Audiofemme was born in 2012 on the cusp of a revolution, one that had been building – but perhaps, too slowly, all our lives. It was born out of voracious love for and utter fascination with music, but also out of exasperation with culture at large, and those who had deemed themselves its gatekeepers. In the beginning, it was just a place for us to name the thrill of unearthing some obscure track, or that sense of epiphany permeating dimly lit, barely legal showspaces. We dragged a seat to the table, and suddenly, there was a feast. It became our goal to celebrate and nurture the writings of women and non-binary journalists, and in turn evaluate music culture from an intersectional feminist perspective.
Over the decade though, that inner revolution that gripped hold of us so tightly in 2012, that drove our nascent vision, became something far more momentous, external, and so much greater than the sum of its parts. In turn, Audiofemme in all its shape-shifting glory, took on a new imperative as if possessed of its own volition, reflecting the urgency of the moment. With the launch of the Agenda Grant in 2020, which provides seed funding for BIPOC and LGBTQIA+ artists and creators as well as the establishment of the Audiofemme Abortion Access Fund in 2022, we are thrilled for the opportunity for greater social impact in a world wherein pessimism is all too easy of an outlook to inhabit. We are hopeful that our work can continue to make a difference in the next decade and beyond.