Punk rock should always be evolving and should be music of the people, but as a straight white guy what do I have to complain about outside mental health, but that’s a conversation for a different time. Recently, as I was scrolling through Facebook I stumbled upon a post from the Middle-Aged Queers.
Given that it’s Pride Month, it seems the perfect opportunity to highlight some of the coolest queer bands in the scene right now. Shaun Osburn of the Middle-Aged Queers was kind enough to give me some recommendations and also answer some questions about those lists and his band. Check out the bands/playlist below to find your new favorite band; not just for Pride Month, but for all year long.
Dying Scene: What bands are the usual suspects in these types of lists?
Shaun Osburn: Typically, Pansy Division and Tribe 8. Pansy Division is probably the most notable, as they were on Green Day’s first tour as a major label band, and their catalog spans over 30 years. Tribe 8 were their sapphic contemporaries in the early days. I have a lot of respect for both bands, and I count many of their members as dear friends. However, in the decades since both bands formed, the political landscape has changed greatly, occasionally making some of the songs culled for queer punk roundups feel dated.
Within the last ten to fifteen years, Against Me! or Laura Jane Grace has also been generally included in these lists. She’s fantastic, grinds harder than most, and has been phenomenal in supporting many of our friends by exposing them on her radio show or taking them out on tour.
Do you feel like those lists are always looking for fight songs or protest songs rather than just good music? Not saying that either of those is a bad thing or mutually exclusive.
Protest or anthemic “fight” music can always inspire me, but I often find myself drawn to the more reflective or introspective songs. I think it’s okay to be a queer band and not always churn out songs about struggle; sometimes there’s joyful catharsis in singing songs about love or even silly things like cats, food, sex positivity, friendships, and so on.
From an editorial standpoint, I understand the appeal of including songs that are more outwardly political in nature; Pride Month’s origins stem from the Stonewall Riots, and having more anthemic songs seems like an obvious choice.
I appreciated the diversity in regards to the spectrum of punk rock of the bands you recommended. I feel like everyone expects these bands to all be angry. What would you consider your definition of queer punk?
The sonic boundaries of what should or shouldn’t be considered punk are silly to me now. Even the early 1970s punk rock bands ran a wide spectrum in terms of sound. It is ultimately about the spirit and ethos of the musicians that find themselves playing to like-minded crowds, which is now what defines punk.
The term “queercore” has certainly become nebulous. Unlike other “core” genres like “hardcore” or “grindcore,” there isn’t really a set sound. I have seen folk acts, electronic groups, and hip-hop groups use the term “queercore,” and I think it now primarily serves to define a global fellowship of musicians.
Do you feel a band can have a member or two that identifies as queer and be considered a queer punk band? LIke Hüsker Dü for example has Bob Mould, would Hüsker Dü or his solo work be considered queer punk?
That’s a really great question! You’ve stumped me here. I wouldn’t consider any of my previous bands to be queer punk, despite all of them having at least two or three queer members. I would consider Mould’s later work, especially with Sugar, as being queer, but perhaps that’s only because I was listening to those songs after I knew he was queer.
Where does someone like Jayne County fall?
Jayne County is a proto-punk pioneer who, sadly, does not receive enough credit for all she has accomplished. I saw her about 6 years ago, still playing at a tiny DIY space to a handful of people. It amazes me that she’s still out there grinding.
I struggled with finding how to present these bands. I feel like the music definitely stands on its own, but I don’t feel like it’s right to be like if you like this straight version you’d like this version over here. Is there another way?
Ya know, Middle-Aged Queers has often gotten comparisons like “You all sound like Gay Grimple” or “Gay Blatz” (I find “Gay Blatz” to be especially numerous because several members of Blatz are gay.) Maximumrocknroll called us “FYP on Poppers.” I’m not sure if it’s fair or if there might be a more tactful way of approaching the comparisons, but people definitely do it.
Also, does that come off too righteous or disingenuous? I never mean it to be. I don’t want to come off as this straight savior? Is that even a thing or does it get lumped into white savior?
Nah, you’re good! I don’t think I’d ever really thought of it that way before, so I appreciate the question!
Is it the chicken and the egg type of question to ask what came first, drag names or punk rock names? Clearly, someone like Divine was around before punk, but with witty names using puns. Side note: I recognize that Divine is probably like the Mos Def of drag queens, but I’m a John Waters fan going way back.
So much of that was brewing at the same places and at the same time. I’m not in a position to provide an answer from a firsthand account, but from what I understand, much of the early drag and punk scenes were intertwined in major cities like London, Toronto, Los Angeles, New York, and San Francisco.
I’m not shocked to find some of these bands on somewhat bigger labels like Kill Rock Star (Trap Girl) or Epitaph (The Muslims), are those labels just really shitty about promoting? Whether it be that there’s no budget anymore or over-saturation from all bands in general?
Record labels matter a lot less than they used to. Streaming has democratized the way we listen to music, and with so much available right now, it’s easy to miss many emerging artists. Trap Girl has been around for a decade and is finally getting their props, and The Muslims have done tour dates with some big names like Jawbreaker and the Descendents.
Trap Girl
Formed in 2014, Trap Girl is punk rock at its rawest and most righteous. Fronted by the unapologetically fierce Drew Arriola-Sands, this four-piece band lashes out with unrelenting force. Tracks like “Transwomen and Chokeholds,” “Blastard,” and “Dead Men Don’t Rape” hit with blistering urgency.
Trans Panic
Fueled by a steady diet of Against Me!, the Damned, and NOFX, Trans Panic delivers punk with bite and backbone. This trio snarls through tracks like “Smile (for me)” and “I Wanna Be A Necromancer.” Their latest EP is dark where it needs to be, raw where it counts, and never pulls its punches.
Tits on a Bull
Tits on a Bull from San Francisco sounds closer to the architects of punk than modern contemporaries. The band’s steady, unflinching sound grips from the first chord and holds on. Frontman Erik Core’s vocals cut through like steel and smoke, making every listen a ride worth repeating.
Furious Tits
Hailing from the Bay Area, The Furious Tits drips with snark and swagger. Wrapping razor-sharp riffs around lyrics that drip with sardonic wit. Tracks like “Costco Domme” and “(I Love My Boyfriend But) I Wanna Fuck That Girl” are equal parts hilarious and honest, with just the right amount of chaos and charm.
Bev Rage and the Drinks
Dubbed Chicago’s Best Punk Band of 2024, Bev Rage and the Drinks come out swinging with unapologetic fury and grit. Fronted by seven-foot-tall drag queen Beverly Rage, their sound is loud and brimming with raw charisma. They hit harder than most bands I’ve heard this year.
The Muslims
Formed in 2017 in Durham, NC, The Muslims don’t give a fuck and I’m here for it. When it comes to speaking out against injustice, bold and confrontational barely scratches the surface. With sing along songs like, “Fuck These Fucking Fascists” and “Punch A Nazi,” there is no lack of great songs to be found in their discography.
Cluttered
Cluttered is a Halifax, Nova Scotia punk supergroup featuring members of Weekend Dads, Designosaur, and Jabber. This four-piece plays distorted riffs and hook-heavy choruses with breakneck precision. Their relentless rhythm section and sharp-edged guitar work make them stand out in the scene.
Iron Roses
If the anthemic rush of the Iron Roses doesn’t get you on your feet and dance, their fierce, justice-fueled lyrics just might. Blending shout-along hooks with a social conscience that channels raw energy into songs that beg to be sung loud. The Iron Roses are a force to be reckoned with.
Gay Agenda
The Gay Agenda was formed in San Diego in 2017. The brainchild of David Hurtt who wanted to make hardcore punk as brutal and unapologetically queer. Their sound is a blitz of speed, ferocity, and snarling defiance. Fast, intense, and aggressive, The Gay Agenda doesn’t just check the hardcore boxes, they smash them.
COCKRING
Born out of the COVID-19 lockdown, COCKRING is a Sacramento four-piece that channels fury. With one full-length LP, a demo, and a string of bruising singles, they’ve carved out a sound that detonates while delivering anthems that are as relentless as the times that forged them.
Hit Like a Girl
A music project of Nicolle Maroulis, Hit Like A Girl has a poppier sound, but is no less potent than its punk peers. Mellow, melodic, and moody in all the right places, their songs hit with emotional clarity. Nicole Maroulis also channels her energy into “No More Dysphoria,” a nonprofit offering direct support for gender-affirming care in multiple ways. Find more information here.
Middle-Aged Queers
Tell us about the Middle-Aged Queers
Middle-Aged Queers was started as a fun after-work project that had very few ambitions. We figured we’d play a few house parties, maybe record a demo, and fizzle out after a year or two. We certainly never intended to tour or be around for this long. The initial reaction to use was really intense. We didn’t actually intend on releasing an album; our first record was just going to be our demo. The reaction to it landed us a spot at Punk Rock Bowling, then FEST the following year. It’s been a really wild ride.
I always see tour dates for the Middle-Aged Queers, is this a full time thing?
We have toured consistently since 2022, typically for about three to six weeks a year. But that’s only because we’re all fortunate enough to have jobs that allow us the flexibility of working remotely. We still do everything totally DIY, which makes the logistics of tour planning a bit more cumbersome than bands who work with booking agents.
At our current capacity, we certainly don’t lose money on touring, but it wouldn’t be enough to pay our own bills, even if we were on the road full-time. There’s a finite amount of t-shirts and records we can sell at a single show, and the money we get from the door barely covers our travel costs.
We’d love for this to be a full-time thing. If you are a booking agent reading this who wants to take on four incredibly neurodivergent queer punks who prefer playing all-ages shows, slide into our DMs. If you are in a very popular band, please consider taking us on tour so your fans will love us and give us money.
Have you toured with any of these bands you recommended?
We have done a few dates with Trap Girl and The Homobiles (Fureigh from Middle-Aged Queers also plays in The Homobiles, and for that particular tour, I was filling in on bass guitar.), and we did a week of touring with Dog Park Dissidents on the East Coast last year.
Tell us about Theatre of Shame.
Theatre of Shame is our third album, with the title and cover serving as a parody of Motley Crue’s Theatre of Pain. All of our albums have been Motley Crue parodies. I chose Scott Weiner and Caitlyn Jenner’s faces as the masks to represent my disappointment with both LGBTQ+ republican and democratic public figures. Domnic Davi from Tsunami Bomb did the artwork.
The album itself is a much more polished approach. Our first two albums were recorded in just two days, with an incredibly limited budget. We had an attitude of keeping it very stripped down to keep it as authentic and “punk” as we could. Years later, I found myself wincing when listening to both records, not because they’re bad, but because there are vocal harmonies or complementary melodies that could have improved the overall album if we’d allowed ourselves the additional time in the studio. With Theatre of Shame, we tracked the record slowly between tours, taking our time between sessions to give our ears a break and return refreshed later. I’ve done several records over my 30+ years of playing music, and this is the one I am the most proud of. You can stream or purchase the physical album here.
I stumbled across your Sleep Long (Operation Ivy) and Fireman (Jawbreaker) covers. They were fantastic. What other older punk bands do you have high regard for?
Thank you! We are occasionally asked to contribute to tribute albums for legacy artists, and it’s always a pleasure. We’ve covered other bands, such as The Middle Class, Gun Club, Dr. Know, Flipper, and Faith No More.
Do you have any shows coming up?
We’re done with touring for 2025, but we still have a few more California shows before the end of the year. My husband and I are expecting a child in October, so that puts a pause on touring for a bit. Now’s the time to come see us!
A big thanks to Shaun for sharing these bands with us. Catch the Middle-Aged Queers in their last few shows for the year. Tour dates are below.
July 17 – Sacramento, CA @ Cafe Colonial ß
July 18 – Santa Rosa, CA @ Arlene Francis Center ß
July 19 – Santa Cruz, CA @ Blue Lagoon ß
August 1 – Berkeley, CA @ 924 Gilman +
August 2 – San Pedro, CA @ The Sardine #
ß = With Bobby Joe Ebola
+ = With Tsunami Bomb
# = With Seven Seconds & FYP