Are you wondering what to listen to during Pride Month? Don’t worry, there is plenty of great music by LGBTQ artists to provide a soundtrack for the season.
In 2016, when Tim Kaine was Hillary Clinton’s running mate, he revealed in a New York Times opinion piece that queer singer/songwriter and fellow Virginian Lucy Dacus was one of his favorite artists, just a few months after her debut album was released. Since then, Kaine has faded from memory, while Dacus has become ubiquitous in the best possible ways. She released “Historian” in 2018 and “Home Video” in 2021, both of which were well-received. Perhaps most significantly, she teamed up with queer singer/songwriter Phoebe Bridgers and Julien Baker to form Boygenius, releasing a debut EP in 2018, followed by a 2023 full-length album which earned the trio three Grammy Awards.
Right from the start, “Forever Is a Feeling” (Geffen), Dacus’ new LP (available on clear vinyl) feels different, beginning with the instrumental “Calliope prelude.” There is a lushness to “Big Deal,” the sexy “Ankles” and “Best Guess,” that come across like a warm embrace. “Limerence,” with its piano flourishes and cabaret-style vocal, is as dramatic as it is daring. “Come Out” is Dacus’ most Aimee Mann-esque tune, and the very definition of a highlight. And when Dacus switches sonic course, as she does on “Talk,” “Modigliani,” and “Most Wanted Man,” she reinforces the reasons we were drawn to her in the first place.
Currently enjoying heavy rotation on Sirius XMU, the song “Guy Fawkes Tesco Dissociation,” a musical response to a panic attack, is from “You Are The Morning” (Saddest Factory) from the debut album by British band jasmine.4.t. Produced by Julien Baker, Phoebe Bridgers, and Lucy Dacus (the aforementioned Boygenius), and led by trans vocalist Jasmine Cruickshank, the album feels like watching the sun rise over the horizon. Radiant songs such the title track, “Skin On Skin,” “Breaking In Reverse,” “Roan,” “Highfield,” “Kitchen,” and “Best Friend’s House,” illuminate an artist who might just be the most important trans voice in music since Anohni or Laura Jane Grace.
Three must be Bob Mould’s lucky number. Via trios such as Hüsker Dü and Sugar, Mould built an enviable and devoted following, made even more so because he is an out gay musician. While he began releasing albums under his own name in 1989, since 2012’s “Silver Age,” he’s been recording and performing as a trio along with Jason Narducy and Jon Wurster. Mould has said of his new album “Here We Go Crazy” (Granary Music/BMG), his first since 2020’s “Blue Hearts,” that it consists of “a number of contrasting themes. Control and chaos, hypervigilance and helplessness, uncertainty and unconditional love.”
This is something which comes through loud and clear on “Your Side,” “Sharp Little Pieces,” and “You Need To Shine,” giving the album the feel of a statement on the current state of the world. For example, in “Sharp Little Pieces,” Mould sings, “Are you headed to the demonstration? Eyes are open wide. Be the martyr of a generation, I tried.” The song “Neanderthal” is one of his sexiest, with its references to “sweat and cum,” “leash and collar,” and “paint.” Known for his blazing electric guitar work, Mould tones things down on the acoustic “Lost or Stolen” and a little more than half of “Your Side.”
The brilliant Sharon Van Etten has a history of working with queer artists including Hercules and Love Affair and Xiu Xiu. So, it’s not all that surprising that on her new eponymous album, Sharon Van Etten & The Attachment Theory, she would feature trans musician Devra Hoff in her band. Whether intentional or not, album opener “Live Forever,” with its question, “Who wants to live forever?”, is sure to bring Queen and Freddie Mercury to mind. Van Etten and company shift gears on the synth beat and keyboard-driven “I Can’t Imagine (Why You Feel This Way),” “Afterlife,” and “Idiot Box.” “Indio,” the album’s shortest song, rocks the hardest, while album closers “Fading Beauty” and “I Want You Here,” each clocking in at more than six minutes apiece, take the whole affair in another direction.
Did anyone have alt-country on their Perfume Genius bingo card? If so, good for you! Because that’s the dominant, if subtle, sound on the fittingly titled “Glory” (Matador), the seventh Perfume Genius (aka Mike Hadreas) album, and the first in three years. Easily the most accessible release in PG’s catalog, “Glory” features a stellar line-up of guest artists including nonbinary musician Meg Duffy (of Hand Habits fame), Aldous Harding, legendary drummer Jim Keltner, Blake Mills (who also produced), and Hadreas’ longtime partner Alan Wyffels (who also co-wrote some songs). The results are utterly gorgeous, user-friendly compositions that play like the ideal combination of the personal and the universal. Each listen (repeated spins are recommended) reveals something new and, well, glorious, especially on “Clean Heart,” “Me & Angel,” “No Front Teeth” (featuring vocals by Harding), “Full On,” and “It’s A Mirror.” Even when Perfume Genius returns to the experimental territory for which he is known, as on “Capezio” and “In A Row,” it’s done in an inviting way.
Even if another classical music effort wasn’t on your Rufus Wainwright bingo card, there’s no reason to be surprised by “Dream Requiem” (Warner Classics). Early on, Wainwright, the gay son of singer/songwriters Loudon Wainwright III and the late Kate McGarrigle, made it clear that opera was his first love. With “Dream Requiem,” he now has three classical albums to his name, including 2015’s “Prima Donna” and 2016’s “Take All My Love: 9 Shakespeare Sonnets.” Described as “an amalgamation of two musical and creative ideas” that took shape during the pandemic and the California wildfires, “Dream Requiem” features Meryl Streep reciting Lord Byron’s 1816 poem “Darkness” as soprano Anna Prohaska, and Chœur de Radio France, and the Orchestre Philharmonique de Radio France, under the direction of conductor Mikko Franck, perform the musical portion of Wainwright’s composition.
Some artists deserve their own bingo game altogether. Over the last few years, queer singer/songwriter Brandi Carlile’s collaborative work with Joni Mitchell, Tanya Tucker, and Brandy Clark (for all of which she received Grammy Awards), have illustrated her talent in that area. In his own right, Elton John has also proven himself to be an adept collaborator, from “Don’t Go Breaking My Heart,” his 1976 chart-topping duet with Kiki Dee, and his 1991 “Don’t Let The Sun Go Down On Me” duet with George Michael, to entire albums of collabs (1993’s “Duets” and 2021’s “The Lockdown Sessions,” as well as 2010’s “The Union” with Leon Russell). In that regard, it makes sense that a collaboration such as “Who Believes in Angels?” (Interscope) by Elton John & Carlile would come to be. Taking the teamwork even further, all 10 songs were co-written by John, Carlile, producer Andrew Watt, and John’s longtime co-songwriter Bernie Taupin. Album opener, “The Rose of Laura Nyro,” an affectionate homage to the late queer musical genius Laura Nyro incorporates references to her music throughout, and one can only hope that this will lead to the uninitiated to explore her vast and miraculous catalog. The song itself is pure vintage John and is a fitting way to set things in motion.
Would there be a John if not for Little Richard? “Little Richard’s Bible,” another musical tribute, attempts to answer that question. Carlile steps to the front on the queer anthem “Swing For The Fences,” and the gorgeous “You Without Me.” The Oscar-nominated “Never Too Late,” from the 2024 doc “Elton John: Never Too Late,” is a perfect example of the pair’s effortless musical partnership. The album closes with “When This Old World Is Done With Me,” which sounds like one of John’s most personal compositions, sung from the perspective of a 78-year-old man coming to terms with history and facing his remaining time with dignity.
“Send A Prayer My Way” (Matador) is the highly anticipated musical collaboration by queer singer/songwriters Julien Baker & TORRES. Individually, Baker and TORRES have established themselves as singular artists. But Baker seems to be at her best when she’s collaborating, whether as a member of Boygenius (with Phoebe Bridgers and Lucy Dacus), or guesting on solo albums by Becca Mancari, Bridgers, her partner Dacus, and others. That’s why this pairing of Baker and TORRES (aka Mackenzie Scott) makes musical sense. The 12 song on the vinyl LP are steeped in modern country. “Bottom of a Bottle” (from which the album gets its title), with its reference to checking “every honky-tonk in town” after losing her woman, earns its place among torch and twang drinking songs. Baker and TORRES never fail to remind us that this is contemporary music, especially on songs such as ”Downhill Both Ways,” “Sylvia,” “Off The Wagon,” and “Tuesday.”
When it comes to the coolness factor, it’s hard to top “Jungle Cruise” (In The Red) by Juanita & Juan, a musical duo with more history in their little fingers than most people have in their whole bodies. In addition to recording albums under his own name, queer musician Kid Congo Powers (Juan) has been a member of influential bands such as the Cramps, Nick Cave and the Bad Seeds, and The Gun Club. Alice Bag (Juanita) was a member of the highly regarded LA punk band the Bags and also appeared in the acclaimed Penelope Spheeris doc “The Decline of Western Civilization. As Juanita and Juan, they’ve recorded a punk-folk album that draws on their combined senses of humor (the title cut, “Aftertaste”), their political mindedness (“Put Down Your Weapons”), their bilingualism (“Interruptor,” “Ven A Mi”) and, most importantly their queerness (“The Prez” and “DBWMGWD,” which stands for “David Bowie Was My Gateway Drug”). Adding to the album’s coolness element is that it’s pressed on day-glo pink vinyl and spins at 45 RPM!
After addressing the possibility of becoming a known quantity on 2022’s “Household Name” album, Momma writes in the liner notes for their new album, “Welcome To My Blue Sky” (Polyvinyl), that it’s “an open letter to those who have come in and out of our lives, our friends & lovers, our ex-friends and ex-lovers, who have all had a hand in creating this hurricane with us.” A modern rock quartet co-founded by Allegra Weingarten and openly queer Etta Friedman, Momma could easily become household names on the strength of “Ohio All The Time,” a song that’s getting consistent airplay on college and satellite radio stations. Momma’s as comfortable in blazing and blistering (“Last Kiss,” “Rodeo”), as they are slowing the pace (“Take Me With You,” “Sincerely”), and even dabbling in electronics (“Bottle Blonde” and “New Friend”).
Salt Lake City’s Talia Keys is a queer multi-instrumentalist with an activist streak. You can hear it in her brand of blues-tinged folk on her new LP “From The Ashes” (Midtopia), available on tasty orange vinyl. When Keys sings, “I haven’t fought this hard in such a long time/it seems like I’m fighting everyone,” LGBTQ listeners can surely relate to that sentiment now. The same holds true for “Be The Resistance,” which encourages listeners to be their “own empire” in these troubled times. The sizzling soul tune “Matchstick” is fire and heats up with repeated listens. The strings on the soaring number, “Sky Is Falling,” take the song to thrilling heights. “Find Your Own” brings the funk while celebrating feeling different and the joy of finding your own community. Keys bring it to a close with the beaming country of “Glowin’ Golden.”
Nonbinary folksinger/songwriter Olive Klug cites Adrienne Lenker and Mal Blum among their influences, something that comes through loud and clear on their exceptional second album “Lost Dog” (Signature Sounds). This is 21st century folk at its best – from the distinctive lyrics to the arrangements, these songs sound like a long-awaited update to a timeless genre. “Cold War,” is a perfect example of this. What’s amazing is that Klug follows “Cold War” with “Train of Thought” which returns to folk’s roots, complete with a train theme. It’s this balancing act, which Klug makes sound effortless, that makes this record so compelling. Other examples include the title tune, “Opposite Action,” “Taking Punches From the Breeze,” and “What to Make of Me.”
“Sprinter” (The Orchard) by queer singer/songwriter Cat Ridgeway may rock a little harder than the previously mentioned albums, but that doesn’t diminish its emotional impact. In fact, the sheer variety of musical styles found on “Sprinter” may cause many listeners to run towards it. The album opening title track grabs you by the collar in the most persuasive manner. Then there’s that unexpected banjo on “Cursive.” “Look Ma, No Plans!” sounds like it might owe a debt to Liz Phair, while Ridgeway fully embraces her folkie self on “Restless Leg Syndrome.” “What If?” is the album’s most daring track, while “Get Well Soon” and “Forced Actors” are, to quote Ridgeway, “very punk rock” of her.
