In 2003, Jennifer Knapp had a successful career as a contemporary Christian singer-songwriter. She had sold over a million albums. She had a Grammy nomination and several Dove Awards. However, she was not enjoying her success the way one would expect. She was exhausted, going through what she described as a “crisis of confidence.” She walked away from music and virtually disappeared.

Four years ago, Knapp returned with an announcement that would test the loyalty of her fans and provoke many conservative Christians. She was a lesbian. She released an album called “Letting Go” and began her comeback.

In October 2014, Knapp released a new album called “Set Me Free,” as well as a memoir, titled “Facing the Music: Discovering Real Life, Real Love, and Real Faith.” Both works are honest and emotional and continue to spread what initially gained her fame — her message of love and faith.

Jennifer Knapp took some time to talk about why she left music, her journey back, and how her faith still plays a part in her career.

In 2002, you walked away from a successful career as a contemporary Christian artist. What were the factors that made you leave it behind? Did your sexuality play a part in that?

In general, I left my Christian music career exhausted. I was going through such a crisis of personal confidence to such a point that I simply didn’t have it in me to continue wrestling my private needs while living such a public life. I had so many issues weighing me down: crisis of faith and questions about whether or not I even wanted to be a Christian “on display”. I had a host of philosophical doubts about my role in the industry and many questions about what, if any of my own faith experience I was willing to share in public. Looking back, I’d have to say that my sexuality had a part to play in it,sure, but it was more of a symptom of need rather than a catalyst. It was, however a huge wake up call that I needed to start taking my mental and physical well-being a lot more seriously, and so, I did.

In 2010, you came out and also released a new record “Letting Go.” What was the reaction of your fans after you came out?

I’ve experienced the entire, perhaps predictable spectrum. There were fans absolutely celebrating with me, the joy of returning to music after having come back from such a dark place, all the way to having CDs sent back and hate mail. There were Christians who went out of their way to be supportive, while others angrily insist I could never claim my Christianity again. Good or bad, though, my coming out has definitely been a significant factor for many of the fans I’ve lost and kept since coming back.

What is your relationship with your earlier, more faith based records, “Kansas,” “Lay It Down,” and “The Way I Am”?

There are a handful of songs I still play live, but I’m pretty selective about when and where they get played. There are some personal, faith-based reasons why I won’t play some and there are some I just don’t enjoy playing. In the end, I suppose like any artist performing their own stuff, you keep playing what speaks to you and leave out what doesn’t fit.

In what ways has your music evolved since these earlier releases?

I’d like to think that, in general, that my overall skills have matured. I like more of what I write these days, lyrically, melodically, structurally — yet I don’t know that I’ve experienced a great sonic shift either. I think if there’s been any major evolution, it’s been one more of confidence and philosophy. I’m not a 20-year-old kid any more. I don’t feel that once nagging pressure to have to out-sing or out-write the last song in order to keep moving forward.

What is the song you are most connected to on your new album?

It’s hard to pick really, because just about every song has a moment that is so deeply personal. Today, it might be “Neosho” and tomorrow “What Might Have Been.” It’s more likely that one or two over the course of time might slip out of use, but for now, any one of them could be my heart’s cry for the day.

You have a book, “Facing the Music: My Story”, that just came out. What were your reasons for writing a memoir?

Mostly, I just wanted to take a moment to ask myself “how did I get here?” Especially after coming out, it was a question asked of me so many times, it seemed like the timing was right to sit down and reflect. From growing up in a small country town, to being a Christian pin-up girl, to coming out and questioning everything my faith community had ever taught me, I really wanted to go back and trace the path of what felt like was a fight for survival.

Based on your history as a Contemporary Christian musician, I am sure people tell you that homosexuality is a sin. What is your response?

It’s not like I have a standard response, but the place I usually try to get to is one that moves away from any Biblical debate and moves toward the testimony of what it’s like to suffer under that teaching. So much has been said to defend one theological position or another, but what we’ve really missed out on are the everyday people, families, LGBTs and their allies that have been caught in the crossfire. I think we need to move away from our tendencies to talk about our varying beliefs as Christians (of which there are many) but rather, get back to the business of defining our faith by how we love our neighbor. There’s really not much to debate now that the lines have been drawn, either you do or you don’t think LGBT love is a sin. The belief you hold doesn’t make you a Christian, it just let’s people know what kind of Christian you are.

You have stuck to your faith. What are people’s reactions this this?

Whether the response is from people in the church, those who have left the church or don’t care about religion, the kinds of reactions I get almost always depend on the backstory of the person making their commentary about my experience. For some LGBTs who have spent their lives serving and worshiping in full view of the pulpit, it makes sense that they’d be happy that I call myself a Christian. On the other hand, I’ve heard plenty from those who have been hurt, discriminated against or cast out, who question why I would stay. There will always be people who insist they know the best path for you or that they know what you need. It’s not that that can’t be an act of true enthusiasm and love, but in the end, each of us have to be responsible and honor our own conscience and experience. It’s in that way that claiming my faith and being honest that I’ve kept it has been very similar to coming out as a lesbian. Not everyone gets it. I don’t always have the words that will convince anyone that I’m legit, but there’s what I know and what I’ve got. It’s all any of us have, our experience. Our story. The real challenge is giving each other a wide enough path to travel it and for each of us to learn how to move ahead without destroying everything in our path.

Does your faith still play a large role in your music?

It has a role to play in my life personally, so I suppose there’s a trickle down into my music in some ways. I hope that what shows up in my music is a reflection of what’s going on in my life, yet, just like when you meet me on the street, or we sit down to have a coffee, I would rather the impact of faith in my life actually shows up more in my actions—to the benefit and joy of my neighbor — rather than it be a message of words. Compassion, love, forgiveness,a sense of something deeper than what I can see — I’d like to think are some of the themes that are woven through all my expressions in some way, but it would be a mistake to confuse that with any interest in writing music for the sake of promoting religion.

If you could take back one lyric from a song you wrote, what would it be?

Really, there’s only one song that concerns me and that’s “The Way I Am”. The lyrics in the chorus being: “It’s better off this way to be deaf, dumb and lame than to be the way I am/it’s better off this way to be groping for the flame than to be the way I am”. They are my words but a take on the Bible when Jesus said “if your eye causes you to stumble pluck it out.”

A lot of LGBT folks living in the church world have used that song almost like a talisman of religious shame. It’s too easily confused for a song that encourages reparative therapy or self harm. That’s exactly what I was trying to point out to the church, that not every metaphor in the Bible was meant to be literal, and in doing so, it causes more harm than good. Yet in trying to make my point, some couldn’t avoid the shaming tactics I was meaning to criticize in the first place.

I want the songs that I write to inspire confidence, a sense of self-worth and hope…this song failed that for way too many, I think.

Who are your influences?

Well, I hope in all of the years I’ve been amazed and listening their powers have rubbed off…the likes of Tracy Chapman, Natalie Merchant, Cowboy Junkies, Patty Griffin, Jonatha Brooke, Mary Chapin Carpenter, Amy Ray and Emily Saliers, U2, Dave Matthews and the list goes on. Their poetry is what inspires me most. They write music that echoes in your heart for a lifetime. They never seem to write music just for the sake of selling records or themselves. There are no B sides, they are always cutting to the marrow.

What else is in store for the rest of 2014 and into 2015?

The balance of 2014 is skipping around in support of “Set Me Free” and “Facing the Music”. One day I’m singing, next I’m doing book readings, then after that speaking to the LGBT faith conversation. This fall I’m doing a little bit of everything. The plan getting into Spring 2015 is putting a nice tour together in support of the album.

For more information about Jennifer Knapp, visit her website, jenniferknapp.com.

Heather Smith is the creator and producer of Rubyfruit Radio, a podcast featuring the best in female artists.

The post Lesbian Christian singer Jennifer Knapp faces the music first appeared on Lesbian.com.

In Denton, a small college town situated north of Dallas on the Texas prairie, you can find artists of all genres honing their craft. It is here that Sarah Jaffe has been perfecting her sound. Her first full length album, the critically acclaimed “Suburban Nature” (2010), announced the singer-songwriter’s arrival onto the folk-pop scene with many critics lauding her as the next big thing.

Since that release, Jaffe began to transition from folksy balladeer to an artist with a more electro-pop sound. Her latest release, “Don’t Disconnect,” finds Jaffe furthering this electronic sound and adding to it hip-hop influences. She is an artist who is constantly growing both musically and lyrically and it shows with her new album.

Jaffe took some time to talk about the evolution of her sound and how she pushes boundaries.

Your style has been evolving into more of an electro pop sound. What has influenced this?

I think it’s just been more of a natural progression. More so than you might think. I don’t think I make music with the intention of sounding different. I think my intent is to grow a little bit more as a writer and musician with each record. Sometimes that growth comes with different instrumentation.

Do you feel like you’ve taken any big risks with “Don’t Disconnect”?

Not really. I made a record I am really proud of with a group of musicians I adore. Feels risk free.

Is there a theme that runs through the new record, “Don’t Disconnect”?

Not a conscious theme, no. But I definitely think there’s a common thread that could kind of tie them together. All except for a couple were written around the same time.

Have you pushed boundaries and experimented more with this album than previous albums?

I think I always experiment with moving outside my own comfort zone in the studio. Whether that be playing an instrument I am not used to playing or ..whatever really. I think being in the studio is where you push your own boundaries a bit.

Does the music you listen to now have any impact on the music you’re creating?

Sure it does!

Do you find that your music tends to be autobiographical or do you strive for a universal theme?

Probably a bit of both. People enjoy relating to one another. It’s like the small joy you get from reading your horoscope. When someone else reveals the truth about your life. That’s one of the joys about songwriting. Is you kind of reveal some truth about yourself and then someone comes along and says “that song is totally me.” So it may be autobiographical but I think I hold out hope that it will relate to somebody.

If you could collaborate with anyone, who would it be?

Beyonce?

What’s one of your best live experiences?

Recently, I played to my hometown of Dallas at the Majestic Theatre. And it was hands down my favorite. The theatre is beautiful, the crowd was wonderful, and I think we all just felt good.

What’s in store for the rest of 2014?

Touring and playing songs from the new record!

For more information about Sarah Jaffe, visit her website.

Heather Smith is the creator and producer of Rubyfruit Radio, a podcast featuring the best in female artists.

The post Musician Sarah Jaffe pushes boundaries with ‘Don’t Disconnect’ first appeared on Lesbian.com.

When Alison May, a multi-instrumentalist and singer-songwriter from Texas took a leap of faith and relocated to Oakland, California, in 2012, the change of scenery helped her focus more on her craft. With this improved focus came a decidedly more complex, layered sound, which is showcased on her sophomore release, “Loved/Dark.”

With “Loved/Dark,” May has left us with a collection of intricate and beautiful folk songs that are often times about loss, separation and regret. Profoundly sad, but also subtle and delicate.

I took some time to ask May about how her sound has transformed, her influences and the new album, “Loved/Dark”, which is out now.

Why the move from Texas to Oakland?

My decision to relocate was centered around my need to be somewhere that I felt would help me focus on my music. Austin had a way of making me too comfortable. I wasn’t writing, recording or performing enough. Instead, I was allowing myself to be too cozy waiting tables and partying. I knew that if I stayed in Austin, I would never be adequately serious about my music.

What drew you to the Bay Area?

My producer and engineer Jeff Price was residing in Oakland at the time that I decided to get out of Texas. I felt that if we were closer together, I would feel more encouraged to pursue my music aggressively. Besides that, I was acting on a hunch. I’m not sure why the thought of Oakland felt so right to me. Having never even visited California, I was making a risky move. Choosing to move to the Bay Area is one of the best decisions I have made. Somehow, it made me pull my act together.

What are some of the main differences between the music scenes in Texas and the Bay Area?

I feel as though the audiences in the Bay Area really listen. They generally feel more engaged and present. However, there is something to be said about the energy that the Austin crowd always brings. As I play more there, they are becoming more drawn into my performance, while maintaining their fiery spirit. I love the Bay crowd for their eye contact. I love the Austin crowd for their hooting, hollering, shot-providing spirit. Austin folks are the only folks that get that amped over such sad music.

You’re a multi instrumentalist. What was your first instrument? What’s your favorite?

Piano was my first instrument. I played for about 10 years until I couldn’t handle the competitions and recitals anymore. I found love with the drums when I was 12. They’ll always be my favorite. I always have and always will get a taste of stage fright when I have to play guitar or piano. For some reason, I never feel afraid when I’m behind the drums.

Who are your main influences?

I almost always write from my own experiences with family, lovers, dreams, mental states, etc. I have never found my fictional songs to be on par with the biographic. Musically, I feel mostly influenced by songwriters like Nick Drake, Deb Talan and Duncan Browne. I love that Nick Drake’s guitar melodies are equally memorable as his vocals, if not more. Deb Talan’s lyric and vocal melody abilities slay me. Duncan Browne’s early work is all around some of the best songwriting I will ever hear. I will never be on any of their levels, but I appreciate what I have learned from each of them.

What is your creative process?

Usually, step one is to get real sad. Step two is to slump over my guitar and try to express said sadness. To be more specific, I usually find it best to start with the guitar part. This always helps me find the vibe that I’m looking for on the given day. Then, I sing lots of blah blah blahs until I find words that feel good. Explaining my creative process always feels ridiculous. There’s nothing romantic about it. Basically, I hole up in my room for a few hours, make lots of weird noises, mumble a lot, maybe cry a little, then bang on my roommate’s door to see if she likes it. Usually, her answer is “Aw, buddy…”.

How does “Loved/Dark” differ from your debut album?

In addition to feeling as though I’ve grown as an instrumentalist and writer, I felt more confident with experimenting. Also, I urged myself to be patient, meticulous and focused. I think “Loved/Dark” is a more diverse album in terms of genre, instrumentation and subject matter. I think we’ve taken a step forward from “Earnest Keep.”

What’s your favorite song on “Loved/Dark”?
I get down to “My Own Good.” I think that song is my longest step outside of my comfort zone. I’m glad it worked out.

What overall tone were you striving for on “Loved/Dark?”

First and foremost, I wanted diversity. But, I wanted a thin thread of psych to run throughout. I had a very specific story I wanted to tell, and I think we accomplished that. To know what that story is, you’ll probably have to read the lyric sheet.

If you weren’t a musician, what would you be?

I don’t think about that often. But, in this moment, let’s say chef.

What distracts you while you’re on stage?

I used to be heavily distracted by performance anxiety. I couldn’t stop thinking about whether or not I was good enough for the crowd. Honestly, I don’t feel very distracted during shows these days. The more I perform, the more I relax into playing. Being on stage doesn’t feel like concentration, but I do feel as though I should give the music all of my attention. This sounds incredibly ridiculous, but, when you’re spending time with a friend you don’t see often, or a great date, you just want to milk those moments and it’s hard to think about anything else. Playing music is kind of like that for me.

What’s in store for the remainder of 2014?

I’m about to head to Colorado for a month full of playing shows and to record a follow up EP. Beginning in September, I’ll be spending the rest of the year touring. I’m a lucky duck.

For more information about Alison May, visit her Facebook page.

Heather Smith is the creator and producer of Rubyfruit Radio, a podcast featuring the best in female artists.

The post Musician Alison May goes deep in ‘Loved/Dark’ first appeared on Lesbian.com.

Having a crush is enough to make your head spin. You overthink everything. You spend a lot of time wondering if they like you, too. You agonize over every text, retyping it at least three times before you send it. That’s after putting more thought into one tiny message than Thomas Jefferson put into writing the Declaration of Independence.

You daydream about your crush, you annoy your friends talking about her, you’ve even nicknamed her for ease of reference (Sorry! Not sorry!). Every time your phone makes a noise, you freak out because it might be her.

Somewhere in the middle of these very real, sometimes ridiculous emotions, music falls into the mix. Every sappy song suddenly becomes about her, even the cheesy pop songs (cue big sigh). Below are eight songs currently on my own crush playlist.

Colbie Caillat, “Fallin’ for You”
This song had to make the list. You really like someone, but making yourself vulnerable is a scary thing and sometimes makes you a little crazy. Let all those feelings out and take that leap of faith. Tell your crush how you feel!

“I am tryin’ not to tell you, but I want to
I’m scared of what you’ll say
So I’m hidin’ what I’m feelin’
But I’m tired of holdin’ this inside my head”

Katie Costello, “Cassette Tape”
Getting to know someone you like can be fun. You learn about her likes, her dislikes, and what makes her tick. But it can also be a little nerve wracking and sometimes, feels like it might be easier to just lay it all out at once.

“I wish there was a social excuse to make you a cassette tape
I’d teach you all about my life from side B to side A
Fast forward, rewind. Whenever or never mind”

Doria Roberts, “Perfect”
Everything in the beginning of a new relationship is perfect. Everything reminds you of your crush and you want everything to stay how it is right now.

“I’ve been thinking about you all night
A warm bed and a cozy fire
You put you arms around me and lift my head
And when you kiss me baby oh yeah…”

Meghan Tonjes, “Be in Want”
This song is all about that awkward stage when you’re in a state of being in want. It’s not love, it’s not lust, it’s that middle ground. You think about the other person all the time and you want her close but it makes you vulnerable and that is a scary place to be.

“And I don’t think you understand how much I want to hold you hand
And how that scares me more than anything I know
It’s getting hard to breathe, hard to be here alone without you
And every part of me is crying out
Oh you know I want you”

Tove Lo, “Paradise”
Butterflies are one of the best parts of a new crush. They’re fluttering around all the time when you see or talk to her. Sometimes they flutter about a little too much, but it’s still one of the best feelings ever.

“Being with you, my natural high
Still got every single butterfly
Just what they all wish that they had
So intense, it’s driving me mad”

Sara Bareilles, “I Choose You”
This song is sweet. Maybe you’ve gotten it all wrong before, but with this one, you see all the possibilities and are happy in the hope that maybe this time, you will get it right.

“I’ll unfold before you
What I’ve strung together
The very first words
Of a lifelong love letter”

Melissa Ferrick, “Will You Be The One”
All the uncertainty swirls around in your brain. Could this really be it? Will this be the one you’ve been looking for?

“Will you be the one I’ve wanted
Will you read my mind
Will you ask me where I hurt
and heal me with your eyes
Will I look at you with wonder
and never doubt our love
Yeah, could you be the one
that I’ve been dreaming of”

Tegan and Sara, “Closer”
That feeling of a new crush when everything is fresh and exciting and you’re trying to take things slow, but all you really want to do is jump in head first. You just want to be close to her and you spend a lot of time trying to figure out ways to accomplish that.

“All I want to get is a little bit closer
All I want to know is, can you come a little closer?
Here comes the breath before we get a little bit closer
Here comes the rush before we touch, come a little closer”

What songs would be on your crush playlist? Tell us in the comments!

Heather Smith is the creator and producer of Rubyfruit Radio, a podcast featuring the best in female artists.

The post Playlist: I’ve got a crush on you first appeared on Lesbian.com.

Since the first time I heard Tegan and Sara back in 2001, their music has always had a place in the soundtrack of my life. Their songs are emotional and sometimes full of angst, but always have an infectious melody and hook. I go through phases with music where I listen to one artist obsessively, sometimes for weeks. Lately, Tegan and Sara has been my go to. Recently, a friend asked me about my favorite songs and it was very hard to narrow down, so I decided to make a top 10 list.

10. Hell (Sainthood, 2009)
Tegan Quin has said that she wrote this song about her neighborhood in Vancouver, which the Vancouver Sun called “Four Blocks of Hell.” It also has a theme of unrequited love about a girl that she eventually got. The melody gets stuck in my head and won’t let go. This song is great when you need the perfect loud, angsty song tinged with aggression.

9. My Number (This Business of Art, 2000)
The angst of wanting to give yourself completely to another, but wanting to make sure they aren’t going to break you is the primary theme of this song. Just give them your number and worry about the consequences later! You’ll never know if you don’t make that leap of faith is the song’s advice.

8. How Come You Don’t Want Me (Heartthrob, 2013)
After getting the number, eventually there’s a break-up in so many cases. This is a song about the end of a relationship. Tegan and Sara write about matters of the heart and breakups a lot. This song can fit into many people’s lives. Sometimes, it stings when you see your ex with their new girlfriend and you think, “You left me for that? Are you serious?” I highly recommend pairing this listening with the Lesbian Breakup Cocktail *.

1.5 Sweet Tea Vodka (because all lesbians drink tea)
3 Unsweetened cranberry juice (for bitterness and the UTI)
Salt rim (for the salty, salty tears)
On the rocks (just like the relationship)

7. This is Everything (Under Feet Like Ours, 1999)
This song is about giving yourself completely to someone, about putting everything you have into the relationship, and it not being reciprocated. Loving someone can make you very vulnerable, and sometimes you can suffer. Ultimately, she just wants to love “without aching”. Don’t we all?

6. You Wouldn’t Like Me (So Jealous, 2004)
For me, this song is all about self-doubt and being afraid to show someone the real you. Maybe you lost yourself in your last relationship, maybe your heart was broken. In order to love again, you need to move past this and learn to trust someone else.

5. I Know I Know I Know (So Jealous, 2004)
This is a song about emotional distance. It’s a song about two people who love each other, but their love is fading. You don’t want to give up, so you try to hang on and work things out. Sometimes it does and sometimes it doesn’t.

4. Back In Your Head (The Con, 2007)
This song is all too familiar for me. It’s about getting too comfortable and complacent in a relationship. It’s about wanting to get that passionate love back that was there in the beginning and not being able to. (see song No. 8)

3. Call It Off (The Con, 2007)
The relationship is not working. You’re miserable and you decide to break it off to save yourself. You know it’s the right thing to do, but you start second guessing and wondering if it’s the right thing. We’ve all been there.

2. Nineteen (The Con, 2007)
This song is about many things. It is about being young and in love, and all the agony that goes along with that. It is a song about heartbreak and distance. When you’re 19, everything seems so big. Every emotion is taken to an all new level and this song is a perfect mix of angst and heartbreak. It is completely relatable.

1. Closer (Heartthrob, 2013)
This song is pure pop perfection. It’s all about you and your crush taking it to the next level and making that jump to getting physical. Just grab her and get closer already!

What songs would be in your top 10? Tell us below in the comments!

*Lesbian Breakup Cocktail courtesy of Dreidl.

Heather Smith is the creator and producer of Rubyfruit Radio, a podcast featuring the best in female artists.

The post Top 10 Tegan and Sara tunes first appeared on Lesbian.com.

Music is powerful. It can evoke emotional responses, taking you right back to happy times and sad times and all the times in-between. It can also help you get through hard things, like breakups.

Breakups are terrible. You cry, you don’t eat, you don’t sleep, and you’re generally miserable. Songs about breakups don’t make it hurt less; in fact, sometimes, they just make you cry more. But sometimes, that is exactly what you need to process the whole thing.

These are some of the songs that have helped me through my recent breakup. If you’re going through something similar, or if you just need a good cry, this is the playlist for you.

Allison Weiss’ “I Had To Do It”
This song sums things up for me. I loved her. I initiated the breakup. Even though, I know it’s for the best, it still sucks.

“It’s selfish and I’m sorry,
But you know I had to do it
And I’ll miss you every second,
But you know it’s for the best.

If my weary heart were well enough
I’d stay and let you keep it
But to know you is to love you
And I don’t want to love you anymore.”

There are other songs from Allison Weiss that are good breakup songs, especially ones from her album “Say What you Mean,” which has become my personal soundtrack these last few weeks. Oddly, most of them are really upbeat in tempo, but often really, really sad.

Ani DiFranco’s “Untouchable Face”
This song doubles as a classic breakup song or a song about unrequited love. The chorus can fit into most breakups when you reach the point of being mad. Sometimes, all you want to do is tell the other person “fuck you.”

“So fuck you
And your untouchable face
And fuck you
For existing in the first place
And who am I
That I should be vying for your touch
And who am I
I bet you can’t even tell me that much.”

Ani’s song “As Is” is another great angry breakup song. Though, if the lyrics fit your ex to a T, I’m so, so sorry, and you’re better off without her, trust me.

“What bugs me
Is that you believe what you’re saying
What bothers me
Is that you don’t know how you feel
What scares me
Is that while you’re telling me stories
You actually
Believe that they are real.”

Jenny Owen Young’s “Fuck Was I”
At some stages of a breakup, you look back and are grateful for the good times. At other stages, however, you regret the whole thing, from beginning to end, and wonder why you ever fell for someone who would end up causing you so much pain. This is a song for those “What the fuck was I thinking?” moments.

“Love grows in me like a tumor,
Parasites bent on devouring its host.
I’m developing my sense of humor,
Til I can laugh at my heart between your teeth,
Til I can laugh at my face beneath your feet.”

Christina Perri’s “Jar of Hearts”
Another song for angry-at-the-ex moments, particularly for those times when you feel you have been used and are just another heart in a jar.

“And who do you think you are?
Runnin’ ’round leaving scars
Collecting your jar of hearts
And tearing love apart
You’re gonna catch a cold
From the ice inside your soul
So don’t come back for me
Who do you think you are?”

Tegan and Sara’s “Call It Off”
Anger is a key component to any breakup, but let’s be honest here — you also miss her, sometimes more than you ever thought possible. You start to wonder if you made the right decision in ending things, but she won’t talk to you, or maybe she’s already moved on to the next person, and you just feel bad and sad. Then you remember all the red flags, broken promises, and why you’re better off without her.

“But now we’ll never know
I won’t be sad
But in case
I’ll go there
Everyday,
To make myself feel bad
There’s a chance
I’ll start to wonder
If this was the thing to do”

A Fine Frenzy’s “Almost Lover”
This song is heartbreaking. For me, it’s about being led on. It’s about someone giving you false hope and all the “what ifs”. You make big plans for a future for the two of you, that never happened, and now they never will. You can’t see your life without her right next to you. Then you open your eyes and see that those dreams were never going to happen anyway.

“Goodbye, my almost lover
Goodbye, my hopeless dream
I’m trying not to think about you
Can’t you just let me be?
So long, my luckless romance
My back is turned on you
I should’ve known you’d bring me heartache
Almost lovers always do.”

Melissa Etheridge’s “I’m The Only One”
You try to be everything for this person, you’d do anything for her. And it still wasn’t enough. Melissa has a few things to say about this.

“But I’m the only one
Who’ll walk across the fire for you
And I’m the only one
Who’ll drown in my desire for you
It’s only fear that makes you run
The demons that you’re hiding from
When all your promises are gone
I’m the only one.”

Robyn’s “Dancing on My Own”
Whether you left her or she left you, it always hurts to see the one you love with another woman, while you’re on your own. It takes energy to remind yourself that it’s better to be alone than to be with someone who acts like you don’t matter.

“I’m in the corner
Watching you kiss her
I’m giving it my all
But I’m not the girl you’re taking home
I keep dancing on my own.”

Katie Todd’s “Leave”
The excuses. Other people. The deceit. It’s exhausting and sometimes, you just need to leave and do what’s best for yourself, regardless of how much you loved that person and much it now hurts to say goodbye.

“Necessary actions taken only so you’ll land on your feet.
And consequences with an action, overthrown in this distraction, please.
And even when the stars align there’s always something caught in your teeth.
This and that it’s always something with you, I’ve run out of steam.”

Adele’s “Rolling In the Deep”
What breakup playlist would be complete without a song from Adele? This song is an angry song. You’ve been wronged and you’re mad as hell and bent on revenge. But the song is also a contrast between the relationship’s potential and it’s reality. Your ex was perfectly capable of giving you everything you needed, but for whatever reason, just didn’t.

“There’s a fire starting in my heart
Reaching a fever pitch, it’s bringing me out the dark
Finally I can see you crystal clear
Go ahead and sell me out and I’ll lay your shit bare
See how I leave with every piece of you
Don’t underestimate the things that I will do
The scars of your love remind me of us
They keep me thinking that we almost had it all”

Breaking up is never easy, regardless of the circumstances, but hopefully, you can learn from your mistakes and grow as a person and come out better in the end. Music will be there to help get you through the rough times.

What are your go to breakup songs? Tell us in the comments.

Heather Smith is the creator and producer of Rubyfruit Radio, a podcast featuring the best in female artists.

The post Heartbroken? Here’s your soundtrack first appeared on Lesbian.com.

Kristen Ford knows no genre. Her new album “DINOSAUR” is an intelligent collection of songs encompassing reggae to pop to country to folk and everything in between. Recently, she took time to discuss “DINOSAUR,” her influences and her upcoming tour.

Who are your musical influences?

Perhaps I’ll move chronologically, as there are so many great artists it’s hard to choose! Blink 182 was the first band I fell in love with — music blasting, jumping around the room singing along with air guitar. I bought an electric later that year and started playing.

At an Ani Difranco concert when I was 15 or 16, I decided this was what I wanted to do for a living. She just had the whole audience in the palm of her hand — such power with a voice and an acoustic instrument. One woman. I had never experienced such a feeling.

Radiohead creates sonic textures and feelings I feel are unmatched anywhere. I do enjoy Phoenix. Audrey Ryan is a local Boston hero, a mentor and friend of mine. Recently, I discovered The Oh Hellos and Typhoon. I dig them both. Oh and the Beatles! They need some press bad.

Who would be a dream songwriter/band to collaborate with or tour alongside?

I would just die to open for Ani Difranco on a tour. I would love to have something produced or co-written by Jon Brion. It would be fun to do some co-writing with Kasey Musgraves, she’s really taking country music in a new direction.

How would you describe your music?

Indie Rock. Everyone seems to think I can’t pick a genre, which is true. I really love country, disco, EDM, folk, hip hop, reggae, distortion and rock n roll. I can’t stand it when a band launches into their live set and the first two songs sound exactly like all the other songs. I always want variety and to push the envelope musically in terms of what I can comprehend and what we can play as a band. For example, “El Camino” on the new album, we worked with Auto-Tune very obviously in the verses — sort of a nod to 2014 pop songs and hip hop today. On “Internet,” we wanted to make an electronic dance tune, working with live instruments and creating loops with super polished modern Tegan and Sara style harmonies. It was all very fresh and challenging. That’s why I play music, to be a child again and create and make mistakes and find the joy in it all.

What is your creative process like for songwriting?

Usually, it just pours out of me. I’ve got a moment and some space and the words and music happen with the guitar in my hand. Sometimes, I’m on my bike and have to pull over and sing into my phone and record the melody and try to piece it together with accompaniment later. I’ve also played with the same band for the past couple of years. They are very helpful. I’ll bring them a verse and a chorus and they’ll help with tempos or finding a good way to get from section to section. I have to trust them when they say “this is just like another song you wrote” and they have to trust me when I say “No, give me this feeling” or “Make it faster, dance bitches!”

What inspires your songs?

Life. I see so much in the world I want to talk about, I want to change, I want to understand.
I also know you can’t make anyone do anything they don’t decide on their own. When you call someone a faggot or say the N word, as a bi-racial lesbian, I’m very offended! Just saying “Hey!” doesn’t do anything. But you’ve got a song like “Zeda” that I wrote, and I’ve heard people tell me it’s made them cry or feel very intensely. That’s the power of music. I’m also inspired by my life, at my own ability to make a complete mess of things, and not see it coming. Music is my way to release and see myself out of it.

Is there a lyrical theme that tied “DINOSAUR” together?

I would say “DINOSAUR” is about my journey to Wyoming and back last year. I learned so much and got out of my comfort zone, my little Boston hipster, liberal bubble. It’s about falling in love and struggling to make your living and learning to laugh through it as you make your way in this world.

How does “DINOSAUR” differ from “The Grindstone”?

“DINOSAUR” was a very different project from “The Grindstone.” I’m older now with at least 400 more shows under my belt. I worked with producer Jesse Ciarmataro on “DINOSAUR,” where “The Grindstone” was self produced. “The Grindstone” was made in a homemade studio, mixed in Los Angeles where I made edits across the country, and on a fraction of the budget we had on “DINOSAUR.” I felt the funds we had raised through a grant and Kickstarter donations, made it possible for me to work in the studio of my dreams, be very involved in the mixing process, and work with great people every step of the way. I hope this will be the project to put me on the map in a bigger way. I’m very proud of it, proud enough to move into a van, quit my three jobs and tour full time to promote it.

A lot of indie artists are opposed to giving away music for free, but you’ve given away entire albums. What is your reasoning for giving it away?

I may be changing the free music format soon, at least on the new stuff. However, less and less people are paying for media. TV shows, music, you can find it for free. If you stream my music on Spotify, I need 1,000,000 streams to get $400. So far I think I’ve been paid 30 cents over the past couple years from Spotify. If you rip it from YouTube the sound quality will be terrible. I’d rather you download off bandcamp free of charge, share your email address, then we can connect on a tour, or on my next crowdfunding campaign. I would rather gain a fan and lose out on a couple of dollars on an album that’s already paid for, then hoard an album and have no one hear it.

What is your favorite song to perform? Why?

I like “Ah Ooh Ooh” because it’s so fun and dancey. At Northampton Pride, we had a sign language interpreter, and it was fun watching the sign for “Ah Ooh Ooh,” which is a made up sound.

What is coming up for the remainder of 2014?

Living in a van, touring the country. Notably, I’ll be playing on the mainstage at National Women’s Music Festival in Wisconsin on June 26. I’ll be experiencing Michigan Womyn’s Festival as sound crew, which should be a trip. Then we’re headed back to the dude ranch in Wyoming. This should be a busy summer and super fun fall. If the van is still running, we plan to head to the south and west coast in early 2015. You can follow the travels of me and my girlfriend on our website.

For more information about Kristen Ford, check out her website.

Heather Smith is the creator and producer of Rubyfruit Radio, a podcast featuring the best in female artists.

The post Don’t fence in musician Kristen Ford first appeared on Lesbian.com.

BY HEATHER SMITH

Janet Robin’s career is like your favorite mix tape: full of assorted content that creates an amazing journey. She has the glam rock tracks from her Precious Metal days; the classic rock tracks from her stints playing guitar with Lindsey Buckingham and Air Supply; the 90s alternative with Meredith Brooks. Each varied and enviable chapter or track influences an impressive solo career, all of which we’re exploring in our interview with Robin.

In Part 1 of our interview, we learned about her early career and her influences. In Part 2, we go deeper into her creative process and find out what makes her tick.

Your album “Everything Has Changed” was produced by John Carter Cash and was recorded in Tennessee at Cash Cabin, a studio Johnny Cash built and where he recorded his later releases. What was it like to record there and do you think it had any influence on your sound?

It was awesome there. I love Los Angeles, but it was so nice to get away from here and just be in a place that demanded creativity. And that’s what that cabin is like. It just makes you feel at home and that anything is possible. You can relax and just be yourself. The equipment they have there is top notch — great mics, mic pre-amps, amplifiers, even some of Johnny’s guitars and his piano. There are pictures of him and June all over the place and it just feels like home. I think it helped relax me and also kept me focused at the same time.

What was it like working with John Carter Cash? What kind of influence did he have on you?

He is amazing. He’s open, creative and just really pushed me to be myself, which is why I wanted to work with him in the first place. A lot of people I’d worked with, though they are really talented, were always trying to make me sound like someone else, but he just wanted me to sound like myself, and if I wanted to have a five minute guitar solo at the end of a song, I could do it. He really left the doors open, but he also orchestrated the sessions.

They all ran smoothly and he picked amazing Nashville session players, including David Rorick, who was Johnny’s bass player for 25 years. John Carter Cash was really influenced a lot by Rick Rubin, who produced his dad’s last record. He’s a hands-on guy without being “hands-on.” I think he learned a lot about producing from Rick. It was a great experience. I loved every minute of it.

I was so lucky to have fans that wanted to support that record — I raised $20,000 from fan donations. That was an incredible feeling, too; that people really believed in my work and wanted to support it.

What is your creative process like?

Besides having a glass of wine? Well, sometimes I do. No seriously, it just comes on for me. It’s like this internal feeling that comes on. A lot of time I’ll be rehearsing something else. Then I just start jamming on a riff or something pops into my mind and I get into the mode.

Does the music come first or the lyrics?

Usually the music first, but I have written lyrics first before. Usually it’s the music though because I always seem to have that damn guitar in my hands.

Do you lock yourself away and write or do you write anywhere?

I do like to lock myself away, either here in my apartment or at the rehearsal studio. I don’t like to be disturbed and usually try to shut everything off like phones and computer. It’s a very focused and quiet time for me. I need to sometimes just sit for a few hours and play a song idea, then write some lyrics down, then play again. That could go on for hours. I don’t have specific times when I write. It’s just really when it comes on. If I’m planning on releasing something though, I do try to speed things up and schedule actual writing time for myself.

Besides your solo career and working with other artists, you have scored pieces for commercial purposes. How does your creative process differ for that? You’ve also had several songs featured in various TV shows. Which was the most surprising that got used and in what show?

I really enjoy that process. It’s so totally different than writing for yourself. In fact, it’s a lot easier for me. A director or producer will give me an idea of exactly what they want, and that really makes it a lot easier. Or they want it to sound like a certain band or artist. That also makes it easier. I’m not working from zero; I have instructions. Instructions always help.

I also enjoy it because sometimes it’s stuff I wouldn’t normally write for myself. It opens me up to a lot of other styles.

I think the most surprising opportunity was getting a few of my songs in the soap operas “All My Children” and “One Life to Live”. I never thought that a rocker chick like myself would have songs in soap operas. They gave me instructions for those songs and being able nail it really made me feel like a true pro musician, no matter what style I was writing or playing.

You are about to go on tour through Europe. How do fans in Europe differ from those in the U.S.?

Fans of music here are great. But in Europe they are really great. Maybe just more excited? They love American music and American musicians. They also seem to be more gender and age blind, so they don’t seem to care that I’m a girl who plays guitar or focus on my age.

If European fans like your music, they like your music. That’s pretty much it. I can appreciate that. It’s honest. I love playing there. The venues can be really awesome, like doing shows in castle courtyards, or theaters from the 1600s. We don’t really have that here. There’s so much history there. One hotel I stayed in on the road in Germany was apparently a hotel that Mozart used to stay in on his travels through Europe. That’s just super cool.

Speaking of Germany, you seem to be very popular there and the Czech Republic. How do you think that happened?

Well, I got lucky once again, and was hooked up to an awesome Czech band called November 2nd through an American producer, David Bianco. Our music is similar in style. They sing in English, too, not in Czech.

I asked if I could come over sometime to their country to open for them. They hooked up a full summer tour and really got the ball rolling for me. I started playing some big festivals back in ‘07. They also got a lot of press for me. I really owe a lot to them. Now over seven years later, I just keep going back and I have a band there now. They are super supportive. I brought them over here in ’08 for a west coast tour. They were really excited for that and we had some great shows out here. I’m so grateful for all their support and friendship over these years.

As far as Germany is concerned, that came to be through a German record label that I had been in contact with through my friend, Colin Hay (Men at Work). I opened a lot shows for him and one day he told me about this German label that I should reach out to. They passed on my previous CDs, but when they heard the one I did with John Carter Cash, they loved it. I signed with them and they also became my agents in Germany.

I eventually moved onto another German agency and have just continued to keep building my fan base there. Germany is the second largest music market in the industry. It takes a while to build there, but I have a nice group of fans that seem to keep coming back to my shows. The venues keep having me back and I go where the work is!

What has been one of your favorite solo shows? What made it special?

I’ve had some amazing solo shows over the years. Maybe it’s not because of my own playing but because of the venue or the audience. There was one castle show in the Czech Republic that was just so special. It was in the courtyard. Torch lamps were lit. There was a stage with lights but everyone was sitting on the ground. I felt like I was playing in the medieval times! It was beautiful outside summer weather. I was playing music in this amazing venue and it gave me goose bumps.

Opening for Heart was also a really special moment in my career, and I felt their audience was a perfect fit. I remember after the show a long line of people waiting to buy my CD. I wasn’t expecting that, so that was pretty exciting.

What’s next for you?

On May 18 I take off for Europe for 25 shows in Germany, the United Kingdom and the Czech Republic. I am also working on new songs for the next studio record. I hope to finish that at the end of 2015. With touring, producing and teaching it’s a lot, so that’s why it’s taking so long.

I have been in talks with a German label that wants to release a compilation CD in Europe and that will probably happen soon, possibly even next month while I’m in there.

Just working as much as I can and keeping things moving. That’s always been my strategy. Create new stuff, apply it and rock it!

Janet Robin is currently on tour in Europe. Be sure to check out her website at www.janetrobin.com.

Heather Smith is the creator and producer of Rubyfruit Radio, a podcast featuring the best in female artists.

The post Janet Robin: Where the Cash family, Lindsey Buckingham, Air Supply collide first appeared on Lesbian.com.

BY HEATHER SMITH

When I was nine years old, I was playing softball and riding my bike. When Janet Robin was that age, she was studying with legendary guitarist, Randy Rhoads (Quiet Riot, Ozzy Osbourne). This is a woman who was raised on the guitar, and damn, can she play.

In Part I of our Q&A, I talked with Janet about her relationship with Randy Rhoads, her influences and her early career playing with the all-girl glam rock outfit Precious Metal as well as stints with Lindsey Buckingham, Air Supply and Meredith Brooks. Janet Robin has had experiences that many musicians only dream about and during the course of her career has proven over and over that girls really do know how to rock.

How old were you when you first started playing guitar? What made you pick it up?

I started when I was six years old on classical and folk guitar, then nine years old on electric. I did everything my older brothers did. When they took karate, I took karate; when they took guitar, I took guitar. Karate obviously didn’t work out, but I really enjoyed playing guitar. It was a different kind of focus for me even at a young age.

When did Randy Rhoads start giving you guitar lessons? How did that come about?

I started with him around age nine. My brother and I were taking acoustic guitar from another teacher and he wanted to play electric. Of course, I wanted to also. Someone recommended this great electric guitar teacher and he taught at his mom’s studio, Musonia, which was really close to my parent’s house.

How did Randy Rhoads influence you?

First, he couldn’t care less that I was a little girl who wanted to rock. Also, I was his youngest student, and he didn’t care about that either. It really gave me a lot of confidence as a kid and as a girl who didn’t want to play with Barbies. Not that there’s anything wrong with that, but I was obsessed with guitar.

Randy taught me how to practice, too. He also inadvertently taught me how to write songs. When we would jam during the lessons, he would show me a progression that usually included a guitar riff of some sort. A lot of the music I write has a “featured” guitar riff that’s a theme throughout. As far as his style goes, it definitely influenced me in learning all the tricks of the trade like pull-offs, hammer-ons, pinching, harmonics — cool stuff that lead guitar players use in their solos. I used it later in my bands and also use some of that stuff now on my acoustic guitar, which sounds really different and unusual.

What is one of your favorite memories of him?

I was lucky enough to actually see him play with Quiet Riot back in the day. He was with them before he got the gig with Ozzy Osbourne. They weren’t as big until after he died, but they were a popular Los Angeles band at that time. I enjoyed seeing him live and the buzz of the concert was really awesome. But to be honest, my favorite memories are just going to my lessons week after week, sitting in the little practice room. He would be smoking and drinking a Diet Coke, and just completely ripping on the guitar during our lessons. It was amazing; I’d never seen anyone play like him. I would actually bring friends and family members to sit in on my lessons.

How did his death impact you?

I was devastated. I remember I was at school; 15 years old. My mom called the school office and they sent me there to talk to her on the phone and she told me about the plane crash.

I just couldn’t believe it. I started crying immediately. I just felt like everything I had learned on guitar — the “serious” stuff was from him, and that it will never happen again now, and nobody would ever replace him.

I was lucky enough to have had one more lesson with him — in between tours with Ozzy he had a break and went back to teach his students for one week. That was the last time I saw him. I remember he came out and told my mom “When she gets to be my age she’s gonna be just as good.” I don’t know about that, but it was really cool thing to say! He was super dedicated. I think that also taught me a lot in my approach to teaching my students.

Who were were some of your female role models?

You know, growing up back in the 70s there weren’t a lot of female guitarists or even female-fronted bands. Of course, I loved Heart. I just thought they were so awesome. Nancy Wilson played fantastic guitar — finger-picking aggressively, but was still sexy and cool. She was definitely a role model.

I liked The Runaways, too, but I wasn’t as aware of them as I was Heart. They seemed a little more trashy-punk which was cool, but I guess I was more into the classic rock style. I loved Janis Joplin, Grace Slick and Blondie as vocalists. But you know there just weren’t a lot of girls back then rocking on the guitar. I had heard of Bonnie Raitt but she was more in the blues scene. So, I admired a lot of male players — besides Randy of course, Jimmy Page, Jimi Hendrix, Eric Clapton and Eddie Van Halen.

How old were you when you joined Precious Metal?

I answered an ad from the drummer and rhythm guitar player at the time — they were looking for a lead guitarist. I had just turned 17 and was in my senior year.

What was that experience like in metal/glam rock, which was seemingly a male-dominated genre?

Yes, well, there’s too many stories to go into. You know we had it okay. We really prided ourselves on our musicianship. We played all the parts on all of our records and we wrote all the songs. We put on an entertaining show. We did feel at times, though, that we had something to prove just because rock ‘n’ roll is so male dominated, but that just made us work harder. I think in the end we did get some respect.

I do have to say that back in the 80s the Sunset Strip scene was really cool. Lots of bands were close friends. We would play shows together, be at parties together, and there were several other really good female bands at the time that were awesome. We also hung out with the guys from Guns ‘n’ Roses and Poison, that was pretty cool. A lot of those bands just started making it, but they were still playing on the strip.

What was your best experience with Precious Metal?

That’s tough because we had a lot of great moments. Playing in Mexico at a benefit concert with 20,000 people in the audience was amazing to me. I had never played in front of so many people before. Writing and recording with Ann and Nancy Wilson and Sue Ennis for our last record in 1990 was pretty awesome.

Leslie Knauer (Precious Metal’s lead singer) and I flew up to Seattle, worked on a few songs, recorded some demos and then just partied! That was back when I could party. But it was amazing to actually be working with someone like the Wilsons who I admired growing up and then hanging out, playing and talking about music. They are still friends although I don’t see them that much. Several years ago I had the opportunity to open for one of their acoustic shows down in Cerritos. A few years back I went to their show and brought my 16-year-old female guitar student backstage who loves them, and she got to meet them and get her record signed.

Worst?

Well, there were some. I think one time I heard some guy say “Your boyfriends must be playing behind the curtains!” That was the craziest thing I’d ever heard. Then another time at a show on the road some idiots threw dildos on stage. That was so fucked up and disrespectful, so we threw them back into the audience.

What led to the demise of Precious Metal?

Well, we released our very last record around 1990 which was the beginning of the grunge scene — with Nirvana, Soundgarden, Alice in Chains, etc. That style was taking off on radio and the industry really didn’t want to have anything to do with glam-rock anymore. So after six years we called it quits.

How did you get the gig with Lindsey Buckingham?

If it wasn’t for Precious Metal, I wouldn’t have gotten the gig with Lindsey. A production assistant that worked at our former label started working for an agent in Los Angeles that was responsible for looking for touring musicians for major artists. Lindsey’s team went to her asking for female guitarists. He wanted two of them so they sent me in. The audition was crazy long — five hours of just hanging out, playing a little, talking, playing again, singing a little, talking. I’d never had an audition like that before. He’s old school and really wanted to get to know each player before he hired them.

How much did working with him influence your career?

Lindsey influenced me quite a bit. I’ve been lucky, you know. I’ve had some great female role models — Nancy Wilson, of course — but I also have had some amazing male role models and each guy I worked with gave me the utmost respect. I think they saw how hard I work, how much I love playing the guitar and performing and that I really take my career and work seriously. So maybe in a way, I attracted those kinds of people to work with. Lindsey is a perfectionist. I now strive to be as perfect as possible. It’s impossible of course, but I still strive to do my best with shows, songwriting and recording.

I learned a lot from him about putting an entertaining show together — not just playing songs — but interacting with the audience. I learned a lot about songwriting and, of course, incorporating guitar into it. I think Precious Metal was a great start for me in the industry, but I really, truly became a professional when I started working with Lindsey.

What is one of your favorite memories of working with Lindsey?

There are too many stories regarding working with Lindsey and they are all great. Going to Hawaii for two weeks, renting out the hotel lounge at The Grand Wailea on Maui, and turning it into a recording studio was one of the most incredible experiences. We would get up, go snorkeling and then by 12 noon we were in the lounge recording ideas, jamming, etc.

He flew the whole band out there to do what we thought would be his next solo record. Unfortunately, it didn’t work out that way, but still it was an amazing experience.

Also, touring with Tina Turner. We opened for her for six weeks and that was also pretty damn cool. We played arenas. I grew up going to concerts in arenas and here I was playing in them. That was a dream come true. Also, I would watch her every night. She is such a pro. I learned a lot from her, too!

Also, I think a really cool experience for me was when our band (with Lindsey) played in Seattle and Nancy Wilson came to the show. Then we all went out to dinner and drinks. To be surrounded by two amazing guitar players and to have their respect was just a pinnacle of my career.

You played with Air Supply, which is known for being the epitome of soft rock. How did you come to work with them?

Well, that was another Precious Metal hook up. One of Precious Metal’s former road managers was now Air Supply’s road manager. I was hired by an agent to play guitar for a 70s concert featuring soft rock artists, like Gary Wright and Ambrosia. We opened for Air Supply that night and my former tour manager from Precious Metal recognized me. He told me that Air Supply was looking for a lead guitar player and that Russell and Graham (of Air Supply) saw me play there and were impressed with my playing and wanted to hire me. Literally, there was no audition. A month later I got a live CD from them, learned all the songs and parts and started heading out on the road with them.

Your background is more rock, so what was it like to play with a band that has a softer edge?

I was a lot older than when I was with Precious Metal so it was okay for me to play that style. Yes, it wasn’t as rockin’, but they did have me do some cool solos and featured me a lot which was really great. I think I added a little edge which I think they were okay with. And they had no problem about me being a girl either. Again, male performers giving respect. I really appreciated that they could care less about my gender. It just didn’t work out because my own solo career was becoming more important to me at that point in my life. I had already begun touring the U.S. for several years, as well as Europe, and I just really wanted to focus on my own music at that point.

Who are some of the other artists/bands you have played/collaborated with?

There are many. Maia Sharp, we’ve written a lot of songs together. Garrison Starr, Adrianne, Sarah Bettens, Michelle Shocked, Meredith Brooks and many more.

Meredith Brooks was a great experience — we opened for Melissa Etheridge on a summer tour back in 2002. Great fun and great audiences. I think they loved the fact that there were two girls rockin’ on the guitar. Meredith is a killer guitar player and I thought it was cool that she wanted another girl guitar player in the band. She also let me sell my own CDs at those shows and also let me open for her when she played solo shows. Super supportive woman.

Be sure to catch part two of our interview with Janet Robin soon. She is headed to Europe where she will be touring through the UK, Germany, and the Czech Republic throughout May and June.

Janet Robin will be performing at the Hotel Cafe in Los Angeles on May 11. For more information and additional tour dates, be sure to check out her website.

Heather Smith is the creator and producer of Rubyfruit Radio, a podcast featuring the best in female artists.

The post Don’t dare tell Janet Robin that girls can’t rock first appeared on Lesbian.com.

BY HEATHER SMITH

You’ve filled your phone with the latest Melissa Etheridge, k.d. lang, Indigo Girls, Brandi Carlile, and Tegan and Sara. So that’s it? You think you’re all set in case there’s a spontaneous queer music party on the next block? Not even close. While those more mainstream artists certainly have their place in the lesbian music collective, the multitude of new artists is growing by the day and the level of talent isn’t lacking. Don’t get overwhelmed. I’m here to get you started with a look at five artists that are sure to expand your listening horizons. Whether you’ve got a broken heart or you want to dance around, there is something for everyone on this list. Your ears will thank you.

Meshell Ndegeocello
Meshell Ndegeocello has always pushed the envelope with her music. From blurring the lines of musical genres by incorporating rock, jazz, R&B, funk and hip-hop into her sound to writing songs about provocative topics like race, sex, politics, religion and feminism, Ndegeocello, over the course of the last 20 years has consistently put out some of the most authentic and honest songs possible.

She has a new album called, “Comet, Come To Me” coming out in June. Here is one of the new tracks, “Conviction.”

Mal Blum
With quirky, self deprecating lyrics along with perfect melodies, it’s easy to connect with Mal Blum’s music. Her 2013 release “Tempest In A Teacup” manages to show vulnerability and be funny at the same time. It’s this characteristic that has given this album earworm status for me. It also helps that she is friggin’ adorable.

One of my favorites off the album is “Valentine’s Day (Let’s Stop Cheating On Each Other),” which highlights Blum’s sense of humor.

Allison Weiss
Allison Weiss’ “Say What You Mean” is full of songs that say the things you wish you could say, but you just can’t find the words. Weiss does this without an overabundance of analogies and platitudes. The songs lament about broken hearts, but over a catchy beat with completely relatable scenarios.

The skill with which Allison Weiss is able to articulate the angst over a broken relationship without sounding depressed is quite a feat and even if you’re not in the midst of a breakup, the album says something and remains fresh. This album has been in a constant rotation for me since it came out last spring, even though I was not suffering from a broken heart. Weiss is, however, saying some of the things I wish I had during my last breakup.

Check out this acoustic version of her song “Making It Up” from her latest album “Say What You Mean”.

Hannah Thomas
Georgia girl Hannah Thomas can’t be pigeonholed. Part rock and part country, she brings an energy to her music that cannot be contained. She’s been touring and writing relentlessly since she was 16, kicking ass and taking names along the way. I think that her talent truly shines when she performs live, so if you get a chance to see her perform, take advantage of it.

One of the highlights from her last release, “Goodbye On Wasted Time” is “Watch Out For the Deer,” a fan favorite that makes hanging out in a parking lot sound like a hell of a lot of fun.

CocoRosie
Sisters Bianca and Sierra Casady, form the core of this group whose music has been described as “freak folk” and “New American Weird.” Their sound, at first listen can sound a bit baffling, but the more you listen, the more haunting and lush it sounds.

What I love about CocoRosie is that they pay no mind to what they think others might want to hear and are doing this for themselves and seemingly, loving every minute of it. I had the chance to see them in New York knowing very little about them. My first thought was that it was a cacophonous spectacle. Then I really listened to them and paid attention to the layers of their sound and saw it for it’s beauty.

Check out “After the Afterlife” from their latest release, Tales of a GrassWidow.

Heather Smith is the creator and producer of Rubyfruit Radio, a podcast featuring the best in female artists.

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