Music & Concerts

Old favorites, new hopefuls highlight spring’s indie scene

Electropop group Goldfrapp follows up their last critically acclaimed release, “Seventh Tree,” with

Published

15 years ago

March 18, 2010

Electropop group Goldfrapp follows up their last critically acclaimed release, “Seventh Tree,” with their fifth studio album, “Head First” on March 23. Alison Goldfrapp and Will Gregory have modified their sound over their career from electronic balladry to electropop dancebeats. This release wouldn’t be out of place in the ’80s with its retro sound and visual images evoking Xanadu-era Olivia Newton John.

Five-piece Norwegian band Serena-Maneesh are back March 23 with a new release, “S-M: Abyss in B Minor.” The band has been compared to My Bloody Valentine with their use of guitar distortion effects that create their noise pop sound.

Glam rock-disco favorites Scissor Sisters return with their first album in four years, “Hurrah! A Year of Ta-Dah.” Singer Jake Shears said in promotional materials that this release will sound more “masculine.” He also said he will be singing with a “deeper” voice as he would not be relying as much on the falsetto heard in previous albums. The album is due out later this month.

Erykah Badu follows up 2008’s “New Amerykah Part One (4th World War)” with “New Amerykah Part Two (Return of the Ankh)” on March 30. Expect Badu to tap into her feelings about romance and relationships. First single and video “Jump In The Air (Stay There)” features Lil’ Wayne.

Last year, gay Sigur Ros frontman Jónsi released with his partner Alex Somers, “Riceboy Sleeps.” On April 6, he will release a solo effort, “Go.” It features acoustic and string arrangements by Nico Muhly who has previously worked with Björk and Anthony and the Johnsons.

For those seeking something with a bit more R&B/soul feel, Sharon Jones and the Dap Kings release their fourth studio album, “I Learned the Hard Way,” on April 6. Throughout their previous releases, they have continued their sound fronted by Sharon Jones, who has a vocal range that is reminiscent of early Tina Turner and Aretha Franklin.

MGMT return with their follow up to 2007’s critically acclaimed “Oracular Spectacular” with “Congratulations” on March 16. The new release will be a complete piece rather than containing individual singles as on their first album. First released track “Flash Delerium” has them sounding less poppy than before.

Electronic group Javelin recreate the digital sounds of the ’80s on their new album, “No Mas.” Expect the unexpected as they deliver their new release on April 20.

Gay indie singer-songwriter Rufus Wainwright returns on April 20 with his sixth studio album, “All Days Are Nights: Songs For Lulu.” This release is mostly produced by Wainwright himself. Of the 12 songs, three include adaptations of William Shakespeare’s sonnets.

Singer and songwriter Kate Nash debuts her next album “My Best Friend is You,” on April 20. Bernard Butler, ex-guitarist of Suede produced her album. First track and video, “Do Wah Doo,” sees Nash delivering “girl band” pop.

After a four-year hiatus, Sweden’s The Radio Dept. releases their third album, “Clinging to a Scheme,” on April 20. File this one under ethereal dream pop for those lazy Sunday afternoons.

New York-based electronic duo, The Golden Filter, release their debut album Voluspa on April 26. First track, “Hide Me,” sounds like a cross between Goldfrapp and Dot Allison.

The New Pornographers head back into the indie scene with their fifth release, “Together,” on May 4. The album features appearances by Zach Condon of Beirut and Annie Clark of St. Vincent.

Swedish duo Club 8 will release their seventh album, “The People’s Record,” on May 12. First track “Western Hospitality” shows influences from Bow Wow Wow of the ’80s.

On May 18, ex-Everything But the Girl’s Tracey Thorn, comes out with a follow up to 2007’s “Out of the Woods,” which saw her once again drifting into the electro-pop arena. If first single, “Oh, the Divorces!” is an indicator of what’s to come, this could be a less dance-driven affair given its violins and piano accompaniment.

San Francisco band Ariel Pink’s Haunted Graffiti will be releasing their new album, “Before Today” in late spring. They have already released their first single off the album, “Round and Round,” which has them sounding more produced while retaining a unique and eclectic sound.

Local musician Tom Goss recently released an ep called “Politics of Love,” which is available on his web site, tomgossmusic.com/PoliticsOfLove. The ep explores his emotions about recent events surrounding marriage equality. Goss will be playing songs from the CD at the DC Center on April 1 at 8 p.m.

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Music & Concerts

Cyndi Lauper ready to have fun in Virginia

Superstar to bring final leg of farewell tour to Jiffy Lube Live

Published

2 days ago

July 18, 2025

Tinashe Chingarande

Pop icon Cyndi Lauper brings her farewell tour to Jiffy Lube Live on July 24. (Washington Blade file photo by Michael Key)

Superstar Cyndi Lauper will bring the final leg of her farewell tour “Girls Just Wanna Have Fun” to Bristow, Va., on Thursday, July 24 at Jiffy Lube Live.

Lauper’s international Farewell Tour – her first major headlining run in a decade – kicked off in North America last October, and included her first time ever headlining (and selling out) Madison Square Garden. Lauper’s performances have earned raves from the New York Times, Rolling Stone, Billboard, and many more, and surprise guests have included Chaka Khan, Sam Smith, and Hayley Williams. The tour just visited the U.K. and Europe, and will head to Australia and Japan in April.

Tickets are available on Live Nation’s website.

Music & Concerts

Red, White, and Beyoncé: Queen Bey takes Cowboy Carter to D.C. for the Fourth of July

The legendary music icon performed on July 4 and 7 to a nearly sold-out Northwest Stadium.

Published

2 weeks ago

July 9, 2025

Joe Reberkenny

Beyoncé performs on July 7. (Washington Blade photo by Joe Reberkenny)

Just in time for Independence Day, Beyoncé lit up Landover’s Commanders Field (formerly FedEx Field) with fireworks and fiery patriotism, bringing her deeply moving and genre-defying “Cowboy Carter” tour to the Washington, D.C. area.

The tour, which takes the global icon across nine cities in support of her chart-topping and Grammy-winning country album “Cowboy Carter,” landed in Prince George’s County, Maryland, over the Fourth of July weekend. From the moment Beyoncé stepped on stage, it was clear this was more than just a concert — it was a reclamation.

Drawing from classic Americana, sharp political commentary, and a reimagined vision of country music, the show served as a powerful reminder of how Black Americans — especially Black women — have long been overlooked in spaces they helped create. “Cowboy Carter” released in March 2024, is the second act in Beyoncé’s genre-traversing trilogy. With it, she became the first Black woman to win a Grammy for Best Country Album and also took home the coveted Album of the Year.

The record examines the Black American experience through the lens of country music, grappling with the tension between the mythology of the American Dream and the lived realities of those historically excluded from it. That theme comes alive in the show’s opening number, “American Requiem,” where Beyoncé sings:

“Said I wouldn’t saddle up, but
If that ain’t country, tell me, what is?
Plant my bare feet on solid ground for years
They don’t, don’t know how hard I had to fight for this
When I sing my song…”

Throughout the performance, Beyoncé incorporated arresting visuals: Black cowboys on horseback, vintage American iconography, and Fox News clips criticizing her genre shift — all woven together with voiceovers from country legends like Dolly Parton and Willie Nelson. The result was a multimedia masterclass in storytelling and subversion.

The “Cowboy Carter” tour has been a social media sensation for weeks, with fans scrambling for tickets, curating elaborate “cowboy couture” outfits, and tailgating under the summer sun. At Commanders Field, thousands waited in long lines for exclusive merch and even longer ones to enter the stadium — a pilgrimage that, for many, felt more like attending church than a concert.

One group out in full force for the concert was Black queer men — some rocking “denim on denim on denim on denim,” while others opted for more polished Cowboy Couture looks. The celebration of Black identity within Americana was ever-present, making the concert feel like the world’s biggest gay country-western club.

A standout moment of the night was the appearance of Beyoncé’s 13-year-old daughter, Blue Ivy Carter. Commanding the stage with poise and power, she matched the intensity and choreography of her mother and the professional dancers — a remarkable feat for someone her age and a clear sign that the Carter legacy continues to shine.

It’s been nearly two decades since Beyoncé and Destiny’s Child parted ways, and since then, she’s more than lived up to her title as the voice of a generation. With “Cowboy Carter,” she’s not just making music — she’s rewriting history and reclaiming the space Black artists have always deserved in the country canon.

Music & Concerts

Berkshire Choral to commemorate Matthew Shepard’s life

Concert held at Washington National Cathedral

Published

3 weeks ago

June 27, 2025

Tinashe Chingarande

Craig Hella Johnson’s fusion oratorio ‘Considering Matthew Shepard’ will be performed at the Washington National Cathedral. (Washington Blade file photo by Michael Key)

Berkshire Choral International will present a concert performance of composer Craig Hella Johnson’s fusion oratorio “Considering Matthew Shepard” on Friday, July 11, 2025 at 7:30 p.m. at the Washington National Cathedral.

The program will be guest conducted by Dr. Jeffrey Benson, a native of the DMV who currently serves as Director of Choral Activities at San José State University. The concert is a partial benefit for the Matthew Shepard Foundation. Notably, Matthew’s remains are interred at the National Cathedral and his parents, Dennis and Judy, will give opening remarks at the performance.

Tickets are $20 – $65, and 50% of ticket proceeds will be donated to the Matthew Shepard Foundation. Tickets are only available online at berkshirechoral.org.