Carrie Brownstein of Sleater-Kinney, The Flannel and The Fury Tour 2026

Parker Peddicord joins Carrie Brownstein of Sleater-Kinney to talk about the band’s more than three decades of music, their roots in Olympia, Washington’s influential punk and feminist music scene, and what it’s like to keep evolving while staying true to their own creative instincts.

Brownstein discusses Sleater-Kinney’s current tour with Liz Phair, the challenge and excitement of playing for audiences who may be discovering the band for the first time, and how the group approaches building a setlist from a catalog that spans more than 10 albums. She also reflects on the band’s early days in Olympia, the importance of the community and DIY culture that surrounded them.

The conversation explores the musical chemistry between Brownstein and Corin Tucker, how Sleater-Kinney’s sound has changed from its early guitar-and-drums recordings through albums like Dig Me Out, All Hands on the Bad One, The Woods, and No Cities to Love, and why the band continues to embrace new sounds rather than simply recreate the past.

Brownstein also answers a few quick questions, revealing the authors she’d stock in Portlandia's feminist bookstore, the album that recently altered her brain, what continues to inspire her, and the advice she’d give to musicians trying to find their own voice.

A wide-ranging conversation with one of the defining voices of American indie rock.

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Parker Peddicord: Trail 103.3 is KDTR, Florence, Missoula. I'm Parker, and I am beyond excited right now to be conversing with Carrie Brownstein of Sleater-Kinney. How are you doing, Carrie?

Carrie Brownstein: I'm great. How are you?

Parker Peddicord: I'm doing good. This is kind of like a full-circle moment for me. I have been listening to Sleater-Kinney since I was maybe like 15, 16, so I'm beyond thrilled to talk about your tour and just kind of what's new.

Carrie Brownstein: Yeah, well, thanks for listening. I appreciate that. We appreciate that. And we're excited as well. We're out on the road with Liz Phair. And it's not really an album tour for us. We're kind of in the writing period right now, so this is just something to break up the writing process and get out there and play some shows with artists we really respect and admire.

Parker Peddicord: Last time you were in Missoula, you were here with Wilco. So are you looking forward to coming to Missoula? Anything you're excited to do or see?

Carrie Brownstein: Well, it always feels really fortunate to get to visit Montana. Definitely one of the most beautiful states in the country. I spent a fair amount of time there as a kid. My uncle lived there for a while.

Parker Peddicord: Oh, nice.

Carrie Brownstein: And I think there's some members of the band that have never been to Montana, so they're really looking forward to it. It's always great crowds. You know, we're glad we get to play outside. We actually have a day off the following day, so we'll get to hang out.

And yeah, it's just—the tour itself, though, has been wonderful so far. We've only been along the West Coast, so we played some shows in California. We play in our hometown of Portland tonight.

Parker Peddicord: Oh, exciting.

Carrie Brownstein: And then we'll be near you tomorrow.

Parker Peddicord: Oh, nice. Well, yeah, we can't wait.

One thing I wanted to ask you about is how this bill sort of came together with Liz Phair, because when I saw it announced, I was so beyond excited. So I'm just curious what the process of that was.

Carrie Brownstein: Yeah, well, what precipitated it was just Liz reaching out. And what's been interesting is that many people assume because both artists started in the mid-'90s—Liz, I guess, predates us a little bit—but everyone kind of assumes we knew each other before this or had crossed paths, but that's just not true.

And it is kind of surprising to us as well. Like, when we realized, "Wait, we've never met this woman before."

So it's been a great opportunity to get to know her and her band. We're huge fans of her music.

Yeah, she just gave me a shot—[she] reached out to us last year and suggested this bill, and we were really eager to be part of it.

Both Girly-Sound, which were sort of the demo version of Exile in Guyville, [were] very formative for us, very influential. So yeah, to get to hear those songs and then her mid- and late-period songs every night is just really so awesome. I mean, it's just such a great songwriter. So we feel really lucky to get to do that.

Parker Peddicord: Yeah, my colleague Mike Smith recently chatted with her, and she was saying a similar thing—just how it's so wonderful that you both are teaming up because it was kind of like different scenes in a way, where you had kind of like Olympia, Sleater-Kinney, and then she was over there in Chicago. So I think a lot of people are super thrilled about this lineup.

Carrie Brownstein: I hope so. Yeah, there does seem to be a Venn diagram where our fans and her fans intersect.

Parker Peddicord: Yeah.

Carrie Brownstein: So that's good. And for her fans that don't know us as well, or vice versa, hopefully, you know, we put on a good enough show that they become fans by the end of the night.

But it's always really fun to play with a crowd that is not just, you know, full of converts. You know, it gives us something to have to prove. And I think the longer you've been doing something, it's really great to have to get on stage and have to show people why you deserve to be there and justify your existence and just bring it every night. Like, that for us is a really great feeling.

I mean, that's how it feels when you're first starting out every night, is just leaving everything on the stage, having to prove it.

And, you know, after a while, sometimes it feels like you're just playing your own shows, your own crowd. So when we get to, you know, collaborate with another artist or open for someone—like recently, we opened for My Chemical Romance, and we just played to a bunch of people who might not know you. And I mean, for us, it's very exhilarating. It really reminds us of why we do this.

Parker Peddicord: Right. Well, I mean, how exciting to go to a show and maybe you don't fully know what you're expecting, and then to walk away just, like, falling in love with a band. Like, that is such a great feeling. I mean, that's honestly what it's kind of all about in my mind.

Carrie Brownstein: Yeah. I mean, I think now, you know, with access to basically every piece of music there is at any given moment, you need your [filters] and you need a way of filtering out certain things and, you know, having access to something you might actually love.

And that is either for me through word of mouth or friends or, yeah, just discovery, which I think we've come to value more and more as, like, you know, in this sort of technological age we live in.

But, like, the actual sort of tactile, you know, visceral version of discovery, I think, is really important. And part of that is just immersing yourself in a venue, in a song, and, you know, seeing how it affects you and then becoming a fan.

And often that happens where I discover a band live and then I go listen to their records, and the records sound really tamed compared to the live version. And so, yeah, it is a great way to discover music.

And I think right now, whether people are young or old, there's a real newfound appreciation, or a reassessment of the appreciation, for live music.

Parker Peddicord: Absolutely. Yeah. One thing I was thinking about, because with Sleater-Kinney you guys have—you've been making music for, what, 30-plus years? You have a massive discography. So when you go on a tour like this and you have these people in the crowd, you know, excited to hear certain songs—maybe they want to hear the new stuff, maybe they want to hear some of those earlier records—how do you put together the set list, especially for this tour? Does it change? Do you kind of have some staples you go through?

Carrie Brownstein: Yeah, we kind of make a master list of all the songs that we want to have, you know, familiarize ourselves with. Sometimes it is a process of relearning, reacquainting yourself with a song, especially if it's been a while.

We kind of have, like, a big list we go off of, and then every night we carve out whatever 18 to 21 songs. And we do different things every night. I think that just keeps things exciting for us.

Yeah, but we tend to sort of, you know, fall back on a certain set of songs, or there'll be certain songs that just go really well together.

And then, more holistically, we definitely like to look at the whole catalog, especially when we're not on an album tour. So, you know, when Little Rope came out a couple years ago, those shows chiefly revolved around Little Rope, and we favored those newer songs.

But now, you know, we get to go out and not have to worry about promoting a specific record. So we can go back and be playing stuff off Call the Doctor, which came out, you know, in 1996, Dig Me Out, All Hands on the Bad One, all the sort of albums up through Little Rope.

So, I think for fans coming to the show, there'll be something from every era of Sleater-Kinney.

Parker Peddicord: That's exciting. That's super wonderful.

Well, and then I also wanted to chat about the openers, because you have some rotating openers—Snail Mail, Soccer Mommy, Frankie Cosmos. So, yeah, if you just want to speak to those, I mean, they're all incredible artists.

Carrie Brownstein: Yeah. So the first couple shows we had Soccer Mommy, Sophie, and she's amazing. And a lot of it is them playing solo. So I know that when they tour more traditionally, they tour with bands, but this is them playing solo.

I am so admiring of artists that can get up there and play solo. That is not something I do. That's certainly not where my strength lies.

So, you know, watching someone get on stage with just a guitar and their voice, I'm still just very awed by that level of, you know, bravery and vulnerability.

And you really hear the skeleton of the songwriting. You sort of see the bones of it, and I love that.

It, you know, really—I like someone's lyrical ability, their singing, their guitar playing, all the things that, you know, sometimes it's nice to really have some clarity with. You don't necessarily hear that with their full band.

So, yeah, we're collectively fans of all three of the opening artists for us. I'm really looking forward to seeing—I think now Soccer Mommy's off the tour. We move on to Snail Mail tonight.

Parker Peddicord: Fun.

Carrie Brownstein: But yeah, it's gonna be great. And that's, you know, another fun thing about touring, is bringing along bands who you're a fan of, who you might not get to tour with or see otherwise. Like, I've never seen Soccer Mommy play before. I was stoked to get to see her.

Parker Peddicord: Right. Well, yeah, it's so great having a bill that's just like that full, where it's like Liz Phair, you guys, and then, yeah, I also haven't seen Snail Mail. So I'm super excited for that act.

I would love it if you would sort of take me back to the early days of Sleater-Kinney. Kind of like, I would love for you to put me in that scene in Olympia, kind of the '90s. You and Corin just kind of get together. I know you had side projects at the time, but you're making music. And what was it like in that scene playing some of your first shows, especially in, at the time, maybe like a more male-dominated area? I just would love to know what was going on in your mind then.

Carrie Brownstein: Well, we were pretty fortunate. I mean, in terms of Olympia, what it represented and sort of the demographic makeup of Olympia, it was very matriarchal.

You know, there were—and in comparison, I think, to other cities and other artistic communities, I mean, coming out of The Evergreen State College, which is like a progressive liberal art school, they base their pedagogy around the seminar, which is just this very sort of consensus-building, kind of communal discourse.

And so I think a lot of the people that were making music in Olympia had come out of that kind of Evergreen dialectic. And so it just was this inversion of what was happening in other parts of the country.

People really were favoring the avant-garde. A lot of the bands were nontraditional. You know, they were like new-punk bands or no-bass, you know, so just, again, all this—so much subversion of the conventional.

And so we came up within that community, had Bikini Kill, so that, you know, you already had these big pillars of rock music and feminist punk.

And I think it was also just everyone was in a band. There were a handful of labels. The means of production were very accessible.

Like, it's just—you know, there's a few rarefied kind of art scenes in American music history, and I think Olympia in the '90s is just one of those.

So, you know, but the larger context was definitely much more of a void. You know, like up in Seattle, where I'd grown up in the suburbs, there were a lot fewer female bands, although there was 7 Year Bitch, there were The Gits, Fastbacks.

So, you know, like the sort of bird's-eye view of history is that it was very male-dominated, but within each scene there were, like, women really striving and really making their mark.

So, yeah, I just remember there were shows all the time, whether they were in basements of punk houses or kind of makeshift, like, pop-up little art spaces.

And yeah, we played, I think, our first show—I think it was called The Doctor. Like, we had been touring in Australia, which is very random, but we kind of formed the band and went to Australia.

And then we came home and played as we were getting ready to record Call the Doctor. So this would be like '95, '96. We started playing a couple shows in Olympia.

And I just remember it was very exciting, you know, playing songs like "I Wanna Be Your Joey" or "Turn It" or "Call the Doctor" and really feeling that what we were doing was different from our contemporaries.

You know, Corin had this amazing voice. It was really coming into its own, and, you know, our interlocking guitar parts. And yeah, it just felt—there was a real urgency to it.

It felt like it was just barely on the rails because we were playing, like, just very frenetic. Yeah, it was really exciting.

But I would say, because Olympia was such an incubator and very insular, what would happen is we would leave the town and go somewhere else, and then people would be like, "What are you guys doing?"

But then we really kind of felt some of the sexism and some of the biases against women playing music.

So we were a little bit sheltered in Olympia because it was so rarefied. And then we'd go—I remember, you know, playing Houston for the first time, and there were people just protesting our show saying, "Sexist-Kinney. Can you go home?"

Because we had asked to play with a local, all-female band, and people thought that we were discriminating against men.

Parker Peddicord: Oh my gosh! Wow.

Carrie Brownstein: But, you know, those things were few and far between. But yeah, I mean, the industry has changed so much, and obviously there's so much more equality and equity, and it just, you know, feels so much better and more inclusive.

But yeah, there were some wild times, and I don't—I’m glad to have lived through them. It was—they were very exciting.

Parker Peddicord: Right. Oh my gosh. Yeah. How formative. That is just so surreal to envision that. And yeah, I feel very grateful that the music scene has evolved and has grown and has become a lot more welcoming, for sure.

That's funny. You mentioned kind of like the sound of Sleater-Kinney's interlocking guitars, which actually I had a question about that because it's so neat to me that you both play the guitar.

And so I was kind of curious, like, this interplay between you and Corin when you're on the stage. How do you—because it's like the guitars are speaking to one another—but how do you also have space to keep your own sound and tone, without stepping on one another? Because I imagine that would be difficult.

Carrie Brownstein: Well, I think we just have such different styles that it's been fairly organic. You know, we haven't, you know, sort of butt up against one another's guitar lines.

You know, Corin plays much more like a traditional rhythm guitarist, although I wouldn't even want to reduce what she does to that because that makes it seem like she's just playing, you know, traditional open chords or bar chords.

Like, she also plays very strange inverted chords and bass lines, but she does have to kind of hold down—she's kind of like the grounded, more grounded guitar player.

Yeah. You know, tonally she's more in the low end of things. Although, again, there are times where she deviates from that and plays lead melodies.

But I tend to be the more garrulous, the more cohesive player, really just emulates how we are in real life. I'm very talkative and very verbal. Corin is very kind of slow and steadier, and that's kind of how we play guitar.

So it just complements one another. Again, it's like we just don't have to think about it. It's just alchemy.

Yeah. And that's just kind of what it is to have a creative partner that works, is that it's not something that we really have to hash out or talk about. You know, we just play and it fits together very seamlessly.

So yeah, it's not—you know, it's intentional in terms of the songwriting, but how it fits together is just that kind of ineffable thing that only happens when you've found your right person.

Parker Peddicord: Right. Well, I imagine the amount of time that you've spent together as friends and then, of course, as bandmates, like that probably—like, it's fine-tuned pretty quickly. And like you said, you kind of get into that flow of things.

Carrie Brownstein: Exactly. Yeah. It just kind of transcends, you know, the day-to-day and becomes something that we don't have to, I don't know, analyze too much.

But, you know, we do have to work on it in terms of—as we, when we are doing, you know, when we're in the songwriting process and trying not to repeat things.

Like, we can kind of fall back on the Sleater-Kinney vernacular too easily.

"Yeah, oh, that sounds like something we've done before. Here we are," just like kind of falling into the same kind of lexicon and using the same words over and over again, like, I mean, not figuratively.

So we have to, you know, push through that and come up with something that sounds different from our last record.

Parker Peddicord: Right. That makes total sense.

So, it was 2024—you released your most recent record, Little Rope. And I would love to chat about that, just kind of like the process of it. And then, I mean, kind of like how you would say Sleater-Kinney's sound has evolved and grown and changed over the years, leading to making that album and even now, with that album being from, like, 2024.

Carrie Brownstein: Well, I mean, when we first started, you know, the tools that were at our disposal were our two guitars and our voices and then, of course, drums.

And, you know, like, sort of the classic era of Sleater-Kinney was with Janet Weiss, who's an incredible drummer. And then before that, we had a woman, Laura McFarlane, also incredibly talented.

So it was, you know, guitar, drums, vocals. And that was, you know, sort of the—I guess the vocabulary that we used. That was, you know, the sound.

And we, I think, you know, from the early days, it was more rudimentary, but I would also say it was complex. Like, in terms of just like the instrumentation was rudimentary, but the melodies were complex.

And then I felt like The Woods, which was in 2005, was like the most maximalist version of those three instruments.

You know, we worked with Dave Fridmann. We just embraced, like, distortion and sort of a corrosive, like, sonic palette, and it was chaotic. And we just exploded that.

But that, to me, was almost the farthest we could go with those three instruments. Like, I love that album, and that, to me, is like the best statement we could make with those instruments.

And then after that, we took a hiatus. We came back about nine or ten years later with No Cities to Love. And with that, we started changing up the guitar sounds a little bit, like embracing chorus a little bit more, tremolo, just like synth sounds through the guitar, just kind of like through pedals and things that just kind of changed the characteristic, the nature of the tones.

And then I think that kind of opened up a new avenue for us as well, just finding new ways of speaking with the instruments we had.

Parker Peddicord: Absolutely.

Carrie Brownstein: And then after that, I think we were just open to embracing, you know, keys and synth and just other ways of expressing the texture of the song, the emotion of the song, like just wanting to build out the world more.

But we, I think, don't favor one or the other. Now we sort of have this giant sandbox that we can play in. And we sort of reach for the right tool when we need it. Sometimes that is going back to guitar, vocals and drums. Sometimes that's adding other instruments. It just depends on the song.

But there's no singular or single direction. Like, okay, well, now we just keep expanding, because expansion isn't always what a song needs. You know, sometimes a song needs defined parameters or limitations, or to be stripped bare.

So, yeah, I just think we go song to song and try to be deliberate about it. But we definitely have embraced, I think, other songwriting tools in terms of, like, "Oh, maybe I'll write this on piano and then transpose it on guitar," or maybe I'll do the opposite, right? A guitar line and then transpose that onto keys.

It just depends on the sentiment of the song, the emotionality of the song. And when you're this many decades into a band, you don't want to feel those limitations. You don't want to repeat things.

There's no reason for us to do something that sounds like, "Oh, we're now trying to do Dig Me Out again," because we did Dig Me Out. And I'm very proud of that record, but that was 1997. And the thing is, we can still play those songs. We're never going to write a better song than Dig Me Out that sounds like Dig Me Out. You know, there's no reason to do Dig Me Out 2.0.

Exactly. Play that song. And the thing about a great song is that it still means something today.

So we're always just trying to push ourselves. And, you know, all of my favorite artists, whether music or otherwise, are always people that are trying to progress and change and evolve and address wherever they are in the present moment.

And also not fear that sometimes you're out of sync with where the audience is at. And that's fine. Not all albums meet the moment. Sometimes they're discovered later.

You just have to trust that music will find people when they need it. We will find people when they need it. And sometimes it's asynchronous, right? Sometimes it's like, "Oh, people didn't get this, but they'll get it later."

Parker Peddicord: Right? Yes, exactly. It's like, this will come back.

Carrie Brownstein: Trust. Yeah. And, you know, I think when you're first starting out, you want to be meeting the moment. You want everything to feel like the zeitgeist. But that's, you know, once you have the benefit of hindsight, that's not how we assess film or music or paintings.

It doesn't matter. We don't even remember the moment they were made. Sometimes that's part of the historical narrative, but in terms of the emotional narrative, it's more like: Does this last? Does this mean something now?

Parker Peddicord: Right.

Carrie Brownstein: Yeah, we're not worried about the zeitgeist. We're more like, okay, where are we now? We'll find the people eventually. Some people will find this now, and some people we just have to have faith in what we're doing.

Parker Peddicord: Right. We'll find us later. I mean, yeah, you worded it so beautifully. It's about that kind of resignation and people finding it.

And I mean, I really do feel that way about a lot of Sleater-Kinney albums. The first one I was introduced to was All Hands on the Bad One. And I feel like I was kind of like an angsty teenager, and I just loved that album. I just loved "Youth Decay," all of those kind of hard-hitting songs.

But then there's other times where it's like I listen to "Modern Girl," and it's like I just feel so—

Yeah, there's truly an album, I think, for any moment you would be experiencing.

Carrie Brownstein: Well, that's good to know. Yeah, it's funny that I feel like I have a lot of my friends who are about ten years younger than me. All Hands on the Bad One was their first introduction to Sleater-Kinney.

And what's interesting is that when that album came out, that was the first album that was not as well received. So we had been on this real roll. Call the Doctor, Dig Me Out, Hot Rock were all received really well.

And then All Hands came out, and people were like, "Oh." I remember Rolling Stone calling it—like, "This is the dog biscuit of the house."

Parker Peddicord: Oh my God.

Carrie Brownstein: And I was like, well, at least dogs loved it then, you know?

But yeah, it was a bad thing. Like, dang. No, I'm kidding. But we were like, "Oh, dang."

And now the assessment of All Hands is overall very positive. And when I meet a lot of people like yourself, or like I was saying, some of my friends when they discovered Sleater-Kinney, it's through that album.

They were like, "Wait, what are you talking about? That wasn't a well-received album."

But it doesn't matter anymore. You know, and I really like that record.

So, yeah, I'm always glad to hear that you're sort of proving my point, or at least the thing I try to trust and assure myself with.

Parker Peddicord: Right. Oh, that's so great.

Well, I know you're very busy with touring and everything. I have just a few quick little fun questions, if you don't mind. They're just random little things that have come to my brain this past week.

One of which being: If you could walk into the feminist bookstore from Portlandia right now, and if you could pick out any book, whether it's your favorite book or it's a book you want to read, what book would it be?

Carrie Brownstein: That's a great question. I think maybe I would go into the sci-fi/fantasy section and either get some Octavia Butler and Ursula K. Le Guin, I think.

Parker Peddicord: Oh, nice.

Carrie Brownstein: They're both such brilliant writers. I think speculative fiction, writing about the future and where we are now—I think both of them are so brilliant.

So maybe I'd grab, like, a compendium of both of their works and just dig in.

Parker Peddicord: I love that. That is a great answer.

And then another one is: What's a band or a piece of music that completely altered your brain? And that can mean anything—just altered your brain when it comes to music, like thinking about music.

Carrie Brownstein: Well, I'll give a more recent example, because I feel like I do try to be excited about contemporary artists.

And I just remember listening to LUX by Rosalía and just thinking, like, "This is a genius walking among us." It's just a brilliant record.

I just loved getting inside of that album and sitting with it. And it's an album that just—it's so capacious. You can just walk to the far edges of those songs and moments in those songs and sit inside them.

And I thought it was just so beautiful. And it had this grandiosity, but also just this tenderness. And it was just super ambitious.

I loved it.

Parker Peddicord: That's great. Oh, that's a good one.

And then finally, from my last kind of fun, short questions: Just in general, what's inspiring you?

Carrie Brownstein: I mean, you're like, "It's like the one question that's stumped me."

And, like, I don't know. It's a bit—it's a very open-ended question.

You know, honestly, I think just my friends and making each other laugh. And, you know, I mean, I just feel like all of us are trying to fight this sense of our lives being so online right now.

I'm just trying to really embrace what's right in front of me, living in the present, you know, being in the moment with people.

So, you know, I guess I could also include playing live music and audiences and just being among people. That's inspiring to me right now.

I just—I love being in the world. I love meeting people. I love having great conversations. And catching up with friends or meeting new people, like, that to me is just where life needs to be lived right now.

Parker Peddicord: Absolutely. You know, there's just the amount of existential crises that we are, like, trying to live through right now and try to live with, I guess, and live under, because the existential crises always feel kind of oppressive and, like, logically burdensome.

I feel like you've got to kind of just embrace what you have and what's around you.

So that's what's inspiring you right now?

Carrie Brownstein: Absolutely.

Parker Peddicord: Well, I have to say, this conversation has been also very inspiring for me. And I would love to wrap it up just saying—I mean, yeah, like I said, I've been listening to Sleater-Kinney since I was pretty young.

And being a young woman in the music scene, industry, business, kind of finding my way, I'm just curious: What would be any little tidbit of advice you would give to either me or anyone else who's either wanting to start a band or get into radio or production, or just anything in the music world, if you had any advice for that?

Carrie Brownstein: I think one is just to bring your own sensibility. Have a point of view. And don't aim for the middle or the center.

Just try to do your own thing, and not listen to the critics.

And also just make it at this point. I mean, there's so many gatekeepers now, and I feel like with everything—whether it's TV, film, music, radio—you make it. Show people who you are.

Don't be afraid to be disruptive or unique or whatever makes you different. Embrace that and put the proof of concept out there, and let people come find you. And trust that they will.

I think that's better than finding a way all of your IP or what you believe in and own to a company. We are just so at the mercy of that right now. They're rapacious.

So, yeah, try to keep ownership of your own stuff until you feel like you know what you're doing and have a grasp on it, and then go out and go for it.
Parker Peddicord: That's great. Carrie, thank you so much. It's been so much fun talking to you. I really appreciate you carving out the time to have this conversation with me.

Carrie Brownstein: Well, Parker, these were great questions, and I'm really appreciative of your time as well. So thank you and good luck with everything.

Parker Peddicord: Thank you. You as well, and I look forward to seeing you tomorrow. It's going to be such a fun show.

Carrie Brownstein: It is going to be fun. I'll see you tomorrow. Take care.

Parker Peddicord: You too. Thank you.

Carrie Brownstein: Bye-bye.