Music & Concerts

New Selena Gomez effort ‘Rare’ catchy but lacking

Not quite the bold artistic statement needed to fully catapult singer to adult stardom

Published

5 years ago

January 20, 2020

Rare album review, gay news, Washington Blade — **Selena Gomez**’s new album ‘Rare’ is catchy and well produced but not quite the breakthrough it could have been. (Photo courtesy Interscope)

It’s a bit like taking the temperature of pop music of the new decade. The first major pop release of 2020, Selena Gomez is out with her third studio album entitled “Rare.” It’s a well-leveraged, solid composition. The album contains a number of good songs, even if it fails to take any serious risks.

On the pop music scene, Selena Gomez is in good company. Like Miley Cyrus and Demi Lovato, the former Disney Channel star (which hovers somewhere between a hurdle and an asset) has had a number of hits since the conclusion show “Wizards of Waverly Place” where she played the lead as Alex. With Disney Plus’s entry into the streaming world, Disney Channel stardom is likely to still give childhood celebrities like Gomez a boost.

But disentangling oneself from adolescent stardom and finding a more adult demographic is something many young artists struggle with. This is even true for performers performers like Niall Horan and Louis Tomlinson from One Direction, who have spent several years seeking after a more adult demographic. But this is a well-worn path for artists like Gomez. Miley Cyrus began transitioning to an older target demographic with her 2009 “The Time of Our Lives,” which featured the endlessly played “Party in the U.S.A.” But it wasn’t until her the following album “Can’t Be Tamed” that the break felt complete.

The case of Gomez is slightly different, and she released several albums with her dance-pop band Selena Gomez & the Scene. “Love You Like A Love Song” is perhaps still their most popular. Shortly after the group disbanded in 2012, Gomez’s first solo album, “Stars Dance,” was released in 2013. And it was met by immediate commercial success, landing at the No. 1 spot on the Billboard 200. And her 2015 follow-up album “Revival” quickly followed suit, with singles “Good for You (featuring A$AP Rocky)” and “Same Old Love,” making her something of a pop force to be reckoned with. And her 2016 duet with Charlie Puth “We Don’t Talk Anymore” has remained a fixture of radio play. But “Rare” is the singer’s first full album release in nearly five years.

“Rare” is the third and titular single released from the album, cut and balanced with an eye toward radio play. While there is nothing vocally extraordinary going on — Gomez has this in common with Cyrus and Lovato — the production value is high and everything feels very polished.

But the heart of an album is so rarely found in the singles, which are more often than not sort of one-offs. Songs like “Dance Again,” with its snappy baseline and dance rhythm, better capture of the aesthetic of the whole: a somewhat darkly colored, dance pop album with a glossy finish. “Kinda Crazy” pops in a mid-tempo groove and features very tasteful instrumentation: a touch of piano, a jazzy guitar riff that sets the tone and even horns. The singer’s breathy vocals hover just slightly above the mix. It’s one of the most nicely balanced pop songs in recent memory and a testament to the attention to detail that Gomez brings to her music. And it would be remiss not to mention “Cut You Off,” a delightful Saturday morning breakfast-bop and relentless earworm. Humorously, the chorus repeats over and over: “So I gotta get/you out my head now.”

The second single, “Look at Her Now,” is more evidence of the masterful production and how far it take one in today’s pop music scene. Artists like Kesha (whose new album drops at the end of the month) were pioneers in this regard. And phenomenal production covers myriad other sins. But “Look at Her Now” is the pop equivalent of a nursery rhyme when you peel back the smooth synth hooks: “Of course she was sad/but now she’s glad she dodged a bullet/took a few years to soak up the tears/but look at her now, watch her go.” And the chorus drones on the annoying “Mm-mm-mm, mm-mm-mm, mm-mm,” nearly as bad as Justin Bieber’s latest “Yummy.”

That leaves us with the lead single, “Lose You To Love Me,” which peaked at No. 1 on Billboard back in November. It stands apart from the rest of the album as a slower break-up anthem. It’s the only track to really showcase Gomez’s vocal power and it will ultimately make for an easy dance remix (or a dozen). Songs like it have guaranteed the commercial success of “Rare,” and in turn Gomez’s staying power. But I was hoping for a little something more from this album. It is a new decade, after all.

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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

1 week 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

3 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

1 month 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.