“Does ‘feminist’ mean large unpleasant person who'll shout at you, or someone who believes women are human beings? To me it's the latter, so I sign up.”
~Margaret Atwood

The Embraceables is a musical matriarchy that seeks to explore the mythology of the sexually liberated female and problematic social identity. Somewhere between the sinewy song-birdness of Nora Jones and the masculine, in-your-face trash rock of Peaches, The Embraceables is a self-proclaimed tramp who revels in the juxtaposition between pop art and populace driven music. The Embraceables is indie pop at its finest.

Their ideology puts them somewhere between 2nd and 3rd wave feminism, and their DIY work ethic link them closely to Riot Grrrl; however, their soulful sound and pop accessibility along with their penchant for the theatrical help differentiate them from their blue collar and socially conscious peers.

Dependence on themselves and one-another is a theme in the band, with most of the band sharing an address in Chicago’s Pilsen neighborhood. They also market, promote, and organize themselves with their own label Graymalkin Productions, inspired by labels such as Mr. Lady, Bettina Richards-led Thrill Jockey, and Touch & Go.

In the practice space, Maggie leads a positive matriarchal process that relies on her band’s collective and individual strengths to bolster her unique voice in confessional pop song-writing.

Employing the talents of a diverse cast of band mates, The Embraceables are part Persian, African-American, White, Gay, Straight, Female, Male, College-Educated, and Empowered. Six-members strong, the band’s multifarious socio-economic backgrounds and accomplishments (three musical theatre degree holders, two seasoned touring and recording artists, and one musical performance degree holder) exemplify Maggie’s strong inclusive nature as a leader: accentuating and trusting her creative partners.

Using herself as the subject of her songs, Maggie uses her personal perspective on situations universal to females to connect with listeners. This quasi-confessional quasi-theatrical song-writing connects her with 2nd wave feminist Carol Hanisch’s assertion that “The Personal is Political.”

Maggie’s socio-political awareness and commentary is what gives The Embraceables intellectual lyrical depth. The group’s refined sound, positive outlook, and inter-dependent nature is what gives them their name and helps them reinforce feminism as the irresistible and egalitarian force that it is. The Embraceables open audiences’ hearts to turn them on to the intellectual realm of feminism.

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