A Comprehensive History of Lesbian* Music
Graphic by Maura Cowan
By Stephanie Weber
* The term sapphic could be used here to describe lesbian, bisexual, pansexual, and unlabeled women and people who identify with these labels. I opt not to use that word because the focus of the article is specifically about lesbians as an underrepresented group. Too often the words lesbian and sapphic are used interchangeably, when they are really different things. Although the focus of this article is about lesbianism, I know that other identities of female queerness are a part of the music canon and are therefore represented within the article.
“Do you listen to girl in red?”
No, but yes, but no, but I know what you mean.
This question defined lesbians in the late 2010s. girl in red is the indie-pop project by Marie Ulven Ringheim, a lesbian singer. So, asking that question is a way to ask if someone else is gay without saying those exact words. I never listened to her music, but I’m a lesbian, so answering this question is nuanced; just ask me if I’m gay and be direct.
Bisexuals have their own version of this question; “Do you listen to ‘Sweater Weather’ by The Neighbourhood?” Similarly, the indie rock band Mother Mother is a non-binary/trans icon according to the likes of quarantine-alt TikTok users. Although I think these questions are funny, they are simultaneously cringe-worthy and fail to acknowledge the rich music history of queer artists.
Lesbians are underrated, especially in the music industry. There’s so much more to lesbian music history than girlypop, white sapphic cottagecore music as defined per 2010 Spotify pride mixes.
1920s-1940s
Queer history is rich, especially in the late 1800s and early 1900s. I combine the decades prior to World War II together, because there’s limited archival resources to remember American sapphic artists of the 1920s and 1930s. Most of it is speculation, but it still belongs in the LGBTQ+ music canon.
Ma Rainey (1886-1939) is one of these artists. Regarded as the “Mother of Blues,” Rainey rose to prominence during the 1920s, becoming a trailblazer for the genre. Like many labels at the time, Paramount Records was in demand for Black singers, and Rainey’s wide and deep vocal range fit the bill. Her music is full, representing authentic southern blues and influencing generations of blues singers. Rainey collaborated with big names like Louis Armstrong, Thomas Dorsey, and Tampa Red. She developed a very close friendship with fellow Jazz Age singer, Bessie Smith (1894-1937). Although some historians would say they were just “best friends,” sapphic music fans argue that they were lovers. Similar to Rainey, Smith was named the “Empress of the Blues” and would have an equally talented and famous singing career. The difference between Rainey and Smith, however, is that Smith’s bisexuality is documented. In any case, they are still part of the sapphic music canon.
Another documented bisexual from the era is Billie Holiday (1915-1959). She pioneered the jazz and swing genres, performing in Harlem nightclubs beginning in the late 1920s. She won four Grammy Awards, was inducted into the Rock and Roll Hall of Fame in 2000, and had a movie made about her titled The United States vs. Billie Holiday (2021). Her 1939 song “Strange Fruit” was sampled by Kayne West for its political protest roots. Holiday was openly bisexual, something that most people forget when thinking about her legacy. Not only did Holiday produce venerable music but also remains a “bi-con” within the music industry today.
1950s-1960s
The 1950s and 1960s were transition decades, bridging more traditional genres of jazz, blues, and Vaudeville from the 1920s and forward to that of pop and rock ‘n’ roll. Mom and Pop soda shop jukeboxes played Elvis and Ray Charles, while Frank Sinatra records were being pressed at lightning speed. The music scene was dominated by charming, handsome men who are still ogled at today. There were women, but they had to really sing it with all they had.
In 1963, Lesley Gore (1946-2015) hit number one in the U.S. with her song “It’s My Party” at just 16-years-old. She would later reach Billboard’s Top 40 with “Judy’s Turn to Cry” and “You Don’t Own Me.” Gore represented everything the era had to offer with her perfectly curled blonde hair and cinched swing dresses — Gore looked and acted the part so well that most people don’t know she was a bonafide lesbian. In 2005, she announced publicly she identified as such, explaining that she had known since she was 20-years-old but her career would have been jeopardized if she was open about her sexuality. Jewelry designer Lois Sasson and Gore were to be married after 33 years of being a couple, but never wed because of Gore’s death in 2015.
British singer Dusty Springfield (1939-1999) had a similar career and life. She drew upon jazz, soul, and pop to create her distinct sound. Distinguished by her beehive hairstyle and thick, dark eyeliner, Springfield and her music could be recognized anywhere. Although her career in music continued through the 1970s and 1980s, she hit her peak in the 1960s with releases like “Wishin’ and Hopin”’ and “Son of a Preacher Man.” She was never documented to be in a heterosexual relationship and in a 1970 interview, she came out as bisexual, way ahead of her time.
1970s
What the 1970s did for feminism and therefore lesbianism was revolutionary. The U.S. went through its second wave of white feminism with the help of Gloria Steinem, the Vietnam War continued to be demonized by the “radical” minds of college students and other anti-war protestors, and music became defined less by genre and more by politics. Marvin Gaye, Aretha Franklin, and The Sex Pistols are just some names that were making noise when it came to activism through music. Influenced by reggae and revolution, punk was at its prime in Britain, while folk remained a popular genre for protesting against injustices.
Following the hippie generation, the 1970s was all about peace and love. An estimated 400,000 lovebirds attended Woodstock in 1969. Although it was only held once, Woodstock set the precedent for music festivals going forward with its slogan “3 Days of Peace and Music.” In response to growing political divides of the 1960s and 1970s, musicians turned to songwriting to protest. Despite her heterosexuality, Joni Mitchell (1943-) is one of those icons within the lesbian community who had an important impact on folk protest music. Blue (1971) is often cited as one of the best albums of all time and she has received many accolades including ten Grammy Awards and induction into the Rock and Roll Hall of Fame in 1997. She continues to use music (or lack thereof) to protest: in 2022, she removed all her music from Spotify in response to Joe Rogan’s podcast notwithstanding any consequences for the information it provides listeners. Mitchell remains a lesbian icon—she has collaborated with lesbian singer Brandi Carlile and has influenced so many folk singers using their music in the name of protest.
Following Woodstock, music festivals took off. The Michigan Womyn’s Music Festival was no different. From 1976 to 2015, the festival was a space for “womyn” — no men allowed even in the name — permitting young girls, boys, and toddlers. Attendance was between 3,000 to 10,000 and the festival was entirely woman run. Women lounged around naked, made sweet, sweet lesbian love, and listened to some great music — mostly folk, jazz, rock, acoustic, and bluegrass. It’s unclear who performed in the festival’s first lineup, but some notable artists from over the years include the Indigo Girls, Dar Williams, and Tracy Chapman.
This festival sounds like a dream — collective action, childcare, AA meetings, mental and physical health awareness, generational knowledge sharing. Except for the fact that it was trans exclusionary. In 1991, attendee Nancy Jean Burkholder was asked to leave the festival because she was a transgender woman, on the grounds of the festival’s “womyn-born-womyn” policy — a dog whistle for what is now known as Trans Exclusionary Radical Feminism (TERFism). Various LGBTQ+ activist organizations boycotted the festival, arguing that it be terminated or at least have a policy change. Ultimately, the founders of the festival shut it down in 2015, after celebrating 40 years since its inception.
1980s
Punk and hard core rock gained headway in the 1970s, with burgeoning bands like The Clash, The Damned, and The Ramones. They sang about anti-capitalism and anti-Thatcherism, not to mention sex and drugs. The ‘80s were no different. KISS and Mötley Crüe were defined by their teased hair oversaturated by Stiff hairspray and heavy metal makeup. New songs charted every week by a different band of men singing about their feelings. Nicknamed “cock rock” for the testosterone “dick-and-ball” heavy genre, men dominated rock ‘n’ roll.
Thank God for Joan Jett (1958-), who fronted both The Runaways and Joan Jett and The Blackhearts. Jett is one of the coolest, most badass women in rock history. She’s been dubbed the “Queen of Rock ‘n’ Roll,” living in New York, commanding the rock scene since the mid-1970s. The Runaways, best known for their 1976 song “Cherry Bomb,” was composed of all women throughout their active years, albeit not all of them played together. Second to Jett, Cherie Currie (1959-) is probably the most well known member of the group, singing vocals you can really feel. Like any good rock band, there had to be affairs and breakups. If you watch The Runaways (2010), starring lesbian heartthrob Kristen Stewart as Jett, you know that she and Currie were an item. Well, probably. Joan Jett is a lesbian, but who really knows what happened in the seedy and gritty lives of rock ‘n’ roll legends.
1990s
If I could live in any decade, it would probably be the 1990s. Some of my favorite genres that came out of those golden years are RiotGrrrl and Queercore, both of which are full of lesbians and queer icons — like Kathleen Hanna and the relationship between Carrie Brownstein and Corin Tucker. Basement shows, do-it-yourself mentality, and independent artists were popular in the 1990s, particularly in Olympia, Washington, New York City, and Washington, D.C., all major hubs of queer music. The underground sound of queer music remained just for the queers and their fearless allies.
The 1990s lesbian music scene wasn’t just for punks. Queen Latifah (1970-) was popular too, rapping her way to fame. Her career started in 1988 but has continued until today as a Grammy award winning singer, producer, and actor. There’s also Tracy Chapman (1964-), best known for her song “Fast Car” released in 1988, country folk singer k.d. lang (1961-), and folk rock duo The Indigo Girls who’ve been active since 1985.
2000s
What happened in the 2000s could be considered an abomination to lesbianism. Katy Perry (1984-) released “I Kissed A Girl” in 2008 and may have set us lesbians back 20 years. Not really, but I just think that song is funny and worth making fun of. What the 2000s lacked they made up with twin lesbian sisters Tegan and Sara (1980-) who were featured in The L Word, a Showtime drama that aired between 2004 and 2009. The show followed the fictional lives of Los Angeles lesbians and included a righteous lesbian soundtrack. In season three, one of the characters opens a cafe/nightclub that welcomes queer artists and icons like The B-52s, Sleater-Kinney and Peaches. The soundtrack is equally impressive, featuring Fiona Apple, PJ Harvey, P!NK, Nina Simone, Tori Amos, and Heart. The theme song is written and performed by BETTY, an alt-rock band who makes numerous cameos throughout the series and are major activists for the LGBTQ+ community. Leisha Hailey (1971-), one of the stars of the show, and her band Uh Huh Her also have songs featured on the soundtrack, including 2008 release “Explode,” a virtually orgasmic song about staying in a relationship in the name of sex and longing.
2010s-2020s
Speaking of The L Word, let’s talk about the reboot The L Word: Generation Q (2019-2023). In 20 years, it’s going to be a time capsule for how mainstream — aka palatable — lesbianism has been created and maintained. The show features lesbian musicians too, like Fletcher, Kehlani, and G Flip. It’s very much “Do you listen to girl in red?” vibes. The 2010s presented sapphics with so few options for music with artists like Hayley Kiyoko, King Princess, and Young MA (my name is Stephanie, so yeah of course I like the line “You call her Stephanie? I call her Headphanie.”) But most of them make bad music. Imagine you’re walking down the street and some TikToker asks you “What are you listening to?” and the response is “Girls Like Girls.” That’s cringe
Fortunately, as the years went on, more and more lesbian music was created, although there still aren’t as many options as I would like. Yes, MUNA, boygenius, and Clairo are all fine and good and don’t get me started on Taylor Swift and “celesbianism” or even the bimbofication of lesbian music produced by Boston Sapphic Nights superstar Chrissy Chlapecka. I want more singers like Syd, Arlo Parks, 070 Shake, and Janelle Monáe who make music I enjoy and provide a wider genre choice. Sad Girl Starter Pack on Spotify is filled with depressing songs about sapphic yearning, but I want music produced by lesbians that covers all topics, almost as if their lesbianism is irrelevant to the music they make.
Ultimately, lesbians have remained part of the music canon for a long time. Lesbian music gone mainstream is an oxymoron: if lesbians and queer people are underrepresented in the media, how can they simultaneously be mainstream? Sure, there are some lesbian musicians who are more popular than others, but ultimately it comes down to what music we choose to listen to. I live for musicians who aren’t gay but are loved by the LGBTQ+ community, like Britney Spears, Madonna, Judy Garland (“Good Judy” anyone?), and the X-Ray Spex, as much as the actual gays. It’s ironic that LGBTQ+ music is pushed as mainstream, when all LGBTQ+ musicians remain marginalized. LGBTQ+ artists who do get radio time like Sam Smith, Miley Cyrus, and Lil Nas X are still not as popular as their cisgender, straight counterparts. Lesbians in particular have created a unique and meaningful space within the music industry to counteract homophobia and lesbophobia, often collaborating with each other and promoting each other’s music. Pride month is ending June 30, but queer people remain.