Pride
Page: 25
06/28/2024
VINCINT, Ethel Cain, Allison Ponthier, Peach PRC and more were in attendance for the celebration.
06/28/2024
With a boistrous new singe under her belt, LISA of BLACKPINK is proudly stepping out on her own — and she’s bringing a few Thai influencers with her. Eagle-eyed fans noticed three transgender influencers — Chinnawat Promsri, Bruze Kachi-sarah and Aëffy — featured throughout the clip. Alongside shots of LISA dancing her way through Bangkok, […]
It’s International LGBT Pride Day (June 28th), and to celebrate, we have created a playlist with great music from LGBTQ artists who have broken barriers and conventions, paving the way for others to present themselves to the world as they are. With songs like “FruityBoy” by Villano Antillano (from their new album Miss Misogyny, released […]
Months into writing a new song with Chappell Roan in 2023, Dan Nigro hit a wall. The Grammy-winner songwriter-producer had tried just about everything he could think of with the bubbling under pop phenomenon — boosting the production, cleaning up the lyrics, adjusting the key — and yet the song still didn’t have that special X factor they were looking for.
“We kept on getting so frustrated,” Nigro tells Billboard. “We knew that something about it was really special, but we could not figure it out. Was it the key? Was it the verses that needed to feel more spunky?”
But once the duo found what they were looking for in the stratospheric chorus, the song transformed into Roan’s runaway hit, “Good Luck, Babe!” Since the song’s release in April, Roan (born Kayleigh Rose Amstutz) has become one of the most talked-about voices in mainstream pop music. The single marked her first entry on the Billboard Hot 100, debuting at No. 77, and has risen to No. 16 on the June 29-dated chart, with three of her other songs — “Red Wine Supernova,” “Hot to Go!” and “Pink Pony Club” — populating the lower half of the list. Meanwhile, her debut album, The Rise and Fall of a Midwest Princess, reaches a career-high at No. 8 on the Billboard 200.
Trending on Billboard
It shouldn’t come as a surprise that a track co-penned by Nigro is finding such breakaway success. Over the last several years, the songwriter has cemented himself as one of the most sought-after writers in the business, helping write hits for pop artists including Olivia Rodrigo, Caroline Polachek, Conan Gray and others. But in working with Roan, Nigro says he’s found something especially exciting.
“When we made [her May 2020 single] ‘California,’ which was the second song we wrote together, I had this feeling like I was a part of something deeply special,” Nigro says. “It felt magical and deeply relatable … and really important, [because] she was making it so that it felt important.”
Nigro breaks down the “intense” process of writing “Good Luck, Babe!,” its runaway success over the last two months and why he knew early on that Chappell Roan was destined to be “a superstar.”
Tell me about the beginning of the process with “Good Luck, Babe!” — where did the original idea for the track come from, and when did you begin working on this?
Kayleigh, Justin [Tranter] and I actually started the idea in November of 2022. We wrote a scratch idea — it was just a verse and a chorus. The idea was originally called “Good Luck, Jane” — Kayleigh was really set on having it be a name.
It’s a song we wrestled with for a while. We laid down a demo, and the two of us felt like it wasn’t right. We knew something was special about the song, but we couldn’t tell what it was that we were getting wrong. So, we worked on it for a day, we put it away, and then a few months later, she came in for something else, and she was like, “What about that one song we wrote? I feel like there’s something there.”
[embedded content]
Kayleigh’s voice is crazy across all of her songs, but it feels like she is in rare form on “Good Luck, Babe!,” where she’s almost expressing the entirety of her vocal range on one song.
Absolutely. When we opened it back up, we really narrowed in on the chorus and decided that some of the words needed to be in full voice. And then all of a sudden, we listened back and went, “Okay! I think we’ve figured it out!” Once we finally got it, it was such a relief. That song was so intense, and it was definitely one of the hardest songs to get right.
Kayleigh and I are not the people who go in the studio and write a song in one day. We take our time with it, comb over the lyrics and then forget about it for a month and come back to listen with fresh ears. A lot of times when you’re working on a song, in the midst of working on it, you tend to get really excited about it, and then you look back later and go, “Oh, that wasn’t as good as we thought it was.” Luckily, Kayleigh is so good at having that insight and knowing [when] to take a step back and reflect on it. She’s so incredible at having that self-awareness. She’s also such an incredible singer — which is a great thing, but because she often sounds really good singing any song, figuring out the difference between something being really good and being amazing can be tricky.
I know Kayleigh has said this song was “a b-tch to write,” and that very much tracks with what you’re describing here.
For sure. Though, it’s funny: To me, it wasn’t actually that much of a b-tch to write. I feel like it was the production and the process that was really tough. Actually writing the song was quite fluid. I remember she came over one day, and I was like, “Well, now we need a bridge.” She wrote the bridge all on her own in like two minutes. She said, “Put the pre-chorus chords on,” I looped it, and she just got on the mic and went for it. I was trying to keep looping the chords more because she just kept singing, and I was like, “No, we have to go further!” It was amazing.
You mentioned that the original version of the song you wrote with Justin had really different verses lyrically — what would you say fundamentally changed between that first draft and the final version?
I don’t exactly remember what the verses were to begin with, just because it’s been so long since we wrote them. But I do remember that we wanted the words to feel more effortless. We wanted to make sure it had that casual, cool, laid-back feeling to it. The lyrics were a little bit more pointed, a little more cutting. We chilled it out, and then she was sitting on the couch at one point, and she said, “I just want to have a line in there about my arms reaching out of a sunroof.” It was so funny.
At what point in this process, if at all, did you think that “Good Luck, Babe!” was going to be a hit?
When a song is difficult to get right, especially from the production side of things, I become so self-conscious of it that I can never see it super clearly. Also, “Good Luck, Babe!” is so dramatic — I tend to keep my productions pretty minimal for the most part. But “Good Luck, Babe!” is such an epic production — there are like 100 string parts! When I’m adding that much production, I tend to feel like I’m doing too many things. So, I don’t think there was any point in that process where I was like, “Oh, this one’s going to be a hit.”
I remember she texted me the day the song came out, just being excited about the song. Then her manager texted me and said, “This one feels special, this feels different right now.” That is, to me, the crazy thing about being able to see the numbers in real time: You have absolutely no way of knowing, and then within 12 hours, people can tell you, “Oh yeah, audiences are really liking this one.”
[embedded content]
It seems clear that “Good Luck, Babe!” really cemented this cultural moment for Kayleigh: The song has climbed into the top 20 of the Hot 100, “Red Wine Supernova,” “Hot to Go!” and “Pink Pony Club” have all entered the Hot 100, and The Rise and Fall of a Midwest Princess continues to climb on the Billboard 200, reaching the top 10.
It is crazy to watch. This feels like … I don’t want to say “destiny,” that’s the wrong word to use. It all happened for a reason. This song was made during the making for Rise and Fall, and to me, it felt like it could have easily been on the record. I’d like to think that because it came out at a different time, it held a different meaning and it was a different vessel for the album. Whereas, if it came out with the album, then the record would not be what it’s doing right now.
Why do you think this moment is happening right now, rather than with the album’s release last September?
All I can say is, three or four days into meeting her, I was convinced she was a superstar. I was so enamored by the way she thought about music, and I could not believe I was a part of it, because it felt magical and also deeply relatable. When we made “Pink Pony Club,” that was the record where it felt like we were making something actively powerful. It was that sort of feeling where you get the sense that you’re making a song that people need. I’ve always felt that something like this was going to happen for her; the question was just when it would happen.
The fact that she’s so phenomenal live means people are finally able to see in real time how good she is. That then becomes this word-of-mouth thing, and it’s wonderful to see her have such old school success. I’ve told so many people, “This is the way things used to be — you would have to see the artist live, and you see them be good at what they do and then spread the word.” She’s so good at what she does that the system is working again! It really is that simple.
That’s an important point — while a lot has happened in the last two months, this wasn’t “overnight” success. Chappell had been steadily growing before “Good Luck, Babe!” blew up.
I totally agree, it’s not “overnight” success in any way — even since the record came out nine months ago, every single day, the numbers were steadily going up by like a percentage each week. It just took so long to get to the point where enough people were talking about it every day for it to become exponential.
You’ve had a lot of success working with pop stars like Olivia Rodrigo, Conan Gray and Caroline Polacheck — is there anything about working with Chappell that feels different than your other collaborators? Or what things feel similar in the way you work with all of those artists?
If I’m being honest, I always feel weird when asked to compare people. I think the important thing is that she’s incredibly articulate about what she wants out of a song, and we have a great relationship when it comes to creating music. We’re writing songs together, but we’re also producing them together, and she’s in the room for a bunch of it. There’s a really good language between us when it comes to making music. I can understand what she’s looking for, and if I’m not getting something right when I’m producing, she can step in. She’s so good at explaining exactly what she wants, and it makes for a really good flow in our working relationship.
A version of this story originally appeared in the June 22, 2024, issue of Billboard.
Bratz is celebrating Pride Month by paying tribute to one of the most pivotal moments in LGBTQ history: Hilary Duff‘s iconic anti-bullying PSA from 2008, in which she concisely taught countless young viewers why it’s wrong to use the word “gay” as an insult. In a clip posted to the doll company’s TikTok earlier this […]
As we enter the last full week of Pride Month, pop singer Demi Lovato is making sure to celebrate the LGBTQ+ community with a little help from Chappell Roan. In a video posted to their TikTok on Tuesday (June 25), Lovato shared footage from an intimate Pride-themed pool party they attended — or, as they […]
Grammy award-nominated singer-songwriter Tayla Parx has always been country. Hailing from Dallas, the 30-year-old multihyphenate became just the fourth Black woman in history to write a Country Airplay No. 1 with Dan + Shay’s “Glad You Exist” (2021), and a few months ago, Parx moved to Nashville.
There, she has been developing a sustainable ranch while prepping her forthcoming third album, Many Moons, Many Suns (out on her TaylaMade Records), which explores the unexpected end of her engagement and combines country, rock, house, soul and contemporary pop. “I’m buying goats, sheep and cows,” she says of her new home. “I’m already excited about the songs that I’ll create just being here.”
Below, Parx previews her new album and reflects on queer pop stardom.
Trending on Billboard
What’s the first thing you did when you woke up today?
The first thing I did when I woke up today was load a tractor. I got a tractor to live in and my friend just dropped it off. I’ve been working on my little ranch.
What drew you to Nashville?
I started to come down here last year, but maybe three or four months ago, I officially was [here] full time. I’m still in Los Angeles once or twice a week, but this is my home.
What was a key moment on the journey to your new album?
Being able to take four years, I finally was like, “I feel new again.” [We] go through these feelings of breaking down and building up and breaking down your new version of yourself … I’m in that moment now. [That’s] when it’s the right time for me to create, or finish, the album.
Last year you co-wrote on Troye Sivan’s “Got Me Started” and Janelle Monáe’s “Water Slide.” Did you carry any inspiration from those sessions into your own?
We have a problem in the songwriting world where you’ll see a queer artist and they have only straight writers on the project, and that’s a bit weird. Or we see a woman artist and they only have straight men as writers, and that’s also a bit weird. I’m not saying we can’t have that perspective, because I’ve written for a lot of different people and I haven’t experienced their version of life. However, it’s always important to have at least somebody be a part of the project that can see you in a very different way — and maybe that’s because they’re queer. So I’ve been choosing to write with a lot of artists [with whom] I can write from that perspective. I’ve been a lot more selective these days.
“Era” has heavy ballroom energy, as does “10s.” How did examining your relationship affect your influences while recording?
We have that ballroom energy, New Orleans energy, all the things that I’ve experienced in my life that are such a huge part of queer culture. With “10s,” I played a lot with pulling from my community, the different sounds that inspire us and make us move. I really wanted to go to the extreme. A lot of the music that is the most groundbreaking is ballroom. We’ve been forced to be out of the boundary, or seen as that, for so long that it was like, “F–k it. Well, I might as well be the best version of me — and do me to the max.”
[embedded content]
When you were coming up, who were the songwriters that made you feel most seen?
I feel like I’m just now having an opportunity in the past few years to have artists that actually make me feel seen. Around 2015, I was listening to Marika Hackman’s “Boyfriend,” and it’s a queer song and I had never heard something lyrically like [that.] That’s not to say that there [aren’t] any queer artists that have been out there being very forward, I’m just saying what spoke to me. Being born in ‘93 and a teenager in the 2000s, it’s a very different thing.
If you had to pick three essential tracks from the new record, what would they be?
I would say, “Standing Up to the Wind,” “Gentlewoman” and “I Don’t Talk About Texas.”
Beyond the album, what are your plans for the rest of the year?
We are getting back on the road. I’m super excited because it’s been a minute since I’ve been on the road. I went from consistently touring to taking a break and really allowing the music to come. We got some crazy sustainable and biodegradable merch coming, which is really cool. And more behind the scenes of the process — I’m making sure that everything within the TaylaMade world reflects [my] values.
A version of this story originally appeared in the June 22, 2024, issue of Billboard.
06/26/2024
With music from queer artists going more mainstream than ever, our staff picks their 25 favorite examples from 2024 thus far.
06/26/2024
What happens when two queer icons meet in the flesh? According to Sir Elton John and Chappell Roan, they throw a pizza party.
In a post to his Instagram on Monday (June 24), John revealed that he and the “Good Luck, Babe!” singer — as well as John’s husband David Furnish and Roan’s collaborator Dan Nigro — met up on Sunday night for a pizza dinner party. “The BEST evening of pizza and outrageous laughter with the fiercely fabulous @chappellroan,” John wrote in the caption. “Love her, love her, love her.”
While the post marked the first time the pair had met in person, John and Roan had previously spoken to each other as part of the “Rocket Man” singer’s Apple Music show Rocket Hour. During her appearance in late May, the pair discussed Roan’s ascent to stardom, with John letting her know just how happy he was to see her thriving.
“I rang you the other night and said, ‘Listen, I’m not stalking you, but I’m as excited about your album’s success as you are,’” he said. “It’s wonderful to see true talent being recognized.”
Trending on Billboard
Roan, giggling at John’s compliments, said that the sudden success was “pretty overwhelming,” but added that “it’s also affirming … pushing through the hard times is worth it.”
Roan recently added a fourth single to this week’s Billboard Hot 100, as “Pink Pony Club” joins her other tracks “Red Wine Supernova,” “Hot to Go!” and “Good Luck, Babe!,” the latter of which ascended to No. 16, marking the singer’s first top 20 hit on the chart.
John, meanwhile, wrapped his record-setting Farewell Yellow Brick Road Tour in July 2023, and recently spoke with Billboard about his husband’s game-changing work as his manager.
For a brief shining moment in the 1960s, Black trans soul singer Jackie Shane seemed to be turning into a star. That is, until she inexplicably vanished.
“This is a woman who disappeared off the face of the earth for 45 years and nobody knew if she was alive or dead,” says Michael Mabbott, co-director of the forthcoming documentary Any Other Way: The Jackie Shane Story. “As a filmmaker, that’s an intriguing thing in itself.”
The simultaneously sad and triumphant tale of a groundbreaker before her time is the crux of the film. Co-directed by Mabbott along with Lucah Rosenberg-Lee and co-produced by Elliot Page, it brushes away the dust and traces Shane’s stunning rise as a trans singer during an inhospitable period. The result of her quest is a long-overdue reclamation of Shane’s musical legacy. “This theme of erasure was such a guiding light for working on this project,” says Rosenberg-Lee, who is Black and trans himself. “I recognize how much of our history is lost.”
Shane, a native of the American South before moving to Toronto to escape the suffocating effects of Jim Crow, subsequently made waves with a song that inspired the film’s name, the breezy horn- and drum-fueled “Any Other Way.” Along with landing on Billboard’s Bubbling Under Hot 100 chart, it became a hit in Canada in 1962. And yet, despite Shane’s fleeting fame, Mabbott hadn’t heard of the performer until about a decade ago when he came across a bootleg of Jackie Shane Live! When he discovered she had been missing since 1971, his interest was further piqued.
Trending on Billboard
“It was staggering that she was from my hometown [of Toronto] and I didn’t know who she was,” Mabbott says. After Numero Group reissued her music in 2017 (a compilation of her career later won a Grammy Award for best historical album), it was revealed she was indeed still alive. From there, Mabbott attempted to get in touch — to no avail — before discovering she was living as a recluse in Nashville. Shane eschewed the music industry for myriad reasons, from caring for the woman she regarded as her mother to avoiding the discrimination that had plagued her career from the start.
“Our first phone call lasted four hours,” says Mabbott, who recalls how Shane had an endless supply of vivid memories from her too-brief career — and was ready for a second chapter. “We spoke every week for over a year,” helping the two form a close bond. “She eventually said, ‘Let’s work on this documentary.’ ”
Courtesy of Banger Films and the NFB
Unfortunately, as plans were coalescing, Shane died in her sleep in February 2019. “Her death was all the more tragic because she was ready to come back,” Mabbott says. “She felt the timing of this was important to her and that her message had to be heard now more than ever.”
With that, the filmmakers tackled her journey with added vigor to piece together the puzzle of a remarkable life. Luckily, Shane had scrupulously preserved the artifacts of her career, from acetate recordings to homemade jewelry. Mabbott, who worked with Shane’s long-lost family and a music anthropologist to excavate her legacy, calls the treasure trove she left behind “a documentarian’s dream.”
The final product, which premiered at South by Southwest in March, tells a story the filmmakers hope will spur audiences to both reflect and feel inspired. As Rosenberg-Lee explains, “To have people watch the movie, feel connected to it and see that, ‘Wow, people like this have been around for a long time doing their thing…’ It’s very gratifying for sure.”
This story originally appeared in the June 22, 2024, issue of Billboard.