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New Erasure album ‘World Be Gone’ is sublime, melodic

Veteran British hitmakers take slight left turn on new project



Erasure, gay news, Washington Blade

It’s easy to take Erasure bandmates ANDY BELL, left, and VINCE CLARKE for granted as they have stayed highly active in the studio while many of their contemporaries have vanished. (Photo by Doron Gild)

Thirty-two years after the release of Erasure’s debut album “Wonderland,” the veteran British duo is obviously far from finished. Last year came the ambitious, career-spanning box set “From Moscow to Mars,” and now a new studio album, the duo’s 17th, adds to Andy Bell and Vince Clarke’s vast musical legacy.

“World Be Gone” is another twist in a sensational career that continues to roll along with impressive resilience in the notoriously fickle universe of pop music. Erasure’s enduring appeal, even as many artists who emerged from the ‘80s have disappeared or are scraping by on the nostalgia circuit, is easy to understand as the duo continues to churn out one great album after another.

After two ultra-modern and sleek electro-dance albums (2007’s “Light at the End of the World” and 2011’s “Tomorrow’s World”) notable for big arrangements and massive walls of sound, the duo veered in a more retro and stripped-down direction while remaining largely upbeat on 2014’s excellent “The Violet Flame.” “World Be Gone” continues to ignore the latest pop music trends, instead relying on rich and vintage sounding synths and Bell’s sonorous, theatrical vocals, which are often intertwined with deftly arranged, multi-layered background vocals. The mood is more contemplative than anything Erasure has released since 2005’s sadly overlooked “Nightbird,” and while “World Be Gone” might not equal that album’s superb songcraft, it’s certainly a worthy addition to the duo’s catalog.

The album’s opener and first single, “Love You to the Sky,” is a classic Erasure pop anthem, with a sweeping chorus and Andy Bell’s vocals as rich and expressive as ever. After this upbeat opening, though, the album turns inward and reflective. The superb “Be Careful What You Wish For!” is a yearning ballad with an exquisite vocal arrangement, one of the album’s finest moments, and sets the tone for much of what is to come.

The downbeat vibe continues with the weary and haunting title track and the stark break-up ballad “The Bitter Parting,” Bell’s voice taking center stage over Vince Clarke’s spare but lovely electronic accompaniment. Another powerful ballad, the album’s second single “Still It’s Not Over,” is yet another example of the depth of Erasure’s songcraft. Bell’s delivers his vocals with the gravitas and emotional power the song requires.

Perhaps even more impressive is “Take Me Out of Myself,” a wrenchingly personal track with genuine feeling in both Bell’s vocal and Clarke’s sublime retro electronic mastery. “Sweet Summer Loving” is a devotional love song with a lushly beautiful chorus that positively glows with sincerity.

“World Be Gone” closes with “Just a Little Love,” perhaps the brightest and most upbeat pop song on the album. It’s a smart move. The duo knows they’ve delivered a collection of songs that appeal to the heart and the head more than to dancing under flashing lights or singing along in the car, but almost as if to prove they can still deliver a killer pop tune, they unleash “Just a Little Love” as the perfect sendoff. It’s an obvious choice for a single at some point.

While Erasure generally stays within the lines of its melodic template of high energy synth-pop, each album has a distinct vibe and the duo isn’t afraid to allow their creativity to take them in directions fans might not expect. This fearlessness and creativity is the key to their longevity, and is often overlooked. “World Be Gone” has already notched the duo their highest debut on the UK album chart since 1994’s “I Say, I Say, I Say” became their fourth straight chart-topper, which bodes well for the album’s future.

Erasure enjoys a sizable contingent of dedicated fans in the US, but are largely ignored by mainstream radio and most music media. The typical Top 40 radio listener in America (at least those of a certain age) might be familiar with “A Little Respect,” “Chains of Love,” and perhaps “Always,” despite the fact that the duo has enjoyed dozens of international hits. “World Be Gone” isn’t likely to change that, but it deserves to be heard. It’s not an immediately impactful album and there are few obvious pop-friendly hooks, but with repeated listens, its slow and subtle power becomes evident. Sometimes Erasure is dismissed (unfairly) as lightweight; “World Be Gone” is yet another example of how this characterization is utterly and completely wrong.



Music & Concerts

Musical icons and newer stars to rock D.C. this spring

Brandi Carlile, Bad Bunny, Nicki Minaj, and more headed our way



Brandi Carlile plays the Anthem this month.

Bands and solo artists of all different genres are visiting D.C. this spring. Patti LaBelle and Gladys Knight will team up to perform at the Wolf Trap in June, and girl in red will play at the Anthem in April. Some artists and bands aren’t paying a visit until the summer, like Janet Jackson and Usher, but there are still plenty of acts to see as the weather warms up. 


Brandi Carlile plays at the Anthem on March 21; Arlo Parks will perform at 9:30 Club on March 23; Girlschool will take the stage at Blackcat on March 28.


Nicki Minaj stops in D.C. at Capital One Arena as part of her North American tour on April 1; Bad Bunny plays at Capital One Arena on April 9 as part of his Most Wanted tour; girl in red performs at the Anthem on April 20 and 21; Brandy Clark plays at the Birchmere on April 25; Laufey comes to town to play at the Anthem on April 25 and 26. 


Belle and Sebastian play at the Anthem on May 2; Chastity Belt performs at Blackcat on May 4; Madeleine Peyroux stops at the Birchmere on May 5; The Decemberists play at the Anthem on May 10; the rock band Mannequin Pussy performs at the Atlantis on May 17 and 18; Hozier plays at Merriweather Post Pavilion on May 17 as part of the Unreal Unearth tour. 


Patti LaBelle and Gladys Knight will sing soulful melodies at Wolf Trap on June 8; Joe Jackson performs at the Lincoln Theatre on June 10; the Pixies and Modest Mouse are teaming up to play at Merriweather Post Pavilion on June 14; Maggie Rogers plays at Merriweather Post Pavilion on June 16 as part of The Don’t Forget Me tour; Brittany Howard headlines the Out & About Festival at Wolf Trap on June 22; Sarah McLachlan plays at Merriweather Post Pavilion on June 27; Alanis Morissette performs at Merriweather Post Pavilion on June 29 and 30

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Music & Concerts

Grammys: Queer women and their sisters took down the house

Taylor Swift won Album of the Year



When the late, great Ruth Bader Ginsburg was asked when there will be enough women on the Supreme Court, her answer was simple: Nine. She stated: “I say when there are nine, people are shocked. But there’d been nine men, and nobody’s ever raised a question about that.” RBG did not attend the Grammy’s last night, but her spirit sure did. Women, at long last, dominated, ruled and killed the night.

Cher, in song a decade ago, declared that “this is a woman’s world,” but there was little evidence that was true, Grammy, and entertainment awards, speaking. In 2018, the Grammys were heavily criticized for lack of female representation across all categories and organizers’ response was for women to “step up.”

Be careful what you wish for boys.

The biggest star of the 2024 Grammys was the collective power of women. They made history, they claimed legacy and they danced and lip sang to each other’s work. Standing victorious was Miley Cyrus, Billie Eilish, SZA (the most nominated person of the year), Lainey Wilson, Karol G, boygenius, Kylie Minogue and Victoria Monét. Oh, yes, and powerhouse Taylor Swift, the superstar from whom Fox News cowers in fear, made history to become the first performer of any gender to win four Best Album of the Year trophies.

In the throng of these powerful women stand a number of both LGBTQ advocates and queer identifying artists. Cyrus has identified as pansexual, SZA has said lesbian rumors “ain’t wrong,” Phoebe Bridgers (winner of four trophies during the night, most of any artist) is lesbian, Monét is bi and Eilish likes women but doesn’t want to talk about it. Plus, ask any queer person about Swift or Minogue and you are likely to get a love-gush.

Women power was not just owned by the lady award winners. There were the ladies and then there were the Legends. The first Legend to appear was a surprise. Country singer Luke Combs has a cross-generational hit this year with a cover of Tracy Chapman’s “Fast Car.” When originally released, the song was embraced as a lesbian anthem. When performing “Fast Car,” surprise, there was Chapman herself, singing the duet with Combs. The rendition was stunning, sentimental and historic.

Chapman, like many of the night’s female dignitaries, has not been public with her sexuality. Author Alice Walker has spoken of the two of them being lovers, however.

The legend among legends of the night, however, was the one and only Joni Mitchell. Not gay herself, she embodies the concept of an LGBTQ icon, and was accompanied by the very out Brandi Carlile on stage. On her website, Mitchell’s statement to the LGBTQ community reads, “The trick is if you listen to that music and you see me, you’re not getting anything out of it. If you listen to that music and you see yourself, it will probably make you cry and you’ll learn something about yourself and now you’re getting something out of it.”

Mitchell performed her longtime classic “Both Sides Now.” The emotion, insight and delivery from the now 80-year old artist, survivor of an aneurism, was nothing short of profound. (To fully appreciate the nuance time can bring, check out the YouTube video of a Swift lookalike Mitchell singing the same song to Mama Cass and Mary Travers in 1969.) In this latest rendition, Mitchell clearly had an impact on Meryl Streep who was sitting in the audience. Talk about the arc of female talent and power.

That arc extended from a today’s lady, Cyrus, to legend Celine Dion as well. Cyrus declared Dion as one of her icons and inspirations early in the evening. Dion appeared, graceful and looking healthy, to present the final, and historic, award of the night at the end of the show.

Legends did not even need to be living to have had an effect on the night. Tributes to Tina Turner and Sinead O’Conner by Oprah, Fantasia Barrino-Taylor and Annie Lennox respectively, proved that not even death could stop these women. As Lennox has musically and famously put it, “Sisters are doing it for themselves.”

Even the content of performances by today’s legends-in-the-making spoke to feminine power. Eilish was honored for, and performed “What Was I Made For?,” a haunting and searching song that speaks to the soul of womanhood and redefinition in today’s fight for gender rights and expression, while Dua Lipa laid down the gauntlet for mind blowing performance with her rendition of “Houdini” at the top of the show, Cyrus asserted the power of her anthem “Flowers” and pretty much stole the show.

Cyrus had not performed the song on television before, and only three times publicly. She declared in her intro that she was thrilled over the business numbers the song garnered, but she refused to let them define her. As she sang the hit, she scolded the audience, “you guys act like you don’t know the words to this song.” Soon the woman power of the room was singing along with her, from Swift to Oprah.

They can buy themselves flowers from now on. They don’t need anyone else. Cyrus made that point with the mic drop to cap all mic drops, “And I just won my first Grammy!” she declared as she danced off stage.

Even the squirmiest moment of the night still did not diminish the light of women power, and in fact, underscored it. During his acceptance of the Dr. Dre Global Impact Award, Jay-Z had a bone to pick with the Grammy voters. He called out the irony that his wife Beyoncé had won more Grammys than any other human, but had never won the Best Album of the Year. Yeah, what’s with that?

But then, it brought additional context ultimately to the fact that the winner of the most Grammys individually … is a woman. And to the fact that the winner of the most Best Album of the Year awards … is a woman.

Hopefully this was the night that the Grammys “got it.” Women are the epicenter of The Creative Force.

Will the other entertainment awards get it soon as well? We can hope.

Most importantly, in a political world where women’s healthcare is under siege. Will the American voters get it?

A little known band named Little Mix put it this way in their 2019 song “A Woman’s World.”

“If you can’t see that it’s gotta change
Only want the body but not the brains
If you really think that’s the way it works
You ain’t lived in a woman’s world

Just look at how far that we’ve got
And don’t think that we’ll ever stop…”

From Grammy’s mouth to the world’s ear.

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Music & Concerts

Janet Jackson returning to D.C, Baltimore

‘Together Again Tour’ comes to Capital One Arena, CFG Bank Arena



Janet Jackson is coming back to D.C. this summer.

Pop icon Janet Jackson announced this week an extension of her 2023 “Together Again Tour.” A new leg of the tour will bring Jackson back to the area for two shows, one at D.C.’s Capital One Arena on Friday, July 12 and another at Baltimore’s CFG Bank Arena on Saturday, July 13.  

Tickets are on sale now via TicketMaster. LiveNation announced the 2023 leg of the tour consisted of 36 shows, each of which was sold out. The 2024 leg has 35 stops planned so far; R&B star Nelly will open for Jackson on the new leg. 

Jackson made the tour announcement Tuesday on social media: “Hey u guys! By popular demand, we’re bringing the Together Again Tour back to North America this summer with special guest Nelly! It’ll be so much fun!”

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