Flying in the face of adversity

The condemnation was swift and unequivocal. “A very barbaric act,” said a government minister on Instagram, adding “very disrespectful” for good measure. “Vulgar antics” screamed a headline in local newspaper The Star. “Self-righteous, entitled, and ignorant,” complained a local arts creative. But such opprobrium was not prompted by scandal or typical rock star debauchery. It was a kiss – a simple onstage smooch between The 1975’s Matty Healy and bassist Ross MacDonald.

This tangling of tongues occurred while the band were performing a headline set in July 2023 at the Good Vibes Festival in Malaysia – a country where homosexuality remains a crime, punishable by up to 20 years in prison – and had far-reaching consequences, not just for the band. For a start, their set was cut short, and rumours swirled that they headed straight to the airport to flee the country; they were also blacklisted in the country.

The following day, the rest of the festival was cancelled, and the organisers, Future Sound Asia (FSA), were summoned by the government to explain themselves; FSA subsequently launched a lawsuit against the band, seeking £1.9m in damages for “breach of contract,” deliberately “acting in a way that was intended to breach guidelines,” and the substantial losses incurred as a result (a case that is still ongoing).

“In my experience, European countries can actually be more inclusive than the UK”

The whole messy saga highlights the dangers and difficulties facing LGBTQIA+ artists and their crews – and those who wish to show solidarity and support – when travelling to and performing in countries that might be politely described as somewhat conservative. Malaysia is but one prominent example; many countries across the globe have enacted some form of official regulations or restrictions on LGBTQIA+ rights, adversely affecting artists and public displays of support. More still now openly foster a hostile environment against all things LGBTQIA+, hoping that public sentiment and generally uncomfortable conditions will lead to self-censorship and reduced visibility.

So, where does this leave LGBTQIA+ artists? What are the challenges of booking and promoting such acts in places where governments have either outlawed homosexuality or are making life more hazardous or onerous for people from LGBTQIA+ communities? The first thing to note is that such issues are not confined to far-flung countries or the third world – since Donald Trump took office, numerous trans artists have cancelled US shows and tours for fear of being detained at the border or having their shows targeted with anti-LGBTQIA+ reprisals, and the UK is not immune to visible discrimination either. “In my experience, European countries can actually be more inclusive than the UK,” says charlieeeee, an artist, music producer, and co-founder of The Trans Creative Collective.

“The key challenge here is navigating environments where your existence is considered illegal or dangerous”

Naviagting challenges
LGBTQIA+ artists now have to navigate a dual reality – their visibility, and awareness and understanding of their rights, are growing, but so is the backlash. In some parts of the world, there’s been a massive rise in anti-LGBTQIA+ sentiment both socially and legally, and that affects everything from brand partnerships to touring routes.

“The key challenge here is navigating environments where your existence is considered illegal or dangerous,” says artist, activist, and creator of The Trans Charter for the Music Industry, Saskhia Menendez. “For trans and non-binary artists in particular, things like documentation – passports not aligning with gender identity – dress codes, and local customs can become life-threatening issues. Safety isn’t just about being on stage; it’s about hotels, immigration checks, and even being in public. Many of us travel knowing we have to dim parts of ourselves just to survive – that psychological toll can be immense for lots of artists and crew.”

When it comes to actual booking and promoting, despite some countries’ clear stance on LG- BTQIA+ rights and issues, there does appear to be some leeway as to who or what is allowed – after all, Good Vibes were well aware of who The 1975 were and what they stood for, and still booked them. As an example, Hungary has implemented laws that restrict LGBTQIA+ content, including banning educational materials and media that depict homosexuality, yet Sziget Festival retains free reign (for now) in booking whoever they want.

“Artists at Sziget perform freely and authentically – they stay true to who they are, and we fully support them in doing so”

“We don’t face challenges in booking LGBTQIA+ artists, and we’re not cautious in who we invite – nor do we need to be,” says Virag Csiszar, the festival’s booker. “Sziget has always stood for openness, diversity, and self-expression, and LGBTQIA+ artists are a natural part of our lineups, not a calculated choice. In today’s environment, their visibility matters more than ever, and we’re proud to provide a stage that reflects and reinforces those values.”

Csiszar cites the two-decade success of Magic Mirror, their dedicated LGBTQIA+ venue, and how they’ve never once had to request changes to a performance due to an artist’s identity, as examples of their inclusivity, alongside the “positive and welcoming atmosphere” of local music fans. “Artists at Sziget perform freely and authentically – they stay true to who they are, and we fully support them in doing so,” she adds.

Even in the Middle East – a region infamous for intolerance to anything LGBTQIA+-related – it’s not so much a case of who is being booked as opposed to what their performance consists of. “When talking concert promotions in general, the Middle Eastern markets where we promote Western concerts and shows don’t have any issues with performers themselves but more with show content in the form of limiting onstage references to certain lifestyle choices, whether of a sexual nature, drug and alcohol use and consumption, as well as religious and political statements,” says Thomas Ovesen, CEO of All Things Live Middle East.

“Why book a show or artist that you cannot promote truthfully and without restrictions?”

He notes that, at times, this can be limiting, especially when it comes to comedians, but he adds that: “Honestly, we’ve had many gay performers here – and indeed have gay communities in the markets – and as is the case with other as- pects of life here, one is expected to self-censor to avoid conflict with local sensitivities.” Indeed, it seems to simply be the case that, at least in the Middle East, shows and artists that use their LGBTQIA+ identity as part of their actual performance will get fewer enquiries than from markets where they have more freedom. As Ovesen puts it:“Why book a show or artist that you cannot promote truthfully and without restrictions?”

Such self-censorship sadly seems to be increasingly required, both in terms of securing bookings and personal safety. Several agents, bookers, and promoters IQ reached out to declined to comment on such issues, citing fear of drawing undue attention to their artists or events, but it seems clear that discretion remains the better part of valour.

“Some artists adapt their performance to protect themselves and their crew,” says Menendez. “In 2023, a trans artist I know closely was advised to avoid wearing certain clothes or flag imagery during a show in Eastern Europe. Ultimately, they cancelled the performance because compromising their identity wasn’t an option. It’s heart-breaking, but sometimes that’s the only choice – at the end of the day, safety has to come first, and there’s no shame in adjusting where needed.”

charlieeeee concurs. “I’ve had shows heavily compromised due to the disrespect I’ve faced while setting up,” they say. “There are some very harmful decisions being made and a louder voice of hate brewing, so I think a lot of artists choose not to perform in those countries – so far, that’s what I’ve done.”

“I’ve had shows heavily compromised due to the disrespect I’ve faced while setting up”

Border control
How LGBTQIA+ artists weigh the importance of performing in such countries against the potential risk to their safety and values is a deeply personal question. “Some artists believe in showing up to be visible, to support the local community, and to challenge oppression with art,” explains Menendez. “Others choose to boycott countries with anti-LGBTQIA+ laws as a political stance. Both decisions are valid. I know artists who’ve refused gigs that could have taken their careers to the next level because it conflicted with their values or safety – that sacrifice needs more rec- recognition and solidarity.”

Ploughing ahead with a tour – or even the content of your performance – can therefore require careful planning and a lot of research. Antonia Lines, COO of Come Play With Me, a non-profit music development organisation that specialises in supporting people from marginalised communities, says there are numerous logistical aspects to consider. “It’s not just about the performance or what you are talking about on stage,” they say. “It’s about where you stay, can you book hotels as a same-sex couple, etc.”

They say it’s also important to consider how safe it is, not just for yourself and your crew but for your audience. “You have to think: ‘What are the implications of being LGBTQIA+ in those countries and are there going to be legal issues or discrimination for individuals involved in [or attending] the tour?’” they add. “Often working with LGBTQIA+ charities or grassroots organisations on the ground in places you’re keen to play is the best way to ensure the continued safety of your fans and the general LGBTQIA+ community once your tour or show is over.”

“Embassies can sometimes offer help, but often they aren’t equipped or willing to help with LGBTQIA+-specific issues”

A further murky area is what official consular or diplomatic help exists for those who do travel, perform, and encounter difficulties. The UK government’s foreign travel advice for LGBTQIA+ travellers, issued by the Foreign, Commonwealth & Development Office, basically amounts to: do your research, take precautions, and observe local laws and customs. Not exactly a confidence-inspiring statement of support.

“Legal support is patchy at best and can also come at a high cost,” says Menendez. “Embassies can sometimes offer help, but often they aren’t equipped or willing to help with LGBTQIA+-specific issues, so artists can be left vulnerable unless they’ve had the foresight and funds to secure private legal or travel protections.”

It can also depend on which particular country you’re visiting and how strict their laws or approach to LGBTQIA+ people in general, are – as The 1975 found out, being global superstars is no guarantee of anything. Thomas Ovesen cautions against equating all Middle Eastern countries with the likes of Iran; Dubai is now a fully estab- lished stop on many tours and a city where laws are very Westernised, he says, while even Saudi Arabia – for many years a no-go market for most talents – hosts a range of top artists, including members of the LGBTQIA+ community.

“The industry needs to prioritise true integration and representation across all platforms and genres”

“As with any other ‘issues’ encountered when travelling, it will be a matter of the nature of such issues when it comes to what sort of help can be offered,” he adds. “If you don’t intend to harm or upset in the first place, I don’t think you need to worry about performing in Middle Eastern countries where concerts are part of everyday life.”

Change at industry level
Navigating all the above is a tricky task for LGBTQIA+ artists; those hoping to tour and stay true to themselves and their art must confront some harsh realities. But help does exist, as the music industry faces up to these challenges. “At the Featured Artists Coalition, we stand firmly for inclusivity, diversity, and the fundamental right of every artist to express their true selves, regardless of where they perform,” says David Martin, the organisation’s CEO. “We work with a number of organisations in this space and are always available to artists who would like to reach out to us on these issues.”

When it comes to improvements, there are several changes those IQ spoke to would like to see implemented, both at home and abroad. “The industry needs to prioritise true integration and representation across all platforms and genres,” says Sziget’s Csiszar. “That’s been part of our approach for years, and we’d like to see more festivals follow the same path.”

“Music is universal and allows for expression and difference – that freedom shouldn’t stop at the border, and neither should creativity”

Campaigning for change is also part of the Featured Artists Coalition remit because, as Martin says, “music transcends borders, so the freedom to create and express must be protected and championed everywhere. That’s why we believe it’s more important than ever to stand up for artistic freedom and human rights, and we continue to campaign for a diverse, equitable music industry and society.”

Sensitivity training for tour crews, venues, and partners “should become standard” says Menendez, alongside the creation of emergency funds and inclusive insurance packages that account for the added risks LGBTQIA+ artists may face and explicit clauses in touring agreements that affirm and protect artists’ rights to express their identity safely.

Support
One key recommendation of the Trans Charter for the Music Industry – something that Menendez hopes will be adopted and supported worldwide – is the creation of regional support hubs comprising local activists, safe-space coordinators, and trusted allies. “These hubs would act as both cultural insight points and real-time crisis support for artists navigating unfamiliar or hostile environments,” they add.

Ultimately, Menendez says the live music industry must take proactive, structural steps to ensure the safety, dignity, and freedom of LGBT- QIA+ artists, especially when touring in regions with anti-LGBTQIA+ sentiment or legislation.

“Music is universal and allows for expression and difference – that freedom shouldn’t stop at the border, and neither should creativity,” they say. “And if we want to create a truly inclusive and global industry, it starts with action, not just representation – that means rewriting how we tour, who we protect, and who gets the mic.”

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