Arts & Entertainment

Magical music nights

Great concert week in DC with the Mac, Mika and Cameron Carpenter

Published

13 years ago

April 15, 2013

Joey DiGuglielmo

Mika on stage in Washington Wednesday at the Sixth & I Synagogue. (Blade photo by Joey DiGuglielmo)

It was a great week for live music in Washington — Fleetwood Mac brought its “Tour 2013” to the Verizon Center Tuesday night, out pop singer Mika brought his acoustic show to the Sixth & I Synagogue Wednesday night and on Friday, queer organist Cameron Carpenter made his Washington-area debut at the Strathmore in Bethesda. The proceedings were stellar all around — I’ll dissect chronologically.

Many, many years of following various pop and rock acts has brought me to the realization that so many acts sort of “train” their audiences what to expect and the Mac is a perfect example. Its members — namesake rhythm section Mick Fleetwood and John McVie along with singer/songwriters Stevie Nicks and Lindsey Buckingham — talk in interviews as if they’re dutifully restricted from mixing things up too much because even with longtime songstress Christine McVie long gone (only one of her songs was performed — the chestnut “Don’t Stop”), they still have a truckload of ground they feel obligated to cover with songs like “Second Hand News,” “The Chain,” “Dreams,” “Rhiannon,” “Go Your Own Way” and the list goes on and on.

Thankfully the Mac — touring a second consecutive time now without a new album out — is throwing in a few surprises. Nicks has revived the long-dormant “Tusk” track “Sisters of the Moon” for the first time since the “Mirage Tour” in the early ’80s. There’s also one all-new track (“Sad Angel”) Buckingham says is slated for an imminent EP and the ancient-but-never-released song “Without You,” a ballad that featured perhaps the loveliest Buckingham/Nicks harmonies of the evening.

Except for some very anti-Mac-like remix-type looping touches brought into “World Turning,” the arrangements were tried and true. Nobody could argue the Mac doesn’t know how to give the masses what they want. Which can be a little disappointing for the die hards who go hear them every time they tour. Or even the more casual fans who tend to be more musically adventurous. Though many of the suggestions thrown about are utterly absurd — Thomas Conner’s naive op-ed in the Chicago Sun-Times last week is a great example — I could have gone for maybe 10 percent more adventure. A good starting point would have been “Soldier’s Angel,” the haunting duet Buckingham joined Nicks on for her brilliant 2011 album “In Your Dreams.”

With some acts — Madonna for one — you know you’re not going to hear every hit every tour. The Mac has never been like this, yet a few more unexpected moments would keep them a notch or two further away from the “cashing in/gravy train” bandwagon they’re clearly on. If you think for a second this is about the music and not the money, recall the arm twisting it took to get Nicks to agree to this. There was a well-publicized ballyhoo in 2012 when Fleetwood whined in a Playboy interview that he doubted the Mac would ever tour again when Nicks insisted on giving her solo album another year of touring. It was so wildly overstated that here they are on tour the very next year. (Nicks said later three years — and she’s right — feels like a good amount of time to go between Mac tours.)

Fleetwood Mac on stage at the Verizon Center Tuesday night. (Blade photo by Joey DiGuglielmo)

While the band has been more about money than music for eons, I will say a few quick things: one, the music at Tuesday night’s show was scary good. Nicks, though she doesn’t scream and growl as she used to, has developed into a very solid singer. There wasn’t one off-pitch sound that came from her mouth the whole night. And Buckingham’s guitar work was as great as it has ever been. If there’s one upside to the lack of Mac recordings in the last 10 years or so, it’s that Buckingham’s solo career has soared off in the other direction with a trio of masterfully conceived and executed solo albums (2006’s “Under the Skin,” 2008’s “Gift of Screws” and 2011’s “Seeds We Sow”).

Given the way the Internet has decimated album sales — especially new work from veteran acts — one can hardly argue with their “let’s just tour” approach. Still nobody seemed to notice the irony of the situation when Buckingham spoke about not wanting to run something that worked (“Rumours”) into the ground when it came time to make “Tusk.” Sadly now the band is doing almost exactly that — touring clearly works (I’ve never seen the Verizon Center so packed and on a weeknight no less) so why be bothered with doing a new album? While the night was great fun, the reality that the Mac seems highly uninterested in doing much beyond trudging out the staples — Nicks is the chief foot dragger — lent the proceedings a bittersweet air.

And why can’t we all just agree to let Christine McVie do what she wants? Legions of the Mac faithful seem to be holding out hope that she’ll one day rejoin them for one last outing. While yeah, that would be cool for “old time’s sake” (McVie said recently she would consider joining them on stage in London if they ask her later this year), they’ve already done that. Why do we need another “The Dance”-type outing (the name of a ’97 reunion tour with the classic lineup), especially if McVie’s heart is not in it? I would feel differently if they’d never done “The Dance,” but since they have, it’s time for everybody to move on.

Mika’s show the next night was an interesting study in contrasts — from a veteran band reliving its glory days to a young singer (he’s 29) only on his third album playing a small, atmosphere-heavy synagogue (it’s actually a great concert spot — much more music-friendly than the much-lauded 9:30 Club) with a throng of young fans at fever-pitch excitement throughout the evening. Touring behind his near-masterpiece album of last fall “Origin of Love,” the obscenely talented popster poured his passionately creamy falsetto-hued vocals and drivingly percussive piano playing through a nearly two-hour set that was the furthest thing from phoned in you could imagine.

Working with a tight two-man band — players who seemed to grab any instrument of the dozens on stage they could quickly get their hands on — Mika radically reinvented several songs from their studio versions (a ballad version of dance cut “Stardust” from the new album was perhaps the most radical), led several all-out audience sing-alongs (and the crowd knew every word) on “Grace Kelly,” “Love Today” and “Celebrate” among others, and even stepped away from the mic for nearly two full numbers just to savor the acoustics — which are stellar — of the venue. All were show-stopping in the best way.

Mika truly has it all — killer voice, great songwriter, solid musical chops and just-left-enough-of-center looks and charm to never be mistaken for a “Bachelor” contestant. He’s sort of our queer Justin Timberlake — with a much better current album out too, by the way.

Switching gears radically was Cameron Carpenter’s organ recital Friday night which, despite a few logistical head scratchers (more on that in a sec), was a musical accomplishment of Herculean, truly other-worldly proportions. Watching and hearing him play is much akin to the scene in the classic “Outer Limits” episode (“The Sixth Finger”) in which a scientist figures out a way to push evolution ahead a million years and suddenly the protagonist can play Bach he just picked up. Carpenter is almost in that league, having been something of a child prodigy who claims to have mastered “The Well-Tempered Clavier” in adolescence.

Cameron Carpenter at the Strathmore Friday night. (Blade photo by Joey DiGuglielmo)

The first oddity was why Carpenter — with all the amazing pipe organs in Washington — was at the organ-less Strathmore at all. Playing an electronic Rodgers three manual brought in just for the occasion, Carpenter got more sonic contrast out of the thing than probably anybody else could have, but from the massive instrument at the National Cathedral, the new pipe organ at the Kennedy Center (where he’s rumored to be playing next year sometime) or even the glorious five-manual behemoth at National City Christian Church in Thomas Circle (which could just about have housed the somewhat disappointing turnout — of the Strathmore’s three balconies, only the lowest one was about half-full; the upper two sat empty), it seemed just plain dumb to have him there. It could be a harbinger of things to come — Carpenter’s most insistent recurring theme is his endless frustration at having to adapt to a different organ for each town he plays. Let’s hope whatever touring instrument he ends up with — he says it’s almost finished — has a little more sonic heft than the Rodgers. Which sounded OK — I’m not trashing it altogether. One could clearly tell, though, that it was a sound coming from speakers, not pipes.

That said, what Carpenter did with it was beyond staggering. His musical instincts — as sharp and deadly as Wolverine’s knife claws — are in a league of their own among organists, at least to my knowledge. He plays with a pianistic-like virtuosity that’s stunning to watch (a screen above him amplified his finger work). Often playing two manuals simultaneously with one hand, leap-frogging between the choir, great and swell like an Olympic sprinter and displaying the most nimble pedal work I’ve ever seen, Carpenter truly is a talent for the ages. Granted, the Rodgers had a minimal number of stops it appeared — it looked like a child’s toy compared to, say, the National City console — yet Carpenter changed registrations like most people blink. One five-minute improvisation he played featured more than 40 registration changes. That amount of tone painting just through stop changes was impressive in and of itself, forget about the actual note playing.

His wildly eclectic 100-odd minute show (played entirely from memory) featured everything from Bach works written for organ, transcribed for piano, then adapted back to organ (by Carpenter), two Liszt Transcendental Etudes he said were “nearly impossible to play,” a wickedly playful transcription of Bernstein’s “Candide” Overture and a playful encore/fantasia on — of all things — “Shortnin’ Bread,” a whimsical-but-no-less-dramatic way to end the evening. The highlights for me were a moody and languid — yet endlessly colorful — transcription of Isaac Albeniz’s piano work “Evocacion” (the first movement from “Iberia”) and a fantastically creative Marcel Dupre arrangement of a French Noel that Carpenter tackled in a deliciously subversive way, nearly matching the macabre wit Dupre brought to it originally.

Though nearly as night and day as one could fathom, all three shows were utterly magical and evenings I will never forget.

Fleetwood Mac’s set:

1. Second Hand News

2. The Chain

3. Dreams

4. Sad Angel

5. Rhiannon

6. Not That Funny

7. Tusk

8. Sisters of the Moon

9. Sara

10. Big Love

11. Landslide

12. Never Going Back Again

13. Without You

14. Gypsy

15. Eyes of the World

16. Gold Dust

17. So Afraid

18. Stand Back

19. Go Your Own Way

ENCORE

20. World Turning

21. Don’t Stop

ENCORE 2

22. Silver Springs

23. Say Goodbye

Mika’s set:

1. Grace Kelly

2. Toy Boy

3. Lollipop

4. Blue Eyes

5. Billy Brown

6. Popular

7. Love You When I’m Drunk

8. Underwater

9. Stuck in the Middle

10. Emily

11. Big Girls

12. Origin of Love

13. Happy Ending

14. Lola

15. Relax, Take it Easy

16. Stardust

17. Celebrate

18. Love Today

19. Over My Shoulder

Cameron Carpenter’s set:

1. Bach — Prelude 1 from “Well Tempered Clavier”/Fugue No. 15 in G Major

2. Bach/Busoni — Cello Suite No. 1

3. Bach — Fantasia and Fugue in G Minor

4. Albeniz — Evocacion from Iberia

5. Dupre — Variations on a Noel

6. Liszt — Feux Follets

7. Liszt — La Campanella

INTERMISSION

8. Bernstein — Candide Overture

9. Ives — The Alcotts from Concord Sonata

10. Improv

11. Improv

ENCORE

12. Chopin — Minute Waltz

13. Shortnin’ Bread

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Out & About

A roundup of fall events not to be missed

Laverne Cox, Oktoberfest, arts celebrations, and more

Published

2 days ago

September 18, 2026

Tinashe Chingarande

Laverne Cox discusses her new memoir at the Baltimore Book Fest on Sept. 19. ('Transcendent' book cover image via Amazon)

Colder temperatures don’t mean you have to stay indoors — here’s a roundup of what to do this fall.

Laverne Cox will discuss her memoir, “Transcendent,” with Dr. Melanie Bryant on Saturday, Sept. 19 at 7 p.m. at Baltimore Book Fest. Cox will share her journey as a transgender woman in Hollywood, confronting childhood trauma, shame, gender identity, her transition, body image issues, her search for romantic love, deep-seated feelings of unworthiness, and ultimately, healing.

Dacha Beer Garden will launch its longest and loudest Oktoberfest yet on Friday, Sept. 18. This will be 17 consecutive days of Bavarian festivities across both locations — the original Shaw beer garden and the 800-person Navy Yard garden — running through Sunday, Oct. 4. On opening night, DC Brau will tap the ceremonial first keg and then Manuela Horn, the six-foot-two Austrian yodel queen, will trade sets with Johnny Koenig and his four-piece band in a live back-and-forth of yodeling, polka, and crowd games that can only be described as Oktoberfest ping pong.

Fay Jacobs will host “Aging Gracefully: 2nd Annual Farewell Tour” on Friday, Oct. 9 and Saturday, Oct. 10 at CAMP Rehoboth Community Center. This show will feature a new script with lots of new stories, and only a couple of “signature” tales.

Capital One Center will host its “Celebration of the Arts” starting on Saturday, Sept. 19 at its location in Tysons, Va. There will be art, music, food trucks, local vendors, and family-friendly outdoor entertainment. This curated experience invites you to engage with hands-on workshops, immersive art activations, and live performances. More details are available on Eventbrite.

Spark Social will host “open Mic Night” on Thursday, Oct. 8 at 8 p.m. Get ready to share your talent or just kick back and enjoy some great performances at Spark Social. Sign Ups are first-come-first-serve,, but you can also message the venue on Instagram to reserve a performance spot. Whether you’re a singer, poet, or comedian, this is your chance to get on stage and share your art. Tickets are $13.26 and are available on Eventbrite.

Howard University’s School of Social Work will host “Intergenerational Trauma in the BIPOC Community and the Use of Art” on Thursday, Sept. 17 at 3 p.m. This in-person, interactive workshop explores the role of art as a creative and supportive tool for understanding and addressing intergenerational trauma. Participants will examine the meaning and impact of intergenerational trauma, with particular attention to its historical roots and ongoing effects within Black and other BIPOC communities. More details are available on Eventbrite.

9:30 Club will host “BERTHA: Grateful Drag” on Thursday, Oct. 8 at 7 p.m. The group has partnered with PLUS1 so that $1 from every ticket sold goes to SMYAL and their work supporting and empowering LGBTQ+ youth. Tickets are available on 9:30 Club’s website.

Steve Lacy’s “Oh Yeah?” tour is coming to The Anthem on Sunday, Oct. 18 at 6 p.m. Tickets are available on The Anthem’s website.

Rapper Cupcakke will perform at Howard Theatre on Sunday, Oct. 25 at 7 p.m. More details are available on the theater’s website.

Team DC will host “Open Play: A Celebration of LGBTQ+ Athletes and Sports Fans” on Saturday, Oct. 10 at 6 p.m. at Trade. Join Athlete Ally, Team DC and District Wrestling for a casual, in-person mixer as they celebrate LGBTQ+ sports fans and athletes at all levels of the game. Whether you’re part of an LGBTQ+ recreational league or just love watching sports, this is the place to connect, celebrate, and share the love of the game with other queer athletes, fans, business leaders, policymakers and more. Reserve a spot on Eventbrite.

The DC LGBTQ+ Community Center will host “2026 LGBT Intergenerational Extravaganza” on Sunday, Sept. 20 at 12 p.m.This is an event to connect, build relationships, and have fun with LGBTQ folks from other generations, and it will include lunch, an intergenerational dialogue and breakout sessions. More details are available on Eventbrite.

Music & Concerts

Queer mega stars coming to D.C. this fall

Indigo Girls, Charli XCX, Doja Cat headed our way

Published

2 days ago

September 18, 2026

Alexis McLean

Amy Ray and Emily Saliers perform at the Anthem on Oct. 4. (Photo by Lynn Goldsmith)

As D.C. enters the fall season, LGBTQ performers and allies will take the stage. This fall’s lineup is massive and diverse, from rock to electronic dance music.

Ryan Beatty, a gay musical artist, will bring his show, “Arms Over Armor North American Tour ’26” to the Lincoln Theater (1215 U St. N.W.) in D.C. on Sep. 26, at 6:30 p.m. Tickets go for $43.15 per attendee. Visit https://www.thelincolndc.com/#block-3 for more information.

All Things Go Music Festival: A major lineup of allies, including Mitski, Ethal Cain, Rebecca Black, Underscores, and many more. The festival, known for being LGBTQ-friendly, will take place at Merriweather Post Pavilion (10475 Little Patuxent Pkwy., Columbia, Md.) from Sept. 26-28. Visit allthingsgofestival.com for tickets and details.

Bisexual singer Charli XCX will bring her “Music, Fashion, Film Tour” to Capital One Area (601 F St, N.W.) in D.C. on Sep. 28 at 7:30 p.m. Tickets go from $102 – $500. capitalonearena.com for more info.

Bisexual artist Phoebe Bridgers will bring her “The Lost Tour 2026” to Capital One Arena on Sep. 29 at 7:30 p.m. Tickets go from $157-$500.

Power To the People Festival, another fantastic festival will take place at Merriweather Post Pavilion (10475 Little Patuxent Pkwy., Columbia, Md.). It will feature LGBTQ artists and allies, such as Bruce Springsteen and Brittney Howard. The festival is on Oct. 3 and doors open at 12 p.m.

Anabel Englund, calls herself a “heterosexual ally” on Instagram. She will perform at the Diplo’s Glow Block Party at Echo Stage (2135 Queens Chapel Road, N.E.) in D.C., Oct. 3. Doors Open at 3 p.m. Tickets range from $106-$154.

Amy Ray and Emily Saliers are the two lesbian singers who make up the Indigo Girls, one of the most recognizable folk duos who have sold more than 2 million albums with two singles: “Closer to Fine” and “Kid Fears” alone. Both will be performing at the Anthem (901 Wharf St., S.W.) in D.C. on Oct. 4. Doors open at 5 p.m. and the show starts at 7:30 p.m.

Grateful Drag, featuring PLUS 1, will take place at the 9:30 Club (815 V St., N.W.) in D.C. on Oct. 8 at 7 p.m.

Lauren Sanderson is a lesbian and queer performer with viral tracks that include “GAY 4 ME” (with G Flip). She will bring her “COME SAY SUM TOUR” to the Alantis (2047 9th St., N.W.) in D.C. on Oct. 15.

Steve Lacy, a bisexual artist, will bring his “Oh yeah?” tour to the Anthem on Oct. 18. Doors open at 6 p.m. and show starts at 7 p.m.

Washington Concert Opera‘s ARMIDA, staring Daniel Laucerica, Andrew Wilkowske, and Jonathan Pierce Rhodes, will take place at the Lisner Auditorium (730 21st St., N.W.) in D.C. on Oct. 24 at 6 p.m.

Yebba, a bisexual and queer artist, is a singer and songwriter within the genre of contemporary music who has performed alongside Ed Sheeran, Drake, and A$AP Rocky. Yebba will perform on Oct. 31 at the Anthem. Doors open at 6:30 p.m. and the show starts at 8:30 p.m.

Brutalismus 3000 is a longtime LGBTQ ally. They will bring their “Harmony US Tour 2026” show to Echo Stage on Nov. 13 at 10 p.m. Tickets range from $48-$66.

The Washington National Opera Orchestra will feature Andrea Gibson, a queer, nonbinary, and genderqueer poet/spoken-word artist, who will perform “Andrea Gibson’s Love Letter from the Afterlife” on Nov. 17 at the Anthem. Doors open at 6:30 p.m. and the show starts at 7:30 p.m.

Doja Cat, a bisexual artist who previously worked with Laurel Charleston, a trans women makeup artist, will bring her “Ma Vie World Tour” to Capital One Arena on Nov. 21. The show is at 7:30 p.m. and tickets range from $69-$316.

Victoria Monét: A bisexual R&B singer and a three-time Grammy winner, will bring her Frequency of Love Tour to the Anthem on Nov. 27 at 8 p.m.

Nightlife

Parties, dinners, concerts and more on tap for fall nightlife

Blade’s 25th Best Of party among highlights

Published

3 days ago

September 17, 2026

Evan Caplan

The Blade’s 25th annual Best Of LGBTQ DC party arrives Oct. 22 with Ashley Darby as emcee.

The heat is on in the city this fall for gala season, culture, and nightlife, including many LGBTQ and ally artists. Select shows, parties, and events for the season are below.

September

9/18-20: Fuchsia Fest – The inaugural Fuchsia Fest is a new multi-day celebration created to highlight LGBTQ community and expression, bringing together a mix of community gatherings, entertainment, and nightlife. Hosted by Capital Pride, Fuchsia Fests’s various events take place across the city throughout the weekend.

9/24: Katie Pruitt – The Americana/indie-fold singer-songwriter is known for her soaring vocals and deeply personal storytelling. She is on tour for her latest album, released Sept. 18, “Fools for the Fleeting.” She is part of the LGBTQ community.

9/25-27: All Things Go. This annual music festival at Merriweather Post Pavilion includes performers like Mitski, Hayley Williams, Brandi Carlile, MUNA, Zara Larsson, Ethel Cain, and many more beloved artists. Featuring and highlighting female artists, the festival has turned into a must-see for many LGBTQ audience members. There are single-day and three-day tickets.

9/26: Human Rights Campaign National Dinner – This annual big-ticket fundraiser for HRC (black tie, of course) celebrates achievements and recognizes the road ahead for LGBTQ+ equality. Taking place at the Mayflower, look out for D.C. stars, like members of Congress, former first ladies, and Broadway actors.

9/26 Gorillaz – Two decades strong, this artistic group unites visuals, storytelling, and music across diverse genres, from rock to reggae to electronic, for a show at Capital One Arena.

9/29 Charli XCX – British singer-songwriter and pop diva known for her bold expression, mixes electronic, pop, and dance, will bring thrilled audiences to her show at Capital One Arena as part of her Music, Fashion, Film Tour.

Multiple dates: Smithsonian Festival – This fall, the Smithsonian Institutions is debuting a festival called Rhythms, Roots, Recipes: Community Stories of Food and Music. Across this five-part series, each session features cooking demos, discussions, and live music. All programs are free and open to the public, and take place in the demo kitchen at the National Museum of American History.

October

10/3: GLOW BLock Party – GLOW is back! After throwing a giant party this spring with 10,000-plus dancing fans dancing against the Capitol dome at sunset, GLOW returns with an even more epic lineup: legendary Grammy-winning DJ and producer Diplo leading a seven-hour party with vendors, activations, and a number of other huge acts like Westend, Anabel Englund, Monty Kiddo, and D.C.’s own Ratalina.

10/3: Home Rule Music Festival – Now in its fifth year, this is a free, all-day community-driven event of local music, food trucks, and vendors at the Parks at Walter Reed. The D.C.-focused event features bands playing go-go, soul, hip-hop, jazz, and more, plus a record fair and live art.

10/3: PRIDEtoberfest – Gay-owned Wunder Garten presents PRIDEtoberfest, marrying the festive spirit of Oktoberfest and the joy of the LGBTQIA+ community for an all-day celebration of Pride, community, live music, DJs, overflowing steins of beer, and entertainment. Food will be available from Little Miner Taco and CaliBurger, plus plenty of friendly men in lederhosen.

10/3: Power to the People Festival – The inaugural Power to the People Festival will take place at Merriweather Post Pavilion in Columbia, Md. The festival, curated by Rock & Roll Hall of Fame guitarist and acclaimed activist Tom Morello, is a celebration of peace, justice, solidarity, music, and community action.

10/10: Jessie Ware – British singer and songwriter fully embraced by the LGBTQ community brings her impassioned mix of pop, disco, and electronic genres to Capital One Arena supporting her latest album Superbloom,

10/19: Chefs for Equality – This annual dinner fundraiser for HRC remains in its remixed, diffused form this year. Under the theme of United Plates of America, there will be six different activations: four multi-course collab dinners (at CUT by Wolfgang Puck, Marcus DC, Moon Rabbit, and Centrolina); Drag Brunch for Dinner at Perry’s; and a lavish cocktail party at cocktail lounge Silver Lyan. In any form, Chefs for Equality is a signature benefit toward the fight for full LGBTQ+ equality.

10/20 Rodrigo y Gabriela – Grammy-winning Mexican acoustic guitar duo that blends flamenco, rock, and heavy metal is coming to The Anthem. They have been playing at 9:30 Club and sister venues since 2007.

10/22: Washington Blade Best of Party – Celebrate the best of LGBTQ DC at the Blade’s epic Halloween party: Murder on the Dance Floor. Winners of the Blade’s annual Best of DC will be announced at this party at Longview Gallery. This marks the 25th anniversary of the Blade’s Best Of competition. “Real Housewives” star Ashley Darby hosts.

10/31: Into the Shadows – An immersive, indoor/outdoor Halloween party actually on the spooky day itself at Berhta. With multiple stages across multiple rooms, there are various DJs and activations.

November

11/11: Whitman-Walker Gala – This annual fundraiser at the Ritz-Carlton is themed “A Celebration of Impact & Innovation.” It aims to showcase the impact of Whitman-Walker’s healthcare, research, and policy programs, and will include presentation of the Groundbreaker Award for Community Philanthropy.

11/20: Ilana Glazer – Comedian, actor, advocate, and creator best known for co-creating and co-starring in the acclaimed series Broad City brings her act to Lincoln Theater. Her first show is already sold out, but a second show has been added.