biography

If you’ve seen partygirl’s name before, the word “maximalist” is never far behind. Since bandleader Pagona Kytzidis formed the group in 2021, the kinetic six-piece has amassed a cult following for their relentless, inventive music. Whether you’re attending partygirl’s cathartic, emotional shows or discovering their new music online, you’ll find that the band is equally likely to enter a soaring chorus as they are an earthshaking breakdown. Listen past the pyrotechnics and you’ll hear the energy of scrappy upstarts with the sharp songwriting to match their brute force strength.

In partygirl, everyone stands out at once— producer/guitarist Francesca Pastore’s pop-punk riffs, drummer Jonathan Ashley’s jam band rigor, violinist Claire Lin Jenkins’s orchestral grandeur, Andrew Jordan’s slinking bass, and saxophonist Jenna Love’s jazz roots. At the center of the sound is Kytzidis’s booming alto, equally influenced by Freddie Mercury as it is by Fiona Apple. Kytzidis started partygirl to confront and process an ascent into adulthood littered with gendered conflict, systemic violence, a global pandemic, and political instability. She conducts the band with the Greek word “parrhesia” as a lodestar: Speaking truth to power, whatever the risks. Kytzidis spent years perfecting her lyrics and songwriting, every line and chord intentionally crafted for maximum impact.

Their debut record, I’m so charming, I forgot who I was, is the culmination of years fine-tuning and road-testing music, but it’s just the beginning for this immensely promising band. Theatrical, eccentric, and vulnerable all at once, it’s a wildly successful first effort from a band overflowing with creativity.

music

I’m so charming, I forgot who I was (I)

Released on all platforms Friday, April 18, 2025

Feature and Interview in the Luna Collective by Sydney Tate

“In feeling fully and with no remorse, partygirl’s latest EP, I’m so charming, I forgot who I was, is a devastatingly elegant and unearthed ode to overthinkers, idealizers, and scorpio venuses everywhere. The band welcomes onlookers by passing an overly optimistic and simultaneously critical torch to the turmoil of consciousness. Whether an avid poet, an orchestra member, or a woman scorned, your home lies here. Although the band members hail from a breadth of backgrounds geographically and musically, a dedication to the art marries their perspectives ingeniously and fosters lasting friendship. Now based in New York City, partygirl is challenging all who wonder if sonic abundance has a place in our modern realm. Without spoiling your first listen, the examination is an ardent yes.”

Review in Loud Women by Alanna Cowley

“I’m so charming, I forgot who I was (I) is a well-crafted piece of pure creativity. Real, raw and rich in flavour; partygirl should be coming out of everyone’s speakers.”

Review in Alt77

“Everything about this group is loud, theatrical and easy to spot. Little musical real estate is left unused. And, frankly, once you hear this, you can’t imagine what the rest of the modern rock bands do with all of their time. “let’s go dancing” is a coming-of-age story, a tale about discovering the world and it’s the sound of the kind of mental fatigue and confusion that accompanies such exploration. You’ll hear it, and you’ll remember it. As for playing it safe, you’d better forget about working in a tall office building.”

Review in Glide Magazine

““Madman” is a cinematic highlight from the band’s latest EP, I’m So Charming, I Forgot Who I Was. The single introduces the young band as world-builders, utilizing their poetically vivid songwriting to shape the narrative, while their expressive instrumentation adds dramatic flair. The first element you notice on “Madman” is Kytzidis’s warping vocal range that slyly navigates the psychedelic movement of the arrangement with an air of opera, a touch of chamber pop, and palpable passion. Just as the vocals gently guide you into Partygirl’s world, their world explodes into a jazzy, atmospheric whirlwind of influences that have been whittled down to their purest form, leaving the band with abstract colors to paint their lofty visions. Partygirl sets the tone for their sure-to-be long career with “Madman,” a moving, immersive ballad.”

Review in Grimes Square by Michelle Maier

“The album is an emotional blend of “angular” post-punk and spoken-word confessional emo, bouncing between commentary on the state of the world and personal heartbreak and pitfalls. Claire Jin Jenkins on violin and Jenna Love on saxophone added a layer of balanced chaos, classical textures that didn’t come across as ironic, but hopelessly earnest. The set was tight and vulnerable, with Kytzidis’ vocals sharp and raw, cutting through the haze of distortion and melancholy like a sudden light in a dark room.

‘clean’ single

Released on all platforms Friday, March 6, 2025

Review in LOUD WOMEN by Alanna Cowley

“Experimental jazz? Atmospheric dark pop? Orchestral rock? Yep. ‘clean’ brings it all, and more, into one explorative yet surprisingly cohesive track. The result is nothing short of electrifying... partygirl is one of the most interesting and transformative up-and-coming rock bands I’ve heard in a while.”

Also featured in the LOUD WOMEN Radio Show

The Rider in Bands do BK by Sam Sumpter

"Instead, we mean party in the get alllll up in those feelings sense. (Which might not be a traditional definition, but c’mon, it’s Monday — back off, Merriam-Webster.)… While the band’s songs might be emotion-packed, the partygirl live experience is nothing short of a spectacle, and lots of lucky fans outside of our fair city will have the chance to see them as the gang makes their way down the coast to bounce around the south all week.”

‘fine, fine, fine’ single and music video

Released on all platforms Friday, January 31, 2025

Review and interview in Melodic Magazine by Justice Petersen

“Through their incredibly artistic methods of storytelling and diverse range of musical influences, partygirl bring forward an incredibly refreshing and unique artistry in their work.”

Review in Warmly Zine by Calli Kay Ferguson

“A 6-piece instrumental is the stone dropped in the pond that will ripple into the experience of partygirl’s newest single “fine, fine, fine”. It’s a cool, colorful blend of sounds– including bright and somehow familiar guitar riffs delightfully elevated by violin and saxophone. There’s something so satisfying about hearing instruments that cross genres on a track that still somehow reads distinctly rock. It’s just one of the ways ‘fine fine fine’ feels good on the senses. Of course, when the vocals come in there’s this kind of ‘oh, damn…’ moment (especially, that is, if this is your first partygirl listen– it was mine). Pagona Kytzidis’ rich, deep sound is beautifully strange and strangely beautiful.”

Review in Dead Good Music by Adam Reeve

“fine, fine, fine” feels an evolved version of what we heard on partygirl. It still holds the vulnerability in its lyrics but instrumentally highlights the band’s progression, as it’s rich with sound. Strings sweep across the layers with heartache, with guitars providing melodies that boost or enhance them, all atop a rhythm section that maintains their rock roots. It is wonderful, and capped off by Pagona’s vocals that are so distinct and firmly lead the way. partygirl are one of those bands that can stop you in your tracks. Their music is steeped in tragedy, but always comes from a place of optimism that makes you root for them. It takes sadness and flips it so that the end is always in sight. We’re so excited for I’m So Charming, I Forgot Who I Was, as from everything heard so far, it has the potential to be one of the best albums of the year.”

Review in Deli Magazine by Emma Rosenstein

“Here and elsewhere, partygirl find a harmonious blend between highlighting Kytzidis’ vocals and lyrics, while leaving space to call attention to the masterfully-crafted instrumentals from the six-piece band. Having honed their brand of sophisticated songwriting, the band work together as a tight-knit unit, consistently leaving the listener at the edge of their seat wondering what will come next.”

Roundup in The Alternative by Hope Ankney

“Intersecting its raw lyricism with guitars that blend into the waxes and wanes of violins and saxophones, the song takes you on a journey through the moods associated with this affection. partygirl’s music always feels like an experience and the more I bump this single, the better experience I seem to have.”

Roundup in Transient Peak by Hannah Jocelyn

“They're one of the best local bands in the NY DIY scene, a bunch of scrappy virtuosos who play chamber pop like an underground post-hardcore band.”

partygirl (EP)

partygirl’s debut EP, partygirl, was recorded in February 2022 at Retro City Studios in Philadelphia. partygirl was released in October 2022, with singles good night, i have, and desirable preceding the EP release. The EP was hailed as “astounding,” “rhapsodic,” “groundbreaking,” and “cinematic” in reviews by Earmilk, Get Alternative, Big Takeover Magazine, and more. In 2022, Dead Good Music named partygirl its favorite EP of the year.

The EP is available to stream everywhere.

live shows

Friday July 17 - Paterson, NJ - Prototype 237

Friday August 16 - New York, NY - (le) Poussin Rouge

Saturday August 23 - Burlington, VT - Radio Bean

recent press

Interview and Feature in Off the Record Press, September 2024

“I started off very strongly wanting to tell this story, this story in my brain that I was also just trying to sort out to say sane. And this had a very coherent narrative, this ended up being the first album. With my lovely partners in the bands, we could pick them out and sort them… Since we’ve developed that, and as we've been playing more, my life has changed a lot, obviously since I'm not 22 anymore. I can go deeper in those themes and critically analyze them in terms of creative storytelling. I think I meant that by “this is the story of the song,” but now it's so much more than that. It's like, these are how the parts interlink with the confusion that I was feeling, and here's how these time signatures can play off of each other. And it's actually far more detailed than I ever imagined it initially. I had an idea, but I didn't know how deep the ideas could go when I started. And lots of that is working with everybody else. You can't work by yourself on this stuff. You need partners to pull things with you and tease them and really make the music the best it can be.” - Pagona Kytzidis

Interview and Feature in Philthy Magazine, August 2024

“Our band has a lot of musical themes that are looped throughout songs or the record, and also that can kind of be confusing in a dreamlike way. I wanted the language to reflect that in a way that I feel like is reclaiming and I want it to be surrealistic, or focus on the beauty of the language itself, as opposed to just stating the reality that was going on. I wanted the music and the words to be more aesthetic than just talking about my experience. I want it to be a worldbuilding kind of phenomenon. And I think that, in a band where we have six members and so many different instruments and different backgrounds, it’s a real opportunity that I didn’t realize we were seizing until we were doing it. I think that’s probably the most rewarding part of the album.” - Pagona Kytzidis

Interview and Feature in Eel Pit, Issue 2, June 2024 (print only)

“A distinct and profound grief in Pagona's lyrics is equally balanced by a vivid and resilient joy. Even being a bit tongue-in-cheek, with witty cleverness that creates a dark comedy of sorts. The band amplifies this, breathing life into these raw, contradicting, yet coexisting emotions. They ask direct questions as Pagona jokes about her own role as an entertainer— bringing in these meta themes and narratives about performance, character, gender, and the self.”

Review with Rrrat City Records, May 2024

“partygirl brought the party, a party of sound and spirit. Imagine lead guitar, violin, and saxophone all playing lead lines at once while their frontwoman belted into the stratosphere. The crowd had house party energy. Their set was like a giant house party where each song was a different room in the house. One song was the living room, booming and bouncing. One song was the cramped kitchen, swaying and swooning, up close and personal with the crush you want to kiss. One song was the back deck, breezy and open. Every member of this eclectic six piece could stand on their own musically, each having a notable solo. Be on the lookout for a new album dropping soon and be ready to party, girl.”

Studio Session with WCPR Radio, March 2024

“Brooklyn maximalist rock 'n' roll band 'partygirl' lit up the studio with an arrangement of electrifying tracks off their upcoming album.”

Interview with Reckless Magazine, October 2023

“I am pushed by wave of deep and intense and sometimes frightening emotions to write music, to turn the feeling into something articulate and beautiful and real. All of partygirl’s songs, every word, every stanza, every note, is based on a true story from my life. Everything is intentional and is seeking “to speak everything.” I am as moved by horror as I am by beauty, by sharp heartbreak as I am by enduring and deep friendships, by feeling hellish and confused as I am by feeling clear, and full, and articulate.” - Pagona Kytzidis

Video Interview with The Alternative Magazine, July 2023

“Being afraid to sound bad keeps you from sounding your best. This is a band that’s not afraid to take risks.” - David Mirarchi

Feature in Fifty Grande Magazine, April 2023

“Delivering the most expressive sound and performances possible is what partygirl is committed to.”

Feature in Bands do BK’s The Setlist, January 2023

“The only person we have to credit for this ~official~ invitation to begin the weekend early is the star of this week’s SETLIST, Pagona Kytzidis of partygirl — the “imaginative, maximalist indie rock band based in Brooklyn” — who opted for extra credit while living up to the group’s name and delivering an itinerary packin’ approx 33.3333333333 percent more party and extra (+ excellent) weekend bang for your buck… Consider this your signed/sealed/delivered permission slip to party.”

a note

Kytzidis began partygirl in June 2021. That year had been one of crisis for Kytzidis and she created partygirl to process her relationship to Survivorship and contradictions within gender (see partygirl statement), and find the healing and liberatory possibilities within both. Inspired by the Greek practice of “parrhesia,” which means literally “to speak everything” or rather, “to speak freely” or “to speak boldly” for the common good, even at personal risk, Kytzidis writes songs from a place of vulnerability and authenticity, seeking to tell stories that both describe the reality of our world (to bear witness) and seek to change it (to take action). partygirl’s music is thus grounded in Kytzidis’s life, as she seeks to explain everything about her world, from its horror to its beauty, from sharp heartbreak and its enduring and deep friendships, from feeling hellish and confused, to feeling clear, and full, and articulate. She hopes that telling these stories and making incisive arguments about their meaning will help imagine a better world.

partygirl statement

pagona kytzidis, february 2022

During the winter of 2021, I found myself at a personal and political crossroads. At that time, I had recently survived what amounted to my fourth sexual assault and I was completely unraveling. I felt like a Russian doll – that the world generally and different assailants specifically kept stealing each complex layer of my Selfhood, leaving me to exist solely, as the vulnerable, hurt, and raw darkness buried inside. That terrified me: I know that I’m more than that smallest doll, more than my biggest traumas. But, each day passed and each day the pain and terror seemed to latch itself more and more onto my soul. And as I became increasingly inseparable from my trauma, I realized that any idea of total Autonomy was a myth; for me, a lack of Subjectivity was largely inevitable not in the determinist sense but in the structural sense. I am a Survivor and as a Survivor, I am not a whole person all the time. There is no silver lining. As a Survivor, you wake up and you keep living and a part of you is gone.

However difficult it was, I didn’t want to drown because of that hole inside me. I knew I had to find a way to not just stay afloat, but to swim. The only thing I could do about it was to write about Survivorship in an urgent and radical way. Because, this issue – sexual assault – is profoundly political. It is about power, a relation of power, or specifically an abuse of power wherein one individual’s Subjectivity is stolen for the augmentation of another’s. And this abuse of power is intrinsically tied to patriarchy - as a system - and misogyny - as a logic - both of which maintain, uphold, reflect, and enforce, violently, a subject - object dichotomy between who in reality are two Subjects, two independent Selves. This ideological system continues to transform me (and almost everyone I love) from a Self into an object for someone else’s consumption. And that’s what sexual assault does and it does so violently.

And therefore, in order to combat this, we must theorize Survivorship as a radical political identity and as a space for radical political action. Survivors have a lived experience; we have a language to speak to each other; we have a natural solidarity; we have a materialist consciousness. We do not have a real, radical movement.

Why? Heterosexist patriarchy that manifests in assault can maintain its own power through the very nature of that violence: talking about assault and Survivorship, organizing around it is (re-)traumatizing. It is not mobilizing. One shuts down. One can’t speak, can’t eat, can’t sleep, can’t articulate a full sentence without tears. This aspect is the dialectic of Survivorship.

This is what partygirl seeks to transform. Writing and performing songs about Survivorship: this is to fuck this dialectic, to blow it up because - as any good Marxist knows - contradictions lead to revolution.

partygirl is a band about specifically Survivorship, but more generally about world-building, about imagining a new and better future because what we have been handed - what we were told is ‘the end of history,’ is absolute horror. But one thing being a Survivor has taught me is the importance of refusing to accept what people have ascribed to and forced upon you. What this means politically is that this world that we have inherited is not inevitable. Just because we live in a postmodern hellscape-dystopia does not mean that I will resign myself to apolitical numbness, cynicism, and nihilism. If there is one thing I truly believe - contrary to what neoliberalism has sold us as a society and as a generation - we are not at the end of history. What type of world do we want? We’re here to help imagine something radically better together.

I perform and write this music with a desperation to be a Self, to be My Self, in the totality of my experience, all the darkness, the intensity, the extremes, to be my biggest Self for all the times I was my smallest Self, exercised as an avenue for the possible. In that, partygirl is a very serious, musical, theoretical, and interdisciplinary project. It aims to allow those of us who are Survivors, to exist as complex, full Selves. If there are abusers listening: This music will not absolve you of the harm you caused. To all the Survivors out there - we see you; we are with you; we love you. We keep each other safe; we keep each other sane. In this, as partygirl, we hope to find the liberatory potential within Survivorship and I hope we all get to do that together.