
ST It's incredible how accessible electronic music has become. You can be anywhere and create an album on an old laptop, spend a few quid on distribution, and share it with the world. It's no longer gatekept by a handful of people with expensive gear flicking knobs, right? However, this accessibility has also made DJing seem easier than it is. I’m not a snob – using sync or technology to improve our craft is great. But you need to know how to drive the ship before you switch to autopilot. I hope that true craft, research, and passion for electronic music doesn’t get lost in this shift. I’m optimistic that people will eventually tire of the instantaneousness that TikTok culture promotes and return to looking out for those obscure tunes and records to play at gigs. This Hollywood vision of the DJ has become so toxic, prioritising big names and social media impressions over talent and originality. Smaller DJs struggle to get bookings because venues prefer booking acts that are popular on TikTok. DJing and making music have become more accessible primarily for those with financial support. When you don’t have to worry about making a living, you can afford to play for free, spend thousands on PR and advertising, and even hire people to make your music for you. We risk ending up with a soulless and sanitised scene dominated by wealthy kids throwing around buzzwords like underground and community.

TANK In the recent, abhorrent crackdown on trans rights, how have you noticed the dancefloor changing, if at all?
ST What I have seen on our dance floors is an intensified sense of solidarity and community at our events. People are more conscious of creating a space in which everyone can express themselves. We make it clear at each event that disrespectful behaviour won’t be tolerated. Our dancefloors have become spaces where we strive to uplift people from marginalised communities at all costs. It's imperative that clubs, promoters, DJs and artists with visibility take action, raise awareness and talk about the challenges faced every day by the trans community. We all need to speak out against discrimination and advocate for trans rights. It is important for trans people to feel seen and be represented in a variety of roles, both on the decks and behind the scenes. Boudica and similar spaces are just small bubbles in a larger often hostile world. Transphobia and discrimination are everywhere, and the government's actions have only intensified this witch hunt. This is why it is so important for us to create spaces where trans individuals can feel secure and valued. Our responsibility extends beyond our events - we must be vocal about it outside of the dancefloor too.

TANK On one hand, increased visibility for queer spaces increases access and allows for the formation of a broader, more diverse community. On the other, it can dilute the political imperative that continues to drive queer nightlife. What is your relationship with queer spaces and visibility? 
ST Our dancefloors are spaces of resistance and resilience. We want them to be a place of inclusivity and solidarity, to stand against injustices, and to work towards a future where everyone can live freely and authentically regardless of their identity. It's great that festivals, promoters, and clubs want to move towards creating more diverse and inclusive lineups, instead of relying on the same names over and over. While this push for diversity can sometimes feel performative and tokenistic, it is important that opportunities are being given to artists from marginalised backgrounds - regardless of intention. As long as they're being treated with full respect, we should make the most of these moments to gain visibility and financial support. A good example is Pride. Although I am against its commercialisation, I know that many friends from the queer and trans community rely on it to gain visibility and, especially, to get paid. Even if it sometimes feels performative, it’s a means to an end to maximise opportunities and benefit our community.

TANK As someone who has experience being both a musician and a DJ, do you differentiate between the professions?
ST Often the lines between the two become blurred. Most of the time, I produce music with the dancefloor in mind, creating music with the intention of playing it during my DJ sets. Sometimes I see production as a functional thing. I want to make music that comes alive during the performances.  But thinking about it in this way can be restricting: I enjoy experimenting with sound more freely. I wanted to explore a range of tempos and styles without thinking about its “purpose”. That's why I've decided to make my first album something more oriented towards listening, while still being dancefloor friendly to an extent. I am able to have more freedom with different sounds and concepts and go beyond the typical expectations of a DJ set.

TANK Tell me about the new album.
ST I’m so excited that the album is finally coming together!  Of course, it will be released on Boudica’s label, each track featuring a collaboration with a different artist, all trans, non-binary, and female artists and featuring established names and emerging talents. Some of the confirmed artists are Louisahhh, Claudia Kane, and Wanton Witch. It's a very diverse album, ranging from mid-tempo to breakbeat and techno. Putting this album together has been an incredible journey, and working with so many inspiring artists has taught me a lot. It will be available this autumn on both vinyl and digital formats. Keep an eye out for it! ◉

Photo by Nat Urazmetova.