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And there’s nothing as healing as being seen by someone else when you’re in that feeling.” “For myself, as a queer woman of colour, I have been so many people’s experiments, and Robyn puts into words that unspeakable feeling of how it feels to fancy someone who will never fully go for you because you don’t conform to their idea of the perfect, conventional partner. “Basically, for me, no-one has quite put into words, or music, the actual feelings of unrequited love as well as Robyn,” a friend of mine, who wishes to stay anonymous, gushes over text message. The lyrics and the sound are specific, not generalising, they make you feel like you’ve been seen, like someone else out there gets what it’s like to feel like a total weirdo, to feel lonely, to feel complicated, all while soaring above an orchestra of overtly camp synths. It’s music about loneliness and anger that isn't sung by a man in an indie band.” “It was club music before I could go to clubs. “As a teen, it was music that helped me take ownership of my sadness, the loneliness I hadn’t connected to my queerness yet – listening to her music and strutting into college feeling empowered rather than overwhelmed,” East London queer icon Finn Love extols. Remember Who’s That Girl, Handle Me ( acoustic, especially), Don’t Fucking Tell Me What To Do, Call Your Girlfriend? She writes songs from the position of us, the other – think of Dancing on My Own, Dream On, Be Mine!, Time Machine, Get Myself Together – whilst also demanding that, if you’re lucky enough to score people like us, you’d better be God damn good enough. She sings about niche emotions you can only understand if you’ve stood there, lusting after someone who will never, ever like you back. Robyn seizes the exact tension between the agony, and the ecstasy inside the agony. And yet, remarkably, she checks very few of the aforementioned boxes: she doesn’t really tour, she’s not really got an array of muscle dancers, no wigs in evidence (although she does get points for that edgy bowl cut), and who knows if she’s into supporting charities because she’s not the most active on social media.įor Robyn the icon status is earned by the lyrics, the songs, and the unusual emotions she captures through the viewfinder of the outsider. In fact, she’s not only an icon of gay status, but of the much sought-after queer status. Indeed, the gay-icon-gay-stan nexus is littered with misogyny and homophobia, but this isn’t for here.Īnd yet Robyn is a full-on gay icon. Extra points for being great on social media, having multiple reinventions, or a vast and varying array of wigs. There are key, and somewhat problematic, boxes a pop star must check if they are to become a gay (male) icon: looks tours heavily featuring male dancers sheathed in muscle support of minimum one LGBTQIA+ charity.
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That isn’t to say that pop can’t be rampantly political, but the politics are often communicated via the full package of the star, not by the actual songs themselves. The very name of the genre decrees that pop music must be popular, ergo most of it contains diluted sentiments about ubiquitous experiences: love, breakups, how much we love our mums. Usual popular music isn’t usually about the outcast.