Music & Concerts

New guise for Andy Bell

Erasure singer tackles show tunes on ‘Torsten’ album

Published

10 years ago

March 10, 2016

Chris Gerard

Andy Bell takes a creative left turn on his new solo album. (Photo courtesy Strike Force Entertainment)

Andy Bell has enjoyed a 30-year run of hits with his musical partner Vince Clarke in Erasure, the legendary duo who’ve managed to navigate the fickle world of pop music far longer than most artists can dream.

Early hits like “Sometimes” and “A Little Respect” are still beloved, and they continue to release vital new music. “Violent Flame” (2014) was their 16th album and they promoted it with a successful tour before wildly enthusiastic crowds that included two nights at the 9:30 Club in D.C. It would be easy for the dynamic vocalist to spend his down time from Erasure enjoying the fruits of his success.

But resting on his laurels doesn’t seem to be in the cards for Andy Bell. His new solo album “Torsten the Beautiful Libertine” is an ambitious collection of songs featured in the stage show of the same name, which opened this week at London’s Above the Stag Theatre (which bills itself as “The UK’s LGBT Theatre”).

Torsten first appeared as a character in a 2014 song cycle written for Bell by Barney Ashton-Bullock and Christopher Frost called “Torsten the Bareback Saint” that was performed in London and Edinburgh, and made into an album. The new show and album — also written by Ashton-Bullock and Frost — is a more fully developed exploration of a decidedly unique character. On the Above the Stag website, Torsten is described as an “age-defying, polysexual hero” who lives an abnormally long life, and has plenty of time to reflect on all of the connections — sexual and otherwise — he’s made over the years. Seeing a neverending parade of deaths unfold before him renders Torsten melancholy and unwilling to get close to anybody to protect himself from the continued pangs of loss.

If you’re expecting the electrifying dance-pop Bell is known for with Erasure and on his two prior solo albums (2005’s “Electric Blue” and 2010’s “Non-Stop”), seek elsewhere. This is musical theater, and Bell’s expressive tenor suits the medium perfectly. Erasure’s music has always been family friendly and generally upbeat, so it’s something of a shock hearing Bell singing pieces like “Blow Jobs for Cocaine” and “Ooh Baby, You’re so Queercore,” but it works.

The songs deal with various aspects of Torsten’s experiences and they are often grandiose and richly beautiful. “Beautiful Libertine” is an early highlight, emphasizing the always-impressive vocal range that Bell continues to possess. The sardonic ballad “This Town Needs Jesus” is another standout, with Bell delivering an impassioned vocal over a piano accompaniment. He’s clearly invested in this material and gives one convincing performance after another.

Some tracks, like “Lady Domina Bizarre” and “The Slums We Loved,” are highly orchestral, but there are unexpected left turns. “We Were Singing Along to Liza” is a poignantly nostalgic dance track that will surely inspire a bevy of remixes. “Photos of Daniel” is a hauntingly beautiful reminiscence of better days. “My Precious Ones,” which has been issued as the album’s lead single, has the most standard pop arrangement on the album. It’s a melodic guitar-based track with terrific harmonies.

As with any musical theater piece, it’s a challenge to fully realize the vision conceptualized in “Torsten The Beautiful Libertine” without seeing the show. There are so many ideas thrown at us over the span of 17 tracks that it’s hard to completely absorb it. But even as a conceptual album, “Torsten” is always entertaining and surprising, as the songs veer in unanticipated directions. Bell’s voice shines throughout, the writing is smart and unpredictable and Torsten is an interesting character that will hopefully stick around to chronicle more triumphs and tragedies and adventures.

Up Next

Sandi Patty’s farewell

Don't Miss

Gay Men’s Chorus goes country

FUND LGBTQ JOURNALISM

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.