Music & Concerts
Musical adventurer Rufus Wainwright returns to touring, plays D.C. Sept. 28
From Judy to Shakespeare to opera, gay wunderkind embraces it all
Rufus Wainwright and Jose Gonzalez
Unfollow the Rules in the Local Valley Tour
The Anthem
901 Wharf St., S.W.
Tuesday, Sept. 28
8 p.m. (doors: 630)
$55-75
ticketsonsale.com
theanthemdc.com
rufuswainright.com
After some artistic detours ā in 2018, a second opera; before that, an album of songs based on Shakespearean sonnets in 2016 ā Rufus Wainwright returned to his āregularā music in July 2020 with the release of his 10th studio album āUnfollow the Rules,ā which was critically embraced and nominated for a Grammy.
A live album of the āUnfollowā material dubbed āThe Paramour Sessionsā was released Sept. 10.
Wainwright, 48, spoke to the Blade by phone on Sept. 1 from Nashville where he had a City Winery show that night as part of his āUnfollow the Rules Tour.ā He joins Jose Gonzalez for the āUnfollow the Rules in the Local Valley Tour,ā a co-headlining, 10-city mini-tour, next week. They play The Anthem on Sept. 28. Then Wainwright, whoās been publicly out since his eponymous debut album dropped in 1998, will resume his solo tour next month in the U.K. His comments have been slightly edited.
WASHINGTON BLADE: Youāre back on the road. What have the audiences been like?
RUFUS WAINWRIGHT: Well, they’re very excited. ā¦ There’s definitely a palpable sense of appreciation and excitement. And it’s good to be back.
BLADE: Do you feel safer singing more of the new album now that itās been out a year and people have had time to absorb it? Is that easier than trying to sing more of it when itās just out?
WAINWRIGHT: I definitely enjoy the whole kind of common knowledge thing now that exists with this album. And certainly having this other record, āThe Paramour Sessions,ā to promote as well, which is just another take on some of the same material. One can also go on a bit of a deeper dive. You know, this album actually did very well critically, it was nominated for a Grammy and a lot of people consider it a seminal work for me. I think it can handle that stretch.
BLADE: Do the new songs dovetail fairly naturally with your older songs in a set?
WAINWRIGHT: Yeah, I mean, this album is very much related to my first album. Iām not going to be doing my first album in the show, but it’s kind of a return to my California roots. You know, where I began my career over 20 years ago. The songs are answers in a way to some of the questions raised on the first album. ā¦ Iām not singing them back to back or anything, but a lot of my fans have followed me from the beginning so we all get it.
BLADE: How did āUnfollow the Rules: The Paramour Sessionsā come about?
WAINWRIGHT: When the album was released, we still wanted to do something special online so we made this film doing a lot of the songs with a smaller ensemble at this incredible Hollywood mansion. This was at the height of the pandemic, possibly slightly illegally in the sense that we werenāt necessarily supposed to be working. But people needed to do something, you know, to get their heads out of the chaos. This was last summer during the Black Lives Matter protests and just the heat of those fires that were about to ignite, there was a very intense atmosphere and I do feel strongly that some of that drama is possibly on the recording. At least I think thereās this sort of depth there that can only come out of something like that.
BLADE: Did it seem relatively easy returning to quote-unquote pop music after writing opera?
WAINWRIGHT: Yeah. One of the great gifts of me writing opera, which I will continue to do intermittently, is that it gave me a whole new appreciation of where I came from and all the freedoms I have in the pop world. Iām very grateful for my work in the songwriting universe and all the freedom that comes with it.
BLADE: Are you co-headlining this tour with Jose Gonzalez?
WAINWRIGHT: Yes. It will be nice to be out with a brilliant songwriter and singer. Itās been a while since Iāve done this sort of thing. When I began my career, it was more the norm to be part of a lineup.
BLADE: Do you know him? Will you sing anything together?
WAINWRIGHT: We havenāt met but I think it will be a very emotional meeting in a way, because itās been a long time coming.
BLADE: What was it like revisiting the Judy (Garland) album last summer and on her birthday no less? (Wainwright recreated Garlandās famous live Carnegie Hall album in 2007.)
WAINWRIGHT: It was a thrill. How many people can claim to have sang the same songs in the same room where she recorded a lot of them and on the actual microphone that she used with Renee Zellweger (who won an Oscar for the 2019 biopic āJudyā) as a captive audience. So yeah, I just felt a lot of gratitude and felt very privileged to be able to go on that journey. So yes, in honor of Judy, but the main thread that Iām actually worshipping is the material itself whether itās Gershwin or Berlin. They inspire me, as a songwriter myself, to keep the bar fairly high.
BLADE: Youāve hinted in other interviews that you want to write a Broadway musical and perhaps a ballet. Youāve written two operas. Where does this drive come from to conquer such ambitious and disparate art forms?
WAINWRIGHT: Well obviously with COVID, touring was suspended for a while, so it was a chance to try to advance the Broadway jalopy, which Iāve been trying to do for a while. There are about three or four projects that I have in the works that unfortunately I canāt talk about too much, but what I can say is that there is a wholehearted effort going on to, you know, secure my place on the Great White Way one way or another. Itās something people have been after me to do over the years because they say my music already has that sensibility. So Iām finally kind of doing my homework now.
BLADE: And whether itās Broadway or opera, what are the gatekeepers like in those arenas? Since youāre a known entity, is it easy to at least get a pitch meeting? How does it work?
WAINWRIGHT: Well theyāre very different. Iām happy that I went into the opera world first. My first opera has been done seven times all over the world and my second one has other productions coming, so itās been a success. Not everybody adores my work, but it made an impact and it seems to be continuing on so thatās all you can ask for anyway. Iām happy I did it, but itās a very, very tough battle. The standards are very, very high, which is actually a good thing. With Broadway, I think thereās a whole financial element to it where people are looking to make a fortune off of these shows, so thatās kind of new for me and something I have to be cognitive of.
BLADE: You said in another interview that the classical world could be poisonous at times. How so?
WAINWRIGHT: I meant it was the opposite of what I believed it was going to be. I had a very nice view of the classical world, and Iāve adored opera for most of my life. I thought I would be able to unleash my talents and it would be accepted and appreciated and I would be, you know, brought into the fold when in fact, it was the opposite. They were very, very dubious to me and very protective of their sacred cows, so it was a real rude awakening. Itās a very cliquish environment and everybody kind of knows everybody. So if somebody wanted to poison the well, they can and then it spreads to this massive disease about you and theyāre able to spread it very easily. So the happy story is that it survived and thrived and I guess what doesnāt kill you makes you stronger.
BLADE: Whether theyāre fans or not, most people would concur your songs are fairly intelligent. Are art and culture and society in general getting dumbed down a little more each year?
WAINWRIGHT: I think there are some aspects that need some attending to for sure. I mean in the pop songwriting world, Iād say lyrics are really under threat. When you look at the generation thatās about to exit ā people like Bob Dylan, Joni Mitchell, and the ones who have left us, like Bowie, and so forth, lyrics were really kind of the most brilliant jewel in the art form and now theyāre just so throwaway. I donāt profess to be the worldās greatest lyricist or anything, but I do try very hard and I wouldnāt say the age weāre in is a golden age of the word. But maybe there are other art forms, like fashion or something perhaps, that are at their peak now, who knows?
BLADE: Was it hard to maintain sobriety during lockdown last year?
WAINWRIGHT: No. My wonderful husband (Jorn Weisbrodt, whom Wainwright married in 2012), heās not about alcohol at all. He doesnāt drink because he just doesnāt need to. And I do Zoom meetings here and there. So I thank my lucky stars it wasnāt. It would have been hard to contend with alcohol as well as COVID.
BLADE: Howās your daughter? Whatās she excited about these days? (Wainwrightās daughter Viva is 10)
WAINWRIGHT: Oh, sheās into horseback riding. She loves Tina Turner. She loves to draw. Sheās actually really happy to be back in school and hanging out with her friends.
BLADE: How often do you talk to your dad on average? (Wainwright is the son of Loudon Wainwright III, an acclaimed singer/songwriter.)
WAINWRIGHT: We try to talk once a week. Weāve kind of made it into this calendar item and it works really well that way. Just to touch base and see how weāre doing. Other times weāll get into more sensitive territory. I think especially since losing my mother, Iām just aware that itās a finite amount of time these people are going to be around, so you might as well spend time with them while you can.
BLADE: How closely do you follow current pop music? Is there anybody who particularly excites you?
WAINWRIGHT: I do. I like Perfume Genius and Lana Del Rey. And I like The Weeknd. When those songs come on, Iām like, āWow, thatās a real hit.ā I admire that because Iāve never been able to crack that nut, nor do I think I probably ever will.Ā
Music & Concerts
Musical icons and newer stars to rock D.C. this spring
Brandi Carlile, Bad Bunny, Nicki Minaj, and more headed our way
Bands and solo artists of all different genres are visiting D.C. this spring. Patti LaBelle and Gladys Knight will team up to perform at the Wolf Trap in June, and girl in red will play at the Anthem in April. Some artists and bands arenāt paying a visit until the summer, like Janet Jackson and Usher, but there are still plenty of acts to see as the weather warms up.
MARCH
Brandi Carlile plays at the Anthem on March 21; Arlo Parks will perform at 9:30 Club on March 23; Girlschool will take the stage at Blackcat on March 28.
APRIL
Nicki Minaj stops in D.C. at Capital One Arena as part of her North American tour on April 1; Bad Bunny plays at Capital One Arena on April 9 as part of his Most Wanted tour; girl in red performs at the Anthem on April 20 and 21; Brandy Clark plays at the Birchmere on April 25; Laufey comes to town to play at the Anthem on April 25 and 26.
MAY
Belle and Sebastian play at the Anthem on May 2; Chastity Belt performs at Blackcat on May 4; Madeleine Peyroux stops at the Birchmere on May 5; The Decemberists play at the Anthem on May 10; the rock band Mannequin Pussy performs at the Atlantis on May 17 and 18; Hozier plays at Merriweather Post Pavilion on May 17 as part of the Unreal Unearth tour.
JUNE
Patti LaBelle and Gladys Knight will sing soulful melodies at Wolf Trap on June 8; Joe Jackson performs at the Lincoln Theatre on June 10; the Pixies and Modest Mouse are teaming up to play at Merriweather Post Pavilion on June 14; Maggie Rogers plays at Merriweather Post Pavilion on June 16 as part of The Donāt Forget Me tour; Brittany Howard headlines the Out & About Festival at Wolf Trap on June 22; Sarah McLachlan plays at Merriweather Post Pavilion on June 27; Alanis Morissette performs at Merriweather Post Pavilion on June 29 and 30
Music & Concerts
Grammys: Queer women and their sisters took down the house
Taylor Swift won Album of the Year
When the late, great Ruth Bader Ginsburg was asked when there will be enough women on the Supreme Court, her answer was simple: Nine. She stated: “I say when there are nine, people are shocked. But there’d been nine men, and nobody’s ever raised a question about that.” RBG did not attend the Grammyās last night, but her spirit sure did. Women, at long last, dominated, ruled and killed the night.
Cher, in song a decade ago, declared that āthis is a womanās world,ā but there was little evidence that was true, Grammy, and entertainment awards, speaking. In 2018, the Grammys were heavily criticized for lack of female representation across all categories and organizersā response was for women to āstep up.ā
Be careful what you wish for boys.
The biggest star of the 2024 Grammys was the collective power of women. They made history, they claimed legacy and they danced and lip sang to each otherās work. Standing victorious was Miley Cyrus, Billie Eilish, SZA (the most nominated person of the year), Lainey Wilson, Karol G, boygenius, Kylie Minogue and Victoria MonĆ©t. Oh, yes, and powerhouse Taylor Swift, the superstar from whom Fox News cowers in fear, made history to become the first performer of any gender to win four Best Album of the Year trophies.
In the throng of these powerful women stand a number of both LGBTQ advocates and queer identifying artists. Cyrus has identified as pansexual, SZA has said lesbian rumors āaināt wrong,ā Phoebe Bridgers (winner of four trophies during the night, most of any artist) is lesbian, MonĆ©t is bi and Eilish likes women but doesnāt want to talk about it. Plus, ask any queer person about Swift or Minogue and you are likely to get a love-gush.
Women power was not just owned by the lady award winners. There were the ladies and then there were the Legends. The first Legend to appear was a surprise. Country singer Luke Combs has a cross-generational hit this year with a cover of Tracy Chapmanās “Fast Car.” When originally released, the song was embraced as a lesbian anthem. When performing “Fast Car,” surprise, there was Chapman herself, singing the duet with Combs. The rendition was stunning, sentimental and historic.
Chapman, like many of the nightās female dignitaries, has not been public with her sexuality. Author Alice Walker has spoken of the two of them being lovers, however.
The legend among legends of the night, however, was the one and only Joni Mitchell. Not gay herself, she embodies the concept of an LGBTQ icon, and was accompanied by the very out Brandi Carlile on stage. On her website, Mitchellās statement to the LGBTQ community reads, “The trick is if you listen to that music and you see me, you’re not getting anything out of it. If you listen to that music and you see yourself, it will probably make you cry and you’ll learn something about yourself and now you’re getting something out of it.”
Mitchell performed her longtime classic “Both Sides Now.” The emotion, insight and delivery from the now 80-year old artist, survivor of an aneurism, was nothing short of profound. (To fully appreciate the nuance time can bring, check out the YouTube video of a Swift lookalike Mitchell singing the same song to Mama Cass and Mary Travers in 1969.) In this latest rendition, Mitchell clearly had an impact on Meryl Streep who was sitting in the audience. Talk about the arc of female talent and power.
That arc extended from a todayās lady, Cyrus, to legend Celine Dion as well. Cyrus declared Dion as one of her icons and inspirations early in the evening. Dion appeared, graceful and looking healthy, to present the final, and historic, award of the night at the end of the show.
Legends did not even need to be living to have had an effect on the night. Tributes to Tina Turner and Sinead OāConner by Oprah, Fantasia Barrino-Taylor and Annie Lennox respectively, proved that not even death could stop these women. As Lennox has musically and famously put it, āSisters are doing it for themselves.ā
Even the content of performances by todayās legends-in-the-making spoke to feminine power. Eilish was honored for, and performed “What Was I Made For?,” a haunting and searching song that speaks to the soul of womanhood and redefinition in todayās fight for gender rights and expression, while Dua Lipa laid down the gauntlet for mind blowing performance with her rendition of “Houdini” at the top of the show, Cyrus asserted the power of her anthem “Flowers” and pretty much stole the show.
Cyrus had not performed the song on television before, and only three times publicly. She declared in her intro that she was thrilled over the business numbers the song garnered, but she refused to let them define her. As she sang the hit, she scolded the audience, āyou guys act like you donāt know the words to this song.ā Soon the woman power of the room was singing along with her, from Swift to Oprah.
They can buy themselves flowers from now on. They donāt need anyone else. Cyrus made that point with the mic drop to cap all mic drops, āAnd I just won my first Grammy!ā she declared as she danced off stage.
Even the squirmiest moment of the night still did not diminish the light of women power, and in fact, underscored it. During his acceptance of the Dr. Dre Global Impact Award, Jay-Z had a bone to pick with the Grammy voters. He called out the irony that his wife BeyoncĆ© had won more Grammys than any other human, but had never won the Best Album of the Year. Yeah, whatās with that?
But then, it brought additional context ultimately to the fact that the winner of the most Grammys individually ā¦ is a woman. And to the fact that the winner of the most Best Album of the Year awards ā¦ is a woman.
Hopefully this was the night that the Grammys āgot it.ā Women are the epicenter of The Creative Force.
Will the other entertainment awards get it soon as well? We can hope.
Most importantly, in a political world where womenās healthcare is under siege. Will the American voters get it?
A little known band named Little Mix put it this way in their 2019 song āA Womanās World.ā
āIf you can’t see that it’s gotta change
Only want the body but not the brains
If you really think that’s the way it works
You ain’t lived in a woman’s world
Just look at how far that we’ve got
And don’t think that we’ll ever stopā¦ā
From Grammyās mouth to the worldās ear.
Music & Concerts
Janet Jackson returning to D.C, Baltimore
‘Together Again Tour’ comes to Capital One Arena, CFG Bank Arena
Pop icon Janet Jackson announced this week an extension of her 2023 āTogether Again Tour.ā A new leg of the tour will bring Jackson back to the area for two shows, one at D.C.ās Capital One Arena on Friday, July 12 and another at Baltimoreās CFG Bank Arena on Saturday, July 13.
Tickets are on sale now via TicketMaster. LiveNation announced the 2023 leg of the tour consisted of 36 shows, each of which was sold out. The 2024 leg has 35 stops planned so far; R&B star Nelly will open for Jackson on the new leg.
Jackson made the tour announcement Tuesday on social media: āHey u guys! By popular demand, weāre bringing the Together Again Tour back to North America this summer with special guest Nelly! Itāll be so much fun!ā
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