Music & Concerts

U.K. duo Right Said Fred returns

25 years after global hit, still ‘sexy?’

Published

8 years ago

February 23, 2017

Chris Gerard

Right Said Fred, gay news, Washington Blade

Richard Fairbrass, left, and brother Fred Fairbrass of Right Said Fred. (Photo courtesy Far Music Ltd.)

It’s been 25 years since the novelty dance single “I’m Too Sexy” by British group Right Said Fred was riding high on the Hot 100 and oversaturating radio airwaves and dance clubs the world over.

The international smash spent three weeks at no. 1 in the U.S., through most of February 1992. Now a quarter-century after their campy and satirical takedown of elite attitudes in the fashion industry was at its very peak, Right Said Fred returns with a new album, “Exactly!”

Led by outspoken LGBT rights activist and openly bisexual Richard Fairbrass (former host of the U.K. series “Gaytime TV”) and his brother Fred, Right Said Fred’s debut was a pop culture tsunami. “I’m Too Sexy” was absurdly ubiquitous not only at its peak, but for many years thereafter. It has been subject to more parodies and used in more commercials, TV shows and movies that it’s possible to contemplate. Even today the song remains very much in the public’s awareness. Although many would rank it right next to “Macarena” as an excruciating example of the worst in cheesy ‘90s pop and would be thrilled to never hear it again, “I’m Too Sexy” is inarguably a clever and fun track that now carries a strong sense of nostalgia for the early ‘90s.

A quarter century later, Right Said Fred is back. Well, to be fair, they’ve never really gone away. Although in the U.S. they haven’t been on the public radar since “I’m Too Sexy” and are considered a one-hit-wonder, in the U.K. and elsewhere they scored a string of hits. Three of them, “Don’t Talk Just Kiss,” “Deeply Dippy” and “Stick it Out,” followed “I’m Too Sexy” into the U.K. top five. Although their last substantial European hit was in 2001, they’ve never stopped releasing new music and making public appearances. It’s been almost seven years since their last album “Stop the World,” but it seems appropriate that they would choose the 25th anniversary of their iconic smash to return with their ninth album, “Exactly!”

So how does Right Said Fred sound these days? Well, if you’re thinking there might be another “I’m Too Sexy” lurking about, you’re gonna be disappointed. Richard Fairbrass’ voice still has that deep growling quality as he speaks the lyrics, although it’s gotten rougher over the years. Fairbrass sometimes alternates between speaking the verses and, often with other vocalists’ assistance, singing the choruses. As expected, there’s plenty of high-energy dance/pop, but unfortunately most of it falls flat. The album is surprisingly diverse, including the almost faux-country singalong “I Don’t Want to Die Right Now,” the power ballad “Save Me” (which seem to generate some genuine emotion from Fairbrass), and the old-school R&B sendup “One Fine Day.” “Angels and Devils” even gets into a swingin’ classic rock ‘n’ roll vibe, Fairbrass obviously having fun doing his best Elvis Presley. “Exactly!” closes with “Raining in England,” a piano ballad with a heartfelt vocal that turns into a standard rocker as it winds to its end.

Also problematic is the cheap-sounding production. There’s just not much fun to be had, even on the most upbeat tracks. Still, it’s better than trying to sit through a dozen attempted rewrites of “I’m Too Sexy.” It’s a good try, but “Exactly!” is going to leave Right Said Fred right where they’ve been for 25 years — forever associated with “Sexy.”

While it’s obviously difficult to escape from the shadows of such a cultural milestone, they deserve credit for keeping the music going, trying new and different things and striving to be creative. “Exactly!” is an album you go in expecting to hate, end up really trying to like, but in the end the songs just aren’t there.

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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.

Published

4 days 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.

Music & Concerts

Berkshire Choral to commemorate Matthew Shepard’s life

Concert held at Washington National Cathedral

Published

2 weeks ago

June 27, 2025

Tinashe Chingarande

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.

Music & Concerts

Indigo Girls coming to Capital One Hall

Stars take center stage alongside Fairfax Symphony

Published

1 month ago

June 12, 2025

Tinashe Chingarande

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.