There's even a playful "sapphic song challenge" on the app, in which participants can rate their sexuality depending on how many songs they recognize in the mix, including those by Aurora, Dodie, Beach Bunny, and The Japanese House.
QUEER AS FOLK SEASON 2 EPISODE 1 SKIN
Save for King Princess, whose music is often far more lascivious than her peers, these artists make first-kiss music, focused on " soft skin and soft lips," their tension derived not from the contact of skin but from the aching space between the singer's lips and the lips of her imagined lover. On TikTok the keywords "sapphic anthem" and "wlw anthem" yield hundreds of variations of the same sound and concept: a skinny white woman softly strumming an acoustic guitar, singing with a kind of hymnal devotion towards an imagined woman, her voice hushed, sweet and lilting.Īmong lesbian and bisexual musicians, the descriptors of "sapphic" and "wlw" are most commonly associated with the music of rising Gen Z stars like Clairo, girl in red, and King Princess.
In queer communities, terms like "sapphic" or "wlw" (woman-loving woman) have grown in popularity in an attempt to name a shared identity that's broader than "lesbian," encompassing lesbians, bisexual women, and other women and femme people who experience attraction to other women.
In a 2012 essay titled "On A Lesbian Relationship With Music," music historian Suzanne Cusick asked whether there exists a certain kind of lesbian aesthetic, and "a preference for certain kinds of music that somehow reflected the patterns of lesbian desire or lesbian pleasure." Search the words "sapphic anthems" or "wlw anthems" on social media, and the answer to Cusick's question seems to be a resounding yes. Photo Illustration by Michele Abercrombie/NPR Getty Images
Clairo, Katie Gavin of MUNA, and King Princess
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