King Tut’s turned into a fever dream of feminine firepower at Girls Girls Girls, a night of live music and creative communion hosted by the ever-charismatic Riley Music, channelling her inner Graham Norton with razor wit and a bottomless glass of charm. Girls Girls Girls was reimagined for the King Tut’s stage by Ellen McEleney, Hannah Oman, and Caitlin Kurtto.

But beneath the laughs and glittering crowd was a deeply intentional mission: to connect creatives across the spectrum—photographers, performers, promoters, and dreamers—and to remind us all: you don’t have to play the boys’ game to win.

The night was split into two halves. The first halve was based around a panel discussion and the second half was an open mic style event where three up and coming performers had their chance to play on the infamous King Tut’s stage.

The heart of Girls Girls Girls beat hardest during the panel. This wasn’t just chit-chat—it was a masterclass in how to get in, stay in, and shake up the industry.

Emma Ross, a fiercely creative multitasker managing acts like LF Soundsystem and Lucia & the Best Boys, spoke with clarity and warmth about finding your niche—and holding it. She made being behind-the-scenes sound like the new rock star job.

Jenn Nimo Smith, head of press for SWG3 and founder of Electric Shores PR, laid down the real talk. She offered gold-dust insights on how to actually get noticed—no jargon, no fluff, just the kind of straight-up advice you wish you’d had ten years ago.

And then came Aarti Joshi, a coach, presenter, and marketing consultant with a voice like espresso and sunshine. She didn’t just uplift the room—she recharged it. Her message? Don’t give up. Make noise. Take space. It was the kind of speech that makes you sit up straighter and believe that maybe, just maybe, you’re not invisible after all.

After a quick turnaround the room was changed back into the gig venue we know and love.

First up was Sadie Fine, all the way from Nashville, brought an Americana glow to the stage with a voice like velvet dipped in bourbon. “Detox” was out highlight. Her songs teeter between vulnerability and steel. She sounds like a younger, steelier Kacey Musgraves with a soft twang and the kind of lyrics that stay with you long after the amp cuts.

Neave Marr brought that Glaswegian honesty wrapped in bedroom-pop production. She teased her upcoming EP—already drawing buzz online—with the confidence of someone who knows exactly what she’s doing. Her track “It’s Cool I’m Fine” blends the edge of early Lorde with the softness of Phoebe Bridgers—aching and bright at once.

Then came Kenzie, joined by John on guitar—a duo that lit up the room with admittedly a much more stripped back version of their band Bottle Rockets we loved the track “Video Call.” Think PJ Harvey with emo and folk undercurrents: emotionally charged, slightly punky, always tender. Their closer, “Community Service,” was part confession, part anthem—the kind of song you want playing when the credits roll on your indie film.

The night ended with fun upbeat, bouncy electro tunes spun by DJ duo Scissor Salad.

As a woman working in photography and event promotion can often feel like the lone lens in a room (or photo pitt) full of boys club bravado—it felt radical to be in a space built by and for women and non-binary creatives.

Usually, I’m capturing someone else’s moment. At Girls Girls Girls, I felt more part of it. Just community, honesty, and ambition that didn’t come with an apology.

Girls Girls Girls is a movement in eyeliner and earworms. Riley’s hosting sparkles, the performances hit hard, and the panelists hand you the tools to make your own noise in a noisy world. Whether you’re a musician, photographer, designer, or someone still figuring it out, this is your invitation in.

If you’re looking to break into music, media, or marketing—and want to do it without shrinking yourself to fit someone else’s mold—Girls Girls Girls is where your next chapter begins.

Images: Mona Montella

Words: Angela Canavan