By now, you might have noticed my long hair and rainbow pin, or heard a silly lyric about a dick in my songs. You may have noticed my they/them pronouns, and be curious about why I prefer them. You might just wonder why I really like the colour lavender. So, if you have these questions and would like to learn more, here is an extended stream-of-consciousness piece of writing about my queerness that I would like to share with you:

I used to identify as a gay man. Now I identify as a genderqueer masc-loving ethical slut. 

But if all of that is a bit much, I also simply identify as Josh. 

‘Genderqueer’ is a better label for my queerness than ‘gay,’ because it better encapsulates my philosophy about my own queerness, and my theory about queerness at large: that sexual orientation is only one, rather perfunctory aspect of queerness. For me, my queerness is really about the fact that I feel both the divine masculine and the divine feminine spirits within me. This mixing of gender spirits, this being 'in-between' of the extreme ends of the gender continuum, is what I feel best defines both myself, and queerness at large.

By nature of existing in this alternative space between 'man' and 'woman,' our queer brains involuntarily generate thoughts that a non-queer brain, more bound to its binary state, would not allow; much like a conventional computer can only permit either a 1 or a 0 in its binary code, but a quantum computer can allow both values simultaneously, Our queer thoughts often manifest themselves as ones of challenging, questioning, and reimagining the status quo. We have done this for millennia, and in doing so, playing vital roles in society. 

Queerfolk such as us have been the shamans, the priests, the healers, and the magic people. We have been called witches, deviants, and sluts, and we have been burned at the stake. We have also, in more enlightened times, been held in positions of sacredness and divinity. With our connection to more than one divine gender spirit, we have imagined gods, moral codes and religions. With our queer wit, we have held positions in the King’s court that were immune from retribution, being the only person in the Kingdom who is allowed to criticise the King – a role that we performed with trademark song, comedy and poetry.

I do believe that in discussions of queerness, the more we can take the general public's focus off the thought "Oh my gosh! It's two people who may have matching genitals who want to love each other and get married!", and the more we educate them about the cultural significance of queerness within society, the more we can exist freely and unapologetically as the distinct cultural people that we are.

This is what I mean when I say I am queer, and that I take they/them pronouns. And this is why I want you to know that I am queer and I take they/them pronouns – because I realise that, for quite a while now and without really knowing it, I have been carrying on this queer tradition of provoking, questioning and reimagining the norm in my work. 

It is worth mentioning that though I feel the strong presence of the feminine spirit within me, I by no means lay claim to the female experience, and very much am committed to listening and learning from women and trans women, and offering them my allyship. I also do not lay claim to the experience of being trans, and very much offer my listening and allyship to that community.

 In 2019, I was employed as the live musician for Slingsby Theatre Company’s The Young King North America and Australia tour, which won a Ruby Award for Best Work or Event Outside a Festival.

I graduated from the Elder Conservatorium of Music in 2015 with a Director’s Award and high distinctions for all portfolios of composition. My music has been performed by ensembles including the Australian Youth Orchestra, Canberra Youth Orchestra, and Gondwana Chorale. 

Outside of my own projects, I work as a freelance musical director and accompanist, having worked at the Adelaide Cabaret Festival, Adelaide Festival Centre OnStage Program, and worked with a range of independent cabaret artists, choirs, and even a musical improvisation troupe. I arrange piano music for Sheet Music Boss (1.8 million subscribers), and have taught music at Tutti Arts – organisation for young artists with an intellectual disability. I currently run a private music theory and piano tuition business, which I do both in-person and online. So if learning music has ever interested you, please get in touch with me via my form below.