WORDS BY DORIAN STUC AND RORY SALE 

Sapphic pop is a subgenre of indie and bedroom-pop, whose lyrics often discuss lesbian or queer subject matters. 

With artists like Chappell Roan, Billie Eilish and Clairo frequently appearing at the top of global listening charts, filling stadiums across the world and creating waves on social media, the genre has surged to the forefront of the contemporary music scene. 

Their music, imbued with sapphic themes, has brought queer iconography to the mainstream music world.

Not only is Australia witnessing this global trend but it's also nurturing its own vibrant sapphic music scene. The single “We The People” by Australian electronic music duo Electric Fields, has become the official theme song for the WorldPride Sydney celebrations (Sydney Gay and Lesbian Mardi Gras). 

The group consists of vocalist Zaachariaha Fielding and keyboard player/producer Michael Ross, both of whom are members of the LGBTQIA+ community.

Electric Fields was also Australia’s entrant in the Eurovision Song Contest this year, held in Sweden. 

Among the other rising stars is Sharlee Jade Curnow, better known as Peach PRC, a sapphic pop artist hailing from Adelaide.

On June 19, 2019, Peach PRC independently released her debut single 'Blondes'. Three months later she created her TikTok page, gaining significant popularity on the social media platform. Her first foray into the popular music scene came in early 2021 when she released her debut major label single, 'Josh'.

She then came out as a lesbian on January 13, 2022, having since released her single 'Like A Girl Does', which Peach PRC describes as a “lesbian pop anthem”.

However, the sapphic music scene in Australia encompasses more than one genre, according to Imdar Amira Nassi, better known as Imbi the Girl or imbi. In October 2019, they told Triple J radio in an interview that the genre is “linked to colonialism. You look at so many Indigenous communities before [it] and there were gender-diverse folk in those communities.”

The Sydney-born singer-songwriter, who uses they/them pronouns, creates music that explores their queer identity through the genre of melodic rap. In a statement to Oyster Magazine, they said that they use their queerness “as a tool to investigate myself and learn more about myself and my spirituality”. 

The movement's emphasis on queer representation has meant that its influence reaches far beyond music. Writer and editor of Archer Magazine, a publication dedicated to inclusivity, Alex Creece said that “sapphic music contributes to queer culture - it can inform our references, memes, shared language and interests”. 

Creece told MOJO that “sapphic pop music is often just genuinely good music”. 

However, Creece noted that there is still work to be done to change the perception of queer and sapphic artists. 

“We’re vulnerable to the general public’s discourse and ‘hot takes’. While positive visibility may be on the rise, this spotlight also shines on those trying to tear us down.” 

In a world where more and more pop singers are identifying as queer, Creece questioned the place of celebrity in the queer community.

“I’m personally reluctant to expect the impact of public figures to produce far-reaching material changes, affecting the lives of everyday queer people across the world.” 

She acknowledged that there’s a disconnect between accepting queer people who are public figures and accepting those people around us. She also questioned public figures who identify as queer in order to sell their brand rather than to uplift the LGBTQIA+ community. 

Creece said that the best way to support sapphic pop music and queer people is to support the local music scene. 

“It’s vital to uplift musicians within your local/indie music scene - particularly those who are trans, First Nations and people of colour,” Creece said. 

“For every celebrity, there [are] tonnes of equally talented, hard-working artists who aren’t yet in the limelight, often struggling with lack of arts funding, opportunities, and pushing up against systemic barriers.”

Acknowledging the struggles of young queer artists, Creece emphasised the need to support local music acts, especially those that identify as queer.