Nightlife organiser Lewis Burton reflects on ten years of London’s iconic, trans-centred techno night, alongside bold club photos from the INFERNO archive by Roxy Lee.

IMAGES ROXY LEE

Across ten years of raves, raucous party attendees and thumping techno, INFERNO has become synonymous with London’s shifting, experimental queer club scene. Founded by Lewis G. Burton in 2015, what started as a party has morphed into a performance art platform, an incubator for queer talent, and a vital space to prioritise trans and non-binary community. From parties across Europe and a residence in Amsterdam’s RADION, to a zine and annual summit, it’s become a veritable cultural movement.

As they announce an INFERO hiatus, we speak to Burton about the best moments from ten years of the iconic club night and the pressures forcing working class creatives out of nightlife.

Congrats on a decade of INFERNO! Let’s rewind a bit, how did the first party come to be?

INFERNO started because, 10 years ago, there wasn’t another LGBTQ+ centred techno party. Some of the elders in the community were running events, but they weren’t explicitly for us – and at times, they felt unsafe. I was always aware of how nightlife and queer history are deeply intertwined, and I wanted to carry that torch into a new generation. INFERNO was my way of honouring those who came before us while incorporating what I was learning about community care, empathy, and support.

The first events were held at Dalston Superstore for the first few years. We completely transformed the space – blaring techno and hard dance filled the basement, with boundary-pushing performance art electrifying the room. Upstairs, drag queens danced on the bar to the campest pop, disco, and R&B bangers. It was giving pure heaven and hell – chaotic, euphoric, and exactly what queer nightlife needed at the time.

What are you proudest of from your years with INFERNO?

The beautiful community that has grown around INFERNO. What started as a small event for me, my friends, and their friends has grown into something far beyond what I ever imagined. Now, over 1,000 people regularly pack out Colour Factory in Hackney Wick. I’ve witnessed so many people step into their most authentic selves, becoming queerer, bolder, and more liberated. To provide a space where people feel safe to embrace that authenticity – and empowered to do so – is something I’m deeply proud of.

INFERNO has also given us incredible opportunities to collaborate with institutions like ICA and the V&A, as well as expanding across Asia and Europe. We now have a residency at RADION in Amsterdam, which is a legendary club in its own right.

More than anything, I’m proud of the incredible DJs, artists, performers, and musicians who have grown through INFERNO and gone on to conquer the world. A decade later, we are still standing – and in this brutal nightlife landscape, that’s something to be immensely proud of.

Do you have any fun anecdotes or stories from the past decade?

So many! One that stands out is when a performer did something wild in a paddling pool. What we hadn’t accounted for was how heavy it would be with water in it – so when we went to remove it, the bottom broke, flooding the dance floor. Picture a queue of club kids (myself included) in full geish, mopping the floor at 3am to a soundtrack of pounding techno. It was absolute carnage.

The last INFERNO – our 10-year anniversary Red Rave – was one of the best nights of my life. It reminded me just how much this night means to so many people. It was one of those rare, magical moments where everyone showed up as their best selves, leaving their baggage at the door and coming together in pure appreciation and love for the space and each other. Everyone’s DJ sets were spectacular from start to finish, I performed with trans punk musician Sissy Misfit, and everyone turned it the fuck out in their finest red looks. It’s a night I’ll hold in my heart forever.

How has queer nightlife changed between when you started the night and now?

Queer nightlife used to feel more raw, hedonistic, and unpredictable – back then, we didn’t have smart phones! It felt lawless in a way that was both thrilling and, at times, chaotic. In terms of community, I think things have improved because of social media, there’s now a broader awareness of how we expect people to behave in queer spaces. It used to feel like the Wild West, but now we’re talking more about how to show up for each other, on and off the dance floor. And given that politically, things are worse for our community than they’ve ever been, this kind of solidarity has never been more important.

But I’ve also seen the impact of gentrification, the cost-of-living crisis, and the pandemic on our spaces. Working-class people – the ones who built queer nightlife – are being pushed out. The cost of running nights, DJing, or even just going out has skyrocketed. If I were moving to London now, INFERNO probably wouldn’t exist, I wouldn’t have been able to take the risk. These days, most working-class people in nightlife are behind the bar, at the door, or working cloakroom. We’re losing the next generation of grassroots queer creativity, and that’s a tragedy.

Oh, and RuPaul killed the drag queen! There was a time when people would turn looks in the club just for the joy of it. That’s something we’ve fought to keep alive at INFERNO – a space where identity, individuality, and creativity still take centre stage.

Nightlife is evolving, but because it’s so deeply tied to money and capital, marginalised communities are always hit first. We’re already seeing that in the loss of LGBTQ+ spaces, but it feels like the people in power aren’t listening. As someone who’s been at the forefront of this community for over 13 years, I know firsthand how vital nightlife is, not just culturally and artistically, but for people’s physical, emotional, and mental wellbeing.

How has the night been able to foster and encourage queer creativity?

INFERNO has always been a platform first, a party second. We’ve given emerging DJs, performers, and artists a space to experiment and create without fear. I’ve mentored the next generation of LGBTQ+ club nights and promoters, passing on knowledge and skills while giving them opportunities – like taking over INFERNO’s second room.

We also host the INFERNO Summit, a bi-annual seminar where we explore different themes and celebrate the beauty, talent, and diversity in our community.

Over the years, we’ve commissioned over 250 works of art, showcased over 500 performers and had over 2,000 DJ sets worldwide. INFERNO’s impact has been global – I’ve had people from almost every continent tell me it inspired them to start their own nights and build their own communities. We’ve blurred the lines between music, fashion, art, and performance, creating a space where people push beyond their limits. Some of the most innovative queer artists of today started at INFERNO, and that’s something I’ll forever be proud of.

What’s next for INFERNO?

I’m taking a sabbatical! The pandemic taught me that sometimes, stepping back is necessary – to reassess, to evolve, to figure out the bigger picture. Nightlife is changing rapidly, and spaces like INFERNO are more vital than ever. With trans rights under attack globally, we need spaces where we can be together, be seen, and know we are loved.

That being said, INFERNO isn’t disappearing. We’re continuing our residency at RADION in Amsterdam, including a special collaboration with resident Samantha Togni’s Boudica on Friday, 23rd May. We may even pop up at a few festivals this summer, keep an eye on our socials.

I’d also like to do one final, huge send-off event before rebirthing INFERNO into something more intimate but more regular – a space where community, care, and creativity are truly at the core. But I need time to figure out what that looks like.

During my break, I’ll be organising London Trans+ Pride (26th July), working on new music with Wax Wings, and finalising the first draft of my book, a guide to everything I’ve learned over the last decade as a community leader.

I’ll still be keeping busy as ever, while plotting the day INFERNO will return…

The post A decade of club kid fashion and chaos at INFERNO appeared first on GAY TIMES.

The London sex-positive event series is putting class back into the kink conversation and challenging gendered norms in the sex party scene.

PHOTOGRAPHY @heavyconsumption

London’s sapphic nightlife scene is thriving – with nights like WET and new venues like La Camionera, celebrating dykes, bi femmes and the FLINTA community. For those looking for something more adventurous, One Night Parties is a need-to-know. 

Founded informally in 2016, before running from equipped spaces in 2019, the party was born out of a “love for sexual spaces, but a disdain for entitled men”. Originally a play party, One Night has grown into an event series for women and non-binary people to explore their sexuality, yes, but also form friendships and connections without any expectation of sex. Now, for over five years, the One Night community has been a powerful force within the city’s sex-positive community. 

Kicking off 2025 in typically kink-positive style, on 10 January One Night launched its first party of the year. This time, with a difference: a sportswear dress code. But breaking from the traditional latex, leather and lace associated with fetish, doesn’t mean that One Night disagrees with the idea of sex party dress codes. “We strongly believe in the concept of dress codes for a sex party, as they are important for a multitude of reasons. They create an atmosphere of unity, and dressing for pleasure can provide guests with a sense of purpose and belonging within a space,” explains Miss Gold, the party’s founder. 

However, One Night is keen to expand what a sex party dress code can look like, a process which can prompt important conversations around class that are often overlooked in the sex positive world. “One Night started out in 2016 with no budget, in a less desirable house in Shadwell. There was no kink equipment, and the drink of choice was Lambrini,” Miss Gold continues. “There were no airs or graces, and not a piece of latex was in sight – yet the absence of perceived kink attire did not hinder our exploration. One Night has working-class roots and was founded by a sex worker who was a teen mother and council-housed.”

While acknowledging the significance of more traditional sex party dress codes  – “the fabrics [in fetishwear] carry meaning and symbolism, and we are in no way attempting to diminish the importance of these expectations in our spaces” – One Night also wants to recognise the financial pressure they can put people under. “As younger, working-class individuals, we often felt alienated by [sex party] dress codes,” she explains. 

“We were unable to afford fabrics like lace, latex, or leather, and we sometimes felt embarrassed by the idea of wearing the same outfit repeatedly – although we do not believe anyone should feel ashamed of this, such pressures are harmful, but they affect us all,” Miss Gold continues. “For a long time, purchasing an outfit that could only be worn in one specific space, on top of a ticket, felt impossible. We are certain there are others who share this experience. It feels right to centre clothing that is often worn by the working class and to celebrate it. And fuck in it.”

Where there are parties with sportswear dress codes, they’re predominantly aimed at men – meaning that sapphics and marginalised genders don’t have space to explore certain kinks. “We also recognise that many people have genuine trainer fetishes and find sportswear sexy,” adds Miss Gold. “We feel there is a lack of spaces in the UK FLINTA party scene to explore these preferences.”

One Night Parties aren’t open to the public, with tickets instead being released privately to their verified mailing list. While you apply to sign up, you can check out images from One Night’s recent sportswear party below.

The post Inside One Night’s sportswear party, celebrating sapphic scallies in all their forms appeared first on GAY TIMES.

Get ready to slay (sorry, *sleigh*) this December: former GAY TIMES Amplify star Harriet Rose is hosting a queer pop Christmas extravaganza. I

nterested? Head to 93 Feet East for the return of GAY4U on Friday 13 December. There, all the ho-ho-holiday queer pop girlies, gays, and theys will be able to get down and jingle bell rock to the best R&B, pop, and queer bangers from icons like Mariah Carey and Britney.

Prepare to make the yuletide gayer than ever with a night of festive fierceness, iconic tunes, and campy holiday magic. DJ sets will be provided by faves such as Bimini, Callie Crighton, Reenie and Harriet Rose herself. There will also be a very special guest who you won’t want to miss.

Tickets are your golden candy-cane pass to a night of holiday cheer and pure queer euphoria, all for just £15.

🎶✨ GAY4U is your safe space to be unapologetically queer, fabulously festive, and ready to sleigh. All are welcome—come as you are or as your most extra holiday self! 🥰

Snag your tickets now, don your gayest apparel, and let’s make this XXXmas one to remember! See you on the dance floor, sugarplums! 💖✨🎄.

Get your tickets here.

The post Harriet Rose’s GAY4U returns with a special ~festive~ edition appeared first on GAY TIMES.

Filling the much felt need for a lesbian rave, Plastyk is also, to the best of my knowledge, London’s first lesbian night run by a trans woman.

WORDS EMILY CAMERON
IMAGES VIA @PLASTYK__

On 21st of September this year the trans community in London achieved another of its “firsts” – we’ve had the first London Trans+ Pride, we’ve had Harpies, Europe’s first trans strip club, and now we have the first lesbian night run by a trans woman. It’s worth saying I would love to be wrong about this, and if you know of one that predates Plastyk, then please let me know. And I know that there are other trans-run lesbian nights, operated by non-binary people and trans mascs, in fact there are many, which is what makes this so exciting. The lesbian community has long embraced the presence of trans women, and while there is a possibility that there is another trans woman quietly, less visibly running a lesbian night in this city, to the best of my knowledge, this is the first time we (yes, hi) have stepped into an organising role in London’s lesbian community. 

Speaking to Karlie on the deflated sofas of Venue MOT’s heavily tagged and precariously elevated green room, she tells me that Plastyk is about clarifying our position in the lesbian culture: “If one of the biggest lesbian nights in London is run by a trans woman, then it’s kind of indisputable that we are part of this community.” And with the venue full, smoking area unnavigable and people spilling out the front door for air all by midnight, Plastyk looks set to become a stalwart of our community. There were even 20 people in at doors, a rare phenomenon in queer circles (but then lesbians are terrifyingly punctual). 

 

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Aside from being trans-run, Plastyk is a valuable addition to the lesbian nightlife calendar – while there are club nights and bars specifically for the lesbian community, there has been an absence of raves of late. This is something promoter-DJ Karlie Marx, with her high-tempo genre-clashing style is more than able to remedy. Lesbian rave Big Dyke Energy filled this role for a time, but has since taken a hiatus – with one party-goer even mentioning that “it’s good to have lesbianism back at Venue MOT”, referencing BDE’s much beloved tenure at the venue. 

Venue MOT is by no means an easy place to get to for your average east London lesbian, and the evening of September 21st was a less than pleasant one on which to drag us all south of the river. But our mass migration is a testament to the faith we have in Ms Karlie Marx, the DJ and promoter responsible for Plastyk. Walking from New Cross Gate overground station in the rain was perhaps the only time I’ve ever been jealous of people who live south of the river. You win this one, New Cross lesbians…

 

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Inside there are enough blonde buzz cuts and tank tops for a Slim Shady lookalike convention, several entire cows’ worth of Doc Martens (though I have to assume some were vegan), and a satisfying absence of AliExpress harnesses. Instead Courtney Love-style negligees, fishnets, jorts and Guy Fieri flame print stood out – a palette-cleansingly chaotic scene in the immediate wake of fashion week. 

“It’s quite moving actually,” says one party goer about the numbers of trans people, specifically trans women, at the party. “It kind of highlights an issue in the wider lesbian scene.” While the London lesbian community is broadly very open and accepting, and generally welcomes trans women (think: eclectic club nights like Female Trouble, Wet, Femme Fraiche, Big Dyke Energy etc), what was noticeable was that, given a space where they are specifically welcomed and supported, sapphic trans women will arrive in droves. London has a rich history of trans-run and centred clubbing, from early Transmissions parties at Vogue Fabrics Dalston, to Transvision Wednesdays at Dalston Superstore (now Bodyswap), early iterations of Unfold, Arize, even the classic, Bombshell “for TV/TS and admirers”. But none of these spaces is specifically lesbian. And with the recent renaissance of lesbian culture in the capital (openings like La Camionera and Goldie Saloon, the soaring popularity of the Lionesses and the WSL and London’s first Dyke March), Plastyk feels like an explicit coming together, a formalisation if that’s not too strong a word, of two communities that have existed hand in hand in London for years and who are both going from strength to strength. 

 

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Queer scene icon and star of campaigns and promo posters everywhere, DJ Reenie performed opening duties as the corrugated tunnel filled up from the front, shaking off any dampness from the weather with a bone-rattling remix of “Hollaback Girl” amongst other heavy techno edits of pop songs. Karlie’s set lived up to her reputation, mixing Skepta and Swedish House Mafia in the first five minutes and quickly rattling through SOPHIE, The Prodigy and, of course, Le Tigre, because some things never change. She’s flanked behind the decks by her Bodyswap co-conspirator Harietta and drag performer and actor Danielle “The Doll” James – it’s dolls supporting dolls, promoters enjoying the spoils of their labour and friends partying together, the vibes are immaculate. Sister Zo, visiting talent from NYC, followed Karlie and was locked in, focussed and flawless. She took control of the room with dub infused techno, snares that cut through the room and high intensity techno, the crowd were in the palm of her hand. An outrageous booking for Plastyk’s first event. 

By 1am, the darkened back of the dancefloor is largely populated by couples new and old, and unsurprisingly, as the time edged past 2am, those couples were headed for the exit. Because some things never change. I must confess I was part of this exodus (not to hook up but to split an extortionate four-drop-off cab back to east). Plastyk, however, continued long into the night, until 4am, with Bumpah co-founder and Popola resident Cheza Lucina on closing duties (I’m told, of course, she slayed). 

The second iteration of Plastyk is this weekend – Friday 6 December at Venue MOT. Lineup highlights include WET founder and resident Rabz, and FOLD resident Lockhart – see you dykes there. 

The post Dolls and dykes: Plastyk is a new era of lesbianism in South London appeared first on GAY TIMES.

When it comes to iconic music moments, few names hold as much reverence as ABBA. With a legacy spanning decades, the band has not only influenced pop music but has also served as a cornerstone of queer culture. ABBA’s latest venture, ABBA Voyage, continues to push boundaries, creating a one-of-a-kind concert experience that blends music, technology, and the sheer joy of coming together. And for one night only, GAY TIMES hosted a pre-concert party like no other in the VIP Oceanbird Lounge at ABBA Voyage.

As part of our partnership, some of the most exciting names in LGBTQIA+ culture descended on London’s ABBA Arena for a celebration of music, unity, and unapologetic queerness. With familiar faces in attendance including the likes of Layton Williams, Romy, Riyadh Khalaf, Tobie Donovan and Jenny Walser from Heartstopper, Stuart Armfield and Francis Haugen, legendary nightlife queen Princess Julia, alongside other community talent. 

Guests were treated to a special pre-concert DJ set by ABSOLUTE., kicking off the evening with the perfect mix of disco, pop, and queer anthems. The vibe was impeccable, with custom cocktails inspired by “The Singer,” “The Dancer,” and “The Fashionista” – a nod to ABBA’s lasting influence on queer culture. 

From the pre-party to the dancefloor, the crowd walked through ABBA Arena’s spectacular light tunnels to the main event – the unforgettable ABBA Voyage, where digital avatars (the famed ABBAtars) of Frida, Agnetha, Benny, and Björn brought decades of beloved hits to life. It was pure pop bliss, with tracks like ‘Dancing Queen’, ‘Voulez-vous’, and ‘Gimme! Gimme! Gimme! (A Man After Midnight)’ serving as the soundtrack to our special takeover. 

But the night wasn’t just about the music. 

As the evening unfolded, queer icons and allies mingled with fans from all walks of life, everyone united by their love for ABBA’s legacy and their commitment to creating spaces where everyone can be their truest, most fabulous selves. 

At GT, we’ve always known that ABBA holds a special place in queer hearts. As Björn Ulvaeus once told us, “We found out quite early that Dancing Queen had become an anthem, and we were very proud that we’d been chosen by the community.” And on this night, that sentiment rang true once again.

At the heart of ABBA Voyage lies the undeniable power of music to bring people together, and for those who joined us, it wasn’t just a concert – it was an immersive celebration of creativity, freedom and unexpected friendships. For anyone who missed out or would like to experience the magic of ABBA Voyage again, dance floor tickets are available here.

Keep an eye on GT’s socials to see for yourself how members of the queer community came together to celebrate like never before.

Until next time – keep dancing, queens!

The post A Night Like No Other with GAY TIMES and ABBA Voyage appeared first on GAY TIMES.

“This is where I get to see two burly men dancing with each other in close proximity.” 

WORDS MIKELLE STREET
PHOTOGRAPHY CYLE SUESZ
WITH THANKS TO STUD COUNTRY

In late 2021, Becca Cox was desperate to find a place to line dance in New York City. They were fresh off of listening to WNYC’s 9-part “Dolly Parton’s America” series which reignited their childhood love for country music and were itching to get on the floor. They started teaching themselves line dances in their office when no one was around, hitched a ride to New Jersey to buy a pair of cowboy boots, and then found a class in the Ukrainian Village. And then they heard about Stud Country.

“One of the first couple of times they had a [Stud Country party at Brooklyn Bowl] there was a couple that had been dancing together for 30 plus years who was out on the floor,” Cox tells GAY TIMES. She watched the couple glide, arm-in-arm in a two-step under the venue’s massive spinning disco ball. “It was so beautiful to see. Country dance and country music has such a rich queer history that isn’t always acknowledged because of the heteronormative hegemony so being able to reclaim that – even if you didn’t grow up in the South – is amazing.”

Initially a Los Angeles-based event launched in 2021 by Sean Monaghan and Bailey Salisbury, Stud Country is now a U.S. phenomenon with recurring events in Los Angeles, New York City, Nashville, San Francisco and Sonoma. At its core it remains a casual recurring two-step and line dancing night but has also expanded, incorporating workshops in addition to mixers and more formal balls. Its purpose is to preserve a more than 50-year history of queer line dancing captured in the short film of the same name, that some felt was in danger of being lost with the closure of various bars.

“The biggest difference is the LA one is so established in a sense,” says Spencer Pond, who is into the queer history of many dance forms including Lindy Hop. Pond first attended the original LA-version of Stud Country, which is currently being held at Club Bahia, before being recommended to the one in Brooklyn. “In New York it’s still growing and building. Because there’s so many people in New York City, you can come here every week and still find people you’ve never seen before.”

At Brooklyn Bowl, while vintage clips of gay men line dancing played on screens, the night started on the no-drinks-allowed dance floor (you can drink from the sidelines) with partnered dancing – linked couples moved across the space like the impressionable pair Cox first spotted. Susanna Stein, an organiser of one of New York City’s other gay and lesbian country western dancing groups, Big Apple Ranch, then broke down a basic two-step for any newcomers.

“This was the very first time where I felt at home,” says Philip Lau, who started off Western dancing at Sundance Saloon in San Francisco before attending Big Apple Ranch and then Stud Country. “This is where I get to see two burly men dancing with each other in close proximity.” In this queer-specific space, couplings shirk preconceived notions of who should do what and how.

“I’m really tall and I’m a woman-ish so being able to lead is really nice but also being able to follow…” Cox says. “Yes, I’m super tall but if I want to follow there are five-foot short kings on that floor who will lead me. It’s so beautiful to see the subversion of ‘tradition’ and expectation.” But the partnered dancing was only a wholesome precursor.

“There’s nothing hornier on this Earth than watching a couple line dance directly in front of each other"

Before long, the night switched to the line dancing segment. With the DJ playing songs like Shania Twain’s “I Ain’t No Quitter” and Shaboozey’s “A Bar Song (Tipsy)” hundreds of dancers packed the floor for a series of hot and sweaty shuffles. Organisers teach two new line dances per night where the assembled kneel so even those in the back of the venue can see the on-stage instruction. But otherwise, regulars throw themselves into the choreography they know from weeks prior. 

“To me, line dancing is all about dancing alone together and dancing together alone,” Pond says of the dynamic where though you don’t have to rely on anyone else for your moves, you are still interacting with the entire room. “Every time I’ve been at any social dance event I’ve always been able to have a moment on the dance floor where I make a special connection with someone else where you might catch each other’s eye while dancing and that’s really the moment that I look forward to.”

That connection can feel entirely wholesome and affirming. As a learning-first space, people are quick to help one another out, immediately establishing a level of connection as the learning happens collectively. But it also can become downright steamy. When Luke Bryan’s “Country Girl” came on there was thigh slapping, hip shaking, spinning, and hair tossing as regulars shimmied into a set of choreography that had previously been taught. 

“There’s nothing hornier on this Earth than watching a couple line dance directly in front of each other, and they know how to dance up on each other while still doing the choreography which is really hard,” Cox says. “There’s people flagging and really embracing these unfortunately bygone ways of expression and bringing them back.” Flagging is a form of nonverbal communication queer people use the styling of fashion items to indicate sexual interests, often by way of the hanky code which was popular in the 1970s. 

Stud Country is a space that doesn’t necessarily feel radical because it overwhelms attendees with joy, fun and a sense of community, but it is. Here, the leaders are those who choose to lead and the followers are those who allow themselves to be led. Apprehension about what others might think to see how your body moves and who it moves for are largely absent. What’s left is pure and largely unbridled freedom. 

“I probably wouldn’t have gone if it were a straight thing,” Naomi Linnell, who was attending the event for her first time after participating in a line dancing night in British Columbia. She had come with Cox and other members of their softball team at Cox’s persistent urging. “There’s this history of queer people not being able to dance in public but now we can and we should.”

They added one more thought before running to the packed floor, where another line dance was starting: “And it’s so fun!”

The post At Stud Country, line dancing is undergoing a queer reclamation appeared first on GAY TIMES.

Fresh from curating a special menu of Cointreau cocktails to celebrate GAY TIMES’ 40th anniversary, we get to know the queer drinks guru and TV personality.

This year we’ve been celebrating a major milestone here at GAY TIMES: the big 4-0. Across four decades, the publication has cultivated a thriving queer community and created a vibrant platform for LGBTQIA+ culture. 

To mark our fortieth anniversary, we’ve been delving into queer history with a little help from the legendary Cointreau orange liqueur and queer drinks guru and TV personality Aidy Smith. The result? Four bespoke cocktails curated by Smith that have been inspired, concepted and created especially for our 40th birthday. 

Taking inspiration from the riches of queer cinema – from the vibrant Priscilla to the early drag stylings of Some Like It Hot – the four delectable beverages span everything from soothing peach to pineapple spritz. 

We sat down with Smith to learn more about the inspiration for these unique recipes, to learn what cocktails represent some of our favourite former cover stars and to discuss his broader career so far.

What makes a good birthday party cocktail?

A good birthday party cocktail should light up the room. Bursting with flavour, it should be really easy to make and most importantly, put a smile on your face. There’s no room for intimidation when it comes to mixology. Everyone should be able to grab their shaker and get in on the action. I live for that!

How did you approach creating these bespoke cocktails for GAY TIMES’ 40th birthday party with Cointreau?

Working with two of the most iconic names within their industry is a pretty exciting situation to be in. I’ve watched GAY TIMES grow over the years to become the force of nature that it is today, equally as much I’ve been exploring the liquid gold of Cointreau ever since I started making cocktails over 15 years ago! The intention here was to pay a nod to our rich and wonderful LGBTQIA+ history while creating a series of cocktails that celebrate our culture, individuality and remarkable influence in all things fashion, music, film, and more. Through taste, smell, visualisation and playing with the senses, I’ve created a series of four drinks, putting my own twist and style on cocktails we’ve all come to know and love over the years. The best part is, they’re so easy to make, anyone can shake them up from the comfort of their home. 

Can you give us a little bit of insight behind the meaning of each cocktail?

I always say the hardest part of creating any cocktail is naming the damn thing. You have to find a clear link between the liquid, taste, look, feel and moment you’re celebrating – there’s so many variables involved it can be mind-boggling. As we tried to come up with clever and relatable names, we kept breaking off to talk about LGBTQIA+ films we loved – and without even realising it, found our theme. Each serve is named after a beautiful on-screen movie or cinematic influence, which in its own right has contributed to LGBTQIA+ progression through storytelling, resilience, love, laughter and ultimately, just living our best lives. Each one is packed full of personality, flare and cheek, in all the best ways possible. 

Divine Peach: Peach Margarita with Cointreau 

Praising the remarkable LGBTQIA+ talent that has graced our airwaves over the last 40 years, this twist on the margarita is incredibly moreish. Think bright juicy peach with a light vanilla orange, all held together by a sassy citrus zing. A satisfyingly unique take on one of the most famous cocktails on the planet with a cute peachy twist. Once you’ve tasted it, there’s no going back. 

Some Like it Hot: Spicy Mango Jalapeño Margarita with Cointreau

Our community is praised for its individuality and uniqueness, never being afraid to go beyond the norm and embrace our true selves for who we are, even if we ruffle a few feathers along the way. This cocktail celebrates so many remarkably unique personalities coming together as one in the name of progression. Think sweet soothing mango and a kiss of vanilla orange, with a fresh burst of lime and a spicy kick of jalapeño which hits you in all the right places. Spicy margaritas have become a global sensation over the last few years, but there is one question which still divides opinion: to rim or not? Well, for this serve, we do. And not just any old rim. My version has a tickle of salty chilli to really tease those taste buds.

Priscilla: Pineapple & Rum Highball with Mount Gay Rum

Embodying one of the first major films to normalise and raise awareness on trans culture, Priscilla is not afraid to showcase her true beauty to the world. Light toffee and tropical notes dance around the glass with a gentle pineapple spritz. Light, minimal sweetness due to Mount Gay Eclipse having no added sugar (for those staying off the sugar), and packed full of thirst-quenching tropical notes. Someone pass me a straw!

Tootsie: Raspberry Passion Fruit Martini with Passoa Passion Fruit Liqueur

What celebration of LGBT+ history is complete without paying a nod to the remarkable drag artists who have brought us so much love, cheer and undeniable laughter for decades? Tootsie is a beautiful example of self-expression and not being afraid to show your true colours. Over the last 40 years our drag queens hard work and resilience have resulted in drag performance being embraced on a mainstream level – and there’s no slowing them down. In this serve, elegance meets sass with a soothing comfort. Silky raspberry holds hands with a vibrant burst of passionfruit and a velvety vanilla glow. Much like watching drag; once you get a taste, you’ll just keep coming back for more. 

Click here to read more about the cocktails and discover the recipes. 

If you had to serve a cocktail to the following former GAY TIMES cover stars, what would it be and why?

Let’s start with Kylie Minogue…

The Clover Club – it’s basically a raspberry Gin Sour and a cocktail that is so full of life. Bursting with the electricity of fresh lemon and balanced out by a fruity and calming pink raspberry – it’s like witnessing both her high and low notes simultaneously. Secret tip, add 20ml of Passoa to the recipe to hit that extra level of PADAM! 

How about Grace Jones?

Rum Old Fashioned – Most people think that whisky is the only spirit to go in an Old Fashioned, but I dare to question that. Rum is the perfect evolution of this drink, especially for those who find whisky too harsh to drink. I’d take some of this legend’s Caribbean roots with a Mount Gay XO and match it with her unquestionable ability to break the norm, think outside of the box and dare to be different. Let’s break the rules. 

What would you serve Orville Peck?

The Sidecar – With a voice like that, I immediately think deep, seductive dark chocolate orange. Country music is often perceived as outdated, but Orville has proven that isn’t the case, just like the Sidecar is a prime example of how Cognac doesn’t belong at the back of the cupboard. Remy Martin Cognac meets Cointreau Orange Liqueur with a kiss of lemon and vanilla syrup. Hands down one of the best cocktails to have ever been invented. 

And finally, what would you make for Ncuti Gatwa?

Passion Fruit Martini – For the man who never fails to make me beam with joy. Ncuti’s on-screen presence is a force to be reckoned with. He’s like sunshine in a glass, which is exactly what this serve reminds me of. I also love how this serve is going through a resurgence of self-expression and twists, much like Ncuti and every new role he continues to absolutely boss. 

What advice would you give to people looking to refine their drinking tastes and learn to make cocktails with one of the Remy Cointreau brands?

Don’t be afraid. I know that shaking up a serve can come across as quite daunting, but I promise you it’s not. In the same way you bake, barbecue and cook anything for that matter, it’s just about following a recipe. Arm yourself with a cocktail shaker, jigger, lemon squeezer and strainer and see what you are capable of. Start with super easy serves and before you know it your confidence will peak and you’ll be shaking like there’s no tomorrow. There’s nothing quite like sipping something you made yourself. Be proud to explore and delight some taste buds in the process.

You present and produce The Three Drinkers travel series on Amazon Prime Video. Now on season three and airing in over 100 countries and territories, it has become one of the highest-rated drinks shows across global streaming platforms. What do you think has been the key to its success?

Honestly? Being unapologetically myself at all times and not being afraid to ask the questions people often shy away from. The vast majority of drinks content we see on our TVs seems to focus on swirling glasses and talking about mundane tasting notes, terroir and soil types. Big yawn. I wanted to do things differently. By putting lifestyle and travel at the centre of my show I’ve been able to capture the viewers’ inquisitive side – call it, armchair travel. This show isn’t just about discovering more about drinks and how to enjoy them, it’s about seeing all that a particular country or region has to offer. From its food, hotels and local crafts to fashion, history, cultural norms and most importantly – the unique personalities of the people which make it what it is. I do everything from milking cows, making shoes and eel-fishing to bathing in seaweed, hosting cocktail classes with drag queens and even something called bog snorkelling, but I’ll let you watch to find out what that entails. I’m also not afraid to lean into who I am as a person. My LGBTQIA+ roots are important to me and I want that story to come across on-screen by exploring or adding my own insights to each destination I visit so I can share something with them too. Ultimately, by ditching the technical talk and embracing who I am as a person with all my weird and wonderful quirks, the story just unfolds naturally and we never quite know what we’re about to capture on camera next! For me, THAT is what makes great TV. 

Presenting the show has allowed you to travel across the globe – as both an LGBTQ+ traveller and drink connoisseur, what would you say are some of the best destinations?

It’s hard for me to narrow these down but I’ll give it a try! On the wine side there’s some remarkable places to visit, from the vineyards of Southern England (yes, we have epic sparkling wine!) to Sonoma and Paso Robles in California and pretty much anywhere in Washington state and Oregon. New York has the Finger Lakes on its doorstep and Stellenbosch is just a stone’s throw away from Cape Town in South Africa. Then there’s New Zealand, Spain, Italy, Portugal, Australia, Germany, France, the list goes on. As certain parts of the world become more progressive, LGBTQIA+ people are welcomed to wine regions with open arms. Then there’s the spirit side of things. I’d seek out some of the urban distilleries within major cities – New York, London, Barcelona and Dublin all come to mind. In fact, in Season 2 of The Three Drinkers I even did an LGBTQIA+ bar crawl around Dublin, so you’ve already got your itinerary sorted! Ultimately, there’s a growing number of regions around the world that are incredibly progressive. I keep being asked to host a bespoke LGBTQIA+ wine tour in California, so maybe that’s something to consider for 2025! 

As the only TV presenter in the UK and one of just a small handful in the USA with Tourette Syndrome, you spend a lot of time advocating and raising awareness for neurodivergence. How important is it for you to provide representation in the media for such important causes?

When I was a little boy, I was told that people with Tourette’s could never be TV presenters. I was told we’d never be pilots, singers, journalists, police officers, the list goes on. The truth is, this is one of the most misunderstood and mocked conditions on the planet which people have no idea about. What they do believe is based on years of media misrepresentation, comedic jests and social media posts that are so far removed from the reality of what we live with. 

Few people know that 90% of those with Tourette Syndrome don’t swear uncontrollably. Even fewer are aware that based on what we’ve been forced to go through, our emotional intelligence, empathy and cultural awareness are on a whole other level. Ironically, when we follow our passions and the things we love, we become a force of nature. All the excess energy from our tics is re-channeled into those tasks and we become truly unstoppable. Sadly, there is a long way to go before the world understands this. 

In fact, the only reason I present a global TV series is because I created the show myself. From financing, creative and development to casting, presenting and marketing, I’ve been an integral part of each stage. Had I put myself forward for the same show as just talent, my foot wouldn’t have stepped a centimetre through the casting door. Commissioners still feel that those with Tourette’s don’t belong on TV, unless of course we’re there as a source of amusement. I call this the ‘circus freak show’ mentality which we’ve become all too familiar with. 

The reason I speak so openly about my own experiences is because I never want any little person to go through the same torment, harassment and bullying I did growing up, which has resulted in 47% of us considering ending our lives. I want them to follow their dreams, unhinge the shackles that society has placed on them and truly love who they are in a world where they absolutely, unquestionably belong. Put simply, I want them to tic freely. This is why I fight.

What’s next for you in 2024?

Honestly, continuing to do what I adore while finding new ways to keep the excitement alive! Having recently got my ADHD diagnosis I’ve been doing a lot of self-discovery, and you can expect some really cool things on the horizon in relation to the world of neurodivergence across radio and broadcast. There’s a few TV things I’m not allowed to talk about just yet but can’t wait to share, and of course I’ll be continuing to pop those corks and shake up those cocktails to quench your thirst. I’ve just begun a new role delving into the world of LGBTQIA+ travel too, so there’ll be a lot to unpack there (all puns intended). I think the main thing is just continuing to work hard while enjoying what we do. Life is too short to wake up each day and not live life to the fullest – something I’m beginning to realise more and more with each day that passes. Be kind to yourself and don’t be afraid to go out there and push the boundaries to make some magic happen. 

Click here to read more about the cocktails and discover the recipes. 

The post Popping corks, shaking cocktails and pushing boundaries: meet Aidy Smith appeared first on GAY TIMES.

Legendary strip night Harpies teams up with fashion rave Opia in the search for a new dancer to join the Harpies. 

WORDS BY EMILY M CAMERON
PHOTOGRAPHY BY FREDDIE TALBOT
PHOTOGRAPHY EDITING BY BAUTISTA BOTTO BARILLI
WITH THANKS TO HARPIES AND OPIA

“If you were taking your clothes off more I’d be cumming everywhere,” says Bimini into the microphone from the judges balcony, like this is some kind of x-rated X Factor, which, actually, that’s exactly what it is. It’s her feedback to blonde bombshell ‘Babe of Light’ who swung her diamanté heels and ass in the air, working every inch of the circular stage in the centre of the room for the chance to be America’s Next Top — sorry, Harpies’ Next Top Harpy. The room is full, the crowd are as close to the stage as it’s possible to be without catching a Pleaser in the face, just to make sure they don’t miss a single second of sexiness. Amongst the crowd the leatherette is out in force, adorned with fishnets, graphic extravagant eyeliner, lacing, corsets, silk, satin and faux furs — no one wants to feel underdressed as the glamorous dancers swan past them. It’s a hot night and glistening skin peeks through the increasingly ornate fishnet bodysuits and dresses. Every subsection of the queer community has turned out – queers, dykes, dolls, gays, student fashion darlings – from scenes across the community, and they’re all here for the biggest nightlife collaboration of the summer: Harpia. 

Harpia is a doll-centred fashion rave (Opia) collabing with Europe’s only trans+ strip club (Harpies), and if that sounds like the hottest combination in living memory that’s because it is. It’s the east London equivalent of Britney and Madonna snogging on stage at the VMAs – young c*nty upstart meets Mother who paved the way. The Mother in question is of course, Lucia Blayke, founder of Harpies and London Trans+ Pride, the woman who for half a decade has been the voice of a generation of trans people who wanted more from life, who refused to settle for less. The c*nty upstarts, Bambi Dyboski and Bauti Barilli, or “the Opia girlies” for short, have been running their fashion-oriented response to being sidelined by mainstream fashion parties for just over a year now, first bursting onto the scene, the streets and your TikTok feed in platinum blonde wigs painted head to toe in pink. 

"The girls just want to sliv for the sake of sliving. And maybe some tipping dollars."

To be past your first birthday in London queer nightlife is a blessing and a curse – a blessing in that you made it, just like most businesses, most parties give up the ghost in their first year. And while it can be a curse to have to rise to the occasion of bigger expectations,  bigger venues, bigger fees, more pressure and bigger queues, the Opia girlies haven’t hesitated as they’ve planted their heels in each stride forward. From a launch night collaboration with Chema Diaz, to their designer showcase collaboration with Wraith, to recent Vogue coverage, these girls don’t stutter when the spotlight’s on them. 

Harpies, on the other hand, is a little longer in the stiletto. Saturday in fact marked its fifth birthday, an incredible achievement when you consider the draconian licensing laws around stripping and generalised transphobia they have to navigate. In the beginning it was about the simple reality of needing income and not being allowed to dance at a regular strip club, so Lucia made her own. “If people don’t want to put you on a stage, you build the fucking stage!” she screamed into the microphone on Saturday to riotous applause. 

And this is why these two nights are kindred spirits: they take matters into their own hands for the queer community. They take industries that commodify queer bodies and take control of the narrative, they create environments for performance without exploitation, where the agency is returned to the model and the dancer. Trans people, models, and queer people in general are so often spectacles in service of others, in a diverse marketing campaign, on a runway, or just being ogled in the street – Harpies and Opia represent efforts to reclaim that, and be spectacles for ourselves, an effort to perform without being consumed. 

But that all sounds so serious – what I mean is that the girls just want to sliv for the sake of sliving. And maybe some tipping dollars. 

So back to the night. Anyone who’s been to Harpies knows that the midnight shows are not to be missed, and this was no exception. Ever wanted to see a stripper drop ten feet into a split? This is where to see it. What’s better is that the person doing it is the very sam person you developed an instant crush on when you walked in an hour ago. Everyone’s getting a little hot under the choker, but each removed garment is met with screams and snapping fingers. It’s stripping for the queer gaze and it’s an incredible thing to see. And it’s well appreciated as is evidenced by the literal heaps of tipping dollars they scoop from the stage after each number. But now that the seasoned Harpies had raised everyone’s temperatures sufficiently, it was time for the competition. 

For the first time ever, dancers competed for a chance to become a Harpy. Having taken applications online from their combined online following, four dancers were selected for to compete on the night: Manuka Drip, giving some masculine representation to the evening in fingerless gloves and an earpiece mic purely for the 90s vibes; Babe of Light, our previously mentioned diamond diva; Louis, in the most brilliant moment of the night, performed to Lords of Acid in a blacked out motorcycle helmet and not a lot else (“We got motor mommy served to us!” cried Lucia in the feedback); and our closer, and ultimately our winner, Syren Seduction, who flipped the script performing to Framing Hanley’s Lollipop, a loud and sexy alt rock, almost screamo adjacent track, worked every strap of her intricate underwear as she disassembled it and tossed it into the crowd, their jaws collectively on the floor. Fingers in her mouth, her hands all over herself, the room was transfixed. “To strip to such a c*nt punk rock song,” said Bambi, ”you should be judging us tonight.”

The post HARPIA: London’s c*ntiest dolls combine their slay for one night only appeared first on GAY TIMES.

Attendees including Leigh-Anne Pinnock, Olly Alexander, Big Brother winner Nadia, pop-starlet Mabel and queer songwriting veteran MNEK came out to celebrate Munroe Bergdorf’s birthday at Mayfair hotspot Apollo’s Muse.

PHOTOGRAPHY BY MARCO BAHLER

GAY TIMES CEO Tag Warner co-hosted a dinner for Munroe Bergdorf on 30 August in London. The evening was attended by LGBTQIA+ and ally superstars from across the entertainment industry.

Guests enjoyed a special menu at the exclusive Apollo’s Muse, the breathtaking hideaway bar in the heart of Mayfair, covertly tucked away at the back of the iconic Bacchanalia restaurant, concealed by an impressive iron-clad door – found only by those in-the-know.

Munroe spoke to guests about the urgent need to support LGBTQIA+ media platforms, including her long-standing support of GAY TIMES. Guests were implored to use their platforms to further support for trans and non-binary folks with an impassioned and emotional speech from Munroe, especially in a time where discrimination in the media against trans people is at a high.

Tag Warner gave a speech recognising Munroe’s achievements in LGBTQIA+ activism as well as her long-standing support for the namesake LGBTQIA+ media brand. He gave reference to Munroe’s three appearances on GAY TIMES Magazine covers over the previous six years, including her recent feature as part of GAY TIMES‘ 40th anniversary issue.

Beyond the poignant speeches, guests were sharing experiences of their queer identity within the entertainment industry, including examples of where they were using their positions to make room for other LGBTQIA+ creatives and talent.

The evening was co-presented by Don Julio, the premium tequila brand that focuses on creativity and passion in their product.

Munroe wore a Jenny Packham designed dress, styled by Thomas George Wulbern

The full attendee list included no less than 10 GAY TIMES Magazine and GAY TIMES Amplify cover-stars including;

• Munroe Bergdorf (GAY TIMES Magazine cover-star)
• Tag Warner
• Leigh-Anne Pinnock
• Tayce (GAY TIMES Amplify cover-star)
• Olly Alexander (GAY TIMES Magazine cover-star)
• Riyadh Khalaf (GAY TIMES Magazine cover-star),
• Reece King (GAY TIMES Magazine cover-star)
• Bel Priestley (GAY TIMES Amplify cover-star)
• MNEK (GAY TIMES Magazine cover-star)
• Jodie Harsh (GAY TIMES Magazine cover-star)
• Rachel Chinouriri
• Cara Melle
• Harriet Rose (GAY TIMES Amplify cover-star)
• Jaguar
• Charles Jeffrey
• Maxim Magnus
• Nadia Almada
• Omari Douglas
• Otamere Guobadia
• Poppy Ajudha (GAY TIMES Amplify cover-star)
• Donnie Sunshine
• Amber Rose Gill
• Mabel

Left: Munroe and Tag Warner share an intimate moment after Munroe's emotional speech. Right: Nadia Almada, the iconic Big Brother winner, made a surprise appearance as guest of honour.

Munroe greets Riyadh Khalef, who graced the cover of GAY TIMES Magazine in 2019

Big Brother winner Nadia Almada was the guest of honour for the spectacular evening.

Nadia spoke with guests on her position as a trans woman in the spotlight, her historic Big Brother win in 2004 and how the world has changed since.

The iconic public figure also took an opportunity to highlight her ongoing philanthropic work with trans+ youth organisations that support trans and non-binary people and their families.

Left: Donnie Sunshine recently played GT's 40th Birthday Party at The Roof Gardens, Kensington. Right: Jodie Harsh made an electrifying entrance.

Don Julio provided premium tequila-based beverages for the evening

Left: Cara Melle arrived in a bridal inspired gown. Right: GAY TIMES Amplify cover-star Tayce

Left: Leigh-Anne Pinnock was in attendance at the intimate dinner. Right: Bel Priestley and Maxim Magnus share an intimate moment

Munroe and Tag pose with close friends, Otamare and two-time former GAY TIMES Magazine cover-star, Reece King

Guests seen departing the Mayfair venue

The post Inside Munroe Bergdorf’s star-studded birthday with LGBTQ+ icons appeared first on GAY TIMES.

Attendees such as Jess Glynne, Alex Scott, Munroe Bergdorf and the cast of Heartstopper and Drag Race UK came out to celebrate 40 years of GAY TIMES with a DJ set from Romy and cocktails curated by Aidy Smith.

PHOTOGRAPHY BY SOFI ADAMS

GAY TIMES and Cointreau joined forces on 21 August to celebrate 40 years of GAY TIMES at the Roof Gardens, with community figures and famous faces in attendance.

Sipping a special menu of Cointreau cocktails curated by queer drinks guru and TV personality Aidy Smith, party-goers were able to enjoy high-energy DJ sets from Romy, Donnie Sunshine and Panty Soaker Sound System while breathing in spectacular views of the London skyline from the stunning, rooftop Kensington venue.

The Roof Gardens are a grade II-listed former nightclub, which reopened this year as a private member’s club.

The guests in attendance included cast members from Heartstopper such as Joe Locke, Jenny Walser, Toby Donovan, Corinna Brown and Bel Priestley and Drag Race UK queens Tia Kofi, Le Fil and Just May.

Other famous faces included singer-songwriter Cat Burns, BBC broadcaster and former Lioness Alex Scott, DJ HAAi, musician Jess Glynne, DJ Princess Julia, model and activist Munroe Bergdorf, presenter Harriet Rose, model Reece King, musician Jodie Harsh, DJ ABSOLUTE. and Glee actor Kevin McHale.

Talent from wax such as Theo Walker, Jamie Lo, Daniel Fletcher, Remi Alfallah, Erris Burke, Monty Keates and AJ Clementine also helped ring in GAY TIMES’ 40th birthday in style.

The event comes hot on the heels of GAY TIMES’ special 40th birthday archive exhibition, presesnted in partnership with Outernet London.

40 Years of GAY TIMES: The Exhibition featured more than 540 covers of GAY TIMES Magazine in a decade-by-decade timeline of the LGBTQIA+ brand’s history.

Keep scrolling to see images from GAY TIMES’ 40th birthday party celebrations.

The post Inside GAY TIMES’ star-studded 40th birthday party appeared first on GAY TIMES.