Music & Concerts
We waited eons for this? New Diana album is colossal disappointment
Saccharine sentiments sink largely self-penned effort from diva supreme
Diana Ross’s solo albums are almost always inconsistent.
This isn’t unusual among R&B/pop divas; start wading past the hits and the same could be said for the album tracks of Gladys Knight, Aretha Franklin, Dionne Warwick, et. al.
The few times she’s made a start-to-finish solid effort, like 1991’s “The Force Behind the Power,” 1995’s “Take Me Higher” or even 1985’s “Eaten Alive,” which works even with its campy title cut, they’ve never been huge sellers or featured any of her trademark hits.
However — and it pains me to say this — you have to go all the way back to 1983’s “Ross” to find an album as bad as her new release “Thank You” (★½ out of four), her first album in 15 years and her first of new material in 22 years. Pre-COVID, she was highly active with touring (and played the D.C. region many times), but her studio work had ground to a total halt.
A few things trickled out from the vault, like 2006’s delightful jazz album “Blue” (recorded in the early ’70s), but there was nothing new. And while it was always great to see her on stage — she looks fabulous at 77 (although you’d never know it from the vintage photo used on the “Thank You” cover) — her show varied little from year to year and her vocals were occasionally pitchy.
So while it’s great to finally have something new from the Motown legend — a studio workhorse all through the ’60s, ’70s and ’80s — this extremely uneven new album is a musical Hallmark turd that never met a feel-good lyrical cliche too saccharine or an easy listening musical bed too insipid.
It’s hard to place too much of the blame on Troy Miller (a veteran of Amy Winehouse’s band), who produced the bulk of the tracks here, as Ross’s fingerprints are all over it — she’s billed as executive producer and, in a career first, she co-wrote nine of the 13 cuts. Though she took a few songwriting credits here and there over the years (she co-wrote four songs on her 1982 album “Silk Electric”), on most of her albums, her songwriting contributions are zero. And although two of those — the bouncy title cut and second single “If the World Just Danced” — are unequivocally the project’s best tracks, Joni Mitchell she is not.
Here’s the good news — she sounds amazing. There’s a lustrous quality to her vocal work here, her range is truly impressive and the pitch never wavers. Some scoff, but I have always felt Ross is a great pop singer with considerable range and impressive interpretive abilities in a wide gulf of genres. She was never a Whitney or Celine, but she could coo (“Baby Love”), yearn (“Cryin’ My Heart Out for You”), burn (“Muscles”) and growl (“Swept Away”) as well as anyone. This album’s “Time to Call,” though weak, gives her a chance to unfurl several melismas in her highest register and she kills it.
Stylistically, while varied, the album as a whole is numbingly mellow. Three cuts (the solid “If the World Just Danced,” retro shuffle “I Still Believe” and horn-laden abomination “Tomorrow”) are dance tracks and almost all the rest could legitimately be dubbed easy listening. There’s cascading string work, decent (if hardly impressive) production and stylistic variation, but the flame dies out after the first two songs and, with such banal lyrics and painfully unimaginative melodies, never comes close to reigniting despite Ross’s conviction. It’s like seeing a truly good actress in a turkey of a play knowing she co-wrote it. You’re rooting for her, but you’ve spent most of the outing wincing.
One might argue saccharine and Ross have gone hand in hand back to the days of “Reach Out and Touch” and “Ain’t No Mountain High Enough” — true — but it’s taken to a new low here. Of course, nobody expected Deepak Chopra-caliber insight, but with clunkers like “what is isn’t/what isn’t is” (on the Ross co-penned “All is Well”), “I’ll be the pillow where your head will lay,” (on daughter Rhonda’s “Count on Me”) or “the first time I saw your face …” (on mother’s ode “Beautiful Love”) — ripping off a lyric that blatantly should be illegal — this album’s scaffolding is so weak, one positively groans at the amateurishness of the songcraft. This is the chorus of “Count on Me”: “count on me/count on me/count on me/count on me.”
Siedah Garrett, a respected songwriter who might have momentarily elevated the proceedings, delivers one of the album’s worst cuts with the nauseatingly treacly “The Answer’s Always Love.”
I could go on, but you get the idea.
One might also argue, hey, couldn’t we use a little positivity today? Cut Miss Ross some slack and just be glad she’s back. True perhaps, but with material this weak and the thought of what this album could have been in more daring, imaginative hands, it’s downright frustrating.
With little chance of making any kind of dent on U.S. (or U.K. for that matter) pop radio and in her late 70s, I’d hoped Miss Ross, with no fucks left to give, might have done something brash and daring, but this is called playing it safe folks and sadly it’s a yawnfest.
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.
Disillusioned about democracy? Think of it as a community garden
‘The Inheritance’ is most-nominated at this year’s Helen Hayes Awards
HIV Vaccine Awareness Day set for May 18
DC Black Pride is around the corner
United Night Out set for Saturday
America’s broken pipeline of mental healthcare for trans youth
Blade finalist for D.C. Society of Professional Journalists awards
He is 16 and sitting in a Cuban prison
From the Capitol to the coast: Rep. Sarah McBride shares Rehoboth favorites
Jason Collins dies at 47
-
National5 days agoAmerica’s broken pipeline of mental healthcare for trans youth
-
News5 days ago
Blade finalist for D.C. Society of Professional Journalists awards
-
Commentary5 days ago
He is 16 and sitting in a Cuban prison
-
Rehoboth Beach5 days ago
From the Capitol to the coast: Rep. Sarah McBride shares Rehoboth favorites
