Music & Concerts

Hat full of blues

Cyndi Lauper’s swampy, moody new album belies her sunny frame of mind

Published

15 years ago

November 24, 2010

Cyndi Lauper (Photo by Ellen Von Unwerth)

Gays love La Lauper, ’tis no secret. And the feelings are mutual. In honor of her D.C. show Saturday at the 9:30 Club, she e-mailed her thoughts on the blues, her lesser-known albums, her inspirations and how it feels to be immortalized in Barbie doll form.

The new album is doing quite well — do you think this might become a regular genre for you (i.e. blues) where you may do several projects in this vein as Dolly Parton did with bluegrass when her “Grass is Blue” album sold solidly and spawned a trilogy?

I am not sure yet. Just living and enjoying this release right now. I am filming a live DVD in Memphis in a few weeks that will come out Spring 2011. Basically it’s the show we’ve been doing on the road since “Memphis Blues” has come out. It will include songs from “Memphis Blues,” my hits and a few new songs. We will see after that. Stay tuned.

You made some phenomenal albums like “Hat Full of Stars” and “Sisters of Avalon” that were largely overlooked. Hindsight is 20/20 (they say) — the material, songwriting and production were so good, why do you think they failed to catch on to the degree that your early albums did?

I honestly don’t know. I am very proud of those records and am often told by fans that “Sisters” or “Hat Full of Stars” is their favorite CD, so its nice to hear and I continue to perform songs from those CDs live so hopefully they can grow the old fashioned way on the road.

Did you overcut tracks for any or many of your ’80s and ’90s albums? Are there outtakes and alternate versions from the “Unusual” or “Colors” sessions just waiting for a box set someday?

No I didn’t. We didn’t do things like that back in ’80s and ’90s. Sony has put out so many, and in my opinion, too many greatest hits packages, something I have very little control over, and there are too much “greatest hits” packages, box sets, etc. out there already and I don’t think my fans need more of that. The only greatest hits I am proud of or had anything to do with was “12 Deadly Cyns.”

How would you summarize your philosophy of set list building? What makes an effective set list? Do you like doing covers or deep album cuts in concert to surprise the hardcore fans?

My set list is different with each show. As you can see, I love to mix some old into something new with each performance. You should hear how “Girl” sounds with this tour. I have to say it’s really good. Come to a show and you will know what I am talking about.

You’ve been such an outspoken proponent for gay rights in so many ways — was there any sense that you might come to be thought of largely for that? i.e. was the new album in any way a chance to do something unrelated to gay activism and perhaps stretch some different creative muscles?

No, I never thought that. I thought I have to do something to help my family and friends who deserve to be treated with dignity, respect and most importantly as equal citizens. Here in the United States where everyone is supposed to be free and have the same rights as the person next to you, it angers me that people are still singled out and told they are less than the rest of us. So, if by my speaking up and using whatever celebrity I have to tell it like it is has garnered me a reputation, then it means it is working and shows others when you speak up you can make a difference. I wanted to do an album that spoke to the nation’s mood right now, and blue definitely sums it up. From the economy to the wars to the fact that people are still not treated equally on many fronts. Blues music is a genre that the gay community, for those who haven’t already, should embrace because blues is about telling uplifting stories through overcoming the obstacles in one’s life. It is a message that everyone can connect to, but I think gay and transgender people can benefit from it even more given the times we still live in.

What did you think of the Cyndi Lauper Barbie doll that came out last year? Do you think it looked like you? Did you have to give permission for that?

I love it. They did a fab job, right? Yes as I had a lot of creative input. Hope you like it.

There were some years where it seemed like you went eons between records but now it feels like you’re back in a pretty regular groove of writing, recording and touring. There are probably a million reasons for that but any overarching factors that led to that?

Nothing really. I get bored very easily. Love new challenges. Maybe that’s why I am doing something different all the time.

You’ve made a lot of specialty records — a standards album, a Christmas album, an acoustic record and now a blues record. Is it artistically or commercially rewarding to go into a project with some theme in mind versus doing a straight-up studio project?

I just follow my spirit. I have no idea what’s next. Maybe a new studio CD, maybe a specialty record. Really the ideas for all of my albums have kind of come to me and then I focus and do the best I can each time out.

Is your relationship with your gay fans symbiotic? How so?

I have had a long standing love affair with the LGBT community. My relationship with the community has been one of the greatest things that has come out of my music. The community has been there for me throughout my career and I will be there for the community until the end. My commitment is undying and everlasting.

Related Topics:Cyndi Lauper Memphis Blues

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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.

Published

2 months ago

September 9, 2025

Joe Reberkenny

Doechii performing at WorldPride 2025's closing concert in June earlier this year. (Washington Blade photo by Michael Key)

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

Purcell’s Dido & Aeneas

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

Gluck’s Iphigénie en Tauride

Starring Kate Lindsey, Theo Hoffman, John Moore, and Fran Daniel Laucerica

Nov. 23, 6 p.m.

Lisner Auditorium

Washington Master Chorale

Sacred Jewel Box

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

Published

4 months 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

4 months 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.