Club music gay

1. ‘Dancing On My Own' by Robyn

Merely a handful of moments are sufficient. The initial, agitated, staccato synth notes commence, and instantly, the atmosphere within the space undergoes a transformation. Individuals cease their discussions, depart from restroom lines, and set aside their beverages. Within LGBTQ+ environments, an unwritten dictum exists: ‘Dancing On My Own' necessitates one's complete focus. It is simply obligatory to join the dance area and vociferously perform the words of Robyn’s cherished melancholic anthem, experiencing a communal surge of emotion as you exclaim, ‘I am precisely here; why are you unable to perceive me?’. Subsequent to its debut in the year two thousand ten, this musical piece has intricately integrated itself into the very essence of LGBTQ+ culture, and not merely due to its status as an impeccable example of 1980s-influenced popular music. Naturally, it is an outstanding composition, yet for numerous individuals, it flawlessly embodies particular facets of the queer journey. While it speaks of yearning and solitude, it simultaneously conveys the transcendent delight found within the nocturnal club setting. Assuredly, the bassline maintains an unyielding rhythm; however, above this, Robyn’s uplifting tune rises, resolute in its commitment to movement regardless of circumstances. Emotional sorrow intertwined with fortitude. High heels alongside shattered glassware.

Rose JohnstoneHead of Commercial Content, UK

2. ‘One Of Your Girls' by Troye Sivan

Drawing inspiration from intimate encounters with men exploring their sexuality, ‘One of Your Girls' is purported to be Sivan’s preferred track from his 2023 album, ‘Something to Give Each Other'. Its music video, which swiftly achieved viral status, depicted the Australian pop sensation in drag, morphing into a pop diva reminiscent of the 2000s era. Indeed, while the track exhibits a playful and extravagant quality, it additionally conveys a profound—and somewhat poignant—underlying message concerning longing, clandestine affairs, and affection that remains just beyond attainment.

Georgia EvansCommercial Editor, Time Out

3. ‘Cowboys Are Frequently, Secretly Fond Of Each Other' by Willie Nelson

The esteemed country musician, Willie Nelson, asserted his position as an unequivocal LQBTQI+ advocate through this evocative western waltz, notably marking the inaugural mainstream country track with gay themes. ‘Cowboys are frequently secretly fond of each other/What did you think all them saddles and boots was about?’ croons Nelson, delivering a significant, knowing glance to all the leather daddies donning a Stetson hat. Initially penned by lyricist Ned Sublette as far back as nineteen eighty-one, the composition has subsequently been reinterpreted by the enigmatic cowboy vocalist Orville Peck, who collaborated with the ninety-one-year-old Willie Nelson on a freshly recorded rendition of the piece in the year two thousand twenty-four.

Leonie CooperFood & Drink Editor, London

4. ‘I Will Survive' by Gloria Gaynor

Its beginning is gradual, enveloped by apprehension; subsequently, the rhythm commences, the composition gains momentum with increasing assurance, and ultimately, with the accompaniment of a string ensemble, it transforms into an unequivocal disco hymn of self-reliance. Superficially, Gloria Gaynor’s ‘I Will Survive' depicts a woman overcoming a romantic partner who wronged her; however, during 1978, while LGBTQ+ emancipation was gaining considerable traction in lively nocturnal establishments globally, it simultaneously resonated as a proclamation of arduous pride (‘I used to cry / But now I hold my head up high') and autonomy from heteronormative conventions (‘I'm not that chained-up little person still in love with you'). Throughout the 1980s, as the AIDS epidemic claimed the lives of tens of thousands who had swayed to its rhythm, the song acquired additional levels of profound meaning. Presently, ‘I Will Survive' bears the weight of that entire historical context, simultaneously elevating the spirits of all who absorb its communication. Was it your expectation that we would collapse? Did you anticipate our surrender and demise? Reconsider. Our intention is to dance.

5. ‘Freedom! '90' by George Michael

Following a six-year interval since achieving a chart-topping single titled ‘Freedom' alongside Wham!, George Michael overwhelmingly dominated the music charts with this similarly named track. The repetition itself constituted the core message. Michael aimed to dismantle his previous persona, actively re-writing his narrative, and dissolving it within the genre of acid house music. Within the accompanying video, emblematic items from his ‘Faith' era renown—specifically his leather jacket, the guitar, and the Wurlitzer—were depicted burning and disintegrating. The pop luminary chose not to feature personally in the visual, opting instead to have his lyrical message conveyed by iconic women from the era of supermodels—namely Campbell, Evangelista, Turlington, and Crawford. The synchronized lip movements declared: This composition is accessible to all, belonging to everyone. (However, it is perhaps advisable to make minimal comment regarding the rendition by Robbie Williams.) Upon Michael’s dramatic public coming-out in nineteen ninety-eight, the incisive lyrics acquired an entirely novel dimension of significance. 

6. ‘Montero (Call Me By Your Name)' By Lil Nas X

Lil Nas X ascended to legendary status by infiltrating the traditionally masculine domain of country music with his track ‘Old Town Road'. Subsequently, he achieved iconic recognition with 'Montero', a highly energetic and overtly sensual hit recording. His fearless embrace of individuality and his open acceptance of hookup culture established him as a pioneer within the realm of hip hop; nevertheless, it is unlikely anyone would have taken notice if the song itself had not been an undeniable hit. Nas (the artist) proclaims his sole purpose to be engaging in transgression. Yielding to the enticement of aligning with him becomes remarkably straightforward when the rhythmic foundation is as compelling as that of ‘Montero'.

7. ‘Vogue' by Madonna

‘Look around: Everywhere you turn is heartache.' Such a statement is hardly a lighthearted introduction for a dance-pop track—and therein lies its intent. Composed during the peak of the AIDS crisis in America, and drawing its genesis from New York’s clandestine gay ball culture (which gained renowned depiction in the 1991 motion picture Paris Is Burning), Madonna’s successful 1990 hit, infused with deep-house elements, enjoins listeners to temporarily set aside burdensome concerns—even if only for a brief period—and discover liberation on the dance surface. Almost twenty-five years subsequent, this seminal recording by one of history’s most cherished LGBTQ+ figures maintains an equally compelling resonance. 

8. ‘Queen' by Perfume Genius

Although the Seattle-based singer-songwriter Mike Hadreas initially gained recognition for crafting delicate, somber melodies while seated at a piano, he subsequently redefined his artistic approach with this particular single, extracted from his significant 2014 work, ‘Too Bright'. Loud 1980s-style pop synthesizers, expansive orchestral embellishments, and shimmering background vocals collectively create a victorious party anthem, which addresses the transformation of perceived flaws (what others might view as ‘broken') into personal fortitude and power, all executed with a subtle, knowing smile—as articulated by the lyric ‘No family is safe / When I sashay.'

9. ‘Silk Chiffon' by MUNA

Originating from MUNA’s eponymous album, this shimmering pop track includes vocal contributions from Phoebe Bridgers and rapidly attained the status of a contemporary classic following its release in the summer of two thousand twenty-one. Given the prevalence of musical compositions centered on themes of yearning and sorrow, it holds considerable significance to observe the portrayal of queer happiness within musical works. Furthermore, featuring lyrics such as ‘Life's so fun, life's so fun / Don't need to worry about no one / She said that I got her if I want / She's so soft like silk chiffon', this piece is nothing short of a joyous commemoration of queer affection and potent sapphic vigor, guaranteed to elicit an immediate smile.

Georgia EvansCommercial Editor, Time Out

10. ‘Black Me Out' by Against Me!

Vocalist Laura Jane Grace has consistently embodied a revolutionary spirit—as evidenced by tracks such as ‘Baby I'm an Anarchist' — yet no other act of defiance against the heteropatriarchal landscape of mainstream punk was as potent as her musical explorations detailing her emergence as a trans woman on her seminal album, ‘Transgender Dysphoria Blues'. This particular composition is not intended to evoke positive emotions; rather, it serves as a stark gesture of defiance towards those who hinder one’s ability to express their true identity to society. Retaliate and vociferously join in: ‘I want to piss on the walls of your house.'

11. ‘I'm Coming Out' by Diana Ross

Indeed, the thematic content of this song concerns precisely that type of ‘coming out'. Nile Rodgers of Chic was prompted to compose this vibrant 1980 masterpiece for Diana Ross subsequent to observing numerous drag performers impersonating the celebrated vocalist at an LGBTQ+ disco in New York City. As for Ross, she was in the midst of disengaging from her protracted association with Motown Records concurrent with ‘I'm Coming Out' appearing on the music charts, thereby imbuing the song with augmented meaning for the legendary artist. Currently, Ross customarily commences her live performances with ‘I'm Coming Out', and the track endures as an archetypal hymn of emancipation—irrespective of sexual orientation. 

12. ‘You Make Me Feel (Mighty Real)' by Sylvester

Even ten years subsequent to the 1969 Stonewall Riots, overtly LGBTQ+ musical artists remained uncommon; during that period, Elton John identified as bisexual, yet his case was an anomaly as opposed to the general norm. Nevertheless, the flamboyant vocalist and composer Sylvester demonstrated that queerness was not incompatible with commercial chart triumph, attributable to this immensely captivating 1978 disco masterpiece, which stands among the most cherished and exhilarating compositions of its time. 

13. ‘Over the Rainbow' by Judy Garland

For successive cohorts who matured identifying as ‘friends of Dorothy' (a historical term for gay men), with a profound desire to transcend into an imagined, vibrant urban utopia, the implicit anthem for the gay community became Garland’s poignant ballad from the 1939 film The Wizard of Oz (a piece featuring a magnificent tune by Harold Arlen and moving prose by social advocate E.Y. ‘Yip' Harburg). Subsequent renditions of the song by Garland in televised broadcasts and live performances—as an older individual, marked by life’s trials, yet still aspiring for a more blissful locale—possessed an even more profound impact. Nevertheless, despite the widespread openness regarding sexual identity in contemporary times, ‘Over the Rainbow'—and do not, under any circumstances, refer to it as ‘Somewhere Over the Rainbow' lest your standing within the gay community be questioned—continues to evoke sentiments of honor and deep respect. To listen to it is akin to performing a salute to the vibrant rainbow banner. 

14. ‘A Little Respect' by Erasure

On this evocative synth-pop staple, Andy Bell vocalizes the question, ‘What belief system or rationale could compel an individual to abandon their beloved?' — a successful recording for the British pair Erasure in nineteen eighty-eight, and serving as an ideal, sharp rejoinder to the egregiously homophobic Section 28 statute enacted by the British government. It is reported that, during that period, Bell would commence the song during live performances by stating, ‘When I was a little girl, I asked my mummy, ‘Can I be gay when I grow up?' She replied, ‘Yes, if you show a little respect.''

15. ‘She's On My Mind' by Romy

Romy possesses a unique aptitude for encapsulating the ephemeral elation of romantic attachment. This specific track from the album ‘Mid Air' distinguishes itself due to its profound expression of yearning. Produced collaboratively by Fred again.., Stuart Price, and Avalon Emerson, it functions as an ode to LGBTQ+ nightlife environments, featuring lyrical content derived from the experience of harboring unrequited feelings for a platonic acquaintance (a situation widely relatable). In characteristic Romy fashion, she will compel intense engagement with each lyric, employing poignant phrases such as, ‘I lose control, think I'd follow her onto the edge / But she says she's only a friend, only a friend'.

Georgia EvansCommercial Editor, Time Out

16. ‘I Want to Break Free' by Queen

One might scarcely surmise that this declaration of liberation was penned by Queen’s bassist, John Deacon, rather than their lead singer, Freddie Mercury, given the evident zeal with which Mercury vociferously performs it: ‘God knows, I've got to break free!'. British audiences displayed no surprise regarding the music video—a comedic imitation of Coronation Street, wherein the entire band appears in drag, with Mercury portraying an amorous housewife—however, it was prohibited in the United States during that period. Entirely predictable, wasn't it? 

17. 'Smalltown Boy' by Bronski Beat

Through the integration of forthright LGBTQ themes into their polished synth-pop successes, Bronski Beat established themselves as genuine innovators—and this iconic 1984 composition represents their most sublime achievement. Lead vocalist Jimmy Somerville, employing a delicate falsetto, narrates the story of a young man escaping harassment in his native town—with ‘Run away, turn away' serving as the insistent, repeated lyric—all set against a consistent, reassuringly impassive backdrop of percussive beats and synthetic sounds. The track transmutes the anguish of dismissal into a rhythm conducive to dancing. 

18. ‘Y.M.C.A.' by Village People

For any male individual who has ever desired to embody (or intimately engage with) a cowboy, a police officer, or a leather-attired motorcyclist, the Village People hold ultimate sway as creators of chart-topping gay anthems. Tracks such as ‘Macho Man', ‘Go West' (masterfully reinterpreted by the Pet Shop Boys), ‘Cruisin'' and ‘In the Navy' abound with suggestive wordplay, and the 1978 release of ‘Y.M.C.A.'—which rose to become among the most widely acclaimed singles of the 1970s—is no exception. Indeed, the Young Men’s Christian Association found the song’s underlying connotations so objectionable that they contemplated legal action, until they observed a substantial surge in their membership subsequent to the track’s popularity. It appears that all publicity, regardless of its nature, is beneficial—wouldn't you agree, gentlemen? 

19. ‘Free' by Ultra Naté

Achieving worldwide success for dance music icon Ultra Naté in nineteen ninety-seven, ‘Free' presents emancipation not as a mere privilege, but as an absolute necessity: ‘You are compelled to live your life — pursue your desired actions,' implores the vocalist. The somber guitar sequence initiating the track yields to a jubilant, exultant chorus, serving as the sonic representation of uninhibited expression. Therefore, release your inhibitions!

20. ‘Closer' by Tegan and Sara

Due to the considerable triumph of this radiant primary single from their magnificent 2013 album ‘Heartthrob', the Quin siblings transitioned from being underground darlings to legitimate pop royalty. Concurrently, the openly lesbian sisters dealt a significant impact for LGBTQ+ visibility within popular music, an area that has consistently progressed subsequently. The outcome? An undeniable hit, which concurrently facilitated advancements in societal acceptance.

21. ‘Forrest Gump' by Frank Ocean

‘You run my mind boy,' is a line sung by Frank Ocean on this tender, whistle-accented R&B nostalgic piece from his album ‘Channel Orange', a pivotal record which effectively presented Ocean to the broader pop, R&B, and hip-hop musical landscape. Considered in isolation, ‘Forrest Gump' possesses an undeniable charm, yet it simultaneously constitutes merely one component of the intricate tapestry that renders Ocean such a refreshing, enigmatic, and enduring musical talent. 

22. ‘Go West' by Pet Shop Boys

In 1979, when the Village People adopted a ‘go west' ethos (referencing Horace Greeley's famous exhortation), it probably served as a subtle acknowledgment of San Francisco’s burgeoning gay haven. However, when the Pet Shop Boys recorded their rendition of ‘Go West' in nineteen ninety-three, its meaning had profoundly altered. Emerging in the aftermath of the most ruinous periods of the AIDS epidemic, a time when understanding of the disease had improved, yet its trajectory remained frustratingly uncertain, Neil Tennant’s somber interpretation of the composition’s optimistic words, augmented by the support of a substantial, exclusively male choral ensemble, unearths an unforeseen emotional depth within what was originally a somewhat superficial piece.

23. ‘Believe' by Cher

Cher’s illustrious and resilient professional journey has been characterized by a succession of unforeseen accomplishments. No one anticipated her transformation into an Academy Award-winning performer during the 1980s, nor was it foreseen that she would achieve her most substantial hit to date in the late 1990s with this truly sublime dance track. Is it your conviction that existence continues beyond romantic attachment? Absolutely! — and furthermore, we maintain faith in the profound influence of Cher, irrespective of whether her magnificent, distinctive voice is digitally enhanced.

24. ‘It's Raining Men' by the Weather Girls

Celebrated LGBTQ+ figures such as Diana Ross, Donna Summer, Cher, and Barbra Streisand all declined Paul Jabara and Paul Shaffer’s flamboyant musical piece prior to its enthusiastic adoption by the Weather Girls in nineteen eighty-two. One cannot conceive of any of those more renowned vocalists embracing this absurd yet beloved classic with the unbridled courage and vocal virtuosity exhibited by Izora Armstead and Martha Wash, formerly backup vocalists for Sylvester, who elevate the song to an extreme degree of excellence in every conceivable way. Even Geri Halliwell’s successful cover recording was unable to surpass its inherent theatricality.