Lillan and I spoke together on a panel presented by Bluegrass Pride in 2023 at Folk Alliance International. The panel examined on a systemic level how the music industry can adopt more socially sustainable models of business, especially for folks who have been historically marginalized. Lillian works hard to promote inclusivity. They are a pillar of the queer music industry, a gem of a human being, and someone who isn’t often found on stage, but holds up the community from behind the curtain.
What is your greatest fear?
My greatest fear is having my intentions misunderstood. Being responsible for others and making decisions on their behalf can be nerve-wracking, and I like my reasoning to be clear.
What is your current state of mind?
Anticipatory! I feel I should state that my mother died earlier this year, so my “current state of mind” fluctuates regularly. In a year, there is so much to celebrate and mourn that I find myself generally in a state of anticipation of the next moment.
What would a “perfect day” look like for you?
My current ability to balance work/life can come down to the hour, as my personal and professional lives blend 7 days a week. A “perfect day” is when I’m able to accomplish what is needed professionally without sacrificing my personal relationships. Ideally, I’m awake before the sun, there are only a few tasks/meetings to accomplish, there’s at least 5 bouts of big laughter, and some time spent outside in the fresh air.
Why do you work in the music industry?
I can’t imagine being anywhere else. I find those who work in the music industry are a more serious type of authentic and genuine. Working from behind the scenes, I’m lucky enough to meet new people regularly. From the big smoke shows to hometown heroes, I find music lovers prefer to be unapologetically themselves. Which is interesting and entertaining most of the time!
When working on a project, what’s more satisfying to you, the process or the outcome?
The planning process is most satisfying and I enjoy the outcome more if I’ve helped execute. The process of taking a few ideas and elements, and building them into a project, can be magical for me.
You are the Chair of the Board for Bluegrass Pride. What drew you to getting involved with BGP? What do you like most about it? Are there any new projects that you’re excited about?
Yes, I’ve been Chair of Bluegrass Pride for a little over a year. I had been a board member and found I had more interest than my regular term. I enjoy developing programs and maintaining welcoming events for LGBT+ musicians. I’m most excited about our Rainbow Book initiative, which seeks to create a network of vetted venues to play and homes to stay. We launched the application process in early fall of 2023.
What has it been like for you to hold a behind-the-scenes role supporting queer music?
Being behind-the-scenes supporting LGBT and queer music allows me to revel in my own queer joy, which often takes a backseat to how I’m often perceived. When I’m able to fulfill these supportive roles, I feel more connected to the community.
In 2022, you won the IBMA Momentum Award for Industry Involvement. You are someone who is extremely involved. Could you share with us some of the great work you’re doing that led to this recognition?
My job by day is CEO and Co-Owner of Elderly Instruments, where I manage the overall business. It’s Elderly’s consistency that allows me to assist in other events and businesses in the U.S. I co-direct Midwest Banjo Camp, Midwest Ukulele Camp, and The Banjo Gathering. Aside from Bluegrass Pride, I sit on the boards of the International Bluegrass Music Association’s Foundation – where I am a committee member of The Arnold Shultz Fund – and the Rhapsody Project.
Mary Bragg crafts music with beauty and pain, vulnerability and authenticity, and raw emotions. Mary played Queerfest 2022 at The Basement East in Nashville. Tonight, January 23, 2024, she will be back on stage at The Basement to celebrate her new single, “Only So Much You Can Do.”
In addition to being a phenomenal songwriter and vocalist, Mary is also a producer. In 2022, she earned a Master of Arts in Songwriting and Production from Berklee NYC, elevating her skills to the next level. Her self-titled album centers around self-discovery with tender lyrics that touch on love, loss, and self-esteem. Mary writes compelling music filled with nostalgia and honesty. We’re delighted to feature this incredible artist, Mary Bragg.
What would you say is your current state of mind?
Mary Bragg: Wow, what a way to start the conversation; I love it. My current state of mind is as follows: Grateful – for my life, my love, my work. Steady – managing a wonderfully robust docket of creative work while continuing to establish balance in my everyday life and internal dialogue. Excited – always, about a song. Several actually, new ones, ever percolating.
When I co-write, songs typically arrive at a near-complete form pretty quickly, but when I write alone, I’m much more patient with the process. I move through the world keeping my antennae up, looking for a way back into a lyric I’m working on that gets me in the gut. I’m obsessed with it.
What would a “perfect day” look like for you?
Being a touring musician is a funny thing, because touring life is very, very different than home life. I’ll frame the “perfect day” for you on the road beginning at 2 or 3 p.m., when we load in and have a perfect soundcheck with a killer engineer. Doors at 6. Show at 7. (Did I mention I love early shows?). Merch table mayhem at 9. Cocktail at 10. In bed by 11:30, sleep until 8. Drive, fly, etc. to the next town, repeat.
At home, I’m an early bird. Up by 6:30 or 7, coffee, eggs, journal, write, attempting to avoid technology for a few hours. 11 a.m. workout. Afternoon – back to work – emails galore, phone calls, Zooms, everything. I wear a lot of hats (artist, writer, producer, occasional teacher), so there’s a lot of juggling to do. By 7 p.m. I force myself to stop working; my darling fiancé, by this point has probably created a ridiculously beautiful meal for us. I used to think I was a good cook until I met her. She blows me away every time she prepares a meal for us. It’s the best. And I’m a great dishwasher. Watch a little TV after dinner (okay sometimes during), and hit the sack by 10 p.m., otherwise I turn into a pumpkin on the couch.
Why do you create music? And what’s more satisfying to you, the process or the outcome?
The process is exhilarating – as a writer, the actual singing and playing in a small room, making music and hearing it travel through a space is one of my favorite things. No audience, just the song in a room. Hearing your thoughts as you’re framing them in melodic form is a bit of a head trip that has its own immediate reward. In the studio, there’s a whole other bag of satisfying tricks to uncover and of course performing live has its own rewards as well, mostly connecting with other people who feel what you feel. And, on the road I’m able to focus more on the enjoyment of singing; pushing my voice to try new things on the fly is incredibly fun. Up until that moment of live-show-exhilaration, I’m so focused on the writing and producing, but by the time I take it to the stage, I can really let go and dig back in to the music itself.
Could you tell us about your single that came out today?
Ah, my new single! “Only So Much You Can Do” is about chasing joy in the company of another person. I’ve been thinking a lot lately about that New York Times article about the secret to happiness – and how relationships are the key to it. We are pack people; we need each other; we need other human beings around us in order to be our best, happiest selves. Friends plus community plus honesty equals joy. I wrote this song with my dear friend, Bill Demain, during the pandemic over Zoom; we craved connection again, waited eagerly for it to return. Now that we’re out from under it, the song is a nice reminder to spend time – actual face time – with your people; it sure does a lot of good.
Who are your favorite LGBTQ+ artists and bands?
Rufus Wainwright, The Indigo Girls, Brandi Carlile, Aaron Lee Tasjan, Jobi Riccio, Liv Greene.
What does it mean to you to be an LGBTQ+ musician?
Well, I’m a person who is a songwriter and artist who is also bisexual living in a world that, at the moment, likes to extend a great to deal of judgment, disdain, disapproval, and harm to people in the LGBTQ+ family. Most of the time I feel as happy as the next person, then I’m reminded of the threats to our community, to my own family, and I remember how important it is to speak my experience, write through my own pain, and sing about the things that break my heart.
I think every human being deserves to tell their story, express their feelings, and be heard. If I can do that – tell my own story of coming out, leaning in to love while experiencing deep, simultaneous loss, then reclaiming joy and autonomy – maybe some additional jolt of kindness, empathy, and love will be injected into the world.
In 2021, you moved from Nashville to New York City to pursue a Master of Arts in Songwriting and Production at Berklee NYC. How did this educational pursuit impact your creative process and the way you approach your work today?
It’s funny – getting a masters degree might suggest you’re taking your work very seriously, going deeper on process and theoretical approaches to your craft. While I did very much feel that way during the program, by the end of it I felt a newfound sense of taking myself less seriously. I wanted to reconnect with a sense of lightness, play, curiosity, remembering that songs are a gift, that humans have so much in common, and we all just need to be acknowledging those commonalities more frequently and willfully. The more I can get to the heart of those feelings, and sharing them, the better.
Also, at the end of my thesis defense, one of my professors said to me, “Remember who you are.” It was such a nice thing to hear, because I do know who I am, what I stand for, and what I want to do with my life. All I have to do when I get distracted, spin out, or lose track of my focus is remember who I am.
Your latest album addresses the universal themes of self-love, acceptance, discovery, loss, beauty, and pain. How did you personally grapple with these concepts during your own transformative journey, especially in the context of your relationships and coming out to your family?
Woof, the grappling was tough, but my gut was clear: I knew who I loved, what that meant for my place in a world that is obsessed with classifications, and how hard it would be for some people that I love deeply to accept.
I was raised in a huge, very conservative Christian family in South Georgia and coming out to them was the hardest thing I’ve ever been through. I love them so much, they love me so much, but many of them feel quite strongly that I’m, you name it, “living in sin,” “going to hell,” “choosing a ‘lifestyle’ that is wrong.” What I know in my bones is that none of that is true. The love I have for my partner and soon-to-be wife is as real and deep as any hetero relationship I’ve ever had or witnessed. Standing firm in that belief while also trying to hold on to relationships in my family that I don’t want to lose is pretty tough, but I’m grateful that my gut speaks very loudly and I have no interest in tamping it down.
(Editor’s Note: Don’t miss the exclusive premiere of Lila Blue’s new video, “Stranger,” as part of this edition of Out Now. Watch below.)
Lila Blue writes songs with angst, tender love, detailed guitar lines, descriptive lyrics, and witchy energy. Their lyrics pull you into scenes and stories. They sing with great variation, Lila’s vocals are sometimes harsh, like aggressive growling and howling, while at other times they’re a soft and soothing sound. Their craftsmanship is top-tier; their story lines are intricate and engaging. Lila has been working with several of their collaborators since they were a child, developing strong and meaningful relationships. That kind of connection, understanding, and growth creates the perfect grounds for a cohesive sound.
I’m honored to feature this phenomenal artist. I think you’ll find their sound to be engaging, creative, and distinctive. I hope you enjoy Lila’s music as much as I do.
Do you create music primarily for yourself or for others?
Lila Blue: My creative process has become so tied to performing for others that I’m actually not sure anymore. I think before anything else, I make music because I love what storytelling can do. My first love was the written word, and as a sensitive and frequently-overwhelmed individual, it’s been there for me at every turn. I know that I would still write songs even if I never got to play them for anyone again, but I love watching what stories can do to those they touch and how deliciously unreliable they can be to make and ingest.
What is your greatest fear?
I kid you not, my greatest fear is steep inclines that have unsteady ground. If you ever want to catapult me into a state of pure horror (which as I write this down I realize I’m giving any future foe the ability to undo me…), put me on a hill with loose gravel, a sandy bluff, or even a shaky pair of stairs and my nervous system is toast. I fell down a bluff when I was a kid and it’s been ingrained in me since to avoid shifty ground.
What is your current state of mind?
It’s the final day of 2023 as I’m writing this, so I’m feeling more quiet and reflective than usual. There’s been so much pain this year, personally and globally, and I think I’m trying to hold reverence for the grief that comes with that, while also uplifting joy and mindful action whenever I can.
What’s the best advice you’ve ever gotten?
I had a poetry teacher in college, Marie Howe. In our first class, she made it very clear that if we didn’t know an answer and pretended to, we would be missing the entire point of being a student and a person. I have pretended to know many things that I don’t for fear of missing out or being deemed less smart because of it. Having someone give me the permission to let that go – and illuminate how much I was actually missing out on in doing so – is something I’ve reflected on time and time again.
For anyone reading this who might not be out of the closet, were there any specific people, musicians, or resources that helped you find yourself as a queer individual?
I grew up on the Indigo Girls and Brandi Carlile and those folks held out a light for me in their songs to feel seen, to have the thought, “Oh, I can do this as a calling and be vocal about who I am and who I love.” I got to share that with Brandi this year, which absolutely knocked my socks off in the most full-circle way.
I also had a middle school music teacher, Rachel Garlin, who was a proud lesbian folk musician and a huge support in my life at that time. Being in the presence of her living her life happily, full of queer love and music, woke something up in me around how I dreamt about my own future [and that it] was a possible reality. Reading Zami by Audre Lorde in high school was also a big turning point for me and what’s been beautiful about coming out and continuing to grow is that I realized the questioning doesn’t have to end at the point when the closet door opens – we all deserve to have a lifetime of discoveries! I felt that when I found Adrianne Lenker’s work or when I recently read The Argonauts by Maggie Nelson.
What does it mean to you to be an LGBTQ+ musician?
I had a hard time answering this, as there’s so many paths to choose with a question so wonderfully vast. I don’t know how it would feel to not have who I am and who I love intertwined with the art I make, they feel inextricable to me and because of that, I have a hard time pinpointing what it exactly means to me that they intersect. What I do know is that uplifting queer and trans stories that make myself and my community feel desired, honored, seen and held is what I feel called to do with my life, and each time I get to do so and share it with the world, it feels holy to me.
What are your release and touring plans for the next year?
We’ll be releasing two videos for “Stranger” [watch above] and “I Met the Devil,” and a music video for “High on a Hill,” as well as dropping the new merch and vinyl available on my Bandcamp page. I’m planning to tour with my friend and dear collaborator NOGA in the spring, am continuing development on an original musical in February, and in the meantime will be consistently playing shows in NYC starting in mid-January!
Can you tell us a bit about the new video for “Stranger?” We’re so excited to be premiering it within this interview.
I wrote “Stranger” in the green room 15 minutes before going on as an opener for Kevin Bacon’s band in Lincoln, Nebraska, on Father’s Day in 2018 – which sounds like a fever dream when I write it out. Being in the midwest with the Bacon Brothers led to me ingesting a lot of country and folk music on the road and left me with a deep craving to write a tried and true country-folk tune. I wrote it a cappella, and then found the instrumentation a week or so later.
When I wrote it, I thought I was singing it to an “other,” a figment of someone I hoped could love me and see me. Now looking back, it feels like a letter from my closeted 18 year-old self to who I am now: Still ashamed of so much of themselves, trying to write to the stranger they craved to become. It makes me endlessly happy to sing this song to them every chance I get from the proudly queer, and deeply loved self I am now.
The video we got to film in Nashville felt like such a beautiful close to the chapter of bringing “Stranger” to the world. With the small and scrappy team at MOXE, and the amazing Elizabeth Olmstead, I feel we got to showcase what that song is about for me; the music and the words, and the creative lineage that got me there. Myself and long-time collaborators Saskia Lane and Phillip Roebuck got to play through “Stranger” on the beautiful land that MOXE is built on. I got to gaze at the studio in the distance as we sang through a song that means the world to me; I couldn’t have asked for more.
Like you mentioned, you’ve been working with some of your team members and bandmates for over a decade. Could you share that process of growing alongside folks you’ve been working with for years?
I was on a flight the other month with Saskia Lane and Phillip Roebuck (who were the first people I learned how to write songs from) and while the two of them were snoozing, I looked over and had a deep, reflective moment on how lucky I am to be able to collaborate with those who are part of my direct creative lineage. The folks who I made Sweet Pea with literally taught me how to play music, taught me how to be a musician’s musician, and I wouldn’t be the artist and human I am today without them. These songs wouldn’t have bloomed the way they did without Saskia Lane, Phillip Roebuck, Ashley Frith, Gabriel Ebert and Damon Daunno, and Kat Cook’s presence in my life.
You have a distinctive witchy-folk sound. How did you develop your sound and style?
Music has always been a ritualistic and spiritual space for me. As a kid, I was surrounded by folks and relatives who practiced witchcraft and around then I started writing songs in my sleep. Looking back, I wonder if that’s when I was least vigilant to certain turmoils I was going through, but I like to “yes and” when it comes to the rational and the mystic!
From the jump, what’s come out of me is tied to the lineage of folk music and those that taught it to me at the Lake Lucille Project, an artistic commune I’ve been a member of since I was eight years old. Learning to meld my practices of ritual and channeling, with the muscles I’ve built over the years in studying writing and music, has let me feel like I’m not powerless to what comes through me; I think if anything from here things will only get witchier.
Your music plays with intense variation in tempo and dynamics. Some of your songs whisper while others growl. This contrast creates engaging collections of songs. What is it like for you to write with so much diversity in sound?
Thank you for noticing that. I’ve always been really drawn to artists whose bodies of work are full of contradictions. A few months ago, someone asked me what I like most about music. It took me a moment to articulate it properly, but as someone who’s faced a fair share of trauma in my life, with that has come a distortion and “fossilizing” of time. I felt really trapped by my memories and through that felt trapped by time itself. But with music, I found that I could suspend time in the way my trauma did, but not from a foundation of harm. A good song can do that for someone – at least it does that for me. I figured out that for me to keep that suspension going, I needed to make music that felt surprising and dynamic to my ear.
You recently released your fourth album, Sweet Pea. Is there anything you’d like to share with our audience about the new album?
I’ve been so lucky to experiment with every record I’ve done and explore the current themes I felt drawn to at that time. When my producer Jordan Brooke Hamlin and I began to meet and discuss what this record would be about, I realized that I wanted to make a project where if someone asked me who I was when no one was looking at me, I could hand them a piece of music and show them. This is that record for me. If you listen to it, it will tell you all you need to know about me, and it wouldn’t have become that without the amazing crew at MOXE and my bandmates, some of whom have been my collaborators the past 12 years.
Photo Credit: Frank Theodore
“Stranger” Video Credits: Recorded at MOXE in Nashville, TN. Produced by Lila Blue & MOXE.
Elizabeth Olmstead – Direction, cinematography, & editing Lila Blue – Acoustic guitar & vocals Phillip Roebuck – Resonator guitar & percussion Saskia Lane – Upright bass
Special thanks to Jordan Brooke Hamlin, Lake Wilkinson, Kat Cook, & the MOXE crew.
Palmyra is one of those bands you discover and can’t help but continue to come back to. They are not easily forgotten. They write lyrics that are poetic while being relatable – a duality that is not easy to accomplish.
The musicality of these three highly skilled instrumentalists – Teddy, Manoa, and Sasha – is strong and their energy is quirky, fun, and engaging. Lately, they’ve been touring all over the East Coast, recording, working with artists like Liv Greene and Jobi Riccio, who was previously featured on our column. If you can’t tell yet, the queer music industry is incredibly small and interconnected!
Palmyra uses their innovative songwriting and performance skills to transform traditional folk instruments and three-part harmonies into something you’ve never heard before. We hope you enjoy our Out Now interview featuring Palmyra.
(Editor’s Notes: Interview answers supplied by Sasha Them)
Who are your favorite LGBTQ+ artists and bands?
Among my absolute favorite things about our touring over the last few years are the moments that we get to share stages with other queer artists. Liv Greene is a personal favorite mine; all of their songs exist in their own world of brilliance and masterful craft. Brittany Ann Tranbaugh has songs that absolutely wreck me. Another artist that’s constantly on repeat in the van for us is Brennan Wedl! Their song “Bag of Bones” is one of the most incredible songs I have ever heard and turns me into a pulp every single time I revisit it.
For anyone reading this who might not be out of the closet, were there any specific people, musicians, or resources that helped you find yourself as a queer individual?
Yes! I am an out-and-proud queer person now, but it took quite a while to settle into the person I am today. There are so many artists that helped move the needle for me; particularly the abundance of queer and trans folks I connected with online during the lockdown. Backxwash is top of the list for me; she’s a killin’ rapper and producer based out of Canada and her music helped me to understand that as artists we can channel complicated emotions and inner turmoil to create something empowering and badass and beautiful.
What are your release and touring plans for the next year?
Touring has been our full time job for two-and-a-half years now, and we plan on continuing to hit the road in full force in 2024. Our hope is to branch out to some new regions and cities, and I am sure we’ll be visiting all of our favorite places along the East Coast, from Maine to Georgia. Now that I say that, I’m realizing that, as a band, we kind of follow the Appalachian Trail in our tour routing…
We’ve got two more singles coming out this year, and are planning on putting out a few projects in 2024. I am so excited to share the music we’ve been working on.
This year, you’ve been sharing stages with bands like Watchhouse, playing festivals, and touring all over the East Coast of the U.S. What has that been like for you?
This year has definitely been our wildest one yet. Some of the experiences we’ve had, like opening for Watchhouse, have been so surreal to me. It feels like the work we’ve been putting in for so long has started to pay off in very real ways. Getting to play Newport Folk Festival is one of the highest honors any of us have ever had and it is beyond cool to get to connect with folks all over just by doing the thing we all love most – playing and writing songs.
What does your songwriting process look like? You have incredibly strong lyrics that are both relatable and poetic. Do you map out the structure and content of the song first? Do you think about song structure and tools like prosody, lyrical placement, and rhyme types? Do you spend a lot of time editing?
The songwriting process looks pretty different for all three of us, but each song typically starts with one writer and then is brought to the group to arrange and flesh out. There’s a very special (and sometimes uncomfortable) moment that has to happen when one of us brings a song to the group; you have to be able to release ownership of the thing you’ve created so that it can become a collective version that everybody has had their hands on.
For me, I usually start with one line that comes to me when I’m away from any instruments – typically when I’m out driving or walking! I am very particular about what words feel good coming out of my mouth and what feels the most authentic to my own personhood. Prosody and internal rhyme schemes are almost always on my mind, especially when I’m reworking a tune. I love getting into the nitty gritty parts of a song, and I love the moment I am able to zoom out when a song is finished and take care to make sure everything fits together.
Photo Credit: Joey Wharton
Out Now is a partnership of Queerfest and BGS authored by Queerfest founder and director Sara Gougeon.
Artist:Sarah King Hometown: currently Ripton, Vermont; formerly Columbus, Georgia Song: “Hey Hey What Can I Do” (Led Zeppelin cover) Release Date: September 1, 2023 (single) Label: Ringleader Records
In Their Words: “Recording ‘Hey Hey What Can I Do’ was a bold, last-minute decision in the studio to celebrate and share some self-love: It was the first song I learned to play by ear on guitar, and I kept the original pronouns as a nod to some of the wonderful women I’ve dated in the past. I am now married to a man, but owning my queerness through music felt like the right choice.
“When it came time to craft a video, I knew Loni (of Whiskey Ginger Goods, who also designs my logo and merch) was the perfect director. She’s excellent at capturing women feeling themselves, and those beautiful in-between, emotional moments that can really tell a story. During my summer tour in Montana, we set aside some time to film both the bar and bedroom scenes. Combined, the video leads us through the seductive, and at times silly, story of a woman in love with another woman who won’t be true. As the heartbreak unfolds, the video gets more unhinged, until I just flop on the bed, tired of trying. I loved recording the song and video, and I hope everyone who watches has a blast listening, too!” – Sarah King
Track Credits:
Sarah King – vocals, guitars
David Baron – piano, organ
Johnny Stanton – bass Jeff Lipstein – drums
Produced, recorded, and mixed by David Baron at Sun Mountain Studios, Boiceville, New York Renee Hikari – assistant engineer David Baron – mastering engineer
Photo Credit: Arielle Thomas Video Credit: Filmed & directed by Whiskey Ginger Goods, Bozeman, Montana
Abundance. If there is one word that comes to mind to describe the presence of LGBTQ+ artists and queer community support at AmericanaFest 2023, that word would be “abundance.”
My first time attending AmericanaFest was in 2021, when one of the only queer events was an inspiring Rainbow Happy Hour showcase presented by Country Queer at Vinyl Tap. We have come incredibly far in the two years since. It feels surreal to witness an abundance of queer artists, showcases and supporters at an Americana music festival and conference. But that magical feeling is rooted in the manifestation and hard work that queer artists and promoters have poured into finding and building our places in Americana music while uplifting LGBTQ+ voices.
This year, we saw many queer events and artists at the Americana Proud showcase, the Americana Honors & Awards, The Equal Access Showcase (presented by CMT, mTheory and Nashville Music Equality), the Queer Cowpoke Roundup, the Good Ol’ Queer Country Jamboree by yours truly, Queerfest and BGS, and many more.
Americana Proud at Nashville City Winery – Tuesday, September 19
On the first night of AmericanaFest, nearly 20 queer-identifying artists graced the stage at Nashville City Winery for two Americana Proud showcases lasting more than three hours. Organized by Autumn Nicholas, a queer artist themselves, it was incredible to take in Americana Proud knowing this was the first of many LGBTQ+ showcases and events to come at this year’s AmericanaFest.
Vidalia Anne Gentry, the dazzling drag queen who hosted the event, opened the show lip-syncing to Dolly Parton’s rendition of “Rocky Top.” Crys Matthews and Heather Mae sang validating, original lyrics, including, “Our love doesn’t have to look like everybody else’s.” Denitia and Julia Cannon warmed the audience with Denitia’s “All the Sweet Tea” and Cannon’s sweet harmonies.
Madeline Finn and Liv Greene wooed the crowd and Jaimee Harris touched our hearts with a song written about the Pulse Nightclub shooting – a mass shooting targeting an LGBTQ+ club in Florida that took place in June of 2016, claiming the lives of 49 individuals. The song, “Orange Avenue,” is written from the perspective of a victim who lost his life in the shooting.
The concert continued with many more outstanding up-and-coming artists, including Ally Free, Jett Holden, Kentucky Gentleman, Lila Blue, Jobi Riccio, Palmyra, ISMAY, Jessye DeSilva, Abby Posner and Madeleine Kelson with her iconic queer anthem “The Way I Do,” which declares, “God has never loved a woman the way I do.”
As a whole, the Americana Proud showcase artists presented touching lyrics, intricate guitar lines, memorable stories and warm, loving energy. It was the perfect way to kick off AmericanaFest 2023!
Brandy Clark and Brandi Carlile by Erika Goldring/Getty Images for Americana Music Association
The 22nd Annual Americana Honors & Awards – Wednesday, September 20
The Americana Honors & Awards show took place on the second night of AmericanaFest at the Ryman Auditorium. (See a full list of winners and honorees here.) There was anything but a lack of LGBTQ+ artists, with performances from Sunny War, Adeem the Artist, S.G. Goodman, Allison Russell, Brandi Carlile, Brandy Clark and Angel Olsen. Jobi Riccio also made an appearance singing harmonies with Emerging Act of the Year nominee William Prince and guitarist Joy Clark performed with Allison Russell’s band, the so-called “Rainbow Coalition.”
When S.G. Goodman took the stage, it felt like time stopped – a fitting feeling, as she performed her song “Space and Time” off of her 2020 album, Old Time Feeling. (The track was also recently cut by Tyler Childers on his latest release, Rustin’ in the Rain.) Goodman stood powerful in a black suit and red cowboy boots, her voice shaking through the Ryman, her lyrics honest, vulnerable and touching.
Goodman subsequently took home the award for Emerging Act of the Year. As she accepted the honor, the audience felt her authenticity, humor and gratitude. “I find myself pretty fortunate to have a lot of folks working beside me as if I’m making a million dollars when I’m not,” she said. “And aside from the million dollars part, I’m pretty fortunate in that, you know.”
Allison Russell earned the The Spirit of Americana / Free Speech in Music Award – and she really did earn it. Russell was instrumental in organizing the Love Rising benefit concert at Bridgestone Arena that took place on March 20, 2023. The show was stacked with many of the music industry’s top LGBTQ+ artists and allies, including Jason Isbell, Maren Morris, Sheryl Crow, Hayley Williams, Hozier, Brittany Howard, Jake Wesley Rogers, Julien Baker, Joy Oladokun, Fancy Hagood, Izzy Heltai, The Highwomen, Yola and more. Proceeds from the event were donated to the Tennessee Equality Project, Inclusion Tennessee, OUTMemphis and The Tennessee Pride Chamber.
Russell was presented her award, fittingly, by the “Tennessee Three,” State Representatives Justin Jones, Gloria Johnson and Justin Pearson, who were infamously expelled from the Tennessee General Assembly earlier this year.
Pearson announced to the Ryman, “Last session, Tennessee Republicans ran through a bill criminalizing certain kinds of healthcare for trans people under the age of 18, other bills criminalizing drag performance when minors are present, but didn’t pass a bill to ban assault weapons.”
“We’re either all equal, or none of us are equal,” Jones followed-up. “Or as we say in Tennessee, ‘Y’all means all.’”
(L-R) Gloria Johnson, Justin Jones and Justin J. Pearson, the “Tennessee Three” by Erika Goldring/Getty Images for Americana Music Association
We in the queer community are coming out of a long period of time when artists were kicked off of labels for coming out, when being in the closet was considered necessary to grow a career as an artist in the music industry (especially in country music spaces), entering a new era when many celebrate, uplift and openly work to build an inclusive industry filled with diverse backgrounds and identities.
As Russell gave her acceptance speech she declared, “We are not divided, we are united.” As a nominee for both Song of the Year and Artist of the Year, she returned to the stage throughout the evening. She was glowing, wearing a sparkly golden gown, rocking out on banjo backed by a band of women, queer folks and artists of color.
Equal Access: Presented By CMT, mtheory and Nashville Music Equality – Thursday, September 21
The Equal Access showcase took place on Thursday at Delgado Guitars and was developed by mtheory, which has a mission to empower artists and managers who come from underrepresented backgrounds within country music. They highlighted Gina Venier and Denitia, who proudly identify as members of the LGBTQ+ community, and Nat Myers and Bella White, as well.
Gina Venier played her iconic song titled “Nora Jane,” sharing her fears about coming out to her family. The song features lyrics like, “What’s my dad gonna do when I bring you home?” and, “I’m afraid everyone I love won’t love me the same. When I tell ’em your name, Nora Jane.” The song does an incredible job at showing the feelings, thought process and fears around coming out.
Good Ol’ Queer Country Jamboree by Queerfest + BGS – Saturday, September 23
Finally, our very own special event, a collaboration between Queerfest, BGS and Soho House Nashville featured Cidny Bullens, Chris Housman, Jett Holden, Amanda Fields & Megan McCormick and Adeem the Artist. To cap off the week of AmericanaFest events and programs, we gathered in the whimsical, exclusive garden at Soho House in Nashville’s Wedgewood Houston neighborhood on a perfect sunny and mild afternoon.
Cidny Bullens opened the show as our special, surprise guest, speaking on his experience as a transgender artist with a decades-long career pre- and post-transition. Chris Housman shared his reality of changing the pronouns in his songs at certain shows where acceptance and inclusivity aren’t a given, emphasizing how important it is to have spaces where artists feel comfortable being openly themselves. He played his viral single “Blueneck” with the well-loved lyric, “I guess I’m a red state blueneck.”
The next artist, Jett Holden, was introduced by Holly G, founder of the Black Opry, a collective building a supportive community for Black artists, fans and industry professionals in roots music. Holden touched on the experience of coming out and while he wasn’t disowned, he noticed queer conversations being shoved aside, and he felt unsure about where he stood with his family. Megan McCormick & Amanda Fields shared an incredible country- and bluegrass-infused set with upright bass supporting their graceful voices and melodic guitar lines intertwining in harmony.
Adeem the Artist was the culmination of our Jamboree, playing many queer-centered songs including “I Never Came Out,” from their 2021 breakout album, Cast Iron Pansexual. They spoke on their experiences encountering hate and queerphobia and transphobia at the festival earlier in the week and the difference between performative acceptance and truly doing the work. As Adeem closed out the event, they shared, “This was a nice vibe after a kinda shitty week,” underlining the importance of creating inclusive, LGBTQ-centered spaces. Soho House was filled with loving, supportive energy and was a perfect way to wrap up the last official day of AmericanaFest 2023.
Additional LGBTQ+ Showcasing Artists
In addition to queer-centered events and showcases, there were many LGBTQ+ artists who showcased, performed, or appeared at special events throughout AmericanaFest 2023, including but not limited to the following:
Aaron Lee Tasjan Allison Russell Ally Free Abby Posner Adeem the Artist Amanda Fields Amythyst Kiah Austin Lucas Autumn Nicholas Brandi Carlile Brandy Clark Chris Housman Cidny Bullens Crys Matthews Della Mae Esther rose Ever More Nest Gina Venier Heather Mae Ira Wolf ISMAY Jaimee Harris Jett Holden Jessye DeSilva Jobi Riccio Joy Clark Julie Nolen Julian Talamantez Brolaski Lila Blue Liv Greene Mary Gauthier Megan McCormick Melody Walker Mercy Bell Mya Byrne Paisley Fields Palmyra Secret Emchy Society Shawna Virago Skout Sunny War Wiley Gaby
We’d like to acknowledge that these are merely the artists we encountered who overtly and publicly identify with the LGBTQ+ community and are currently open about their identities. There are surely many more, as yet not visible to us, who were also involved this year that we hope to highlight in the future.
We would also love to acknowledge the Queer Cowpoke Roundup event that took place at The Groove, a queer-owned records store in East Nashville, on Saturday afternoon featuring a lineup of Austin Lucas, Julian Talamantez Brolaski, Julie Nolen, Melody Walker, Mercy Bell, Secret Emchy Society, Shawna Virago and Wiley Gaby. Although there were often unintentional overlaps in queer events on the AmericanaFest schedule, it emphasizes just how abundant LGBTQ+ artists, events, organizations and promoters were at AmericanaFest 2023.
As a whole, it’s exciting to see this volume of phenomenal, openly LGBTQ+ artists showcasing, holding inclusive events and being nominated for and taking home awards. Experiencing the cultivated queer spaces at AmericanaFest was lovely – yes, there were several reports of queerphobia, transphobia, misogyny and hate being directed at and overheard by LGBTQ+ artists throughout the week, too. We’ve come so far, but we’ve still got a long way to go. Even so, we are holding gratitude for the critical mass of queer music and community at AmericanaFest 2023, and we look forward to continuing to develop a more inclusive music industry together.
All Photos: Erika Goldring/Getty Images for Americana Music Association Lead Image:Allison Russell; S.G. Goodman; Adeem the Artist; all by Erika Goldring
Cali Wilson is the kind of artist who starts playing and the rest of the world melts away, leaving you with her phenomenal voice, warm guitar, and captivating lyrics. The first time I heard Cali play, she was doing her soundcheck for our monthly Queerfest showcase at Vinyl Tap in Nashville. Of course, I had listened to her music before, but I was stunned by how strongly her voice felt live, her vibrato resembling Brandi Carlile’s.
Following Cali’s appearance at Vinyl Tap, I was proud to book her for Queerfest 2022 and Nashville Scene‘s BEST FEST.
Cali’s latest release, “Old Fashioned,” was co-written with Chris Housman, another queer artist in Nashville known for his single “Blueneck.” It’s exciting to see LGBTQ+ artists collaborating and growing together.
Our Out Now conversation touches on the process of creating music, the challenges around promoting it, and finding a balance between social media and mental health.
Why do you create music? What’s more satisfying to you, the process or the outcome?
CW: I think creating music, for me, is one of my forms of communication. It’s a way I can look inward and reflect on my emotions. Often we are so caught in our own experience, it’s hard for us to be objective. Music has a way of letting me see more points of view. It helps me get outside of myself to find the story in the situations of life.
I think the process is always amazing and inspiring. It’s art that can keep evolving. To have a song or a record you can physically hear and feel is truly incredible, of course. But I’ll always love the act of writing and feeling it in the moment – a moment that you’ll never have again with that idea. Either by yourself or with co-writers, it’s the challenge of finding the best words to express that. I love that challenge. I love getting better at that process and soaking in how other writers flow, too. It’s the best thing about songwriting.
Do you create music primarily for yourself or for others?
I think that’s a really difficult question to answer. I find it’s mostly for me as I’m creating it, but then when I play it out, I hear how others connect with it. Then it becomes something else entirely. The best way I can describe it is, it feels like it’s for me, because it is at first. It’s what I feel. It’s my idea. But then it grows to be bigger than that feeling when people connect with it. That’s why music is so universal and beautiful. People can see something in a song that is totally different than what I wrote it for.
What’s the best advice you’ve ever gotten?
No one is going to promote you if you won’t promote yourself. And you can always be better. I don’t care if you’re the biggest hit writer, you can always learn something from someone in a room or on stage. Don’t get too big for your britches!
What are your release and touring plans for the next year?
I am planning some more single releases and maybe even an EP in the near future. Touring will be mostly around Nashville, but I’m heading to other states as well. Looking forward to creating more and broadening my fan base.
What would a “perfect day” look like for you?
I wake up, take my dog for a walk, and have my morning coffee or matcha. Then I head to co-writes on the row. Grabbing lunch, spending time with my wife and friends after a day like that is my slice of heaven.
Where did the idea for “Old Fashioned” come from? And how have you found the process of this release from writing to recording and promoting?
“Old Fashioned” was the first song Chris Housman and I wrote together. We had the title first and then wrote it as a love song. I’m super proud of it. The process was pretty simple. The production and how I wanted the record to sound was the hard part. Promotion is always going to be a challenge. You don’t want to overstimulate your audience, but you also want them to listen when it’s released. It’s tricky.
Independent artists like myself have nobody else to help with promo, social media, etc. It’s a lot of work, but it’s worth it.
Over the past year you’ve seen substantial growth on social media. What has that been like for you? Do you enjoy the process of creating content and promoting your work? Do you ever find it tiring or exhausting? How do you balance social media and mental health?
To be honest, I think social media was so much lighter on my soul when it wasn’t exactly “part of the job” in music. I have a hard time with it, but it’s getting better. I get overwhelmed and it’s hard for me not to compare myself to the peers that are doing better on socials. I get anxious cause I’m not posting enough and then I just get so anxious I don’t post at all. It’s such a hard balance and can really take a toll on you mentally. I try to balance it out with creating posts ahead of time when I can and just floating them up there on a schedule. That has helped a lot with the overthinking.
I’ve also found it’s okay to be silly and not take yourself too seriously. People want variety in your content regardless of what the “professionals” say. I always try to remember that as well.
It was a Tuesday night in 2021. I was sitting in The Lipstick Lounge, Nashville’s local lesbian bar, attending RNBW, a weekly LGBTQ+ showcase. I sat near the stage at a large table amongst strangers and friends, one of whom was Laura Valk. Naturally, after introducing herself as an indie-folk singer-songwriter, I knew I had to find her music and see if she was compatible with Queerfest, my local LGBTQ+ music showcase and festival. I was stunned. Not only to find a phenomenal, local queer musician, but upon the realization that I had already liked one of her videos on TikTok! If there’s one thing I’ve learned, it’s that the queer music industry is small – and TikTok’s algorithms had me figured out.
Skout is a duo composed of Laura Valk and Connor Gladney. They played the first festival I hosted, a virtual event livestreamed in collaboration with Club Passim, and they were one of the first artists to play a live Queerfest show, back when I was hosting performances in a friend’s backyard before working with established venues.
It’s been an honor and a pleasure to watch them join the local Nashville community, take off on tours, and release new songs. Their music is laced with intricate guitar lines, hard-hitting lyrics, and warm, catchy melodies. I’m proud to present our Out Now interview with Laura Valk of Skout.
Laura Valk: Living a life with regret. It’s so insane that we’re all here to begin with, and I just want to make sure I’m taking full advantage of my time here. I know I’ll stumble along the way, but I want to live a life where I took some chances and big leaps of faith instead of always playing it safe. In the words of everyone’s favorite grassroots folk hero, Eminem, “You only get one shot, do not miss your chance to blow. This opportunity comes once in a lifetime.”
What would a “perfect day” look like for you?
LV: The year is 2012. At 8 a.m. I wake up to a text from Ben Howard asking us to open for him on his Every Kingdom Tour. Literally anything else could happen that day and it would still be perfect. Maybe some blueberry pancakes somewhere in there, too.
What’s your current state of mind?
I’ve been going through a rough patch the last few months both personally and professionally. So I’m trying to be really intentional this summer about how I spend my time and energy. Re-focusing on the things and people that fill me up and letting go of everything else.
Why do you create music? – What’s more satisfying to you, the process or the outcome?
Process 100%. There’s truly no higher high for me than the moments when a song is starting to take shape. It’s like an out of body experience. Connor and I constantly get lost in the process and it’s just this addicting feeling. Don’t get me wrong, we love sharing new music. It’s magic when you play a new song out and someone shares a personal experience that relates. But I think the formal release of a song into the world can feel like slapping all these benchmarks and metrics onto something that really is beyond measure.
Do you create music primarily for yourself or for others?
It’s all about ME. I’m kidding. Except it is, really, about me. Whoops.
I guess what I mean is that I hardly ever write with other people’s opinions in mind. A mentor once gave some great advice, that the best way to write widely relatable songs is to get as personal and specific to you as humanly possible. So I always try to write with that in mind.
For anyone reading this who might not be out of the closet, were there any specific people, musicians, or resources that helped you find yourself as a queer individual?
This is going to be specifically unspecific but, for me, it was all about individual friends when I was first coming out. When you share this new part of your identity with a trusted friend and instead of turning their back on you, they reinforce their love and support for you, that changes everything. That process, repeated enough times, was truly the thing that made me start feel safe while exploring my identity.
What are your release and touring plans for the next year?
We have two new singles coming out later this year! We’re psyched, we think we’re writing our best music yet and can’t wait for you to hear it.
“But if I come up short like I fear/ Will you still be proud you brought me here?” is a lyric from your latest single, “I Am Here.” How have you found the challenges of pursuing a music career and how do you cope with the slow process of growth? With that, how do you define success?
Ugh, it’s hard, man! It sounds cliché, but really celebrating the little wins is everything. The thing is, I’ll never stop making music. Ever. I’m in it for the long haul, and I think that mentality helps when I’m frustrated by slow growth. Some seasons feel like rapid-fire while during others, the motivation is harder to find. But I think knowing that the opportunity to create will always be there helps relieve some of that pressure. I’m just trying to be kinder to myself in this area.
For me the definition of success has always been a moving target. When I was in high school, success in music meant selling out Madison Square Garden. Tour busses, the Grammys, our faces tattooed on your chest, etc. Today it looks a little different. I think if I can make a full-time living off of music, in all of its forms, that, to me, would be success. And the tattoos of course. Someone tattoo our faces on yourself already so I can feel successful!!
Drawing from another lyric from the single, “But a song I wrote, it changed one life/ And the friends I hold, I hold them tight,” do you feel that changing one life is enough to make all of your time, efforts, and pursuits worth it?
Does changing a single life make all the hours, the investment, the rejections, the crashing on couches, the blood, sweat, and tears worth it? No. Probably not. But it’s still worth reminding myself of every once in a while. It’s one of those little wins I talked about above.
I think this verse captures the essence of “I Am Here,” and really touches on the success question above. It’s admitting that no, life doesn’t necessarily look like I thought it would. But there are some absolutely beautiful, redeeming things about my new reality that I need to celebrate harder. And it’s the sum of all the hundreds and thousands of little things that does, in fact, make it all worth it.
Traditional country phenom and Kentuckian Tyler Childers has announced his upcoming album, Rustin’ In The Rain (available September 8, 2023), with a brand new single and music video, “In Your Love.” Written and creative directed by New York Times bestselling author Silas House, the video tells a gay love story between two working class, Appalachian men – played by queer A-list actors and celebrities Colton Haynes and James Scully. The visuals for “In Your Love” tell one of country music’s most prominent and visible LGBTQ+ narratives to date, entering an industry landscape that has become more and more (openly) queer over the past decade.
“In Your Love” reminds of songs and albums released not just by left-leaning, more mainstream artists like Childers and Parker Millsap, but also by queer artists themselves, telling working-class stories and histories just like that constructed and depicted by House and director Bryan Schlam. In 2015, gay banjo player, singer-songwriter, and fellow Kentucky-resident Sam Gleaves released a landmark album, Ain’t We Brothers, which dripped with the exact same lived experiences and soot-tinged patina that inform Childers’ new video. In the past couple of years, releases by LGBTQ+ identified music makers like Amanda Fields, Willi Carlisle, Adeem the Artist, Amythyst Kiah, Jaimee Harris, and more trod similar ground. It’s notable still that an artist – however outlaw- or fringe-identified – as mainstream as Tyler Childers and with as broad a fanbase as his would choose to not only highlight queer, working-class storytelling, but to do so in a way that normalizes and re-centers these ways of being in Kentucky, the South, and Appalachia.
Rustin’ In The Rain will be released via RCA Records on Childers’ own imprint, Hickman Holler Records, on September 8. Via press release, Childers describes the inspiration that birthed Rustin’: “This is a collection of songs I playfully pieced together as if I was pitching a group of songs to Elvis. Some covers, one co-write, and some I even wrote in my best (terrible) Elvis impersonation, as I worked around the farm and kicked around the house. I hope you enjoy listening to this album as much as I enjoyed creating it. Thank you. Thank you very much.”
Clearly, the legacy of “The King” is merely one way drama, mystique, nuance, entertainment, and Southern-ness coalesce within this new project from one of the most exciting voices and perspectives in country.
Just in time for Pride Month, singer-songwriter Tanya Tucker released her new album, Sweet Western Sound, with Fantasy Records, marking the Country Music Hall of Fame inductee’s 26th solo studio record. Tucker is an American country icon, having landed her first hit single in 1972 at the age of 13 with “Delta Dawn.”
Tucker has long supported the LGBTQ+ community and queer equality, and Sweet Western Sound hits many of the same notes. The record was produced by Shooter Jennings and Brandi Carlile, the openly lesbian, roots music singer-songwriter and producer who is the only woman to receive two Grammy nominations for Song of the Year in a single year. Tucker has also collab’ed with drag queen and TV legend RuPaul and performed for GLAAD and Nashville Pride.
To celebrate her inclusivity and the new record, we’re counting down some of her most memorable – and most fabulous – stage performances and duets.
Tanya at Nashville Pride 2022
Is there anything better than rainbows, bedazzled tassels, and feathers? Absolutely not! And Tucker brought all three in her spectacular outfit at Nashville, Tennessee’s Pride celebration in 2022. Tucker sang “If It Don’t Come Easy” on stage during the celebration and was joined by multiple drag queens wearing rainbow tees emblazoned with “Tanya Mother Tucker.” Guests during her set included her dog and her daughter; the two sang Merle Haggard’s apropos “The Way I Am.”
Tanya Shows Some “Kindness”
Tucker’s latest album features a track called “Kindness,” a country-western crooner that encourages us to be a little nicer to those around us. “I found glory in the ruin of the best laid plans,” Tucker sings. “There were times tomorrow felt so far away. It seemed as though the bitterness was here to stay. I’ve pushed down on my anger through my tears.”
The tune is a good reminder we never know what someone else is going through, and that we could all be a little softer because of it.
Tanya and RuPaul Declare “This Is Our Country”
In a totally unexpected, but absolutely harmonious collab, Tucker and RuPaul teamed up in 2021 to release a duet called “This Is Our Country,” a genre-bending blend of country and pop that celebrates inclusion and equality.
“I can be a queen or I can be a cowboy,” RuPual sings.
“Love is the answer, love always wins,” Tanya adds.
The lyrics state firmly that our country is big enough for all its diverse communities and features more than a few of RuPaul’s rap bars. The video performance features some of Drag Race’s most popular queen and contestants, as well as a couple cute, shirtless cowboys.
Tanya In the Moment With “Bring My Flowers Now”
Co-written by Tucker and Carlile — as well as twins Tim and Phil Hanseroth — “Bring My Flowers Now” is a call to show our love and appreciation for friends and family before they’ve passed away. The tune is from her 2019 album While I’m Livin’, also produced by Carlile and Jennings. In the song, Tucker reminds us there are “rainbows, sunshine, and babies” to celebrate in this life, and that we shouldn’t wait until it’s too late. The simple, slow track features a piano instrumental and Tucker’s iconic vocals — perfect for a gentle moment with the ones we cherish most.
Tanya and Brandi Have “Breakfast In Birmingham”
If it’s a classic country duet you’re craving, Tucker and Carlile’s duet on the new album is just the ticket. “Breakfast In Birmingham” features both singers’ warm, soulful vocals and paints a picture of the city’s past with descriptions of hippies, cheap gas, and crispy-fried bacon. There’s also mention of “shutting down the rebel history,” a reminder that there’s a lot to celebrate and remember this Pride.
Tanya’s First Hit, “Delta Dawn”
This would be no list of Tanya Tucker’s best moments without reaching back to her roots. “Delta Dawn” was Tucker’s first hit, and this 2019 performance at The Troubadour features her famous key change as well as beautiful dobro and electric guitar licks.
Around the 2:40 mark, Tucker pauses her singing to let the audience fill in the words and they don’t miss a beat. This tune is always worth a listen and is one of Tucker’s best-known singles.
Whether you’re a fan old or new, Tucker’s got something for everyone — including a message of equality for all. There’s almost no better country singer ally to revisit during Pride Month.
Photo Credit: Derrek Kupish
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