Singer/songwriter/violinist/keyboardist/conceptualist/rabble rouser/patriarchy smasher Bitch (aka Karen Mould) got started as half of the Bitch and Animal performance art project, then broke away to make her own music, notably 2022's Bitchcraft, on Olympia's Kill Rock Stars label. She's also worked in film, and with her childhood idol, the pioneering Dyke singer Ferron.

Bitch brings her brand of mayhem to the Rabbit Box at Pike Place Market on March 7.

Andrew Hamlin: Where and when have you played in Seattle before? What are your impressions of the city

Bitch: I love Seattle! I made my first-ever album there (Bitch and Animal's What's That Smell?), so it always holds a special place in my heart. I've played Triple Door, Tractor Tavern, and the Crocodile.

AH: Any best, worst, and/or weirdest stories from playing Seattle?

B: Last time we played the Crocodile, they scheduled a show after us and kicked us out of the lobby when we were selling merch, so we took it outside and sold it in the parking lot! It was less than glamorous, lol.

AH: What are your best, worst, and weirdest stories from playing around the world?

B: Driving on the autobahn so fast, and about three hours into it, realizing we were going the wrong way. Hiring a person to flyer in NYC who we found out later had a flesh-eating disease. Being banned from a bunch of venues in Northampton because a rumor went around that I had peed all over the dressing room. I got to clear my name: there was no bathroom in the dressing room so someone left a water bottle of pee that spilled, the night Animal and I were playing there.

AH: Anybody ever try ranking you out from the audience, and/or jumping onstage? How do you handle it?

B: I love being heckled. It's one of my favorite things about live performance: getting to experience humanity in all of its impulsiveness, inspiration, and interactiveness.

AH: How do you put your Bitch look together — costume, makeup, etc.? How has your look grown and changed over the years?

B: When I was little, I wrote a letter to Cyndi Lauper asking her if I could have the skirt she wore in the "Time After Time" video. (I never heard back.) I loved her wild fashion sense.

I have always had an obtuse sense of style. Part of me thinks I quit classical music based mainly on the boring outfits! Younger Bitch wore high heels, and the older Bitch prefers comfortable shoes. Other than that, I still have a Punky Brewster/Miss Piggy—informed style!

AH: How did you end up writing a song with Margaret Cho? How did that go, and where can we hear it?

B: She is rad! She asked me to cowrite a song with her for her American Myth album (which I'm not seeing on Spotify) called "We So Worry." Recently, she made an album [Lucky Gift] produced by the amazing Garrison Starr, and I played violins on it!

AH: What are your earliest memories of hearing Ferron? What struck you about her?

B: When I first heard Ferron sing, I was absolutely blown away. To me, I was watching a legend. It made me painfully aware of how patriarchy keeps so many voices squashed. If we weren't in patriarchy, Ferron would be as famous as Bob Dylan.

AH: Which songs are your favorites live, and why?

B: "Pages" is my favorite song on Bitchcraft. I love singing it live, because it is a love letter to myself after a very painful breakup.

AH: Any advice on how to survive the new-old Trump?

B: Stay strong. Don't give up/don't give in. They count on our hopelessness. Rely on community. We outnumber them. As a white person, I need to lean into being comfortable with being uncomfortable.

Divest from supporting companies that support him. Refuse. Resist. Learn how to say no.

For more information about the March 7 gig, visit: https://www.therabbitboxseattle.com/events/bitch-skip-the-needle-the-never-going-back-tour .