Thanks! I think queer elements in Bradford’s music are sometimes neglected because of his incredible pure talent as a songwriter and musician. If you’re writing about a song like “He Would Have Laughed” or “Shelia” or “Walkabout” or “Calvary Scars II/Aux Out”, there’s so much to talk about on the surface regarding melody and texture and rhythm and other universal characteristics that any existing queer themes can be left out of what’s otherwise a comprehensive and measured take on the piece of music. And it’s OK with me if people miss out on those themes, but they certainly jump out when I write about his work because of my own experiences, and my relationship to that work has been strengthened in the same way you mentioned. I can’t hear “Microcastle” or “Helicopter” without making that simple connection. 

Thanks! I think queer elements in Bradford’s music are sometimes neglected because of his incredible pure talent as a songwriter and musician. If you’re writing about a song like “He Would Have Laughed” or “Shelia” or “Walkabout” or “Calvary Scars II/Aux Out”, there’s so much to talk about on the surface regarding melody and texture and rhythm and other universal characteristics that any existing queer themes can be left out of what’s otherwise a comprehensive and measured take on the piece of music. And it’s OK with me if people miss out on those themes, but they certainly jump out when I write about his work because of my own experiences, and my relationship to that work has been strengthened in the same way you mentioned. I can’t hear “Microcastle” or “Helicopter” without making that simple connection. 

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