This paper explores how LGBTQIA+ singers experience community and belonging in QUORUS, a new queer-centered choir in Newport, Rhode Island. Community choirs that gather around queer identity have long been celebrated as affirming spaces, but they simultaneously function as complex sites where intersecting identities can both strengthen and strain collective belonging (Hilliard, 2008; MacLachlan, 2020; de Coteau, 2018). Grounded in instrumental case study design (Stake, 1995), I visited QUORUS four times over a year collecting data through 13 hours of rehearsal and concert observations, 18 semi-structured one-on-one interviews, and 4 focus groups. My analysis was guided by Hill Collins’ (2019) framework of intersectionality as critical social theory, which highlights how race, gender, sexuality, and other social categories converge in shaping oppression.Four key themes emerged from singers’ reflections: intentional queer community, radical acceptance, safety for exploration, and visibility. Many participants described the choir as a rare space outside of bars and nightclubs where they could gather authentically and claim queer joy through singing (Hilder, 2022; Sutherland, 2015). Public performance was especially meaningful, framed as an act of both celebration and resistance, echoing the historical role of singing in social justice movements (Clayton et al., 2016; Serafini, 2018). Conversely, negative case analysis revealed that some singers—particularly those negotiating layered intersections of identity—experienced disconnection or exclusion, complicating assumptions of automatic solidarity in queer choral spaces (Hancock, 2011; Spry, 2021).This study argues that choirs like QUORUS hold tremendous potential to affirm and uplift LGBTQIA+ identities, but they also demand reflexive leadership and pedagogy to ensure that all members feel a sense of belonging (Garrett & Palkki, 2021; Boswell, 2022). For conductors, educators, and community organizers, the findings highlight the need to move beyond surface-level inclusion and instead cultivate practices that are intentionally intersectional and critically aware. By examining both the affirming and challenging aspects of community and belonging in QUORUS, this paper contributes to ongoing conversations in music education and queer studies. Specifically, how music-making can create spaces of joy, visibility, and liberation while also acknowledging the complexities of identity and belonging in contemporary queer communities (Brett et al., 2006; Fischer-Croneis, 2016).