This country karaoke night in L.A. is a rootin’, tootin’ hootenanny with a queer twist
“I’m gay so I can’t do the guitar solo,” quips Sam Buck.
A smile spreads over his face as the familiar twang of Tim McGraw’s “I Like It, I Love It” fills the space. The crowd chuckles in recognition – this tall, bearded musician has the skill to tear it up if he chose to, but tonight, enjoyment prevails over expertise.
Under the gentle illumination of Tiffany-esque lamps, Buck nonchalantly holds his guitar across his shoulders, donning a brown cowboy hat that shades his black denim jacket. Silver tinsel twinkles behind him, creating a Nashville-inspired glam backdrop for the small stage at Permanent Records Roadhouse, a charming blend of bar and record store situated in Glassell Park. He’s starting off the KFM Karaoke Country Revue, an ongoing event where honky-tonk tradition intertwines with the LGBTQ+ community to raise a toast, croon, and dance through tunes as if they were old friends in a Garth Brooks ballad.
Buck expresses his fondness for the show, stating it’s similar to Goldilocks’ experience – nothing about it is ever perfectly suited, which he shares prior to revealing the evening’s performers.
Instead of merely being a display, it’s a sanctuary. A place where the heart of country music, encompassing its paradoxes and intricacies, finds solace in expressing its rawest, most diverse, and exuberant essence. Transgender, nonbinary, queer, lesbian, gay, cisgender, and heterosexual artists all share the stage with a common objective: to carve out room for celebrating country music for those who often find themselves overlooked by its traditionally conservative communities.
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For two years now, KFM, modeled after Buck’s podcast KFM Country Radio, has attracted artists such as Julianna Barwick, Dougie Poole and Jae Matthews from electronic duo Boy Harsher. During one of its events, Amber Coffman, a previous co-lead vocalist of the indie band Dirty Projectors from Brooklyn, excited the audience with her performance of “Hard Candy Christmas,” a well-known song by Dolly Parton from 1978 that she formally covered in 2020.
As a movie buff, I’d put it like this:
In the heart of LA, I, a local singer, took the stage wearing a nostalgic T-shirt emblazoned with “Rodeo Girls.” Channeling the spirit of Bonnie Raitt, I delivered a rockin’, soulful rendition of her classic hit, “Angel From Montgomery.”
Meanwhile, in the same city, Loren Kramar, an emerging orchestral singer-songwriter, was setting the stage ablaze with his interpretation of Little Big Town’s “Girl Crush.” His performance was a smoldering, captivating display of raw talent and emotion.
As a passionate admirer, let me share my experience: The microphone isn’t exclusive to professionals alone; rather, Buck meticulously organizes the performances to ensure a flawless show. He carefully selects the acts and insists on rehearsals beforehand. The atmosphere is reminiscent of karaoke, with Buck controlling the backing tracks, yet there’s no lyrics screen for assistance. “Even in karaoke,” Buck explains, “poor performances can be brutal if someone’s intoxicated or unfamiliar with the song.” He emphasizes that our performances at [KFM] require learning the song thoroughly, and a certain level of care is essential.
Entertainment & Arts
John Early’s character can be succinctly encapsulated through a single facial expression: a tightly held grin, accompanied by eyes that burn with suppressed fury.
For instance, Comedian John Early performs an energetic rendition of The Chicks’ “Wide Open Spaces,” complete with flamboyant gestures and prearranged dance steps, all the while Nicholas Braun from HBO’s “Succession” observes him from the crowd.
Other performances have showcased comedians such as Kate Berlant and Casey Jane Ellison. Regular guests on the radio station KFM, Chloe Coover and Maddie Phinney, hosts of the well-liked perfume podcast “Nose Candy,” add their unique charm to the show. Phinney exudes an air of luxury with her trail of Céline’s Black Tie perfume, while Coover dons a long ball gown and sings NewSong’s heartfelt Christian country ballad “The Christmas Shoes.” Artist Erin Bagley performs Fleetwood Mac’s 1977 hit “Silver Springs.” Lastly, JT Friedman, Buck’s partner, leads an energetic interpretation of Alan Jackson’s “Honky Tonk Christmas,” distributing candy canes from a stocking.
Rosie Ruel, a multi-talented individual who works as an energy worker, a real estate agent, and aspires to be a pop star, passionately performs the lively bullfighting song “El Toro Relajo” (The Troublesome Bull). This performance leaves the audience in awe and highlights one of KFM’s principles: that the genre’s boundaries are meant to be explored. Later on, I learn from her that Mariachi is essentially Mexican-style country music, according to Ruel.
Mary Rachel Kostrova, proprietor of the vintage spectacle shop Eyefi, offers a captivating rendition of Melissa Etheridge’s “I’m the Only One,” her voice resonating with raw feeling. Raised in Georgia, Kostrova observed the divisive yet omnipresent influence of country music — popular, yet cherished only by those unashamed to openly embrace it. Among her contemporaries, she recalls the common joke about appreciating all types of music except rap and country. A subtle smirk crosses her lips. “Now,” she comments, “many people claim they only listen to rap and country.
Music
Beyoncé is teaming up with Netflix for a special halftime performance, which will air during the Christmas Day matchup between the Houston Texans and Baltimore Ravens.
As I find myself on stage alongside Mercedes Kilmer at Zebulon on Feb 9th, I can’t help but reflect on the captivating state of country music. Artists like Beyoncé and Post Malone are pushing genre boundaries, while Kacey Musgraves and Taylor Swift seem to be gravitating towards pop. Yet, the industry’s diversity is progressing, albeit tentatively. A concern that lingers in my mind is the lack of mainstream representation for gay musicians. I wonder if such a figure will ever emerge within this scene.
Buck’s foray into the genre is unique, with elements reminiscent of an outlaw tale. Raised in coastal Massachusetts, he often felt like an outsider due to his love for Miranda Lambert, a country artist not traditionally associated with that region. As he puts it, “I’m a Yankee through and through.” However, anyone from a rural background understands that the essence of country music isn’t confined to the Deep South. In terms of borrowing country spirit, I think Buck has taken more than most.
KFM first emerged as a podcast during the pandemic. Buck plays country tunes, weaves intriguing tales, and discusses juicy gossip regarding the influential figures within the county scene. “I need to be cautious,” he jokes, “If I mention [so-and-so’s] ex-cop husband and his questionable bow-tie pasta, I don’t want that information reaching her, in case we ever share a stage.” He doesn’t mince words when it comes to criticizing contentious personalities like right-wing influencer Brittany Aldean (“She only advocates for negative things,” he states), but the podcast’s appeal lies in its unique blend of humor and genuine appreciation for country music.
For Buck, who is not only an artist but has recently displayed his paintings of architecturally significant L.A. homes at the historic Echo Park restaurant Taix, the charm of the KFM Karaoke Country Revue (with the next event happening on Jan 23) stems from its coziness and disorder. “It’s disorganized, it’s enchanting, it’s compact,” he remarks. “People seem to bond with one another here. And in a world where everything is about expanding and amplifying, I believe that small moments are valuable.
As the night unfolds – with voices growing louder, drinks being poured, and silver tinsel sparkling beneath the lights – Buck muses over the peculiar universality of country music. “The more I live,” he thinks, “the more I understand that every place is a bit of the countryside. And that includes even Los Angeles.
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2025-01-09 14:35