In the mid-1970s, Sioux became part of an organization of youthful punk rockers known as The Bromley Contingent rabid Sex Pistols devotees known for their provocative clothes and public antics. Following the Banshees break in the mid-1990s. Sioux started collaborating with other musicians, and then worked as a solo musician.
Consequently, Sioux was raised mostly by her mother, a secretary. Sioux remembered that her mom “went out to work in a period when I did not understand anyone else’s mum who was not at home. I had a great teacher there, and I Have needed to recall that.” Sioux included, “she was the odd-job man, also, changing fuses, painting, doing the gardening. My father was there, although not working.”
Just as much as she respected her mom, growing up with one working parent meant that youthful Sioux put an extremely lonely youth. “From a young age I did not enjoy people very much … I used to speak to myself a lot and practice being Bette Davis on the staircase. I had wear my mom’s stilettos and make use of a white pencil as a cig I recall learning to smoke just like Bette Davis. I must’ve been a little bit looney once I had been young, but I was fairly content being left to my own personal devices.”
From the time she was 18 years old, in 1975, Sioux had become portion of an organization of youthful punk rockers known as The Bromley Contingent rabid Sex Pistols devotees known for their provocative clothes and public antics. In September 1976, Sioux, functioning as lead singer and songwriter, formed a group with fellow Bromley Contingent members Steven Severin (bass guitar), Marco Perroni (guitar) and Sid Vicious (drums). Calling themselves Siouxsie and the Banshees, the group made their debut at London’s 100 Club shortly after, having a performance that consisted completely of a 20-minute rendition of The Lord’s Prayer.
Several months after, on December 1, 1976, Sioux appeared using the Sex Pistols on ITV’s Today Show, hosted by Bill Grundy. Sioux’s coy flirting with Grundy and Grundy’s lewd answer prompted members of the Sex Pistols to hurl obscenities at him in an ill-famed exchange that concurrently marked downfall of Grundy’s career and the rise of Sioux’s. After that year, they released their debut album, The Scream, a discordant, exuberant and highly authentic record, to rave reviews. After the acclaimed 1979 follow up, Join Hands, the group’s lineup once again reshuffled to are the drummer known only as “Budgie.” While Siouxsie and the Banshees cycled through many musicians within the following decades, Sioux, Severin and Budgie stayed the group’s core nucleus throughout its duration.
Throughout the 1980s and ’90s, Siouxsie and the Banshees surprised critics by outliving the shock and energy of the early years to become among the very enduring punk rock bands ever. The group’s 11 total studio albums contain Kaleidoscope (1980), A Kiss in the Dreamhouse (1982), Tinderbox (1986), Superstition (1991) and their final record, The Rapture (1995). Their most famous singles contain “Peek A Boo,” “Cities in Dust,” “The Killing Jar,” “Fear (of the Unknown)” and “Kiss Them For Me,” the group’s only tune to decipher the U.S. Top 40. Sioux and Budgie created a different group called The Creatures as a side project in 1981. Yet, following the group’s 1996 break up, Sioux and Budgie turned back to performing and recording as The Creatures full time. In 2003, The Creatures released their second and final record, Hai!, which featured the single “Godzilla.”
Ever since then, Siouxsie Sioux has continued to tour as a solo musician, performing a mixture of Siouxsie and The Banshees and The Creatures tunes alongside new content. In 2007, Sioux and Budgie divorced. Among the very powerful vocalists in the annals of punk rock, Sioux stands out for the amazing width of her career, a rarity among punk rockers, as well as the consistently excellent quality of her music. Every one of her albums, without exception, got rave reviews no small accomplishment for someone who has recorded as many records as Siouxsie Sioux.
Sioux says that her continuing success could be described by her readiness to evolve to compose music that satisfies the ever changing state of her life as well as the world, as opposed to clinging to the punk angst that defined her early music. “Folks forget it was an attitude, a mindset, responding to what was going on in the planet, in music, at that point. You can not take that and put it now: that would only be mimicry … Folks doing their particular thing that is punk.”