Music & Concerts

Frank Ocean goes ‘Blond’

Genre-defying album one of year’s best so far

Published

9 years ago

September 8, 2016

Chris Gerard

Frank Ocean took his time with his sophomore album but the wait paid off. (Photo courtesy Boys Don’t Cry)

Anticipation for new Frank Ocean studio material has been so frenzied that somehow it seems longer than just four years since his celebrated 2012 debut “Channel Orange” heralded his arrival as a major creative force.

That brilliant soul/hip-hop hybrid includes the heartrending ballad “Bad Religion,” about forbidden, unrequited love that a closeted young man feels for a male friend. The track, in tandem with Ocean’s startling public candor about his attraction to men, created a stir for both his bravery in a sub-genre often viewed as being less than tolerant toward homosexuality (although support for Ocean far eclipsed any negative outcry) as well as for its riveting honesty. The genre-tripping collection, also highlighted by marvelous gems such as “Pyramids” and “Monks,” was hailed by critics and fans as a masterpiece and it landed on many year-end “best of” 2012 lists.

Speculation over Ocean’s next move has been almost obsessive. Every hint, comment and potential clue about the follow-up to “Channel Orange” launched a mixture of feverish anticipation and consternation by fans battling impatience while salivating over the prospect of hearing what Ocean would turn out next. Ocean finally ended the long wait with a pair of strong projects: a visual album called “Endless” that dropped on Aug. 19, and the breathlessly awaited new studio release, “Blonde,” on the following day. Despite being defiantly non-commercial in every sense of the word — there’s not a strong pop radio hook to be found — “Blonde” has already achieved massive success, shooting straight to No. 1 on the Billboard Top 200 album chart.

It’s interesting to note that Ocean surrounds himself with a bevy of diverse collaborators on “Blonde” and, despite this, the album has been almost universally acclaimed by critics and revered by “serious” music fans since its release. Early this year Beyoncé’s similarly vast list of contributors on “Lemonade” was viewed by some vocal critics as tacit proof that the singer is merely a pop diva propped up by those with the “real talent.” This double standard is curious, and yet not so — obvious sexism, with men often afforded more respect for their talent, has been rampant in popular music from the beginning. “Lemonade” and “Blonde” couldn’t be more different sonically and thematically, but both are bold and uncompromising works that challenge listeners and raise the bar on what standard popular music produced for mass consumption can be.

Let there be no doubt, “Blonde” is a triumph. Although the endless perfectionism that led to its long gestation may be frustrating for fans, it’s difficult to argue that the end result does not justify Ocean’s meticulous attention to detail. His downtempo, idiosyncratically structured compositions fall between the cracks of any traditionally definable genre. The overall vibe is that of fragmented dreams, an intimate night of mind travel that’s languid and shrouded in smoke, mellow and contemplative but also immediate and emotionally potent.

Frank Ocean is one of those rare artists with a singular voice, a unique and immediately identifiable sound that is boundlessly original yet wears its influences and forebearers on its sleeve (think R&B greats like Prince, Stevie Wonder, D’Angelo and Bill Withers merged with hip-hop pioneers like De La Soul punctured with other sonic excursions as diverse as the Beatles and Radiohead). His hypnotic tone poems wander in unexpected directions, looping a kaleidoscope of sounds, samples and vocal effects with complete disregard for the confining lines of standard pop, R&B or hip-hop. “Blonde” is not a flashy album — it’s low key, personal and obviously a work of intense importance for the artist. It’s deeply absorbing and rewarding, with tracks like lead single “Nikes,” “Pink + White,” “Self Control” and the epic closer “Futura Free” among the high points. It’s hardly about the individual tracks, though. “Blonde” is an experience, a continuous journey that’s fascinating to hear unfold. It rewards repeated and careful listens, great headphones and a wide open mind of musical curiosity.

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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.