Some of the prominent members of the Berlin SCAT Queens include:

The Berlin Scat Queens were born out of a desire to challenge the male-dominated art scene in Berlin, which has long been criticized for its lack of diversity and representation. In 2018, a group of like-minded artists came together to create a platform that would showcase their unique perspectives and talents, while also providing a space for women to express themselves freely and without apology.

Berlin’s alternative scene often overlaps with the high-art world. Performance art, body modification, and avant-garde fashion are central to the city's nightlife identity. Safety and Community Standards

You won't find a listing for "Berlin Scat Queens" in a club guide. But understanding the phrase means understanding a core part of Berlin's identity—a city that isn't afraid to let different, and sometimes dark, creative worlds coexist.

Happy listening, and enjoy Berlin!

In a city like Berlin, where art and activism have long been intertwined, the Scat Queens are carrying on a tradition of avant-garde innovation and social critique. As they take their place alongside the city's most iconic artists and activists, one thing is certain: the Berlin Scat Queens are here to stay, and their scat-tastic revolution has only just begun.

The Berlin Scat Queens played a significant role in shaping the city's cultural landscape during the 1920s. Their innovative music and performances helped to break down social and cultural barriers, challenging traditional notions of femininity and artistic expression. These women, often referred to as "New Women," embodied the spirit of liberation and experimentation that defined the era.

| Item | Details | |------|---------| | | A Berlin‑based vocal‑performance collective that blends classic jazz‑scat, a‑cappella harmonies, and drag‑queen showmanship. Their set‑lists weave standards (e.g. “Take the “A” Train,” “Mack the Knife”) with original, tongue‑in‑cheek numbers that often parody pop culture. | | Founding | Formed in late 2018 by three longtime friends— Marlene “Marl” Richter (lead scat), Lena “L‑Boo” Weber (harmonies & choreography), and Sascha “Sassy” Klein (beat‑boxing & MC). The trio later added two rotating “guest queens” to keep the lineup fresh. | | Core members (2024) | 1. Marlene “Marl” Richter – powerhouse scatting, stage‑presence coach 2. Lena “L‑Boo” Weber – vocal arranger, costume designer 3. Sascha “Sassy” Klein – vocal percussion, DJ/producer 4. Guest “Queens” – a rotating roster of Berlin drag artists (e.g., Kiki Krab , Rosa Razzle , Nina Neon ). | | Musical style | • Classic swing & bebop vocabulary, but delivered with modern phrasing. • Heavy use of “vocal percussion” and beat‑boxing to replace a rhythm section. • Drag‑themed visual storytelling (costumes, lip‑sync, comedy bits). | | Typical set length | 45 min to 1 h (often part of a larger club night). | | Signature songs / moments | • “Scat‑Attack” – an improvised call‑and‑response that ends with the audience shouting “Encore!” • “Berlin‑Bebop” – a homage to the city’s techno‑jazz crossover scene. • “Drag‑It‑Like‑It’s‑Hot” – a parody of “Uptown Funk” performed entirely in scat. | | Discography (selected releases) | 1. “Scat Queens Live @ Sisyphos” – EP (2020, digital) 2. “Bebop & Glitter” – Full‑length album (2022, CD & streaming) 3. “Sassy’s Beat‑Box Suite” – Single (2023) 4. “Queen‑Cise” – Collaboration with Berlin’s Klezmer Krew (2024). | | Key venues in Berlin | • Sisyphos (Friedrichshain) – regular “Jazz‑After‑Midnight” slot. • Bassy Club (Kreuzberg) – monthly “Scat & Sip” night. • Klub der Republik (Mitte) – occasional festival appearances. • Kesselhaus (Prenzlauer Berg) – intimate acoustic shows. • Jazzfest Berlin – featured act in the “Alternative Jazz” program (2023, 2024). | | Upcoming shows (as of April 2026) | Please double‑check dates on the official pages – they can change quickly. • April 20, 2026 – “Scat Queens Night” @ Sisyphos – 22:00‑23:30 (doors 21:30). • May 5, 2026 – “Bebop & Glitter” Album‑Launch Party @ Bassy Club (tickets €12). • June 9‑10, 2026 – Berlin Jazz Festival (Alternative Stage) – 20:15 on Saturday (free with festival pass). | | How to get tickets / follow them | • Website – https://scatqueens.berlin (ticket links, mailing list). • Instagram – @berlinscatqueens (daily behind‑the‑scenes, live‑stream clips). • Bandcamp – https://scatqueens.bandcamp.com (music purchases, merch). • Eventbrite – most club bookings are listed there under “Scat Queens”. | | Why you’ll love them | 1. Unique blend – Not many acts mix authentic jazz scat with drag performance in Berlin. 2. Interactive – They often invite audience members to “scat‑battle” or join the chorus. 3. Visually striking – Costumes are handcrafted, glitter‑laden, and change each show. 4. Community‑focused – Regularly host “open‑mic scatting” workshops for newcomers. | | Similar acts you might enjoy | • The Hot Club de Paris (Berlin jazz‑rock collective). • Mia’s Scat Sisters (a cappella group in Hamburg). • Drag‑Jazz Fusion at Berghain’s “Jazz Sundays” (special guests). | | Quick FAQ | Q: Do they perform in English or German? A: Primarily English (the language of classic jazz standards) but they sprinkle German jokes and occasional German‑language improvisations.

The Berlin Scat Queens' music is a true melting pot of styles and influences. Drawing on jazz, blues, pop, and world music traditions, their sound is characterized by:

often pays homage to these historical jazz roots. While Berlin is now a global hub for techno and experimental performance art, the "scat queen" moniker remains tied to the sheer improvisational freedom Ella Fitzgerald brought to the city during the Cold War.

Berlin's reputation as a haven for boundary-pushing artists and subcultures is not new. It has deep roots that help contextualize the modern scene.

Always research and respect the specific rules, consent policies, and legal boundaries of any club, event, or subculture you wish to explore. Fetish and kink communities have strict codes of conduct, and public sexual acts, while legal in certain licensed venues in Germany, are subject to laws regarding public indecency and exhibitionism.

For those who may not be familiar, scat singing is a vocal improvisation technique where a singer creates melodic lines with their voice, often using nonsensical syllables, sounds, and vocalizations. It's a highly expressive and creative way of singing that requires a great deal of skill, musicality, and spontaneity. Scat singing has been around for decades, with jazz and swing musicians being some of the earliest adopters.

In conclusion, the Berlin Scat Queens were a group of trailblazing female performers who left an indelible mark on music, fashion, and feminist history. Their innovative use of scat singing, bold style, and fearless performances helped to redefine women's roles in the entertainment industry and challenge traditional notions of femininity. Their legacy continues to inspire and influence artists to this day.

Scholars such as McGee (2012) and O’Malley (2018) have highlighted persistent gender imbalances in jazz performance, noting the double standards faced by female improvisers. Feminist interventions (Bennett 2016; Lott 2021) argue for “gender‑aware pedagogy” and the visibility of women’s improvisational practices.

Berlin has long been recognized as a global capital for counterculture and sexual experimentation. This reputation dates back to the Weimar Republic era of the 1920s, a period marked by unprecedented social tolerance, vibrant nightlife, and the emergence of early LGBTQ+ advocacy.

Berlin is famous for blurring the lines between social subculture and performance art. Many individuals within these scenes work as visual artists, activists, or filmmakers. Influenced by various transgressive art movements, modern Berlin performers use their presence to challenge traditional beauty standards and the commercialization of identity. Safety, Health, and the Ethics of Harm Reduction