Garrett Laurie

Delving into areas ranging from queer identity to mental health, Garrett Laurie‘s latest EP ‘Can I Play Too, Or Is It Just For Boys’ is the follow up to ‘Barbies with Betty Finn’, released back in 2020. Recorded using Voicenotes, it has an unusually raw 80s vibe that manages to be simultaneously introspective and exploratory.

The EP came out in September, and since then I’ve had the chance to chat with Garrett about the stories and themes that he draws together on the EP, and why he chose them. I find him in articulate mode, as he examine his music and how it relates to society more broadly…

First of all, congrats on the new EP. It has some fairly stark themes in it, reflected in the title, of course. Can you tell me a little about these?

I think the title pretty much summarises the themes and sonic direction of the EP. Most of the tracks are layered and full of harmonies, ad libs and doubled vocal parts over instrumentals my co-producer and I
crafted really carefully. I wanted to create a layered cinematic world to echo the sentiment of the EP title- questions about identity and sexuality and how the two are connected…and also the unwritten rules within gender identity that still exist even today.

Are the tracks on the EP generally an exploration of your life experience, or looking more broadly at the experiences of a community?

They’re about both. When writing, I usually begin with my own experience and think about how it relates to queerness and gender or even just general unfairness in the world. I have to consider other people’s experience in my writing or I feel guilty and self indulgent. I like the idea of someone coming across my music and relating in some way – there’s a sense of purpose and all of my favourite artists write in that
way too.

Do you think the arts scene has become more accepting of differing identities in recent years?

I think it is getting better, especially in the past two or three years maybe. I don’t think it is all the way there yet though. I still pick up on that ‘boys club’ mentality in the music scene unless I’m in a creative space specifically targeted toward people in the LGBTQ+ community. There are so many quiet expectations people have when you’re a queer artist; that it’ll be used as a gimmick, or as the signifying trait of your music. There are so many creatives now who defy this though, so I try to focus on that.

Can you tell me where your musical style is drawn from – what are the key things that play into the way you construct melody?

One of my favourite things in music is when a sad melody or riff is included in an uptempo song, where if you slowed and stripped back the song that sadness might seem much more clear. I gravitate toward that
naturally in my music as those are my favourite moments that I’m always conscious of while writing.

Are you consciously looking to great vast cinematic soundscapes?

Sometimes. I think leaning into that too much is tempting though and I often have to pull back as I come to the final few mixes. I usually have abstract cinematic moments and visuals in mind from the very early stages of a new song. Chords sound like colours to me so whatever tone I’m trying to capture, I usually use that as a guide too.

Belfast singer-songwriter Garrett Laurie emerged from lockdown having crafted a new music career, something that’s been an odd experience for them. With their new single. ‘Mississippi Jesus’, they address issues of queer identity and shame, merging religious iconography with personal examinations in a deeply personal piece of music.

“”Mississippi Jesus’ is about being queer & feeling guilty about everything,” they say. “Recorded in Start Together Studios and co-produced with Ryan McGroarty of Beauty Sleep, ‘Mississippi Jesus’ explores queer sexuality and feelings of guilt surrounding it through cinematic instrumentation and 90s style beats.”

I spoke to Garrett around the single’s release…

The mix of themes around religion and gender identity is an interesting one – did you combine them because of the contradictions?

Definitely- I think there is something beautiful about the dichotomy between iconic religious themes and imagery and the more recent movements being made toward looser gender expression. Pairing religious themes with romantic ones feels taboo just because it’s not something you see a lot. It’s a little eerie because it’s so open ended, and I wanted ‘Mississippi Jesus’ to reflect that.

How does the track link into your personal experiences?

I think that coming from a religious family, it has been the backdrop of my life up to this point. In the past two years or so I have tried to challenge some of the shame I think I subconsciously had for a long time as a queer person, navigating their identity in such a small city. By challenging that and the unofficial rules that come with it, I was surprised at how quickly my life began to make more sense- I felt a clearer sense of purpose. ‘Mississippi Jesus’ is about facing shame head on, while acknowledging the strange comforts of settling for being an altered version of yourself for other people.

How do you feel about the general status of queer identity in music at the moment – what are the core issues?

Honestly, I think it is exciting that a queer person can even have a successful music career at all nowadays. I used to think I would have to hide my sexuality while trying to break into the industry, and if I didn’t have some popular queer artists to refer to now, I would probably still think that. I think one real issue is that queer artists often seem to be reduced to a label, and a responsibility to be an articulate voice for an entire community. Being queer is not a job or a career move, so I wish people could identify us by more than that.

Garrett Laurie: “Chords sounds like colours to me”

Garrett Laurie: “I’m obsessed with the use of samples artists like Mariah Carey used in the 90s”