2022 was a landmark year for music by LGBTQ+ artists. The sheer number of iconic tracks that came out this year is so astonishing that our monthly queer music playlists have only been able to capture a sliver of the queer talent on display. From megastars like Lil Nas X to independent up-and-coming groups like Brooklyn’s Boyish, innovative queer and trans musicians pushed the boundaries of the sonic landscape this year.
Queer people have always been at the forefront of musical experimentation, and our favorite 2022 tracks are no exception. The songs on our year-end playlist don’t just explore new musical terrain; they dismantle and reconstruct entire genres into different forms. With their label-defying output, artists like Raveena, WILLOW, and Hyd gave us a glimpse into a cyber-pop future where any influence and sonic palette is fair game. Other musicians recontextualized sounds from the past, most notably Angel Olsen’s reinterpretation of country-folk and Omar Apollo’s nü doo-wop vibes on his breakout song, “Evergreen.”
Though the 24 artists on our eclectic list vary in style, genre, and vision, what unites them is their unique perspectives on queer experience. On Bobby Sanchez’s “t4t (4s),” the indigenous queer rapper’s brazen lyrics highlight intra-community frustrations. Leith Ross’ hushed ballad “We’ll Never Have Sex” has resonated deeply with asexual folks. Together, our favorite tracks of the year prove that queerness is not homogenous, but nuanced, diverse, and ever-changing. The musicians on this list, along with many others we didn’t have space to include, reflect that beautiful reality back to us, while providing a soundtrack for dancing, crying, and falling in love. — Juan Velasquez
Burgeoning punk artist WILLOW and alternative rock musician Yves Tumor have finally given us the queer Black punk-rock anthem we’ve all been waiting for. “Perfectly Not Close To Me,” off WILLOW’s recent album <COPINGMECHANISM>, is urgent and angsty in all the right ways. True to form, WILLOW balances out melodic harmonies with cacophonic screams in her delivery, evoking both a search for peace and a desire to disturb it. “I don’t wanna, I don’t wanna talk shit / But I’m so fucked up just like this!” she insists. Yves’ deadpan monosyllabic vocals quietly simmer with power, beautifully balancing out WILLOW’s raucous cries. Whether your brand of angst is a scream or a deadpan, this song will satisfy your needs. — Mary Retta
HYD makes innovative new wave for future generations, using daring and experimental production to explore what it means to be human. Their November full-length debut Clearing has already established itself as hyperpop label PC Music’s crown jewel. “So Clear,” off that record, is a heartbreaking torch song underpinned by compressed and crunchy beats. Through cranked autotune, Dunham belts out, “You don’t want me / It’s so clear / So don’t trample on my heart / I’ll only fall apart some more.” Painting a synthetic and futuristic sonic landscape, Hyd proves that even androids can fall in love. — Juan Velasquez
“Late To Da Party” didn’t have to be good; its backstory was already legendary enough. Released after Lil Nas X received zero nominations for this year’s BET Awards, the single was a giant middle finger to what he described as the “bigger problem of homophobia in the Black community.” Everything about it — its provocative artwork, where he takes a piss on a BET trophy in a toilet; its hilarious video, where he stomps around in Rick Owens heels — feels in line with the rapper’s entire internet-pilled, troll-happy persona. That the two-time Grammy winner actually made a cocky trap hit in the process (“I just put like three up in the top ten,” he brags) is only further testament to his undeniable talent. Lil Nas X doesn’t need BET. Fuck them, indeed. — Michael Cuby
Though its addictive nature is built on dynamic melodies and a bold electrical guitar riff, the true pull of Steve Lacy’s funk-pop hit “Bad Habit” are the subtle emotions that twist and unfold throughout the track. It starts out with the Californian singer-songwriter lamenting a could-have-been relationship, until the second verse, when he flips the hook into a blatant pass: “Can I bite your tongue like a bad habit?” The track then slyly shape-shifts into an entirely different beat of sensual acoustic guitar with squelching sound effects, as Lacy transforms into the confident side of his Gemini being. — Michelle Hyun Kim
Brooklyn indie pop duo Boyish are no strangers to Them’s queer music playlists. Their dreamy tracks have a special place in my heart, so it should be no surprise that “Congratulations,” off their My Friend Mica EP, ended up being one of my favorite tracks of the year. The breezy late-90s-kissed pop hit could have easily landed on a WB show du jour had it been released a few decades prior. The lyrics by India Shore capture the excitement and terror of falling in love while simultaneously holding the painful truth that even good things come to an end. — Juan Velasquez
I’ll admit I was very late to the Ethel Cain train. Usually when music is surrounded by hype, it turns me off. However, when a friend whose taste I trust sent me this song, I immediately understood the acclaim. “Thoroughfare” struck me with its long, slow buildup, mirroring the pace of the road trip at the song’s core. Having gone on a Southwest road trip earlier this year, the song felt particularly resonant. Listening to it now reminds me of the still sun and the unfamiliarity of that place and time. — Wesley Johnson
The thesis of Broken Hearts Club, Syd’s most recent album, is simple: people are either capable of breaking another person’s heart, or they are not. Syd belongs to the latter camp, and this idea is perhaps most clear on “CYBAH,” the record’s opening track. A slow jam replete with heavy bass that blends elements of dream pop and Syd’s classic R&B, the song finds the artist fixated on a single, unanswerable question, delivered with increasing urgency: “Could you break a heart?” “CYBAH” does not aim to answer Syd’s question, but instead asks another one of the artist herself that gets fleshed out and stretched across the whole record: What will I build from this heartache? — Mary Retta
Addressing an ex-lover he feared would have a hold on him forever, Omar Apollo displays gripping emotion on his hit soul ballad “Evergreen (You Didn’t Deserve Me At All).” His words are imbued with longing and bitterness as he sings the opening lines, “Evergreen, he controls me.” As if to reflect those feelings of entrapment, the track’s electric guitar and drums shuffle in a gentle waltz pattern that never breaks until the song’s climatic bridge. Only then does Apollo declare his own self-worth: “Should’ve broke it off to date myself / You didn’t deserve me at all,” he belts. When he repeats the last two words during the brief silence, it feels like a gasp of fresh air, like a sudden clearing in the thrush. — Michelle Hyun Kim
When I called this track my autumn slut anthem, I meant it, but it’s a vibe in winter too. In his debut single, Jaboukie took a cringeworthy racist acronym and literally inverted it into an embodiment of power bottom swagger, with lyrical excellence to match a beat that would make me throw it all the way down if I actually ever went out to clubs. I can't wait to hear what’s next from this “Midwest ho churnin’ out magnum opes.” — Samantha Riedel
When this song came out in the spring of this year, it felt like a breath of fresh air, symbolizing the potential of the year ahead. I’m always grateful when a song like “See You Soon” comes along, breathing new life into my rotation. Every time I hear it, I feel that same optimism. — Wesley Johnson
Fashion Club’s Pascal Stevenson masterfully blends gauzy ’80s dream pop with a foreboding darkness, most notably on “Feign for Love” off her debut album Scrutiny. Stevenson’s vocal delivery is menacing and at times disturbing, while guitar and synth soar angelically overhead. This sonic dissonance mirrors the lyrical theme of incongruence between the desire to shield oneself while simultaneously wanting to be seen. Much like a Caravaggio painting, Fashion Club is sophisticated and nightmarish yet sublimely divine. — Juan Velasquez
“Kismet,” the fourth song off R&B songstress Raveena’s sophomore album Asha’s Awakening, is a playful, sensual ode to the sapphic commune. “God I love my women, let’s all become farmers,” the artist muses, conjuring up the much discussed image of a rural queer utopia. In addition to thought provoking lyrics, the track’s uptempo, kaleidoscopic blend of Bollywood instrumentation is uniquely impressive, encouraging fans to sway, dance, grin, and partake in the artist’s fantasy with each listen. Lush and warm in equal measure, the song lives up to its title, which roughly translates to “fate.” The life of sapphic luxury Raveena longingly describes is the one the listener is meant to live. — Mary Retta
There is a sweet pleasure to kissing for the sake of kissing, Leith Ross proposes on their intimate breakthrough song, “We’ll Never Have Sex.” Over spare acoustic guitar and the faint sound of howling woodwind, the 24-year-old Canadian singer-songwriter beckons to a companion who, “If I said you could never touch me / You’d come over and say I looked lovely,” as they quiver. This vulnerable admission of desiring non-sexual connection has resonated with queer listeners, particularly those on the asexual spectrum, as well as people who have experienced sexual trauma. Many have used the song’s YouTube comment section as space to pour out their hearts to Ross in return. — Michelle Hyun Kim
Lucky for us Them favorites Tiberius b released a new single this year. “Olivia” is a UKG-inspired dance track that gives serious Sweet Female Attitude vibes, but with a more intimate sense of tenderness. In a press release, the London based singer songwriter stated that the song is about ”a fallout I experienced with my family during a precarious time where I was clumsily exploring my queerness.” If “Olivia” is any clue as to what we might expect from Tiberius b, their future looks euphoric. — Juan Velasquez
Izzy Spears doesn’t give a fuck how his words land on “Fist,” a hardcore industrial track on which the Atlanta-based artist raps about sinning, choking, and sucking dick, spitting the words out of his mouth. Post-punk guitar sets a haunting tone for the frantic beat, co-produced by Yves Tumor, which then descends into a mish-mash of pummeling drums and anxiety-inducing synths. The song concludes with Spears repeatedly chanting the word “Redrum,” as if he’s summoning a demon, marking a truly thrilling introduction to an artist who turns terror into a superpower. — Michelle Hyun Kim
Empath delivers complex and noisy indie rock that is too fractured and distressed to be considered twee, but on “Passing Stranger” they come close. Singer Catherine Elicson recounts a pleasant childhood memory of riding in a car, which quickly gives way to a memory about a girl she knew who died by overdose. Through guitars that sound more like machinery than instruments, Elicson sings, “When you go back you can’t unsee and remembering is like pulling up weeds,” beautifully encapsulating how nostalgia can often be a painful sensation. — Juan Velasquez
Twenty-two year old Tampa native Doechii’s music is often centered on pleasure: finding it, losing it, wistfully longing for it. On her latest single “Persuasive,” the artist celebrates one gloriously hedonistic evening of partying, getting high, and feeling on top of the world. “If it’s weed on sight then it’s all okay,” she raps assuredly. Doechii’s smooth, effortless rapping gives the song a hypnotic feeling, allowing an undercurrent of chill to permeate the track even as the beat accelerates. Through lush instrumentals and beautifully soft harmonies, Doechii lures the listener into a trance, allowing them to relive the artist’s wild night right alongside her. — Mary Retta
Bouncy and smooth, but mostly just really fucking cool, Flasher’s 2022 album opener “I Saw You,” finds the D.C. band moving away from their brand of frenetic post-punk into a more nuanced pop sound. Singer/guitarist Taylor Mulitz’s vocal melodies gorgeously intertwine with noodly bass lines and quirky guitar leads, toeing the line between urgency and sincerity in a way that no other alternative band does today. — Juan Velasquez
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Indigiqueers rise up! Bobby Sanchez’s latest EP Prophecy, is truly for the Two-Spirit baddies among us. Its crowning jewel, “t4t (4s),” is an instant classic and true anthem for Indigenous trans love and power. Infusing sharp, salient lyrics with a hard beat, Bobby addresses everything from “Don’t Say Gay” laws to the fetishization of trans people to Two-Spirit beauty and tradition. In an especially transphobic political landscape, we all need a power anthem with words as powerful as these: “I’m not a gender bender / I’m a transgender woman, so strong make you start sweatin’ / you’re offended ’cuz my presence’s gettin’ way more recognition usin’ ancient methods.” — Quispe López
Angel Olsen has had an incredible 2022, with her sixth studio album Big Time receiving warranted critical acclaim. “All The Good Times” is a shining example of an artist at the height of her powers. The twangy ballad, with its pedal steel guitar, organ, and horns has a country-by-way-of-the-Cowboy Junkies feel. But it’s Olsen’s voice that’s the real star, as she sings with the heartbreaking wisdom and sageness of someone who has lived multiple lifetimes. Angel Olsen is easily in contention to be our queer Loretta Lynn. — Juan Velasquez
For me, 2022 was the year of G Flip. Once I heard Selling Sunset star Chrishell Stause utter the name of her new partner on the reunion special, I was instantly obsessed. Chrishell was dating a nonbinary Australian drummer whose name sounds like a discontinued Motorola cellphone? Hell yes! It almost didn’t matter to me whether or not G Flip’s music was any good. And then I listened, and I had to agree with Stause that they are “extremely talented.” The single “Get Me Outta Here” was groovy, raunchy fun but it was G Flip’s heartfelt nonbinary anthem “Waste of Space” that really blew me away, with its powerful drum line and vulnerable vocals. The acoustic version featuring the Trans Chorus of Los Angeles is especially gorgeous. — Samantha Allen
When we at Them got wind of news of new Dreijer jams I was not the only one who lost their shit. For over two decades, Karin Dreijer has been creating haunting dance pop, first with their duo with brother Olof Dreijer on their breakout aughties hit “Heartbeats”, and most recently with their solo project Fever Ray on “Carbon Dioxide” from their upcoming 2023 album, Radical Romantics. Their new offering is a banging electro-pop track with skittering beats and wildly oscillating synths. In Dreijer’s otherworldly cadence, they recount visions of elves, cats and whatever a “sparkling tumor” is. Per usual Fever Ray manages to bewilder me and forces me to bop my head until I'm woozy and cross-eyed. — Juan Velasquez
This year, queen Kelela graced us with her long awaited return to music. Accompanied by stunning visuals, her comeback single “Washed Away” proved well worth the wait. After that glorious re-introduction, she followed up with the LSDXOXO-produced banger “Happy Ending.” Equal parts soothing and stirring, the song (and its title) feels apt in more ways than one. It marks a joyous cap to her hiatus, and a great finale to the year. — Wesley Johnson
Sometimes all you need is a Euro-dance track about being vulnerable, am I right? Thankfully Romy Croft and Fred again.. delivered with “Strong,” a fist-bumping banger with ’90s rave synths and a comforting message. Romy sings from on high, “You’ve been so strong for so long / You learned to carry this on your own / Let me be someone / You can lean on.” Perfect for the end of a turbulent year, it's reassuring to remember that we can surrender, wave the white flag and just dance. — Juan Velasquez
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