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Troye, Olly, Haley light up ’18 pop music landscape

Queer artists increasingly mainstream with many high-profile releases

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Some of this year’s top albums were by LGBT artists. (Photos courtesy the respective labels)

This has been a year filled with comebacks and breaks from extended hiatuses in the pop music world. But instead of returning to more of the same, this year artists have made surprising choices. 

Kylie Minogue’s “Golden” had a country sound, Scissor Sisters frontman Jake Shears came out with his first full-length solo record and Cher released an entire album of ABBA covers.

Legendary singer Barbra Streisand released her politically charged, though somewhat disappointing, “Walls,” and Christina Aguilera was back with her first new album in six years. And Robyn ended an eight year gap with the release of her album “Honey.”

Additionally, a new generation of pop performers continues to thrive. Janelle MonáeAriana GrandeHayley KiyokoCharlie PuthTroye SivanYears & Years and Shawn Mendes have all come out with solid new albums. Monáe, Years & Years’ Olly Alexander, Kiyoko and Sivan have been forward with their queerness.

The following albums are some of the best albums released by queer artists this year and they leave us with (relatively) high expectations for the year to come. We could make it a solid 10 if we opened it up to straight acts but, ehhh, they get enough mainstream attention so we’ll just go with six here. 

6. Panic! At The Disco ‘Pray For The Wicked’

Panic! At The Disco frontman Brendon Urie’s official coming out coincided with the release of the new album. Though the album is nothing revolutionary, it is an excellent pop punk record, a genre that Urie, along with groups like Fall Out Boy and Red Jumpsuit Apparatus, has helped to perfect. The album hearkens back to some of the best Panic! At The Disco records, though Urie has taken a decisively pop turn. 

“Pray For The Wicked” hit the Billboard No. 1 spot, right on the heels of the 2016 No. 1 “Death Of A Bachelor.” The songs “Hey Look Ma, I Made It” and “Dancing’s Not A Crime” stand out in particular. Despite the decline of good pop punk music in recent years, Urie has made it clear he plans to stick around and that the genre still has room to expand.

5. Years & Years ‘Palo Santo’

“Palo Santo” is Years & Years’ sophomore album and a sign that the group is continuing to develop in provocative ways. Queer frontman Olly Alexander has considerable musical and thematic range.

Much like Janelle Monáe’s “Dirty Computer,” “Palo Santo” is set in a quasi-dystopian future that does not shy away from politics. The accompanying visual album illustrates this nicely, if not strangely. The production value is superb and the album has a good overall flow. This is definitely a group to keep on the radar and the album as a whole is excellent, beyond just the catchy lead single “If You’re Over Me,” which had success on the Billboard Official U.K. Singles Chart.

4. Hayley Kiyoko ‘Expectations’

Hayley Kiyoko’s “Expectations” was one of the most exciting album releases of the year. Kiyoko, a lesbian, made a big splash with her debut album “Expectations,” which landed at the Billboard No. 12 spot. It is very smart dance pop record and less redundant than others in the genre. 

This is perhaps because of the variety on the album. Lead single “Sleepover” has strong R&B feel that Kiyoko pulls off quite well. And “Feelings” is solid dance pop track. But “What I Need,” featuring Kehlani, is perhaps the most memorable of the new record. We have good reason to look forward to the next iteration of Kiyoko’s sound.

3. Jake Shears ‘Jake Shears’

Scissor Sisters frontman Jake Shears came out with his first full solo album, titled eponymously.

Following the hiatus of Scissor Sisters after the release of their 2012 “Magic Hour,” Shears has ventured out, moving to New Orleans and making his Broadway debut in “Kinky Boots.” The album features much of the fun, quirky, eccentric qualities one expects from a Scissor Sisters record, but with a more diverse array of music influences. 

Shears regularly mixes blues, country and pop in his refreshing instrumentations. The pervasive influence of artists like Elton John and Queen are felt throughout, but Shears remains convincingly original. “Creep City” and “Sad Song Backwards” are among the most enjoyable tracks on the album.

2. Troye Sivan ‘Bloom’

Troye Sivan, gay news, Washington Blade

Troye Sivan (Photo courtesy of Universal)

Troye Sivan was finally out with his new album “Bloom” following after his widely successful 2015 debut, “Blue Neighbourhood.” And in comparison to “Blue Neighbourhood,” “Bloom” is slightly underwhelming. For the most part, Sivan is relying on the same formula. “Bloom” is more of a part two to “Blue Neighbourhood” than a new chapter. The only song to go against the trend is “Animal,” which takes a quasi-psychedelic, Frank Ocean-esque turn — and with great success.  

Singles “My! My! My!,” “Bloom” and “Dance to This” are extremely catchy dance tunes and Sivan seems very much in his element, awkward dancing and all. Though it explores little new territory, Sivan remains reliably good and the most prominent young gay artist in the pop music world and that is a very good thing.

1. Janelle Monáe ‘Dirty Computer’

Janelle Monáe’s “Dirty Computer” is one of the best conceived and best executed albums of the year. Her fully fleshed out dystopian world is smart, fresh and thematically substantial in a way rarely seen in pop music (with notable exceptions like Lady Gaga). And she uses this dystopian universe as a means of talking about politics, race and sexuality — and often in very bold ways, as in her “PYNK” music video, a celebration of the female body. 

But it’s not just the concepts that count. Songs such as “Make Me Feel,” where one feels the inspiration of Michael Jackson and Prince, and “Crazy, Classic, Life” are both catchy and musically innovative.

Building on the success of her previous albums “The ArchAndroid” (2010) and “The Electric Lady” (2013), “Dirty Computer” and its accompanying visual album (or “emotion picture,” as she calls it) make for a seamless third chapter. It’s clear Monáe understands the importance not only of an overarching concept but also of each individual track. 

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Music & Concerts

Here’s everything queer that just happened at the 67th Grammy Awards

LGBTQ megastars among winners, performers

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Screen grabs from Entertainment Weekly/Youtube

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.”

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Music & Concerts

Gay Men’s Chorus starting the year with a cabaret

‘Postcards’ to be performed at CAMP Rehoboth

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The Gay Men's Chorus of Washington performs 'Postcards' in Rehoboth Beach, Del. on Jan. 18. (Photos courtesy of the Gay Men's Chorus of Washington)

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.

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Music & Concerts

WMC’s ‘Comfort and Joy’ fuses drama, well-being, light

Soloist describes production as ‘reverent and beautiful’

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Opal Clyburn-Miller (Photo courtesy Clyburn-Miller)

‘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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