a&e features
Sophie B. Hawkins goes deep in advance of D.C.-area concert
‘90s hitmaker known for ‘Damn, I Wish I Was Your Lover’ is on fall mini-tour
Sophie B. Hawkins will sing hits and new songs at her Saturday evening concert in Vienna, Va. (Photo by Shervin Lainez; courtesy No Big Deal PR)
Ellis Paul and Sophie B. Hawkins
Saturday, Oct. 28
6:30 p.m. (doors, 5:30)
Jammin Java
227 Maple Ave. E
Vienna, Va.
$25
Singer/songwriter Sophie B. Hawkins is at a place in her life where she’s being highly deliberate about what she does.
She’s sitting on a finished album but wants to figure out a way to release it strategically for maximum impact. A recurring theme in our lengthy phone chat last week is that there are lots of great ideas, but several are just not high on her priority list right now.
Newly single after nearly two decades in a same-sex relationship, the 52-year-old singer known for ‘90s radio staples “Damn, I Wish I Was Your Lover” and “As I Lay Me Down” is back in New York focusing on her art and raising her two young children, Dashiell, 8, and Esther, 2.
She makes a rare D.C.-area appearance this weekend at Jammin’ Java in Vienna, Va., on her fall mini-tour. Her comments have been edited for length.
WASHINGTON BLADE: How does it feel to be back in New York again after so many years in Los Angeles?
SOPHIE B. HAWKINS: Well I was born and raised in Manhattan so when I get home to New York or anywhere near, I feel a certain accessibility to my soul. I feel like this is where I came into the world, where I’m coming back to and where I’m allowed to be me. I can be my age here, I can be a single woman, so exotic and excited to be alive, just in the day, and it’s not weird. I don’t have to drive a fancy car, I don’t have to wear makeup, I can just live and enjoy everyone’s energy and creativity. That’s the difference between L.A. and New York. In California, it’s harder to connect with people and harder to connect with people’s creativity. In New York, it’s very much coming up from the ground.
BLADE: What can we expect at your show this weekend and why are you doing a mini-tour now?
HAWKINS: This mini-tour came about for a very specific reason. I wanted to go out and do solo shows without one single musician, just me because I’d never done that before until weekend before last. I did it in Massachusetts and Maine and I really felt like this was the time for me to just go on stage and really see if I’m a good-enough musician and good-enough artist and good-enough storyteller to get out there and be the person that I am (in my home studio) working and writing songs. … I loved the last two shows. They were my favorites in a very long time because I just got up there with my instruments, my banjo, my drums, my guitar and my piano, and I sang the songs and it was so relaxed and emotional and, of course, intimate, but it was something more. Sort of a heightened experience. … I wouldn’t say it’s me being me because I’m always me, but it’s really one on one. It’s scary but that’s where I really like it the best.
BLADE: How was it received?
HAWKINS: Both audiences, and not that this should ever happen again, but they both gave me standing ovations and they all came back and it was a different conversation after the show. … It really could have gone terribly — that’s why I didn’t do it in New York. I could have walked off the stage and said, “I’m never doing that again,” and called my guitar player. But I’m actually excited to do it more.
BLADE: You’re working on a musical, you have a new album in the can, you did the Janis Joplin play a few years ago and said you even wrote some songs as Janis. What all will you be singing? Stuff from your albums or some of that stuff as well?
HAWKINS: Well, OK, first of all, I’m always going to do my hits. They’re beautiful and I just want people to know they won’t get deprived of that. The second thing is I’m definitely doing some new songs. People seem to really love the new songs and I’m doing one I just wrote a couple weeks ago that’s a brand new original Christmas song so it’s going to be exciting to do one that I just wrote. As for the album, I’m going to be totally candid because I always am, I don’t quite know how to get it out. I don’t want it to just be the same old process of putting all this effort into something and then making no money from it. I’m trying to find a new way and really taking my time. I really love it, I put a ton of energy into it and the songs are, in my opinion, phenomenal so I don’t want to just throw it out and have it go nowhere. The musical is still a work in progress. … I may put the Christmas song out just to have a little something but … I can’t just throw things out there anymore.
BLADE: You did some shows in New York back in June that you said you were going to record to try to capture something elusive you said doesn’t always show up on your studio work. Did you?
HAWKINS: Yes, well, I don’t know if I captured that elusive whatever but I did record all three shows and they were filmed. I don’t know if the filming was good because I haven’t seen it yet. … I’m not sure if I’m going to edit them and put anything out because that takes so much work. I wish I had another me to do that kind of work. And sometimes you’re just too close to it. I thought it sounded terrible when I listened to it in June but then I heard it again in September by accident and I was like, “No, that sounds pretty good, I should get to editing that.” … But again, it goes back to not wanting to just put stuff out just to do it. I’m looking for a right connection. I’m not dying for people to say, “Oh she’s great, listen to this,” and then move on to the next thing. There’s no reason for that. Maybe once I figure out when the album is coming out, the live stuff could be like the thank you for being part of my life and here is this gift.
BLADE: What has it been like rebuilding after going through the break-up of a 17-year relationship?
HAWKINS: Oh, it was awful. Just so incredibly sad, I can’t even tell you. … It’s still so difficult to understand how that could have happened. … I felt like I was saved when I got back to New York … by the skin of my teeth. There’s this amazing other part of yourself that says, “I’ve got to move before the tsunami hits, I gotta get out of my bed and start running” and that’s what happened. The tsunami was coming down on me and my son and I actually got out of bed and said, “We’re getting up now, move, move, move, get the dogs,” and we got to New York and boom, we would have been dead if we’d stayed a moment longer. And I mean completely dead emotionally, psychologically, financially, everything. It’s scary to think about. That’s one aspect of it. But thank God I landed and … could begin again. … There is still a reckoning I’m dealing with in my art and in conversations with close friends, you know, walking around going, “I can’t believe this is part of my story now.” … I never thought it would happen — a betrayal on that level.
BLADE: One song of yours that’s always haunted me is “I Need Nothing Else.” I know songwriters hate to explain what songs are about but can you illuminate us at all on that one?
HAWKINS: I love that song too because of the combination of the visceral and the spiritual and accepting it all as one and knowing that all things go together with no boundaries. All these things need each other and pull each other and tug each other and there’s that feeling of passion that I really love and then the phrase, “I need nothing else,” is what you do — you go through your life and you eliminate, you start to realize what you need and what you don’t need and you come back to this very essential quality. … You bring the drama on when you don’t know what you need and you do so many things to mask and then you find it and it’s unmasked — that’s that song, it’s unmasked, here it is.
BLADE: It’s taboo to say you wanna have sex with Jesus but pop music is kind of this nice place where you can entertain both the spiritual and the carnal, which is forbidden in gospel music. Is that a fair interpretation or am I off base?
HAWKINS: No, you’re so on base and I love that you said have sex with Jesus. Yes, it’s so true and in a way, that’s sort of what we’re doing. … And yes, that is the great thing about pop music and great poetry, it connects all these things. … There’s actually a movie out now that’s about all this called “The Novitiate.” Have you heard of it?
BLADE: No.
HAWKINS: It’s not out yet but I saw a screening and it’s really a brilliant movie but it’s not with men, it’s with nuns. Oh my God.
BLADE: How long did it take to make “Tongues and Tales” (1992) and “Whaler” (1994)? How long did you spend recording vocals and how long were the whole projects?
HAWKINS: OK, well, “Whaler” took shorter than “Tongues and Tales” because I worked with Stephen Lipson and he was — well, for both albums by the way, we used my demos a lot, which was interesting, so we’d have to include that time. I’d recorded those songs at home first. Like in “Did We Not Choose Each Other” when you hear the frying pans and all the crazy percussion and the keyboards, all that stuff was done at home. “As I Lay Me Down,” the percussion, the keyboards, all that was taken from my original demo and we just overlaid and built upon it.
BLADE: You felt you’d captured something on those that couldn’t be bettered?
HAWKINS: Yeah. There were periods where different producers would try to get away from it but even the head of the record company, Don Ienner at the time, the head of Sony, he said, “No, you’ve got to use the vocal on her demo, that’s why I signed her.” So there were always those moments where we would go back to that. … So “Whaler” didn’t take a long time ‘cause Stephen works fast. “Tongues and Tales” took a long time because I’d never made a record before and Rick Chertoff is known for taking a really long time. He wanted demo after demo after demo after demo. He could spend years on just a thought. It takes him hours to get a freaking sentence out. But in some ways, that’s also why he’s brilliant. He’s like an old-fashioned director. He’ll take you to dinner and you have to include all that in the process. So on “Tongues and Tales,” they didn’t spend anytime on me. It was all about the radio, what will happen to the album, and Rick Chertoff takes everything into consideration but then when it came time for vocals, believe it or not, they gave me like a day. I was really upset about that inside, but I did not wanna complain because they didn’t make me write with anybody, they completely stayed true to my vision so I thought, “Well, OK, I have a day, I’m just gonna use a day.” So the vocals were very fast. … But that worked out OK because I’m one of those people you can’t overdo things too much with. On “Whaler,” though, he did take much more time with the vocals.
BLADE: What happens to all the alternate takes and photo and video outtakes when a major label project like that wraps? Do you get it all or is it sitting in box in a warehouse somewhere?
HAWKINS: I think Sony probably trashed it all because, you know, I fought with them by the third album. I have all the demos, which is shocking. … But they didn’t care about what they didn’t use so I would think by this time they would have trashed everything. I did get a bunch of pictures. … Great outtakes from sessions by David LaChapelle, Bruce Weber and Mark Hanauer. It would be fun to do something with those but at this point in my career, I don’t want to spend the time looking through photos.
BLADE: I sense from what you’re saying there was some frustration with the release of “The Crossing,” your last album in 2012. Was the rollout underwhelming? How do you feel about it now that you have a little distance from it?
HAWKINS: Well that’s why I don’t want to put out another record the same way. I think there are some songs on it that are amazing. I just love “The Land, the Sea and the Sky.” It’s so raw, I don’t know, I just love the feel of it. And I love “A Child.” There are some songs I love. But certain songs I think are terrible on “The Crossing” and those are the ones I actually worked the most on. Like “Betchya Got a Cure,” I think could have been a great song but I think it’s just terribly done. … My manager-slash-partner had lost interest in me as a person and as an artist or whatever and I couldn’t really — I mean, I did it totally alone. No producer, no nothing. I even engineered the goddamn record. It was a beautiful studio, but still. I put it out with zero, and I mean zero, support, so in a way, it’s amazing it sounds as good as it does and it’s as lively as it is. There’s no way really I could have done better in that situation.
BLADE: What was your cover of “The Night They Drove Old Dixie Down” from? I found it later on a compilation and wasn’t sure.
HAWKINS: That was for a charity album. It might have been breast cancer because they wanted songs by women and I chose that because Joan Baez sang it and I loved it. I recorded it in my apartment where I was at the time on Christopher Street and I just did it at the piano with all those crazy vocals and the djembe drum and that was basically it. But people seem to like it. Sony was pretty mad at me. They said it wasn’t professional enough. I was like, “Well, then, you know, give me some money and I’ll do it more professionally.”
BLADE: Melissa Etheridge’s VH-1 “Duets” special now seems like this amazing time capsule of great ‘90s women rockers. What was it like taping it?
HAWKINS: Well, the first memory is when she called. … I dove to the floor to pick up the land line at a house in L.A. where I was staying and I couldn’t believe I was talking to Melissa Etheridge because this was at the time when she was having her huge, breakout like big, big moment, and I hit my head on the closet door when I went for the phone so I was pretending to be completely with it and cool and obviously I wasn’t. … I remember rehearsing with her and just thinking she was so amazing, her guitar playing and her presence. I loved her and felt like I would have loved her even if she wasn’t Melissa Etheridge, but I never would have because she’s from such a different part of the world. So then we got to the show and I really thought I’d botched it and I was kind of embarrassed. But I loved being with her and Paula Cole was super nice too.
BLADE: I get what you’re saying about prioritizing certain projects over others but it’s been 25 years this year since “Tongues and Tales” and “Damn, I Wish I Was Your Lover.” Are you doing anything to commemorate that?
HAWKINS: No, I didn’t really realize it was exactly 25 years. See that’s where it would be nice to have a team to help me remember those things.
BLADE: It’s so cool that you’re able to still devote yourself to art. New York and L.A. are both so insanely expensive and you’re raising two kids. Do you ever feel practical or financial concerns encroaching on your art? How do you soldier on?
HAWKINS: You do have to soldier on as an artist no matter what and as a mother because you cannot let those people down. It doesn’t matter if you have any money or not. The thing about being an artist in this day and age is that you cannot expect any kind of support if you’re in the music business. I’m lucky to have the support and recognition that I do. I see young people I’ve met and let open for me who have these amazing songs, they’re young and beautiful and talented and they’re in a way worse position than me. I’m doing really well, I actually am. … I could make a choice. I could make a lot of money, I mean relative to what I’m going to get back, and throw it in my career right now, but I really do feel the timing isn’t right and it would be a complete waste. I feel it’s a time to be really selective. … I learned with “The Crossing,” it’s not good enough to just stay afloat. It’s actually better almost to disappear and for everyone to think you’re gone forever and you were so beautiful and great then and if you have a rebirth or even if you don’t, then at least your work stands on its own. That’s a big concept. I hadn’t even really thought about it, I was just kind of talking out of my ass but yeah. I’m maintaining an amazing lifestyle in this amazing city and my children and art are doing amazingly well and I will tell you the honest truth — I’ve never been so happy in my life.
BLADE: How has being a mom shifted your artistic lens or has it?
HAWKINS: It’s made me more appreciative and patient with myself. … It’s moved me away from trying to be a perfectionist. … It’s also been fun to see how some things that I thought were just about me, they’re sort of genetic. Like the singing and stuff. … Not so much the creation of a song, but my son is like this amazing little walking poet and he says things that blow me away, but I think maybe he gets it from my mother. There’s some quality about it that’s really fun to see.
Sophie B. Hawkins at a 2004 Pittsburgh concert. (Washington Blade file photo by Joey DiGuglielmo)
a&e features
MISTR’s Tristan Schukraft on evolution of HIV prevention
From ACT UP to apps, embracing stigma-free care
It was not too long ago that an HIV diagnosis was read as a death sentence. In its earlier decades, the HIV/AIDS crisis was synonymous with fear and loss, steeped in stigma. Over recent years, open conversation and science have come together to combat this stigma while proactively paving the way for life-saving treatments and preventive measures like PrEP. Now, in 2026, with discreet and modern platforms that meet people where they’re at in their lives, HIV prevention has evolved from hushed words of warning into something far more sex-positive and accessible. Game-changing services like MISTR are a testament to this shift, showing our community that healthcare doesn’t have to feel clinical or shaming to work. It can be empowering and, dare I say, celebratory.
Few people embody this evolution quite like Tristan Schukraft, founder of MISTR. With one hand in healthcare and the other high-fiving through queer nightlife, Schukraft gets that, from the bar to the bedroom and beyond, prevention happens in person and in real life. His approach has helped turn PrEP, DoxyPEP, and testing into normalized parts of our daily queer life, reaching hundreds of thousands of people across the US.
In our conversation, Schukraft shares candidly about stigma, policy, and why the future of sexual health depends on keeping it real.
BLADE: You have one hand in healthcare and the other in nightlife and queer spaces. Can you share with us how these two spheres impact and inform each other? How do they impact and inform you?
SCHUKRAFT: Honestly, for me, they’ve never been separate. Nightlife and queer spaces are where people meet, date, hook up, fall in love, and make friends. That’s real life. Being in queer spaces all the time keeps me grounded and reminds me who we’re building MISTR for.
BLADE: MISTR markets sexual health in a sex-positive, stigma-free fashion. Can you share with us how you measure the impact of this approach?
SCHUKRAFT: This year, we held the first-ever National PrEP Day. Dua Lipa performed, and Cardi B was there. After the event, Cardi B went on her Instagram live to encourage people to sign up for PrEP.
When you make sexual health stigma-free and sex positive, people talk about it. We see it in how people use the platform. When 700,000 people are willing to sign up, get tested, start PrEP, and add things like DoxyPEP, that tells us we’ve made it feel safe and normal instead of scary or awkward. And then we see it in the results. Since we expanded DoxyPEP, STI positivity among our patients dropped by half.
BLADE: How have you seen the conversation of sexual health in our LGBTQ+ community change in mainstream culture in recent years?
SCHUKRAFT: Ten years ago, nobody was casually talking about PrEP, and if they did, it likely referenced one being a Truvada whore. Now it’s part of the culture. Popstars like Troye Sivan post pictures of their daily PrEP pill on social media. Cardi B goes on Instagram Live telling people to get on PrEP.
For many sexually active gay men, taking PrEP is simply part of the gay experience. For people in more remote areas, it might not be as talked about. Particularly in rural or more conservative places, MISTR can be a life-changing option. No awkward visits to the family doctor or the local pharmacy where everybody knows your business. It’s all done discreetly online and shipped straight to your door.
BLADE: You have publicly argued that cuts to government HIV prevention funding are of high risk. Would you please elaborate for us on what those budget decisions mean on an individual level?
SCHUKRAFT: It means real people fall through the cracks. Someone doesn’t get tested. Someone waits too long to start PrEP. Someone finds out they’re HIV-positive later than they should have. Community clinics will be the hardest hit, especially those in underserved communities. The good news is that MISTR is ready to help people who might lose their access to care. All you need to do is sign up at mistr.com, and it’s totally free with or without insurance.
BLADE: From your (and MISTR’s) perspective, how do these funding cuts threaten ongoing efforts to end the HIV epidemic?
SCHUKRAFT: For the first time, we have all the tools to end HIV. If everybody who is HIV negative is taking PrEP and everyone HIV+ is virally suppressed, we can end all new HIV transmissions in the United States. We have everything we need today. All we need is to get more people on PrEP. Cutting funding risks losing that momentum. Ending HIV requires scale and consistency. Every time funding gets cut, you lose momentum, trust, and infrastructure, and rebuilding that takes years.
HIV transmissions don’t pause because budgets change.
BLADE: In our current climate of decreased federal investment, what role do you feel private healthcare and business should play in sexual health?
SCHUKRAFT: With reports that the current administration is considering cuts to HIV and prevention funding, we face a moment of reckoning. At the same time, some employers are seeking to exclude PrEP and HIV prevention from their coverage on religious freedom grounds. If these challenges succeed, and if federal funding is slashed, the consequences for public health will be devastating. But this is where the private sector must step up to fill the gap, bridge divides, and deliver results.
Businesses have the power and platform to normalize HIV prevention and drive measurable outcomes. At MISTR, we see firsthand what’s possible: since introducing DoxyPEP, STI positivity rates among our patients have been cut in half. But it’s not just about medication. It’s about messaging.
Our sex-positive, stigma-free marketing speaks directly to our community, making sexual health part of everyday life. No awkward doctor visits, no needles, no paperwork — just free online PrEP and STI testing, prescribed by real physicians and delivered to your door. That kind of impact could grow exponentially if more employers embraced this approach and made HIV prevention part of their employee wellness programs.
Employers, this is your call to action. Start by making sure your health plans cover PrEP and DoxyPEP. Partner with platforms like MISTR to give employees private, stigma-free access to care. Offer on-site testing. Talk openly about sexual health, not just during Pride, but every day of the year. This is not political — this is about protecting lives, strengthening communities, and building a healthier, more productive workforce. Because healthy employees aren’t just good for public health — they’re good for business.
When the private sector steps up, outcomes improve. And when businesses align with platforms like MISTR, scaling impact isn’t just possible — it’s happening.
BLADE: Has MISTR experienced any direct effects from these recent shifts in public health funding?
SCHUKRAFT: MISTR’s unique model is totally free for patients with or without insurance, and we don’t cost the government or taxpayers a penny. We are scaling up our efforts to reach people who might be losing their access or care.
BLADE: What would be your message to policymakers who are considering further cuts to HIV/AIDS programs?
SCHUKRAFT: During his first term, President Donald Trump committed unprecedented resources to the Ending the HIV Epidemic initiative here at home. Bipartisan support has shown what’s possible when bold leadership meets smart strategy. To policymakers: I urge you to reconsider any cuts to HIV prevention funding. This is not the time to pull back. It’s the time to push forward. Ending HIV is within reach — but only if government, private industry, and community organizations stand together.
BLADE: What is one perhaps overlooked win from last year that impacted you on a personal level?
SCHUKRAFT: Seeing our STI positivity rate drop by half after expanding DoxyPEP.
BLADE: Looking at the year ahead, what are MISTR’s most significant priorities for sexual health in 2026?
SCHUKRAFT: Expanding access, especially in the South and in communities that still get left out. Rolling out injectable PrEP. And just continuing to make sexual healthcare easier and more normal.
a&e features
Visible and unapologetic: MAL brings the kink this weekend
Busy lineup includes dances, pups, super heroes, and more
MLK Weekend in D.C. brings the annual Mid-Atlantic Leather (MAL) Weekend. Just a short walk from where Congress has been attacking queer Americans this year, MAL takes place at the Hyatt Regency Washington for several days of intrigue, excitement, leather, and kink.
The Centaur Motorcycle Club — one of several similar groups dedicated to leather in the country — has been hosting MAL in its current form for more than 40 years. Originally a small gathering of like-minded people interested in the leather lifestyle, MAL has grown to include a full four days of events, taking place onsite at the Hyatt Regency Washington (400 New Jersey Ave., N.W.). Select partner happenings take place each night, and many more non-affiliated events are scattered across the DMV in honor of and inspired by MAL.
MAL Weekend has become an internationally renowned event that celebrates fetish culture, yet it also raises funds for LGBTQ organizations, “reinforcing its legacy as both a cultural and philanthropic cornerstone of the global leather community,” according to MAL organizers.
During the day, MAL events at the Hyatt include workshops, social gatherings, shopping, and other in-person engagements for the community.
“The Hyatt underwent an extensive top to bottom renovation after last year’s event,” says Jeffrey LeGrand-Douglass, the event chair. The lobby, meeting spaces, guest rooms, and other areas have been updated, he notes, “so I am very excited for our guests to experience the new design and layout for the first time. And of course as with every year, we look forward to the contest on Sunday afternoon and seeing who will become our new Mr. MAL.”
In the evening, MAL hands the reins to partner KINETIC Presents, the D.C.-based nightlife production company. KINETIC will host four consecutive nights of high-production events that fuse cutting-edge music, immersive environments, and performance. This year, KINETIC is popping open doors to new-to-MAL venues, international collabs, play zones, and a diverse lineup.
According to KINETIC managing partner Zach Renovátes, 2026 is the most extensive MAL production to date. “The talent lineup is unreal: an all-star roster of international DJs, plus drag superstar performances at the Saturday main event,” he says.
Renovátes added that he’s “most excited about the collaborations happening all weekend — from bringing in MACHO from WE Party Madrid, to teaming up with local leather groups, to nonprofit partners, and Masc Diva [a queer nightlife collective].”
Official MAL events begin on Thursday with the Full Package/Three Day Pass Pick-Up from 5:30-8:30 p.m. at the Hyatt.
Thursday night is also the KINETIC kickoff party, called LUST. Running 10 p.m. – 3 a.m., it’s being held at District Eagle. DJ Jay Garcia holds it down on the first floor, while DJ Mitch Ferrino spins in the expansive upstairs. LUST features special performances from the performers including Serg Shepard, Arrow, Chase, and Masterpiece.
Renovátes notes that the LUST opening party at District Eagle coincides with the bar’s grand re-opening weekend. The bar will unveil its new permanent home on the renovated second floor. “it felt like the perfect place to start Mid-Atlantic Leather weekend — right in D.C.’s only dedicated home for kink communities,” he says.
After Thursday night, Friday is when daytime events begin at the Hyatt. The Exhibit Hall, on the ballroom level below the lobby, hosts upwards of 30 vendors, exhibitors, and booths with leather goods, fetish wear, clothes, toys, other accessories, providing hours of time to shop and connect with attendees and business owners. The Exhibit Hall will be open on Friday from 4-10 p.m., as well as on Saturday and Sunday afternoons.
DC Health is once again back at MAL, to provide preventative health services. In the past, DC Health has provided MPox vaccines, Doxy PEP, HIV testing, Narcan kits, and fentanyl test strips. This booth will be open on Friday 4-10 p.m.
Later, at 6 p.m., the Centaur MC is holding its welcome reception on the ballroom floor. After the Centaur’s Welcome Reception, the MIR Rubber Social is 8-11 p.m. A Recovery Meeting is scheduled at 10 p.m.
Many attendees enjoy visiting the guest room levels of the hotel. Note that to get in an elevator up to a hotel room, a staff member will check for a hotel room wristband. Non-registered guests can only access host hotel rooms if they are escorted by a registered guest with a valid wristband. Registered guests are permitted to escort only one non-registered guest at a time. Non-registered guests with a wristband who are already in the hotel before 10 p.m. may remain until midnight. However, non-registered guests without a wristband will not be admitted after registration closes.
Friday night, for the first time, KINETIC Presents is joining forces with WE Party to bring MACHO to Washington, D.C. This official MAL Friday event delivers two stages and two genres. On the UNCUT XXL stage, international Brazilian circuit superstars Erik Vilar and Anne Louise bring their signature high-energy sound. On the MACHO stage, Madrid’s Charly is joined by Chicago’s tech-house force, Karsten Sollors, for a blend of techno and tech house. UNCUT also features the XL Play Zone, a massive, immersive space exclusive to this event. The party takes place at the Berhta space from 10 p.m.-4 a.m..
“This year we’re bringing back the two-room format we debuted at WorldPride for both Friday and Saturday, so attendees can really tailor their experience — whether they’re in the mood for circuit or tech house.” says Renovátes.
Directly after Friday’s UNCUT XXL, UNDERWORLD Afters takes over District Eagle, from 3:30-8 a.m. International DJ Eliad Cohen commands the music.
Saturday, the Exhibit Hall opens earlier, at 11 a.m.. DC Health will also be back from 11 a.m. to 6 p.m.
Saturday is also time for one of the most anticipated events, the Puppy Mosh, running from 11 a.m. to 1 p.m. During the event, pup culture comes to life, when pups, handlers, and friends can enjoy an inclusive, safe pup zone. There is also a Recovery Meeting at 11 a.m., and the IML Judges Announcement takes place at noon.
The popular Super Hero Meet Up will be held 1:30 p.m. – 3 p.m., sponsored by One Magical Weekend, for cosplayers, comic enthusiasts, and their friends.
From 2-6 p.m., the Onyx Fashion Show will take place to showcase and highlight people of color in leather.
Finally, the Leather Cocktail Party – the original event of MAL – will be held 7-9 p.m. in the Ballroom. While this requires special tickets to attend, at 9 p.m. is the MAL cocktail party, which is open to wider attendees.
The last event of Saturday leaves the hotel, again a partnership with KINETIC. Kicking off at 10 p.m. and running until 4 a.m., it’s just the second time that KINETIC’s Saturday night party is an official MAL event and serves as the main weekend engagement.
Saturday night’s centerpiece is called KINK: Double Trouble. The night will feature a first-ever back-to-back set from international electronic music icons Nina Flowers and Alex Acosta on the Circuit/Tribal Stage. The other room – the Tech House Stage – curated by The Carry Nation and Rose, provides a darker, underground counterpoint, reinforcing the event’s musical depth and edge.
Beyond the DJs, KINETIC has called in the big shots for this party: “RuPaul’s Drag Race” legends Nymphia Wind and Plastique Tiara are set to headline. The party also takes place at Berhta.
Sunday, back at the hotel, there will be another Recovery Meeting at 10 a.m., and the Exhibit Hall opens again from 11 a.m.-5 p.m.
At 1 p.m., the anticipated and prestigious Mr. MAL Contest that celebrates the achievements of the leather community will be held in the Ballroom. This highly sought after title gives one man the power to become the Mid-Atlantic Leather man of the year. Sash and title winners must be (1) male, (2), a resident of North America, (3) At least 21 years of age; and (4) self-identify as gay. The first Mr. MAL was crowned in 1985. The Winner of Mr. MAL has the privilege of later competing in International Mr. Leather (IML) in Chicago on Memorial Day Weekend 2025.
From 4 p.m. to 12 a.m., MAL will hold its Game Night for the gaymers in attendance. There will also be a special screening of A24’s new film, “Pillion,” about a man who is swept off his feet when an enigmatic, impossibly handsome biker takes him on as his submissive.
Sunday closes with a community partner event produced by Masc Diva, featuring Horse Meat Disco with support from Coach Chris, at A.I. Warehouse in the Union Market district. It’s the same team that produced HMD during WorldPride at A.I. Warehouse.
Note that there are several types of passes for attendance to the hotel and parties. KINK VIP Weekend Passes include express entry, VIP areas, and enhanced amenities throughout the weekend, while MAL Full Weekend Package holders receive access to the official Sunday closing event.
At last year’s MAL events, KINETIC Presents raised more $150,000 for LGBTQ charities, and expects to match or exceed that impact in 2026.
Renovátes stated that “now more than ever, it’s important to create safe, affirming spaces for our community — but it’s just as important to be visible and unapologetic. We want to make it clear that the LGBTQ+ and leather communities aren’t going anywhere. We’ve fought too long and too hard to ever feel like we have to shrink ourselves again, no matter what the political climate looks like.”
In addition to the KINETIC events, various LGBTQ bars will hold parties celebrating the theme of the weekend. For example, Kiki, located on U Street NW, is hosting a party called KINKI, hosted by DJ Dez, on Saturday night. Sister bar Shakiki, on 9th Street NW, is hosting a party called Railed Out, a fetish-inspired party that features a play zone, on Thursday night. Flash, on U Street NW, will hold its infamous Flashy Sunday party to close out the weekend.
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Queer highlights of the 2026 Critics Choice Awards: Aunt Gladys, that ‘Heated Rivalry’ shoutout and more
Amy Madigan’s win in the supporting actress category puts her in serious contention to win the Oscar for ‘Weapons’
From Chelsea Handler shouting out Heated Rivalry in her opening monologue to Amy Madigan proving that horror performances can (and should) be taken seriously, the Critics Choice Awards provided plenty of iconic moments for queer movie fans to celebrate on the long road to Oscar night.
Handler kicked off the ceremony by recapping the biggest moments in pop culture last year, from Wicked: For Good to Sinners. She also made room to joke about the surprise hit TV sensation on everyone’s minds: “Shoutout to Heated Rivalry. Everyone loves it! Gay men love it, women love it, straight men who say they aren’t gay but work out at Equinox love it!”
The back-to-back wins for Jacob Elordi in Frankenstein and Amy Madigan in Weapons are notable, given the horror bias that awards voters typically have. Aunt Gladys instantly became a pop culture phenomenon within the LGBTQ+ community when Zach Cregger’s hit horror comedy released in August, but the thought that Madigan could be a serious awards contender for such a fun, out-there performance seemed improbable to most months ago. Now, considering the sheer amount of critics’ attention she’s received over the past month, there’s no denying she’s in the running for the Oscar.
“I really wasn’t expecting all of this because I thought people would like the movie, and I thought people would dig Gladys, but you love Gladys! I mean, it’s crazy,” Madigan said during her acceptance speech. “I get [sent] makeup tutorials and paintings. I even got one weird thing about how she’s a sex icon also, which I didn’t go too deep into that one.”
Over on the TV side, Rhea Seehorn won in the incredibly competitive best actress in a drama series category for her acclaimed performance as Carol in Pluribus, beating out the likes of Emmy winner Britt Lower for Severance, Carrie Coon for The White Lotus, and Bella Ramsey for The Last of Us. Pluribus, which was created by Breaking Bad’s showrunner Vince Gilligan, has been celebrated by audiences for its rich exploration of queer trauma and conversion therapy.
Jean Smart was Hack’s only win of the night, as Hannah Einbinder couldn’t repeat her Emmy victory in the supporting actress in a comedy series category against Janelle James, who nabbed a trophy for Abbott Elementary. Hacks lost the best comedy series award to The Studio, as it did at the Emmys in September. And in the limited series category, Erin Doherty repeated her Emmy success in supporting actress, joining in yet another Adolescence awards sweep.
As Oscar fans speculate on what these Critics Choice wins mean for future ceremonies, we have next week’s Golden Globes ceremony to look forward to on Jan. 11.
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