"Queer Voices" sets out both to queer the musicological and to make queer audible, arguing that the voice, particularly the singing voice, opens up a richly queer space. Using case studies from different repertoires, the book demonstrates how queer emerges particularly audibly when the voice is heard to engage with various technologies: the external technologies of music performances and recordings, technologies of power, or the internal technologies of vocal production itself.

This book argues that there are some important implications of the role the voice plays in popular music when thinking about processes of identification. The central thesis is that the voice in popular music is potentially uncanny (Freud's unheimlich), and that this may invite or guard against identification by the listener.