Actually Huizenga on Patriarchy, Filmmaking, and “Boy On A Leash”
To call Actually Huizenga a provocateur is an understatement — she’s a walking, screaming manifesto of radical resistance.
As the fierce creative force behind Patriarchy — her genre-defying band that blends industrial pop, blackened synth, and searing feminist rage — Huizenga turns every performance into a ritual of transgression. With haunting visuals, rousing lyrics, and a stage presence that feels part dominatrix, part shaman, Huizenga uses Patriarchy as both weapon and altar — challenging systems of control while seducing you into their hypnotic world.
Our publisher, Kristin Prim, spoke with Actually earlier this month to discuss her avid filmmaking, Patriarchy, and their latest single, “Boy On A Leash.”
KP: I want to start by speaking about your live performances, which many people have sworn are some of the most divisive and engaging they’ve ever seen. To quote someone directly: “Each time, Patriarchy gets a legitimate reaction from the crowd. Some folks love it, some hate it, but nobody ignores it.” I think that’s the greatest compliment someone can give an artist — because we’re not here to be loved or hated, but to elicit a reaction. How much of eliciting a reaction is centric to your work? And how do you conceptualize your live performances, if at all?
AH: When I’m on stage, I’m reacting physically to an already conceptualized song. I feel it and act it out in a primal way. So if anything, the performance is the opposite of conceptual — I'm letting the Dionysian aspect of the work take over the Apollonian. My shadow self takes the reins from my more structured, artistic side. It’s like diving into the earth’s core and erupting — throwing hot rocks from a volcano. It can be scary, but usually it’s just exciting and raw. It pulls me into the essence of being alive and dying at the same time.
KP: Similarly, other than your band being named Patriarchy, you’ve spoken pretty frequently about the notion of power, at one time wholeheartedly agreeing that you are both the only person who can both give yourself power and take it away. This is something that I think about a lot, particularly in today’s climate. How did you find and harness your inner power? And what makes you feel powerful?
AH: Your awareness comes entirely from within your brain, so yes — you are the only one who truly controls the power of your Self.
Even when you’re being physically overpowered or tortured, the other force still depends on how you respond. You’re the one who feels and processes the pain — you hold the power over how it affects you.
I’m actually writing this while rewatching The Passion of the Christ with my family on Easter, and I’m like — woah, here’s a perfect example… Jesus, after his flesh has basically been torn off, tells Pontius (who’s being somewhat sympathetic to his cause) that his verdict ultimately has no power over him. Only his God does — and that “God,” or whatever you want to call it, is in your brain. It’s you. That’s what people often forget — or willfully ignore — about religion. It comes from humans. The highest revelation is realizing that everything is both one and nothing at the same time — and it’s all inside you.
Gruesome torture is obviously horrific, but even in that, a victim can know that they still have self-will.
That said, self-power is one of the hardest states to sustain. It’s so much easier to hand power over, to slip into the victim role — and that’s how governments, religions, and society operate.
As for what makes me feel powerful: performing, writing, working out, having sex, orgasms, being in love. Mushrooms too, if I’m open to letting go. Oh — and having a baby made me feel incredibly powerful. But that’s more of a one-off, haha.
“The highest revelation is realizing that everything is both one and nothing at the same time — and it’s all inside you.”
KP: I love all of that. As it’s often said, no one can make you feel inferior without your consent. You’ve also often spoken of your love for Rozz Williams, whom I love as well. I remember Christian Death being a gateway band for me when I was a young teen. What is it about Rozz that you love?
AH: Rozz Williams lived his art. He physically was the music, the imagery, and the poetry that he created. He looked exactly how everything sounded — in this gritty, LA-vampiric, sexualized, vintage snuff-porn kind of way. His lyrics pierce through layers of illusion.
I love his lyrics and credit him with one of the most striking opening lines ever, from “Romeo's Distress.” He definitely was the last white guy who’s gotten away with using the N-word in a powerful, non-hateful context that continues to inspire punks of all races.
He was in his own category of reality. “All truth is parallel; all truth is untrue.”
KP: Your forthcoming single, “Boy On A Leash,” which was born on stage and later sharpened by your live performances, is a “playful commentary on power, control, and manipulation.” Can you tell us a little bit about its origins and development?
AH: Being playful with power and manipulation is the most fun way to deal with the negativity in most relationships. Honestly, I was joking with some people about all the dumb “how to keep your man” videos on social media. And in my experience — especially with the more feline, attractive playboys — the catch-and-release method works.
Of course, my “catching” is letting the guy think he’s catching. I take it slow — I’m a pleasure delayer. But yeah, once you're both into each other, the key is letting him go while the feelings are still charged. If you do that — if he feels free — he’ll come back. And when he does, you'll be holding the leash.
The demo of the song was made before our last run of shows in 2024. We started playing it live and realized how much it resonated with audiences. It was kind of amazing to play a song that wasn’t released yet — we’ve never done that before. People would come up to us after being like, "I’ve been trying to find this song on your Spotify; where is it!?!?!" After we returned home, we got in the studio with the maestro Twin Shadow and he helped us inject some of the live energy that we developed on tour into the song. It was amazing working with George; he is a master in the studio.
KP: George is brilliant! I’m so happy that he worked with you on it. One thing that people still can’t get over is your “I Don’t Want To Die” remix with Geneva Jacuzzi. Of course, Geneva is a maestro of synths, so I’m not surprised it received the acclaim that it did. How did that come about? And can we expect any future work from you guys together? The internet definitely wants it. [Laughs].
AH: During quarantine, I asked a bunch of my musician friends to remix tracks from my first Patriarchy album, since we couldn’t really hang out in person. Geneva’s remix of “I Don’t Want To Die” was one of the best, and it naturally just rose to the top. She also performed it with me on my Bottom of the Pops livestream, which was super fun (it also became part of the official video.)
She recently asked me to be in her own video for “Art Is Dangerous,” but beyond that, we don’t have anything planned. That said — she’s awesome. If she hits me up again, I’ll make time. Or maybe we will get her to remix another song from the new album... Stay tuned.
KP: Please do! I saw you list Orlando as one of your favorite films, and I just spoke to Sally Potter a few weeks ago. Naturally, we lamented over there still not being enough female filmmakers in this world. You have made films yourself through the years. Do you have a favorite that you’ve ever made? What does filmmaking mean to you in terms of expression or theme?
AH: So amazing that you spoke to Sally Potter! Orlando is a miracle of human achievement. Filmmaking has always gone hand-in-claw with music for me. I recently finished a very ambitious script with my bandmate/baby daddy, and we’re planning to get a proper Hollywood budget for it — manifesting a Neon or A24 kind of thing.
You just have to go after what you want. Right now, I’m focused on our next album (Manual for Dying, out in September… Plug!) But after that, I’m going to fight for the best possible version of the film. And that means money.
If you look at my past films, it’s immediately clear what I was lacking — money. Hahaha. Maybe that unintentionally shaped an aesthetic. I don’t look back at them much, but I’d be honored if anyone reading this checked them out. They were very important to me at the time — and they still are.
They’re both my art and my learning process. The ideas were often way too big for the resources that I had. But that gave them a kind of endearing Kenneth Anger-meets-John Waters feel.
If I had to pick just one, I’d go with Viking Angel, which I made to accompany an album. It captures the world before Patriarchy, a Cicciolina-meets-Norwegian-Conan-the-Barbarian in the backstreets of LA.
Then there’s Heavenly Sin, which also ties to music and is… insane. Synopsis from a German film fest:
“A convent-inclined female is forced into marrying a creepy, possessive dude and has to live in a baby-pink room and watch porn all day. She finally reaches her breaking point and struggles to find a small grasp of control in her life. This is a study in attaining self-control in order to lose control.”
My most “filmy” film is probably The Art of Eating, about LA vampires trying to make money off their gift. It’s kind of a cult classic for freaky girls who love The Garden — Wyatt plays my pet human in it.
Filmmaking is supremely important to me, both as a creator and as a viewer. It’s the closest thing to stepping into a new reality. The act of making a film creates one reality, and the finished product becomes another.
And I should also mention the Patriarchy music videos — they’re all ambitious narrative works, loaded with symbolism, meaning… and nudity.
KP: I can’t wait to start watching all of that! Mythology has always played a huge role in your work, as well as the work of Patriarchy at large. What draws you to it so much? Do you have a favorite myth?
AH: Myths are the most exciting and beautiful way to teach people about the deeper truths hiding within their narrow existences.
All religions have great ones, but I’m especially drawn to Greek mythology. I love how vast the pantheon is — there are so many gods to choose from.
As a romantic, the first thing that pops into my mind is the story of Dionysus finding Ariadne — abandoned on an island after Theseus used her to escape the labyrinth. Dionysus is so struck by her that he marries her and makes her a goddess.
And, of course, the many transformations of Zeus to seduce and rape — those are wild. A cow, a swan, an eagle, an ant, a cloud, golden coins, someone else’s husband…
KP: Wild! [Laughs]. Your image has remained remarkably consistent while you released work both as a solo artist and now as a band member, which I find incredibly impressive in a world where artists are always hopping onto new aesthetics to try to ride the new wave. What drives your aesthetic vision, and what does your presentation mean to you?
AH: I started manifesting my art before I was even fully developed physically — maybe that’s why I’ve stayed the same? I honestly feel the same in my mind as I did when I was a child.
But I still love playing with genres and styles, like any artist playing with colors and light.
I was a painter first. Then I started making music in high school. The two blended together into a kind of documentation process — music videos on YouTube, constant immersion in film, TCM, Criterion Collection, David Bowie…
I wanted — and still want — to direct my own dreams. That hasn’t fully happened yet, because I haven’t had the money to climb out of the six feet that I’m still buried under. But soon I’ll crawl out — if only to build a marble mausoleum to hold even more art.
Art, art, art ‘til I die. And the art is me — and the beings that I interact with. I’m my own aesthetic.
KP: It’s so visceral. And speaking of your career, what is something you know now that you wish you knew when you were starting?
AH: Two things I’ve learned: mystery is valuable, and to always ask for more. I used to take gigs for practically nothing just to perform. But the truth is, people respect you more if they think you’re worth more and not so easily attainable. Like designer bags.
A little strategic manipulation in response to the world’s mass manipulation machine. I never used to care about money as a marker of success, but now I’ve got a baby to support.
KP: As you should! And for our last question, what do you feel makes a provocative woman?
AH: A provocative woman is someone who’s fully content and even enthralled by being alone. She loves her own company — which still feels taboo for women. Her self-love makes being in public more fun, because she doesn’t expect anything from anyone — she’s just there to experience.
People are drawn to that kind of person. And some of them get repelled, unconsciously, by jealousy. So a self-reliant being becomes a provocative witch, just because she needs nothing and is everything — to herself.
But she won’t care. She’s self-reliant.
