Music & Concerts

Kylie shines in two-hour extravaganza

Saturday concert was rare chance to see Aussie legend in D.C. area

Published

15 years ago

May 2, 2011

Robbie Barnett

Kylie Minogue (photo courtesy of EMI)

Just like the Greek goddess she embodies in her show, Kylie Minogue served love, beauty and sexuality to her fans at the Patriot Center Saturday in her “Aphrodite Live Tour.”

Even though she has been a successful international superstar since the late ’80s, this is only the second time the 42-year-old Aussie native has ever toured the U.S. — the first time being only a handful of dates in cities like New York and Los Angeles in 2009. So, this was a rare opportunity for Kylie lovers here in the States to catch a glimpse of her live. Only achieving success here in 2001 with her dance album “Fever,” she has always hovered on the outskirts of the American mainstream and her fans have predominately been gay men. And she certainly knows what her fans would want from her in a live show. In this case: ancient Greece meets discotheque.

Starting things off with the title track of her current album “Aphrodite,” she rose from below the stage on a gold shell and dressed in full-on Greek garb looking youthful and gorgeous. Fog machines set the scene while the stage was adorned with elaborate columns and staircases. A gaggle of attractive, well-built male dancers decorated the stage for virtually the entire show. Female dancers, two backup singers, acrobats and a full band were also part of her on-stage posse.

It was quite a theatrical spectacle and on par with the grand-scale productions of Madonna, Cher and Bette Midler. It felt more suited for a stint in glitzy Las Vegas rather than a space limiting venue on a college campus. In fact, the U.S. leg of her tour had to be cut down from the extravagant European shows due to space and traveling concerns. In those shows she had much larger stages to fit props and house lavish running waterfalls. She even had a “splash zone” where a certain section of the venue’s crowd would get wet. Still, even a few elements missing did not detract from the final result.

Whether she was appearing on stage riding a carousel horse for “Illusion” or a chariot for “I Believe in You,” she seemed to be topping herself with each performance. A rock rendition of her biggest dancefloor hit “Can’t Get You Out of My Head” was unexpected and may have been the highlight of the evening.

She channeled Breathless Mahoney for a vampy lounge version of her club hit “Slow” and when it came to performing material off of her new album, she made some welcomed alterations as well. One that stood out was a mash-up of 2002’s “Love at First Sight” mixed with the ‘Aphrodite’ track “Can’t Beat This Feeling.” After embracing suspended white winged dancers in “Looking for an Angel” she went right into an amazing cover of The Eurythmics’ ‘80s hit “There Must Be an Angel (Playing with my Heart).” Don’t be surprised if she releases that as a single in the future.

Minogue showed off her top-notch vocals and gave hardcore fans a treat with the stripped down ballad “If You Don’t Love Me” from her 1994 self-titled album. Fans hoping to hear her ’80s hits “I Should Be So Lucky” and “The Loco-Motion” were left disappointed. The oldest hits she performed were the mostly unknown “Better the Devil You Know” and “What Do I have to Do” from her 1990 album “Rhythm of Love.” Switching out the two lesser known tracks for the more familiar favorites would have been a wiser choice. The show-stopping finale was her current hit “All the Lovers” — an appropriate way to end such a high energy and unified show.

Throughout the tight 24-track, two-hour extravaganza, she made several eye-popping costume changes. From Greek goddess to fashionista, she gave any drag queen in the audience inspiration for days. Not overly avant-garde like Lady Gaga and more feminine than Madonna, her outfits were sexy but never raunchy. The only outfit dud was when she came out wearing what looked like the skinned hide of Fozzie Bear from the Muppets.

On the dancing aspect of the show, she pretty much left that up to her dancers. She did less dancing and more parading while she sang. Think Cher. But, to be fair, Kylie never was an artist that incorporated much choreography into her productions.

Her ability to connect with her fans is one of her greatest attributes as an entertainer. At several points throughout the show she graciously acknowledged her love for her fans and on the receiving end it felt genuine. Never cold or unattainable like some of her diva contemporaries, she was playful at times, even accepting a rose from a fan in the front row and sharing the story of her White House visit earlier in the day. Like her music she is sugary sweet, joyfully infectious and never disappointing.

Set list:

1. Aphrodite
2. The One
3. Wow
4. Illusion
5. I Believe In You
6. Cupid Boy
7. Spinning Around
8. Get Outta My Way
9. What Do I Have to Do?
10. Everything is Beautiful
11. Slow
12. Confide in Me
13. Can’t Get You Out of My Head
14. In My Arms
15. Looking For An Angel
16. There Must Be An Angel (Playing With My Heart)
17. Love at First Sight/Can’t Beat This Feeling (mash up)
18. If You Don’t Love Me
19. Better The Devil You Know
20. Come Into My World (piano accompanied)
21. Better Than Today (aucostic, bluesy into that goes full force into a dance beat)
22. Put Your Hands Up (If You Feel Love)
23. On A Night Like This
24. All The Lovers

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FUND LGBTQ JOURNALISM

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.

Published

2 months ago

September 9, 2025

Joe Reberkenny

Doechii performing at WorldPride 2025's closing concert in June earlier this year. (Washington Blade photo by Michael Key)

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

Purcell’s Dido & Aeneas

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

Gluck’s Iphigénie en Tauride

Starring Kate Lindsey, Theo Hoffman, John Moore, and Fran Daniel Laucerica

Nov. 23, 6 p.m.

Lisner Auditorium

Washington Master Chorale

Sacred Jewel Box

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

Published

4 months ago

July 18, 2025

Tinashe Chingarande

Pop icon Cyndi Lauper brings her farewell tour to Jiffy Lube Live on July 24. (Washington Blade file photo by Michael Key)

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.

Published

5 months ago

July 9, 2025

Joe Reberkenny

Beyoncé performs on July 7. (Washington Blade photo by Joe Reberkenny)

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.