Music & Concerts
Strong releases from Kesha, Trainor ignite airwaves, streaming platforms
’TiK ToK’ hitmaker returns with mature-but-still-playful new sound, lyrics
We’re off to what’s shaping up to be a deliciously big year for women in pop. Selena Gomez and Halsey released new albums in January and Meghan Trainor and Kesha (stylized as Ke$ha until the release of her 2017 “Rainbow”) have new albums out last week.
It’s hard to believe that “TiK ToK,” Kesha’s first single as a solo artist, reached the no. 1 spot on Billboard exactly one decade ago. Her 2010 debut album “Animal” was followed by the platinum EP “Cannibal” in the same year. Singles like “We R Who We R,” “Die Young,” “Timber” and “Blow” still dominate club play. If pop music continues to be remembered by decades, the 2010s may well be the decade of Kesha — certainly the first half. Bawdy, dancey, unapologetically electronic, masterfully produced — these are all defining features of Kesha’s artist output. Vocal virtuosity is sidelined in favor of her distinctive party girl persona.
Kesha’s 2017 comeback “Rainbow” was something of an anomaly. With singles like “Praying,” she was clearly trying to revise her previously successful formula and add some depth to her artist production. “High Road” is the brilliant culmination of her previous work, seamlessly incorporating a variety of genres, yet it remains fiercely distinct. It is both a return to the Kesha of “TiK ToK” and marked evolution from that Kesha — a perfect balance of playful and serious, innovative and mature.
Take, for instance, lead single “Raising Hell,” which features Big Freedia. It’s a bouncy anthem that manages a thumping pop bassline and churchy, gospel feel at the same time. There is even a fabulous breakdown with bluesy organ. It’s refreshing to see the effects of gospel beyond Kanye West. Like “Praying,” Kesha cleverly appropriates religious language for her un-religious party anthem: “I’m all fucked up in my Sunday best/no walk of shame ’cause I love this dress/hungover, heart of gold, holy mess/doin’ my best, bitch, I’m blessed.” Kesha has always been lyrically strong, if not vocally, but “High Road” takes it to a new level. In lieu of the empty monotony of overdone, feel-good tropes, Kesha has a sense of humor.
The song “Honey” is different sort of song. The influence of rock groups like the Red Hot Chili Peppers is evident from the first guitar stroke. The stripped down instrumentation gives one of several opportunities on this album to appreciate Kesha’s soulful vocals. The song “Cowboy Blues” is another outlier, an unexpected hipster-girl tune with ukulele — think Zooey Deschanel’s band She & Him. But, as usual, Kesha puts her own spin on quirky.
Perhaps, the biggest surprise of the new album is “Resentment,” which features Beach Boys co-founder Brian Wilson, country artist Sturgill Simpson and the singer Wrabel. It is a beautiful country song and it could reasonably find its way onto the country charts. It’s a crossover into country from the other direction, a sort of reverse Faith Hill. It perhaps speaks to the vitality of country music in the past several years thanks to artists like Margo Price.
But in addition to the surprises, Kesha still leaves us with a healthy dose of raucous party music. “Kinky” is a delightful up-tempo dance track that celebrates sexual freedom and polyamory: “Monogamy ain’t natural/at least not for me and you/we’re in our own dimension/we’re making up our own rules.” It’s like the 2020 update to Katy Perry’s now classic (and now utterly uncontroversial) “I Kissed A Girl.” And as always, Kesha gives us a taste of the carnivalesque with “Potato Song (Cuz I Want To).”
“Treat Myself” is Meghan Trainor’s third studio album, and she’s come a long way since her emergence on the charts with the release of her no. 1 debut album “Title” in 2015. The singles “All About That Bass” and “Like I’m Going To Lose You,” which features John Legend, both from her debut, have over 500 million streams on Spotify. The new album has been in progress for some time, and is a slick, well-produced pop album.
The catchy lead single “No Excuses” was released in 2018 and has already had extensive radio play. But the album is fairly robust and offers several other excellent tracks. “Wave,” released as a single last fall, is a heavily electronic anthem that showcases Trainor’s well-harnessed vocal abilities. Of the singles, it’s hard not to be a partisan of “Nice to Meet Ya,” a collaboration with Nicki Minaj. It has similar feel to hip-hop dance tracks from the early 2000s and the way Minaj’s punctuates the last word in each line of her verse is in some ways reminiscent of songs like J-Kwon’s 2000 “Tipsy.”
“Genetics,” a collaboration with the Pussycat Dolls (who knew they were still around?), is an impeccable dance track. The bass line would make even the most resistant person in the friend group sway along. It makes me nostalgic for the Pussycat Dolls of “Don’t Cha” and “When I Grow Up.” And Trainor gives some needed vocal competence to the pulsing beat.
Perhaps the most delightful part of the new album is the song “Funk,” Trainor’s funky answer to Mark Ronson and Bruno Mars’ 2014 “Uptown Funk.” In fact, it feels like it might have started an improvised riff on it. But it strikes a groove all of its own, and the horns take on something of Michael Jackson feel, as the chorus cleverly hammers away: “I miss the way we used to funk.” It is an inspired new direction for Trainor’s music. But if there is one thing to reproach Trainor for, it’s that her lyrics peddle in endless strings of cliché. She could stand to learn a thing or two from Kesha on that front.
Music & Concerts
DJ Chanel Santini is bringing the heat and some gender-fluid diversity to XBIZ Miami
Pool party celebrates most charismatic personalities, creative artists in adult entertainment
Chanel Santini has crossed over to being a DJ, performing at clubs all over the country. Now known as Santini, they will be making music and hyping the pool party, DJ-ing at XBIZ, the conference for adult creators and digital players, in Miami.
Taking place on Monday to Wednesday, the event honors the most charismatic personalities and creative artists in entertainment.
“I am honestly so excited — getting to DJ in Miami Beach is literally a DJ’s dream!” Santini told the Los Angeles Blade.
“I thought it would be a good opportunity because I haven’t been around my industry peers in a long time. It’s a great event to network and show off the new me!” said Santini.
While Santini is unsure what music they will be playing, they want everyone to have a good time. “My goal is to ignite the dance floor and play great music that everyone will vibe to. My sound includes house music, bass house, tech house, and I always like to throw a little bit of hip-hop in my sets.”
Santini loves how DJ-ing brings people together.
“Music really ignites us all! It is so universal, no matter what language you speak. I think it’s the best high in the world when you play a banger track, and everybody on the dance floor screams loudly. You can’t describe that feeling until you’re up there on that stage.”
Santini describes DJs as the “modern rock stars” in today’s world.
“I always feel like such a superstar when I’m up on that stage. The best feeling is after my set when I have people come up to me and say, ‘Thank you for sharing that amazing music.’ That’s how you know that you’re a good DJ — I love when I get those types of compliments!”
While sometimes it’s hard to please everyone’s musical tastes, Santini endeavors to try! “You just have to go out there and give it your all and be the best DJ that you can be,” he noted.
Santini, who had previously identified as transgender, recently decided to transition back to being gender fluid.
“It’s definitely been a journey, but I’m definitely happier in my own skin now than I was. I don’t go by he/him pronouns. I don’t go by they/them either. I guess I just really don’t have a preference. Whatever you see me as is your opinion. I’ve learned over the years that I’m not trying to be one specific thing. I’m just Santini. I’m just me.”
Santini acknowledged they felt respected more when dressed as a woman.
“I think it’s just because femininity runs the world. When I started to de-transition, I felt like I had to just be a boy all the time. But I’ve realized over the years that I don’t need to stick to one specific thing. I am always gonna be feminine, and that’s OK.”
Recently, Santini has been embracing their feminine side more.
“I definitely feel more comfortable in female presentation, and more powerful when I’m on stage dressed as Chanel. I love DJ-ing in drag because there are so many straight male DJs in the world. It’s almost like a superhero when he puts on his cape! I think it makes me confident and stand out more as an artist.”
And because Santini loves makeup and fashion, they can incorporate that into their sets. “I’m not just bringing you good vibes and good music. I’m bringing you a show/ production!”
Santini is already working on big plans for the future.
“I’m opening up for a huge Pride block party in my hometown, Albuquerque, N.M., on June 12 and 13. It’s a two day festival and I’m super excited for this opportunity. I’m even hiring backup dancers and a choreographer.”
Santini plans to go “all out” for this show.
“It’s gonna be the biggest crowd that I’ve ever played for,” Santini enthused. “I’m putting my heart and soul into this performance, especially because it’s Pride in my hometown, and that means so much to me. I know the younger me would be so proud.”
Santini remembers going to Pride when they were younger and telling themself they couldn’t wait to be up on that stage.
“I’m truly living my dream right now, and I’m so excited for the future. The last 10 years of being in the adult entertainment business have been great and have given me major success. But I always knew that I didn’t want to be in this industry for long.”
Santini acknowledged that, in the recent past, it was a struggle.
“I’ve been trying to find myself and figure out what I wanna do next with my life. Now that I’ve found this passion for DJ-ing, it makes me want to go far in this business.”
In addition to being a DJ/artist, Santini is starting college next semester.
“I’m gonna get my degree in audio engineering,” Santini enthused. “I can’t wait to start producing my own tracks. I especially can’t wait till the day I’m headlining a major festival! I know with a little bit of patience and hard work that I can get there! I just have to continue believing in myself.”
Santini wanted to thank all of their fans for their support. “Truly, if it wasn’t for them, I wouldn’t be able to fund my art in the way that I have. I’m truly grateful. And I’m excited for the future!”
Music & Concerts
Gaga, Cardi B, and more to grace D.C. stages this spring
Shake off your winter doldrums at a local concert
D.C. shakes off its winter blues this spring as the music scene pops off. We all know the big star is coming: Lady Gaga will perform at Capital One Arena on March 23. But plenty of other stars, big and small, will grace D.C. stages, including many LGBTQ and ally artists.
March
3/15, 9:30 Club, St. Lucia – Indie electronic music project known for its synth-pop sound, which blends ‘80s influences with electronic and indie rock elements.
3/31, Lincoln Theatre, Perfume Genius – Indie/pop singer/songwriter Mike Hadreas, also known as Perfume Genius, has toured with a full band, but he is stripping things back for this tour.
April
4/8, Capital One, Cardi B. Cardi B, from New York, unapologetic and proud, is the first solo female artist to win the Grammy Award for Best Rap Album. This year, she’s on her Little Miss Drama Tour, in support of her second studio album, “Am I the Drama?”
4/13, Lincoln Theatre, The Naked Magicians. Australia’s The Naked Magicians are two performers who deliver live magic and laughs while wearing nothing but a top hat and a smile.
4/18, Capital One, Florence and the Machine. Longstanding indie rock back from Great Britain, much-loved for lead singer Florence’s powerful vocals. On their Everybody Scream Tour.
4/16, Capital One, Demi Lovato. Singer/songwriter from Texas, who came out as nonbinary, is traveling on her “It’s Not That Deep Tour.”
4/21, The Anthem, Calum Scott. Platinum-selling gay singer/songwriter Calum Scott released his latest project, Avenoir, last year. Scott rose to fame in 2015 after competing on Britain’s Got Talent, where he performed a cover of Robyn’s hit “Dancing on My Own“.
4/26, Atlantis, Caroline Kingsbury. American queer pop musician from Los Angeles. She released her debut album in 2021, and has two additional EPs. She’s played Lollapalooza 2025 and All Things Go 2025, as well as gone on a co-headlining U.S. tour with MARIS. Shock Treatment is her latest EP.
4/26, Anthem, Raye. This bisexual artist, known for her current chart-topping “”Where Is My Husband!” single, blends pop, jazz, R&B, and more.
4/30, Union Stage, Daya. This bisexual singer/songwriter is on her “Til Every Petal Drops Tour,” touring the album of the same name that was released last year.
May
5/1, The Anthem, Joost Klein. Eurovision comes to D.C. in Joost Klein: Originally a Youtuber, he was selected to represent the Netherlands at Eurovision in 2024 with his song “Europapa.” He released a new album on New Year’s Day.
5/1, Fillmore, MIKA. MIKA is on his Spinning Out Tour. Born in Beirut and raised in both Paris and London, MIKA sings in multiple languages and has co-hosted Eurovision.
5/7, 9:30 Club, COBRAH. Clara Christensen, is a Swedish singer, songwriter, record producer, and club queen, making electronic dance music.
5/19, Atlantis, Grace Ives. New York-born singer/songwriter, known for her high-energy synth/electronic, bedroom-pop-style music.
June
6/2, The Anthem, James Blake. English crooner got big from his self-titled debut album in 2011. He won two Grammys and just released his 7th album,Trying Times, in March.
Music & Concerts
Washington chorale kicks off Christmas with vibrant program
‘Thine Own Sweet Light’ concerts planned
The full Washington Master Chorale will return for its annual holiday concert tradition with “Thine Own Sweet Light” on Friday, Dec. 19 and Sunday, Dec. 21 at St. Ann’s Catholic Church (D.C.) and Church of the Epiphany (D.C.).
The concert will feature the rich sounds of the 50-voice, a cappella chorus performing lush, seasonal choral music inspired by the theme of light. Highlights include Edvard Grieg’s “Ave Maris Stella,” Eric Whitacre’s “Lux Aurumque,” and Christopher Hoh’s “Holy, Holy, Holy is the Lord God of Hosts.” The program will also present a new work by Barcelona composer Josep Ollé i Sabaté, along with charming holiday folk songs and seasonal favorites.
For more details, visit the Washington Master Chorale website.
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