Music & Concerts

Debut album from Ben Platt is emotional, well paced

Quartet of videos, emotional lyrics power project from Broadway wunderkind

Published

6 years ago

March 29, 2019

Ben Platt, gay news, Washington Blade — **Ben Platt** has conquered Broadway. His vocal abilities are on solid display on is debut pop album. (Image courtesy of Atlantic Records)

Needless to say, the bridge between Broadway and Music Row is well traveled. Sara Bareilles and Brendon Urie are only the most recent examples of pop artists who have gone on to work successfully in the world of musical theater. But Ben Platt is one of the rarer examples of someone taking the opposite direction — from Broadway to a pop album. His debut album “Sing To Me Instead” attempts to bring together these two very different worlds.

The 25-year-old openly gay Platt made his Broadway debut in “The Book of Mormon” as Elder Cunningham. He later starred as Evan Hansen in “Dear Evan Hansen” on Broadway, for which he won a Grammy (Best Musical Theatre Album) and a Tony (Best Actor in a Musical). Add to that the role of Benji Applebaum in the “Pitch Perfect” movie franchise.

Platt sits right at the happy junction of Broadway songwriting and gay pop performers. Gay pop artists are still something of a rarity, though their presence has been steading growing with performers like Troye Sivan, Years & Years, Jake Shears and Sam Smith. Yet Platt finds himself in the even smaller company of out singers who use gender-specific pronouns for their love interests.

The album opens with Platt accompanied by a slightly out-of-tune upright piano, singing the somber tune “Bad Habit.” He sings in a clear, powerful baritone, resorting to falsetto in the final choruses. The reason for his extraordinary Broadway success becomes quickly apparent. And while no doubt he is an excellent singer, he has an incredible ability to communicate emotionally with the listener. Saying so seems banal, but Platt pushes this communication far beyond the regular boundaries of pop music.

So far four music videos have been released to promote the album, for singles “Ease My Mind,” “Bad Habit,” “Grow As We Go” and “Temporary Love.” The video for “Ease My Mind” centers on the break up of a gay relationship, a theme Platt touches on in a number of the new tracks. It is a beautiful song, which could almost be categorized as gospel, complete with a blues organ and vocal humming. It may be the best song on the album. The videos already have almost five million views combined, a good start for a debut album release.

The single “Grow As You Go” is another great track, with an acoustic sound. One can’t help but be reminded of recent tracks such as Family of the Year’s “Hero.” And the lyrics are especially touching: “If to change is what you need/you can change right next to me.” Platt is one of the rare artists whose lyrics are completely absorbing.

The album has much in common with Sara Bareilles’ 2007 album “Little Voice” with its piano-driven uptempo songs and numerous ballads, though “Sing To Me Instead” is lacking an equally chart-ready single like Bareilles’ “Love Song.” Platt’s “Temporary Love” is perhaps the closest thing to a typical pop single on the album, a well-produced song about proving one’s love to a partner. It’s catchy, uptempo and soulful. And though decidedly baritone, Platt makes good use of his range and his falsetto has plaintive, breathy quality to it.

Some of the best tracks are saved for the tail end of the album. “Share Your Address” has a charmingly theatrical quality and it’s almost hard it to picture it off-stage. “In Case You Don’t Live Forever” is one of the best songs on the album. Like Platt’s other songs, it is perfectly paced and has the remarkable yet rare capacity to take the listener on an emotional journey. The story-driven songs are both compelling and catchy.

Like songs from most contemporary Broadway, Platt appeals to the most universal human stories. And unlike so much of pop music, the relatability of his music does not come at the expense of their quality. If anything, he is lacking somewhat in the charisma one associates with a typical pop artist. But what he lacks in charisma, he makes up abundantly elsewhere.

Up Next

Singer/actor Levi Kreis on his D.C. return cabaret concert April 3

Don't Miss

Mary Gauthier on songwriting, book writing and her weekend D.C. show

FUND LGBTQ JOURNALISM

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

19 hours 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.

Music & Concerts

Berkshire Choral to commemorate Matthew Shepard’s life

Concert held at Washington National Cathedral

Published

2 weeks ago

June 27, 2025

Tinashe Chingarande

Craig Hella Johnson’s fusion oratorio ‘Considering Matthew Shepard’ will be performed at the Washington National Cathedral. (Washington Blade file photo by Michael Key)

Berkshire Choral International will present a concert performance of composer Craig Hella Johnson’s fusion oratorio “Considering Matthew Shepard” on Friday, July 11, 2025 at 7:30 p.m. at the Washington National Cathedral.

The program will be guest conducted by Dr. Jeffrey Benson, a native of the DMV who currently serves as Director of Choral Activities at San José State University. The concert is a partial benefit for the Matthew Shepard Foundation. Notably, Matthew’s remains are interred at the National Cathedral and his parents, Dennis and Judy, will give opening remarks at the performance.

Tickets are $20 – $65, and 50% of ticket proceeds will be donated to the Matthew Shepard Foundation. Tickets are only available online at berkshirechoral.org.

Music & Concerts

Indigo Girls coming to Capital One Hall

Stars take center stage alongside Fairfax Symphony

Published

4 weeks ago

June 12, 2025

Tinashe Chingarande

The Indigo Girls are back in the area next week. (Photo courtesy of Vanguard Records)

Capital One Center will host “The Indigo Girls with the Fairfax Symphony Orchestra” on Thursday, June 19 and Friday, June 20 at 8 p.m. at Capital One Hall.

The Grammy Award-winning folk and pop stars will take center stage alongside the Fairfax Symphony, conducted by Jason Seber. The concerts feature orchestrations of iconic hits such as “Power of Two,” “Get Out The Map,” “Least Complicated,” “Ghost,” “Kid Fears,” “Galileo,” “Closer to Fine,” and many more.

Tickets are available on Ticketmaster or in person at Capital One Hall the nights of the concerts.