Summer has arrived early in the UK, and with it comes the unmistakable sound of UK garage. This year, the genre's resurgence brings exciting news: Mis-Teeq, the iconic girl group, is reuniting for a one-night-only performance at Wembley Arena.
The Return of Mis-Teeq
Mis-Teeq, consisting of Sabrina Washington, Su-Elise Nash, and Alesha Dixon, burst onto the mainstream scene in 2001 with their debut album Lickin' on Both Sides. They became ambassadors of UK garage, taking the sound from underground raves to the charts with hits like All I Want, Why?, and One Night Stand. Their second album featured the global hit Scandalous, but their rise was cut short when their label, Telstar, collapsed in 2004, leading to the band's breakup the following year. Dixon later became a household name through Strictly Come Dancing and Britain's Got Talent.
Despite two major revivals of UK garage—first in the 2010s with producers like Disclosure and Jamie xx, and now through TikTok-fueled Y2K nostalgia—Mis-Teeq never performed together again. That changed last month when a new Mis-Teeq Instagram account appeared, quickly gaining thousands of followers. Rumors swirled, and last week it was confirmed: the group will perform at Wembley Arena to celebrate 25 years of Lickin' on Both Sides. The show is aptly named One Night Stand.
Nostalgia or Exploitation?
Some critics may view this reunion as cynical nostalgia capitalism—a cash grab dressed as fan service. However, for many fans, it is a long-overdue celebration of a group that defined a genre. The reunion also highlights a persistent issue in the music industry: female vocalists, particularly Black women, often earn little from the culture they help create.
Under the standard label model, royalties flow to songwriters and producers, while vocalists receive less credit and money, sometimes just a one-off fee. Dance music is especially problematic because the human voice is often treated as a percussive element, reduced to samples. Women, especially Black women, are underrepresented in production and contract discussions, leading to exploitation.
Examples abound: Leanne Brown of Sweet Female Attitude, whose track Flowers has nearly 97 million streams on Spotify, made comparatively little money and retrained as a teacher. Jodie Aysha, vocalist on the bassline hit Heartbroken, alleges she has been short-changed by six figures in royalties.
Mis-Teeq were in a stronger position than many peers, with all three members having writing credits. However, Washington reportedly sued Dixon and Universal over royalty disparities. The reunion suggests the settlement was handled amicably.
It is difficult to reconcile Mis-Teeq's cultural impact—12 million records sold, compared to Girls Aloud's 8 million—with what Nash and Washington have gained from the band. Their visibility does not match their success.
While awaiting ticket prices, many are hopeful this reunion gives the group a chance to enjoy the spoils of their own work. That so many other women in garage have not is scandalous—but not in the good, Mis-Teeq way.
