Music & Concerts

Years & Years, Steve Grand return with stellar sophomore efforts

In vastly disparate ways, out singers use sexual candor to maximum effect

Published

7 years ago

July 12, 2018

out queer artists, gay news, Washington Blade

Olly Alexander, the British Years & Years frontman, uses religious imagery to great effect on his band’s new album. (Photo by Ed Cooke)

Out queer artists remain the exception in 2018. But the number who have come out or who are open about their sexuality continues to grow: Singers like Frank Ocean, Troye Sivan, Hayley Kiyoko, Janelle Monáe, Sam Smith and Brendon Urie are good examples of how queerness plays out on mainstream pop charts. But artists on the periphery of mainstream American pop rarely get the attention given to their Top 40 counterparts.

Two new albums make the less mainstream queer artists hard to ignore: British band Years & Years and American singer Steve Grand are out with sophomore albums that grapple with sexuality in prominent, public ways — and both comfortably use male pronouns to refer to a love interests, something of a rarity even for queer artists.

Years & Years, whose debut album “Communion” (2015) made it to No. 1 Billboard spot in the U.K., released a short film to accompany its new dance pop record “Palo Santo.” And it has much in common with Janelle Monáe’s recent “Dirty Computer,” which imagines a dystopian future where sexual nonconformity is controlled and repressed. “Palo Santo” envisions a futuristic city where humans serve as cabaret-style entertainment for unfeeling androids.

In the short film, Years & Years frontman Olly Alexander performs in the android-controlled cabaret. Complete with strip teases and elaborate choreography, the short film portrays humans forced into the seemingly impossible task of making the nonhuman androids feel emotion. The not-so-veiled critique of our over-connected culture comes through clearly and one can’t help but wonder if Alexander wrote parts of the album during a “Black Mirror” binge.

Lyrically, Years & Years navigates this sci-fi universe by way of religious language. “Sanctify,” the album’s lead single, is an up-tempo, sensual track with relatively sparse instrumentation — the verses rely heavily on percussion. The layered harmonies and vocal trills are reminiscent of early 2000s boybands like ‘NSYNC. But there’s something else at play, a subversive sensuality filtered through religious vocabulary. As Alexander croons sweetly in the chorus, “Sanctify my body with pain/sanctify the love that you crave.”

This interesting — to say the least — marriage of religious expressions and queer sexuality occurs over and over throughout the album. In “Hallelujah,” an upbeat dance track, he ties the word to the body of a lover: “Until our bodies are singing hallelujah.” The repurposing of religious verbiage is something of a band trademark: “Communion” was not a haphazard choice of title for their debut album. And many of the tracks on “Palo Santo” reflect this tendency, with titles such as “Sanctify,” “Hallelujah” and “Preacher.” Alexander is clearly invested in pushing lyrical boundaries.

The catchiest track on the album is “If You’re Over Me,” a cheery dance track with a bouncy synth hook. Consequently, it’s the song Alexander performs at the cabaret in the short film. The lyrics address familiar breakup themes: “Well you should set me free/baby if you’re over me.” But the song is irresistibly danceable and has already been performing well on the charts, arriving at No. 6 on the Billboard Official U.K. Singles Chart.

But the album isn’t all dance. As with the “Communion,” “Palo Santo” shows a great deal of variety. The title track plays with various rhythms and is piano driven. In “Here,” the most subdued track on the album, Alexander relies on his upper register and layered harmonies to create a haunting, ethereal sound. The simplicity of the lyrics add to the effect: the chorus is just a simple repetition of the phrase “I’m not here.”

“Palo Santo” stands out not only for its high production values — the costumes and choreography — but also for its seamless flow. Each track is meticulously placed. The album’s overall sound and Alexander’s vocals are at times reminiscent of Justin Timberlake’s on “FutureSex/LoveSounds” (2006). And it stands as a reminder that queer artists need not sacrifice musical quality for a strong concept.

If Years & Years trends continental, edgy and futuristic, Steve Grand is a fully homegrown product. Following the success of his 2015 album “All American Boy,” the singer from suburban Illinois has been a fixture of the gay community, regularly performing at summer concerts in Provincetown and at Pride festivals, and relishing the opportunity to sing in his underwear — almost as much as his enthusiastic fans.

Much like his previous album, “Not the End of Me” bounces between piano-driven pop/rock and country. But the album cover shows an unsmiling, bearded Grand, who seems ready to show a deeper part of himself. Writing as a gay man, the songs deal with relationships, hook-up culture and cheating.

There are many things to like about Grand’s new album. His lyrics are wonderfully conversational and he’s an excellent storyteller. His songs have a refreshing down-to-earth quality. Though the reverb is often overdone and he’s sometimes more than a little cheesy, there is something almost irresistible and believable about Grand’s music.

The single “Walking” is a synthesizer-heavy dance track. It’s a fun, catchy song that is likely to find its way into nightclubs. It comes closest to the youthful, carefree feeling of songs like “Better Off” and “All-American Boy” from the previous album.

“Ain’t It Something” has the feel of Jason Mraz song, a summer romance with a beach vibe. As Grand charmingly puts it, “You walked in with that grin, as if proud of the job you did/Hiding that southern accent, but I know a ‘good-ole’ boy’ when I see him.”

But Grand is at his best when he’s behind the piano. And the more reflective material on “Not the End of Me” gives him the chance to do just that, particularly on tracks “Don’t Let the Light In,” “Anti Hero,” “All I Want” and “Can’t Go Back.”

Years & Years and Steve Grand exemplify queer artists outside of the mainstream who are unafraid to make sexuality a central theme of their music. And in all likelihood, they are just the tip of the iceberg.

Steve Grand (Photo courtesy of Grand)

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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.

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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.

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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.

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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 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.