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Pop princess Kim Petras is glossy hitmaker for a new era

26-year-old German songwriter gearing up for first headlining solo tour

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Kim Petras, gay news, Washington Blade

Kim Petras says she’s put the hard work in to build a fan base that means her first solo headlining tour is sold out in most markets. (Photo by Thom Kerr)

Kim Petras

 

‘Broken Tour’

 

Saturday, June 15

 

The Fillmore Silver Spring

 

8656 Colesville Rd.

 

Silver Spring, Md.

 

9 p.m.

 

$23

 

fillmoresilverspring.com

 

kimpetras.com/#tour

German-born, L.A.-based pop princess Kim Petras, 26, is famous for a string of viral hits and videos such as “Heartbeat,” “I Don’t Want It At All,” “Faded” and “Heart to Break” that have been streamed on Spotify more than 16 million times.

Her manager, Larry Rudolph, has bona fide pop cred having managed the careers of Britney Spears, Miley Cyrus and 5th Harmony. She was one of four young artists chosen for Spotify’s Rise program in 2017 for emerging pop “superstars,” which sent her song to No. 1 on the company’s Global Viral Chart. She claims about 140 million streams on all platforms worldwide.

“Much of her frothy approach harks back to the era of ‘Dynasty’ shoulder pads and Cyndi Lauper quirks, bolstered by Ms. Petras’ full-throated vocals and ultrabright melodies,” a 2018 New York Times profile noted.

In 2004, at age 12, she was among the youngest trans youth in her native Germany to get hormone therapy paid for by national health care. She had fully transitioned by age 16.

In a heated spate of new music — she’s released 10 cuts so far this year — she brings her “Broken Tour” to the Fillmore Silver Spring Saturday night. She spoke to the Blade by phone two weeks ago from her Los Angeles apartment.

WASHINGTON BLADE: Tell us about your tour. How long will your set be, how is it shaping up, what we can we expect, all that.

KIM PETRAS: I just started rehearsals. I just got back from a writing trip to Hawaii, which was cool, that was a really cool project. So I’m going into rehearsals. I finally get to make the stage the way I want it to be, so that’s really exciting. And I can make my set as long or as short as I want to make it. So I’m picking all the faves and a few songs people don’t even know. I’m definitely going to do some new songs. But yeah, it’s a mix of everything. I love really kind of making each section of my show its own little chapter and a moment of its own so it’s going to have costume changes, different scenarios, different lighting, but I don’t want to spoil it too much. But yeah, it’s definitely going to be good. All the favorites and a little more.

BLADE: Will you have a band with you?

PETRAS: Yeah, my whole crew. … We get along really well.

BLADE: I noticed it wraps in Germany in September. Did you purposefully save Germany for the end?

PETRAS: I want to stay in Cologne for a little bit. I haven’t been there in over a year, which is the city I was born and raised in. I’ve lived in L.A. for about seven years now, so I go back like once a year but not much more, so I’ll take some time to see my family at the end of the run. Everyone else can go home and I’ll hang out with my family for a little bit, then head back to the U.S.

BLADE: Most of the dates are sold out. Will you be adding more dates or bumping up to larger venues or is all that set?

PETRAS: Unfortunately it’s set. After that I go back to writing a bunch more stuff. I’m really prioritizing being in the studio drafting as much new stuff as possible. But I’ll be back touring really soon. I don’t think it’s enough the U.S. tour I’m doing this year, but I’m so excited it’s sold out. Most of it sold out in pre-sales like in five minutes, so it’s pretty nuts. I’m really excited.

BLADE: I saw you on the Troye Sivan tour last year. Your pitch was so dead on all through your set. Do you just have really good ears and lungs or did you have to work on that?

PETRAS: Thank you so much for saying that. I feel like I worked on it every day, just vocal strength. I have those days where I don’t speak at all, where I’m on vocal rest ‘cause yeah, most of my first songs, I wrote them so high because I was a songwriter for a long time and I didn’t realize when you write a song, then you have to sing it every night and that’s really difficult. So I had to quit smoking (laughs) and had to start learning vocal technique really well to be able to do it.

BLADE: I know you idolize Madonna. Do you think she deserved the drubbing she got recently for her pitchy Eurovision performance?

PETRAS:  I absolutely have not seen that performance so I can’t really talk for it, but I think Madonna is like my absolute favorite and I just think she’s like a performer before anything else. I think with her, it’s like about a statement or provoking a thought.

BLADE: Did you get to hang out much or get to know Troye Sivan on tour?

PETRAS: We hung out after shows. His boyfriend is really cool, I really love his boyfriend. His whole team, like his mom was on the tour, it was so sweet, just really cool energy. It was like being friends on this little tour, but it was so much fun. I had a blast. His crowd is so cute and massive so it’s really fun and I feel like I gained a lot of fans. I’m really thankful for Troye having me on that tour and I really loved it. I was sad when it was over.

BLADE: You played Capital Pride last summer. Do you remember that performance? How was it for you?

PETRAS: Yeah, I do. I was wearing a yellow tracksuit, it was really cute. I do remember. It was so much fun. I loved Washington. It was one of my first times walking around. I posted some really cool pictures from all the sites so I’m looking forward to being back.

BLADE: You play a lot of Pride dates but it seems like you’re trying to make your music as mainstream and accessible as possible. Do you sort of downplay being trans to perhaps reach a wider audience or not really?

PETRAS: Um, not really. I don’t have to do anything. I’m my own label, I come up with everything, I’m in charge of everything. I did feel like I wanted to downplay it at the beginning because I didn’t want anybody to say or imply that I was using being transgender to be successful as an artist. That’s like not my interest at all and I wanted to prove to everyone that I can have popular music without anybody knowing my story at all, because I think that gender is pretty irrelevant and I know that it’s become the leading story if I talk about it. I’ve had a lot of experience in my past, my first documentary was like when I was 12 years old, and I went on to do a bunch of documentaries about being transgender. My goal was normalizing it and making people feel that you can be a normal transgender person and have a really happy life. But yeah, I just didn’t want anybody to feel that I used my story to become successful because I know people say shit like that and it’s really rude. It sucks that people are like that but in general I don’t talk about it as much because I’ve already done that. I put out a song on Spotify, nobody knew who I was, it wasn’t my face on the cover and it went to the top of the viral chart on Spotify like right away, so that gave me a kick start and it had nothing to do with my story.

BLADE: Your videos have lots of cool special effects. Are they hard to finance?

PETRAS: Yeah, for sure. I always have these crazy ideas. But I put my own money that I make from shows and doing big events, I put it right back into my music, right into my tour, right into my videos. Anything I earn, I put it right back into my creativity and my artistry. It is a struggle sometimes but I’m very happy with the way things came out so far, thank God. It keeps growing and getting better.

BLADE: There’s no real business model to follow to do what you’re doing. How do you know how much to spend when and on what?

PETRAS: Yeah, for sure. I get great advice. My manager Larry Rudolph … he has a lot of experience so I can always call him and ask him about things like that but how I got started and how I got on Spotify was just trial and error and trying to figure it out, spending too much on one thing and not being able to do another and I feel like I’m just figuring out what’s important at the end of the day is to get the most music, the most content out there. That’s my priority, being one step better each time I do something.

BLADE: What was your toughest or longest video to shoot?

PETRAS: Definitely “Heart to Break.” It was really amazing because we got two days, which doesn’t ever happen that anybody can afford two days. It all gets crammed into one, so definitely that was such a blast. I don’t think any of the videos were hard. They’re definitely exhausting because you’re like waking up at 5 a.m. and finishing up at 3 a.m. and it’s like a whole thing, but I always love it. I always feel super alive when I do days like that. I just pull through and have no sleep. I don’t know why but I really get off on that type of thing.

BLADE: Do you feel albums are obsolete?

PETRAS: I don’t. The way a new artist is breaking is just completely different than it was. I look up to a lot of people who drop a lot of music constantly and I want to be one of those people. But I love a good album and I listen to a lot of albums and I can’t wait to have my own. I can’t spill the tea on that just yet, but I do think people still want albums and want to buy the work and I think it’s great that people still want that.

BLADE: How do you decide which songs to release and at what pace?

PETRAS: My strategy for my first record was like drop a song a moth, so I was like, ‘How do I step that up?’ So this round is once a week until something exciting happens, which I can’t talk about for now, but I’m dropping my sixth song tonight so it’s been six songs, six weeks on Spotify.

BLADE: Have you encountered any transphobia from any music industry gatekeepers?

PETRAS: Yeah, for sure. There was literally this one very high up woman who was like, “You’re going to hell if you work on Kim’s project because being transgender, you’re going to hell.” So that didn’t work out. People were really freaked out by it, a lot of industry people, um yeah. I was shopping for deals and people were really excited about the music but were definitely freaked out by the trans thing, so it was definitely my best choice to go AWAL (artist without a label), to go independent. I still feel like there are a bunch of people being like, “Who is this transgender girl,” people are definitely weirded out by it, but just having a fan base and just being able to sell out shows — I’ve been putting in the work, changing things and I think people are starting to think that maybe a trans artist can do the damn thing and be a real pop star, but yeah, let’s see.

BLADE: Your tour is basically sold out without really having cracked U.S. radio. Is that even relevant anymore?

PETRAS: I think it’s still definitely relevant. I’m competitive so I want to have hits, of course. But, you know, at the end of the day, what I really want to be able to do is to tour forever. I really want to be one of those artists who has a real fan base and I’ve been putting in the work for like four years now, I’ve been playing every gay club there is, all over the U.S., making real connections. I’ve been building a real career and a real fan base. I mean sure, I want to have that one song that puts me on the map, I want to have a No. 1, but at the end of the day, this is already like so amazing to me because I never thought I’d be able to do this. It’s my job now to do music and to perform and I’m really excited about that. There are lots of people out there with this who can’t fill a tiny venue that I can fill three nights, so I don’t know. … I do believe that if you keep going and keep working on it, it will happen eventually. I’m very proud to be doing my own headlining tour and I’m very proud of my band. They’re amazing, they complete me. I’m happy.

BLADE: You seem pretty prolific. Do you have to be disciplined to keep writing or does it just happen?

PETRAS: I’m jittery as hell if I haven’t written a song in like three days. I get cranky. I’m always looking for sentences, always watching movies and listening to the dialogue, picking certain things up. In my head, I’m always thinking about the next song. I’m always in the studio when I’m not on the road. It’s studio, tour, studio, tour, all the time and I love it. After awhile I miss being on the road and when I’ve been on tour awhile, I miss the studio.

Kim Petras (Photo by Spencer Byron)

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Rainbows in Revolt on a mission to make LGBTQ artists’ voices heard

Rainbows in Revolt on a mission to make LGBTQ artists’ voices heard

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Lily Erin, one of Rainbows in Revolt’s signature artists, performed at Capital Pride in June. (Photo courtesy of Rainbows in Revolt)

Last month’s Pride celebration in D.C. was so fun. Walking around my first Capital Pride with a $15 lemonade I was loving the madness and the color. Artists and small businesses battling banks you’ve never heard of collecting your personal information so you can spin a wheel to snag free merch. Great music blaring, people actually smiling and enjoying themselves, the “Great” American State Fair could never!

The Monument Stage was on Pennsylvania Avenue, directly in front of the National Gallery of Art and I can’t think of a better venue to see live music. How does someone get on the lineup for Pride? How do we accelerate the visibility of the most talented voices in our community to perform in places like this?

There is certainly not a talent gap, but there is a visibility gap. Chappell Roan went from playing for two people in a parking lot to owning the main stage at Coachella in one year. Whether it is shadowbanning or bias in AI, algorithms have been shown to suppress queer artists. In a digital age, how can queer people break through and show the world how talented they are?

Allison and Matt of Rainbows in Revolt are on a mission to make openly LGBTQ+ artists’ voices heard. Their goal is to find “musicians whose queerness is central to their identity as an artist,” and accelerate them to a place where they can actually reach fans.

The only time queer events seem to be in the spotlight is June, but this should be year round, according to Allison and Matt. Rainbows in Revolt wants to act as a “nucleus” for different sub-communities, finding common ground in the universal language of music.

Matt and Allison founded Rainbows as a way to make cheaper, higher quality merchandise for queer artists. While Rainbows has already pledged 20% of their profits to the LGBTQ+ community, with 10% to Whitman-Walker Health and 10% to LGBTQ+ organizations in need, this is just the beginning of the work that they do.

Rainbows “does the dirty work” that artists normally struggle to do on their own with limited resources. Interviews, artist profiles, social promotion, playlist discovery, radio outreach, and merch-funded support. This work is normally expensive, time consuming, and requires lots of different skills. Musicians don’t want to be editing clips to post online. Standup comedians don’t want to make graphics for their tour dates. They want to write more. They want to focus on their craft.

In addition to helping artists find their audience, Rainbows has built other digital tools to help queer people connect, including an interactive Safe Space Map for most major cities. It is hard to know which places are truly safe and supportive just from a simple Google search. Attitudes and actions change, and there should be a simple way for queer people to find other places that align with them. The Safe Spaces Maps are all up to date, and are tagged and filterable. Instead of relying on forums and word of mouth, Rainbows has created a centralized way to find authentic community quickly.

I had a chance to talk with Allison and Matt at Pride where Lily Erin, one of their signature artists, was performing on the Monument stage. Lily Erin is a folk singer who is familiar and forging her own path. Her bittersweet sound echoes through Acadia, and her garb mirrors the New England athletes I grew up with. Gorp Core meets streetwear. A graphic tee, hiking shorts, and creamsicle Jordans.

Her debut single, “Bus Stop,” tells a sad story about unconditional love, and the conditions that still seem to come with it. Graduating into lockdown, Erin needed a new way to connect with herself and others. Lily made “Bus Stop” without an intention to share it, but doing so was a liberation. People have been responding to her honesty around queer-ness, family, and the “ghosts which haunt us” even in the daytime.

Rainbows in Revolt has helped Lily Erin go from bars and backyards to The Monument Stage at Pride. This is a meteoric rise, and a testament to both Erin’s talent and the work of Rainbows to promote her. “A little encouragement goes a long way with early artists,” and by “planting a seed” Rainbows is already seeing their artist garden grow. Community is power, and Erin is a perfect example of how effective simple modern techniques of promotion can be.

A next step for Rainbows is putting on shows themselves. On Oct. 3, Rainbows in Revolt will host an Evening with Ray Boltz at the National City Christian Church. Boltz grew up in the Catholic Church and for many years was the soundtrack to many services, youth camps, and church groups. He was celebrated by millions until he came out in 2008. Allison remembers her community “never playing his music again.” 

Rainbows in Revolt is helping him to return to the church, and proving that identity does not need to be exclusive. We live in a complicated world with complicated lines being drawn. Boltz proves that these lines don’t exist, and will be breaking down barriers to bring together communities. To Allison, “a trans woman standing next to a straight white man in church is a powerful teacher.”

The Safe Space maps bridge all types of spaces, and one of the unlikely ones is, perhaps, churches. Matt said that “BYU has only nine safe spaces around their campus and seven of them are churches.” Not all churches are anti-gay, and many times they are the only place for people to find community.

Rainbows in Revolt is just getting started bridging gaps and building community.

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Summer in the City: Free exhibits, movies, more fill D.C.’s calendar

America 250 celebrations continue

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Cynthia Erivo and Ariana Grande star in ‘Wicked,’ screening Sept. 12 at Union Market. (Photo courtesy of Universal Pictures)

From late-night museum visits and outdoor jazz concerts to free movie screenings and America250 exhibitions, Washington’s summer calendar is packed with events that don’t charge admission. Here’s a look at some of the free activities happening across the District through September and beyond.

Museum exhibitions

The Renwick Gallery is presenting State Fairs: Growing American Craft, an exhibition that looks at unique and unconventional crafts from the 19th century to the present. It will run until Sept. 7, and admission is free. 

The Arts and Industries Building, located next to the Smithsonian Castle, is presenting the exhibition Voices and Votes: Exploring Democracy Across America. The exhibition features the development of American independence and what that has meant over time, beginning with the Revolutionary War. Admission to the museum is free, and the exhibition runs until Sept. 7.

The National Gallery of Art presents Dear America, an exhibit featuring more than 100 pieces of work, including letters, photographs, and drawings that depict American landscapes and depictions of freedom. The exhibition will run until Sept. 20.

The National Museum of Women in the Arts is exhibiting Burnished: Pueblo Pottery until Sept. 27. The exhibit features pottery from the Southwest, and while most of the pottery belongs to women artists, a few also reflect those who have advocated for women.

Extending past this summer, the exhibition ¡Puro Ritmo! The Musical Journey of Salsa will be at the National Museum of the American Latino until July 2028. The exhibition shows how Afro-Cuban music has become a staple in the U.S. Admission is free.

The Martin Luther King Jr. Memorial Library will feature the exhibition District Vibes / American Pride: How DC Changed American Culture, which will highlight all of the ways D.C. has impacted American life. The exhibit will run until Sept. 27.

At the Folger Shakespeare Library, the exhibit Imagining Shakespeare: Mythmaking and Storytelling in the Regency Era will be on view through Aug. 2. All the portraits on display come from the Boydell Shakespeare Gallery in London.

The United States Botanic Garden will be open until 8 p.m. on Aug. 20 and Sept. 17, as part of America’s State Flowers: An America250 Celebration. The evenings will include live music, mocktails, ice cream, and snacks.

The National Gallery of Art Sculpture Garden will have extended hours, staying open until 8 p.m. Wednesday to Saturday until Sept. 3. 

Live performances

On Aug. 7, the postgame Nationals concert series will continue with Jordan Davis performing. To see the concert, guests just need to buy tickets to the Nationals game. 

Jazz in the Garden will run each Friday until Aug. 14. The event has free admission, but those interested have to enter a lottery due to the high demand for the event.

From May to October, Capital Harvest Market occurs every Wednesday from 10 a.m.-2 p.m. at the Ronald Reagan Building and International Trade Center. The market features fresh foods, crafts, and recipes for unique dishes. A full list of vendors is available on Capital Harvest’s website.

Live! Concert Series on the Plaza will feature live performances at Woodrow Wilson Plaza until Sept. 25. The performances run Monday to Friday from 12-1 p.m. Admission is free to the performances. 

DowntownDC Live! at Anthem Row is running until July 30, with free performances every Thursday from 5:30 p.m. to 9:00 p.m. The final performance will feature HUE and a vintage flea market hosted by Get Flee Marketplace. 

Located in Adams Morgan, AdMo Vibe will present live performances every Thursday at 6 p.m. in Kalorama Park. Guests are encouraged to check out Adams Morgan before and after shows, and it is an event for all ages.

Other events

Union Market is hosting drive-in movies on Aug. 8, featuring “Monsters, Inc.”, and Sept. 12, featuring “Wicked.” On Aug. 8, the parking lot will open at 7:30 p.m., with the movie starting at 8:25 p.m. On Sept. 12, the parking lot will open at 6:35 p.m., and the movie will start at 7:30 p.m.

Sunset Cinema at the Wharf will also be available one day a month. On Aug. 12, “10 Things I Hate About You” will premiere, and on Aug. 26, “Project Hail Mary.” No tickets are necessary. 

The Library of Congress will also show movies. On Aug. 6, guests are invited to watch “Apollo 13.” The movie will be shown at 8 p.m., with additional live performances beginning at 7 p.m.

For fans of Asian media, the Okaton convention will be at Walter E. Washington Convention Center from July 31-Aug. 2. Festivities will include cosplay contests, skits, live music, and panel discussions.

Washington Spirit’s season also begins in August. The Spirit is Washington’s National Women’s League, with matchups occurring between the San Diego Wave, the North Carolina Courage, the Orlando Pride, and the Bay FC.

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Summer in D.C. brings sports, Restaurant Week, festivals, and more

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Washington Spirit CEO Kim Stone hosts Pride Night OUT on Sunday, Aug. 23. (Photo courtesy of Washington Spirit)

Summer in D.C. just hits different. Congress is out, school is out, the sun is out, thighs are out. With the skies clearing from Canadian smoke, here are a few ways to stay entertained.

Dining

Summer restaurant week: The Restaurant Association of Metropolitan Washington (RAMW) is once again hosting Summer Restaurant Week, Aug. 18-24. This weeklong dining experience showcases the dynamic dining scene of the DMV, including 2026 RAMMY Award-winning favorites (the annual D.C. food awards show that took place June 29). Participating restaurants will offer three-course brunch and lunch selections for $25 or $35 per person, and three-course dinners for $40, $55 and $65 per person.

New Restaurants: A handful of new spots have opened, so the summer is a great time to check them out:

  • Oribu: A new Mediterranean-Japanese restaurant in the Grand Hyatt hotel, which just underwent a remodeling effort. The sleek restaurant brings upscale charm, with dishes like Wagyu beef tartare with potato pavé and caviar.
  • The Oak Room: A snazzy old-school American grill has just opened in Georgetown, alongside its sister upstairs supper club (Bernadette’s) restaurant, in the old El Centro space.
  • Uchi: This showy Japanese sushi-forward chain has landed in Dupont with a chef’s tasting menu of favorites like fatty tuna.
  • Kathmandu: Recalling the capital of Nepal, this warm, buzzy subterranean restaurant right in the heart of U Street brings spice, flair, and rare ingredients to its dishes (see: buffalo burgers) and drinks.

Sports

  • Washington Spirit Pride Night OUT: On Sunday, Aug. 23, head to Audi Field for a massive, high-energy game following the exciting month of World Cup. The designated Pride Night OUT game promises boisterous crowds plus pre- and post-game community engagements. 
  • Washington Tennis Open – Now called the Mubadala DC Open, this annual tournament is only combined mens’ and womens’ 500-level tennis tournament in the world. The open is one of D.C.’s longest-standing sports traditions, and will take place at the Rock Creek Park Tennis Center July 25-Aug. 2. Naomi Osaka, Venus Williams, Ben Shelton, Frances Tiafoe, and others are expected to play.

Festivals

  • Afro Plus Fest: This huge, three-day Afro-Caribbean Hip-Hop Festival brings together headliners Davido, Alkaline, and Wizkid, plus Tems and Ayra Starr. The event moves from RFK to the Northwest Stadium Complex for three days, Sept. 4-6.
  • Capital Fringe Festival: Running from July 11-21, this massive celebration features dozens of live theater, comedy, dance, and boundary-pushing nighttime performances across multiple DC neighborhoods. 
  • The National Book Festival returns, with headliners like Cynthia Erivo, and Martin Scorsese. The one-day festival, Saturday, Aug. 22, brings together bookworms and word nerds under the theme “America 250: It’s Your Story.” There are talks, workshops, musical sessions and more.
  • All Things Go: A three-day festival Sept. 25-27 at Merriweather Post Pavilion featuring Mitski, Hayley Williams, Brandi Carlile, MUNA, Zara Larsson, Ethel Cain, and many, many more artists. There are single-day and three-day tickets. Featuring and highlighting female artists, the festival has turned into a must-see for many LGBTQ audience members.
  • Fuchsia Fest: The inaugural Fuchsia Fest is a new multi-day celebration created to celebrate LGBTQ community and expression, bringing together a mix of community gatherings, entertainment, and nightlife. The event takes place Sept. 18-20 and is hosted by Capital Pride.

Art and Music

  • United We Dance: A high-energy rave with house, techno, bass, and festival music, on Aug. 1 at the 9:30 Club. 
  • The Fray. On Aug. 14, this American rock band famous for How To Save A Life is at Merriweather Post Pavilion.
  • Kesha: Kesha’s high-energy The Freedom Tour comes to the D.C. area on Aug. 14 at Jiffy Lube Live.
  • ALOK: On Sept. 3 at Lincoln Theater, ALOK (they/them) performs. The poet, comedian, and actor is putting on a new comedy show.
  • 2charm, the emerging Australian electronic club-pop duo popular with the queer community, which blends hyperpop and dance music, comes to the Atlantis.
  • Sapphic Dance Party: a vibrant, inclusive nightlife and social event designed specifically for queer women, lesbians, bisexuals, trans individuals, and nonbinary folks, at Atlantis on Aug. 21.
  • Jazz in the Garden: The most quintessential of D.C. activities returns Friday evenings through Aug. 14. This season’s theme, “American Sounds,” is a nod to the nation’s 250th anniversary. Tunes themes range from Appalachian and Americana to Creole jazz, Hill Country blues, contemporary jazz, and more. Tickets are available through a lottery system a week before each event.
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