Extraordinary Women of the Early Punk Era

Born in 1946 in Chicago and raised in Philadelphia and New Jersey, Patti Smith arrived in New York City in 1967 with dreams of becoming a poet and performing artist. Immersing herself in the city’s vibrant countercultural scene, she quickly became a fixture in the world of underground literature, visual art, and music.

With her band, the Patti Smith Group — featuring guitarist and music archivist Lenny Kaye, as well as MC5’s Fred “Sonic” Smith — Smith released a series of albums that bridged the gap between the art-rock experimentation of the 1960s and the incendiary punk movement that followed. Her 1975 debut, Horses, was a declaration of artistic freedom, blending Beat-influenced lyricism with snarling delivery. At a time when women in rock were often confined to the roles of glamorous front women or folk singers, Smith carved out space for a new kind of female punk icon — one who could be brash and commanding, yet deeply introspective and literary.

Jayne County shattered boundaries both in music and culture, bringing gender nonconformity to the forefront of punk before it was widely accepted. Her snarling vocals and sharp wit fueled songs that fused glam, and proto-industrial sounds, influencing artists from David Bowie to The Cramps.

Beyond music, County’s theatrical performances and visual art challenged societal norms, making her a multifaceted icon of rebellion. Whether fronting the Electric Chairs or carving out a solo career, she remained a defiant voice for queer and trans representation in rock.

Though first assembled as a teen novelty act, the Runaways nevertheless carved out a real path for women in popular rock music, drawing connections to the burgeoning L.A. scene of their day and becoming influential for future generations.

The Runaways’ Lita Ford would go on to make similar inroads in the world of metal, while guitarist and vocalist Joan Jett became a a successful solo artist and later a  record producer/collaborator for next generation riot grrrl band Bikini Kill. Drummer Sandy West and bassist Jackie Fox also made their marks, with West continuing in music until her passing and Fox later becoming an advocate for artists’ rights. 

Despite initial skepticism, the Runaways proved themselves as more than just a gimmick, delivering raw, antagonistic rock that challenged the male-dominated industry. Songs like “Cherry Bomb” became anthems of teenage rebellion. Though they faced exploitation and industry pushback, their unapologetic presence helped pave the way for countless female-fronted rock bands, from the Donnas to Amyl and the Sniffers.

Poly Styrene is often recognized as the first multiracial front woman of a punk band. Best known as the founder of the U.K. band X-Ray Spex, she also had a career extending into new wave territory. With her unconventional style, dayglo aesthetics, and sharp social commentary, Styrene shattered expectations of what a punk icon could be.

Her piercing vocals and witty, anti-consumerist lyrics on Germfree Adolescents made X-Ray Spex one of the most distinctive bands of the era. Beyond her work with the band, her solo music explored deeper personal and political themes, merging guitar-driven music with electronic and world influences. Even after Styrene’s passing, her impact remains undeniable, inspiring generations of musicians and rebels alike.

Formed in 1976, the Slits are essential to the 1970s British punk mentality. They actively fought back against the conventions of what women were expected to look and act like at the time. Their unpolished style infused punk with reggae rhythms, setting them apart from their contemporaries.

They challenged both the music industry and societal norms, carving out space for women. Their 1979 debut album, Cut, remains a landmark record, with its jagged guitars, dub-influenced grooves, and unapologetically defiant lyrics. The Slits’ influence can still be heard in countless post-punk bands, cementing them as one of alternative music’s most important groups.

Born in 1958 and raised in Seattle, Penelope Houston is best known as the fierce and charismatic frontwoman of the Avengers, one of the pioneering punk bands to emerge from San Francisco’s explosive late-’70s scene. Formed in 1977, the Avengers’ lone official release during their initial run, the We Are the One EP, became a defining document of West Coast punk.

Though the band originally disbanded in 1979, their influence never waned. Their song “We Are the One” has been extensively covered over the years, becoming a rallying cry of the era and helping to define the sound and ethos of the Dangerhouse Records scene in Los Angeles. Since 1999, the Avengers have periodically reunited to tour, introducing new generations to their incendiary sound while reaffirming their status as one of punk’s foundational acts. Beyond her work with the Avengers, Houston has also explored folk and acoustic music in her solo career.

Wendy O’Williams was the fearless and provocative front woman of the Plasmatics, a band that pushed the boundaries of punk rock with their anarchic sound and over-the-top stage theatrics. Formed in 1977, the Plasmatics became infamous for their explosive live performances, which featured everything from chainsaws and sledgehammered televisions to car demolitions and pyrotechnics. Their combination of punk, shock rock, and heavy metal made them one of the most controversial and visually arresting bands of their time, with O’Williams at the center.

Beyond her time with the Plasmatics, O’Williams embarked on a solo career throughout the 1980s, releasing four studio albums. Her 1984 album WOW, produced by Gene Simmons of KISS, earned her a Grammy nomination for Best Female Rock Vocal Performance, a rare achievement for a punk artist. Though her music often courted controversy, O’Williams remained an unapologetic figure in the punk and metal scenes until her untimely passing in 1998.

Though often remembered as a chart-topping new wave act, the Go-Go’s emerged from the L.A. Angeles punk scene of the late 1970s and early ’80s. Before fronting the band, Belinda Carlisle had a brief stint drumming for the Germs under the name Dottie Danger, while the Go-Go’s themselves cut their teeth playing alongside X, Fear, and the Bags.

By the time they released their 1981 debut album, Beauty And The Beat, the Go-Go’s had refined their style into an infectious blend of punk energy and glossy, hook-laden songwriting. The album became a groundbreaking success, topping the Billboard 200 and making history as the first No. 1 album by an all-female band who wrote and performed their own material. Despite their mainstream success, the Go-Go’s never fully severed ties with their punk roots, maintaining an edge that set them apart from their pop contemporaries.