For our latest Digital Cover Story, we sat down with electronic pioneer and multi-hyphenate Beverly Glenn-Copeland to talk about receiving messages from the Universe to make 'The Ones Ahead,' his first album in 19 years.
, was there a certain force that was guiding you towards assembling another album?” I asked Beverly Glenn-Copeland over Zoom in the early twinkle of summer. “I’m in the final act of my life here, so it was time,” he replied. I was taken aback by the answer—not because I couldn’t believe that someone flirting with the age of 80 would make such a stark assurance about their own finality, but because many in the music industry rarely do.
Many moons ago, when I was still dating my college girlfriend, she’d sometimes sit at the piano in her parents’ old house and gracefully press her fingers against the keys—trying to miraculously conjure the patterns she’d once memorized but had slowly forgotten. It felt miraculous to me then, to watch her just sit on the bench, arch her back and siphon small medleys out of seemingly thin air.
At that point in my life, I’d just begun—at least internally—identifying as gender fluid and embracing the ways in which my body had undergone a rebirth while on hormone therapy. As an intersex person, I have an intimate relationship with the argument that what I was born into is unnatural.
It helps that, while growing up in the Greenbelt Knoll suburb of Philadelphia, Glenn’s father was a brilliant pianist who introduced his young son to the works of Bach, Mozart and Chopin, while his mother was a spiritual singer and a gifted pianist . The story goes that Glenn, even as a baby, hummed along to the radio from his crib. You can hear those classic, otherworldly influences and folklore on, too.
Glenn’s career is one of great, patient measure. Across 53 years, he’s released only six records and has maintained a relatively low profile, away from the public eye. It’s not that he couldn’t have made more records, his availability just didn’t always align with when the world needed him to translate its wonders. “I make music to keep my piano and vocal chops together, to be ready for the call from the Universal Broadcasting System,” Glenn tells me.
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