Many same sex attracted people not only position themselves outside heteronormative culture but have, in recent times, become anathema to the mainstreaming of lesbian and gay culture. With an emphasis on lesbian and queer female identities and popular music practices, this paper seeks to expand upon and illuminate some of the 'trends‘ as well as the resultant oppositional responses of lesbian/queer music-makers: the purpose of which is to highlight the multiple strategies, politics and fractures in the history of lesbian/queer music-making. In order to do this, this paper will review some of the mass cultural stereotypes of lesbian and gay identities, explore the emergence of pop music 'celesbianism‘, and discuss the development of womyn‘s music traditions and riot grrrl‘s subsequent disassociation from them. Finally, it will draw upon a case study of Australian queer/feminist band, Bertha Control, to demonstrate how some women construct a queer relationality to established lesbian music cultures.