Music & Concerts

New Supremes deluxe reissue features classic alternate takes, live ’67 show

Founding member Florence Ballard heard prominently on ‘Supremes Sing HDH’

Published

7 years ago

July 28, 2018

Joey DiGuglielmo

The Supremes, gay news, Washington Blade

The Supremes (Photo courtesy Motown/Universal)

It’s been a particularly rich several years for Supremes fans as Universal (previously under the now-defunct Hip-O-Select imprint) continues its series of classic album “expanded editions” from Motown’s leading ladies.

The latest — perhaps the series’ best, although that’s a tough call — is the deluxe reissue of “The Supremes Sing Holland-Dozier-Holland: Expanded Edition,” a two-CD digipak that features the original album in both stereo and mono mixes, 12 alternate takes/extended mixes and a jaw-droppingly pristine recording of the group’s 1967 engagement at the famous Copacabana nightclub in New York where just a few years earlier, they’d recorded their legendary “At the Copa” album (itself reissued in deluxe format in 2012).

The album — named for Motown’s main songwriting team — features the Supremes’ no. 1 hits “You Keep Me Hangin’ On” and “Love is Here and Now You’re Gone” as well as a cover of Martha and the Vandellas’ hit “(Love is Like a) Heat Wave” (interesting, though the girls don’t capture the Vandellas’ fire; it illustrates beautifully how different the two groups were) and “Going Down for the Third Time,” one of the Supremes’ best deep album cuts (it was later the B-side to “Reflections” and sounds like it could have been a smash itself).

The 1967 Copa recordings are notable on several counts. One, they’re the final group appearances of founding member Florence Ballard who was officially ousted from the group soon thereafter and replaced by Cindy Birdsong. Two, while bootlegs have circulated of these shows among fans in recent years, they’ve either been very hard to come by and/or available only with distorted audio. Everything’s cleaned up just so on the new album and we get the pleasure of hearing Ballard and fellow Supreme Mary Wilson’s backing vocals surprisingly high in the mix (we hear them much more prominently than we do on the accompanying studio recordings although, even there, they’re prominent).

The Supremes in their last few years with Diana Ross (she left in 1970) were a mixed bag. There were still hits (although not nearly as many) in the post-Ballard era (“Love Child,” their joint albums with the Temptations), but it was never quite the same. Birdsong did an admirable job with big heels to fill (her singing was lovely) but she could never hope to match Ballard’s sassy persona and brassy vocals. There’s a reason characters inspired by Ballard — played by Jennifer Holliday and and Jennifer Hudson in the stage and screen versions of “Dreamgirls” — are the ones everybody remembers.

The second disc here, with the Copa material, gives us the chance to hear Ballard on classic Supremes live material, especially a mash-up of “Thoroughly Modern Millie,” “Second Hand Rose” and “Mame” we’d previously only known from the group’s 1968 “Live at London’s Talk of the Town” album with Birdsong (itself, admittedly, a gem).

Culled from the best takes from two shows, we also get an alternate version of “Put On a Happy Face” (a different take than the one on the Supremes 2000 box set),” an uber-rare live version of “My Favorite Things” (recorded on the Supremes’ Christmas album) and a blistering live version of their 1967 No. 1 hit “The Happening.”

Thanks to these wonderful reissues, we now have a much better picture of the Supremes’ true stage act throughout the ‘60s. For decades, all we had were the original “At the Copa” and “Talk of the Town” albums (both heavily edited), but it’s now possible to truly feel what the Supremes classic lineup was like live between the “Copa” reissue album, this 1967 Copa show on the new release and the bonus disc of the 2012 equally grand re-release of the “I Hear a Symphony” album which features a previously unreleased (and complete!) live performance of the Supremes at the Roostertail in Detroit.

It’s all dated in the most deliciously endearing way, a breath of fresh air in our exceedingly jaded and ironic era. The cheesy, Vegas-y string section, the reprises that are nothing more than a retread of the last several bars of music, the canned stage patter — it just all works the same way you never get tired of “Carol Burnett Show” reruns or other classic relics of the era. It’s just a bit raw too — Ross’s lead vocals sound a tad weathered by constant touring. There’s a gritty topcoat on the otherwise wonderfully syrupy vocals we hear her offer on the studio material here.

Even though these final moments with Ballard are bittersweet to hear, I’m still champing at the bit for Universal to continue this series into the Birdsong years. It will be amazing — one can only hope — to hear the full “Talk of the Town” live recordings as well as a proper reissue of the group’s “Farewell” 1970 album. Although most notable as the group’s final shows with Ross, it’s of greater historical note to me because it’s all we really know of the Supremes’ 1969 live act.

Wilson told the Blade in a 2017 interview the “Farewell” material was pretty much the group’s 1969 live show, i.e. it was not greatly altered for the Frontier engagement (which became the “Farewell” album), still I yearn to hear what the group sounded like on a “normal” night that final year together. They toured relentlessly that year — let’s hope series producers Andrew Skurow and George Solomon are eventually able to unearth some heretofore unknown 1969 live material or at least some alternate Frontier-recorded Supremes performances.

Also, do yourself a big favor and don’t get this release on a digital or streaming medium. The foldout digipak is gorgeous and comes with two booklets, both chocked with vintage photos. One features an amazing interview with Motown songwriter Lamont Dozier (of the title); the other is a reproduction of the Supremes’ 1967 tour program.

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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.

Opera Lafayette

Purcell’s Dido & Aeneas

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+ Elijah McCormack, Chelsea Helm

Oct. 16, 7:30 p.m.

Sixth & I

PostClassical Ensemble

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Featuring National Geographic’s Enric Sala, Guest Curator

Wednesday, November 19, 7:30 p.m.

Terrace Theater

Washington Concert Opera

Gluck’s Iphigénie en Tauride

Starring Kate Lindsey, Theo Hoffman, John Moore, and Fran Daniel Laucerica

Nov. 23, 6 p.m.

Lisner Auditorium

Washington Master Chorale

Sacred Jewel Box

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.

Oct. 18, 7:30 p.m.

October 19, 5 p.m.

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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.

Tickets are available on Live Nation’s website.

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.