Music & Concerts
Beyoncé shines at FedEx Field, despite venue complications
Thunder and lightning couldn’t stop Queen Bey from going all out
Since Beyoncé’s “Renaissance” dropped in July 2022, fans from across the DMV have been waiting in anticipation for her to grace FedEx Field for the first time since 2018. Set to perform two nights, the tour has received rave reviews from critics and die-hard fans alike since she took the stage at the first stop in Stockholm.
I tried — and failed — to get tickets for a decent price during the original presale for the Renaissance World Tour in February, and have watched for months as resale prices climbed into the thousands for lower bowl and nosebleed seats. Following the advice of other fans on TikTok, I logged onto Ticketmaster the Friday before she touched down in D.C. to check for last minute tickets. I managed to score two tickets, for myself and my roommate, in section 443, directly facing the stage.
By now you’ve likely heard the ongoing story of Ticketmaster’s general awfulness. When Taylor Swift announced her Eras Tour, fans from across the country — including myself — broke the platform trying to get tickets. After waiting in the queue for seven hours, I managed to get nosebleeds at MetLife Stadium in New Jersey.
For Renaissance, getting tickets was an equally challenging task. If you didn’t get tickets during the original sale, you had to sit and watch as tickets that sold for $100 during pre-sale were listed for $500 by resellers. This is before Ticketmaster’s fees, which can sometimes be more than the price of the ticket itself. Somehow, with a combination of Birthday money and a recent paycheck, I managed to get our seats for around $250 with fees.
With tickets for Sunday night’s concert secured, the next thing to do was to secure transportation. Neither my roommate or myself have a car, and the walk from the Metro was an accessibility nightmare considering the heat and humidity. We booked an Uber in advance, about $60 with a tip.
If you’ve never been to FedEx Field, it’s a journey. The nearest Metro station is a half hour walk away, and the stadium is in the middle of a residential area with only four two-lane roads in and out. The trip to the stadium took about an hour, and we arrived at 6:30 p.m. I had read advice from attendees of Saturday’s concert that Beyoncé didn’t go on until 9 p.m., when the sun set. This gave us about two and a half hours to get merch, food, drinks and find our seats.
No sooner had we gotten to the top level of the stadium when we were told by crew members to go back down to the bottom floor due to lightning. We already knew there would be rain, and had packed ponchos, so we made our way back down to the bottom floor, assuming we would be free to get food and merch. We were very wrong.
Crews at the stadium were holding people where they were when the announcement was made. Nobody was allowed to enter the main concourse from the walkways, and people were not allowed to leave to go sit in their cars. Thankfully, we were held in one of the walkways, where it wasn’t crowded.
Fans who weren’t in the walkways were packed into the main concourse with little to no room to breathe. There were reports of fans passing out, and we watched as paramedics rushed past to different parts of the stadium.
The shelter in place was lifted at around 8 p.m., and we rushed to the top of the stadium. Still, we were told to wait, and that we couldn’t go to our seats. Every 20 minutes the speakers would broadcast a message telling us to go back downstairs, while staff were telling us to stay where we were.
When we were finally allowed to go to our seats, around 9 p.m., almost our whole section had lost steam. Everyone was drenched, and we sat patiently as we watched the crew mop the rainwater off the stage.
Beyoncé finally came on at 10 p.m. on the dot, and the entire stadium erupted.
Beyoncé is one of few artists that can open for herself, and she did. The opening act of the show was equivalent to a church service, featuring ballads such as “Dangerously in Love,” “1+1” and a tribute to Tina Turner with “River Deep, Mountain High.” Hearing “Flaws and All” live was most definitely a religious experience.
The show then quickly takes a turn, as the stage turns into a movie screen broadcasting the most bizarre sci-fi short film you’ve ever seen and we transitioned into the “Renaissance” section of the show.
“I’m that Girl,” “Alien Superstar” and “Cozy” are three powerhouse songs. The entire “Renaissance” album is a tribute to the Black and queer pioneers of House music, and the tour is an ardent celebration of that.
The “Renaissance” section of the show is a display of self-love, as Beyoncé sings lyrics like “I’m too classy for this world / Forever I’m that girl” with some of the best choreography I’ve seen at a concert.
By the close of the section, the hours in the never-ending rain had hit the audience. About half of our section were checking weather updates or local news by the time Les Twins started their dance break.
We then moved into the “Motherboard” section of the concert. Featuring “Cuff It,” “Energy” and “Break My Soul,” this section was the most high-stakes. During “Energy,” Bey commands the crowd to go mute, and not a single stop had yet to live up to the task. D.C.’s first night had done well, but night two did even better, possibly due to exhaustion.
The section ends with a sample of Madonna’s “Vogue,” in “Break My Soul (Queen’s Remix),” paying homage to Black queens of music like Nina Simone, Janet Jackson, Diana Ross and more.
It was at this point in the concert that the crowd was tired. Myself and maybe 10 other people were the only ones left standing to do the choreography for the “Opulence” section.
“Opulence” pays attention to Bey’s anthems of Black women’s empowerment. The section kicks off with “Formation,” and goes through songs like “Diva” and “Run the World (Girls)”. The most anticipated song of the night “My Power” did not disappoint as Blue Ivy Carter rose from the stage to do her viral choreography with her mom. Her dance break was cut short, however, likely a casualty of the rain.
We then moved on to “Anointed,” which arguably took the biggest hit because of the rain. Typically, during this section, Bey does a total of six songs, but it was cut to four. I’m still mourning the chance to scream-sing “Love on Top.”
Next comes “Anointed Pt. 2,” my favorite section. Not only does Beyoncé wear the most stunning bodysuit, the section contains my favorite songs from “Renaissance,” “Move” and “Virgo’s Groove.” It did not disappoint. Being able to shout “Uncle Johnny made my dress / that cheap Spandex she looks a mess” is a right of passage for any member of the hive.
The show closes with the “Mind Control” section, which made headlines when Bey first stepped out in her now-iconic bee costume. By this point, the stadium was a quarter empty, as people either gave up on standing in the rain or wanted to beat traffic. This did not stop Beyoncé or her dancers from going all-out during the ballroom section, as ChaCha Balenciaga wiped the floor during their solo.
The final act, “Summer Renaissance,” is simply stunning. Bey flies over the crowd in a shining silver dress as she thanks us and her crew. The moment was dampened, however, by the amount of people running to leave the stadium. You could barely hear her over the frantic footsteps of people running to make it out before traffic or to catch the metro.
This brings up a key problem with FedEx Field. It’s completely inaccessible for events of this size. Beyoncé graciously paid $100,000 to keep the Metro open until 1 a.m., but that was only half an hour after the show ended.
We had reserved an Uber to pick us up at 1 a.m. at an apartment complex a 15-minute walk from the stadium. After waiting for half an hour, our driver called to let us know that Uber was trying to cancel our ride because there was so much traffic, and that we’d have to meet him at the gas station a mile away because he couldn’t go anywhere. Meanwhile, there is absolutely no cell service in the area surrounding FedEx, so communicating with him via the app was near impossible.
We made it back to our apartment at about 2:30 a.m., two hours after the concert ended.
All of this to say, the Renaissance World Tour is still the concert of a lifetime, and shouldn’t be missed. But next time Beyoncé wants to come to the DMV, let’s hope she hits Baltimore, or you’ll catch me on the train to MetLife again.
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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