This past weekend, All Things Go (ATG) celebrated its 10th year with two days of a lineup centered on gay icons in music. Lately, we’ve seen more representation when it comes examples of people and characters that are lesbian, bi/pan-women, nonbinary and gender-nonconforming — but ATG takes that representation a step further, creating a safe space for people to experience tangible queer joy and celebration through music.

While NYC was under drizzly cloud cover both days of the festival, the turnout at Forest Hills Stadium is proof that you can’t rain on a lesbian parade. It didn’t stop fans from coming to see their favorite artists, nor did it stop the artists from showing up for their fans or, in the case of Chappell Roan, showing up for other artist’s fans as well.

Roan dropped out of the fest a day before her set, sharing via Instagram that she needed to cut the set for mental health reasons. While this was upsetting to many of the attendees excited to see her (including myself), true fans still enjoyed themselves. They showed up and showed out in pink cowboy hats, clown-esque makeup and statue of liberty-inspired outfits in honor of the pop star. While we weren’t going to see her perform, we were able to experience other artist’s stellar performances on day one, including a Chappell Roan dance party.

Around 5:20 PM, the rain lightened up, and a cohort of local drag artists, including Rupual Drag Race Alumni Yvie Oddly and Aquaria came out on stage to keep the crowd, filling in for Roan’s absence. DJ B-Roc played some of her greatest hits including “HOT-TO-GO!”. While she wasn’t there to sing it, everyone in the amphitheater joined in to do her viral dance moves. During MUNA’s set, we got an acoustic rendition of “Good Luck, Babe!” with Naomi McPherson singing the high notes — “I know I look like this,” they laughed, noting their masculine outfit — “but I actually sing soprano.” Many of the artists also extended kind thoughts for Roan and there were also funny moments like Missy Dabice, lead singer of Mannequin Pussy, saying, “Thank you, I’m Chappell Roan!” before screaming the lyrics to “OK?OK!OK?OK!”

Alongside the rainy concerts, attendees were able to take shelter and hang around the arena, taking part in gay and glittery activities. Dave’s Lesbian Bar hosted a pop-up in partnership with local radio station WFUV while sharing their mission to raise money for the first lesbian bar in Astoria. They had a glitter and tinsel hair station, a spin-the-wheel-win-a-prize moment and a photo booth. Smiles with glittery cheeks and brows all around.

“People are excited about what we’re building and that is so inspiring. We want to be working with our community every day,” Dave Dausch, co-owner of Dave’s Lesbian Bar tells PAPER. “Being at a festival celebrating so many sapphic artists just makes so much sense,” Dave’s co-owner, Sarose Klein says. “That is exactly what we are bringing on a local scale to the queers of Queens.” They both agree that their favorite part of the fest was meeting all the “cuties.”

Before I even stepped foot into the fest, I felt it was going to be a safer space for me compared to other music events because of the queer artists and their fanbases of mainly women, trans and gender-nonconforming people. I shared a lighter with someone and we gabbed about our excitement for seeing Ethel Cain for the first time. I snapped a pic on my disposable of someone dressed as Roan from her Tiny Desk debut (down to the lipstick smudge on the teeth) and we exchanged our thoughts on the essence of AFAB drag.

I found two other attendees also flying solo during MUNA’s set and we exchanged Instagrams before seeing Reneé Rapp end day one with a kiss from her partner, Towa Bird, and an ethereal choir performance of “Snow Angel.” I met some last-minute ticket holders at the Dave’s pop-up, who let me chill with them during Julien Baker’s rainy and emotional set. And even when I was standing in the bleachers alone in my poncho not knowing the words to some of the songs, I was surrounded by the energy of the fans which made me feel a part of it all.

Photography: Kade Alpers

According to New York trio Sunflower Bean, their latest EP SHAKE is the band in their “most natural” state. “Just the three of us writing, recording, engineering and producing,” they tell PAPER. “No other additives.”

That approach to making music is also reflected in the album’s accompanying visuals, which were inspired by natural elements. “The purest, strongest, rawest base for everything. Earth, wind, fire, water, and metal,” the band says. Last Friday, they released five music videos, one for each song on the EP.

“Making these videos was incredibly fun and rewarding because of the energy and passion of the crew involved,” Sunflower Bean says of their shoot, which took place in upstate New York over three days. “You have to find the right people with the right spirit who are down to get dirty… literally. Our director was there with us in the mud and in the water. It wasn’t a comfortable shoot for us, but nothing worth doing is ever easy. By the end of the shoot, we were stripped almost naked and sprayed with a garden hose. We all felt we were getting something really amazing on camera. Movie magic was in the air!”

Check out exclusive shots from the magical, dirty shoot below.

This was when we were getting additional shots in the woods for SHAKE. Besides the actual mud pit stuff, this was the only other set-up for that video. We were falling all over each other as we ran out of the woods. We kept tripping because it was so dark. I think after the 15th or so fall, we were ready to call it.

We love a pit — a mosh pit or a mud pit. I think here, we were really experiencing all the glory of the mud pit and the fact that it was made out of 200 lbs of clay. I quickly learned how resilient this bass was!

Huddled together taking in some sunshine between takes. For this video we were blasted with a leaf blower for a few hours. The breaks between shots were much appreciated.

This dress was actually given to me by Courtney Love many years ago. She gave me some pieces that were close to falling apart in the hopes that I would wear them live. But I loved them too much and save them for very special moments like this, and I thought the dress perfectly represented the EP and who I am inside it.

We tried to use every part of this location. When you’re making five videos in three days, there’s no time to travel. I wish this weird little shed made it into one of the shots!

Olive giving what needs to be gave, as usual.

After shooting “Serial Killer,” I was a bit worried about contracting a brain-eating amoeba from being in a strange pond. But not so worried that I couldn’t take some pictures afterwards.

As far as I know, I am amoeba free!

Andrew D’Angelo did the makeup for these videos and this red lip was one of my favorites. I don’t usually wear red lipstick because it gets all over the mic when I sing, so I loved having a red lip moment for the video.

We’re really lucky to work with Fender! They sent us some guitars to destroy for the video, but this gradient Precision bass is my tried-and-true that I play on stage. It’s way too precious to ruin. She has her big moment in the “Angelica” video.

Styling: Amber Simiriglia
Photography: Crista Simiriglia

The Weeknd’s One-Night-Only show in Sao Pãolo was a spectacle, one that could have only been achieved by imaginative, creative minds that were able to reflect the chart-topping rapper’s vision. Enter DJ and producer Anyma, who took on the role of Visual Creative Director for the affair, along with Co-Creative Director Alexander Wessely and Art Director Alessio De Vecchi.

Anyma (aka Matteo Millieri) is known for the stellar shows he puts on as half of DJ duo Tale of Us, merging technology, art and music to give fans an immersive experience. He brought that same spark of creativity to The Weeknd’s (Abel Makkonen Tesfaye) innovative night. “The core aspects of all Anyma shows are the visual themes of humanity, philosophy, and the future,” he tells PAPER. “There are similar themes Abel and (his creative director, La Mar C. Taylor) are inspired by and exactly why our collaboration together felt so natural. [We both utilize] references of classical surrealism and a dystopian future.”

“We wanted to craft visuals that evoke the emotional depth of Abel’s music while transporting the audience into a surreal, immersive environment,” Wessely told us. “A key theme we explored was the idea of ritual — capturing the spiritual and transformative elements of his sound and performance.” Wessely adds that his collaboration with Anyma was an “enriching experience.” “We both brought our unique perspectives to the table. Together, we pushed the boundaries of what digital and human elements could achieve, creating a dreamlike, ritualistic atmosphere where the visuals felt like part of a deeper, emotional journey for the audience. It was about blending the digital with the sacred, a merging of worlds where the virtual experience becomes something profoundly resonant.”

De Vecchi tells us that producing visuals for the show was an “opportunity to integrate the cinematic, otherworldly vibes of the Anyma project with his distinct, moody aesthetic.” “We drew inspiration from his haunting, atmospheric sound to create visuals that feel immersive and ethereal while still holding true to the futuristic, digital nuances I love to explore in my work,” De Vecchi adds. “The goal was to transport the audience to a place that feels like a visual, somewhat surreal sonic dreamscape. The visuals aimed to reflect the merging of worlds, where the digital mirrors the human experience, and the virtual becomes a space for deep emotional resonance.”

Anyma is also gearing up for his residency at Sphere in Las Vegas. Today, it was announced that two more dates will be added to his sold-out run, January 10 and 11 of 2025.

Below, Amaya talks to PAPER about how The Weeknd’s One-Night-Only show went from idea to reality.

How did you initially get involved with The Weeknd for his One-Night-Only show in São Paolo?

The conversation developed naturally between myself, La Mar and Abel. We’d been put in touch by mutual friends and the more we spoke, the clearer it became how similar our perspectives were on where the future of live performances is headed.

How did you collaborate with The Weeknd and his team to pull off this feat?

For me, it’s essential to push the boundaries of what an audiovisual experience can be. Our teams focused on elevating the surroundings and perspectives around Abel, an entire visual world you’re immersed in and transported to. This is something I’m conscious of in all my own shows. What are we saying, and how can we pair what you hear with what you see?

What aspects of your personal show were replicated or inspired the One-Night-Only performance?

The core aspects of all Anyma shows are the visual themes of humanity, philosophy and the future. There are similar themes Abel and La Mar are inspired by, and that is exactly why our collaboration together felt so natural. References of classical surrealism and a dystopian future.

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The Sao Paolo show felt like a surprise — how did you / the team keep it under wraps?
We’d specifically wanted to keep it under wraps so that people in São Paulo would have their own expectations surpassed. I believe we achieved that.

What was it like to witness what you created and have fans experience it?
I’m just thankful that Abel, La Mar and Abel’s fans were so happy with the result and that collectively we were able to push the boundaries as much as we did.

What are you most excited to share next? What projects can you share with us?
My entire focus is now on my upcoming Anyma residency at the Sphere Las Vegas at the end of this year. It’s simultaneously the most challenging and rewarding show I’ll have ever done. I have some very exciting collaborations with some incredible artists and friends in store, both musically and visually. I’m determined to push the limits of what’s possible in the Sphere.

When it comes to creating such an immersive experience on a large scale, what’s the overall energy and idea you are looking to translate to the audience?We ask foundational questions. What does a true audio/visual moment represent? How can we connect the emotion and feeling from a song into a visual narrative? How can we ensure that we cannot disassociate the two? That energy and deeper connection between the two mediums is the key. With the right platform and collective vision, I believe we’re able to answer those foundational questions through these mediums of art. An audience should leave a show feeling that for a time, they had entered into another world, a dreamscape.

Photography: Sam Neill