Music & Concerts
New Mariah album ‘Caution’ hovers around late-career sonic sweet spot
It’s no masterpiece and is a little samey throughout, yet rich texture, current production keeps things moving on tight, 10-cut effort

The new Mariah Carey record ‘Caution’ is a little samey throughout, yet rich textures, current production keep things moving. (Photo courtesy Epic)
Mariah Carey is pretty consistent. She’s never really made an all-out dud. Even the most nominal of fans can always find something enjoyable on her many studio albums. It’s just that sometimes they’re so clunkily and pretentiously titled, many don’t bother to check them out.
In stark contrast to snappily titled early releases like “Daydream” (1995), “Butterfly” (1997) and “Rainbow” (1999) came more recent efforts such as “Memoirs of an Imperfect Angel” (2009) and the ludicrously titled “Me. I Am Mariah … the Elusive Chanteuse” (2014), the lowest-selling album of her long career.
You shouldn’t judge a book by its cover or an album by its title (“Angel” and “Chanteuse” both had worthy moments) but thankfully we can get past all that titular tomfoolery with “Caution,” (**1/2 out of four) her Epic label debut out last week.
Is it a great start-to-finish record? No. And if you’ve been out of the Mariah loop for awhile and pick it up thinking there’s gonna be a barnburner like “Honey,” “Make it Happen” or “Dreamlover,” well — dream on. Any longtime music fan knows sometimes our favorite acts don’t always make the record we wanted them to. The “Caution”-era Mariah, now in her late 40s, is musically more subtle. These tracks don’t come roaring out of the gate. This is a richly atmospheric record you can play anywhere; its slinky, sexy, lite hip-hop grooves (courtesy a wide array of top-shelf producers) are easy on the ear. The handful of rap cameos from Ty Dolla Sign, Slick Rick, Blood Orange and Gunna are woven in deftly. There’s a sonic cohesiveness (although some might call it a mid-tempo rut) to the whole thing that’s refreshing.
It’s also a tight record with just 10 songs clocking in at 39 minutes total. Carey deserves kudos for reining in both musical excess and overall bloat here.
The best cuts all come early. “GTFO” (“get the fuck out”) is mellow and chill and would sound great on a turntable. Despite it being a sly and cleverly worded kiss-off, it’s an ear worm and a great opening cut.
First (non-promo) single “With You” drips with atmosphere and Carey and a lover enjoy “shots of Remy/playin’ confessions and our bodies blending/ooooh I’m in love it’s true/yeah damn I fux witchu.” Of course she’s no Bob Dylan (Carey co-penned all 10 cuts), but we never expected her to be. It’s again mellow, the chord progressions flow like melted butter and the lyrics are loose enough so as to give her plenty of room to improvise as the song reaches a boil.
She does it all with her usual tricks — doubled vocals an octave higher, ad-libby sounding outro lyrics, cascading vocal melismas and even a subtle cameo from her famed “whistle register,” (the upper reaches of her vocal range which early on were her trademark). Carey has struggled in live performance in recent years. Her range has at times appeared shot, her pitch shockingly iffy and even her mid-range lacking the luster it had in the ‘90s. But with all the studio bells and whistles at her disposal, Carey sounds great on “Caution.” The range is there but you never feel like she’s beating you over the head with vocal gymnastics.
The title cut is mellow, slinky and catchy. Several tracks follow in similar lush, always mid-tempo fashion — cute “A No No,” radio-friendly and current-sounding “The Distance,” vapory Streisand-referencing “Giving Me Life” and plinky, sputtering “Stay Long Love You.” She’s variously horny, nostalgic, ready to put a douchey lover in his place and so on. There’s no grand statement here about anything, but that’s OK.
There are only two out-and-out duds — inane “One Mo’ Gen” (just her hoody way of saying she wants to have sex again over neo-Vaudevillian chords) and nicely textured but lyrically weak “8th Grade,” which makes absolutely no sense.
The record only changes gear at all on final cut “Portrait,” a heartbroken piano ballad that ends on an optimistic note and a major chord. It’s the only cut that particularly goes anywhere, reaching a nice little musical/vocal froth that just as quickly simmers back down. You never particularly feel in these choices that Carey is reining things in to save herself taxation. That could be a factor but it feels more like an artistic choice and overall it works quite well.
Sadly Carey is now — by sheer age and sexism alone — several years into the inevitable radio shut-out that plagues all divas after about age 35. She had a decent hit (no. 15) with Miguel with “#Beautiful” in 2013, but her last no. 1 (“Touch My Body”) is a full decade behind her. “With You” has done OK on some of the minor charts but hasn’t cracked the Hot 100, which would have been unthinkable for Carey in the ‘90s or early ‘00s.
How our various veteran lady artists tackle this sad reality creatively is always interesting to witness. “Caution” is no “E=MC2” (Carey’s last great record) but it’s uber current sounding, subtle and captures the singer vamping around like she’s still in her fun-loving and sexual prime without coming off as Norma Desmond-ish. She’s hovering near — if not totally hitting — a late career sweet spot that sounds warm and inviting whether radio decides to do anything with it or not.
Music & Concerts
DJ Chanel Santini is bringing the heat and some gender-fluid diversity to XBIZ Miami
Pool party celebrates most charismatic personalities, creative artists in adult entertainment
Chanel Santini has crossed over to being a DJ, performing at clubs all over the country. Now known as Santini, they will be making music and hyping the pool party, DJ-ing at XBIZ, the conference for adult creators and digital players, in Miami.
Taking place on Monday to Wednesday, the event honors the most charismatic personalities and creative artists in entertainment.
“I am honestly so excited — getting to DJ in Miami Beach is literally a DJ’s dream!” Santini told the Los Angeles Blade.
“I thought it would be a good opportunity because I haven’t been around my industry peers in a long time. It’s a great event to network and show off the new me!” said Santini.
While Santini is unsure what music they will be playing, they want everyone to have a good time. “My goal is to ignite the dance floor and play great music that everyone will vibe to. My sound includes house music, bass house, tech house, and I always like to throw a little bit of hip-hop in my sets.”
Santini loves how DJ-ing brings people together.
“Music really ignites us all! It is so universal, no matter what language you speak. I think it’s the best high in the world when you play a banger track, and everybody on the dance floor screams loudly. You can’t describe that feeling until you’re up there on that stage.”
Santini describes DJs as the “modern rock stars” in today’s world.
“I always feel like such a superstar when I’m up on that stage. The best feeling is after my set when I have people come up to me and say, ‘Thank you for sharing that amazing music.’ That’s how you know that you’re a good DJ — I love when I get those types of compliments!”

While sometimes it’s hard to please everyone’s musical tastes, Santini endeavors to try! “You just have to go out there and give it your all and be the best DJ that you can be,” he noted.
Santini, who had previously identified as transgender, recently decided to transition back to being gender fluid.
“It’s definitely been a journey, but I’m definitely happier in my own skin now than I was. I don’t go by he/him pronouns. I don’t go by they/them either. I guess I just really don’t have a preference. Whatever you see me as is your opinion. I’ve learned over the years that I’m not trying to be one specific thing. I’m just Santini. I’m just me.”
Santini acknowledged they felt respected more when dressed as a woman.
“I think it’s just because femininity runs the world. When I started to de-transition, I felt like I had to just be a boy all the time. But I’ve realized over the years that I don’t need to stick to one specific thing. I am always gonna be feminine, and that’s OK.”
Recently, Santini has been embracing their feminine side more.
“I definitely feel more comfortable in female presentation, and more powerful when I’m on stage dressed as Chanel. I love DJ-ing in drag because there are so many straight male DJs in the world. It’s almost like a superhero when he puts on his cape! I think it makes me confident and stand out more as an artist.”
And because Santini loves makeup and fashion, they can incorporate that into their sets. “I’m not just bringing you good vibes and good music. I’m bringing you a show/ production!”

Santini is already working on big plans for the future.
“I’m opening up for a huge Pride block party in my hometown, Albuquerque, N.M., on June 12 and 13. It’s a two day festival and I’m super excited for this opportunity. I’m even hiring backup dancers and a choreographer.”
Santini plans to go “all out” for this show.
“It’s gonna be the biggest crowd that I’ve ever played for,” Santini enthused. “I’m putting my heart and soul into this performance, especially because it’s Pride in my hometown, and that means so much to me. I know the younger me would be so proud.”
Santini remembers going to Pride when they were younger and telling themself they couldn’t wait to be up on that stage.
“I’m truly living my dream right now, and I’m so excited for the future. The last 10 years of being in the adult entertainment business have been great and have given me major success. But I always knew that I didn’t want to be in this industry for long.”
Santini acknowledged that, in the recent past, it was a struggle.
“I’ve been trying to find myself and figure out what I wanna do next with my life. Now that I’ve found this passion for DJ-ing, it makes me want to go far in this business.”
In addition to being a DJ/artist, Santini is starting college next semester.
“I’m gonna get my degree in audio engineering,” Santini enthused. “I can’t wait to start producing my own tracks. I especially can’t wait till the day I’m headlining a major festival! I know with a little bit of patience and hard work that I can get there! I just have to continue believing in myself.”
Santini wanted to thank all of their fans for their support. “Truly, if it wasn’t for them, I wouldn’t be able to fund my art in the way that I have. I’m truly grateful. And I’m excited for the future!”
Music & Concerts
Gaga, Cardi B, and more to grace D.C. stages this spring
Shake off your winter doldrums at a local concert
D.C. shakes off its winter blues this spring as the music scene pops off. We all know the big star is coming: Lady Gaga will perform at Capital One Arena on March 23. But plenty of other stars, big and small, will grace D.C. stages, including many LGBTQ and ally artists.
March
3/15, 9:30 Club, St. Lucia – Indie electronic music project known for its synth-pop sound, which blends ‘80s influences with electronic and indie rock elements.
3/31, Lincoln Theatre, Perfume Genius – Indie/pop singer/songwriter Mike Hadreas, also known as Perfume Genius, has toured with a full band, but he is stripping things back for this tour.
April
4/8, Capital One, Cardi B. Cardi B, from New York, unapologetic and proud, is the first solo female artist to win the Grammy Award for Best Rap Album. This year, she’s on her Little Miss Drama Tour, in support of her second studio album, “Am I the Drama?”
4/13, Lincoln Theatre, The Naked Magicians. Australia’s The Naked Magicians are two performers who deliver live magic and laughs while wearing nothing but a top hat and a smile.
4/18, Capital One, Florence and the Machine. Longstanding indie rock back from Great Britain, much-loved for lead singer Florence’s powerful vocals. On their Everybody Scream Tour.
4/16, Capital One, Demi Lovato. Singer/songwriter from Texas, who came out as nonbinary, is traveling on her “It’s Not That Deep Tour.”
4/21, The Anthem, Calum Scott. Platinum-selling gay singer/songwriter Calum Scott released his latest project, Avenoir, last year. Scott rose to fame in 2015 after competing on Britain’s Got Talent, where he performed a cover of Robyn’s hit “Dancing on My Own“.
4/26, Atlantis, Caroline Kingsbury. American queer pop musician from Los Angeles. She released her debut album in 2021, and has two additional EPs. She’s played Lollapalooza 2025 and All Things Go 2025, as well as gone on a co-headlining U.S. tour with MARIS. Shock Treatment is her latest EP.
4/26, Anthem, Raye. This bisexual artist, known for her current chart-topping “”Where Is My Husband!” single, blends pop, jazz, R&B, and more.
4/30, Union Stage, Daya. This bisexual singer/songwriter is on her “Til Every Petal Drops Tour,” touring the album of the same name that was released last year.
May
5/1, The Anthem, Joost Klein. Eurovision comes to D.C. in Joost Klein: Originally a Youtuber, he was selected to represent the Netherlands at Eurovision in 2024 with his song “Europapa.” He released a new album on New Year’s Day.
5/1, Fillmore, MIKA. MIKA is on his Spinning Out Tour. Born in Beirut and raised in both Paris and London, MIKA sings in multiple languages and has co-hosted Eurovision.
5/7, 9:30 Club, COBRAH. Clara Christensen, is a Swedish singer, songwriter, record producer, and club queen, making electronic dance music.
5/19, Atlantis, Grace Ives. New York-born singer/songwriter, known for her high-energy synth/electronic, bedroom-pop-style music.
June
6/2, The Anthem, James Blake. English crooner got big from his self-titled debut album in 2011. He won two Grammys and just released his 7th album,Trying Times, in March.
Music & Concerts
Washington chorale kicks off Christmas with vibrant program
‘Thine Own Sweet Light’ concerts planned
The full Washington Master Chorale will return for its annual holiday concert tradition with “Thine Own Sweet Light” on Friday, Dec. 19 and Sunday, Dec. 21 at St. Ann’s Catholic Church (D.C.) and Church of the Epiphany (D.C.).
The concert will feature the rich sounds of the 50-voice, a cappella chorus performing lush, seasonal choral music inspired by the theme of light. Highlights include Edvard Grieg’s “Ave Maris Stella,” Eric Whitacre’s “Lux Aurumque,” and Christopher Hoh’s “Holy, Holy, Holy is the Lord God of Hosts.” The program will also present a new work by Barcelona composer Josep Ollé i Sabaté, along with charming holiday folk songs and seasonal favorites.
For more details, visit the Washington Master Chorale website.
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