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Sandi Patty’s farewell

Legendary gospel diva says goodbye with new album

Published

10 years ago

on

Sandi Patty, gay news, Washington Blade
Sandi Patty, gay news, Washington Blade

Gospel diva Sandi Patty says new album ‘Forever Grateful’ and its current tour are her swan songs. (Photo by Angela Talley; courtesy Stylos Records)

It’s a pretty easy case to make that Sandi Patty is the finest contemporary gospel singer of her generation.

Only one other female singer outsold her — Amy Grant, but she was more singer/songwriter-oriented and couldn’t hold a candle to Patty vocally. The only artistic rivals she ever remotely had — Karla Worley and Cynthia Clawson — are pretty much forgotten footnotes. She easily outsang all the men too and often outsold them. So far-reaching was her ’80s heyday that even a kids’ album she released in 1989 spent a whopping 24 weeks as the top-selling gospel album in the country.

With Patty currently on her final tour (no D.C.-area dates announced as yet) and her farewell album “Forever Grateful” just out, it’s the beginning of the end of an era. The singer, a 59-year-old five-time Grammy winner and Gospel Music Association Hall of Fame inductee, is going out with a bang and while this is certainly preferable to so many contemporary gospel acts who seem to just fall off the face of the earth, it’s a bittersweet season.

The good news is that after years of mediocre covers-heavy albums like “Everlasting” (2013) and “Songs for the Journey” (2008), with “Grateful” she finally tackles mostly new material. It pales compared to her classic ‘80s work on albums like “Morning Like This” (1986) and “Make His Praise Glorious” (1988), but it’s easily her finest such effort since 2003’s “Take Hold of Christ.” Long-time producer Greg Nelson is back and with writing credits on four tracks, it’s Patty’s most self-penned effort ever.

It’s also Patty’s most stylistically diverse effort in years. “Anthem of Praise” is a sturdy church number by Patty, Michael W. Smith and David Hamilton that features a soaring melody and the kind of worshipful lyrics Patty has long been known for.

“Alleluia (Glory, Honor, Majesty)” is a classically flavored worship aria. “All I Got to Do” is black gospel and the family effort “Farther Along” is a Southern Gospel standard Patty has known all her life. She performed it years ago on her “Le Voyage” tour, but had never recorded it til now.

Three simple acoustic ballads — “In the In Between,” “Song of the Redeemed” and the title cut — are just so-so. They’re lovingly sung and suit Patty’s low register fairly well. Despite their sincerity, though, none are especially memorable. The title track is the strongest of the three. A simple prayer, it becomes something of a sonic bookend to the title cut of her first major label effort “Sandi’s Song” 37 years ago.

“It was not the symphonies or sold-out stages/I always found you in the quiet spaces/this is my song for you/this is the one thing I can bring/you’ve taken all that’s broken, every bruise/and handed me a song to sing.”

Another three cuts are remakes of earlier material. An impressive lineup of fellow singers such as Kristin Chenoweth, Natalie Grant, Nicole C. Mullen, her old touring singers First Call and Russ Taff join her “We Are the World”-style on the old warhorse “Love in Any Language.” The arrangement is faithful — it’s the vocal colors that give it punch. It’s the material of a thousand church choir renditions and holds up well.

“Praise Medley” features Patty classics like “Let There Be Praise” and “Hosanna” in a medley she’s been using in practically every concert she’s given in the last 15 years. With such heavy live use, it feels a bit worn into the ground but the Jay Rouse arrangement featuring a delightful new orchestration by Phillip Keveren is still an efficient way to cover a lot of classic ground quickly.

Patty’s husband Don Peslis and several of their highly talented adult children join her on the Steven Curtis Chapman-penned “Love Will Be Our Home,” a song that hasn’t been sung live since her 1989 tour. Perhaps it was too much of a reminder of strained times to sing it for a long time — Patty was married to someone else when she originally recorded it. But enough time has passed that we’re able to take it again at face value and the harmonies are rich and varied here.

There are a few disappointments. Overall, the whole affair feels just a bit slight, especially for a farewell album. Ten all-new songs with the remakes used as bonus cuts would have given the album a more robust overall feel. A new duet with long-time partner Larnelle Harris is a noticeable absence, especially since their last collaboration (“Then Came the Morning” from his 2013 album) didn’t light the world on fire the same way their classic ‘80s material did. One more barn-burner for the ages would have been nice. And where are all the classic cuts like “Via Dolorosa” and “More Than Wonderful” she’s recorded with fans on cruises over the last couple years?

While Patty delivers convincingly on the aforementioned low-key ballads, why so much of that? Though she’s almost always stayed in the pop vein stylistically, Patty’s voice is capable of operatic thunder and it’s held up well. Though the bell-like effortlessness of her early years has matured, the range and oomph are all still there (they were on fabulous display last November at her D.C. concert, the closing night of her “Everlasting Tour”). Why waste time on quiet, tender little ballads like “Song of the Redeemed” when you could be raising the roof? It’s a head scratcher that has plagued many of Patty’s choices and was especially chronic in the ‘90s.

It will never happen, especially now, but I would have loved to have heard Patty do something truly classical like the fabulous “Divine Redeemer” album soprano Christine Brewer just released with organist Paul Jacobs (who’ll be at the Kennedy Center March 16, by the way). Patty only ever flirted with the classics on occasional Christmas-type efforts but she could have pulled off these works by Bach, Handel, Puccini and Gounod magnificently and it’s a shame she never really sunk her teeth into the classical canon.

On some level, I get it. That was just never her thing (she famously lampooned classical-style singing on her live 1983 album). A 2011 richly orchestrated album of Broadway standards — not particularly my thing — was one of her strongest efforts of recent years. But when you have a voice that could blow all the Celine Dions, Lady Gagas, Barbra Streisands and even (in her prime) Julie Andrewses of the world out of the water without breaking a sweat, one sort of yearns to have had heard her take on more substantive material at least once — sort of like when Katharine Hepburn played Shakespeare in the ‘50s. The few times she dabbled in it — Handel passages on her ’83 Christmas album and “The New Young Messiah” or her a cappella rendition of “The Lord’s Prayer” at her D.C. show last November — left me salivating for more.

Ultimately, though, the album is something for which to be “Grateful.”

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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

Published

12 hours ago

on

May 10, 2026

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DJ Chanel Santini (Photo courtesy of Miss Lainie PR)

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!”

DJ Chanel Santini / Photo courtesy of Miss Lainie PR

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!”

DJ Chanel Santini / Photo courtesy of Miss Lainie PR

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!”

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Music & Concerts

Gaga, Cardi B, and more to grace D.C. stages this spring

Shake off your winter doldrums at a local concert

Published

2 months ago

on

March 13, 2026

By

Lady Gaga plays Capital One Arena on March 23. (File photo courtesy of Might Real Agency)

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.

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Music & Concerts

Washington chorale kicks off Christmas with vibrant program

‘Thine Own Sweet Light’ concerts planned

Published

5 months ago

on

December 5, 2025

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(Photo by orson/Bigstock)

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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