When June Millington steps onto the stage at The Stationery Factory in Dalton on June 6, she brings with her over half a century of rock ‘n’ roll history. A founding member of the pioneering band Fanny—the first all-woman rock group signed to a major label—Millington has spent decades forging a path not just for herself, but for generations of women and girls in music. Today, she continues to inspire and mentor young artists through her work at the Institute for the Musical Arts (IMA) in nearby Goshen, MA, while actively performing and recording new music. Her upcoming show and workshop are more than just entertainment; they represent a living history lesson and a celebration of perseverance, artistry, and activism. I had the privilege of connecting with Millington to hear firsthand about her career, her show at The Stationery Factory, and her latest work.
From Manila to the Main Stage
June Millington’s journey began far from the epicenters of American rock. Born in the Philippines and raised in Sacramento, she and her sister Jean started making music as teenagers in the mid-1960s. “By 16 or 17, we started a band,” she recalls. From the outset, their talent was undeniable, yet societal expectations loomed large. “We had to block out all the voices telling us we couldn’t do it. Society kept saying it wasn’t possible.”
That resistance only sharpened their resolve. The sisters formed Fanny, a band that broke barriers simply by existing. As young women playing hard-hitting rock, they challenged stereotypes and opened doors in an industry that had little room for their kind. “When we walked on stage, people would sneer,” Millington says. “But within five or six minutes, once people saw we could play, that would disappear.”
Fanny’s Legacy
Fanny’s rise in the early 1970s was meteoric. In 1971 alone, the band played at both Fillmore West and Fillmore East, shared stages with Van Morrison and Humble Pie, backed Barbra Streisand in the studio, appeared on The Sonny & Cher Show, and recorded at Apple Studios in London. Yet despite their success, they were still primarily viewed through the lens of gender.
“Every interview started with, ‘How does it feel to be a girl playing guitar?'” Millington remembers. “It was frustrating, because we knew how good we were.”
They earned respect the hard way—by being better than good. David Bowie, an early fan, once called Fanny “one of the finest fucking rock bands of their time.” He wasn’t alone. Musicians would line up at the side of the stage to watch them play, with skeptics turning into fans in real time.
During our interview, June recalled meeting Bowie in Liverpool in 1973, where both bands performed. “We got back to the hotel, and when we walked up to the desk to get our keys, the guy said there’s a message from David Bowie. He’d like to invite you to a party up at the penthouse. It was one of the most fabulous parties I’ve ever been to.” Later, her sister Jean dated Bowie.
Despite the acclaim, internal pressures and industry challenges prompted Millington to leave Fanny in 1973. Her departure signaled the start of a new chapter, yet her commitment to music remained unwavering.
Finding a New Voice
Millington’s post-Fanny years were filled with experimentation and evolution. She explored reggae, disco, salsa, and women’s music. Touring with Cris Williamson in 1976 marked a turning point. “It was grassroots, limited budget, but so full of learning,” she says. For the first time, she felt liberated from the objectification that had characterized much of her earlier career. “I wasn’t being objectified on stage. That lifted such a weight off me.”
This period also deepened her political consciousness. “I started to become feminized,” she says. “And I believe feminism is really about humanism. It’s not just for women.”
In 1984, she met Anne Hackler in Amherst, MA. The two would go on to co-found IMA, alongside Angela Davis and producer Roma Baran. What began as a single workshop blossomed into a nonprofit organization with a permanent home in Goshen. Thanks to supporters and a timely influx of funding during the dot-com boom, IMA became a sanctuary where girls and women could learn the ropes of music and the music industry.
IMA: A Legacy of Empowerment
Now entering its third decade, IMA remains a training ground for young female musicians. “They know they need to be in tune, have arrangements, harmonies, a presentation,” Millington explains. Most importantly, they leave with confidence, resilience, and a sense of community.
Millington remains deeply involved, though she’s starting to pass the torch. “Teaching teenage girls music isn’t easy,” she says. “I’m starting to step back.”
Her impact is undeniable. One camper went on to work at the United Nations, while others are leading bands or producing their own music. “Girls who’ve been through camp and, as they say, ‘survived June Millington’ feel a deep pride. It’s like a sorority.”
Still Rocking, Still Relevant
Despite facing health challenges, Millington remains creatively vibrant. She recently delivered a standout performance at The Lost Church in San Francisco and is currently working on a new solo album, anticipated for release later this summer. Her set at The Stationery Factory will feature selections from Fanny, solo favorites, and brand-new material.
Songs like “Your Own Way” (a New Orleans funk tribute to her mother), “Family: World of Love” (a call for compassion and connection), and “Heaven Loves a Stranger” (featuring Little Feat’s Richie Hayward on drums) reflect her spiritual and political depth. Her latest song, “Man from Vermont,” honors her father’s service in WWII and showcases her enduring talent for storytelling through music.
She also recently collaborated with the rising Filipina-American artist Ruby Ibarra, who just won NPR’s 2025 Tiny Desk Contest. Their upcoming tour will connect generations and celebrate their shared cultural heritage.
Looking Back, Moving Forward
When asked about the significance of her legacy, Millington is humble yet clear-eyed. “Breaking those barriers was a thrill. It was like climbing a mountain—you suffer, but the view is worth it.”
As she reflects on her journey, one moment stands out: a 1968 hoot night at The Troubadour in L.A., back when the band was still known as Wild Honey. They were told they could play for 10 to 15 minutes. “And so we did our little set,” June recalls, “and the audience not only erupted, they jumped up on their tables. I looked at our lead guitarist. We didn’t say anything. We just smiled, and we realized we had done it. We were on our way.”
More than five decades later, June Millington is still on her journey. And she’s taking us all along for the ride.
Don’t miss June Millington at The Stationery Factory in Dalton, MA on June 6—a rare chance to witness a true rock pioneer sharing her story, her songs, and her soul. Before June’s performance, she will lead a workshop in which she explores the early experiences of women in music, highlighting the significant resistance they faced. During the workshop, June will use two electric guitars to demonstrate various guitar techniques and answer questions about both standard 6-string and slide guitar playing. The session will include slides and photos and incorporate a question-and-answer period. The event is open to all ages.
Learn more about June Millington at junemillington.net or on Instagram, YouTube, or Facebook. You can also view the documentary Fanny: The Right to Rock on PBS.org.
– Mark Greenlaw
