The queer punk band talks about their album “Who Let The Dogs Out”, the fight against patriarchy and why they don’t apologize for their provocation.
Hardcore punk with queer, feminist and socially critical statements – that describes the musical output of the Lambrini Girls. The British punk duo from Brighton consists of band founder Phoebe Lunny on vocals and guitar and bassist Selin Macieira-Boşgelmez. In 2025 they released their debut album “Who Let The Dogs Out” and reached number 16 in the UK charts. They were also nominated for the Heavy Music Awards in the Best UK Breakthrough Artist category. On her 2025 album tour, we met her for an interview at Bi Nuu during her Berlin stop as part of the micro festival of the Galician lager brand Estrella Galicia. With Sophie Ehmke and Paul Hofrath.
How do you define feminism?
Phoebe: Intersectional. Feminism should include all oppressed people affected by capitalist patriarchy. It’s not a competition. It’s not just about protecting yourself or people who look like you, it’s about protecting everyone and creating community.
How did you two come to make music together?
Selin: Brighton is a small town. Phoebe and I both worked behind bars at different music clubs and were pretty much in the same environment. Then we played together in a band called White Shop USA. Lambrini Girls already existed back then and once the bassist couldn’t perform. Phoebe asked me if I could fill in and I had to learn the set in a three-hour rehearsal the day before the performance.
Phoebe: Which she did perfectly!
Selin: Thank you. We were already best friends and played music together, and then it just happened that way.
And how did you come up with your band name? What is Lambrini?
Phoebe: Lambrini is a cheap wine that you can get at any kiosk in the UK. It costs about two pounds, is very strong and very cheap. It’s actually a cider. We called it “toilet wine for sluts.” That’s exactly what he is.
Let’s talk about your album “Who Let The Dogs Out”. It is your first album, your debut, which was released in early 2025. What did it feel like when it was finally released?
Phoebe: Relief, excitement, fear. Sad, happy, stressed, frustrated, but most of all horny.
Selin: And vulnerable. Horny and vulnerable.
How would you describe it in three words?
Phoebe: Gay toilet wine.
What themes were particularly important to you for the album?
Phoebe: I never want to go through a list and say, “I want to sing about that, about that, about that and about that,” because there are so many societal ills, the world is on fire. You want to write about everything, but you can’t force anything. It just happened organically because it’s hard to settle on a single theme. I don’t want to trivialize anything when we’re working on it. We’ll cover them all at some point, but only when the time is right and it really feels like a good song that adequately represents the problem. They are often quite difficult topics.
How does it feel for you to write songs about these difficult topics?
Phoebe: It feels like that’s what you should do. I think it’s a responsibility. If you’re a political band and sing political songs, I think it’s your duty to make sure the lyrics are good enough. I’m more observant when I’m texting, so I find it much easier to point fingers at others than at myself.
Let’s talk about your song “Cuntology.” It is the most listened to track on the album. What was it like writing this song? And what does it mean to be “cunt”?
Phoebe: Well, the song just celebrates being a messy bitch and not apologizing for it. It was really easy to write the lyrics because it’s pretty darn direct, which I think is why it’s one of the most popular because it’s so catchy. And who or what is “cunt”? I would say it can mean different things to different people. But the “cuntiest thing” is cultivating community, paying attention to others and standing up for those who cannot defend themselves.
Selin: Yes, and I think an important part of self-confidence is loving yourself. I think loving yourself sounds pretty intimidating.
How do you feel about empowering yourself by reclaiming sexualized language in general?
Phoebe: I think there is a strong zeitgeist in which many women are reclaiming their sexuality, and this has been the case for the past ten years. I think this trickles down into other areas as well, particularly mainstream pop culture. Women have always tried to reclaim their sexuality. However, it is men who prevent this and distort history to suggest that women subordinate their sexuality to men, which is not true. So I think that using sexualized language – and we do this in a pretty aggressive and direct way – serves to make it less acceptable for men. So that there is no doubt that it is not intended for them.
Is there a moment when you think: Okay, that was too much, maybe too provocative?
Phoebe: I don’t think it’s even provocative enough!
Selin: No, there is no limit. Or we haven’t found them yet.
Phoebe: We’ll never find them!
You received state funding from a cultural fund, but you openly criticize the state system and receive headwinds for it. How do you deal with it?
Phoebe: I think it’s just about freedom of speech. You shouldn’t have to accept government money to express yourself and then not be allowed to criticize the state. The arts scene in Britain is chronically underfunded. We spent a lot of time playing in British clubs for £30, working multiple jobs and not being able to pay our rent. We managed to apply for funding when we were already relatively successful – which speaks for itself. We thanked the organization and the MEGS funding program. But we didn’t realize that we could expect something in return that the organization didn’t expect. The sheer reporting of The Sun, Daily Mail and Good Morning Britain suggested that we could no longer exercise our freedom of expression. Just because you accept a scholarship doesn’t mean that freedom of expression is for sale.
Selin: Mic drop.
Editorial recommendations
If you could change one thing in the music industry, what would it be?
Phoebe: Fewer men.
Selin: And pay artists fairly. I would change the entire music industry system.
What would you say to encourage young artists to continue making music?
Selin: Find someone with money. Get a scholarship.
Phoebe: You need a record label, you need people on your side who have money. Because if you don’t come from a wealthy family, if your parents can’t pay your rent, unfortunately you might end up on the streets.
Which lyric from your album would you like to shout in the faces of sexist and queerphobic people?
Phoebe: Michael, I don’t want to suck you off on my lunch break!
Selin: And it’s not that big.
Was there a song of yours that, while you were writing it, you thought: “Okay, this is going to be absolutely amazing live”?
Phoebe: No, you never know which songs will really take off because we all just think of them as bangers.
Selin: I’m generally a bit disappointed with the reaction to “Special Different” live. People don’t dance to it. Oh, but “Bad Apple”! “Bad Apple,” I really had a vision that the song would take off.
Do you have a tour ritual?
Phoebe: Tequila.
Selin: Yes, we love tequila. Yes. And reggaeton in the hotel every morning. I’m crying, I’m so tired, I’m crying. But Bad Bunny is playing, so I get ready.
What highlights can we expect from you next year?
Selin: Coachella!
Phoebe: Open a bowling alley. WWE wrestling. And then I’ll buy a monster truck.
Can we look forward to more music from you?
Selin: Apparently.
Phoebe: No comment. Allegedly.
Which artist or band would you like to work with?
Phoebe: I know who Selin wants to work with…
Selin: Yes, Bad Bunny. We just worked with Peaches, which was incredible. I would probably look for something between Peaches and Bad Bunny.
Phoebe: I want to have Buzz Aldrin or Neil Armstrong on a track. And then they can claim that the moon landing was fake! Just fuck with everyone.