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We should be playing it so that it sounds like a Big Joanie song.” The original is so beautifully crafted, so we approached this by making it our own, kind of like what we did for the TLC cover. I remember at practice we tried to cover this song, so I got the tab and stuff-it looked hard and quite funky. Chardine was like “it’s a cover, we don’t have to play it exactly how it sounds. It was a long time ago that we thought we should try and cover that song because we’ve been playing it we played it live at SXSW last year. Everything around that was such a big influence for us. I think for Steph particularly A Seat At The Table is a really influential album. HOW DID THE IDEA FOR THE “CRANES IN THE SKY” COVER COME ABOUT? LADYGUNN spoke to Adeyeri about what the band’s been up to, putting their spin on “Cranes in the Sky”, and their efforts to decolonize and diversify punk music worldwide. For us, it’s making sure that’s part of the conversation.” “We wanted race in DIY to be something that people aren’t afraid to confront and acknowledge that maybe they’re not doing enough to make their spaces inclusive,” Adeyari tells LADYGUNN. “It’s frustrating if you’re making your DIY space hella queer friendly or friendly to people who aren’t cis-men, but then you’re not thinking about race or accessibility. Founded by bandmate and journalist Phillips’, the festival runs with a tight-knit DIY spirit and an emphasis on featuring punks of color from showcases to workshops. Outside of their own music, the band is immersed in a mission to bring BIPOC and femme punks to the front, from Adeyeri’s efforts volunteering with the London branch of Girls Rock to their combined efforts running Decolonise Fest. Not ones to stray from an experiment, the band has a history of crafting some gnarly covers by prominent Black femme artists, from a roiling reimagining of TLC’s R&B classic “Scrubs” to a recent and particularly soaring rock take on Solange’s “Cranes in the Sky.” A punk record through-and-through, it deals in the depths of desire, love, and longing with a devil-may-care attitude, with a sensitivity strained through warbled and fuzzed-out guitar. Their breakthrough came with 2018’s Sistahs. and beyond and have made a name for themselves with a music grounded in the free-wheeling punk tradition. Made up of Stephanie Phillips on guitar, Chardine Taylor-Stone on drums, and Estella Adeyeri on bass-all three contribute vocals-the band have been making efforts since 2014 to diversify a White punk scene in the U.K. Continuing that legacy in the United Kingdom are self-proclaimed “Black Feminist Sister Punk” trio Big Joanie. Black women have been at the forefront of rock n’ roll since Sister Rosetta Tharpe.