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The Cure triumphs at Merriweather

Marathon three-hour set packs hits, deep cuts

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the Cure, gay news, Washington Blade

Robert Smith of the Cure. (Photo by Bill Ebbesen; courtesy Wikimedia Commons)

Last Wednesday, June 22, British alternative-rock titans the Cure brought its first extensive tour of America in nearly a decade to Merriweather Post Pavilion. A sea of people packed the venue on a beautiful summer night to see one of the most enduring and influential bands of the last 40 years.

It was clear from the beginning that the Cure has lost none of its considerable power, as members started the show with the fiery rocker ā€œOpenā€ from their 1992 album ā€œWish.ā€

Robert Smith looked and sounded much like he always has. He walked out on stage in his usual disheveled black frock, dark spiderweb hair and mussed red lipstick. Smith is now 57, but his distinct swampwater voice is as powerful as ever. Over the course of 32 songs, he switched back and forth between acoustic and electric guitar, keeping the between-song banter to a minimum (and most of the time his thickly accented mumbles were inaudible anyway). Bassist Simon Gallup, who has been alongside Smith since almost the beginning, stalked around the stage with restlessly intensity, while guitarist Reeves Gabrels, keyboardist Roger Oā€™Donnell and drummer Jason Cooper formed a tightly wound and explosive musical unit. One might argue that Simon Gallupā€™s bass was too high in the mix and Roger Oā€™Donnellā€™s keyboard was a bit too low, but that would be a minor quibble. By and large the Cure sounded fantastic.

The band effortlessly switched from brooding rockers to somber emotional pieces to ebullient pop, the schizophrenic combination for which the Cure is so famous. The crowd was incredibly enthusiastic as the band traipsed through its enormous catalog, pulling out big hits, deep album cuts and a few obscurities for the die-hards. ā€œPictures of Youā€ was an early highlight, with the spine-tingling swirls of keyboard and guitar backing Smithā€™s bittersweet memories of a love he let slip through his fingers. Big hits like ā€œJust Like Heaven,ā€ “The Walk,ā€ ā€œIn Between Daysā€ and ā€œLovesongā€ had the large and surprisingly diverse crowd singing along to every word. The rarely played ā€œBananafishbonesā€ was a treat, as was ā€œAll I Want,ā€ a hard-edged deep cut the band dusted off from 1987ā€™s ā€œKiss Me, Kiss Me, Kiss Me.ā€ The behemoth of the main set was the seven-minute epic ā€œFrom the Edge of the Deep Green Sea,ā€ which featured blistering guitar work by Gabrels.

The band played four encores, beginning with the throbbing bass-heavy ā€œSinkingā€ from 1986ā€™s ā€œThe Head on the Door.ā€ An incendiary take on ā€œShake Dog Shakeā€ was followed by the 1994 soundtrack hit ā€œBurnā€ from ā€œThe Crow,ā€ and then their old warhorse ā€œA Forest,ā€ a classic from 1980ā€™s ā€œSeventeen Seconds.ā€ As the night wound toward its conclusion, the band amped the crowd to a fever pitch as they rampaged through a series of hits including ā€œLullaby,ā€ ā€œWrong Number,ā€ ā€œFascination Street,ā€ ā€œLetā€™s Go to Bedā€ and ā€œClose to Me.ā€

By the time of ā€œWhy Canā€™t I Be You?,ā€ a clearly winded Robert Smith gamely tried to hit the songā€™s very high notes without much success, but it hardly mattered ā€” the crowd did a wonderful job filling in for him, singing every word with blissful euphoria. The show closed with ā€œBoys Donā€™t Cry,ā€ a 1979 single that was never a hit on either side of the Atlantic but somehow 37 years later a packed amphitheater in suburban D.C. sang a long to every word as if it was a worldwide chart-topper.

At the end of the epic three-hour show Merriweather was still full. After the band waved their goodbyes to thunderous applause, Robert Smith stood alone in the spotlight on the stage, basking in the crowd’s love and appreciation. He paused momentarily in front of each section as the entire place stood and cheered, arms in the air clapping wildly. It was an amazing moment. Smith seemed like he didn’t want to leave the stage, he was so obviously touched and moved. Eventually he shambled off, looking over his shoulder one last time at the still-standing, still enthusiastically cheering crowd, and it was finally over just as the clock was hitting 11 p.m.

1.Ā  Open [ā€œWishā€ – 1992]
2.Ā  High [ā€œWishā€ – 1992]
3.Ā  Pictures of You [ā€œDisintegrationā€ – 1989]
4. Closedown [ā€œDisintegrationā€ – 1989]
5. Kyoto Song [ā€œThe Head on the Doorā€ – 1985]
6. A Night Like This [ā€œThe Head on the Doorā€ – 1985]
7. The Walk [non-album single – 1983]
8. The End of the World [ā€œThe Cureā€ – 2004]
9. Lovesong [ā€œDisintegrationā€ – 1989]
10. If Only Tonight We Could Sleep [ā€œKiss Me, Kiss Me, Kiss Meā€ – 1987]
11. All I Want [ā€œKiss Me, Kiss Me, Kiss Meā€ – 1987]
12. Push [ā€œThe Head on the Doorā€ – 1985]
13. In Between Days [ā€œThe Head on the Doorā€ – 1985]
14. Just Like Heaven [ā€œKiss Me, Kiss Me, Kiss Meā€ – 1987]
15. Bananafishbones [ā€œThe Topā€ – 1984]
16. Never Enough [ā€œMixed Upā€ – 1990]
17. From the Edge of the Deep Green Sea [ā€œWishā€ – 1992]
18. End [ā€œWishā€ – 1992]

Encore 1

19. Sinking [ā€œThe Head on the Doorā€ – 1985]
20. It Could Never Be The Same [new unreleased track]

Encore 2

21. Shake Dog Shake [ā€œThe Topā€ – 1984]
22. Burn [ā€œThe Crowā€ Soundtrack – 1994]
23. A Forest [ā€œSeventeen Secondsā€ – 1980]

Encore 3

24. Dressing Up [ā€œThe Topā€ – 1984]
25. Lullaby [ā€œDisintegrationā€ – 1989]
26. Fascination Street [ā€œDisintegrationā€ – 1989]
27. Wrong Number [new single for ā€œGaloreā€ hits collection – 1997]

Encore 4

28. Hot Hot Hot!!! [ā€œKiss Me, Kiss Me, Kiss Meā€ – 1987]
29. Letā€™s Go to Bed [non-album single – 1982]
30. Close to Me [ā€œThe Head on the Doorā€ – 1985]
31. Why Canā€™t I Be You? [ā€œKiss Me, Kiss Me, Kiss Meā€ – 1987]
32. Boys Donā€™t Cry [non-album single – 1979]

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Music & Concerts

Hereā€™s everything queer that just happened at the 67th Grammy Awards

LGBTQ megastars among winners, performers

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Screen grabs from Entertainment Weekly/Youtube

The 67th Grammy Awards featured debut performances by LGBTQ megastars Chappell Roan, Sabrina Carpenter, and Doechii ā€” all of whom also won awards at Sundayā€™s awards ceremony, making the gay sons and thot daughters of the queer and trans world rejoice. 

Though Roan was the only queer artist to take home one of the “Big Four” awards ā€” Best New Artist, Doechii, Carpenter, Charlie XCX, Billie Eilish, and Lady Gaga were also all nominated for one or more of the “Big Four.”

Carpenter, Roan, and Doechii also shocked audiences with their debut performances, showing us what it really means to be out and loud. 


Doechii

The self-proclaimed swamp princess from Florida took home a well-deserved win for Best Rap Album (ā€œAlligator Bites Never Healā€). 

She stunned audiences with her performance and her speech, dedicating her win to Black women everywhere. Only two other women have won the award ā€” Lauryn Hill and Cardi B since the category was introduced in 1989. 

ā€œI know there are so many Black women out there that are watching me right now and I want to tell you: You can do it. Anything is possible,ā€ said Doechii during her acceptance speech.  

Chappell Roan

Roan won the Best New Artist award, prompting her to whip out her notebook and deliver a speech about her struggles with the healthcare industry after getting dropped by her first record label radicalized her. 

On the carpet, she served looks on the red carpet while delivering Jean Paul Gaultier vintage realness and thanking the trans girlies who made her who she is today. 

ā€œTrans people have always existed and they will forever exist. They will never, no matter what happens, take trans joy away and [they] have to be protected more than anything because I would not be here without trans girls,ā€ said Roan on the red carpet. 

She also served during her debut Grammys performance, turning Crypto.com Arena into the Pink Pony Club while dedicating the performance to Los Angeles ā€” the city that embraced her when she wanted to break into the industry. She used her acceptance speech as her opportunity to shine a light on her journey toward becoming the icon she is today ā€” and to no oneā€™s surprise, it didnā€™t come easy to her. 

Roan opened up about her struggles with healthcare and being dropped as an artist in L.A., leaving her without health coverage and scrambling for solutions. Seems like the healthcare system has radicalized yet another one. 

St. Vincent 

St. Vincent revealed that she has a wife and daughter during her acceptance speeches, thanking them after winning three Grammys for Best Alternative Music Album (ā€œAll Born Screamingā€), Best Alternative Music Performance (ā€œFleaā€), and Best Rock Song (ā€œBroken Manā€).Ā 

During her red carpet interview, reporters asked Clark about the shocking news about her mentioning her wife and daughter, she responded ā€œMost people were [unaware]. Itā€™s young, so weā€™ve kept it under wraps.ā€ The reporter then continued his line of questioning, meanwhile intrusive thoughts quickly got ahold of Clark, prompting her to interrupt the reporter to clarify that she meant the child is young, not the person in the relationship sheā€™s in. 

Girl, youā€™re good.

Sabrina Carpenter 

Though Carpenter didnā€™t win any of the “Big Four” categories, she did win Best Pop Vocal Album for (ā€œShort nā€™ Sweetā€) and Best Pop Solo Performance for (ā€œEspressoā€).

According to E!, Carpenterā€™s acceptance speech was apparently censored, cutting her off after she said: ā€œThank you, holy sh*t, bye!ā€

The pop star was nominated for Record of the Year (ā€œEspressoā€), Song of the Year (ā€œPlease, Please, Pleaseā€), Best New Artist, Best Pop Vocal Album (ā€œShort nā€™ Sweetā€), Album of the Year (ā€œShort nā€™ Sweetā€), Best Remixed Recording (ā€œEspresso – Mark Ronson x FNZ Working Late Remixā€), Best Engineered Album, Non-Classical (ā€œShort nā€™ Sweetā€) ā€” all within her first year as a record-releasing musician. 

Charli XCX

Charlie XCX truly brought the brat energy to the Grammys with her performance of (ā€œVan Dutchā€), also taking home the wins for Best Dance/Pop Recording for (ā€œVan Dutchā€) and Best Dance/Electronic Album for (ā€œBratā€). 

Lady Gaga 

Best Pop Duo/Group Performance went to Lady Gaga and Bruno Mars. Gaga used her acceptance speech to advocate for trans people stating that we all need love and to be uplifted.

ā€œTrans people are not invisible. Trans people deserve love. The queer community deserves to be lifted up. Music is love. Thank you,ā€ said Gaga.

No, thank you mother. 

Last, but not least

It is also worth noting that our tried and true ally, Alicia Keys used her moment on the Grammys stage to advocate for the restoration of DEI initiatives. 

“This is not the time to shut down the diversity of voices,” said Keys. “We’ve seen on this stage talented, hard-working people from different backgrounds, with different points of view, and it changes the game. DEI is not a threat, it’s a gift ā€” and the more voices, the more powerful the sound.ā€

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Music & Concerts

Gay Menā€™s Chorus starting the year with a cabaret

‘Postcards’ to be performed at CAMP Rehoboth

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The Gay Men's Chorus of Washington performs 'Postcards' in Rehoboth Beach, Del. on Jan. 18. (Photos courtesy of the Gay Men's Chorus of Washington)

The Gay Menā€™s Chorus of Washington will perform ā€œPostcards,ā€ a cabaret, on Saturday, Jan. 18 at 5:00p.m. and 8:00p.m. at CAMP Rehoboth Elkins-Archibald Atrium.Ā 

In this performance, the choir will share hilarious and heart-warming stories and songs about the travel adventures theyā€™ve had and hope to have. Songs include ā€œMidnight Train to Georgia,ā€ ā€œStreets of Dublin,ā€ ā€œMagic To Do,ā€ ā€œHome,ā€ and ā€œI Left My Heart in San Francisco.ā€ Tickets cost $35 and can be purchased on Camp Rehobothā€™s website.

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Music & Concerts

WMCā€™s ā€˜Comfort and Joyā€™ fuses drama, well-being, light

Soloist describes production as ā€˜reverent and beautifulā€™

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Opal Clyburn-Miller (Photo courtesy Clyburn-Miller)

ā€˜Comfort and Joyā€™
Washington Master Chorale
Sunday, Dec. 22, 5 p.m.
Church of the Epiphany
1317 G St., N.W.
washingtonmasterchorale.org

With its warmth and unfettered imagination, itā€™s no surprise that the Washington Master Choraleā€™s enduringly popular winter program remains a holiday favorite.Ā 

This December the Washington Master Chorale (WMC), helmed by out artistic director Thomas Colohan presents ā€œComfort and Joyā€ a selection of British and American works like ā€œLute-Book Lullaby,ā€ ā€œI Saw Three Ships,ā€ ā€œPuer Natusā€ by Samuel Scheidt and ā€œHosanna to the Son of Davidā€ by Orlando Gibbons. 

In addition to these Christmas classics, WMC will perform 2022 Florence Price Commission Winner Mason Bynesā€™s ā€œEphiphanytideā€ and Ēriks EÅ”envaldsā€™ ā€œNorthern Lights,ā€ the firsthand accounts of arctic explorers Charles Francis Hall and Fridtjof Nansen and their experiences surrounding the fabled aurora borealis.

Described as ā€œreverent and beautifulā€ by ā€œNorthern Lightsā€ tenor soloist Opal Clyburn-Miller, ā€œComfort and Joyā€ fuses drama and well-being, and the import of light. 

And as an artist who uses they/them pronouns, Clyburn-Miller says where classical music is concerned, ā€œit seems people are put in their boxes and thatā€™s where they stay.ā€ They add, ā€œthereā€™s been some progress. Itā€™s pretty much a traditional art form.ā€ 

With regard to their career, Clyburn-Miller, the Baltimore based Peabody Conservatory student, says the work usually comes through word of mouth: ā€œYou show up, youā€™re a good colleague and people want to work with you again.ā€

The solo piece, according to Colohan, is perfect for Clyburn-Miller. The soloist says in response: ā€œMaybe I have the imagination to think of what Northern Lights might look like in Eastern Europe. Iā€™ve never been that far north but I can put myself in that sense of wonder and astonishment.ā€

But the gig hasnā€™t been entirely without its tests. The lyrics are in Latvian, a new language for the meticulous singer.

ā€œItā€™s been a bit tricky getting the Latvian down,ā€ they say. ā€œUsually in my singing experience, itā€™s been German, Italian and French, and Iā€™m familiar with Spanish and some Hungarian and Russian, but this is entirely new.ā€

A perfect chorale venue requires easy parking; good acoustics; a concert level Steinway, and an excellent organ; a sanctuary wide enough to accommodate a 50-person chorale; and audience friendly loos, says Colohan. 

The Church of Epiphany meets most if not all of these requirements.  

Raised Catholic in Richmond, Colohan came out at Ohioā€™s progressive Oberlin Conservatory. Around this time, he remembers visiting Washington for a music educatorā€™s conference and partying at JR.ā€™s, Badlands, and other bars. He says, ā€œI saw that D.C. had a huge population of clean-cut gay boys. That journey which started with me being gay, prompted me to ask questions.ā€ 

As WMC artistic director since 2009, Colohan, who lives with his partner in Silver Spring, became increasingly interested in secular poetry and literature, especially the ways in which it intersects with chorale music. For him, that became the heart of the art form. 

ā€œMy secular approach is wider than some. Iā€™m like the curator of the museum going down to the basement to bring some stuff up. You cannot hear the music if we donā€™t sing it.ā€

Heā€™s remained conservative as an aesthetic but not an ethos. ā€œI can wear a blazer and not be crazy right wing. Spiritually speaking, Iā€™m Zen Buddhist now.ā€

A lot of the concert is about darkness and light. Colohan says, ā€œIn ancient times when the world became darker, the days leading to the solstice were scary and then on the 22nd they saw that days were getting longer and it was lighter.ā€

ā€œComfort and Joyā€ closes with a candle lit chorale memorably singing ā€œSilent Night.ā€  

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