Music & Concerts
The Cure triumphs at Merriweather
Marathon three-hour set packs hits, deep cuts
Robert Smith of the Cure. (Photo by Bill Ebbesen; courtesy Wikimedia Commons)
Last Wednesday, June 22, British alternative-rock titans the Cure brought its first extensive tour of America in nearly a decade to Merriweather Post Pavilion. A sea of people packed the venue on a beautiful summer night to see one of the most enduring and influential bands of the last 40 years.
It was clear from the beginning that the Cure has lost none of its considerable power, as members started the show with the fiery rocker “Open” from their 1992 album “Wish.”
Robert Smith looked and sounded much like he always has. He walked out on stage in his usual disheveled black frock, dark spiderweb hair and mussed red lipstick. Smith is now 57, but his distinct swampwater voice is as powerful as ever. Over the course of 32 songs, he switched back and forth between acoustic and electric guitar, keeping the between-song banter to a minimum (and most of the time his thickly accented mumbles were inaudible anyway). Bassist Simon Gallup, who has been alongside Smith since almost the beginning, stalked around the stage with restlessly intensity, while guitarist Reeves Gabrels, keyboardist Roger O’Donnell and drummer Jason Cooper formed a tightly wound and explosive musical unit. One might argue that Simon Gallup’s bass was too high in the mix and Roger O’Donnell’s keyboard was a bit too low, but that would be a minor quibble. By and large the Cure sounded fantastic.
The band effortlessly switched from brooding rockers to somber emotional pieces to ebullient pop, the schizophrenic combination for which the Cure is so famous. The crowd was incredibly enthusiastic as the band traipsed through its enormous catalog, pulling out big hits, deep album cuts and a few obscurities for the die-hards. “Pictures of You” was an early highlight, with the spine-tingling swirls of keyboard and guitar backing Smith’s bittersweet memories of a love he let slip through his fingers. Big hits like “Just Like Heaven,” “The Walk,” “In Between Days” and “Lovesong” had the large and surprisingly diverse crowd singing along to every word. The rarely played “Bananafishbones” was a treat, as was “All I Want,” a hard-edged deep cut the band dusted off from 1987’s “Kiss Me, Kiss Me, Kiss Me.” The behemoth of the main set was the seven-minute epic “From the Edge of the Deep Green Sea,” which featured blistering guitar work by Gabrels.
The band played four encores, beginning with the throbbing bass-heavy “Sinking” from 1986’s “The Head on the Door.” An incendiary take on “Shake Dog Shake” was followed by the 1994 soundtrack hit “Burn” from “The Crow,” and then their old warhorse “A Forest,” a classic from 1980’s “Seventeen Seconds.” As the night wound toward its conclusion, the band amped the crowd to a fever pitch as they rampaged through a series of hits including “Lullaby,” “Wrong Number,” “Fascination Street,” “Let’s Go to Bed” and “Close to Me.”
By the time of “Why Can’t I Be You?,” a clearly winded Robert Smith gamely tried to hit the song’s very high notes without much success, but it hardly mattered — the crowd did a wonderful job filling in for him, singing every word with blissful euphoria. The show closed with “Boys Don’t Cry,” a 1979 single that was never a hit on either side of the Atlantic but somehow 37 years later a packed amphitheater in suburban D.C. sang a long to every word as if it was a worldwide chart-topper.
At the end of the epic three-hour show Merriweather was still full. After the band waved their goodbyes to thunderous applause, Robert Smith stood alone in the spotlight on the stage, basking in the crowd’s love and appreciation. He paused momentarily in front of each section as the entire place stood and cheered, arms in the air clapping wildly. It was an amazing moment. Smith seemed like he didn’t want to leave the stage, he was so obviously touched and moved. Eventually he shambled off, looking over his shoulder one last time at the still-standing, still enthusiastically cheering crowd, and it was finally over just as the clock was hitting 11 p.m.
1. Open [“Wish” – 1992]
2. High [“Wish” – 1992]
3. Pictures of You [“Disintegration” – 1989]
4. Closedown [“Disintegration” – 1989]
5. Kyoto Song [“The Head on the Door” – 1985]
6. A Night Like This [“The Head on the Door” – 1985]
7. The Walk [non-album single – 1983]
8. The End of the World [“The Cure” – 2004]
9. Lovesong [“Disintegration” – 1989]
10. If Only Tonight We Could Sleep [“Kiss Me, Kiss Me, Kiss Me” – 1987]
11. All I Want [“Kiss Me, Kiss Me, Kiss Me” – 1987]
12. Push [“The Head on the Door” – 1985]
13. In Between Days [“The Head on the Door” – 1985]
14. Just Like Heaven [“Kiss Me, Kiss Me, Kiss Me” – 1987]
15. Bananafishbones [“The Top” – 1984]
16. Never Enough [“Mixed Up” – 1990]
17. From the Edge of the Deep Green Sea [“Wish” – 1992]
18. End [“Wish” – 1992]
Encore 1
19. Sinking [“The Head on the Door” – 1985]
20. It Could Never Be The Same [new unreleased track]
Encore 2
21. Shake Dog Shake [“The Top” – 1984]
22. Burn [“The Crow” Soundtrack – 1994]
23. A Forest [“Seventeen Seconds” – 1980]
Encore 3
24. Dressing Up [“The Top” – 1984]
25. Lullaby [“Disintegration” – 1989]
26. Fascination Street [“Disintegration” – 1989]
27. Wrong Number [new single for “Galore” hits collection – 1997]
Encore 4
28. Hot Hot Hot!!! [“Kiss Me, Kiss Me, Kiss Me” – 1987]
29. Let’s Go to Bed [non-album single – 1982]
30. Close to Me [“The Head on the Door” – 1985]
31. Why Can’t I Be You? [“Kiss Me, Kiss Me, Kiss Me” – 1987]
32. Boys Don’t Cry [non-album single – 1979]
Music & Concerts
Queer mega stars (and allies) ready to take D.C. stages this fall
Watch LGBTQ icons light up stages across the DMV as they sing, dance, and drag their way through spectacular shows.
One of the best ways to welcome fall is by catching LGBTQ performers (and their allies) lighting up some of the D.C. area’s biggest stages. From country and pop to drag and rock, the season is packed with shows you won’t want to miss.
Maren Morris – The country, rock, and pop diva—known for hits like “The Bones” and for standing up against Nashville’s anti-LGBTQ voices—takes the stage at Wolf Trap (1551 Trap Rd, Vienna, Va.) on Friday, Sept. 12 at 8 p.m. Tickets start at $64.
RuPaul – The mother of modern drag and host of “RuPaul’s Drag Race” will spin a DJ set at Echostage (2135 Queens Chapel Rd NE) in Northeast D.C. on Sept. 20. Before RuPaul swaps wigs for headphones, Trade and Number 9 owner Ed Bailey will warm up the decks. For tickets and details visit echostage.com.
Conan Gray – The queer pop prince, celebrated for his Gen Z anthems like “Heather” and “Maniac,” brings his Wishbone Pajama Show to EagleBank Arena in Fairfax, VA, (4500 Patriot Cir) on Sept. 20 at 8 p.m. Tickets start at $113. For more info visit shop.conangray.com/pages/tour.
All Things Go Music Festival – With a lineup that includes Noah Kahan, Lucy Dacus, Kesha, Clairo, Doechii, and more, the beloved LGBTQ-friendly festival takes over Merriweather Post Pavilion (10475 Little Patuxent Pkwy, Columbia, Md.) Sept. 26–28. For tickets and details visit allthingsgofestival.com.
BERTHA: Grateful Drag – This unique tribute brings drag artistry and the sounds of the Grateful Dead to The Atlantis (2047 9th St NW) on Sept. 27. Tickets start at $47 at theatlantis.com.
Peach PRC – Rising Australian pop star and out lesbian, whose confessional tracks like “Perfect for You” and “Forever Drunk” have made her a queer TikTok darling, performs at The Atlantis on Sept. 29 at 6:30 p.m. The show is general admission only. Additional details are on theatlantis.com.
Addison Rae – The TikTok star-turned-pop princess, who’s crossed over into music with glossy hits like “Diet Pepsi” brings her sold out show to The Anthem (901 Wharf St., S.W.) on Sept. 30. Tickets are sold out, but resale options start around $80. For more info visit theanthemdc.com.
The Rocky Horror Picture Show 50th Anniversary – Celebrate the cult classic that’s been a queer midnight-movie staple for decades, with Barry Bostwick (a.k.a. Brad Majors) at the Warner Theatre (513 13th St., N.W.) on Oct. 2 at 8 p.m. Tickets start at $41 via Ticketmaster.
Chaka Khan, Patti LaBelle, Gladys Knight & Stephanie Mills – Four legends, one stage. Between Khan’s funk, LaBelle’s soul, Knight’s R&B, and Mills’ powerhouse vocals, this concert at Capital One Arena (601 F St NW) on Oct. 3 at 8 p.m. promises pure diva magic. Tickets start at $103. For more details visit capitalonearena.com.
Lorde – Joined by The Japanese House and Chanel Beads, the Grammy-winning New Zealand singer-songwriter behind “Royals” and “Solar Power” returns to The Anthem on Oct. 4 at 7 p.m. Lorde has long been embraced by queer fans for her dreamy pop and subversive lyrics. For more info visit theanthemdc.com.
Andy Bell (of Erasure) – The British queer rock icon, best known for synth-pop classics like “A Little Respect” and “Chains of Love,” brings his Ten Crowns Tour to the Lincoln Theatre (1215 U St., N.W.) on Friday, Oct. 17 at 8 p.m. Tickets are $90.45.
Doechii – The self-described queer “Swamp Princess”—and WorldPride 2025 headliner—continues her breakout year with the Live from the Swamp Tour at The Anthem on Oct. 21 at 8 p.m. Known for blending rap, R&B, and avant-garde performance art, Doechii is one to watch. Tickets start at $153.
Neon Trees – The out-and-proud Utah rockers behind “Everybody Talks” and “Animal” perform at the Lincoln Theatre on Friday, Oct. 24 at 8 p.m. Lead singer Tyler Glenn, who came out publicly in 2014, has become a strong queer voice in alternative rock. For tickets and info visit impconcerts.com.
Sasha Colby – The “RuPaul’s Drag Race” Season 15 winner strips down on the Stripped II Tour at the Warner Theatre on Nov. 2 at 8 p.m. Tickets available now on Ticketmaster.
Lola Young – The bisexual indie-pop sensation, whose raw songwriting has earned her millions of TikTok fans and multiple chart soaring hits visits The Anthem on Nov. 9 at 8 p.m. Tickets are still available.
Opera Lafayette
Featuring Mary Elizabeth Williams as Dido
+ Elijah McCormack, Chelsea Helm
Oct. 16, 7:30 p.m.
Sixth & I
PostClassical Ensemble
The Pale Blue Do: A Musical Voyage Inspired By Nature
Featuring National Geographic’s Enric Sala, Guest Curator
Wednesday, November 19, 7:30 p.m.
Terrace Theater
Washington Concert Opera
Starring Kate Lindsey, Theo Hoffman, John Moore, and Fran Daniel Laucerica
Nov. 23, 6 p.m.
Lisner Auditorium
Washington Master Chorale
An intimate a capella concert taking place in an architectural jewel, featuring cherished choral gems from Anglican and Catholic tradition and early American hymns. The concert will also present the world premiere of Christopher Hoh’s Holy, Holy, Holy is the Lord God of Hosts, and hymn singing featuring Robert Church, organist and choirmaster at St David’s.
Oct. 18, 7:30 p.m.
October 19, 5 p.m.
St. David’s Episcopal Church
Music & Concerts
Cyndi Lauper ready to have fun in Virginia
Superstar to bring final leg of farewell tour to Jiffy Lube Live
Superstar Cyndi Lauper will bring the final leg of her farewell tour “Girls Just Wanna Have Fun” to Bristow, Va., on Thursday, July 24 at Jiffy Lube Live.
Lauper’s international Farewell Tour – her first major headlining run in a decade – kicked off in North America last October, and included her first time ever headlining (and selling out) Madison Square Garden. Lauper’s performances have earned raves from the New York Times, Rolling Stone, Billboard, and many more, and surprise guests have included Chaka Khan, Sam Smith, and Hayley Williams. The tour just visited the U.K. and Europe, and will head to Australia and Japan in April.
Tickets are available on Live Nation’s website.
Music & Concerts
Red, White, and Beyoncé: Queen Bey takes Cowboy Carter to D.C. for the Fourth of July
The legendary music icon performed on July 4 and 7 to a nearly sold-out Northwest Stadium.
Just in time for Independence Day, Beyoncé lit up Landover’s Commanders Field (formerly FedEx Field) with fireworks and fiery patriotism, bringing her deeply moving and genre-defying “Cowboy Carter” tour to the Washington, D.C. area.
The tour, which takes the global icon across nine cities in support of her chart-topping and Grammy-winning country album “Cowboy Carter,” landed in Prince George’s County, Maryland, over the Fourth of July weekend. From the moment Beyoncé stepped on stage, it was clear this was more than just a concert — it was a reclamation.
Drawing from classic Americana, sharp political commentary, and a reimagined vision of country music, the show served as a powerful reminder of how Black Americans — especially Black women — have long been overlooked in spaces they helped create. “Cowboy Carter” released in March 2024, is the second act in Beyoncé’s genre-traversing trilogy. With it, she became the first Black woman to win a Grammy for Best Country Album and also took home the coveted Album of the Year.
The record examines the Black American experience through the lens of country music, grappling with the tension between the mythology of the American Dream and the lived realities of those historically excluded from it. That theme comes alive in the show’s opening number, “American Requiem,” where Beyoncé sings:
“Said I wouldn’t saddle up, but
If that ain’t country, tell me, what is?
Plant my bare feet on solid ground for years
They don’t, don’t know how hard I had to fight for this
When I sing my song…”
Throughout the performance, Beyoncé incorporated arresting visuals: Black cowboys on horseback, vintage American iconography, and Fox News clips criticizing her genre shift — all woven together with voiceovers from country legends like Dolly Parton and Willie Nelson. The result was a multimedia masterclass in storytelling and subversion.
The “Cowboy Carter” tour has been a social media sensation for weeks, with fans scrambling for tickets, curating elaborate “cowboy couture” outfits, and tailgating under the summer sun. At Commanders Field, thousands waited in long lines for exclusive merch and even longer ones to enter the stadium — a pilgrimage that, for many, felt more like attending church than a concert.
One group out in full force for the concert was Black queer men — some rocking “denim on denim on denim on denim,” while others opted for more polished Cowboy Couture looks. The celebration of Black identity within Americana was ever-present, making the concert feel like the world’s biggest gay country-western club.
A standout moment of the night was the appearance of Beyoncé’s 13-year-old daughter, Blue Ivy Carter. Commanding the stage with poise and power, she matched the intensity and choreography of her mother and the professional dancers — a remarkable feat for someone her age and a clear sign that the Carter legacy continues to shine.
It’s been nearly two decades since Beyoncé and Destiny’s Child parted ways, and since then, she’s more than lived up to her title as the voice of a generation. With “Cowboy Carter,” she’s not just making music — she’s rewriting history and reclaiming the space Black artists have always deserved in the country canon.
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