Festival season is well underway, both stateside and abroad, with NYC’s Gov Ball, Chicago’s Lollapalooza, Tennessee’s Bonnaroo, and the UK’s Glastonbury Festival offering an array of acts across multiple stages.

In honor of Pride Month, we’ve rounded up a bunch of LGBTQIA+ artists gracing this summer’s festival circuit  — as well as a few Pride-specific festivals —  that you won’t want to miss. Whether you’re in the mood to dance the night away, cry on your best friend’s shoulder, or just vibe out, there are established and rising artists to suit festival-goers with a variety of musical tastes.

Chappell Roan

After opening for Olivia Rodrigo on her GUTS tour, Midwest Princess Chappell Roan took the world by storm with her live-streamed Coachella performance during the desert festival’s first weekend, coming back just as strong in the second weekend. She also performed on NPR's Tiny Desk series, and her latest single “Good Luck, Babe!” slingshotted her even further into super-stardom. You’d be foolish to miss your chance to catch her on this year’s festival circuit. This time next year, she’ll probably be headlining.  

Where to see Chappell Roan: 

The Governor’s Ball  

Queens, New York  

Performing Sunday, June 9 

Kentuckiana Pride Festival  

Louisville, Kentucky 

June 15 

Bonnaroo  

Manchester, Tennessee  

Performing Sunday, June 16 

Lollapalooza  

Chicago, Illinois 

Performing Thursday, Aug. 1 

Hinterland Music Festival 

Saint Charles, Iowa 

Performing Sunday, Aug. 4 

Osheaga Music & Arts Festival 

Montréal, Canada 

Performing Saturday, Aug. 3 

Outside Lands  

San Francisco, California 

Aug. 9 – Aug. 11 

Performance date TBD 

All Things Go 

Columbia, Maryland 

Performing Sunday, Sept. 29 

Renée Rapp 

“Mean Girl” Reneé Rapp has had a banner year promoting her 2023 debut album, Snow Angel, the follow-up to her 2022 EP Everything to Everyone, reprising her Broadway role of Regina George in the movie adaptation of the "Mean Girls" musical, collaborating with Megan thee Stallion, and coming out as a lesbian. Snow Angel found the singer exercising her range both vocally and emotionally, and her live performances show off those impressive vocals even more. Luckily, you have a few chances to catch her at a festival this summer. 

Where to see Renée Rapp: 

The Governor’s Ball  

Queens, New York  

Performing Sunday, June 9 

Bonnaroo  

Manchester, Tennessee  

Performing Saturday, June 15 

Lollapalooza  

Chicago, Illinois 

Performing Friday Aug. 2 

Osheaga Music & Arts Festival 

Montréal, Canada 

Performing Saturday, Aug. 3 

All Things Go 

Columbia, Maryland 

Performing Sunday, Sep. 29 

Blondshell 

Previously performing under the moniker BAUM, Sabrina Teitelbaum has found her niche as Blondshell, writing unflinchingly honest and relatable lyrics about the human condition and belting them out over noisy guitars. Blondshell burst on the scene in 2022 with a '90s-inspired sound, reminiscent of the shoegaze bands of grunge’s golden era. Her self-titled 2023 debut album explores themes of failed relationships and shame, sobriety, unrequited love for a woman, and even a little murder, all with levity and vulnerability most 20-somethings can relate to. 

Aside from the obvious perks of the loud guitars during her live set, you might also be lucky enough to catch a cool cover–she’s known to perform Le Tigre’s “Deceptacon” at shows, and she just released a cover of the Talking Heads’ “Thank You For Sending Me An Angel” for the A24 tribute album, Everyone’s Getting Involved.  

Where to see Blondshell: 

The Governor’s Ball  

Queens, New York  

Performing Friday, June 7 

Day In Day Out 

Seattle, Washington  

Performing Sunday, July 13 

Lollapalooza  

Chicago, Illinois 

Performing Thursday, Aug. 1 

Hinterland Music Festival 

Saint Charles, Iowa 

Performing Saturday, Aug. 3  

All Things Go 

Columbia, Maryland 

Performing Sunday, Sep. 29 

G Flip 

Maybe you always knew who G Flip was. Maybe you were introduced to the nonbinary Aussie artist when they made headlines for their relationship with reality TV star Chrishell Stause. Or maybe you became a fan when you heard their incredible, sapphic-twisted cover of Taylor Swift’s “Cruel Summer” for triple-J’s Like a Version series (which even got Taylor’s stamp of approval).   

However you found G Flip, you probably became a little obsessed instantly, marveling at their ability to croon and play the drums simultaneously without missing a beat. The energy G brought to their in-studio performance at triple-J is indicative of the energy you’ll see on the stage when they play a couple of festivals this summer.  

Where to see G Flip: 

The Governor’s Ball  

Queens, New York  

Performing Sunday, June 9 

Nashville Pride 

Nashville, Tennessee 

Performing Sunday, June 23 

Backlot Bash 

Chicago, Illinois 

June 30 

Spin Off Adelaide 

Adelaide, Australia 

July 19 

Romy

Romy might be better known as part of British indie trio the xx, but her career as a solo artist is just as worthy of recognition. Making feel-good dance music about queer love, the 2024 GRAMMYs first time nominee has the unique ability to transport you to a world where everything is okay and there’s no better place to be than moving in tandem with the people around you. For a true one-with-the-crowd festival experience, jumping around to Romy’s electro-pop is the perfect option. 

Where to see Romy: 

Osheaga Music & Arts Festival 

Montréal, Canada 

Performing Friday, Aug. 2 

Lollapalooza  

Performing Saturday, Aug. 3 

Outside Lands  

San Francisco, California 

Aug. 9 – Aug. 11 

Performance date TBD 

Ethel Cain

Ethel Cain is a force to be reckoned with. Despite the unconventional nature of her music  — which explores themes of religion and conceptual stories about abuse — she’s made a place for herself in the mainstream with singles like “Crush” and “American Teenager" (the latter track nabbed a spot on President Barack Obama’s end-of-year playlist in 2022).   

More than just a great storyteller, she’s an easy to admire artist who is outspoken about human rights. Plus, her performances always feel intimate, even when they’re on festival stages in front of a huge crowd. 

 Bonnaroo  

Manchester, Tennessee  

Performing Saturday, June 15 

Lollapalooza  

Chicago, Illinois 

Performing Saturday, Aug. 3 

Hinterland Music Festival 

Saint Charles, Iowa 

Performing Sunday, Aug. 4 

Thing Festival 

Carnation, Washington 

Aug. 9 – Aug. 11 

Performing Saturday, Aug. 10 

 All Things Go 

Columbia, Maryland 

Performing Saturday, Sep. 28 

Ryan Beatty

Singer/songwriter Ryan Beatty may be your favorite artist’s favorite artist. He became a bit of a teen sensation in the early aughts for his YouTube covers of popular songs, later gaining wider recognition for his Brockhampton collaborations. His solo career has since taken off, making him a reference point for other singer/songwriters — especially following his 2023 album, Calico.  

His knack for songwriting even led him to working on a number of tracks on Beyoncé’s COWBOY CARTER album. Ryan’s songs are tender and full of yearning, brimming with raw and real emotion–it’s best to bring some tissues when you catch one of his sets. 

Where to see Ryan Beatty: 

The Governor’s Ball  

Queens, New York  

Performing Friday, June 7 

Bonnaroo  

Manchester, Tennessee  

Performing Saturday, June 15 

Lollapalooza  

Chicago, Illinois 

Performing Friday, Aug. 2 

Outside Lands  

San Francisco, California 

Aug. 9 – Aug. 11 

Performance date TBD 

The Japanese House 

Amber Bain, or the artist known as the Japanese House, shied away from publicity at the beginning of her career. Hand-picked by Matty Healy of The 1975 to make music under his label, Dirty Hit, Bain's haunting melodies and painfully relatable lyrics resonated with listeners and critics — even when they didn’t know who was singing and producing the tracks they were falling for.   

Now, she’s proud to take all the credit for her hard work and talent. The Japanese House’s latest effort, In the End It Always Does, is packed with resonant tracks about growing up, longing, existentialism, and even a sweet, sad ode to man’s best friend — her dog, Joni Jones, is named for Joni Mitchell — all of which sound incredible live. 

Where to see The Japanese House: 

Bonnaroo  

Manchester, Tennessee  

Performing Friday, June 14 

Lollapalooza  

Chicago, Illinois 

Performing Thursday, Aug. 1 

Osheaga Music & Arts Festival 

Montréal, Canada 

Performing Friday, Aug. 2 

Outside Lands  

San Francisco, California 

Aug. 9 – Aug. 11 

Performance date TBD 

 MUNA 

When MUNA calls themselves “the greatest band in the world,” they aren’t lying. The L.A.-based queer pop trio toured for nearly all of 2023, including playing as an opening act for select dates of Taylor Swift’s record-breaking Eras tour. Their fanbase blew up since signing to Phoebe Bridgers’ Saddest Factory Records in 2021 and releasing their third album, led by the hit single “Silk Chiffon.”   

MUNA has built on that momentum by perfecting their live show, as evidenced by two stellar sold out tour-closing shows at Los Angeles' Greek Theater. While they’re taking a break from touring to work on their next record, MUNA are making a few festival stops this summer, including in singer Katie Gavin’s hometown of Chicago.  

L.A. Pride in the Park 

Los Angeles, California 

Saturday, June 8 

Summerfest 

Milwaukee, Wisconsin 

June 20 – 22, June 27 – 29, July 4 – 6 

Performing Friday, June 27 

Pitchfork Music Festival 

Chicago, Illinois 

July 19 – July 21 

Performing Sunday, July 21 

Newport Folk Festival 

Newport, Rhode Island 

July 26 – July 28 

Performing Friday, July 26 

Ashnikko 

Ashnikko doesn’t fit into any box, and no two songs sound the same. The blue-haired phenom’s catalog spans from upbeat hyperpop-rap infusions about hard work, reimagined cheers from Bring It On with horror influences, and emo-tinged ballads about how scary it feels to be safely in love. With such a diverse range, you couldn’t possibly be bored watching her perform, especially since her live sets usually boast great visual effects and choreography.  

Where to see Ashnikko: 

Outloud Festival  

Los Angeles, California 

June 1 – June 2 

Performing Sunday, June 2 

Bonnaroo  

Manchester, Tennessee  

Performing Sunday, June 16 

Open’er Festival 

Gdynia, Poland 

July 3 – July 6 

Performing Wednesday, July 3 

Arlo Parks

GRAMMY-nominated singer/songwriter Arlo Parks is the mellow you need in your hectic festival schedule. The 24-year-old is wise beyond her years, as reflected in the gorgeous lyrics about falling in love all over her 2023 album, My Soft Machine: On “Devotion,” she sings, “Your touch embroiders me/I'm wide open,” on “Pegasus,” which features Phoebe Bridgers, she muses, “Never felt luckier than I do right now/Tell me you love me, let me have it.”  

Arlo also released her debut poetry book, The Magic Border, last year, offering her lyrical talent in an even more raw form of expression. While her music is soft and dreamy, she doesn’t shy away from hard and fast guitars on a bunch of tracks, making live performances more exhilarating than you might expect.  

Where to see Arlo Parks: 

Glastonbury Festival 

Pilton, England 

June 26 – June 30 

Performing Wednesday, June 26 

Mad Cool Festival 

Madrid, Spain 

July 10 – July 13 

Performing Saturday, July 13 

Osheaga Music & Arts Festival 

Montréal, Canada 

Performing Friday, Aug. 2 

Thing Festival 

Carnation, Washington 

Performing Saturday, Aug. 10 

Palehound

Indie band Palehound got a shoutout from the New York Times for their 2023 single, “Independence Day,” a hopeful, if not deluded, breakup song with plucky guitar and a fun-to-chant chorus about “living life like writing a first draft.” Despite having a pretty major reach, Palehound, made up of El Kempner (they/them) Zoë Brecher, and Larz Brogan, is still a fairly DIY band, which makes them all the more fun to listen to, especially live.  

NICE, a fest  

Somerville, Massachusetts  

July 25 – 28 

Performing Saturday, July 28 

Hinterland Music Festival 

Saint Charles, Iowa 

Performing Sunday, Aug. 4 

End of the Road Festival 

Larmer Tree Gardens, United Kingdom 

Aug. 29 – Sept. 1 

Performing Saturday, Aug. 31 

Megan thee Stallion 

Despite people trying to keep her down, Megan Thee Stallion continues to rise and conquer, putting the work above everything else. As an independent artist, this feat is even more impressive, but the total creative control she benefits from has allowed for exciting opportunities of self-expression that align with all the things that make Meg one-of-a-kind.  

Her 2024 video for “BOA” let the self-proclaimed anime nerd tap into her geek side, rich with references to her favorite animated shows and video games. And if you’ve seen any of her tour outfits lately–you know that you don’t wanna miss the chance to catch her at a festival this summer.  

Where to see Megan Thee Stallion: 

Bonnaroo  

Manchester, Tennessee  

Performing Sunday, June 16 

Broccoli City Festival 

Washington, D.C. 

July 27 – July 28 

Performing Saturday, July 27

Doechii 

Self-proclaimed “Swamp Princess” Doechii is one of the most exciting new artists of her time, seamlessly blending house influences and smooth R&B vocals with hip-hop beats and clever raps. She’s not afraid to have fun, either, especially when it comes to self-expression in her stylistic choices. Her surrealist music videos have garnered her praise and comparisons to legends like Missy Elliott, but despite all the influences, Doechii is truly one of a kind.  

Where to see Doechii: 

Outloud Festival  

Los Angeles, California 

Performing Saturday, June 1 

The Governor’s Ball  

Queens, New York  

Performing Saturday, June 8 

Tinashe

Tinashe has been around for years, but she’s having a renaissance at the moment thanks to her new single “Nasty,” a sexy bop for the summer which has inspired viral dance trends on TikTok. The multi-talented singer is also a hell of a dancer herself, and her live shows give her the perfect opportunity to show off her moves. If you get the chance to catch her at a festival this summer, don’t pass it up.  

Where to see Tinashe:  

Nashville Pride 

Nashville, Tennessee 

Performing Saturday, June 22 

Open’er Festival 

Gdynia, Poland 

Performing Wednesday, July 3 

Underscores

No music festival bill is complete without a dubstep-adjacent artist, and Underscores is here to fill the gap with her Skrillex-inspired beats. A self-taught producer and vocalist, Underscores started playing around with making beats and loops as a kid, graduating to GarageBand before releasing music at just 13 years old.  

Now 24, she’s been officially releasing music for over a decade, showing off her wide range of influences in eclectic tracks that have hints of bedroom pop, hyperpop, emo, metal, and of course, dubstep. While her production is unique and stellar, her topical and tongue-in-cheek lyrics are not to be overlooked, either.  

Where to see Underscores: 

The Governor’s Ball  

Queens, New York  

Performing Friday, June 7 

Conan Gray

After rising to fame on TikTok in 2020 with his soft and sad unrequited love anthem, “Heather,” Conan Gray has kept the momentum going by not being afraid to try new things. His latest album, Found Heaven, is full of '80s new wave inspired synth pop, offering him a new slate to show off some powerhouse vocals. It also features production and writing assistance from powerhouse producer/songwriter Max Martin, elevating Conan’s sound to new levels that are good for more than just TikTok soundbites.  

Where to see Conan Gray: 

 Lollapalooza  

Chicago, Illinois 

Performing Sunday, Aug. 4 

Music Festivals 2024 Guide: Lineups & Dates For Lollapalooza, Coachella, Bonnaroo & Much More 

"I'm a little hungover, but I'm hanging in there," John Summit admits with a chuckle. The DJ/producer had stayed out late the night before (as DJs typically do) but for once, it wasn’t for work. Instead, he and his friends went bar- and club-hopping — "normal people stuff," Summit calls it. When asked how often he gets to do that these days, he laughs again. "Literally never. I felt like it was the first time in years." 

Given the past few years, it’s understandable. Summit was still early in his career when he released his breakout hit, 2020’s "Deep End," a couple months into global lockdown. He maintained that momentum with a long string of releases including "Thin Line" with Guz, "Sun Came Up" with Sofi Tukker and "Human," the latter producing his first U.S. Dance Radio No. 1.

When live events powered back up, Summit quickly graduated to playing major venues and main stages. In the last two years, he’s DJed everywhere from Movement Detroit to Manchester, Turin to Tulum, and NYC to nearly every Ibiza superclub; in between, he launched his Experts Only record label. This year, Summit closed out EDC Las Vegas and Coachella; in June, he headlined a show at Madison Square Garden. Being a dance music superstar is a marathonic job, but a glance at his off-the-cuff social media posts suggests he’s more than up for the challenge. 

Despite his hectic schedule, Summit somehow carved out time to write his debut album, Comfort in Chaos. In a way, it showcases his past, present and possible future. Recent single "EAT THE BASS" delivers the booming energy of the club tracks upon which he made his name; others, such as Billboard Top 10 hits "Where You Are" and "Shiver" with Hayla, are examples of his current evolution into lyric-focused songs, equally rich in melody and emotion. There are more surprises, still, as Summit explores sounds beyond his house and techno playground. "[This is] exactly the kind of music I've always wanted to make," he says, "but I never had an outlet or a reason to because they're not dance-floor-focused tracks."

The album’s sonic extremes also represent the duality between John Summit, the artist we see living his best life, one party at a time; and John Schuster (his given name), who’s introspective, who isn’t always confident, and who’s experienced "the lows" of returning from a show to an empty hotel room. "Now I'm comfortable where I am in life and I feel like I can tap into that [emotion]," he says. "It's cool to be able to show that side of me." 

Before Comfort in Chaos’ release on July 12 via Darkroom/Experts Only, Summit tells GRAMMY.com how he got to this milestone.

This interview has been edited for clarity.

How long has the idea of a debut album been in your mind? 

It's been in my mind since the day I started making music. I really got into songwriting four years ago. I did "Summertime Chi" with Lee Foss, which is an original written vocal, and then I did "What A Life" with Stevie Appleton a year later. That was received really well by my fans and I'm like, Oh, I don't have to just use samples. I can actually write completely original music.  

Ever since then, the music has gone crazy. The first single off the album that I made was "Where You Are" with Hayla, which came out over a year ago, and that's when I feel like the ball really started rolling. In November, I took a month off and wrote pretty much the whole album in London and it really all came together then.

An entire month off? That seems rare. 

Yeah, it's insane for me. I haven't taken a month off since I started touring, but I knew I had to do that, especially to make music that's not just meant for the dance floor. I produce on the go. I produce on planes and everything, but when you're always playing shows, you always make music just for the shows.

When you can actually take time off, I feel like you can make music that's actually meant for those rainy London days meant for just chilling with friends and stuff like that. So it was cool to make an actual body of work instead of just festival music.

What did that month look like for you in terms of the creative process? 

I got this studio house for a month; this crazy house that has a couple of studios in it. My bedroom's at the top and I would take a slide down to my studio literally from the bedroom. I had a session every day for 30 days straight, and I just invited all the singers and producers I worked with. Sub Focus for example, he lived in London and then Hayla, Julie Church, Paige Cavell.

Pretty much everyone I work with is UK-based, so it was kind of a no-brainer to go to London for that. It was a lot of fun because we just make music all day, then drink at night and party. That's when you can share all your ideas with other people, at night when you're having drinks, wanting to call it banter. It was great.

To speak more about the variety of music that you make: You initially broke out with very club-forward tracks like "Deep End." But as you said, you've since honed a more melodic, songwriting-based sound. Was it a conscious evolution or did it just gradually happen over time? 

I feel like it was just an evolution as an artist. House music is a very loop-based sound where it's, what, a four-by-four kick drum and an eight-bar loop… I kind of graduated from that to doing full-written songs [like] "Where You Are." But it took a lot of time.

I was always writing songs during that process, but they weren't good. Writing a full song, it's like going from a short film to a movie. I always wanted to do an album, but it really did take me over 10 years of producing and eight years of releasing music to get confident enough to be able to do this. 

How do you tap into the emotion of those songs, especially given the image that you portray online? 

I guess that's the whole purpose of the album: That I've been portraying this John Summit image my whole career, but in reality I'm John Schuster. The John Summit image is obviously an entertaining party guy that loves to have a good time; in reality, outside of the club, I'm just sitting at home making music, and I want to show the more introspective side of me.

I've been neglecting my emotions the past few years, especially after quitting the accounting job five years ago. Then I was just in this full party mindset, but now I'm comfortable where I am in life and I feel like I can tap into that. So it's cool to be able to show that side of me.

Who is that more introspective John Schuster? 

Someone that, I guess, shows that I'm not really a 100 percent confident all the time. That I've experienced very high highs, but very low lows as well. I mean, John Summit has the biggest highs on stage, but then I go back to my hotel room and I'm by myself and experiencing the lows and being by myself all the time. So I guess showing that kind of emotional side is fun for my music at least. 

Absolutely. I imagine it’s difficult going not from zero to a hundred, but a hundred to zero. 

Exactly. That's the hard part. Zero to a hundred is the fun part.

If debut albums are like an artist's mission statement, what do you want 'Comfort in Chaos' to say? 

I think kind of what I was just touching on, the duality of John Schuster and John Summit. This is the first time I've fully shown my other half. I've been showing it through singles: "Where You Are," "Go Back," "Shiver" and stuff. But to do it in a full album where — especially the intro track where there's really no vocals on it, and it starts experimental and a bit progressive, and then the drop is really just a kick in bass. It's tension-release, which I love in music, but it just shows, not to be too pun intended, the comfort in the chaos that is my life right now.

What brings you comfort in chaos? 

That's a good question. Honestly, it's more so me trying to find my comfort in chaos. Because the thing is that if I'm on stage every night, I’ve got to be comfortable up there. The more confident I am, the better show that I do. And so I think I'm finding it now.  

It's kind of the whole fake it till you make it. At first I had to get hammered every single night just to get on stage, and now I can get up there without doing that, which is a big stepping stone for me. 

So it seems like it's more about the journey than the destination. 

Exactly, exactly. It's basically trying to find my comfort in chaos. And I think I've gotten there, so now is the perfect time for the album. I couldn't release that while I'm still not comfortable.

Given how significant Kaskade and deadmau5’s "I Remember" is to your electronic music journey, it must feel very special to have Kaskade on the album. 

Yeah, it was kind of a no-brainer. I was able to remix "I Remember" last year, which is huge for me. The track that literally got me into electronic music. Kascade is also from Chicago, and he's the one that introduced me to Hayla, too.  

We've been trying to make something work and we just didn't know what direction to go with it. It took a while, but we both love melodic and emotional music and we both love heavy techno, and so we made it work in one song, which is great because the track starts very comforting and it gets very chaotic, so it's very on-brand with the album.

What have you learned from Kaskade, whether directly or from afar? 

I've learned patience, and that everything's going to be okay. I'm a very neurotic person; I am very anxious and worry about every little detail, and he's the coolest, calmest guy I've ever met. I think it has to do with just his experience in the scene. Everything I'm experiencing is something he's experienced at some point in his DJ career, and even before Coachella, I was like, "Man, I don't know if I can do this" And he was like, "Bro, you got this. It's easy. Play your music." And I'm like, "Oh s—, you're right." It’s as simple as that. Yeah, he's been a good mentor.

To borrow a word that you've used in another interview, being "unhinged" on social media has played a significant role in building your fan base over the years. How has your relationship with social media changed in terms of the content you share and fan interactions? 

I'm still definitely unhinged on social media. That hasn't changed, but it has made me not afraid to show all facets of myself. I've just started showing the more emotional and deeper side of myself, but it is cool that I can say no matter who I am, I have good days and bad days. The fans can connect and resonate with that, which is cool because it was annoying growing up and following artists who are perfect on social media all the time. So I try to be as transparent as possible. 

Given the positive response to your collaboration with Subfocus, do you feel more encouraged to get eclectic in your future music? 

The Subfocus one was still pretty dance-floor-focused, and I still haven't released anything that's not dance-floor-focused. I mean, obviously in the album there is with the intro, with "Calm Down," with "Undo," with ["Palm of My Hands"] and ["Stay With Me"], so I'm waiting to see how fans like that. But at the end of the day, though, I’m at the point in my career where I don't have to put out things just to please dance floors. I feel like I've kind of made it where now I can experiment more and take risks. Now is when my career is starting to actually get fun. 

Every July, millions of Black people, specifically Black women, descend upon New Orleans for the Essence Festival of Culture (EFOC). Known for many years as the Essence Festival, the festival is a celebration of Black culture, community, and heritage. Since its inception in 1995 as a one-off event to commemorate the publication’s 25th anniversary, the festival has evolved into a diasporic jubilee, drawing in people of African descent from across the diaspora. 

In addition to its global presence, the festival pours millions of dollars into the local New Orleans community, which has served as the festival's home for 30 years (with the exception of 2006, when the festival was held in Houston, because of Hurricane Katrina). In 2020, the festival was canceled because of the COVID-19 pandemic. Despite this, the annual festival continues to be one of the most sought-after and attended festivals in the United States. 

This year’s Essence Festival of Culture will be held at the Superdome from July 4-7, replete with legendary and fast-rising talents. On July 5, Birdman & Friends will celebrate the 30th anniversary of Cash Money Records. The following day will feature a special performance by Charlie Wilson, while Usher will commemorate the 20th anniversary of Confessions.

Janet Jackson and Victoria Monét will headline the festival's final night, while Frankie Beverly and Maze close out the festival with the return of All-White Night. Other performers include The Roots featuring Mickey Guyton, Ari Lennox and T-Pain, Busta Rhymes, Raphael Saadiq, D-Nice featuring Shelia E, Big Boi, and many more.  

Read more: Music Festivals 2024 Guide: Lineups & Dates For Lollapalooza, Coachella, Bonnaroo & Much More 

EFOC has been compared to SXSW, Coachella, Austin City Limits, and other notable festivals, yet it stands out for its empowerment-centered approach. It is not simply a festival, it is a family reunion. The one festival in the United States that does not pander to or take advantage of Black audiences, but truly celebrates them and their achievements. Although music has always been an integral part of the festival’s ethos — Aretha Franklin and B.B. King performed at the first iteration — the festival excels in its multi-generational and interdisciplinary programming. On any given day, attendees can attend sessions on Black entrepreneurship, politics, mental health, and literature, as well as seminars focused on issues impacting the Black community.  

There’s a reason why the festival is referred to as the party with a purpose. For decades, it has operated as a celebratory convening place for Black people, Black families, and Black communities. Now, more than ever, spaces like EFOC are needed, as the Black community experiences an onslaught of changes — from Historically Black Colleges and Universities in North Carolina and Tennessee being subject to intense government oversight, to Black women-owned venture capital firms being targeted by conservatives, and Black voting rights becoming at risk during an election year. 

Ahead of the festival’s 30th celebration, Michael Barclay, Executive Vice President of Experiential for ESSENCE Ventures and Barkue Tubman Zawolo, Chief of Staff, Talent and Diasporic Engagement for Essence Ventures, spoke to the Recording Academy about the history, legacy, and future of the Essence Festival of Culture.

This interview has been edited for clarity.

Are you part of the generation that grew up with the Essence Festival of Culture? If so, how does it feel to be a part of it?

Barkue Tubman Zawolo: I'm originally from Liberia. And even being in Liberia, prior to my family moving to the U.S. in 1980, Essence was always a thing for my mom and my aunts. When we came here, fast forward to me, as an adult, [after] graduating college, I got into the music industry. I've managed artists that have gone through the Essence stages and pages in different ways.

Essence Fest has always been something that we were familiar with. I have to say, I had not really experienced Essence Fest until 2019 when Essence was actually a client. One of the things that I was doing [at that point] was integrating the Diaspora and African creatives within the festival in fashion and music.

To be in the role that I'm in right now and to be on a team with people who have been a part of Essence for a long time…. Essence seems to be ingrained in all of our fabric. [What] started as a music festival now is the Super Bowl of Culture that is the Essence Festival of Culture. To be on the team that helps bring this to life for our community is a daunting but rewarding task all in the same. 

Essence is something that I don't think anybody in our community takes lightly. Even our partners understand the value of it. We certainly understand that we serve the Essence-inverse and, and we are in service to this community. It is a huge honor to be able to be a part of the team that brings this to life and, and, and constantly hear what it means to the community globally too. 

One thing that I admired, especially about last year's festival, was GU Kickback — a music event hosted by Girls United, the publication’s Gen Z vertical. I saw a number of local artists from New Orleans, such as 504ICYGRL. ESSENCE just released a series of cover stories celebrating the 30 year relationship between the publication and New Orleans; how do you highlight the city and their history?

Michael Barclay: As somebody who's worked in experiential, creating gatherings and experiences for almost 25 years now, the venue is always important when you're trying to set the box where you are creating for your community, for your audience. New Orleans has been that backdrop for us for almost 30 years now. 

New Orleans is the convergence of our mission, our brand, in a city that is perfectly matched for that energy. New Orleans is as much a part of Essence Festival of Culture as Essence Magazine is to Essence Festival. 

It is very much a partnership that has created this cultural movement. To be more inclusive, and highlight more of those local relationships and talent is very intentional. It has been something that we have put a lot of energy and effort into over the last couple of years. 

This will be my third festival this year. I think Barkue, you started maybe a year or two before me. We're a fairly new crew that is working to help grow and reshape and solidify those relationships. Even with how we handle the management of the festival. 

Our VP of Essence Festival, Hakeem Holmes is a hometown boy from New Orleans. He's the pride and joy. They love to see him coming. He's always enlightening us on the things that we need to be focused on for the city and how we make the best partnership and make the best impact on the area.

It was intentional what you saw last year. It's intentional this year. We dedicated our entire festival edition of the magazine as a love letter to New Orleans. It's a symbiotic relationship that is one of the key reasons why this festival is the Super Bowl of Culture.  

I would love to hear about the talent aspect of the festival. Last year, Megan Thee Stallion headlined. In previous years, Beyoncé and Prince have served as headliners. What is the formula between balancing local talent, national talent and diasporic talent at the festival?

Zawolo: As we grow the festival, the intentionality becomes even more and more important. And, what we do in understanding where we are as a brand. 

We're 30 years into the festival, the brand is 55 years. What's traditionally known as the Essence Woman is now bringing her daughter. It's multi-generational. We also know that the world is as big as your cell phone, so people are now exposed to different types of content and music. 

We see the influence of Afrobeats and Caribbean music. We are intentional about making sure that every night really speaks to multiple generations, but it's anchored in a generation. It's like, who's bringing, who to the concert on Friday? Is it the daughter bringing her mama? 

It's anchored in  that younger demo, but we're going to make sure that they're going to have a collective good time there. Saturday is usually our heaviest night. We have our living legends that show up there; that really cuts across generations. This is anybody can bring anybody, but let me tell you, you're going to be able to teach each other, connect with each other with the different groupings of talent that we have.

We try to make sure that there is something that speaks to us, but that that connects with the diaspora on as many nights as possible. Sometimes it's not because they're from a different country, but because we know the music also resonates.

If you think of Janet Jackson, you can go anywhere in the world. She can check off that box, although she's not from there. You can create those ties, but we also are intentional about having Ayra Starr and Machel Montano. Last year we had Tems and Wizkid. The goal is to continue to grow what that looks like, because we are a global brand and that is our diasporic and global intent in connecting the global Black community is really important.  

We are intentionally multi-generational. We intentionally lead into where a multitude of generational communities can come together and have fun together. There is something for everybody. We have a unique opportunity with Essence as the brand grows to be able to not only speak to what they want to call the aunties, I call the punties. I also think that this is where we get to educate the next generation on where we're coming from. We also get to learn from them on where they are and where they want to go. 

What a beautiful way to kind of tie all of these connections. Last year, the festival celebrated 50 years of hip-hop; this year you're celebrating the 30th anniversary of the festival. What is the intention behind this year’s music programming?

Zawolo: Paying homage to people who had done some historical things on our stages. We have Janet [Jackson] back. People are like, “Oh, we saw Janet two years ago,” but Janet is also one of the highest sellers in the festival's history. 

If we're going to celebrate, let's celebrate, because we know Janet never disappoints. We also want to lean into some of the [older] talent, like Charlie Wilson, Uncle Charlie. He's graced that stage so many times, but yet it's still very relevant. Using this moment to reignite things that we've done in the past and bring them back to life that we know the audience missed.

Frankie Beverly, who is going to come, this is probably going to really be his last performance. The passing of the torch. This year was about having to be intentional about what other milestones are happening that are important to this culture. Cash Money is also celebrating 30 years. Who better, right?  

Essence has been in New Orleans for 30 years. Cash Money and crew are from New Orleans. Juvenile just got the key to the city from the mayor. We want to honor and celebrate him, but we also want to recognize the influence that this group of very creative, entrepreneurial, rappers and artists have had on culture, because there was a time where we all were backing that ass up. 

Making sure we highlighted milestones, connecting with people who have historically been a part of making history with us, introducing some new ones — that's what we have to do. We have to set up now for the next 30 years. We want to go to the soul of what appeals to our audience, and we're really all about good music.  

I think the 30th year just continues to do what we do. As we look to grow and connect demos, Megan Thee Stallion is a very viable option because again, the daughter now is going to bring the mama. Intergenerational diasporic and connecting demos, I think that only happens at the Superdome. That's also happening in the convention center, which I believe is honestly the soul of the festival. 

What are your hopes and aspirations for the next 30 years of the Essence Festival of Culture? Will Essence Fest always be in New Orleans? Are we going to have an Essence Fest in Lagos, Nigeria?

Barclay: Being on this side of [EFOC], seeing the true impact of the festival and how it impacts the communities, how it impacts the folks that come to New Orleans, and now, because we've expanded to our virtual audience, the 1.7 million that are viewing around the world, my hope for the festival is that we continue to show up where our community needs us.

We're going to be in New Orleans. We're going to be in our official world as we call it. If you can't make it to New Orleans, you can tune into Essence.com and you can see what's going on there. We are creating virtual experiences, AR experiences, VR experiences, all those things, so really keeping up with the way that people continue to connect with each other, whether they're physically in the same place or halfway across the world.

I think that type of innovation is what I want to continue to see us do and allow us to create that joy that we generate in New Orleans and wherever it's needed for our community.

Beware of venom: Megan Thee Stallion is not biting her tongue on her new album, simply titled Megan.

The GRAMMY winner's first full-length release in two years is also the first to drop under her own control. Fans have been ready for this release even before the first single, "Cobra," came out in November. The second single, "Hiss," followed in January and brought the star her first No. 1 hit on the Billboard’s Hot 100 and Global 200 charts. These songs, as well as the third single, "BOA," foreshadowed a certain slithery theme that helped shape the album.

Megan was released on June 28 and features guest stars such as GloRilla, Victoria Monét, Big K.R.I.T. and Kyle Richh as well as her longtime ace producers like Juicy J (who made "Hot Girl Summer" among other calling cards) and LilJuMadeDaBeat, who produced Stallion anthems like "Big Ole Freak," "Body" and "Thot S—."

Here’s what we learned from listening and vibing to the latest work by three-time GRAMMY winner Megan Thee Stallion.

A Theme Snakes Through Megan

As could have easily been predicted from the first three singles "Cobra," "Hiss" and "BOA," and now the album track "Rattle," there is a hint of a snake theme that wends its way through the album from beginning ("Hiss") to end ("Cobra").

In several songs, she denounces all the snake behavior that she has encountered from former lovers, friends, and haters who support those who have caused actual harm to her. In the music video for "Cobra," Megan literally sheds her old skin to reveal a shining new layer.

Megan Is Calling The Shots This Time 

"I feel like Biggie, 'Who Shot Ya?’/But everybody know who shot me, bitch/ So now, let’s stop speaking on the topic," she rapped in "Who Me (feat. Pooh Shiesty)" off her 2022 album Traumazine. MTS was referencing the July 2020 incident in which rapper Tory Lanez shot her in the foot, and was subsequently charged with assault with a semiautomatic firearm and carrying a loaded, unregistered firearm in a vehicle. 

Turns out, she wasn’t done referencing the topic. Now, she’s one taking the shots. MTS takes aim at less-talented women rappers on "Figueroa" (named for a Los Angeles street known for prostitution), and at Lanez on "Rattle," when she suggests that his male supporters should schedule a conjugal visit with him in prison. (Lanez is currently serving a 10-year sentence while simultaneously going through a divorce with wife Raina Chassagne.)

Inspiration Comes From Everywhere

The star and her collaborators incorporate unexpected musical influences on Megan via creative sampling. Megan Thee Stallion speeds up and flips Teena Marie's 1984 ballad "Out on a Limb" for "B.A.S." — a song she co-produced with her longtime ally LilJuMadeDaBeat. "BOA" is cleverly crafted from sounds in the first solo hit by Gwen Stefani, 2004’s "What You Waiting For?" 

UGK are reunited from across the heavenly divide on the Juicy J-produced "Paper Together," with Bun B contributing new work and the late Pimp C joining in lyrical spirit. This is especially significant when considering that Juicy J produced "Intl’ Players Anthem (I Choose You)," UGK’s 2007 hit with Outkast. Juicy J also made the beats for Megan’s famous song "Hot Girl Summer." 

That’s just the tip of the iceberg when it comes to samples waiting to be discovered on Megan. There are many more riffs and other musical notions that the sample bank in our brains have yet to detect.

Self-Love Is Queen 

Whether she’s affirming, "I’m worthy, not worthless" on "Worthy," or literally touching herself in the auto-erotic "Down Stairs DJ" (which joins masturbation masterpieces like Divinyls’ "I Touch Myself" and Tweet’s "Oops"), Megan is grounded in songs that promote self-love as the best kind of love. 

She does admit that this is sometimes a challenge to embody, as when she talks about lingering depression on "Moody Girl." But the album generally moves towards the light.

She Loves Japan 

One of the big surprises on Megan is that she raps in two languages. She rhymes beautifully in Japanese on "Mamushi" with Yuki Chiba, a seasoned rapper from Japan who is influenced by the Southern swag. (Just take a look at the Memphis moves and Houston rhyme schemes of his viral song "Team Tomodachi.") 

On "Otaku Hot Girl," she raps about the manga series "Naruto" and drops other anime references to show her love of Japanese pop culture. 

Learn more: 10 Neo J-Pop Artists Breaking The Mold In 2024: Fujii Kaze, Kenshi Yonezu & Others 

Megan's Game Is Tight 

Megan is the first album to be released on Megan Thee Stallion’s own label. It follows her split from 1501 Certified Entertainment, a record label with which she was engaged in a protracted and ugly legal battle for earnings. 

She now has the muscle of the major label Warner Brothers as a partner for her independent venture, Hot Girl Productions. She also recorded an Amazon Original song called "It’s Prime Day" for a commercial, as well as an exclusive Amazon edition of Megan. 

It’s safe to say that this album represents a new level of business freedom and acumen for Megan Thee Stallion.

Music is often a unifier — something that ties us together, allowing us to bond over our shared experiences. This is especially true among LGBTQIA+ communities. Whether you’re hearing MUNA’s pop songs crackle over speakers in a record store or finding ethereal deep-cut Ethel Cain demos on SoundCloud playlists, the queer community find an inevitable connection in the artists they seek out. 

For decades, queer artists have cultivated hidden scenes in rave, techno and dance music. Today, a new generation of LGBTQIA+ artists are shaping contemporary pop, from Reneé Rapp and Towa Bird, to Chappell Roan and RYL0. However, we cannot acknowledge this mainstream resurgence of queer talent without reflecting on the limitations which hold back the wider music industry from becoming more accommodating to LGBTQIA+ artists. 

A 2024 study from Queer Capita in partnership with Billboard revealed that 94 percent of music business participants feel that the industry fails to provide adequate resources or representation for the queer community. However, there's a severe lack of data on the number and scope of queer-specific record labels (those that are LGBTQIA+ owned, run or whose rosters reflect that demographic) — a shocking shortfall considering how queerness shapes the music industry financially. A 2022 "The Power of LGBTQ+ Music" report by Luminate revealed that, queer fans spend an average of 20 percent more on merch and, generally, spend $72 more on music than the general public. 

Read more: 15 LGBTQIA+ Artists Performing At 2024 Summer Festivals

Queer music is profitable and shaping listening trends. Although LGBTQIA+ acts are eagerly supported, — and major labels seem to be taking steps to increase queer representation on a corporate level and on their rosters — the wider industry must continue to support the indies and queer imprint labels that are fighting to survive.

These queer indie record labels are not only highlighting LGBTQIA+ artists and creating accessible, accommodating spaces, but they're often doubling down on the importance of visibility. As an artist or employee, it wouldn’t hurt if your boss (label manager, record executive, press assistant, etc) was queer too, right? This integration and inclusivity is essential when building equitable infrastructure in music.

So, now with Pride Month upon us, there’s been no better time to reflect on the vital resource that LGBTQIA+ labels provide and the ways they encourage our industry to do and be better. These labels are much more than champions of queer talent; they’re signifiers of independent ethos and resilience that keeps music communities thriving.  

From the late-night voguing parties in Shanghai that inspired Medusa Records to the against-the-grain roster of Saddest Factory Records, here are five global LGBTQIA+ record labels showcasing the necessity and irreplaceable talent of queer creatives.

Get Better Records  

Location: Philadelphia, Pennsylvania 

Artists to know: Alice Bag Band, La Dispute, Victoria Park, ZORA

Get Better Records has been around since 2009 and, over its 15 years, has become one of the most notable queer and trans-owned labels. Get Better was formed by Control Top drummer Alex Lichtenauer and their friend Nick King, though the label is now solely run by Lichtenauer. Get Better's roster platforms punk, alternative, experimental and hardcore acts.

Whether you’re looking for the intimate sound of Suzie True, the queer hardcore attitude of Baltimore newcomers No Doubt or want to experience the reverie of how Bacchae are twisting underground DC punk into their own boot-stomping beat, Get Better Records has become a hotspot for innovative acts bringing their distinct style to the music industry. 

A proudly self-described “queer and trans owned” record label with a simple motto — inspiring everyone to practice and play. Through their committed gritty spirit, Get Better Records is summative of what we hope to see for all LGBTQIA+ artists: unconditional acceptance of their experiences and art.  

Saddest Factory Records

Location: Los Angeles, California 

Artists to know: MUNA, Charlie Hickey, Claud, Sloppy Jane 

While technically an imprint of Dead Oceans (the label Phoebe Bridgers is signed to), the arrival of her Saddest Factory Records was a welcomed one. Founded in 2020, Saddest Factory Records emerged off the back of Bridgers’ ongoing success as a cult fan favorite and served as an important reminder — the best creative decisions for LGBTQIA+ artists do, in fact, come from our own community. 

Saddest Factor's roster features a queer-charged collection of artists who deserve more eyes and ears. If you’ve not already here for queer fandom faves Claud, MUNA, or Sloppy Jane, you’ve got some work to do this Pride Month!  

So Fierce

Location: Toronto, Canada 

Artists to know: Oceane Aqua-Black, Gisèle Lullaby, Jay Light 

Founded by musician Velvet Code during the pandemic in 2020, So Fierce wears its pride on its sleeve — by name and artist roster. This inclusive music company pulls together a diverse mix of LGBTQIA+ talent, from drag queens to pop singers, and proves there’s space for all types of queer representation.

With over 20 years of experience producing for big names like Venus, Icesis Couture and Lady Gaga, Velvet Code has cultivated a space that gives LGBTQIA+ artists a platform to belong. Their roster includes names like Icesis Couture, season 2 winner of Canada’s "RuPaul’s Drag Race," and Miami-based singer/songwriter Deity Jane. 

Medusa Records

Location: Shanghai, China

Artists to know: Enema Stone, Michael Cignarale 

Based in Shanghai city, a monthly queer club night transformed from a queer-friendly communal space to something much bigger. These unforgettable eccentric Medusa parties hosted – filled with voguing, queens and pounding psytrance music – became pivotal underground expressions of Shanghai’s LGBTQIA+ nightlife. 

As Medusa Records, founders Michael Cignarale and Sam “Mau Mau" wanted to emulate the ecstasy of queer, unapologetic existence. "The label will channel Medusa’s sweaty midnight moments into a distinctive voice, embodied by musical and multimedia collaborations,” they said in a press release. Through the label, they hoped "to connect the emerging Chinese queer community with a global audience." 

Medusa Records works with local and international DJs, VJs, producers, vocalists, visual artists and others. Their roster features the wonderfully queer, camp and colorful stylings of resident drag performer and musician Enema Stone, as well as DJ Michael Cignarale. 

Outside their label, Medusa continues to give back during their sweaty, glitter-doused parties, where they host guest DJs and performers such as the Carry Nation, Chris Cruse, Octo Octa, Eris Drew, Nick Monaco, Chrissy, Jeffery Sfire, and Boris.

Whether you’re attending an IRL club night or cruising their online presence, Medusa Records know how to keep the beat going – and you’ll feel like you’re caught up in a never-ending party.

Boudicca 

Location: London, United Kingdom  

Artists to know: Samantha Togni, Wallis 

If music labels and party hybrids are your thing, Boudicca may be your next favorite destination.  

Starting out as a queer club night in 2019, Boudicca was founded by producer and DJ Samantha Togni and quickly became a hot spot for queer techno lovers. Now, the London-based party platform and record label is all about hitting high BPMs, championing hedonistic electronica, and giving space to under-the-radar non-binary, womxn and trans musicians. 

Regularly hosting or collaborating in queer club nights and DJ sets, Boudicca’s roster pushes electronica to its limits. The label has released a series of exhilarating crossover compilations: Pure Bones, Dreams That I Can't Quite Remember, and Dark As It Gets, each of which features game-changing acts such as Rotterdam-based duo Animistic Beliefs — who blend global club music, techno and IDM — to Peachlyfe, an incredible "hydra-sonic" non-binary musician. 

Listen To GRAMMY.com's 2024 Pride Month Playlist Of Rising LGBTQIA+ Artists