Music & Concerts
Streisand gets heavy handed; Robyn delights on new albums
Despite lovely moment, new Babs album ‘Walls’ is preachy, lumbering
Barbra Streisand’s new album ‘Walls’ is her most political in years, perhaps ever. Robyn’s ‘Honey’ takes the opposite approach. (Photos courtesy the Karpel Group)
Singers are getting more politically outspoken these days and more aware of the political implications of their influence.
Taylor Swift has been using her platform to register voters for the midterm elections. Queer artists like Janelle Monáe and Years & Years have used innovative visual albums to recast current political debates. But Barbra Streisand’s new album “Walls” is maybe the most overtly political release since the 2016 election.
Politics is nothing nothing new for Streisand. Her name was even found on one of Richard Nixon’s enemies lists, alongside other prominent celebrities. Throughout her singularly impressive career spanning six decades and boasting hits such as “Happy Days are Here Again,” “The Way We Were” and “People,” Streisand has been public with her politics.
But her new music is her most overtly political so far. She takes aim at current political problems and several of President Trump’s policies regarding climate change and immigration in particular. As she wrote in a statement about the album, “Even basic human decency appears to be melting away faster than the polar ice caps. I wanted to write and sing about some of these things … not only to convey my concerns, but also to state my belief that, if we remain vigilant to the truth, things can eventually turn around.”
The choice of “Walls” for the album title is, of course, a statement in itself. Streisand is keen to diagnose what she sees as the problem with contemporary society — namely, Trump. Yet the album feels somehow out of touch. She continually harkens back to an irrecoverable moment from America’s political past and seems stuck there.
That is not to say the music is bad. In fact, it’s a beautiful album that highlights in many places Streisand’s best virtues as a artist. She has never lost the unmistakable star quality of her voice, which continues to soar. And she is able to convey emotion with a great effect on the listener. Her mash-up of John Lennon’s “Imagine” and “What A Wonderful World” (first recorded by Louis Armstrong) is a tear-jerker. It’s Streisand at her absolute best.
The same might be said of her recording of “What the World Needs Now Is Love,” which again connects the her new album to songs protesting the Vietnam War. Beginning with a light string accompaniment, the song transitions to a jazzy piano waltz, before lurching forward into a funkier Motown rhythm. It’s an excellent recording and stands up well against other popular recordings of the song by Dionne Warwick and Tony Bennett.
“Better Angels” is another beautiful track. Unlike much of the material here, it offers a way forward. As she sings in the chorus, “We are not enemies/There is no good in that … We will find a way/Through all our differences.” The emotional arc of the song pulls the listener in from the beginning and like the best Broadway songs, it’s impossible not to sing along.
Other tracks on the album hardly live up to expectations, like lead single “Don’t Lie to Me,” a painful exercise in mixed metaphors that feels more like a Twitter rebuttal than a serious work. The video is worse. It has the aesthetic quality of an out-of-date campaign ad, pairing badly edited images with slogan-like text.
Needless to say, the album can be excessively preachy at times. Yet in spite of its melodramatic, heavy-handed tendencies, Streisand nonetheless manages to demonstrate her remarkable abilities as a performer. And although it’s unlikely to bring anyone new into fold, “Walls” is sure to please longtime fans.
After listening to Streisand, it’s almost a relief to turn to the world of Swedish dance-pop with Robyn. Her eighth studio album, “Honey,” is the newest iteration of her sound and it’s wonderful next step.
Since the release of her 1996 debut album “Robyn Is Here,” Robyn has been a dance-pop staple. And her three-part EP “Body Talk,” which featured the single “Dancing On My Own,” reaffirmed her place in pop and club scenes. Both “Call Your Girlfriend” and “Do It Again,” from her 2014 collaboration with the Norwegian group Röyksopp, have been No. 1 songs on the Billboard Dance Club chart.
Robyn is a master of musical silences. Her songs are not overfull, nor is every gap filled by a synth, guitar or vocal hook. “Human Being” featuring Zhala is a good example.
As an album, “Honey” is more interested in individuals rather than society as a whole. But at the same time, there’s something deeply comforting about her sound. It’s mellow and full of life, pulsating and reflective at the same time. And, of course, sexy. Very sexy.
Lead single “Missing U” begins with spiraling synth sounds which give way to a pulsing bass. One can’t help but be reminded of The Who’s introduction to “Baba O’Riley.” The songs “Between The Lines” and “Beach2k20” are the most experimental and fun on the album, featuring trance-inducing beats, alternation between spoken and sung vocals and a wide array of sound effects. Though too far left field for radio play, the songs offer an enjoyable variation between the two more traditional dance-pop tracks “Honey” and “Ever Again.”
Both Streisand’s “Walls” and Robyn’s “Honey” bring to mind the various ways artists deal with politics. Streisand speaks to a collective political crisis; Robyn turns inward. And if Streisand gives reasons to despair, Robyn reminds us to dance. Maybe that is a just as loud a political statement.
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.
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
Featuring Mary Elizabeth Williams as Dido
+ Elijah McCormack, Chelsea Helm
Oct. 16, 7:30 p.m.
Sixth & I
PostClassical Ensemble
The Pale Blue Do: A Musical Voyage Inspired By Nature
Featuring National Geographic’s Enric Sala, Guest Curator
Wednesday, November 19, 7:30 p.m.
Terrace Theater
Washington Concert Opera
Starring Kate Lindsey, Theo Hoffman, John Moore, and Fran Daniel Laucerica
Nov. 23, 6 p.m.
Lisner Auditorium
Washington Master Chorale
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.
St. David’s Episcopal Church
Music & Concerts
Cyndi Lauper ready to have fun in Virginia
Superstar to bring final leg of farewell tour to Jiffy Lube Live
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.
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.
MTG resigns after years of anti-LGBTQ attacks amid Trump feud
Theater classic gets sapphic twist in provocative ‘Hedda’
The far right’s bill mill
Comings & Goings
Trans workers take White House to court over bathroom policy
D.C. LGBTQ bars ‘hanging in there’ amid tough economy
New LGBTQ bar Rush set to debut
213 House members ask Speaker Johnson to condemn anti-trans rhetoric
Repealing marriage amendment among Va. House Democrats’ 2026 legislative priorities
Japan’s first female prime minister reluctant to advance LGBTQ rights
-
District of Columbia5 days agoD.C. LGBTQ bars ‘hanging in there’ amid tough economy
-
District of Columbia3 days ago
New LGBTQ bar Rush set to debut
-
National5 days ago
213 House members ask Speaker Johnson to condemn anti-trans rhetoric
-
Virginia4 days ago
Repealing marriage amendment among Va. House Democrats’ 2026 legislative priorities
