Music & Concerts
Mercurial Aretha delights in steamy concert
Classical standards and soul masterpieces make effective bedfellows at Wolf Trap concert
When all is said and done, with Aretha Franklin, a lot more is said than is ever done. The woman talks a big game.
The typical bluster was on display during a fiery, steamy performance at Wolf Trap’s Filene Center in Vienna, Va. The biggest mystery is the continual non-existence of her unfathomably delayed “new” album “Aretha: A Woman Falling Out of Love,” originally slated for a 2006 release. It’s become this epoch’s “Chinese Democracy,” the decade-plus-in-the-making Guns ‘N Roses album which did finally see the light of day in 2008. Last fall Franklin announced a January QVC-exclusive release to be followed by Wal-Mart-only distribution. An April release date came and went after a listening party was held in Detroit. She’s been previewing alleged album cut “I Adore You” for so many years it feels more like a staple of her set list than a sneak preview. She said Thursday the album would be out in mere weeks.
But thankfully Franklin doesn’t always follow through with everything she says. She claimed she was retiring after her 2003 tour and, thankfully, that never happened. The unwieldily monikered “I’ll Be Seeing You With a Song in My Heart Tour” (eventually re-dubbed the “Aretha Sings her Musical History Tour” and later “The Queen is On”), was re-configured into a Dylan-like never-ending tour that has been running almost continuously for the last eight years. There’ve been highs and lows along the way — some shows, like her 2008 stop at DAR Constitution Hall in Washington, have had more empty seats than filled ones. But that now seems more like poor promotion than lack of interest as the house was packed at Wolf Trap.
And at other times Franklin’s shows have had a going-through-the-motions-like feel to them. Thankfully Thursday’s concert featured Franklin looking and sounding fabulous and in a playful, engaged mood. Yes, there were several of the usual quirks — what’s with that ever-present purse she carries on stage and does this woman ever give a concert without bitching out the sound and building staff? Wolf Trap’s outdoor setting eliminated her usual obsession with air conditioning but the sound guy didn’t get off so easily. She repeatedly asked for “a little more quality on the sound.” As if there was some giant “quality knob” on the mixing board he didn’t quite have turned all the way up for her.
Thankfully Franklin more than made up for the quirks with a nearly two-hour show (quite generous by her standards; I’ve seen her play barely an hour other times) that skipped and darted around several corners of her vast discography, often landing in expected places to the pleasure of casual fans, but keeping just as much spontaneity going to please the die-hards.
Carole King’s “Natural Woman,” a Franklin staple missing on her last D.C. stop, was a welcome addition to the evening as were other Atlantic-era staples like “Respect,” “Think” and “Chain of Fools.” Now that she records only intermittently and has barely scraped the charts since her Lauryn Hill collaboration in ’98 (“A Rose is Still a Rose,” which wasn’t performed), Franklin has filled in the dearth of recent hits with recreations of memorable live appearances, like her ’98 Grammy sub for Pavoratti (“Nessun Dorma”), and her 2009 performance at Obama’s inauguration. Thursday’s performance of the former was nearly as good as it was at the Grammys and thankfully oceans better than the lame rendition of it she turned in on her VH-1 Divas tribute show in 2001 when she turned her mic toward the audience instead of even trying the aria’s highest notes. And this week’s sticky mugginess was a welcome trade-off, vocally speaking at least, for Franklin’s inauguration appearance when she sang “My Country Tis of Thee.” Everybody remembers the crazy hat, but the performance that day was lackluster due to the cold. It sounded much better at Wolf Trap.
The evening’s best moments came during unexpected selections like a cover of “The Way We Were,” the encore “If You Believe” (from “The Wiz”) and yet another operatic selection, Handel’s “Ombra Mai Fu” from “Xerxes” during which Franklin announced another bombshell — a whole album of arias she says is coming “soon.” (I love the idea but with Franklin’s track record, I’m not holding my breath.) Purists scoff at Franklin’s soul-infused readings of the operatic standards and, of course, nobody expects her to sound like Renee Fleming, still Franklin, at age 68, deserves kudos for continuing to broaden her musical horizons and not just singing the same old songs she’s been doing for decades. And she seems not to take herself too seriously. After “Ombra,” she stood from the piano at which she’d been accompanying herself and curtsied with a deadpan expression. It was priceless.
Though it was the same gown and wig she’d worn just just two nights earlier for her appearance in Philadelphia with Condoleezza Rice, Franklin looked regal (and a tad slimmer) in a floor-length mother-of-pearl white rhinestone-encrusted gown with matching jacket/cape that came off after about three numbers. She made a great show of flipping back the long, layered jet-black wig.
The concert only lagged during non-Franklin moments such as a mid-set performance by a small troupe of hip-hop dancers who performed to a banal pre-recorded track (they also added choreography to “Respect” and “Chain”). The band’s instrumental jam was fun but a synth solo, while ably performed, was jarring for the big band style.
While Franklin is sometimes content to just let her show-closing vamp-out on “Freeway of Love” be her last number, she graciously added “My Country” and “If You Believe” to her set. It made for a deliciously full evening and one got the sense, even with the intense heat (which she commented on several times, joking that she was ready to don a bikini) that she, too, hated to see it end.
Things, as one would expect, aren’t as off-the-charts red hot as they were in her heyday. Though highly entertaining, it was a bit hard to hear numbers like “Dr. Feelgood” and “Old Landmark” Thursday and not compare them to the far-superior live versions she performed on her classic albums “Fillmore West” and “Amazing Grace” (respectively). Yet her vocals have a slightly richer, thicker timbre to them than they did even 15 or 18 years ago before she quit smoking. She lacks the breath control she had in her younger years so she doesn’t often hold the notes for very long, but she’s hitting more of them than she was even a few years ago and, approaching 70 and with all her musical siblings sadly gone, it’s great to hear Franklin in such fine form.
Aretha’s set list:
*Overture (instrumental medley of Aretha hits; band)
1. Respect
2. Natural Woman
3. Think
4. Make Them Hear You (from “Ragtime”)
5. Old Landmark
6. Ombra Mai Fu (from “Xerxes”)
7. Baby I Love You
* hip-hop dance interlude
* Band jam (big band style with solos)
8. I Adore You
9. I Say a Little Prayer
10. Chain of Fools
11. Dr. Feelgood
12. The Way We Were
13. Nessun Dorma (from “Turandot”)
14. Freeway of Love
15. My Country Tis of Thee
16. Natural Woman (reprise; mostly band)
17. If You Believe (from “The Wiz”; encore)
* If You Believe (instrumental reprise)
Music & Concerts
Queer mega stars (and allies) ready to take D.C. stages this fall
Watch LGBTQ icons light up stages across the DMV as they sing, dance, and drag their way through spectacular shows.
One of the best ways to welcome fall is by catching LGBTQ performers (and their allies) lighting up some of the D.C. area’s biggest stages. From country and pop to drag and rock, the season is packed with shows you won’t want to miss.
Maren Morris – The country, rock, and pop diva—known for hits like “The Bones” and for standing up against Nashville’s anti-LGBTQ voices—takes the stage at Wolf Trap (1551 Trap Rd, Vienna, Va.) on Friday, Sept. 12 at 8 p.m. Tickets start at $64.
RuPaul – The mother of modern drag and host of “RuPaul’s Drag Race” will spin a DJ set at Echostage (2135 Queens Chapel Rd NE) in Northeast D.C. on Sept. 20. Before RuPaul swaps wigs for headphones, Trade and Number 9 owner Ed Bailey will warm up the decks. For tickets and details visit echostage.com.
Conan Gray – The queer pop prince, celebrated for his Gen Z anthems like “Heather” and “Maniac,” brings his Wishbone Pajama Show to EagleBank Arena in Fairfax, VA, (4500 Patriot Cir) on Sept. 20 at 8 p.m. Tickets start at $113. For more info visit shop.conangray.com/pages/tour.
All Things Go Music Festival – With a lineup that includes Noah Kahan, Lucy Dacus, Kesha, Clairo, Doechii, and more, the beloved LGBTQ-friendly festival takes over Merriweather Post Pavilion (10475 Little Patuxent Pkwy, Columbia, Md.) Sept. 26–28. For tickets and details visit allthingsgofestival.com.
BERTHA: Grateful Drag – This unique tribute brings drag artistry and the sounds of the Grateful Dead to The Atlantis (2047 9th St NW) on Sept. 27. Tickets start at $47 at theatlantis.com.
Peach PRC – Rising Australian pop star and out lesbian, whose confessional tracks like “Perfect for You” and “Forever Drunk” have made her a queer TikTok darling, performs at The Atlantis on Sept. 29 at 6:30 p.m. The show is general admission only. Additional details are on theatlantis.com.
Addison Rae – The TikTok star-turned-pop princess, who’s crossed over into music with glossy hits like “Diet Pepsi” brings her sold out show to The Anthem (901 Wharf St., S.W.) on Sept. 30. Tickets are sold out, but resale options start around $80. For more info visit theanthemdc.com.
The Rocky Horror Picture Show 50th Anniversary – Celebrate the cult classic that’s been a queer midnight-movie staple for decades, with Barry Bostwick (a.k.a. Brad Majors) at the Warner Theatre (513 13th St., N.W.) on Oct. 2 at 8 p.m. Tickets start at $41 via Ticketmaster.
Chaka Khan, Patti LaBelle, Gladys Knight & Stephanie Mills – Four legends, one stage. Between Khan’s funk, LaBelle’s soul, Knight’s R&B, and Mills’ powerhouse vocals, this concert at Capital One Arena (601 F St NW) on Oct. 3 at 8 p.m. promises pure diva magic. Tickets start at $103. For more details visit capitalonearena.com.
Lorde – Joined by The Japanese House and Chanel Beads, the Grammy-winning New Zealand singer-songwriter behind “Royals” and “Solar Power” returns to The Anthem on Oct. 4 at 7 p.m. Lorde has long been embraced by queer fans for her dreamy pop and subversive lyrics. For more info visit theanthemdc.com.
Andy Bell (of Erasure) – The British queer rock icon, best known for synth-pop classics like “A Little Respect” and “Chains of Love,” brings his Ten Crowns Tour to the Lincoln Theatre (1215 U St., N.W.) on Friday, Oct. 17 at 8 p.m. Tickets are $90.45.
Doechii – The self-described queer “Swamp Princess”—and WorldPride 2025 headliner—continues her breakout year with the Live from the Swamp Tour at The Anthem on Oct. 21 at 8 p.m. Known for blending rap, R&B, and avant-garde performance art, Doechii is one to watch. Tickets start at $153.
Neon Trees – The out-and-proud Utah rockers behind “Everybody Talks” and “Animal” perform at the Lincoln Theatre on Friday, Oct. 24 at 8 p.m. Lead singer Tyler Glenn, who came out publicly in 2014, has become a strong queer voice in alternative rock. For tickets and info visit impconcerts.com.
Sasha Colby – The “RuPaul’s Drag Race” Season 15 winner strips down on the Stripped II Tour at the Warner Theatre on Nov. 2 at 8 p.m. Tickets available now on Ticketmaster.
Lola Young – The bisexual indie-pop sensation, whose raw songwriting has earned her millions of TikTok fans and multiple chart soaring hits visits The Anthem on Nov. 9 at 8 p.m. Tickets are still available.
Opera Lafayette
Featuring Mary Elizabeth Williams as Dido
+ Elijah McCormack, Chelsea Helm
Oct. 16, 7:30 p.m.
Sixth & I
PostClassical Ensemble
The Pale Blue Do: A Musical Voyage Inspired By Nature
Featuring National Geographic’s Enric Sala, Guest Curator
Wednesday, November 19, 7:30 p.m.
Terrace Theater
Washington Concert Opera
Starring Kate Lindsey, Theo Hoffman, John Moore, and Fran Daniel Laucerica
Nov. 23, 6 p.m.
Lisner Auditorium
Washington Master Chorale
An intimate a capella concert taking place in an architectural jewel, featuring cherished choral gems from Anglican and Catholic tradition and early American hymns. The concert will also present the world premiere of Christopher Hoh’s Holy, Holy, Holy is the Lord God of Hosts, and hymn singing featuring Robert Church, organist and choirmaster at St David’s.
Oct. 18, 7:30 p.m.
October 19, 5 p.m.
St. David’s Episcopal Church
Music & Concerts
Cyndi Lauper ready to have fun in Virginia
Superstar to bring final leg of farewell tour to Jiffy Lube Live
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.
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.
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