Sir Babygirl
Johnny Brenda's Presents

Sir Babygirl

Sir Babygirl
Snake Boy Gang
Ages 21+
Sir Babygirl with Nyssa & Snake Boy Gang at Johnny Brenda's in Philadelphia
  • 7PM - Doors
  • 8PM - Snake Boy Gang
  • 9PM - Nyssa
  • 10PM - Sir Babygirl


The pseudonymme of DIY pop diva/producer Kelsie Hogue, Sir Babygirl mixes and matches inspirations as sundry as Charli XCX, Hole, Hey Arnold!, and Tim And Eric Awesome Show, Great Job! into unabashedly bubblegum, unashamedly queer pop for a future free of genre boundary and the gender binary.

Born in Silicon Valley and raised in Hanover, New Hampshire, Sir Babygirl collected slumber party guests in the form of the bass, piano, guitar, along with formally studying voice. After attending Boston University’s School of Theater, she began to synthesize all her interests in the local Allston scene—fronting a hardcore bubblegum band, collaborating with local musicians, and tinkering with self-production on demos that would lead her to Sir Babygirl project.

Sir Babygirl quickly swapped diploma for a microphone to explore Chicago’s DIY and comedy scenes but was ultimately visited in a dream by pop princesses Britney Spears, Christina Aguilera, and dear departed high priestess Whitney Houston. The three divinities implored: pop was the pure plastic expression and cartoon catharsis for which Sir Babygirl was meant.

She returned home to the woods of New Hampshire to convert her childhood bedroom into a makeshift studio. Little by little, she applied her sharpening musical tools to emerging past selves, childhood traumas, and a joyous curiosity for herself. Sir Babygirl chronicled each revelation in song, reclaiming and celebrating all the deep dives, detours, and divas that led her to her debut album Crush on Me.

Crush on Me dances through discovery—from opener and debut single “Heels,” which sets Sir Babygirl as a bewildered, bisexual Cinderella bailing on the ball, all the way to the gentle self-courting of the closing title track. Along the way, Sir Babygirl rages through the agony and ecstasy of queer flirting (“Flirting with Her”), peels past layers of latent shame (“Cheerleader”), parties with old ghosts (“Haunted House”), trudges through social anxieties (“Everyone is a Bad Friend”), and basks in the glow of neon-lit nights out (“Pink Lite”). On the other side of the journey, Crush on Me ultimately celebrates the silliness and sanctity of a second adolescence, a rite so quintessential to the queer coming-of-age experience.

Imagine Karen O performing Robyn’s “Dancing On My Own” with Courtney Love strumming the synth line… or maybe a Max Martin-produced cover of Lauryn Hill’s “Ex-Factor” performed by My Chemical Romance’s Gerard Way. Wrap it all up in an aesthetic that marries Grimes to Ashlee Simpson in the uncanny valley of celebrity culture and neo-Absurdism. Somewhere out there, in between a girl group and a boyband, is Sir Babygirl… and her pug Baby Diva.

Along her journey, she has discovered the sugar-rush sweet spot between melodic emo confessionalism, cartoon character plastic-is-fantastic vocals, and PC music-adjacent synthpop fantasia. That place is real, and its lord is our knight Sir Babygirl.

Crush on Me is out now on Father/Daughter Records.


Nyssa is the producer and performer of her own sequin-encrusted beats, powerhouse vocals, and picaresque persona. Raised on the glitz and glam of yesteryear, Nyssa flips the script on masculinity in rock and roll, blitzing the boys’ club to pave the way for all of the bad girls. She uses her lyrical prowess to explore themes of modern-day feminine malaise, sexuality, and androgyny.

Nyssa’s live performance is a sleazy spectacle of pageantry and pomp. She struts with the bravado of a B-movie vixen against the backdrop of glitter-soaked power ballads, sparking desire as her dynamic vocals fan the flame.


Snake Boy Gang is the solo music project of singer-songwriter, multi-instrumentalist, and producer Madeline Rafter.

In Snake Boy Gang, Rafter has found the opportunity to hone her skills in production, songwriting, and performance. She has always loved learning the more technical aspects of music production - including beat-making and audio engineering. Leading up to her 2017 LP release, “Spit” Rafter wrote, tracked, and produced the album on her own - resulting in "infectious melodies that are weary yet cathartic, brimming with bright, taut hooks that will stay buzzing in your brain…" (The LeSigh) and a distinctive sound and record that is uniquely hers.

Snake Boy Gang performances are a playful balancing act. Through her lyrics, Rafter aims with vulnerability and keen awareness to evoke in the listener a sense of validation for the ugly and painful aspects of the self and humanity, while in her performances she seems to consciously divert audiences attention from the weight of her introspective songwriting with performative humor, charisma, and guarded absurdity. "A fuzzy merry-go round of synth melodies melt into soft heartbreaking lyrics that move like poetry…[but] like a disco ball, it always encourages dancing through the darkness.” (The LeSigh)

Rafter is currently working on her second Snake Boy Gang full-length, in which she opens up to a more collaborative process - welcoming the skills, talents, and character of local musicians and producers into the fold of her vibrant creativity. At upcoming performances, we can expect to hear a mix of songs from her previous albums along with unreleased tracks from the forthcoming LP.

- Emi Knight

Venue Information:
Johnny Brenda's
1201 N. Frankford Ave
Philadelphia, PA, 19125