Izzy Heltai is an indie-folk artist whose songs touch on themes like growing older, feeling lost, and finding yourself – his music resonates with many people. Izzy played the first Queerfest event, a virtual festival in 2021 hosted in partnership with Club Passim. His latest single, “My Best Friend Sam,” came out on April 25.
Izzy has a debut New York headline show coming up. If you’re in the area, be sure to check out his show at Union Pool in Brooklyn on Friday, June 21. Our Out Now conversation covers work-life balance (a large theme in his new single), his favorite LGBTQ+ artists, and his current state of mind. We’re so excited to highlight this phenomenal artist, Izzy Heltai!
Your lyrics cover themes that many people can relate to such as being anxious, growing older, self-esteem, feeling lost, etc. Do you write with the listener in mind for the relatability of these topics? Are you mostly thinking of your own experiences and emotions? Or are you considering both during the creative process?
Izzy Heltai: I think a lot of what I experience is universal. I think as we get older we all deal with issues of identity, anxiety, a sense of feeling lost, etc. I don’t really think about writing, or creating, for the purpose of being relatable. I think inherently what I write about is relatable, but the only way I can keep it authentic is by simply saying exactly what I’ve experienced. I don’t claim to know, or want to tell other people what they’ve gone through, all I can do is talk about what I experience.
Your single that came out last month, “My Best Friend Sam,” includes the lyrics, “I’ve wasted close to a decade chasing dreams and expectations / I wanna leave, I wanna stop everything / I wanna be hanging out with my best friend Sam.” How are you balancing a demanding career in the music industry with taking time for yourself and personal relationships?
Honestly, it’s been tough. This work exists in oscillations of highs and lows. One day it can feel like you have everything at the tips of your fingertips and the next day it can feel like everything’s falling apart. I’m trying to block out a lot of that. I’m trying to focus on what makes me happy about all of this, creating music with my friends, playing shows and connecting with people.
Recently, I’ve just been focusing on being in one place. Trying to be present, spending time with people I love, working on my next body of work and doing things throughout the day that make me feel the most present I can be. Reading, riding my bike, climbing, and writing songs.
What is your current state of mind?
If I’m honest, it isn’t the best it’s ever been. I broke my hip about a year ago and some things changed in my life that I had a hard time adjusting to. I’ve been refocusing recently and just putting energy into making things I love. Working on new songs I’m really proud of, investing in my friendships, riding my bike a lot, climbing with my friends. Things that make me feel grounded and most myself!
What’s your ideal vision for your future?
I love making my music, I love my friends here in Nashville and my routine, but I also love touring. Touring and playing shows, connecting with people, seeing new things, is such a big part of this for me. My ideal future consists of a balance between a routine at home, bike rides, yoga, rock climbing, writing and creating my next body of work, and a consistent sustainable touring schedule.
What would a “perfect day” look like for you?
This one’s easy. A sunny hot day, a very long bike ride, and cooking with my friends.
Why do you create music? What’s more satisfying to you, the process or the outcome?
I make music, because at one point I was a lonely, confused kid, and for some reason this was the way I processed the world. I’ll always make music regardless of who’s paying attention, but it’s easy to lose sight of that sometimes. I’m fully aware, with my identity, if my music reaches a certain level of success it has the power to really impact a marginalized population quite powerfully. I think my music becomes much more than “just for me,” because of that.
Who are your favorite LGBTQ+ artists and bands?
Lucky and honored to call her a close friend, Katie Pruitt is absolutely at the top of that list. Leith Ross, Ethel Cain, and Chappell Roan are other favorites of mine.
This week, we’re excited to feature Joh Chase in Out Now. Joh is an artist from Seattle, Washington now rooted in Los Angeles, California. They’ve spent the past two decades developing their craft as a songwriter and performer and they’ve opened for artists like Noah Gunderson and David Bazan. Joh’s music steps outside the lines of any single genre and blends influences of blues, folk, pop, and indie rock.
Joh Chase’s brand new album, SOLO, was released today. It features diverse sounds, intimate lyrics, and an exploration of love, loss, self-discovery, and independence. Our conversation touches on why they create music, their greatest fear, and their process of self-funding tours and crowdfunding albums.
Why do you create music? What’s more satisfying to you, the process or the outcome?
I create music because I am lucky to have claimed music as something that I do. I just do music as much as humanly possible, because it makes me feel alive and helps me know who I am and how much I love the world and life and others. Both the outcome and the process are satisfying. The payoffs for showing up always feel rewarding, but the long game reward of gaining muscle memory around showing up when it feels like the last thing you wanna do, is its own kind of reward.
Do you create music primarily for yourself or for others?
I’m very “Oliver Sacks” about music. I unabashedly create music for selfish reasons – coping, pleasure, and connection. And then I love playing music for people or hearing the music of others because everyone has a “secret public song space” in their bodies and minds and they want to be there as much as possible.
Your songs cover a wide range of genres with traces of blues, pop, folk, and indie rock influences. How do you navigate genre diversity while maintaining a cohesive sound throughout the album?
I think the genre diversity and how that comes across in the different sounds is a reflection of the kinds of music I used to make and the sounds that have stuck with me throughout the years. Using the baritone saxophone, finding a way to express some soul music as well as some Americana licks amongst folky tunes indie folk/rock sounds are endemic to my musical expression. Over the years people have said, “Oh your voice would sound good singing… country, bluegrass, blues, soul…” and in this record I found a way to fit the genres to my voice, a bit. The surprising Flaming Lips-sounding party that is “Daniel” or the more jammy “Smoother” with its less Western sounding scale, are consequences of me feeling 100% happy with creating and releasing music that genre melds, as opposed to making sure I stay in some sort of shape, genre-wise.
The lead single, “Avalanche,” is both explosive and personal. What is the inspiration and significance of this track?
I honestly cannot remember the exactitude of where or when I wrote “Avalanche.” It was in the same set of songs as “Gone” when I first wrote it, but I can’t remember that session as well as I can remember the writing of “Gone.” The song centers itself around the powerful polarity of belonging and loss. Love is not just the “hot fire sex flame” of pop bangers, but also the unexpected mountain shelf of love that you didn’t know you had until it was gone.
This album, SOLO, reflects your do-it-yourself perspective as an artist. Could you share the challenges and rewards of self-funding tours and crowdfunding projects?
One of my favorite books that I was reading around the time that I decided to do the crowd funding that led to this record is the book Real Artists Don’t Starve. The book inspired me to go back to school while I was making this record. The record business is tough and very uncontrollable, but I will never stop making music. So it’s not a question of “do I want to keep making music”, but rather how and at which costs? I think some artists or bands are in a place where they feel comfortable sharing the financials of their music business with fans and some do not for many valid reasons. I feel comfortable sharing with my fans, I need $x to do this, will you help me make it happen. It’s much more acceptable now to have folks follow your Patreon or Substack or subscriptions than it was, so I feel grateful that there are things like Kickstarter and Patreon etc.
What would a “perfect day” look like for you?
Eating a Berliner from Black Forest Bakery in Los Feliz with my coffee, going home to the studio and making music or playing out with my band.
What’s your ideal vision for your future?
I’m sitting behind some tape machine or TEAC-2A, coming up with my next record and building more beautiful songs. I’m walking my dog and going to queer line dancing and the LA women’s soccer games with my city and then touring and meeting wonderful people and getting to play music for them. Definitely going back to Europe for more shows – I’d really love to do that.
What is your greatest fear?
My dog dying when I’m on tour.
What’s the best advice you’ve ever gotten?
Get pet insurance.
What is your current state of mind?
I’m so deeply excited about playing these new songs for people this year and for people to hear this record. I couldn’t sleep last night after doing my taxes, ’cause I was so buzzed from the band rehearsal.
Who are your favorite LGBTQ+ artists and bands?
Brittany Ann Tranbaugh. Brennan Wedl. Bitch. Melissa Ferrick. Perfume Genius. Hand Habits. Sasami. Rhett Madson. Rachel Mazer. Ryan Cassatta. Brittany Howard. Sinead O’Connor. Jonnie Reinhart. Hurray for the Riff Raff.
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?
Willie Nelson’s “He Was A Friend of Mine” – I think struggling to come out of the closet or living in it or the aftermath of coming out revolves around loss of community and friendships. Nelson’s version of this song helps me still deal with some of the sadness around that loss. I was lucky enough to get sober and it was through the 12 step community that I met lovely, strong, vulnerable queers in LA who showed me the beauty and joy of what it’s like to be out and to be sturdy in your own way. I’m also spoiled with LA’s LGBT center – it’s an incredible organization with so many resources and events. Find the queers you want to be when you grow up. And then be the queer you want to be when you grow up.
What does it mean to you to be an LGBTQ+ musician?
I think it means that my music gets to be a safe LGBTQ+ place. That my shows and my music centers the queer experience.
What are your release and touring plans for the next year?
After touring this summer to promote the record on the West Coast, I’ll head east later in the year and jump into some Folk Alliance conferences. No release plans on the radar yet after SOLO.
How do you find a balance between the business and artistic aspects involved in your career as a musician?
I honestly don’t totally know. It’s intuitive and chaotic and intentional and has been part of my personality or my way of life for so long, now, that I don’t know if I can pinpoint one precise center of gravity. I have to protect my creative time, nurture my playfulness in life, let myself ditch friends or ditch overworking or ditch over-cleaning to let those creative moments remind me of who I am. I am lucky to have a manager, a team at Kill Rock Stars and friends who support me and my music. Inside of community, the glaring nature of the music industry is dulled out quite a bit.
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.
Carmen Dianne is unlike any artist you’ve heard before. Her vocals are powerful, her lyrics and melodies are engaging, and her stage presence and unique instrumentation will leave you wondering if you’re witnessing just learned talent or also a little bit of magic. Carmen is one of an extremely small number of artists who accompany themselves on electric bass while they sing. This is especially challenging, because bass lines often vary greatly from the rhythms of a song’s melody. This coordination is a remarkable act of multitasking. Artists have to be incredibly proficient both as a vocalist and a bassist to pull this off. And Carmen, drawing inspiration from Esperanza Spalding – a well-known singer-songwriter who accompanies herself on upright and electric bass – does so with mastery.
Carmen is an artist I’ve been promoting for years. She took the stage at Queerfest 2022 and absolutely blew the audience away with her phenomenal performance. I’m excited to have Carmen at our show this Saturday, February 24, at Dee’s Country Cocktail Lounge in Nashville. In addition to Carmen’s set, this show features two other phenomenal LGBTQ+ identifying artists that we’ve also featured in Out Now, Brittany Ann Tranbaugh, and Liv Greene
What’s your ideal vision for your future?
Carmen Dianne: My ideal vision for the future is to make a living creating and singing fun, meaningful, and honest music for people like me. I have a hard time answering this question, because I don’t ever want to ask for too much or seem ungrateful since I feel like I’m living my dream already, but I’ve been trying to focus on dreaming bigger lately. But if I can share my biggest dreams without jinxing them, I want to write hit songs that make LGBT people feel at home, make Black people from Podunk, Wherever, USA feel seen, make a way for female musicians in male rooms, and make the kind of music that I hope Whitney Houston would have made had she been allowed to fully be who she was. And a Grammy — a Grammy would be nice too.
What is your greatest fear?
My greatest fear is never reaching my potential or wasting my time!
What is your current state of mind?
I’ve been seeing a lot of angel numbers lately and I’ve just been feeling a big shift coming, and now I feel like it’s finally here. Right now I’m dealing with a time of transition that’s making me focus on transforming into a better version of myself. And it’s really hard. I always feel tired, and it’s hard reminding myself that every little bit I do is enough for that day.
What would a “perfect day” look like for you?
A perfect day for me would look like waking up with the sun, putting on some tea and free writing and setting my intentions for the day, working on music admin stuff like promo and content strategy for a new song rollout while I play with my dog, go to lunch with friends, having a co-write with friends, maybe going to a yoga or pilates class, and going to a gig in the evening before going out to a bar with friends.
Why do you create music? What’s more satisfying to you, the process or the outcome?
The process of writing is more satisfying for me than the outcome, many times over. The process of writing helps me to process my emotions and helps me to find the truth in how I’m feeling. You can’t really ever get closure from another person, but you can always give yourself closure by writing the end to your own story.
Do you create music primarily for yourself or for others?
When I write music, I’m thinking about two things: One, how I feel, and two, how it’ll make others feel. I’m deliberate about making songs that feel like a warm hug for people like me who just aren’t welcomed in all spaces.
What’s the best advice you’ve ever gotten?
The best advice I have ever gotten was not to give a fuck what anybody else thinks and to be yourself as recklessly and unapologetically as you can. I met SZA in an airport once (pre-Ctrl) and she told me that. The love yourself recklessly part is from a bellydancer I interviewed for a human-interest article named Portia Lange.
What has it been like for you to watch Nashville change and become more inclusive over the years?
With the changes Nashville has seen in the last few years, it’s just felt like a whole new world has opened up to me. This is not the same Nashville I grew up in where my 4th grade language arts short stories were handed back with no grade, because the teacher didn’t believe a Black child could have written them. This isn’t the Nashville that kicked me out of the gifted program, because a Black child couldn’t have made that presentation on nebulae. Nor is it the Nashville that has told me they love me but don’t approve of me, that I can sit in the church building, but I won’t ever belong. It’s a Nashville that recognizes nuance and recognizes the person inside. And I’m forever grateful for that.
You are one of few artists who play bass guitar while they sing, and do both incredibly well. How did you develop this style/set up?
I absolutely idolized Esperanza Spalding. So, I’ve always thought playing bass and singing and writing songs was the coolest thing somebody could do. How I actually got good at it is a different story. For me, learning to play and sing bass was a little different than learning to play and sing piano. Piano comes more naturally, because you’re playing the same rhythm that you’re singing, but with bass, the rhythm of the bass line often weaves in and out that of the melody. So you’ve got to learn how to split your brain in two. Fortunately for me, as someone with ADHD, splitting my attention is something I’m very skilled in. I often play bass and watch TV at the same time, and that strengthens my ability to multi-task.
You have a phenomenal, distinct voice and you have so much control over it. What has your journey been to become such a proficient vocalist?Do you still dedicate a lot of time to developing that practice?
Thank you, Sara!!! I think a huge part of my vocal control comes from growing up in a very traditional, some might say orthodox, denomination of Christianity called the Church of Christ. In addition to believing it is the only one and true church, the Church of Christ also does not believe in using instruments during worship. Although its emphasis on tradition and outright refusal of any modernity in instrumentation, decoration, and lifestyle of course comes with its caveats, what’s nice about it is that songs from the 1880s are preserved and performed exactly as they were back in the day. The Church of Christ shaped my voice, it shaped my worldview, and it also shaped my knowledge and understanding of music.
The Black Church of Christ, specifically, tends to sing many of the same songs and spirituals that we did during slavery. It was hard growing up in the Church of Christ for a number of reasons, but I will always be grateful for the understanding of American musical history that it gave me. Without it, I would not be able to meander my way around gospel, blues, country and R&B the way I do, because all of these genres comes back to a cappella voicings and progressions that were born right alongside our country and paint a sonic history of who we are.
And as far as becoming a proficient vocalist beyond that, I just sing every day and put my heart into it every day. I don’t carve out time for singing, because it comes out of me when it wants to and because I love it, that’s often. And that’s all. Now, I’m working more on my showmanship when getting out from behind the bass, and that involves a lot of singing with a hairbrush in the mirror the same way it did when I was a little girl. Nothing really changes too much, and that’s a good thing.
Brittany Ann Tranbaugh is the first artist we’ve featured in Out Now that I have yet to meet. She runs in queer music circles, playing with many LGBTQ+ artists – including Liv Greene and Jobi Riccio, who were featured on this column last year, as well as other queer-identifying artists like Sadie Gustafson-Zook and Mya Byrne.
I’m very much looking forward to hearing Brittany live at our next Queerfest show, also featuring Liv Greene and Carmen Dianne, at Dee’s Country Cocktail Lounge in Nashville on February 24 at 7 pm. Brittany writes with relatable lyrics, warm, inviting sounds, and sings with silky vocals.
Our Out Now conversation covers her upcoming touring plans, her favorite LGBTQ+ artists, and how she balances creativity and business as an independent artist.
What would a “perfect day” look like for you?
Sleeping in, but not too late (9 am is my ideal wake-up time), making a hearty homemade breakfast with a good podcast or record playing, walking my dog in the woods, taking a long shower, then playing a queer country night with my band and a bunch of friends, enjoying some excellent drinks and food together afterward.
Why do you create music? What’s more satisfying to you, the process or the outcome?
I think I’ve spent most of my creative life on the outcome-oriented side of the spectrum, but I’m learning to enjoy the process more. Having a band has taught me to love all of the steps of making a song, because they can evolve a lot when I bring them to the band. My bandmates make arranging and recording extra fun and satisfying. I’ve also begun to open myself up to co-writing, which is a process I enjoy deeply when it’s with the right people.
Do you create music primarily for yourself or for others?
I think above all else, I strive to create music I feel proud of, that effectively and artfully communicates my truth, that feels cathartic to sing and play. I’m incredibly lucky that a large enough number of other people resonate with it, to the point that I get to do it for a living and connect with wonderful folks all over the world.
Who are your favorite LGBTQ+ artists and bands?
Growing up, my favorite out queer artists were Brandi Carlile, Melissa Etheridge, Indigo Girls, Ani DiFranco, and Tegan and Sara. Lately I’m a huge fan of Adrianne Lenker/Big Thief, and honestly a lot of my favorite LGBTQ+ artists are people I consider friends, like Liv Greene and Jobi Riccio. Here’s a link to a Spotify playlist with my Queer Americana faves.
What are your release and touring plans for the next year?
I released an existential lullaby called “For Caroline” in January and in March I’ll be releasing a poignant short-story song called “Bushwick.” This winter I’m spending most of my time home, but doing a few weekend mini tours, going as far away as Nashville. I’ll be solidly on tour all spring and summer: April in the Northeast and New England with Blair Borax, May in the Midwest with Sadie Gustafson-Zook, June and early July on the West Coast with Joh Chase, mid-July in Germany and the UK, then back to the US for some festivals. I haven’t planned much for fall yet. Just leaving it open for magic.
As an independent artist, how do you find the balance between the creation of music and the business of managing, booking, and promoting your work?
It’s tough! I’m still figuring it out. I get easily wrapped up in all the business aspects of the job, because it takes a huge amount of that work just to pay my bills. I know that when I don’t nurture my curiosity and creativity, songwriting begins to feel tedious, then I avoid doing it, then my mental health declines. Recently I started two simple habits that have helped me access my creativity more easily: morning pages (3 pages of free-writing) after waking up and a phone-free bedtime and morning routine.
These habits let my “artist brain” wander, and allow songs to come easier. Another thing that’s been really helpful is scheduling retreats and/or residencies at least twice a year, where I get away and unplug from social media and just focus on songwriting and self care for at least a week. I did a communal retreat in a lake cottage with some songwriter friends last year that was life-changing, and I realized that retreats really work for me, so I made them a priority.
Like you mentioned, you’ve played shows and continue to play shows with other LGBTQ+ artists including Liv Greene, Sadie Gustafson-Zook, Jobi Riccio, and Mya Byrne, what has it been like for you to work with other queer-identifying artists?
I love playing with other queer artists! I definitely seek out fellow queer songwriters. I connected with all of the folks you mentioned on Instagram and now we’re friends in real life who tour and collaborate together. I’ve always been a deeply community-oriented artist. My favorite shows are the ones I play with friends. I think that the love and respect artists have for one another is palpable and sets the tone for everyone in the room. Here in Philly, I’ve been heavily involved with Baby’s First Rodeo Queer Country Night. We’ll be doing our third event in February. Those shows have been bliss for me: to see that many queer folks, who grew up listening to and loving country music, being so authentically themselves in a country music space makes me cry every time.
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.
Madeleine Kelson blends traditional folk, country, and Americana. She played Queerfest and took part in AmericanaFest this year, has been featured multiple times on NPR, and was a finalist in the Kerrville Folk Festival’s New Folk Competition.
Madeleine is from Chicago and based in Nashville, where she lives with her partner. Her single, “The Way I Do,” displays her relationship with her partner through a lens that shows how ordinary queer relationships can be: Drinking coffee every morning, coming home for dinner, and falling asleep beside each other every night. The hook declares, “God has never loved a woman the way I do.” It’s an iconic LGBTQ+ anthem, and in my opinion, it’s one of the most compelling songs about queer love and pride.
We’re proud to promote this dedicated and creative up-and-coming coming artist. Our Out Now interview discusses why Madeleine creates music, her favorite LGBTQ+ artists, her release and touring plans for 2024, and more.
Why do you create music? What’s more satisfying to you, the process or the outcome?
Making music has been a part of my life for as long as I can remember. When I started playing and singing as a kid, it was a way for me to connect to the people around me – at first by singing around the house with my mom and my sister and then by playing music with my friends. That’s still a big part of it now, but starting around my teenage years music became a way for me to process big emotions and give them somewhere to live outside of my mind.
As far as the process versus the outcome, I don’t tend to think of making music as having an outcome. A song gets written, and maybe that’s the outcome of songwriting, but then it might get arranged, or performed, or recorded. Even after I stop playing a song at shows, people still listen to it and it grows and changes with them. I’d say the most satisfying part is the impact, whether that be for me or for someone else.
What’s the best advice you’ve ever gotten?
I love this question! I couldn’t pick just one piece of advice, so here are a few:
One from my mom: “No is a complete sentence.”
Some from my grandpa: “Shoot for the moon. You might surprise yourself and get it.” “Follow your passion. If you love what you do that’s what you will do best.“ And “Treat others with respect. The way up can be a hard slow journey but the fall can be very fast and you meet the same people on the way down as you did on the way up.”
I’ll throw in a good Yiddish saying too: “When you have a lot to do, go to sleep.”
Who are your favorite LGBTQ+ artists and bands?
Oh man! Here’s a big long list, because it’s so hard to choose!
Brandi Carlile (I will always look up to her), Freddie Mercury (I listened to a lot of Queen in high school), Indigo Girls, Linda Perry, Allison Russell, Brandy Clark, Aaron Lee Tasjan, Katie Pruitt, Amythyst Kiah, Celisse, Boygenius…
Also want to shout out some amazing local artists that I love: Purser, Autumn Nicholas, Jobi Riccio, Becca Mancari, Denitia, Jaimee Harris, Liv Greene, and Julia Cannon.
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 was really lucky to grow up in a very liberal city in a very liberal family. When I came out, I knew the people around me would be supportive. Any apprehension I felt had to do with the people outside of my circle and my life beyond Chicago. That being said, I still didn’t really know I was gay until high school. I think the things that helped me find myself were the people around me – having friends who were out, seeing queer couples, going to pride parades, watching shows with queer characters, going to concerts or other events that I knew lots of queer people would attend.
Seeing what that part of my life could look like in other people helped me make sense of who I could be. Coming out is something you don’t do just once, but constantly for the rest of your life. At some point it changed from something I dreaded doing to something that has brought me comfort, joy, and community.
What are your release and touring plans for the next year?
I’m currently releasing singles off of a four-song EP that will be out mid-February. I’ll be on tour with Alaina Stacey supporting that EP, through the Midwest and Northeast starting February 16th in Chicago. Touring is one of my favorite things, and I can’t wait to see everyone at these shows! Seriously, show up. I want to see you!
You’ve done a lot this year, from touring to playing several festivals, including Queerfest, AmericanaFest, and Perseids Music Festival. What’s that been like for you?
It has been so much fun! There are few things that bring me more joy, or make me feel more like myself, than being on stage. It’s such a rush and so emotionally gratifying, even to play sad songs and feel things so deeply with other people. There’s really nothing like it. It’s been a busy year, and one in which I have definitely overcommitted myself, but I’m grateful for every part of it.
In 2022, you released your debut album, While I Was Away, on Olivia Records. Can you share some of the key inspirations and themes behind the album?
While I Was Away was actually my college thesis project! The idea was to write and produce an album that musically pulled from the different building block genres of Americana (folk, rock, country, etc.), and lyrically spoke to the years since I moved away from home. It’s a real time capsule of my life from 18-22. It’s about leaving home, being gay in the South (oy), growing up, watching the kids I babysit grow up, my dog, so many things!
You were also a finalist in the Kerrville New Folk Competition. Could you tell us about that experience?
Kerville Folk Festival was incredible. I had no idea what to expect going into it. I applied on a whim and when I heard that I got in, I could never have imagined what it would be like. If you haven’t been to a festival like that, it can be hard to imagine, but essentially there’s a big piece of land in the middle of Texas and for three weeks every year it turns into a city of stages, tents, RVs, and so much good music. It’s home to the most respectful and outstanding song circles that carry on through the night, and quite possibly do not ever end. Playing and competing was an honor, but the real privilege was to be around so many phenomenal songwriters whom I’m happy to now call my friends.
Could you share the creative process, inspirations, and the significance behind your song ‘The Way I Do’?
“The Way I Do” started as a line that floated around in the back of my mind, honestly probably for months before I knew what to do with it. The line was, “If I don’t get to heaven for loving her true, God has never loved a woman the way I do,” which ultimately became the hook of the chorus.
Growing up, I was very aware of homophobia, but it wasn’t something I experienced personally in any significant way. That really changed when I moved to Tennessee. And I say that not to generalize or condemn the South – there are a lot of amazing people here who are deeply involved in fighting inequality. In my experience, it’s a more tangible and pervasive issue here, and if anyone is going to make a difference, it’s the people here who are fighting that fight every day. I think growing up with the experience of feeling entitled to confidence and comfort in my sexuality made me that much more pissed off when I was faced with intolerance. Especially the virulent brand of “Christian” homophobia that the South is so well known for. That, I really didn’t and still don’t understand.
The thought behind the song is kind of a sarcastic, “If your god knew how great it is to love a woman, he/she/it definitely wouldn’t hate me for it.” It’s definitely a “fuck you,” but it’s also an honest reflection on how easy and natural it is to love someone who happens to share your gender.
Zach Day stands out as an artist who has developed his own sound. His writing is venerable and filled with emotion, his voice is professional and polished, and his lyrics are clever, descriptive, and carefully crafted.
I loved hearing Zach’s responses for Out Now. It’s such a treat to gain insights into his mind, music, and process. Zach opens up about his experience growing up as an LGBTQ+ kid in Kentucky and how bittersweet it was, on the one hand, to be immersed in deep homophobia, but on the other, to be built into a beautiful Appalachian environment with inspiring storytelling, homegrown food, and the gift to sing with friends and family.
What’s your ideal vision for your future?
I have this dream of being able to make music full time, never having to worry about money to support my friends and family, and traveling the world with my partner. Eventually I will settle down on a little farm with a family milk cow and some chickens, maybe a couple kids, a big vegetable garden, and a porch with a swing and a bunch of people I love singing songs in harmony while I make a giant dinner for us all every weekend.
What is your greatest fear?
My greatest fear is not being able to accomplish everything that I have dreamed for myself and being forced to live a life of “What-ifs.” I’ve put a lot of pressure on myself and sometimes that freaks me out, because I worry I may never be satisfied. I have to work actively every day to calm myself down [over] these expectations, because it’ll send me into anxiety! That and the whale from Pinocchio… scared of him.
Why do you create music? What’s more satisfying to you, the process or the outcome?
I create music because I think I have a story that needs to be told. Being a queer person that was raised in the heart of Appalachia is a special and unique perspective. I was raised around amazing singers and musicians, but also I always felt like an observer of my surroundings. I choose to reflect on the great things I took from my raising. I have a huge heart for Appalachia and the stories that come from there. I was raised by generations of coal miners and farmers, teachers and preachers, gardeners and homemakers. I love to reflect on those sentiments in my music and I think you can hear it in my voice and in my songs.
Who are your favorite LGBTQ+ artists and bands?
I can’t get enough of Ethel Cain right now, I really look up to her and her writing skills. She’s inspiring me so much with how she is choosing to tell her stories. Also Searows… can’t get enough.
What are your release and touring plans for the next year?
I have a handful of songs being mixed and mastered right now on their way to streaming platforms and I plan to continue playing all over the place. I have shows booked in LA, Nashville, and NYC all within the next few months. My goal is to open for a big artist like Ethel Cain. I believe it can happen very soon.
You grew up in Kentucky. What was that experience like for you as a queer person?
Growing up in Kentucky as a queer person wasn’t easy. I didn’t even know I was gay until I was a bit older, but I had grown adults saying I couldn’t come to church with them, because they didn’t want a fag in their car. That was before I even knew I was gay. So I had this aura around me my whole childhood that I was different and I think that shifted my perspective on my life. In the good moments though, I could connect with music and really draw on the storytelling and lyrics that I heard to find inspiration. Appalachia is full of amazing storytelling and the environment and nature are so beautiful. I loved eating the food we would grow, I loved singing with my family and friends, and I loved hearing stories from artists like Mitch Barrett and Zoe Speaks.
You stand out as an artist who has developed your own sound. Your voice is professional, polished, and filled with emotion. Your lyrics are clever and descriptive, and the craftsmanship of your songwriting is phenomenal. What was the process of developing your identity as an artist?
Thank you for those kind words, that means a lot to me. I’m still developing my sound and my brand every day. As far as developing what I have at this point, I think that I did my homework for many years… I studied the greats and their subtle nuances… If Karen Carpenter or Joni Mitchell sang something that sent a shiver down my spine I would rewind it and try to emulate that to the best of my ability. If I heard a Dolly Parton lyric that moved me, I would let it sink into my being and ponder it. I just wanted to be able to write iconic songs and sing my face off – and I worked really hard to try and capture that. These days, I feel as though I’ve been leaning more into my Appalachian roots. I spent a long time running from what made me unique, but now I embrace it.
You recently spent some time living in LA and moved back to Nashville. What drew you to live in LA for a while, and what was that experience like for you?
I grew up always wanting to live in LA and experience that lifestyle. I was working with some folks that told me I would “do better” in LA and had a better chance at getting my music heard. But I don’t necessarily think that’s true. I love it there and I love it in Nashville as well. I’ve built a community in both places and have been fortunate enough to work with amazing people in both locations. I have my pockets of support in both cities and for that I’m super lucky. I just realized that I miss being in the woods too much to live in LA right now. I missed nature and I missed being able to turn off my phone and go for a run on a trail, down the road. I love being in the city from time to time but at the end of the day, I’m a country boy and it’s in my roots.
Julia Cannon is one of a kind. Energetic. Witty. Sparkly. Bold. Creative. Unapologetically and fully herself. Her energy is captivating, outfits intriguing – she sometimes shows up in a full ball gown on stage – and her music is catchy and relatable. With a magnetic presence and unapologetic authenticity, Julia brings a fresh and vibrant energy to the music scene. In addition to being a songwriter, instrumentalist, vocalist, and performer, she also produces and mixes her music.
Julia has played many Queerfest showcases and was part of Queerfest 2023, taking the stage at The Basement East. In this interview we talk about her dedication and the hard work required to pursue her career in music, her experience as an LGBTQ+ artist, and her pursuits as both an artist and producer.
What’s your ideal vision for your future?
Julia Cannon: It would include a lot more peace and a lot more freedom. I’ve been working since I was 12, sometimes two jobs trying to get to college or help my mom with her alterations shop or pay off my private student loans. I just want to be able to fully invest more time and more of the money that I make into my craft.
What is your greatest fear?
Not reaching my full potential and never being able to invest fully in myself.
What is your current state of mind?
I’ve been in the grind mindset my entire adulthood. I’m 30 now, and I’m finally starting to be able to do some of the things that I want to do. I just finished my first little tour and had a blast. I’m transitioning as I pay off my private loans in the next year or so.
What would a “perfect day” look like for you?
I’d sleep in until 10 a.m., go and have some tea with my cat, and then start playing guitar. Hopefully I’d end up making music somehow, and then a shitty rom-com and I fall asleep on the couch. Can you tell I’m an introvert?
Why do you create music? What’s more satisfying to you, the process or the outcome?
It’s the first way that I learned how to process and communicate my feelings and thoughts. And it’s still the best way to root around in there. And then I get to share it and that’s magical.
Do you create music primarily for yourself or for others?
It’s selfish. And I’m not even motivated by external validation, which is hell. But it’s also freeing. But sometimes my inner critic is a dick.
What’s the best advice you’ve ever gotten?
Recently I was freaking out about god-knows-what and my Uncle Vic said, “Just go where the joy is,” and I was like… damn, it is that simple.
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?
Find your people and go where the joy is. And also therapy.
What does it mean to you to be an LGBTQ+ musician?
Queerness in general just means freedom from following the norm. Life outside of the box. I think that translates to the art that we make as well.
What are your release and touring plans for the next year?
I have no idea. While I’m still working full time to pay off my loans, I’m taking it day by day. I’d love to release some EPs and keep playing in new cities. I had so much fun on tour.
Your album, How Many, came out this year. What was the process like for you to write, record, and release this collection of songs?
It was really fun and fulfilling. I want to keep growing as a producer and a mix engineer and I feel like I did that with this album. I got to see where I need to continue growing and have new goals for future projects. I crowdfunded How Many, so I was able to hire and work with a lot of people that elevated the project as well. It made me so happy.
You’ve collaborated with other LGBTQ+ artists like Purser. What is it like for you to work with other artists in the community?
My inner child is so stoked about it. I grew up in such a small town in Alaska. Being able to collaborate with inspiring artists who are also queer is incredibly healing.
What has your experience been as a queer woman of color in Nashville?
Mixed bag honestly lol. I feel tokenized sometimes and sometimes I’m happy to be representation for younger generations. I think, in general, things are trending upward. I feel safe and supported.
Photo courtesy of Julia Cannon
This website uses cookies to improve your experience. We'll assume you're ok with this, but you can opt-out if you wish.AcceptRead More
Privacy & Cookies Policy
Privacy Overview
This website uses cookies to improve your experience while you navigate through the website. Out of these, the cookies that are categorized as necessary are stored on your browser as they are essential for the working of basic functionalities of the website. We also use third-party cookies that help us analyze and understand how you use this website. These cookies will be stored in your browser only with your consent. You also have the option to opt-out of these cookies. But opting out of some of these cookies may affect your browsing experience.
Necessary cookies are absolutely essential for the website to function properly. This category only includes cookies that ensures basic functionalities and security features of the website. These cookies do not store any personal information.
Any cookies that may not be particularly necessary for the website to function and is used specifically to collect user personal data via analytics, ads, other embedded contents are termed as non-necessary cookies. It is mandatory to procure user consent prior to running these cookies on your website.
