Venus de Mars has always moved at the intersection of art, courage, and raw creative fire. A legendary transgender artist from Minnesota, she has carved out her own place in the worlds of music, poetry, painting, and performance, all while leading the punk glam band All the Pretty Horses with unmistakable vision. Her journey has taken her from the underground music scenes of the Midwest to iconic stages in New York and beyond, and her story is intertwined with both artistic rebellion and the deeply personal challenges of living authentically long before society understood the language for it. Her voice has shaped not only her own music but also the broader cultural landscape around gender, identity, and artistic freedom.
Her work has never fit neatly into a single category and that is exactly what makes her so compelling. Whether she is reinventing her sound through intimate acoustic performances, fronting a full electric band on tour, or creating visual art that carries the same bold energy as her music, Venus brings a sense of authenticity that resonates deeply with her audiences. Her career has weathered closed doors, shifting cultural attitudes, and even a surreal battle over her legitimacy as a professional artist, yet she has continued to thrive through determination, community support, and an unwavering belief in her voice. Speaking with her today feels like meeting an artist who has lived several creative lifetimes and still has new stories to tell.
Monika: Today it is my pleasure and honour to sit down with Venus de Mars, the iconic transgender artist from Minnesota whose work spans poetry, music, painting, and the electrifying world of punk glam. As the force behind All the Pretty Horses, she has shaped a unique artistic universe all her own. Hello Venus!
Venus: Hey Monika!
Monika: How did your interest in music begin, and what first drew you toward making it a central part of your life?
Venus: Ha! OK, well, I guess it started as a desire way back when I was a kid. You know, the glamour, seeing the portrayals and lifestyles in the media back then. That kind of attracted me to it all, but I was way too shy to sing. I did not think I could, really, so I just concentrated on playing the guitar. I started on acoustic when I was around ten years old and did basic lessons, but I branched out on my own and tried to learn classical and flamenco. All that stuff was interesting, but rock still called to me.
|
| St. Paul Amsterdam Bar. Photo by George Roedler. |
Monika: What pushed you toward performing and forming your first band?
Venus: Eventually, after I graduated from high school and tried a bit of college, then dropped out, I fell back into that old dream and formed a punk band with friends. I tried singing a little for the first time. I think the Punk era opened up possibilities. Back in the seventies everything was so crafted by the record labels that it seemed impossible to imagine how to break into the business, and frankly, I did not like most of the music, aside from Bowie's Ziggy era. I loved that early glam sound, but it was not what you usually heard on the radio. Mostly it was top forty stuff, and I hated all that.
Monika: When did you finally feel that music could become your profession?
Venus: When Punk broke into the scene, the whole DIY attitude changed everything. You know, the idea of saying, “Forget the record labels, let's put out our own records.” That was exactly what I needed. Once that happened, I actually felt like it was possible to make music a career, even though I still did not know how to do it. But that was the turning point, deciding to try to make it my profession.
Monika: Who were the musicians and performers that first shaped your sense of music and creativity?
Venus: Well, yes, from the early days it was just what I mentioned in the last question. David Bowie's Ziggy era music was a huge inspiration. Then when Punk took over, I fell in love with everything, really, but I specifically gravitated toward women in Punk. Patti Smith was pretty important. Debbie Harry too, but not as much since I was hearing her commercial stuff.
Monika: How did your environment and musical discoveries influence the sound you developed later on?
Venus: Growing up in the Midwest, I had to rely on underground access for music, word of mouth, record stores, friends, college radio and so on. They had the cool, edgy stuff, and I began to collect it all. Eventually my inspiration and style became a combination of New York Punk and early seventies Glam mostly, but I try to draw from wherever I can. If I hear something I really like, I analyze it, think about it, and try some of it in a new song or whatever. Inspiration is always growing and expanding, at least for me.
|
| Heroes (YouTube) |
Monika: How did the band All the Pretty Horses come into existence, and what led you to focus on forming it?
Venus: I had a few bands by then, through the eighties, but none of them got very far. I tried going solo with an early album, "Animal Angst," released under my birth name, Steven Grandell, but that just kind of slipped away from me. So I eventually fell into the art world, explored my work in visual fields, and joined a punky new underground art gallery called "Rifle Sport Alternative Art Gallery." I became one of their core artists, which opened up a number of opportunities in art and eventually brought me back onstage with performance art. During this time, one of my old bandmates kept after me about coming back to music, and after a few years I finally said yes.
Monika: Who were the original members, and how did the early formation of the band develop?
Venus: My first All the Pretty Horses drummer was Bill. He and I tried to re-form one of our old bands without success, and we eventually decided to build something new from scratch. We formed a three-piece, and that became All the Pretty Horses. This also happened just as I was finally untangling my transgender identity, and I shared that with the band in the mid-nineties. They were initially surprised, but eventually they accepted it, thinking it might even bring some extra attention. For me, I was just happy to finally be myself and do what I loved.
Monika: How did the band evolve over the years, and what is its current form?
Monika: How did the band evolve over the years, and what is its current form?
Venus: The band went through a lot of phases over the years. I took over leadership when the first album was released and after Bill dropped out. I brought in a new drummer and essentially became the leader in every way. As old members left, I kept bringing in new ones and have sustained the concept now for twenty years. Now, it has become more of a backup band for me, and I have incorporated my name into the official title, "Venus de Mars & All the Pretty Horses."
Monika: Are you currently working on any new musical projects, and what can fans expect from them?
Venus: I've actually just finished tracking for a new album. It's an acoustic album of all things, but I'm super excited about it. I've been exploring different styles of musical performance, and acoustic solo is one of them. I take the songs from my rock and roll work and re-deliver them stripped down to just my vocals, lyrics, and a simple acoustic guitar support melody.
|
| First Ave Main Room. Photo by Charles Robinson. |
Monika: What draws you to performing in an acoustic style, and how does it differ from your usual performances?
Venus: The intimacy of that style of performance is pretty incredible, and I've been wanting to capture it somehow. So this year I decided I would do it. I brought in my producer Barb Morrison, who has worked with me on three past albums, and asked her to help me figure out how to capture what happens when I perform in this style. I believe she's done an incredible job. I'm expecting the album to come out sometime near next year.
Monika: Have you been touring recently, and what was that experience like?
Venus: Beyond that, I just got off a month-long tour with Laura Jane Grace and Against Me. I brought along my full electric band, of course, and we rocked out. It was brilliant, but the schedule was pretty grueling, with eight-hour drives between gigs, performing every night, and very little sleep. I didn't rest much, but I had a chance to get my work out to a whole bunch of new and old fans.
Monika: How can people see your live performances in the future, and how do you share updates about your shows?
Venus: I hope Laura invites me onto another tour at some point. That is one way to see me live. Other than that, I put together smaller tours on my own, and I try to get around as much of the country as I can. The best way to know what I'm up to is to follow me on Twitter.
Monika: How did your transition begin, and what was the world like for transgender people when you first started your journey?
Venus: Such a good question! Well, I transitioned, or began my journey untangling everything trans-wise, a bit over twenty years ago, in the early to mid-nineties. As you can imagine, it was a very different world back then for trans people. Frankly, I was scared to death, but as any trans person knows, you really don't have a choice once you come out.
Monika: What was it like coming out to yourself and your loved ones?
Venus: Finally admitting to oneself who you are is so important. I had become very suicidal and had already been married for about five years, and that was falling apart because of my depression. So when I finally came out to my wife and myself, I was both relieved and kind of stunned. My wife and I are still together and doing well. We really beat the odds and survived everything, and I am very proud of her and our relationship.
|
| "Venus of Mars" (YouTube) |
Monika: How did your perception of the world change after coming out?
Venus: My perception of the world definitely changed. I had to face the oppression I had only observed up to that point. I became the target, and it was hard. The depression I had from being too afraid to come out transformed into a depression over having to deal with the oppression and hatred. I worked hard at staying steady and strong in my new trans identity, but I would get knocked down daily with some sort of confrontation. It was exhausting, and I never knew where it was going to come from next. Every day I had to metaphorically put on my emotional armor and head out into the world.
Monika: In what ways did your transition influence your music and songwriting?
Monika: In what ways did your transition influence your music and songwriting?
Venus: Musically, it changed everything. It gave me a voice and something I could write about. My lyrics became much more focused on my own experiences, and my songwriting became something much more personal. I could tackle subjects I understood firsthand. Though it was hard, I wouldn't change a thing. Coming out as trans closed many doors in the traditional music business, but it also resulted in a very fierce and loyal fan base that sustained me when things got really hard.
Monika: How did you navigate the music industry as an independent artist after coming out?
Venus: I broke all the rules. I couldn't get anywhere officially because the music business wouldn't touch me, so I had to go it alone. I became my own record label, booked everything, and brought the band out to New York, becoming part of the punk scene, which I am so thankful for. Performing at CBGB's, the Meow Mix, and all the cool punk-goth clubs in the '90s were experiences I deeply value. I toured the U.K. twice, New Zealand twice, and had a documentary done on me called "Venus of Mars," which brought me and the band even further into the world. None of this would have happened if I hadn't taken that fearful risk of coming out back then.
Monika: Looking back, how do you feel about your journey and the current state of the world for transgender artists?
Venus: Even though I had to build my own path musically because of all the closed doors, I wouldn't change anything if I had the chance to do it all over. Now, after surviving those hard early days and seeing the world change, with trans voices finally being heard, it is truly incredible. I am so happy to be alive and still working at this powerful and pivotal time.
|
| At a performance in their warehouse space studio. Photo by Neza S.G. in Minneapolis. |
Monika: In recent years, we have seen a growing number of transgender female artists gaining recognition in contemporary music, including Mina Caputo of Life of Agony, Laura Jane Grace of Against Me!, Marissa Martinez of Cretin, Amber Taylor of The Sexual Side Effects, Namoli Brennet, Sissy Début, and Jennifer Leitham. Do you think this signals the emergence of a new trend or movement within the music industry?
Venus: Oh yes, I know we are. I've also had the good fortune of both knowing and sharing the stage with two of those you've listed, Namoli Brennet and Laura Jane Grace. They are both incredible artists. I know they would not have had the support they have now if we weren't experiencing this new embrace of the trans experience. They are truly trans warriors, as well as all the others you mentioned. I am so proud of our trans community.
Monika: In 2013, you and your wife faced a challenging tax audit by the State of Minnesota, which questioned whether your artistic careers qualified you as professional artists. Can you tell us how this situation began and what made it so difficult?
Venus: Yeah, it was crazy. It boiled down to profitability driving their attack on us. We did have to hire a lawyer, which was paid for through very generous donations from supporters all over. There was no way I could have afforded that on my own without going into debt on a credit card, and I was already swamped with band business debt from the many years of having to be my own record label.
Monika: How long did the process take, and did you have to appeal the initial decision?
Venus: Anyway, it took a bit over a year and a half, and we also had to go into the appeals process because the state initially made the final determination against me.
END OF PART 1
All the photos: courtesy of Venus de Mars.
© 2014 - Monika Kowalska
