Tom Routledge

LGBTQ Anthems

As we enter Pride season, many artists such as Madonna, Cher and Gaga can look forward to a spike in streams as their music is played more at parties, in clubs and at pride parades.

There’s no exact formula as to what makes a gay anthem, as much of its weight comes from the reaction of the LGBTQ+ community to the song itself as well as the artist singing it. These particular songs have the ability to take a diverse group of long disenfranchised queer people and unite them into one strong familial community.

Hearing someone sing so freely about self-love and being yourself has the power to inspire the same feelings within the listener

Songs about empowerment, inner-strength and partying have long been a fixture of gay clubs due to how the messages, though indirect, can easily be applied to the queer experience. Hearing someone sing so freely about self-love and being yourself has the power to inspire the same feelings within the listener – these are messages which queer people have always gravitated towards and continue to need.

Although many anthems gain their reputation through their reception of the LGBTQ+ community, some queer anthems have queerness infused into their composition and creative DNA. Among the most famous anthems are ‘I’m Coming Out’ and ‘Born This Way’ which both have their roots in the gay community and its culture. Nile Rogers wrote ‘I’m Coming Out’ after seeing drag queens dressed as Diana Ross and was able to encapsulate 1980s gay liberation whilst ingraining the songs’ conception in gay nightlife.

instead of their [Born This Way’s] messages being interpreted to relate to the LGBTQ+ experience, they were written with queerness at their core

Similarly, the more modern queer anthem ‘Born This Way’ can be seen as an amalgamation of Gaga’s imagery, coming at one of her career’s peaks. At a time when such an intense spotlight was on her, by shining light on the LGBTQ+ community Gaga made her message and cultural purpose clear. Part of the reason these songs resonate so deeply with the queer community is that, instead of their messages being interpreted to relate to the LGBTQ+ experience, they were written with queerness at their core.

Back in February, controversy arose surrounding the announcement of reigning pop princess, Ariana Grande, headlining Manchester Pride. The outrage was due to a woman, who had previously not been regarded as queer, being the centre of a festival celebrating all the wonders of the LGBTQ+ community.

Watching a female artist comfortably flaunt their sexuality, self-empowerment and control can inspire confidence and hope within closeted and out queer people alike

This, however, neglects the historic tradition of cisgender, heterosexual women being elevated by queer people and heralded as gay icons. Grande is just the most recent in an ever-growing list including Kylie, Britney and Janet Jackson.
Where does this fascination come from and why does the subject seem to fit the same criteria? The main reason I can think of is that these women all act in a way which closeted queer people admire but also aspire to. Watching a female artist comfortably flaunt their sexuality, self-empowerment and control can inspire confidence and hope within closeted and out queer people alike. It’s as though we project our desires onto female artists and treat them as icons as a result.

Alternatively, queer anthems can gain their title due to their lyrics unintentionally speaking to the queer experience – most famously, ‘Dancing On My Own’. By combining dance-inducing synth-pop with deeply emotional lyrics, Robyn appeals to multiple aspects which the LGBTQ+ community gravitate towards. The message of unrequited love and subsequent loneliness is something which almost every queer people has experienced cementing the song’s presence on almost every Pride playlist.
Recent years have seen a rise in gay anthems being penned and performed by queer people. Last year saw SOPHIE’s ‘Immaterial’, and Hayley Kiyoko’s ‘What I Need’ at the forefront of Pride pop signalling a shift in what is now expected of a queer anthem. Rather than inferring a message in a song or admiring traditional gay icons, these songs are all unabashedly queer, inevitably giving them a heightened level of relatability.

the increase in unapologetically queer artists suggests that in years to come, we may be looking at very different playlists

Whilst none of these songs were smash-hits, the LGBTQ+ community grasped onto them because they tell stories and discuss themes that directly apply to LGBTQ+ people. It was not that long ago that Olly Alexander pointed out that few gay popstars were willing to use male pronouns and it goes without saying that more musicians have made an effort to change this; Sam Smith, who especially came under scrutiny for this, brought out the song ‘HIM’ in 2017 which used male pronouns to discuss his sexuality. Hayley Kiyoko, who is often referred to as ‘Lesbian Jesus’ by her fanbase, has tried to normalise lesbian relationships to combat a typically heteronormative society and music industry.
We’ll always have the queer anthems which raised us, but the increase in unapologetically queer artists suggests that in years to come, we may be looking at very different playlists to have us dancing through the night with our chosen family.

Album Review: Carly Rae Jepsen – Dedicated

Jepsen’s story has been told over and over with the immeasurable success of ‘Call Me Maybe’ perhaps acting like a curse rather than a gift. Mention of her name can trigger an eye roll as the endless stream of covers and radio play in 2012 come to mind. However, Carly Rae Jepsen seems to have taken this in her stride as well as not letting it hinder her creative process. Instead of chasing the next smash radio hit, she has pivoted to making the music she wants to make with little regard of sales and commercial success. Doing so has given Jepsen a new kind of fame with a loyal cult following heralding her as a reliable and relatable pop princess.

[Jepsen] is a self-proclaimed hopeless romantic who enjoys being in love

Just a few tracks into Jepsen’s fourth album Dedicated, her dedication to two things become clear. Firstly, she is a self-proclaimed hopeless romantic who enjoys being in love and feels the emotions which come with it in all their intensity. Secondly, she is committed to making consistent, 80s infused pop in its purest form. Not only does this move allow for truly excellent music to be produced, but it also sets her apart from the current music trends of RnB, hip hop and trap influences. Whilst commercial charts and the streaming general public do not currently seem to be receptive to the bubblegum, dance pop which dominated the early 2010s, this does not seem to faze Jepsen. Dedicated is a tour-de-force demonstrating that, when does right, pop music continues to be one of the most interesting and creative musical genres.

The album opener ‘Julien’, one of her career bests, is truly joyous and the shimmery 80s synths are sure to give the song significant replay value as we enter summer. Additionally, the lyrical content regarding the pursuit of an innocent, childlike romance sets a strong foundation for the rest of the album’s themes of unwavering devotion. What follows is a string of bitesize, perfect earworm pop. Songs like the Jack Antonoff produced ‘Want You in My Room’ and the slower ‘Everything He Needs’ are examples of how when commercial interest is disregarded, some of the most interesting and weird songs can emerge.

Dedicated is a tour-de-force demonstrating that, when does right, pop music continues to be one of the most interesting and creative musical genres

The centrepiece and highpoint of the album, however, comes with the Robyn-esque ‘Too Much’ in which Jepsen contemplates the intensity of her romantic feelings and whether they can be off-putting to those around her. The lyrics are heart-breaking and yet the throbbing synths and electrifying chorus make dancing irresistible. It stands out from the rest of Dedicated due to its originality amongst other songs which lyrically struggle to say anything new. This, however, is a minor flaw amongst the enjoyment and excitement which Jepsen brings to every song on the album; as a listener, you can’t help but feel like she is having the most fun of her career.

Perhaps the most admirable thing about Dedicated and Carly Rae Jepsen as an artist are found when the gap between Emotion and this album is considered. In this four-year period, Jepsen broke up with a long-term boyfriend and started a new relationship, therefore offering reason for the two groups of songs which coexist on the track list. Rather than splitting songs about lost love and new love into separate projects, Jepsen’s combination of the two show that her hopeless romantic character is willing to embrace the two most emotionally intense aspects of love. It’s what allows such a fun and celebratory song such as ‘Automatically in Love’ sit alongside the sadness of ‘For Sure’ without feeling jarring or disjointed. Dedicated is an album of emotional resilience and offers hope to never give up on love – it will always find a way.

My First Album: Robyn’s Body Talk

Pop music has always been somewhat of an obsession for me. When I look back on what started this, several songs, albums and moments come to ind, but none is more clear than hearing Robyn’s Body Talk for the first time. Re-listening to this 2010 classic almost a decade later, the production is still fresh and the lyrics remain heart-breaking.

It’s no secret that Robyn’s seventh album is considered to be one of the best pop albums of the 21^stcentury and has often being regarded as the benchmark for everything that followed. Many of my favourite artists from Carly Rae Jepsen to Lorde credit Robyn, and this album specifically, with their songwriting styles of letting tear-inducing lyrics exist within euphoric pop anthems. This combination has always felt truly mesmerising to me and no one does it quite like Robyn. She’s an inspiration to many but remains supreme. Body Talk holds many iconic songs such as ‘Hang With Me’, ‘Call Your Girlfriend’ and, of course the highlight of her career, ‘Dancing On My Own’ all of which exhibit the musical styling which Robyn has become famous for. More experimental tracks such as the punchy opening track ‘Fembot’ and ‘We Dance to the Beat’ are inventive and elevate Body Talk from just a collection of songs to a cohesive and memorable body of work.

Robyn also holds a special place in my heart due to the love of this album being my first glimpse into the community which music can create. Recent videos of ‘Dancing On My Own’ being performed at Madison Square Garden in New York by a crowd of belting fans and the singalong which followed the concert on the subway platform emphasise her position as more than a pop artist. Her cult following, made up of predominantly queer people, is a reminder that everyone has a place in music. The lyrics on Body Talk about feeling like an outsider and having a fear of love have resonated with me for much of my life and continues to do so today.

The lyrics on Body Talk about feeling like an outsider and having a fear of love have resonated with me for much of my life

As previously mentioned, Robyn has served as an inspiration for many current pop stars suggesting that whilst her music is deeply personal, its delivery speaks to a generation of people just like her. This perfect contradiction is what enticed me to Body Talk from the beginning and kickstarted my interest and love of pop music.

Should we question political correctness in Christmas songs?

The words “peace and joy” have always been closely linked with Christmas time as a period of love and laughter. Certain questionable remarks made around the dinner table are shrugged off in favour of not ruining Christmas Day and keeping the family peace. There’s a reason the holiday season often comes with a high dose of gingerbread, cinnamon and saccharine. As a result, recent debates surrounding problematic and outdated lyrics in classic Christmas songs have been classed as “overly PC” and “ruining the fun”. Assertions about “snowflake millennials” finding anything to be offended by has been used as a defence against some very valid and important arguments as to not spoil Christmas. It goes without saying that the lyrics in question are the sexism in the Christmas classic ‘Baby, It’s Cold Outside’ and the use of the homophobic slur “f*****” in The Pogues’ ‘Fairytale of New York’.

‘Baby, It’s Cold Outside’ has been covered by everyone from Dolly Parton to Michael Buble since its release in 1944. Whilst the singing couple may have changed, the lyrical message of a man really wanting the subject of his affection to stay has persisted. The song’s lyrics are misogynistic and allude to sexual assault and its original performance in the 1949 film ‘Neptune’s Daughter’ supports this. If the man’s removal of the woman’s coat and pulling her back down onto the sofa aren’t enough, then the reference to an unknown substance in her drink and repeated ‘no’ definitely should be. These attitudes are unfortunately fitting in the 1940s system of male sexual domination but in post-Me Too movement 2018, these actions are chilling. In the past few years, the song has been the topic of various polls and petitions to get it removed and then added back to radio stations’ playlists. However, the man’s efforts to persuade the woman to stay and combating each of her reasons head on is exactly why the song doesn’t really belong on radio anymore. The subtlety of each of his lines contribute to a larger picture of why misogynistic attitudes still exist – it isn’t sustained by the blatant statements, it’s in the underlying meanings which are just accepted in society.

These attitudes are unfortunately fitting in the 1940s system of male sexual domination but in post-Me Too 2018, these actions are chilling

The Pogues’ ‘Fairytale of New York’ has been the subject of more recent discussion following an article in ‘The Tab’ which was then unfortunately picked up in the ‘Daily Mail’. The crux of the article was that the word “f*****” in what has been described as the anti-Christmas song is homophobic and distasteful. For decades, the word has been used as a weapon against the LGBTQ+ community just like the ‘n’ word for people of colour, and arguably should be censored on radio in the same way.

For decades, the word has been used as a weapon against the LGBTQ+ community

In my experience of trying to explain this point of view to defenders of the song, the same arguments have come suggesting that the word actually refers to the Irish slang word for a lazy person, a waster. (I tend to ignore those who think that Kirsty MacColl is in fact singing about a Welsh meatball). Whilst this may be true, the larger problem is the intent by which straight people intend on screaming the infamous line in clubs and bars during the festive season. I highly doubt that when the fifth verse comes around, people are more excited to scream a piece of Irish slang, than they are a word which is taboo and socially unacceptable. Even MacColl herself altered the lyrics soon after the song’s release as to not offend those who have been on the receiving end of the word’s aggressively homophobic meaning. I’m not calling for an all-out blacklisting of the song, just the tiniest bleep of one word. Just one.

I tend to ignore those who think that Kirsty MacColl is in fact singing about a Welsh meatball

Whilst these conversations may disrupt the peace this Christmas season, they can help bring joy to those who are actually offended by the words and meanings of these songs. Not offended for the sake of it but instead because of the history of these words and the social repercussions that their casual use can have.

Album Review: Tove Styrke – Sway

The first I heard of Tove Styrke was in the release of ‘Say My Name’ last April. Since then, I have been under her spell and following her every move, including the release of her third album Sway which has been highly anticipated after over a year’s worth of build-up. Although this is Styrke’s third album, I am inclined to regard this as her first as a well-rounded and sophisticated musician. ‘Sway’ is a masterclass in exciting and unpredictable pop production and Styrke knows when to keep the work sparse and when to give it everything in a maximalist flourish. And with Robyn still lying dormant, she could just be Sweden’s finest current pop offering.

The clear high point of the album is ‘Mistakes’ which encapsulates the tightrope walk between the regret of being with someone who’s probably bad news but who is also the person you cannot stop thinking about. The feelings which Tove Styrke writes about are decidedly relatable and although she doesn’t offer much new insight emotionally, the production is so innovative that you can’t help but see past this. The brief pauses scattered throughout the album reflect Styrke’s attempt to restrain a rush of emotions and then fails miserably – it works and is extremely effective.

‘Sway’ is a masterclass in exciting and unpredictable pop production

Possibly the most relatable song of the album comes near the end with ‘I Lied’. The verses give a care-free perspective of a relationship but the choruses completely invert this. It’s the classic story of telling people that you don’t want anything too serious from a relationship when in reality they are all you can think about and you don’t just want to be fling. It’s something which I’m sure we’ve all experienced looking at our friends who are suddenly spending more than the occasional night with someone who ‘wasn’t anything serious’. That’s just the charm of Sway. It feels exciting and makes you feel excited. There is hopeful opportunity and anticipation for the future of a youthful relationship.

Then comes ‘Liability (Demo)’ – a Lorde cover from her 2017 masterpiece Melodrama. I don’t think that this has any business on the album and being the last song on the record, it stings twice as hard. Lorde distinct and strict creative voice means that covers cower in comparison by the sheer lack of depth of the original. Tove Styrke does not bring the emotional gravitas to ‘Liability’ which it requires. It feels inorganic to end an album about the youthful excitement of a relationship with a song about self-doubt and a break-up. Whilst the lyrics do still bring me chills, this says far more about the quality of the original than the cover. The album is undeniably stronger without it.

Sway is sure to be the soundtrack of the summer has me looking forward to Tove Styrke’s future releases. Let’s just leave the heartbreaks to Lorde.

Lady Gaga: LGBTQ+ Icon

The label ‘gay icon’ is thrown around a lot these days, whether it’s describing a woman embracing and flaunting her sexuality or a straight artist subtly hinting at attraction towards a member of the same-sex in their lyrics. However, the title of an LGBTQ+ musical legend is one bestowed on only a few. One of the more recent additions to this group is Lady Gaga. Although her career is somewhat short when compared to artists such as Madonna, Elton John or Bowie, the impact that her actions and music have had in the last decade solidify her position in this group. It’s difficult to consider Lady Gaga’s career without considering the LGBTQ+ community because the two have always been and continue to be so closely intertwined, as she attributes her success to her gay fanbase. Not only does Gaga possess the musical skill and innovative artistry of others in this group but she also has fought for the rights of the LGBTQ+ community on several occasions.

Gaga has always carefully mixed her music, artistry and political beliefs into one. A perfect example of this is the meat dress which served as an iconic visual statement whilst also preaching her support of repealing the ‘Don’t Ask, Don’t Tell’ Act in 2010. By doing this, she can grab your attention, shock you, and then follow-up with an important political message. The setting up of the Born This Way Foundation a year later followed a similar path. Gaga grabbed the media’s attention with new music about inclusion, shocked the audience with a Grammys performance in which she emerged from an egg and then announced the charity which had aims at helping LGBTQ+ youth. This is a fundamental part of her legend status. She knows how to get the general public interested in political issues in an age where the younger generation get most of their information from social media. If a picture of her wearing meat goes viral, it’s ultimately going to shed light on the issues Lady Gaga is interested in.

she can grab your attention, shock you, and then follow-up with an important political message

Aside from the political activism, it is undeniable that Gaga’s music has always been made with a skew towards the LGBTQ+ community. She manages to make music for gay people without it being read as pandering – a lesson many other artists want and need. ‘Poker Face’ is possibly her most explicitly LGBTQ+ centred songs being about bisexuality and incidentally one of her biggest hits. A few years later, ‘Born This Way’ was released becoming a modern LGBTQ+ anthem on arrival. Nowadays, it is hard to go to any pride event without seeing a flag emblazoned with the song’s title. Along with this, the song encapsulates Gaga’s message – be who you are, wear what you want and love others. Corny, I know, but also some of the basic principles of the LGBTQ+ community. In just a short time, Gaga has become a pioneer for the pop music landscape and an ambassador for the values of gay people. All this without losing her artistic self and breaking new boundaries in music.

She is unpredictable. There’s no knowing what music she’ll release next or the visual story she’ll present with it. Like Madonna and Bowie, each era of her music is different as she has mastered the art of reinvention. The constant rediscovery of who they are musically and artistically is akin to gay people’s process of finding themselves. Whilst it may not be as glamorous as a pop diva moving from disco to jazz to country, Gaga’s message clearly resonates in the community allowing our self-expression to run wild and us to truly feel accepted for who we are.