When Josh Freda began vocal training in 2018—in the bathroom, no less—he had no idea it would lead to a full EP recorded in Nashville with some of country music’s top talent. But five years later, Turn Him Loose isn’t just a debut; it’s a declaration. Freda’s unapologetic presence as an openly gay artist in the country/rock scene is matched by a fearless approach to songwriting, performance, and self-expression. In this candid conversation with Urbanista Magazine, he opens up about the personal and professional transformations behind the music, the power of asking for what you want, and why a song called Does My Ass Look Good in These Pants? might just be the queer country anthem we didn’t know we needed.
- You started vocal training in 2018 and now have a full EP. What were the biggest lessons in that transformation?
- Working with Nashville talent like Brian Maher and Jenee Fleenor is huge. What did collaborating with that team teach you?
Working with Brian and Jenee was incredible. So was working with Lonnie Wilson, Gary Lunn, Jerry McPherson, Jerry Kimbrough, Holly Lamar, Moe Loughran, Tom Worth, and Matt Wilder. Everyone involved with Turn Him Loose was top of their game. I learned so much about songwriting and the process of making a record by working with these folks. Tom and Brian taught me about commercial songwriting structure, while Matt reinforced the need for strong hooks and earworm qualities. Matt and Moe taught me how to sing for recording, which is different than singing live. They also brought out the best of my voice for this record. I used to have a bad habit of leaning into my grit when I sang. For a long time I thought it made my voice more powerful. Truth be told, that much distortion isn’t pleasing to the ear. Not in country music anyways. They taught me how to use my natural tone, which includes rasp, and build out vocals that hit people in the heart. I also learned that I’m just as worthy to the in the room. These folks are pros. No doubt. But they don’t sing like me or write like me or have my perspective. The voice and the vision are mine. That realization made me feel like I belonged in the studio.
- You’re the first openly gay artist to record at Lonnie Wilson’s studio. Did that moment feel as groundbreaking as it sounds?
You know, it didn’t haha. And that’s the point. Before we tracked, my producer (Matt Wilder) told me that there might be some reticence to lean fully into “the gay thing.” Not that there was any prejudice, but old habits die hard. This is still country music after all. But when I got to the studio and met the guys, I felt nothing but excitement for and receptivity to my material. And damn did they deliver! When Matt told me I was the first openly gay artist to record at Lonnie’s studio, I thought, “That’s really cool, and hopefully me being here means I won’t be the last.” Ultimately, I want country to celebrate stories from all walks of life. As for the material, Matt told me the guys couldn’t get Does My Ass Look Good in These Pants? out of their heads the next day. Score one for Team Rainbow 🙂
- How do you approach songwriting—does it usually start with a lyric, a melody, or a mood?
I need a concept and a melody to write songs. Otherwise it’s just poetry. Generally, I think of a hook or a turn of phrase to start, and then I map that lyric onto a melody and see what develops. Over time I build out verses and choruses and see if it make sense to include a pre-chorus, tag, or bridge. I’m not wed to traditional song structures. I think songs should evolve in a way that’s true to the story being told. But I also keep mainstream rules of thumb in mind. I want to draw my listeners in, hold their attention, and make them feel something, so it’s important to optimize hooks, structure, and song length. Once I have a draft, I edit. I see if there’s a way to build layered meaning into the songs — which is something I love doing with my writing. But only if it feels right. I don’t force anything. It has to be what’s right for the song. The editing process might take several rounds. Then I need to figure out the key and chord progressions. If I’m working with another songwriter, we’ll probably figure those things out in tandem with writing lyrics. If not, I’ll bring the song to a collaborator and we’ll figure out the key and chords together. My songs are constantly evolving. Rarely does the final look like the first draft.
- Were there any tracks that challenged you creatively or emotionally during the recording process?
My Dogs ended up being a very personal song because I lost Katie, one of my beagles, after we recorded the raw version of the song. In post, my producer extracted audio from a video of Katie howling and mixed it into the track. That element took the song to a whole other level for me. To this day, I can’t look at pics or vids of Katie without crying. My dogs are my family. They’re my kids. I take care of them with my own two hands, so that connection is deep. Losing Katie is the hardest thing I’ve gone through. But now my baby is immortal.
- From rehearsal to release, what was the most surreal moment in making Turn Him Loose?
People telling me IRL that they love Does My Ass Look Good in These Pants? or another song from the record. I’m an artist no matter what, but when the thing you’ve made hits home with other people, and they tell you as much, that feels so good. I want more of that… all the time… now! Haha.
- You’ve said you want to amplify things people don’t talk about. What’s one “taboo” you’re still dying to write a song about?
Ohh so many. Tbh I want to talk about sex more. Sex is always going to be taboo, and I think that comes from the relationship “we” as people are told to have with our bodies and other peoples’ bodies. I want to change that paradigm. Sex is awesome. Sex is beautiful. Sex can be personal or totally anonymous, and that’s cool! Good sex though is all about consent, open communication, and connection. When people are taught to fear sex, keep sex quiet, or simply be ashamed of sexual urges, they are robbed of the opportunity to develop healthy sexual behaviors. And then they never have good sex! Or the battle to get to good takes a lot of unlearning. We need a better dialogue about sex, and that means gay sex too. I want to write songs that change our relationships to ourselves so we can improve our relationships with others; and sex is a key part of those dynamics. I’m also a firm believer that better sex and bigger poops will lead to world peace.
- How do you keep your voice and spirit sharp—especially when tackling emotionally charged material?
Vocal training, yoga, time with my dogs, cooking and baking, and strong working relationships with my collaborators. More than anything though, I have to feel it. If I don’t feel, I can’t fake it. I’m one of those people that can’t hide how they feel. I might not say it out loud, but the energy I emit will tell the whole story. I need to feel what’s going on in the material just enough to get a taste, but not so much that it overpowers me. It’s a delicate balance. Technically, it comes back to a lot of vocal training and everything I do to take care of my body, head, and spirit. When it’s showtime, I dial in and deliver.
- As a queer artist in the country/rock space, what changes do you want to see in the industry?
Instead of the tried and true, good ol’ boy anthems, I’d love to see industry scout, develop, record, and promote artists that have something else to say. Country music is the story of our lives, but oftentimes it only tells one story. Love, struggle, family, growing up, work life, loss, politics… We all have experiences with these things, but those experiences look different person to person. I want country music to reflect the richness of that diversity of experience. That’s how we make sense of the world. Stories that connect with people on an individual level, even though they speak to things that are bigger than any one person. I want industry to use its powers for good so we can make the world a place where freedom and love are the default.
- What’s next after Turn Him Loose? Any live shows, visuals, or new music on the horizon?
