Connect with us

Music & Concerts

Etheridge extols pot virtues on new record

Unabashed cannabis lover’s new project is melancholy rocker

Published

on

the medicine show review, Melissa Etheridge, gay news, Washington Blade
Melissa Etheridge is back with one of her stronger efforts, ‘The Medicine Show.’ (Photo courtesy Concord Media)

Melissa Etheridge is easy to take for granted. She’s sturdy, reliably good and one of not many ‘90s hitmakers still releasing new music on a regular cycle.

Her new release “The Medicine Show,” her 15th studio album and third on her own label, is full of big melodic choruses; churning, easy-on-the-ear mid-tempo lite rock cuts; punctuations of harder, tougher rock edges and logical (some might say predictable, but they largely work) chord progressions. It’s a surprisingly melancholy record, not quite as heavy overall as her 2014 release “This is M.E.,” but more in that vein musically than 2012’s slinkier, more soulful project “4th Street Feeling.”

Her last album, 2016’s covers album “MEmphis Rock and Soul” was a pleasant detour; now Etheridge is back to her own songwriting with these 11 solid cuts. A Target-exclusive edition — not available to critics — has two bonus cuts. She opened her tour this week in Los Angeles and plays Wolf Trap June 25 with Pat Benetar and Neil Giraldo. 

Things get off to a rollicking start with the hard rocking title cut. It’s a little inane and lyrically repetitive — the hooks are based around nursery rhyme phrases like “high-ho, high-ho” and “E-I-E-I-O” — but it accomplishes what it sets out to do getting the record off to a bold start with rock thunder and a strong ear worm.

Etheridge says in press copy for the record, it’s about many things.

“Calling the album ‘The Medicine Show’ puts straight up, front and center, that this is about health, wellness, cannabis, this new thought, new paradigm, however you want to talk about it, however you want to understand it. It influences every song on the album. We’re not afraid of this any more. We’ve come a long way.” 

For this project, Etheridge reunited with John Shanks, a producer she worked with on three previous projects — “Breakdown” (1999), “Lucky” (2004)  and “Fearless Love” (2010). Shanks brought in drummer Victor Indrizzo, bassist Chris Chaney and keyboardist Max Hart. The sessions were done mostly live in studio giving the album a fresh, lived-in feel.

Many of the standout cuts are mid-tempo, hummable rockers. “Wild and Lonely” is catchy, moody and finds Etheridge’s trademark raspy vocals sounding as good and unrestrained as ever. “Shaking,” another rock cut, is punctuated by a thundering, five-beat drum pattern. “Love Will Live,” one of the harder rocking cuts, is straightforward and solid and “Woman Like You” is equally catchy and melodic.

Things slow down only twice — “I Know You” starts off as a strings-and-piano ballad but gets big and passionate by its end as does “Here Comes the Pain.” The record closes with “Last Hello,” a more melancholy cut on which Etheridge sings of loss: “this day will end and oh I miss you/I will rise again and oh I miss you/I’ll find the strength within/to shout never again/wish I could see my friend/Oh I miss you.” 

There’s not a lot of lyrical specificity, but Etheridge says the song is dedicated to survivors of the Parkland school shootings. Elsewhere, she says the album hints at the opioid crisis, national anxiety, cannabis and more. 

The record works much the same way Sheryl Crow’s 2017 return to form album “Be Myself” worked — “The Medicine Show” is a bit of a ‘90s throwback but in a good way. Several cuts feel like they could almost have been outtakes from her classic records like “Yes I Am” (1993) or “Your Little Secret” (1995). It’s classic Etheridge but with a new twist and its consistency and listenability make up for any ground it doesn’t break. 

Advertisement
FUND LGBTQ JOURNALISM
SIGN UP FOR E-BLAST

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

on

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.

Continue Reading

Music & Concerts

Berkshire Choral to commemorate Matthew Shepard’s life

Concert held at Washington National Cathedral

Published

on

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

Continue Reading

Music & Concerts

Indigo Girls coming to Capital One Hall

Stars take center stage alongside Fairfax Symphony

Published

on

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. 

Continue Reading

Popular