"Like with the Slade live album, I'd been to see The Who and it was quite an experience, again at the Orchid Ballroom in Purley. It's one of the most unknown venues in the country, I think, but it was the biggest ballroom in Europe and it used to hold about 5000 people. It was huge, and you wouldn't even know it was there when you drove past; it was just a doorway, in Purley. And I think The Who had just come back from America where they'd been doing Tommy. So it was Townshend in his white boiler suit and nailing Keith Moon's drums down before the set, and The James Gang opening. I'm not sure when Live At Leeds came out, whether it was before or after that, but I just remember how amazing the album was because it had all of those pull-outs and receipts and photographs and things. I was sitting on the train and looking at the record and really hoping that people would think I was in the record business and that I'd received this white label with a load of bills. But again I'd seen them play that sort of show, and I think Live At Leeds really was them at the top of their game. As a live band they'd really pulled together and they'd done their homework. They'd done enough and they'd really nailed how to put it together on stage. For me they didn't do a better live thing. Tommy I liked, but I thought a lot of it was unnecessary and went on a bit, and it was a bit more Who than I wanted, in some cases. The real thing that always stuck with me with this record is where they do the jamming stuff and Townshend takes off on that discordant thing, and the dynamics and atmosphere are liable to go up and down, taking it from this raging onslaught of rock down to this level of almost subtlety, and then to build it up again from that. They're good dynamics, and those are often hard to find. There's something about that sound they got as well: not so much as a band but just the guitar sound. It was very clean and there was a lot of clarity. And the drums: the sound never changes, but the dynamics of what he does have peaks and troughs."

"Bikini Kill was on tour and we went to this club in Brighton under the pier and the fucking coolest looking girls in the whole universe walked in. They were the band, and they just started singing and they were the Headcoatees. They were just the coolest thing and it was one of the best shows I've ever seen. Then I got the record and really liked their version of the song 'When You Stop Loving Me' that's on that album. I always liked garage rock and I felt like they did it so well – it was the kind of music I could listen to all day and be happy. That record is more about personal stuff and I was getting really burnt out. I don't want to just listen to stuff that's about politics all the time. I want to have my guilty pleasures and I'm not feeling guilty about finding them pleasurable. They made me think I want my music to be enjoyable, not just hard all the time. I want there to be moments where it's like: "This is really fun." I always say Bratmobile was a better band than Bikini Kill, partially because I had that anger to propel me forward and also protect me, whereas they have this sort of, "Hey we're at this summer party and we don't care that you don't even know what a summer party is, fuck you." It was like they were having a summer party on stage and I'm invited. They would literally get up, just Molly [Neuman] and Allison [Wolfe] before Erin [Smith] joined the band, and just sing stuff like, "Girl germs, no return", like childhood rhymes. They're doing it in a room full of predominantly men who are, like, Melvins fans and I was just like, "Man, that takes fucking guts." I heard people in the audience say, "I want to do this and this to the singer, we should fucking murder them" and meanwhile I was having my life changed: "This is the most incredible thing I've ever seen." I use that in my performance partially based on them and I definitely saw their vulnerability as a strength instead of a weakness. I wanted to be able to flash between characters that were very traditionally female and have a macho persona as well, so I try to have both and not just be like the Henry Rollins of riot grrrl."