Music, a means of self-exploration and self-expression, has always been intrinsically linked with a diversity of identities. Before there were “queer pop stars” there were those who pushed the limits of gender, shocked and supported audiences through their songs, and represented fans who identified with them. There’s an argument to be made about the music industry as queer media, but at the minimum it is a place in which queer artists and queer listeners engage and interact, creating community spaces in their fanbases. The music industry has changed so much over its lifespan, so for the sake of brevity, we’ll look at the current subsection of music, from the early 2000s to today. In a similar way, the LGBTQ+ community is so expansive and can never be defined by one word, but for the phenomenon of non-straight or non-cis fans of pop culture and music, I’ll refer to them as “queer.”
Some of the most popular musicians in the past few years have been straight artists– confirmed or implied– with a significant portion of queer listeners. Typically, these genres are pop and rap, although this trend is not limited to these categories. In the past two decades, Britney Spears has remained an icon to the queer community, primarily for queer men. Her music videos have been recreated in drag performances and her songs have been claimed as identity anthems. Most recently during Britney’s trial over her conservatorship, queer people led the #FreeBritney movement in support of her reclamation of power and autonomy. Joining Britney as straight pop icons for the queer men are Ariana Grande, Carly Rae Jepsen, Beyonce, and more. Representing a different genre of music that queer women gravitate to are rappers Rico Nasty and Cupcakke. Artists such as these have been popularized on platforms like TikTok by queer women who take the songs and reenvision them in dances and trends. It’s interesting to note that some of these artists – for example, Britney – are known for their hypersexuality in lyrics, videos, and celebrity personas. For some of these artists, this quality is part of what distinguishes them as original parts of the music industry. There is likely a connection between these publicly sexual celebrities and their queer fanbases.
Queer people have also found icons in queer artists, especially those who are openly LGBTQ+ in their lyrics. Hayley Kiyoko, MUNA, Phoebe Bridgers, and Clairo are examples of queer women who have largely queer fanbases and are particularly popular in the lesbian community. Queer artists like Orville Peck, Lady Gaga, Kim Petras, and Azealia Banks are popular with queer men and trans folk. These artists and more are incredibly important to the LGBTQ+ community as they serve as representation for many young queer people. The fan bases that form around these artists become communities and safe spaces, particularly for those who cannot or have not found this connection in their own lives. Fandoms, a name for such communities, have become home units for young people, especially with the rise of social media, through which people can remain connected at all times regardless of location. These artists are not only queer icons, but their styles of music are also independently pushing the limits of genres and time. For example, Lady Gaga has always been outspoken in her identity and political opinions (who can forget the meat dress, a political statement for sexual orientation equality!). Her music and persona have been considered ground-breaking, years before she was publicly known to be a queer artist herself. Similarly, Orville Peck sings traditional style country music but makes it gay, something uncommon in that genre of music. Artists like Phoebe Bridgers and Clairo have mainstreamed sapphic pop and alternative music, making it onto national charts and garnering straight listeners along with their queer fanbases. In all of these ways, queer artists are known to push limits and expand the boundaries of the music industry.
Some queer artists are known to have primarily straight and cisgender fanbases, partially because their sexualities are not as commonly known as other artists. These artists also may use neutral pronouns or avoid gender within their songs, which make them accessible to all identities. Such artists include Tyler the Creator, Frank Ocean, and Brockhampton, who are predominately popular with young men, and Miley Cyrus, Doja Cat, and Kehlani who are most popular with women. This is not to say that these artists don’t have queer fans – I myself am a major Miley fan – but more so that they aren’t publicly known to have devoted queer fanbases, and their music appeals to a wide range of people. It may be worth considering whether a more public declaration of their queerness would lend their fanbases to become more queer as well, or if it is more a distinction within their style and genre of music.
On a similar note, there are two major “pop stars” who have incredibly large followings yet have highly contested sexual orientations. Note that it is never anyone’s place to “out” anyone or to assume a sexual orientation or gender identity, but speculation around celebrities is quite common. The first is Harry Styles, who first gained popularity among young straight women who identified with the “boyband” scene. Harry maintained a strongly straight fanbase, but his solo music and One Direction music have also increased in popularity with queer audiences more recently. As someone with an unapologetic identity who has been known to dress in feminine fashion publicly, Harry has been subject to much speculation about his own identity, which he has never confirmed. Similarly, Taylor Swift gained her fame from a very similar fanbase, but over time has been claimed by more queer listeners. Some fans suspect she is bisexual, analyzing song lyrics and photos with other famous women from her past. Ultimately, the identities of both musicians has never been confirmed, but this doesn’t stop their audiences from crafting elaborate ideas about their personal lives. Recently, some in the queer community have designated the behaviors of such artists as “queerbaiting,” saying that their suggestive behaviors along with their refusal to “come out” is an attempt to capitalize on a queer fanbase. Whether or not this is true, I personally believe that allowing anyone (including celebrities) the space to explore their identities without outside pressure or assumptions is incredibly important. (But this doesn’t stop me from spending a lot of time looking at photos of Taylor and Dianna Agron together…)
Queer music has risen in popularity in 2022, which Jill Gutowitz, author of Girls Can Kiss Now calls the Sapphic Pop Boom. Music by queer artists has always existed, but openly queer and specifically sapphic songs are joining the chart-topping mainstream, allowing for queer fans to experience representation and community through music. Queer fans are known to be particularly vocal in their support for these artists, likely due to the previous lack of representation in this industry. Women who love women no longer need to desperately clutch onto Katy Perry’s “I Kissed a Girl,” which, although incredible, was sadly written by a man. On TikTok specifically, fans can come together in support of their favorite queer artists and find others who share their identity and experiences. Beyond this fostering of communities, queer people have also made music into a way to publicly code their queerness, similar to fashion trends like the “Hanky Code” for gay men in the mid 1800s and flannels for 2010s Tumblr lesbians. The song “Sweater Weather” by the Neighborhood has become an anthem for bisexuality, the song itself being used to signify “coming out” online. The artist Girl in Red has been claimed by the lesbian community, and the question, “Do you listen to Girl in Red?” has become synonymous with, “Do you like girls?”
With all of these shifts, I am excited to keep hearing songs that make me feel like I’m not alone. I hope that even as queer artists are gaining the recognition they deserve and are becoming more mainstream that their music does not become “straightwashed.” In the meantime, I highly recommend leaning into this Sapphic Pop Boom era and supporting smaller artists. Check out these user-made playlists: wlw / sapphic pop and sapphic love songs on Spotify.
By Sydney Sullivan