Arts & Entertainment
Album roundup: Gaga just so-so on new album ‘Chromatica’
Indigo Girls shine, Adam nails it and Perfume Genius — wtf?

Lady Gaga
Chromatica (**1/2 out of four)
Streamline/Interscope
Although Lady Gaga has never had an out-and-out bomb, she lost her footing a bit with her 2013 album “Artpop.”
Her fans point to its decent chart performance (it debuted at no. 1 and went platinum) and say that’s more perception than reality, but she was starting to experience a law of diminishing returns. The danceclub hits and outrageous fashion upon which she built her brand didn’t resonate the same way five years into her career.
She wisely recognized that and veered hard left making an album with Tony Bennett (of all people; 2014’s “Cheek to Cheek”), recapturing the pop culture zeitgeist with movie debut “A Star is Born” (pleasantly, she actually can act) and go mellow and subdued with her last studio album, 2016’s more singer/songwriter-oriented “Joanne.”
“Chromatica” (out May 29) is her official return to form. It all goes down breezily enough — it’s an easy, catchy listen — yet it’s also not quite the reclaiming of the pop diva throne she clearly intended it to be. It’s good, not great; her fans will love it and it will make a respectable chart dent but creatively she’s painted herself into a corner. While some of her unexpected (at the time) career swerves served her well and were well received, you can’t build a whole career on stunt casting — the meat dress! the Tony Bennett duets! “American Horror Story”! a “normal” album from kooky Gaga! Stuff like that only gets you so far then you’re kinda back where you were five years prior (albeit with an Oscar in tow).
Eventually you have to return to the business of doing what it is you supposedly do and a decade in to her admittedly impressive career, it feels like she’s reaching the bottom of her bag of creative tricks. “Chromatica” suggests to me we’ll look back on her in 50 years more as a Petula Clark (the singer of a decent string of era-defining standards)-type figure rather than a Bette Midler or, heck, even a Kelly Clarkson.
Gaga takes the “Confessions on a Dancefloor” approach here — there’s not a ballad in the batch. Track after track — first single “Stupid Love,” “Plastic Doll,” “Replay” and dozens more — are full of big, luscious, vaguely ’80s-tinged club beats courtesy of producer BloodPop (Justin Bieber, Britney Spears, et. al.), and melodies that take advantage of her impressive set of lungs. The lady can sing — nobody is arguing otherwise.
But it all gets a little samey sounding by the album’s end and a trio of orchestral interludes (dubbed “Chromatica,” “Chromatica II” and “Chromatica III”) sound like they were yanked off some poor man’s Ralph Vaughan Williams imitation attempt and tacked on for contrast and gravitas. They backfire though, sounding like ludicrous non sequiturs.
Lyrically there’s nothing terribly interesting happening but the guest spots — Ariana Grande on second single “Rain on Me,” K-pop girl group Blackpink on “Sour Candy” and Elton John on “Sine From Above” — work slightly better than you’d think. She doubles John’s vocal an octave above to pleasant effect. Glammy, campy (but fun!) final song “Babylon” had me picturing the “Queer as Folk” cast on the dancefloor.

Indigo Girls
Look Long (***1/2)
Rounder Records
It’s easy to take the Indigo Girls for granted. Although it’s been five years since their last studio album (2015’s “One Lost Day”), they keep busy with constant (pre-COVID-19) touring, regular solo outings from both members (Emily Saliers and Amy Ray, both lesbians) and even a live symphony album “Indigo Girls Live with the University of Colorado Symphony Orchestra” (2018).
Their new album “Long Look,” (May 22) however, is a pleasant reminder that not only are they greater vocally than the sum of their parts — their harmonies are truly heavenly — their songwriting is so assured and mature, they’re doing some of their best work now ages after aging (sadly) out of commercial relevance. John Reynolds, who also produced their 1999 album “Come On Now Social,” is back at the reins.
Standout cuts are the groovey, swampy opener “Shit Kickin,’” dance-around-the-campfire-esque “Howl at the Moon,” the plaintive title cut (in which they sound vocally as lovely as Emmylou Harris) and sonic curveball “Favorite Flavor.” Musically overall, this is Americana.
Topics are lyrically varied. “Feel This Way Again” is an urge to teens to savor emotions, album closer “Sorrow and Joy” is a well-crafted examination of ‘80s-era politics and it varies outward from there. Only occasionally (the chorus of “Flavor” or the slightly cloying “Country Radio”) do things feel a tad forced.

Perfume Genius
Set My Heart on Fire Immediately (*1/2)
Matador
Perfume Genius (aka Michael Hadreas) is back with his fifth album (it dropped mid-May) and while it’s more accessible (which isn’t saying much) than his previous efforts — some tracks actually feel like songs — it’s still a tough listen and something you have to be in the mood for.
Atmospherically, there’s a lot here to appreciate — the dreamy, ethereal “Whole Life,” the gauzy, fuzzy rock guitars on “Describe,” the retro organ underpinnings of “One More Try” and so on. One senses here that no instrumental choice or sonic effect was chosen haphazardly; Hadreas (38 and gay) and producer Blake Mills (who returns after 2017’s “No Shape”) took obvious care and mood and texture, to them, is everything (it certainly trumps melody and tempo).
The degree to which you like this album will be proportional to how much avant garde you can stomach. I tried to just close my eyes and savor it on its own terms but I also couldn’t wait for it to be over. The too-precious-by-half, whispery falsetto vocals on “Jason,” the plodding, uncategorizable “Your Body Changes Everything” and the sonic whiplash of “Some Dream,” which sounds like silly nonsense, had me itching to go put on some Jonas Brothers.
In fairness, though, could this be one of those magical albums that just needs time to seep into your pores? An album you endure on the first listen but can’t get enough of three months later? It’s a fair question, but I’m going with no. Texture solely for the sake of texture — and that’s what this feels like — just isn’t enough for me.

Adam Lambert
Velvet (***1/2)
Empire Distribution
An album you might have missed (somehow I did) that dropped in late March is the new Adam Lambert project “Velvet,” the gay “American Idol” runner-up’s fourth.
Lambert here manages to hit that sonic sweet spot where the production sounds both retro yet uber contemporary. There’s a funky, groovy, ’70s/Stax vibe here but also a 2020-kind of top coat on everything that sounds utterly of the moment.
Stylistically it’s still varied. “Superpower” is slutty and all attitude, “Loverboy” is a neo-disco shuffle, “Comin’ in Hot” is slinky and skanky and “Love Don’t” is a gritty rocker. “Ready to Run” has rock swagger and gospel organ accents. First single “Roses,” a duet with Nile Rodgers (of Chic) has lovely hooks and atmosphere to spare. It’s a romantic kiss-off to a lover who offers gestures but little else.
There are only a handful of slow songs, a straightforward piano ballad (“Closer to You”) and closer “Feel Something,” the album’s only pensive, moody moment.
Only occasionally and fleetingly does Lambert fumble — a weak chorus on “New Eyes,” a couple spots where the hooks aren’t quite enough to undergird the swagger and energy, but even then, Lambert’s shimmering whale of a voice — his calling card — is enough to sustain pleasure throughout. This is my summer car album for sure.
Dining
Spark Social House to start serving alcohol
D.C.’s only ‘LGBTQ alcohol-free bar’ changes course
Washington, D.C.’s only LGBTQ alcohol-free bar will lose that distinction in December: Spark Social House, located at the corner of 14th and U streets, N.W., will no longer serve only booze-free drinks.
Spark Social, as it is commonly known, received significant media attention and accolades when it debuted in March. Opening in the beating heart of the LGBTQ community’s social scene, its doors stand next to other popular nightlife establishments, including Crush, Bunker, District Eagle, and Revolt (which opened after Spark Social). All of those other bars serve alcohol.
Spark maintained a separate identity, creating a “third space” for sober guests or those who did not wish to spend their evening in an alcohol-forward space. Owner Nick Tsusaki, a former bartender, opened Spark Social to fill a gap he saw in queer nightlife establishments that centered drinking. Instead, Spark was intended to be a convening bar. By day, it has served coffee and tea as a café for remote workers, meetings, and catch-ups. In the evening, the bar hosts a wide array of events, with DJs, dancing, drag queens, speakers, open mic nights, and stand-up comedy, movie showings, among other events.
At the bar, it served cans, bottles, and craft cocktails, as well as “wellness drinks” or functional beverages like mushroom elixirs, Kava, and kombucha. All of these are currently non-alcoholic. Currently, in November, the bar is serving seasonal morning drinks like toasted almond and French Toast lattes, plus non-alcoholic cocktails like a “Hottie Hottie” with non-alcoholic spiced rum, lemon, and maple butter; plus a maple espresso “martini” without liquor, which includes mushroom tinctures.
Spark Social, even in its short time in existence, won “Best DC Coffee Shop” in the 2025 Washington Blade annual poll.
Nevertheless, in early November, the Spark owners and leadership team hosted a town hall to share updates and hear directly from the community about the next chapter for Spark.
According to the bar’s Instagram posts, the town hall reviewed the intent and purpose behind the bar: to create a queer third space where people can connect, create, and feel at home.”
“After eight months as a fully non-alcoholic bar, we’ve learned that sobriety exists on a spectrum and inclusion means offering choice.”
To that end, in December, Spark’s offerings will evolve. Instead of serving only drinks without alcohol, there will be a new “1 for 1” menu in which every cocktail comes in two versions: booze and boozeless. While alcohol will be served, the bar owners insist that they remain committed to maintaining its welcoming and relaxed vibe.
In a separate post, Spark wrote that “Although this was not our intent when we started the business, after 6 months of operations we’ve made the difficult decision to change our business model so that we can keep providing this space to the community.”
They acknowledged that this pivot might have “come as a surprise,” and offered to received feedback to ensure that the bar’s initial objective of being a unique space could continue.
Alcohol will only be served at the bar in the evenings during the week, and all day during the weekend.
Tsusaki spoke to the Blade about the changes and offered these statements:
“When we opened, the goal was to create a queer third space where people could spark a connection, spark creativity, spark an idea — especially for folks looking for an alternative to the typical drinking environment,” Tsusaki said. “From day one, Spark has been about the vibe — a place where you can just exist, feel at home, and be surrounded by community without pressure or pretense. After eight months as a fully non-alcoholic space, we learned a lot about what people actually want from spaces like this. Most folks exist somewhere on a spectrum of sobriety — some are fully sober, some are sober-curious, some drink occasionally. We realized that if our mission is to bring people together, inclusion has to mean options for everyone.
“We had to face the financial reality of running a small independent space in D.C. The city has been hit hard — especially with reduced spending and recent federal layoffs — and it’s made things tough for hospitality businesses like ours. Adding alcohol helps make Spark sustainable so we can keep doing what we do: building community, creating jobs, and keeping this space alive for the long haul.
“We’re using this moment to make the space even better — enclosing the back patio so it’s usable year-round, upgrading our DJ booth and sound system, and making a few design tweaks that better reflect the energy and creativity Spark has always had.”
Photos
PHOTOS: Miss Gay Mid-Atlantic America
Victoria Bohmore crowned in regional pageant held at Freddie’s Beach Bar
The 2025 Miss Gay Mid-Atlantic America Pageant was held at Freddie’s Beach Bar in Arlington, Va. on Friday, Nov. 7. Victoria Bohmore was crowned the winner, with Lady Lords named first alternate. Bohmore and Lords both qualify to compete against the winners of the Miss Gay Maryland America Pageant as well as other state and regional title holders from across the nation at the Miss Gay America Pageant in January.
(Washington Blade photos by Michael Key)
















Books
A history of lesbian workarounds to build family
Fighting for the right to have and raise kids
‘Radical Family: Trailblazing Lesbian Moms Tell Their Stories’
Edited by Margaret Mooney
c.2025, Wisconsin Historical Society Press
$20/150 pages
You don’t have a white picket fence with an adorable gate.
The other parts of the American Dream – the house in the suburbs, a minivan, and a big backyard – may also be beyond your reach. You’ve never wanted the joyous husband-wife union, but the two-point-five kids? Yeah, maybe that’s possible. As in the new book “Radical Family,” edited by Margaret Mooney, it’s surely more so than it was in the past.

Once upon a time, if a lesbian wanted to raise a family, she had two basic options: pregnancy or adoption. That is, says Mooney, if she was willing to buck a hetero-centric society that said the former was “selfish, unnatural and radical” and the latter was often just simply not possible or even legal.
Undaunted, and very much wanting kids, many lesbians ignored the rules. They built “chains” of women who handed off sperm from donor to doctor to potential mother. They demanded that fertility clinics allow single women as customers. They wrote pamphlets and publications aimed to help others become pregnant by themselves or with partners. They carefully sought lesbian-friendly obstetricians and nurses.
Over time, lesbians who wanted kids were “emboldened by the feminist movement and the gay and lesbian rights movement” and did what they had to do, omitted facts when needed, traveled abroad when they could, and found workarounds to build a family.
This book tells nine stories of everyday lesbians who succeeded.
Denise Matyka and Margaret McMurray went to Russia to adopt. Martha Dixon Popp and Alix Olson raised their family, in part and for awhile in conjunction with Popp’s husband. Gail Hirn learned from an agriculture publication how to inseminate herself. MC Reisdorf literally stood on her head to get pregnant. Mooney says that, like most lesbian parents then, she became a mother “without any safety nets…”
Such “struggles likely will feel familiar as you read about [the] desire to become parents…” says Mooney. “In short, these families are ordinary and extraordinary all at once.”
In her introduction, editor Margaret Mooney points out that the stories in this book generally take place in the latter part of the last century, but that their relevance is in the struggles that could happen tomorrow. There’s urgency in those words, absolutely, and they’re tinged with fear, but don’t let them keep you from “Radical Family.”
What you’ll see inside these nine tales is mostly happy, mostly triumphant – and mostly Wisconsin-centric, though the variety in dream-fulfillment is wide enough that the book is appropriate anywhere. The determination leaps out of the pages here, and the storytellers don’t hide their struggles, not with former partners, bureaucracy, or with roadblocks. Reading this book is like attending a conference and hearing attendees tell their tales. Bonus: photos and advice for any lesbian thinking of parenthood, single or partnered.
If you’re in search of positive stories from lesbian mothers and the wall-busting they did, or if you’ve lived the same tales, this slim book is a joy to read. For you, “Radical Family” may open some gates.
The Blade may receive commissions from qualifying purchases made via this post.
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