As an artist, I've been in the underground for a long time. Something where there's a beat that unifies us and kind of forces us to move, like you almost can't help it. Can you please say a few words about combining message music with dance beats?įor me, there's something about dance music. "Bitchcraft" features a pair of irresistible electro numbers, opener "You're the Man" and "Hello Meadow," which are the kinds of dance tracks that give you something to think about while you're working up a sweat.
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It's not like there's pressure: 'Okay, we've got 45 minutes. It has to be somebody that I respect and who I feel respected by. I think there's always an inherent trust in each other's process. What makes someone a good match for you when it comes to collaborating? All of this is to say that your collaborative spirit continues on "Bitchcraft," on which you co-wrote songs with Faith Soloway (of "Transparent" fame), Melissa York (of The Butchies and Team Dresch), and even Greg Prestopino, who wrote songs recorded by Celine Dion, Bette Midler, and Natalie Cole, among others.
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From the duo Bitch & Animal, when I think you initially crossed many people's radars, to your work with lesbian music legend Ferron, and so many others. Speaking of sharing, you're known for your long history of collaboration. I think I put the violin down for "Pages" in 2015. Some of the tracks were recorded during that period. It was in that log cabin that I started to work on the early phases of this album. It's not like I took a break from making music.
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I was still touring, etcetera, but I just had to take a break. I finished "In Us We Trust" during that phase, too. In a nutshell, what were you doing during that time? Gregg Shapiro: I'm bad at math, but according to my calculations, almost ten years have passed between your previous album, "In Us We Trust," and your new album, "Bitchcraft." Is that right?