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President Joe Biden signed the historic Respect for Marriage Act into law on Tuesday (Dec. 13), protecting same-sex and interracial marriages across the country.
The new law also protects against a situation in which the Supreme Court were to overturn the 2015 Obergefell v. Hodges decision, which legalized same-sex marriages in the U.S, as Associate Justice Clarence Thomas suggested in June. The bill was passed in the House of Representatives with a vote of 258-169, and 61-36 in the Senate.
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“Today, America takes a vital step toward equality, toward liberty and justice, not just for some, but for everyone,” Biden said at the ceremony on the South Lawn of the White House. “Toward creating a nation where decency, dignity, and love are recognized, honored and protected.”
At the ceremony, Cyndi Lauper sang her iconic hit, “True Colors,” while Sam Smith took the stage to perform their breakthrough 2014 ballad, “Stay With Me.”
Lauper also gave a speech in the White House briefing room to commemorate the signing of the Respect for Marriage Act. “I came here because I wanted to say thank you to President Biden, Speaker [Nancy] Pelosi, Vice President [Kamala] Harris and all the advocates on his team. For once, our families — mine and a lot of my friends and people you know, sometimes your neighbors — we can rest easy tonight because our families are validated.”
She concluded, “Now, we’re allowed to love who we love, which sounds odd to say, but Americans can now love who we love. Bless Joe Biden and all the people that worked on this for allowing people not to worry and their children not to worry about their future.”
See via Twitter below.
Lauper: We can rest easy tonight because our families are validated and because now we’re now allowed to love who we love which sounds odd to say but Americans can love who we love pic.twitter.com/BRDOo80nrs— Acyn (@Acyn) December 13, 2022
If RuPaul’s Drag Race were an actual, real-life drag race, then its latest announcement would rival the Grand Prix itself.
On Monday (Dec. 12), the long-running franchise announced a “global expansion” of the Drag Race brand, which includes a new deal that will see the flagship show move over from VH1 (its home for the last six years) to MTV for its long-awaited 15th season. On Tuesday (Dec. 13), the franchise unveiled the full cast for season 15, revealing the most queens on one season of the main series than ever before.
In alphabetical order, season 15 of RuPaul’s Drag Race will see Amethyst, Anetra, Aura Mayari, Irene Dubois, Jax, Loosey LaDuca, Luxx Noir London, Malaysia Babydoll Foxx, Marcia Marcia Marcia, Mistress Isabelle Brooks, Princess Poppy, Robin Fierce, Salina EsTitties, Sugar and Spice all compete for the title of America’s Next Drag Superstar — as well as a newly increased cash prize of $200,000.
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RuPaul’s Drag Race isn’t the only show benefitting from the franchise’s new development. As part of the expansion, MTV also announced three brand new Drag Race spin-off shows that will be arriving in Brazil, Germany and Mexico via MTV and Paramount+. All of this will also culminate in the first-ever season of Drag Race Global All Stars, in which fan-favorite queens from many of the different Drag Race franchises will come together for a head-to-head battle on Paramount+.
RuPaul’s Drag Race season 15 will premiere with two back-to-back episodes on Friday, Jan. 6, at 8 p.m. ET. Check out the official “meet the queens” livestream below:
Trying to capture what a “queer song” sounds like in 2022 is a lot like trying to explain what the color yellow is — all in all, it’s not possible. That’s because, simply put, songs by queer artists released throughout 2022 run the gamut of popular music, from thundering electro-pop, to sultry R&B, to funkwave, hip-hop, Latin, indie rock, disco and much more. Gone are the days where openly-LGBTQ people — both artists and listeners — were siloed off into one stereotypical genre landscape, now replaced by an audience who are listening to a vast array of musical genres, and a bevy of artists ready to show off their skills in nearly every musical field.
The result of that evolution is not only a diverse landscape of music created by queer artists, but a new frontier of pathways toward success. Along with showing off the musical flexibility of a community trying to survive amidst less-than-ideal circumstances, 2022 also proved that massive mainstream success is not exclusive to a single queer artist at a time. Whether it’s topping the Billboard Hot 100, charting for the very first time as a solo artist, or even successfully reinventing your sound, 2022 was a year defined by queer artists pushing their limits to discover new avenues toward the promised land of “making it” in the music industry.
But which of these songs managed to stand out from the rest this year? Below, check out Billboard‘s picks for the 25 best songs released by LGBTQ artists in 2022 (listed in alphabetical order).
Pop-rock superstar Adam Lambert knows his way around a good cover. And on Tuesday (Dec. 13), the singer continued the trend with his latest ode to some ’80s rock icons.
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Lambert unveiled his cover of Duran Duran‘s 1993 hit single “Ordinary World,” in which the American Idol alum slows the track down to create am almost eerie version of the grief-stricken original track. Backed up by a smooth piano and some orchestral strings, Lambert carefully croons out the aching lyrics of the track, never going as far as emulating Simon Le Bon’s signature vocal, but paying homage all the same. Lambert is set to debut his live rendition of the song on Wednesday’s season 22 finale of The Voice.
The singer also announced that the new track was just a taste of what fans could expect off of his forthcoming sixth studio album, High Drama. Due out on Feb. 24 via BMG, the album is set to show off Lambert’s skillset as a cover artist, as he delivers his own versions of songs such as Bonnie Tyler’s “Holding Out for a Hero,” Sia’s “Chandelier,” Billie Eilish’s “Getting Older” and many more.
This is not the first song off of the upcoming project that Lambert has shared. Back in October, he released his rendition of the Noël Coward classic “Mad About the Boy” in tandem with a new documentary about the famed playwright and director, Mad About the Boy — The Noël Coward Story. Lambert’s version will appear as the final track on his new album.
Check out the video for Lambert’s “Ordinary World” cover above, and pre-order his new album High Drama here.
2022 was good for a lot of things — in the music world, artists like Beyoncé, Taylor Swift, Harry Styles, Bad Bunny and more had blockbuster years worthy of recognition. But when it came to the continued fight for LGBTQ rights, 2022 proved to be more of a backslide. In the United States alone, queer and trans folks spent the year working tirelessly against more than 300 anti-LGBTQ bills in state legislatures (including Florida’s “Don’t Say Gay” bill and Arkansas’ ban on gender-affirming care for young people), threats towards gender diverse kids and their families, a fatal shooting at a gay nightclub, and countless more tragedies and setbacks. Around the world, people struggled to support the biggest sporting event in the world being held in a country where being queer is a crime, while anti-LGBTQ sentiment and hate crimes continued to rise around the world.
Despite the onslaught of negative sentiment and oppressive ideals, queer artists showed up to represent and support their community in 2022. The methods they employed through their albums were often varied — some aimed for sheer escapism, creating new sonic worlds for their fans to luxuriate in; others looked their circumstances dead in the eye, using their music to channel the rage they felt at a world that was seemingly set against them. Either way, LGBTQ artists made their voices heard through some of their best works to date in 2022.
So, which of those albums stood out among the rest? Below, check out Billboard‘s picks for the 20 best albums by LGBTQ artists released in 2022:
As you take a look back on some of your favorite tracks of 2022, keep up-to-date with the latest from some of your favorite queer artists. Billboard Pride is proud to present the latest edition of First Out, our weekly roundup of some of the best new music releases from LGBTQ artists.
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From Dove Cameron’s latest sultry jam to Phoebe Bridgers’ phenomenal team-up with SZA, check out just a few of our favorite releases from this week below:
Dove Cameron, “Girl Like Me”
Dove Cameron’s “Girl Like Me” is a difficult song to place — it’s not quite a cover of Edwyn Collins’s 1994 crossover hit “A Girl Like You,” yet it feels like more than a mere interpolation being employed by Cameron. Instead, “Girl Like Me” draws on the melodies and themes of the original, while crafting entire verses and ideas of her own to paint a picture of taking the driver’s seat of a relationship. She lets her lover know what she’s not looking for as a synth-infused melody blares behind her, making for yet another absolute banger from this upstarting star in the making.
SZA feat. Phoebe Bridgers, “Ghost In The Machine”
The 5-year wait for SZA’s new album S.O.S has proven to be worth it — the 23-track project has been roundly praised by fans and critics alike for its emotional maturity, sonic vibe and beautiful messaging. One of the most beloved tracks on said album happens to be “Ghost in the Machine,” SZA’s haunting reflection on relationships in the time of social media with special guest Phoebe Bridgers. The two turn out to be a perfect fit for each other on this deeply moving, insightful song, as they each wrestle with the person they are in their respective relationships and the self they present to the world; and they do it all over a plinking soundscape that will hypnotize you in seconds.
Rebecca Black, “Look At You”
Usually breakup songs are written from a first-person perspective — an artist details the fallout of dead romance as one of the scorned lovers. That’s what makes it even more fascinating to hear Rebecca Black take on a more omniscient POV with “Look At You.” In the stirring new song, Black softly sings about the end of a relationship as a third party, witnessing a heartbroken friend deal with the weight of life after love. With a tender voice and lighter production than we’ve ever heard from her, Black assures them that everything will turn out okay, even if it doesn’t feel like it in the moment.
Florence + The Machine & Ethel Cain, “Morning Elvis (Live at Denver Ball Arena)”
Dance Fever‘s closing track “Morning Elvis” always felt like Florence + The Machine’s successful attempt at capturing the spirit of Southern Gothic music in a 4-minute track. So it’s fitting that, when coming up with an artist to help them even further exude that aura live, the band selected indie singer-songwriter Ethel Cain. The result is a haunting, echoing new rendition of the track as Florence Welch and Cain bounce off of one another with ease, making you believe every word as they sing, “If I make it to the stage/ I’ll show you what it means to be saved.”
Arca, Kick
It would have been easy for Venezuelan alternative-electronica star Arca to release a “best of” album. Instead, with Kick, Arca not only let her fans select their favorite songs off of her five-album Kick series, but also delivered them three brand new ones, ranging from glitching chaos (“Alto Voltaje”) to vibe-heavy experimental musings (“Ritual”) to stunning electronica ballads (“Sentient Savior”). Christmas must have come early for Arca’s fans, because Kick is nothing short of a gift.
For this year’s update of our ongoing Greatest Pop Star by Year project, Billboard is counting down our staff picks for the top 10 pop stars of 2021 all this week and next. First, a salute to the artist who made the most impressive comeback this year: resurgent (and reinvented) pop star Sam Smith.
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By 2015, Sam Smith’s name was synonymous with global success. The U.K. singer-songwriter achieved hits and acclaim in Britain as early as 2013 — and in 2014, that acclaim built to stateside recognition, after they released a career-defining single in “Stay With Me” and unveiled their debut album In the Lonely Hour. Capping the year off with their first U.S. tour, the star would go on to win four Grammys in ‘15, including a near-sweep the Big Four categories.
While Smith never lost the cultural capital they’d accrued at the outset of their career, the next half-decade saw diminishing returns for the singer. With hits becoming more sporadic and album sales trending in the wrong direction, it seemed as though Sam Smith’s star was dimming.
Yet 2022 proved the opposite — not only is Smith back, but they are reinventing their own fame. With the release of their first Hot 100 No. 1 single – one whichreinvented their tried-and-true sound — and even more new music to come, 2022 may well be as important a year for Smith as their breakthrough year in the mid-‘10s.
Public transformation is perhaps something of a theme for Smith; in 2019, the singer publicly came out as non-binary. Changing their pronouns to “they/them,” Smith quickly captured the attention of the world as the most publicly recognized artist to identify as such.
Their first album after coming out, 2020’s Love Goes, didn’t appear to benefit much from that increased awareness — debuting at No. 5 on the Billboard 200 (compared to No. 2 and No. 1 debuts, respectively, for Lonely Hour and The Thrill of It All) and moving a mere 41,000 equivalent album units in its first week, the project was not the triumph that some had hoped it could be.
By the time 2022 had rolled around, the British singer understood that it was time for a change. In April, they unveiled their single “Love Me More,” a self-love anthem that appeared to safely straddle the two musical worlds that Smith has always inhabited — euphoric dance-pop (as in their breakthrough release “Latch” with Disclosure) and brooding ballads (“Stay With Me, “I’m Not the Only One,” etc). The lyrics and vocals of the single sounded like they could have been deep cuts off of their debut album, with Smith’s signature croon placed front and center. But in the background, a groovier, bass-and-drum-focused production hinted at something more.
Smith made it clear what their intention was when speaking to their fans about the song. In an Instagram post for the video — which celebrates chosen family, as Smith and a group of queer friends go out clubbing in London — Smith said the song marked “the beginning and the end of something.” The rest of their year would prove that sentiment right; gone was “the old Sam Smith,” now replaced by a newer, truer self with more confidence, a keener eye for trends, and the ability to follow-through with major results.
“Love Me More” performed largely the same way that their last few singles had — it reached a peak of No. 73 on the Hot 100 almost three months after its release, while growing a steady Top 40 radio audience, peaking at No. 34 on Billboard’s Radio Songs chart. It wasn’t the smash hit success that they may have hoped for, but “Love Me More” managed to put Smith’s name back in the pop conversation.
Speaking to Billboard for our August cover story, Smith revealed that the slow-burn, transitional appeal of “Love Me More” was, in fact, the point. “People sometimes come out the gate in such a big way,” they said, revealing that their fourth studio album was on its way. “This album, for me, is the best album I’ve ever made, and it’s the most excited I’ve ever been about [my work]. So, I really wanted to start things off in a kind way, because there’s some big messages on the record.”
Smith would go on to reveal that they had gotten involved on the production side of their new album, working with a team of producers to tweak their sound to create what they would go on to call their “first non-heartbreak album.” The defining theme of their upcoming work, they said, was “me doing exactly what I want to do,” and having a ball while doing it. “I think joy for me, and for a lot of queer people, is quite a dangerous place. We’re all masters of pain, and I think it’s actually a very courageous act to step into the queer joy of it all.”
It didn’t take long for them to follow through on their promise of “queer joy.” In a TikTok post midway through August, Smith showed themself in the studio with rising pop singer Kim Petras, playing a snippet of something new; a clanking industrial beat punctuated their voice as they wailed, “Mummy don’t know Daddy’s getting hot/ At the body shop/ Doin’ something unholy.”
For the first time in their career, Sam Smith went viral. In a matter of days, the chorus of their single “Unholy” was circulating TikTok, as users soundtracked their videos of everything from glow-ups to cosplay to thirst traps with it. In the four months since it was first shared, the sound has been used over 500,000 times.
“Unholy” naturally caught fans off guard — while dabbling in dance-pop was not necessarily new for Smith, the implicit eroticism of the lyrics signaled a complete tonal shift from the superstar. The innuendo and subtlety of past dance-adjacent hits like “Dancing With A Stranger” or “How Do You Sleep?” were gone, replaced by brazen sexuality and unbridled confidence.
Enjoying more buzz than they had ever experienced around an unreleased track, Smith finally unveiled “Unholy” in its entirety in September, complete with a gloriously queer, cabaret-inspired music video. The result of reinventing their image and sound was suddenly clear as day — “Unholy” debuted at No. 3 on the Hot 100, eventually overtaking Steve Lacy’s “Bad Habit” for the No. 1 position on the chart dated Oct. 29. The song even earned Smith their first Grammy nomination since their big night in 2015, for best pop duo/group performance.
Not only was this moment monumental for both Smith and Petras’ personally — the song marked both artists’ first No. 1 single — but it demonstrated a key milestone for queer performers; “Unholy” was the first song by publicly transgender or non-binary solo artists to go No. 1.
Breaking that record with “Unholy” also meant more than personal victory for Smith; by having the biggest hit of their career release after they’d been publicly out as non-binary for over three years, Smith effectively dispelled any dormant ideas of the “marketability” of queerness from label boardrooms of ages past. The song definitively proved that audiences aren’t turning away from LGBTQ art – if anything, they’re interested in hearing from voices that have often been left out of our pop milieu.
With a sudden burst of career momentum from a surprise smash-hit, Smith finally announced their new album Gloria in mid-October. Citing “emotional, sexual and spiritual liberation” as the album’s primary inspiration, Smith set a Jan. 27 release date for the LP. The project has already garnered plenty of attention, thanks in large part to Smith capitalizing on the viral success of “Unholy” by sharing short teasers of songs off the project in a series of TikTok clips.
It’s no small feat to become a near-overnight success at the outset of your music career; to replicate that success nearly a decade after your debut is practically unheard of. Yet Sam Smith proved that they are more than just the heartbroken balladeer persona that was pushed onto them after smash hits like “Stay With Me.” They are a preeminent voice of pop stardom, one who isn’t going anywhere any time soon
Omar Apollo — who kicked off his career in 2017 when he borrowed money from a friend to upload his first song to Spotify, the heartfelt “Ugotme” — went from working at McDonald’s and Guitar Center to becoming a Grammy nominee for best new artist at the upcoming Feb. 5 ceremony.
He’s one of the industry’s most exciting names thanks to his unique musical shapeshifting, effortlessly moving between viral tracks that drip with soul and R&B to overtly pop jams to alternative rock, reaching a crescendo with the release of debut album Ivory in April. Along the way, a generation of fans readily see themselves in Apollo, from his proud Mexican heritage to his authentic openness about his sexuality.
Hot off his nationwide Prototype tour, Apollo spoke candidly to Billboard about the evolution of his sexuality (including his trials and tribulations and that recent viral tweet), as well as his close relationship to his Mexican culture and the new video for his Hot 100 hit “Evergreen (You Didn’t Deserve Me At All).”’
Congratulations on being a best new artist Grammy nominee! What does that mean to you?
It’s such an honor to even be nominated. I mean that’s insane. I was definitely very, very excited. I called my parents and told them the news, and so many friends reached out. It was a crazy feeling.
Where were you that morning? Did you watch the announcement?
I was watching it in my hotel room in Atlanta. Me and my team were watching it. My manager tackled me, and I fell on the bed. Everyone was “Ahh!!” They were recording it, it was so funny. And then I really had to use the bathroom, so I kicked everyone out and called my dad. He was so excited; he had a little cook hat on. He was so excited, just saying congratulations and he started to say, “You’ve been working so hard.” Dad stuff. And then I called my mom and she was super excited, and we started talking about what we’re going to wear.
How did your tour go? You played the biggest rooms during the biggest run of your career so far, but I know you had to cancel a date because it was taxing on your voice.
Yeah, totally. Oh my gosh, that’s the biggest stress, your voice. I have a lot of things I do on the road to be able to take care of it, but I’m going to have to go harder on this next tour to really, like, have a regimen. Your voice is these two little vocal folds in the back of your throat that are so, so, so sensitive and delicate, and touring is so not delicate. And, you just have to be able (to get through it). Right down to the food you eat.
As anyone who’s seen your tour can attest, you really don’t encompass one genre. There’s R&B-forward songs like “Evergreen (You Didn’t Deserve Me At All),” but you also have more alt rock, hip-hop, pop and you even threw in some traditional Mexican songs. Was it a conscious decision to have a discography that zig-zags through genres, or just the general evolution of your music?
I grew up on soul and R&B and that’s where my soul and heart is. I also just have a general interest in music itself. I can’t help but attempt to try out all of these different styles. I grew up rapping and I did that before I started singing. That turned into writing and all that. Honestly, it’s a discovery. There was a point in time I was putting things out because they felt good.
The traditional Mexican songs have become a highlight of your show. What made you incorporate them into the tour in the first place? You performed them when you were a kid, right?
Yeah, so I was in Ballet Folklórico, which was like a Mexican folk ballet. So I wasn’t singing; I was dancing to very similar music when I was in third grade or something like that. So it’s always been a part of my life and I grew up watching videos of Folklórico and stuff like that, so I was like, this feels genuine to me, this feels like something I want to do at my shows. I just had to try it. It turned into being this moment in the show where I would amplify (the culture).
An artist like Selena grew up in Texas and (at least at first) didn’t speak Spanish, but her heritage was important to her and it seemed like she represented the Latin community in the States. Meanwhile, you’re from Indiana and tapping a similar fanbase. What does it feel like to juggle that part of your heritage, and do you feel a responsibility?
I was born and raised in Indiana; my parents came from Mexico with the intention of having a better life here. Some things my parents would always tell me were to not forget where I came from, so the family and our traditions and the culture has always been super important. It’s its own culture, because it’s mixed with this American culture. To have this visibility…. A lot of the people who come to the show are all Latin. It’s great because that’s something I wanted growing up. An artist who represented my people, who looked like me and could actually have my story of how my parents came here and their kids could be successful. There are so many different ways success can be. It’s just wonderful to know that my parents’ intentions were pure, true and I was able to change my family’s life forever.
Speaking of Hispanic culture, I want to talk about your partnership with Buchanan’s Whisky, which you always post about on social media. It’s a brand that is popular with the Latin community, and I know it’s one that’s close to your family.
Yeah, well I only really like to partner with brands that are authentic to me and my family, my uncles, my friends all drink it. So it’s been a brand I’ve already been connected with and I really love how they celebrate the Mexican culture. When they asked me to support 200 Percenters, which is 100 percent Hispanic and 100 percent American [their 200% Futuro Fund which raises money for Hispanic and Latin organizations], it just felt like a no-brainer. Honestly, it was great to tour with them. They joined a few of the dates and had some stands for drinks, so I’m excited for everything that’s to come with them.
What does your family think? For the Buchanan’s drinkers this must be a dream. Free Buchanan’s for life!
Yeah, totally! They just sent my dad a bottle; he was so excited. I was with him when he received it. He tells everyone.
Your queerness is also a major part of your identity. I wanted to ask you about your viral tweet in which someone accused you of queerbaiting and you had a NSFW response and you clarified, in an NSFW way, “No, I’m actually gay. This isn’t just some marketing thing.” What made you tweet that?
I’m gonna be honest with you man, that tweet had zero thought. I saw the tweet and thought, this is actually comical because it’s so untrue. So opposed to being defensive, I just thought of something…. Twitter is literally a place where I have so many tweets like that. It’s kind of funny that it keeps being brought up because it was my little vulgar moment! (Laughs) What did Jay-Z say? “What you eat don’t make me sh-t.”
I think the shocking thing is not that you tweeted it, but the fact that it wasn’t too long ago that an artist would hide the fact they were gay as much as they could. But there you are being 100 percent honest, essentially saying: “I’m gay, this is what gay people do, what are you gonna do about it?” The gay community reacted to that like, “Yes!”
I’m totally aware of the privilege we have now to be ourselves and still have a career. Honestly it had a lot to do with me growing up in Indiana which is very conservative. Everyone is always tiptoeing around it. As opposed to trying to defend myself, I embraced the sexual aspect of it. I don’t normally think when I go on Twitter, it’s reactions. Everything on there is just a bunch of reactions. But people thought I was queerbaiting before (early in my career). I wasn’t super open about my sexuality, but people were hearing things. In Indiana people were saying “He’s not even gay, he’s just doing that to be artist-y.” I always thought it was funny because the reality of my life is not that; it’s not a choice, it’s just what I am. You have to laugh at things like that. I didn’t think I was going to get this far in-depth talking about that tweet.
I remember my first time writing about being gay in a public forum; it was a milestone for me considering it was something that was so personal. Do you remember your first time incorporating it into your music?
Yeah… I don’t know if I ever said this, but I put out music when I was 18 and it was a song called “Beauty Boy.” That was the first time I ever said anything about it. I made it subtle. I didn’t say, “This is my gay song!” I just kind of put it out. I was feeling confident; my friends knew, I told them and they were like, “Do it.” In my town it started to get a lot of criticism and it got back to my family. I started getting really discouraged because the way it was received didn’t make me feel good…. It’s still kind of tough to talk about it. So (after that) I stopped putting pronouns in my music for a couple years, I think. But then I just realized, I can’t let other people’s opinions influence my life. I can’t let them dictate my life. That’s silly. I grew up very religious, so I was dealing with that too. Eventually, I put out a song called “Stayback” and the video had…. homosexual undertones. I remember being terrified. It was really hard for me. I almost didn’t put it out, but luckily my friends were very supportive. It wasn’t that I wasn’t out; I had been out for years. But when you come from this very conservative, Catholic upbringing… I experienced a lot. There’s a lot of things people don’t know about. Those things just stay with me. To be able to go and talk and be myself is a blessing. I’m very fortunate and I don’t take it for granted.
It’s a personal evolution for everyone, but for you your personal evolution has doubled as an artistic evolution through dealing with that. But culture is a mirror held up to society, and you’re giving other people who have gone through those same experiences a voice.
I mean, that sort of thing makes me really happy. It feels like that was, like, robbed from me. I didn’t get to experience this open, high school love. That was type of thing that I had to experience later in life. I had to develop it later. So yeah, it’s a lot.
In The Velvet Rage it says if you’re gay, even if you experienced dating with a member of the opposite sex, you inevitably have to do it all again at some point with a member of the same sex.
The Velvet Rage! That’s a good book.
Tell me about the video for “Evergreen (You Didn’t Deserve Me At All),” which just came out and has so far collected over six million views on YouTube. You’re insulated in this room and then there’s a collapse. What was your thinking behind its concept?
Honestly, I hate explaining things just because it kind of puts it in a box. Literally, in the video it was a box I built (laughs). But I was working with these directors, rubberband [jason sondock and simon davis]. Super talented producer and cinematographer. Everything couldn’t have gone better and it was a great day. The video was made to amplify what is being said in the song. I always had a tough time with videos, things like trying to work in a love interest. But the directors were so talented and they thought everything through. We worked really hard on the edit and coloring and tried to get to feel how I wanted it to. It was perfectly executed. I love it.
With just a few weeks left in 2022, make sure you’re spending them well with some new jams from your favorite queer artists. Billboard Pride is proud to present the latest edition of First Out, our weekly roundup of some of the best new music releases from LGBTQ artists.
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From Troye Sivan’s new team-up with PNAU to Saucy Santana’s latest club-ready banger, check out just a few of our favorite releases from this week below:
PNAU & Troye Sivan, “You Know What I Need”
After their breakthrough team-up with Dua Lipa and Elton John on “Cold Heart,” Australian trio PNAU were looking for their next big collaboration — and they found fellow down-under indie-pop jammer Troye Sivan. The new track “You Know What I Need” proves what a match made in heaven the two artists are; PNAU’s slinky disco-meets-dance-pop production elevates Sivan’s crisp tenor vocals for this feel-good anthem. By the time you reach the euphoric chorus, where the Sivan’s voice blasts into an otherworldly falsetto, you’ll have already added this to your favorite playlist for future spins.
Saucy Santana, “Bop Bop”
With year-end celebrations set to start any day now, rising rapper Saucy Santana just delivered the perfect turn-up banger. “Bop Bop,” much like the other romps in Santana’s ouevre, is nothing but pure fun bottled into two and a half minutes. The infectious beat shoots the song forward on all cylinders, while the rapper’s impeccable — and often hilarious — turns of phrase keep you guessing about what’s coming next. As Saucy eloquently puts it, he’s got “the sauce and the boys, McLovin’.”
Joy Oladokun, “Power”
It’s not hard to see why Joy Oladokun is quickly becoming the industry go-to for uplifting ballads. Take one listen to “Power,” her new song for the Al Sharpton documentary Loudmouth, and you’ll hear what everyone else does — a singer-songwriter with a pen so sharp it could cut through glass, and a profound voice that refuses to be quieted. More than perhaps any other song that Oladokun has written, “Power” refuses to lean all the way into despair or hope, because it knows that a healthy balance of both will only give that much more weight to its impactful message of perseverance.
Carlie Hanson, “Pretender”
Carlie Hanson has never shied away from the uglier side of self-talk. “Pretender,” though, is the singer at her most uneasy. With a very simple acoustic guitar and drum combo, Hanson lets her raw vocals do most of the heavy lifting on a self-effacing single about the disconnect between expectations and reality. Her words become hard to hear sometimes, only buffeted by the passion and verve being poured into the lyrics by an emotionally exposed Hanson.
Abisha, “I Think I Love You”
Who doesn’t love a good old-fashioned love song? Abisha’s “I Think I Love You” takes after a long line of dance anthems extolling the virtues of romance, as she employs some house and EDM production staples to amplify the flirtatious, adorable lyrics. Add onto that the overt queer themes explored throughout the track, and “I Think I Love You” quietly becomes an LGBTQ anthem of empowerment and love.
Some people like to create lists of “freebies” with their significant others, determining which celebrities they’d be permitted to take a pass at from their partner. Now, we know who would make K-pop star Holland‘s list.
In a short video clip posted to his Twitter in which he tagged Lil Nas X, Holland revealed that he recently metthe two-time Grammy winner for the first time. After asking the interviewer to “just cut” the next part, the star went on to say that he had an idea for how he wanted that meeting to go. “I really wanted to have sex with him,” he said, giggling. “I said ‘hello,’ but he was so busy.”
According to the K-pop crooner, the “Old Town Road” singer did at least say “hi” and offer a quick compliment to Holland, who says he attempted to keep the conversation going. “Lil Nas X told me I have a good hairstyle,” he said. “I told him, ‘Give me a kiss’ or something like that. ‘Please kiss me!’ But, no …”
Billboard has reached out to Lil Nas X for comment.
The openly gay K-pop star made headlines earlier this year after he opened up online about being attacked in Seoul’s Itaewon area in what he described as a “hate crime” after being called a “dirty gay” by his assailant. In an interview with Billboard, the singer said he shared his story because “I want people to recognize the pain as well as the courage that’s allowing me to share my story. I want those who are feeling lonely to be comforted, but I also want people who take things for granted and live without the fear of being attacked to be shocked because these crimes do exist.”
Check out Holland’s recap of his exchange with Lil Nas X below: