还未组乐队之前，Siouxsie本是Sex Pistols的一名“出位”乐迷。早在76年的几场Sex Pistols的Live Gig上，台下的Siouxsie身穿“露乳”Bra现身，让这位Punk妹一夜之间名传遐邇。同年Siouxsie & The Banshees在100 Club的演出，即令他们一鸣惊人，而Siouxsie的锋芒随即力盖Ari Up（The Slits）和PolyStyrene（X-Ray Spex）等Punk乐团女主唱，问鼎英国Punk坛首席天后。
随著Siouxsie & The Banshees的首张专辑The Scream在78年发表，也正正见证了由Punk而进入Post-Punk纪元，一个充满破格精神的后崩时代。
Siouxsie & The Banshees的音乐是狂野、叛逆、急激，而又带点幽闭、闇黑与自省的象徵，但他们却从不属於「地下」。毕竟自出道起The Banshees便是属於主流唱片公司(Polydor) 旗下乐队，而像其处女单曲Hong Kong Garden便早有进佔英国流行榜第七位的佳绩，多年来他们也有过好一些上榜大热作，成绩最佳是84年重玩The Beatles的Dear Prudence，曾打上季军位置。
即使Siouxsie素有「Gothic教母」之称，但现实生活中的她却不是走上堕落败坏之路的黑暗女王。就算是The Banshees被公认为最具毒品气味的82年专辑Kiss In The Dream House，也只是他们在酗酒下灌录出来而已，她亦坦言从不沾染海洛英，只对迷幻药LSD有兴趣。
而她的感情生活也相当稳定。Siouxsie跟The Banshees的低音结他手Steven Severin本是情侣，及后她遇上鼓手Budgie而展开另一段关係，二人在七年后正式结为夫妇。
二十多年来，The Banshees都不断有成员进进出出，但始终是以Siouxsie加上Severin、Budgie以及结他手John McGeoch这个阵容为最经典（后者才在去年3月猝逝）。McGeoch一手迷幻的结他，Severin低迴阴沉的歌德式Bassline，Budgie凌厉而深具内聚张力的鼓击，都是The Banshees最Trademark的声音。但四人的合作关係，只维持了头尾四载（79至82年）而已。
Siouxsie and the Banshees were among the longest-lived and most successful acts to emerge from the London punk community; over the course of a career that lasted two decades, they evolved from an abrasive, primitive art punk band into a stylish, sophisticated unit that even notched a left-field Top 40 hit.
Throughout its numerous lineup changes and textural shifts, the group remained under the leadership of vocalist Siouxsie Sioux, born Susan Dallion on May 27, 1958. She and the Banshees initial lineup emerged from the Bromley Contingent, a notorious group of rabid Sex Pistols fans; inspired by the growing punk movement, Dallion adopted the name Siouxsie and formed the Banshees in September 1976. In addition to bassist Steven Severin and guitarist Marco Perroni, the band included drummer John Simon Ritchie, who assumed the name Sid Vicious; they debuted later that year at the legendary Punk Festival held at Londons 100 Club, where their entire set consisted of a savage, 20-minute rendition of The Lords Prayer.
Soon after, Vicious joined the Sex Pistols, while Perroni went on to join Adam & the Ants. The core duo of Sioux and Severin, along with new guitarist John McKay and drummer Kenny Morris, reached the U.K. Top Ten with their 1978 debut single, Hong Kong Garden; their grim, dissonant first LP, The Scream, followed later in the year. Two days into a tour for their 1979 follow-up, Join Hands, both McKay and Morris abruptly departed, and guitarist Robert Smith of the Cure (the tours opening act) and ex-Slits and Big in Japan drummer Budgie were enlisted to fill the void; although Smith returned to the Cure soon after, Budgie became a permanent member of the group, and remained with the Banshees throughout the duration of their career.
With ex-Magazine guitarist John McGeoch on board, the band returned to the studio for 1980s Kaleidoscope, a subtler and more melodic effort than their prior records; on the strength of the U.K. Top 20 smash Happy House, the album reached the Top Five. A year later, the Banshees released the psychedelic Juju, along with Once Upon a Time, a collection of singles; at the same time, Sioux and Budgie formed the Creatures, an ongoing side project. Following 1982s experimental A Kiss in the Dreamhouse, McGeoch fell ill, and Smith temporarily rejoined for the groups planned tour; a pair of 1983 performances at Londons Royal Albert Hall were recorded and later issued as Nocturne. Also in 1983, Severin and Smith teamed as the one-off project the Glove for the LP Blue Sunshine.
After his recovery, McGeoch opted not to return, so the Banshees recruited former Clock DVA guitarist John Carruthers after Smith exited following the sessions for 1984s dark, atmospheric Hyaena. With 1986s Tinderbox, Siouxsie and the Banshees finally reached the U.S. Top 100 album charts, largely on the strength of the excellent single Cities in Dust. After 1987s all-covers collection Through the Looking Glass, Carruthers took his leave and was replaced by ex-Specimen guitarist Jon Klein and keyboardist Martin McCarrick for 1988s Peepshow, a techno-inspired outing that gave the group its first U.S. chart single with Peek-a-Boo.
In 1991 — the year in which Sioux and Budgie married — the Banshees performed on the inaugural Lollapalooza tour; their concurrent LP, Superstition was their most commercially successful, spawning their lone U.S. Top 40 hit, Kiss Them for Me. Another singles collection, Twice Upon a Time, followed in 1992 before the group returned after a long absence with 1995s stylish The Rapture, produced in part by John Cale. A year later, the nostalgia surrounding the reunion of their former heroes the Sex Pistols prompted Siouxsie and the Banshees to finally call it quits; Siouxsie and Budgie turned to the Creatures as their primary project, while Severin composed the score for the controversial film Visions of Ecstasy.
