Queer country: LGBTQ+ musicians are outside the spotlight as Grand Ole Opry turns 100

On March 15, 1974, the Grand Ole Opry country music radio show closed its run at the Ryman Auditorium in Nashville, Tennessee, with Johnny and June Carter Cash leading the song “Will the Circle Be Unbroken.” After that final show, a six-foot circle of wood was cut from the Ryman stage and moved to the new Grand Ole Opry House.

The next night, Roy Acuff opened the first show at the new venue. A video of Acuff singing in the 1940s played before the screen lifted to reveal Acuff himself, singing live in the same spot. The message was clear: Though the stage had changed, the story continued. The circle had not been broken.

The Opry began on WSM on Nov. 28, 1925, and is celebrating its centennial with a series of concerts and tributes under the name Opry 100. On March 19, 2025, Reba McEntire stepped onto the iconic circle on the Grand Ole Opry stage and kicked off NBC’s Opry 100 celebration with a verse of “Sweet Dreams.”

The final song of the night was “Will the Circle Be Unbroken,” performed by country legends like Bill Anderson and Jeannie Seely alongside newcomers like Lainey Wilson and Post Malone. It was a moment meant to celebrate 100 years of country music tradition and connection with a stage full of voices harmonizing across generations. A circle, unbroken.

But that night in March, one group of country performers was missing. Not a single openly gay, lesbian or bisexual artist appeared onstage during the anniversary celebration. In a moment designed to honor the full sweep of the genre’s past and future, a long line of country musicians was left standing outside the spotlight once again.

A slowly opening circle

Country music has never been without queer voices, but it regularly refuses to acknowledge them.

From 1962 to 1982, Wilma Burgess had 15 songs on Billboard’s Hot Country chart and two Grammy Award nominations. She recorded with legendary producer Owen Bradley and had Top 10 hits like “Misty Blue.” Despite this success, Burgess never played the Opry. Though Burgess was never publicly out, her sexuality was common knowledge in recording circles. In the 1980s, she left music and opened The Hitching Post, Nashville’s first lesbian bar. Like so many queer country artists, Burgess had to build her legacy outside the circle.

In the 1980s and 90s, k.d. lang and Sid Spencer expanded the presence of queer artists in country music. Lang won two Grammys and performed at the Opry, but she was labeled “cowpunk” and left the genre before coming out in 1992. Spencer released albums and toured widely within the gay rodeo circuit, but he was never recognized by mainstream country before his 1996 death from AIDS-related complications.

The 2000s offered small openings. Mary Gauthier became the first openly queer artist to perform on the Opry stage in 2005. Chely Wright had a No. 1 country single before coming out in 2010, but didn’t return to the Opry until 2019. Ty Herndon charted 17 singles before coming out in 2014. He wouldn’t appear at the Opry again until 2023.

These artists established themselves first and came out later, at great professional cost. The Opry hosts 5–6 shows a week, featuring 6–8 artists each night. In that context, a nine-year absence isn’t just a scheduling gap. In addition, the Grand Ole Opry currently has 76 members, a special designation indicating a level of success in country music. None of them identify as LGBTQ+.

Today, there are signs of change. Lily Rose, who has been openly queer since the beginning of her career, receives radio play, has songs on the charts and tours widely. But she remains the exception, not the rule. Other openly LGBTQ+ artists like Paisley Fields, Mya Byrne and Amythyst Kiah are recording, performing and building loyal audiences, but they are still rarely featured on country radio or invited onto the Opry stage. The circle may be widening, but for many queer artists, it’s still just out of reach.

The importance of the circle

In country music, visibility isn’t just symbolic. If you’re not on the radio, you don’t chart. If you don’t chart, you don’t tour. Without that platform, you can’t build a legacy.

Country radio and the Opry stage serve as gatekeepers of who counts. In 2015, a radio consultant infamously compared women artists to “tomatoes in the salad,” stating a few were fine, but they shouldn’t dominate. That same logic has long applied to queer artists; they can be tolerated at the edges but are rarely treated as essential.

Genre labeling becomes another barrier. Brandi Carlile and Brandy Clark both openly identify as lesbians and have been embraced by country audiences and critics alike, but they are routinely categorized as Americana artists. That rebranding often functions as a fence that keeps artists close enough to celebrate, but far enough to exclude.

Reimagining the circle

The Opry’s centennial celebrations are scheduled to continue through the end of 2025 with a concert at London’s Royal Albert Hall and a final anniversary show in Nashville on Nov. 28. Perhaps openly queer artists will take the stage at those events. If they do, it won’t just be symbolic; it will be a long overdue acknowledgment of artists who have always been here, even if they weren’t always seen.

Country music’s strength lies in how it braids together American traditions: gospel and blues, Black and white, rural and urban, old and new. It’s not a genre built on purity, but one that relies on the mix. That mix is what makes country music American – and what makes it endure.

If the circle on the Opry stage is meant to stand for country music itself, then I hope it will be like the music: honest and able to grow. If “Will the Circle Be Unbroken” is more of a promise than just a closing number, the future of country music depends on who’s allowed in the circle to sing it next.

Tanya Olson does not work for, consult, own shares in or receive funding from any company or organization that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.