A Comprehensive History of Mainstream Gay* Music

Graphic by Julia Norkus

By Stephanie Weber

*Although the title of the article uses “gay” to describe men who love other men, the article and accompanying playlist includes music by bisexual, pansexual, and unlabeled men as well as those across the gender spectrum. It may seem like gay men dominate the music industry, but they remain an underrepresented and marginalized group.

Gay music is not the same as lesbian music. That’s what I’ve concluded. 

Gay music is not made by gay men; it’s mostly straight women icons who make music for the gays or gay men who make music for straight women (with some variation between the two). It’s hard to glean a historical perspective on the queer music canon because, like most queer history, there isn’t much documented. There’s no gay equivalent to “Do you listen to girl in red?” other than “Are you a friend of Dorothy?,” but that’s dated. It’s more like straight women saying “He’s a little bit fruity” with a limp wrist (Mary, if you want to be homophobic, do it confidently!) Gay men make music in all different genres, but pop music tends to dominate.

Let’s start with the past year. Beyoncé’s Renaissance (2022) is still being mixed by DJs in gay clubs, Kim Petras’ 2022 release “Coconuts” is still an internet meme, and Britney Spears is still beloved by the gay community following the “Free Britney” campaign. Not to generalize, but gay men love their fiercest allies: straight women. Starting in the 1930s, Judy Garland (1922-1969) rose to fame in The Wizard of Oz (1939), a film that many queer people identify with for its themes of magical fantasy, feelings of isolation because of identity, and escapism. Garland remains an icon within the community regardless of her heterosexuality. Icon status was granted sparingly — Cher in the ‘70s, Madonna and Diana Ross in the ‘80s, Britney Spears in the ‘90s and ‘00s, and now even more like Lady Gaga, Ariana Grande, Taylor Swift, Dua Lipa, and Nicki Minaj. They are divas and often given the atonement of drag personas.

The label “gay icon” is not just given for their flamboyant music, but because these women are charismatic and allies to LGBTQ+ people. In the ‘80s and ‘90s, Madonna was a pop star and legend in the gay community, specifically for her 1990 release “Vogue” — as in Vogue magazine but also “voguing,” a dance technique imitating the poses of a model on a runway. Voguing began at the balls; the underground queer nightlife for Black and brown gays in New York City during the ‘80s and ‘90s that still exists today. Queers, mostly gay men and trans women, would belong to a house and compete in categories like “femme queen,” “school boy,” and “butch realness.” They use their body, face, and hands to try to win cash prizes and trophies. Madonna’s song was an homage to voguing and ball culture at large, so the song dominated the underground sound of queer New York. Media that documents ball culture like Ryan Murphy’s Pose (2018-2021) and Paris is Burning (1990) often include “Vogue” in the soundtrack, as well as the music of Grace Jones and other house and disco artists doing it for the “culture.” Beyoncé’s post-Renaissance (2022) release of “Break My Soul (The Queens Remix)” is a groundbreaking collaboration between Queen B herself and Madonna. In the original, Madonna appropriates ball culture, whereas Beyoncé pays homage to the legacy of Black queers. Rather than listing white Hollywood and American icons like Madonna did (Ex. “Greta Garbo, and [Marilyn] Monroe / [Marlene] Dietrich and [Joe] DiMaggio”), Beyoncé lists longstanding houses of the ballroom scene and names Black and brown stars (Ex. “Rosetta Tharpe, Santigold / Bessie Smith, Nina Simone”). Renaissance (2022) continues to serve (no pun intended) as a backdrop to ball culture and gay clubbing.

glee (2009-2015), one of the biggest gay shows to air on primetime television, mimicked the “Vogue” music video with the help of lesbian icon Jane Lynch, providing even more reason for it to be a gay paradise. Season 5, episode 4, “A Katy Or A Gaga,” depicted a competition to see if Lady Gaga or Katy Perry was more beloved by the gay community (Gaga won of course). Songs performed by gay lovers Kurt Hummel (Chris Colfer) and Blaine Anderson (Darren Criss) were cringe but simultaneously full of immense talent. Criss, with his dreamy voice and demeanor, played gay so well that fans were shocked when he stopped acting in gay roles. That being said, glee played into the stereotype that gay people love musical theater. It set the stage for LGBTQ+ people to enter the mainstream, winning countless Emmys, Golden Globes, and Dorian Awards (film and television accolades given by GALECA: The Society of LGBTQ Entertainment Critics).

Fortunately, Dear Evan Hansen premiered mere months after glee’s series finale in 2015, and we were blessed to never hear a Matthew Morrison cover of “You Will Be Found.” Ben Platt was the original Evan Hansen, giving gay men another musical to latch onto. There is no doubt that gay people love musical theater, I could imagine starting from Broadway’s original days in 1857. Okay, so maybe not that early on, but Rent, Wicked, Falsettos, Hewig and The Angry Inch, and Kinky Boots are just a handful of shows part of the queer canon. I personally have my hands on Fun Home, Phantom of The Opera, and Chicago. Although Leah Michelle is a piece of work, gay people have latched onto both her glee and Funny Girl performances. Controversies aside, you have to admit she’s a diva and loved (and hated) by gay men.

The gays also love music produced by drag queens or “The Queen of Drag” herself, RuPaul. “Supermodel (You Better Work)” and “Sissy That Walk” play loud and proud at so many drag brunches, gay clubs, and on her very own RuPaul’s Drag Race. Her performances in To Wong Foo Thanks for Everything! Julie Newmar (1995) and But I’m A Cheerleader (1999) are nothing short of  five stars. Despite her fracking, RuPaul is an icon.

Also within drag, performers often take on the personas of Elvis Presley, Prince, and Michael Jackson, who weren’t gay but are icons within the community for their charisma and flamboyant performances. There’s Bob the Drag Queen (he/she) who has been producing music since 2016 and more recently, there’s Trixie Mattel who has been making folky acoustic tracks since 2017. Although he’s not a drag queen, Todrick Hall has released music in the same genre. Whether it’s playing at a rooftop Pride event or on some playlists titled “Big Gay Dance Party,” there is no doubt that drag queen music is for gay men.

In the ‘80s and ‘90s, gay musicians who were releasing music were often loved by straight young women ready to live their Carrie Bradshaw New York City wet dreams — not gay men. Elton John, George Michael (Wham!), David Bowie, Sylvester, Boy George (Culture Club), and Freddie Mercury (Queen) are just to name a few. Some of this gay history saw artists who were gay but their sexuality wasn’t popularized, like Neil Tennet (Pet Shop Boys), Stephin Merritt (The Magnetic Fields), and Lance Bass (NSYNC). There were also other acts like Lavender Country, who are often cited as the first gay country duo, releasing their first album in 1973. Gay men also popularized the music industry by discovering and managing big acts, like Seymour Stein who co-founded Sire Records and was vice president of Warner Bros. Records.

More contemporarily, there are a myriad of gay artists that are comfortable singing about their queerness and are still popular despite it. Gay men produce great music, and although its history is a bit sparse compared to their lesbian and trans siblings, this music is unabashedly proud, loud, and fun. Pride Month 2023 is coming to end but LGBTQ+ people remain. The next time you listen to house, disco, or club music, know that you’re listening to something gay.