The Australian music scene in the late 1990s and early 2000s was an era marked by raw, unbridled energy. Grunge and alternative rock were at the forefront, and female-fronted bands like Magic Dirt, Little Birdy, The Superjesus, Killing Heidi and Jebediah — with their female on bass instead — stood out among the best, offering their own take on rebellion, creativity, and musicality. These women weren’t just part of the scene — they were its lifeblood.
Fast forward to 2024, and Adalita Srsen (Magic Dirt), Vanessa Thornton (Jebediah), and Katy Steele (Little Birdy) are still revered icons. They’ve earned their places as trailblazers in Australian rock, not only for their talent and enduring influence but for the way they’ve navigated a music industry that hasn’t always been kind to women.
Now, as they prepare to headline this year’s Hotter Than Hell festival, they reflect on the industry’s evolution, their own careers, and the challenges of balancing artistic pursuits with the demands of life.
Rolling Stone AU/NZ took a deep dive into how these three incredible musicians have survived decades in an industry infamous for short attention spans, and how they’ve flourished in a space where women are often told to play a secondary role. For Adalita, Vanessa, and Katy, their time in the spotlight was never a phase — it’s been a lifelong commitment to the music, the message, and themselves.
One thing that quickly becomes apparent as the conversation flows is the camaraderie between these women. Despite the intensity of their early careers and the differing paths they’ve walked, they share a bond that transcends time, as if they’ve been through a war together. And in some ways, they have.
The Australian music industry of the ‘90s was a different beast, one where sexism was often woven into the fabric of day-to-day life. While there were times when women were accepted and praised for their work, they also faced a unique set of challenges that their male counterparts rarely had to consider. For all three of these musicians, their bands were often viewed through the lens of their gender first, and their talent second.
Adalita, whose tough-as-nails persona fronting Magic Dirt became her calling card, is matter-of-fact about the realities of sexism in the industry. “I’ve always felt respected as a musician, but I didn’t realise how much sexism was happening around me until I got older,” she reflects. “Looking back, I think I copped more sexist crap from audience members than from the industry itself, though. There were times when I had to call out dudes in the crowd who thought it was okay to be disrespectful just because I was a woman on stage.”
For Vanessa, whose bass lines were the backbone of Jebediah, the experience was similar. She spent her early years focused on the music, blissfully unaware of the deeper systemic issues at play. “I didn’t really think about sexism back then,” Vanessa admits. “We were young, having a blast playing music, and I wasn’t focused on how people saw me as a female musician. But as I’ve gotten older, I’ve come to understand the barriers that exist for women in the industry. It’s like you start out with this innocent enthusiasm, and then you get hit with the reality of what it means to be a woman in a male-dominated space.”
Katy, known for her ethereal voice and undeniable stage presence with Little Birdy, echoes this sentiment. “Back then, I didn’t feel like I was being judged for my gender,” she explains. “But when I think about it now, I realise how much of an outlier we were. There weren’t many female-fronted bands getting the same recognition, and that’s not a coincidence. The industry is definitely better now, but we still have a long way to go.”
In many ways, this year’s Hotter Than Hell festival represents a full-circle moment for these three women. It’s a chance to take the stage together as veterans of the Australian music scene, and to celebrate not just their own legacies, but the changing tides of an industry that’s slowly becoming more inclusive.
Festivals have always been a major part of the Australian music experience, and for Adalita, Vanessa, and Katy, they were formative experiences in their careers. The Big Day Out festival, in particular, holds a special place in their hearts. For a time, it was the pinnacle of Australia’s festival circuit – a chaotic, joyous celebration of music where anything could happen, and often did.
Adalita reminisces fondly about those early festival days. “Big Day Out was incredible. It was just such a free-for-all. There was something about the sheer scale of it – so many stages, so many different bands, all rubbing shoulders backstage. I remember hanging out with Iggy Pop and PJ Harvey, thinking, ‘How the hell did I get here?’ There was this sense of excess, of anything being possible.”
For Vanessa, festivals were a space of creative expression, but also a reminder of how differently women were treated in the music industry. “I loved playing festivals, but there were definitely moments where you could feel the difference in how we were perceived. You’d turn up to a venue or a festival, and people would assume you didn’t know what you were doing — like you needed someone to show you how to set up your own gear. That was always frustrating, but you learn to laugh it off after a while.”
Katy, who is gearing up for her first full festival performance with Little Birdy in years, admits to feeling a bit of pre-show jitters. “We haven’t played together in a long time, so getting back into the groove is going to be interesting. I’m excited, but nervous at the same time. We’re modernising the setup a bit, and I think it’s going to be a really cool experience. Festivals are special because you get to connect with so many people at once — there’s nothing quite like it.”
The anticipation for Hotter Than Hell is palpable among the three women. It’s an opportunity to not only perform their classic hits but also showcase new material that reflects where they are now as artists. For Adalita, it’s about balance – honouring the past without getting stuck in it. “Rehearsing the old stuff is always a trip,” she says. “You don’t want it to feel like you’re just going through the motions. But when you see the crowd react, it all makes sense again. It’s about keeping it fresh while also giving the fans what they want.”
For many artists, the challenge of balancing life on the road with personal responsibilities is an ever-present one, and for Katy, motherhood has added a new layer to that juggling act. With two young children at home, the logistics of touring and recording have become more complicated, but she’s determined to make it work.
“It’s been tough,” she admits. “I won’t lie about that. My mum helps a lot, and my partner is really supportive, but it’s still a massive adjustment. You have to get a lot more organised, which is funny because I was never the most organised person before. But when you’ve got kids, you don’t have a choice — you just have to make it happen.”
Vanessa, who doesn’t have children, is in awe of how Katy manages it all. “I honestly don’t know how she does it,” Vanessa says with a laugh. “I can barely manage myself, let alone throw kids into the mix. But it’s inspiring to see how she’s made it work. It just goes to show that women can do it all—you don’t have to choose between being a mother and being a musician.”
For Adalita, who has remained focused solely on her music career, the question of balance has taken on a different meaning. “I don’t have kids, so my balancing act is more about keeping the creative spark alive,” she says. “It’s easy to get burnt out after doing this for so long, but I think I’ve finally found a rhythm that works for me. I’ve learned to pace myself and not put too much pressure on constantly producing new material. Sometimes, you just need to take a step back and breathe.”
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As the conversation comes to a close, the topic shifts to the future—both for these artists and for the next generation of women in Australian rock. While much has changed since Adalita, Vanessa, and Katy first burst onto the scene, there’s still work to be done in terms of gender equality and representation in the industry.
“There’s definitely been progress,” Adalita says. “We’re seeing more women in positions of power, more female-fronted bands getting recognition. But we’re not there yet. It’s still a male-dominated industry in a lot of ways, and we have to keep pushing for change.”
Vanessa agrees, adding that the key to lasting change is visibility. “Young girls need to see themselves represented in the music they listen to. They need to know that there’s a place for them in this industry, whether they want to be musicians, producers, or executives. The more women we have out there doing their thing, the easier it will be for the next generation.”
For Katy, the focus is on creating music that feels authentic, regardless of what the industry expects. “I just want to keep making music that I love,” she says. “If it resonates with people, that’s great. If not, that’s fine too. What’s important is staying true to yourself, and that’s something I hope young women in music will remember as they navigate their own careers.”
As Hotter Than Hell approaches, fans of these three iconic women can expect a show that celebrates not only the music they’ve created over the years but also the trail they’ve blazed for the next generation of female rock stars. The industry may still have a long way to go, but thanks to pioneers like Adalita, Vanessa, and Katy, the future is looking brighter than ever.
Ticket information for Hotter Than Hell 2024 can be found here.
