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A diva holiday

Down Under wonder Minogue releases Christmas album

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Kylie Minogue, gay news, Washington Blade
Kylie Minogue, gay news, Washington Blade

Kylie Minogue leaves her dancing beats mostly behind on a warm and lush new Christmas album. (Photo courtesy the Karpel Group)

It’s that most wonderful time of the year again — the annual rush of new holiday albums is upon us.

This year Australian pop icon Kylie Minogue gets into the festive spirit with her first holiday album, “Kylie Christmas.” Holiday albums are ubiquitous this time of year and it’s easy to understand why. They can be produced rather quickly and can be reintroduced for a new round of sales every holiday season.

Of course, some are better than others. Many artists go through the motions and produce what amounts to a karaoke collection of the same old Christmas standards that we’ve heard a million times before, while others put more care and ingenuity into their project. Thankfully “Kylie Christmas” is of the latter variety. It’s an engaging and entertaining mix of old standards and new songs with a couple of duets and surprises thrown in for good measure.

“It’s the Most Wonderful Time of the Year” is the buoyant opener and it’s brimming with good cheer and smiles. For the most part, Minogue goes for a more traditional arrangement and instrumentation, giving “Kylie Christmas” an elegant warmth. Apart from a couple tracks, this is not dance diva Christmas with heavy electronic beats. Through the magic of studio technology, Minogue duets with Frank Sinatra on “Santa Claus is Comin To Town,” again mixing the classic with the modern and creating a sheer delight.

It’s hard to match Chrissie Hynde’s exquisite vocal on the Pretender’s bittersweet classic “2000 Miles,” but Minogue does her best. She sings the song with grace and reverence. Minogue and British comedian James Corden deliver a beautiful duet on the old Yaz classic “Only You.” While it’s not a holiday song per se, the romantic ballad’s expression of love fits beautifully with the festive favorites.

Chris Martin of Coldplay wrote “Everyday Is Like Christmas,” and it’s the one track on the album produced by Europop hitmakers Stargate (who also produced Coldplay’s upcoming album “A Head Full of Dreams”). Not surprisingly, it’s the one song that sounds like it could fit on just about any of Minogue’s recent albums, with soaring vocals and keyboards over a smooth electronic beat. While it does have a more modern vibe than the old-school stylings of most of the album, it still fits nicely into the collection as it has such joyous charm.

Minogue resurrects the new wave chestnut “Christmas Wrapping,” originally recorded by the Waitresses, and reinvents it as a duet with Iggy Pop. “I’m Gonna Be Warm This Winter” is a pleasantly nostalgic holiday gem originally recorded by Connie Francis.

“Santa Baby” seems like an obvious choice for Minogue and she delivers it with plenty of verve. She coos through the song with an obvious nod to Madonna’s famous take from the 1987 classic compilation “A Very Special Christmas.” “Christmas Isn’t Christmas ‘Til You Get Here” is one of several new tracks co-written by Minogue, and while it probably won’t go down as a new Christmas classic, it’s a jubilant holiday confection that will immerse even the Grinchiest into good holiday cheer.

Minogue closes the main disc with a sparkling version of the standard “Have Yourself a Merry Little Christmas.” It’s one of the season’s most magical carols and even though we’ve all heard it a million times, Minogue gives us ample reason to enjoy it yet again. The deluxe edition of “Kylie Christmas” is worth seeking out for the three bonus tracks, especially the high energy duet with her sister Dannii, “100 Degrees.”

“Kylie Christmas” is fun and festive, with moments of real heart and emotion. Minogue clearly tried to make this project a treat for her fans and she succeeds beautifully. Whimsical and nostalgic but with a modern sheen, “Kylie Christmas” is a delight for anybody who loves to get into the holiday spirit by singing along.

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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.

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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.

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Music & Concerts

Berkshire Choral to commemorate Matthew Shepard’s life

Concert held at Washington National Cathedral

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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

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Music & Concerts

Indigo Girls coming to Capital One Hall

Stars take center stage alongside Fairfax Symphony

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The Indigo Girls are back in the area next week. (Photo courtesy of Vanguard Records)

Capital One Center will host “The Indigo Girls with the Fairfax Symphony Orchestra” on Thursday, June 19 and Friday, June 20 at 8 p.m. at Capital One Hall. 

The Grammy Award-winning folk and pop stars will take center stage alongside the Fairfax Symphony, conducted by Jason Seber. The concerts feature orchestrations of iconic hits such as “Power of Two,” “Get Out The Map,” “Least Complicated,” “Ghost,” “Kid Fears,” “Galileo,” “Closer to Fine,” and many more.

Tickets are available on Ticketmaster or in person at Capital One Hall the nights of the concerts. 

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