Music & Concerts
Sophie B. Hawkins D.C. concert great — just way too short
Long-out singer/songwriter previewed several new tunes at last weekend’s Jammin’ Java mini-set


SOPHIE B. HAWKING with son DASHIELL (background) and local fan DJ MATT BAILER last weekend at Jammin’ Java. (Washington Blade photo by Joey DiGuglielmo)
It was a cruel twist of fate that resulted in Sophie B. Hawkins’ first concert in the D.C. region in more than a decade being a shared co-bill with Ellis Paul. He was delightful, just not Sophie.
But then being a Hawkins fan in general has been a bit of a frustrating experience in recent years. Known mainly for two ’90s mega hits, her output has grown lean in recent years. Her last album was 2012’s “The Crossing.” She previewed several new songs from a finished (or nearly finished) album she has yet to release at last weekend’s show at Jammin’ Java, an inviting, yet somewhat boisterous venue in Vienna, Va. (the crowd was mostly engaged and respectful yet the bar cash register clanged noisily throughout the set; how could this issue remain unresolved at a music venue? Odd).
Part of Hawkins’ appeal is that she always plays by her own rules. This has led to some delightfully kooky moments over the years and Saturday’s concert was no exception. Hawkins arrived with her two kids in tow plus an assistant and walked casually through the Jammin’ Java lobby while ticket holders were in line in the lobby waiting for the house to open. Even 25 years after her debut album, her star quality is undeniable. It was such an unexpected occurrance, it didn’t quite register instantly what was happening, yet immediately one sensed things had shifted. The molecules in the room had been altered.
Playing from 6:30 p.m.-7:25 (she’d driven to the venue that day from her New York home and commented on the autumnal beauty of the drive), Hawkins’ set was deliciously unpretentious and even at times ragged. She opened with “Lose Your Way,” her controversial 1999 single that led to a showdown with her label Sony. Accompanying herself only with a banjo (the instrument that sent execs reeling as they thought it was pop radio poison), Hawkins gave a tender, focused reading of the gentle tune. Picking gently and poised on a high stool like a mermaid, not all the chords were right but it didn’t feel or sound like it mattered. It felt like something you might hear at a super late night cabaret bar in the East Village and you just felt grateful to be breathing the same air as this musical genius.

SOPHIE B. HAWKINS performs a djembe solo at last weekend’s concert. (Blade photo by Joey DiGuglielmo)
“As I Lay Me Down” was performed in similar fashion albeit on guitar. The audience took over the chorus toward the end at Hawkins’ behest while she sang backing vocals. Even amidst the clatter in the room — patrons were chowing down on nachos, chili and beer — it was a tender little moment.
Playing 100 percent solo, Hawkins was an adventuress songstress. She kept going no matter what — if her voice cracked or she played a wrong guitar chord, she seemed unfazed by it. She played tenderly at times, aggressively at others. She was down for anything, even replicating a trumpet solo skat style from “Before I Walk on Fire” while she kept the guitar accompaniment going. Like a distressed Restoration Hardware cabinet, the rough patches were part of the charm.
Moving over to a slightly out-of-tune upright piano, she performed a song she wrote from the point of view of Janis Joplin (whom she portrayed in a play a few years ago) called — one guesses — “I’ve Only Hungered for Love Before.” Dashiell, her 8-year-old son, sang the chorus with her and did remarkably well. Daughter Esther, 2, could be heard squealing a time or two in the background while her mom sang. I didn’t mind as much as I ordinarily would have — it just felt like some loosey-goosey family night.
Shockingly (although I was totally fine with it), the rest of the set save the closer was all new material, performed on piano except for a feverish drum breakdown on kiss-off “Better Off Without You.” “Free Yourself,” “I Can’t Replace You” and “Don’t Give Up on Christmas” were all tenderly performed, highly melodic ballads with logical, easy-on-the-ear chord progressions and just the right amount of rhythmic punctuations here and there. It was easy to imagine them in fully produced versions taking comfortable spots in Hawkins’ lofty and sadly underrated canon.
If there was any recurring mild complaint to the evening it was only that several of the songs, especially the older ones, seemed like they were played in keys a little too high than sounded comfortable for Hawkins’ upper register. That’s OK to a point — we don’t necessarily want our favorite singers to have an easy, no-sweat outing, but it sounded at times that perhaps Hawkins wasn’t properly warmed up. The notes and pitch were mostly there — they just sounded a bit more strained than was necessary at times.
Along the way she told stories. Some were song intros — how her roommate wanted her to stop working on “As I Lay Me Down” so she could sleep (oh the irony!); others were random — for no apparent reason other than that it had popped into her head, she sang a few lines of Neil Diamond’s “Sweet Caroline” and said at the moment, it’s her favorite song. She urged patrons whose view was obstructed by the piano to move. She seemed in good spirits, genuinely happy to be there, throughout the set. She looked exactly the same weight she was in the ’90s, or maybe even slightly thinner. As always, her wild trademark tresses were tossed casually and even at times wildly (as during the drum solo) about during the performance. She looked significantly younger in person than recent promo photos would suggest. With little makeup and exceedingly casual (although not shredded as in years’ past) attire, she looked like she might have just sauntered in from a farmer’s market.
Hawkins closed with her trademark hit “Damn, I Wish I Was Your Lover.” Even all these years later, it still came off as deliciously sexy and slightly audacious. It sounded much like it did as a bonus acoustic re-recording on “The Crossing.” It was over way too soon. One craved a 90- or 120-minute set with time to savor more material from her masterpiece albums like “Whaler” (1994) and “Timbre” (1999). I’d revisited them both in previous days and had forgotten how great they are. Although known primarily for two major singles, Hawkins is really an album-oriented artist. These records take you somewhere. I desperately wanted to hear more of them live although I was also happy just to be in the same room with her again.
After the show and during Paul’s set, Hawkins greeted fans and signed albums. She departed with her entourage the same way she entered with several instruments in tow. They were driving back to New York that night and she commented that she appreciated the early evening (she was done before it was even 8 p.m.). There was some brief discussion about who might carry the last large duffel bag. The assistant asked Dashiell to pick it up but Sophie said she had it. She slung it over her left arm, had Esther on her right hip and the group departed.
SOPHIE B. HAWKINS
JAMMIN’ JAVA
10-28-17
(some titles not certain)
6:29 p.m.
1. Lose Your Way
2. Before I Walk on Fire
3. As I Lay Me Down
4. I’ve Only Hungered for Love Before
5. Free Yourself
6. I Can’t Replace You
7. Better Off Without You
8. Don’t Give Up on Christmas
9. Damn I Wish I Was Your Lover
7:22 p.m.
Music & Concerts
Here’s everything queer that just happened at the 67th Grammy Awards
LGBTQ megastars among winners, performers

The 67th Grammy Awards featured debut performances by LGBTQ megastars Chappell Roan, Sabrina Carpenter, and Doechii — all of whom also won awards at Sunday’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 — 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 (“Alligator Bites Never Heal”).
She stunned audiences with her performance and her speech, dedicating her win to Black women everywhere. Only two other women have won the award — Lauryn Hill and Cardi B since the category was introduced in 1989.
“I 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,” 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.
“Trans 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,” 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 — 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 — and to no one’s surprise, it didn’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 (“All Born Screaming”), Best Alternative Music Performance (“Flea”), and Best Rock Song (“Broken Man”).
During her red carpet interview, reporters asked Clark about the shocking news about her mentioning her wife and daughter, she responded “Most people were [unaware]. It’s young, so we’ve kept it under wraps.” 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 she’s in.
Girl, you’re good.
Sabrina Carpenter
Though Carpenter didn’t win any of the “Big Four” categories, she did win Best Pop Vocal Album for (“Short n’ Sweet”) and Best Pop Solo Performance for (“Espresso”).
According to E!, Carpenter’s acceptance speech was apparently censored, cutting her off after she said: “Thank you, holy sh*t, bye!”
The pop star was nominated for Record of the Year (“Espresso”), Song of the Year (“Please, Please, Please”), Best New Artist, Best Pop Vocal Album (“Short n’ Sweet”), Album of the Year (“Short n’ Sweet”), Best Remixed Recording (“Espresso – Mark Ronson x FNZ Working Late Remix”), Best Engineered Album, Non-Classical (“Short n’ Sweet”) — 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 (“Van Dutch”), also taking home the wins for Best Dance/Pop Recording for (“Van Dutch”) and Best Dance/Electronic Album for (“Brat”).
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.
“Trans people are not invisible. Trans people deserve love. The queer community deserves to be lifted up. Music is love. Thank you,” 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 — and the more voices, the more powerful the sound.”
Music & Concerts
Gay Men’s Chorus starting the year with a cabaret
‘Postcards’ to be performed at CAMP Rehoboth

The Gay Men’s Chorus of Washington will perform “Postcards,” a cabaret, on Saturday, Jan. 18 at 5:00p.m. and 8:00p.m. at CAMP Rehoboth Elkins-Archibald Atrium.
In this performance, the choir will share hilarious and heart-warming stories and songs about the travel adventures they’ve had and hope to have. Songs include “Midnight Train to Georgia,” “Streets of Dublin,” “Magic To Do,” “Home,” and “I Left My Heart in San Francisco.” Tickets cost $35 and can be purchased on Camp Rehoboth’s website.
Music & Concerts
WMC’s ‘Comfort and Joy’ fuses drama, well-being, light
Soloist describes production as ‘reverent and beautiful’

‘Comfort and Joy’
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, it’s no surprise that the Washington Master Chorale’s enduringly popular winter program remains a holiday favorite.
This December the Washington Master Chorale (WMC), helmed by out artistic director Thomas Colohan presents “Comfort and Joy” a selection of British and American works like “Lute-Book Lullaby,” “I Saw Three Ships,” “Puer Natus” by Samuel Scheidt and “Hosanna to the Son of David” by Orlando Gibbons.
In addition to these Christmas classics, WMC will perform 2022 Florence Price Commission Winner Mason Bynes’s “Ephiphanytide” and Ēriks Ešenvalds’ “Northern Lights,” the firsthand accounts of arctic explorers Charles Francis Hall and Fridtjof Nansen and their experiences surrounding the fabled aurora borealis.
Described as “reverent and beautiful” by “Northern Lights” tenor soloist Opal Clyburn-Miller, “Comfort and Joy” 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, “it seems people are put in their boxes and that’s where they stay.” They add, “there’s been some progress. It’s pretty much a traditional art form.”
With regard to their career, Clyburn-Miller, the Baltimore based Peabody Conservatory student, says the work usually comes through word of mouth: “You show up, you’re a good colleague and people want to work with you again.”
The solo piece, according to Colohan, is perfect for Clyburn-Miller. The soloist says in response: “Maybe I have the imagination to think of what Northern Lights might look like in Eastern Europe. I’ve never been that far north but I can put myself in that sense of wonder and astonishment.”
But the gig hasn’t been entirely without its tests. The lyrics are in Latvian, a new language for the meticulous singer.
“It’s been a bit tricky getting the Latvian down,” they say. “Usually in my singing experience, it’s been German, Italian and French, and I’m familiar with Spanish and some Hungarian and Russian, but this is entirely new.”
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 Ohio’s progressive Oberlin Conservatory. Around this time, he remembers visiting Washington for a music educator’s conference and partying at JR.’s, Badlands, and other bars. He says, “I 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.”
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.
“My secular approach is wider than some. I’m like the curator of the museum going down to the basement to bring some stuff up. You cannot hear the music if we don’t sing it.”
He’s remained conservative as an aesthetic but not an ethos. “I can wear a blazer and not be crazy right wing. Spiritually speaking, I’m Zen Buddhist now.”
A lot of the concert is about darkness and light. Colohan says, “In 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.”
“Comfort and Joy” closes with a candle lit chorale memorably singing “Silent Night.”
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