Music & Concerts
Jagged little anniversary
Classic Alanis album gets deluxe treatment
‘Jagged Little Pill’ has been re-released in a deluxe edition. (Photo by John Salisbury; courtesy Rhino)
It seems impossible to imagine that two decades have passed since Alanis Morissette made massive waves with one of the ‘90s most pivotal albums, “Jagged Little Pill.”
Potent and intensely emotional but also highly polished and commercial, “Jagged Little Pill” is one of the decade’s cultural landmarks. In celebration of the album’s 20th anniversary, Morissette has teamed with Rhino Records for a new four-CD Collector’s Edition. It includes a newly remastered version of the original album, a disc of demos and outtakes of songs that did not make the record, an entirely acoustic version of the album (which Morissette had previously released in 2005 to mark its 10th anniversary), and a CD capturing Morissette’s first live performance in the U.K. at the Subterranea in London in September 1995, just as “Jagged Little Pill” was really taking off.
Is it worth it to pay the $40 or so to pick up the collector’s edition if you already have your original CD from 1995? For most casual fans, the answer is going to be no. Yeah it’s a nice enough set and the packaging is lovely, but the most essential part of it is the album itself. While the remaster sounds nice, it’s not such a revelation that the original CD pressing should be considered obsolete. Of course, it is indeed a classic album. Morissette took to her blog recently to reflect on “Jagged Little Pill,” and she describes its meteoric impact as only she can: “There was a cultural wave swelling … a readiness, perhaps, for people to hear about the underbelly, the true experience of being a young, sensitive, and brave person in a patriarchal world… This wave was moving through culture with or without me, and I happened to grab my glittery surfboard and rode that wave like a feisty androgyne on the back of a megalodon.”
The first big hit was “You Oughta Know,” an obsessive, confrontational, angst-ridden rocker that took alternative radio by storm and then crossed over to MTV and the Top 40. It remains one of the decade’s most iconic singles, an anthem for those not content to fade away meekly after being wronged. “Right Through You” exists in the same stylistic territory, and the trippy rocker “All I Really Want” opens the album with a bang. Most of “Jagged Little Pill”, though, is engaging, well-polished pop/rock. Singles like “Ironic,” “Hand in My Pocket,” “You Learn” and “Head Over Heels” all became substantial hits, leading “Jagged Little Pill” to 13 weeks at no. 1 on the U.S. album chart and to worldwide sales in excess of 30 million copies. The album holds up very well two decades later, and it’s an enjoyable blast from the past to listen to these great songs again at full volume.
Unfortunately the three discs of bonus material are largely inessential. The collection of demos is at least somewhat interesting, but it’s clear from the beginning there is a reason why these songs did not make the album. Tracks like “Superstar Wonderful Weirdos” and “Death of Cinderella” are really just unfinished sketches, although some of them sound like they might have been quite good had they been fully fleshed out. In their current state, unfortunately, they aren’t compelling enough to inspire repeated listens.
The acoustic disc — which many fans probably already own — is rather sedate and bloodless. One of the things that makes the original “Jagged Little Pill” so great is the manic energy, and that’s missing here. Some songs work better than others. “Perfect” and “Mary Jane” are lovely, but the edgy rockers like “You Oughta Know” and “Right Through You” just sound limp. The live disc, again, will mostly appeal to hard core fans. Despite it’s status as a historic show — Morissette’s first performance in the U.K. — it doesn’t really jump out as the fierce live document that one might expect. The sound quality isn’t particularly great, and Morissette’s vocals are a bit rough at times.
Those who prefer the middle ground can get the two-CD deluxe edition which includes only the remastered main album and the CD of demos. That may be the way to go if you really feel the urge to upgrade your well-worn 20 year-old original. “Jagged Little Pill” is undoubtedly a cornerstone album that is worthy of exploration for a 20th anniversary edition. However, if you have the original CD, you can celebrate its anniversary just fine by revisiting it, preferably at as loud a volume as possible. The new 4-disc collection is a nice collector’s item for the die-hards, but casual fans will probably skip through the bonus material once and then never revisit it again, preferring instead to focus on the stellar original album, and understandably so.
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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