Music & Concerts

New Erasure album ‘World Be Gone’ is sublime, melodic

Veteran British hitmakers take slight left turn on new project

Published

8 years ago

June 1, 2017

It’s easy to take Erasure bandmates ANDY BELL, left, and VINCE CLARKE for granted as they have stayed highly active in the studio while many of their contemporaries have vanished. (Photo by Doron Gild)

Thirty-two years after the release of Erasure’s debut album “Wonderland,” the veteran British duo is obviously far from finished. Last year came the ambitious, career-spanning box set “From Moscow to Mars,” and now a new studio album, the duo’s 17th, adds to Andy Bell and Vince Clarke’s vast musical legacy.

“World Be Gone” is another twist in a sensational career that continues to roll along with impressive resilience in the notoriously fickle universe of pop music. Erasure’s enduring appeal, even as many artists who emerged from the ‘80s have disappeared or are scraping by on the nostalgia circuit, is easy to understand as the duo continues to churn out one great album after another.

After two ultra-modern and sleek electro-dance albums (2007’s “Light at the End of the World” and 2011’s “Tomorrow’s World”) notable for big arrangements and massive walls of sound, the duo veered in a more retro and stripped-down direction while remaining largely upbeat on 2014’s excellent “The Violet Flame.” “World Be Gone” continues to ignore the latest pop music trends, instead relying on rich and vintage sounding synths and Bell’s sonorous, theatrical vocals, which are often intertwined with deftly arranged, multi-layered background vocals. The mood is more contemplative than anything Erasure has released since 2005’s sadly overlooked “Nightbird,” and while “World Be Gone” might not equal that album’s superb songcraft, it’s certainly a worthy addition to the duo’s catalog.

The album’s opener and first single, “Love You to the Sky,” is a classic Erasure pop anthem, with a sweeping chorus and Andy Bell’s vocals as rich and expressive as ever. After this upbeat opening, though, the album turns inward and reflective. The superb “Be Careful What You Wish For!” is a yearning ballad with an exquisite vocal arrangement, one of the album’s finest moments, and sets the tone for much of what is to come.

The downbeat vibe continues with the weary and haunting title track and the stark break-up ballad “The Bitter Parting,” Bell’s voice taking center stage over Vince Clarke’s spare but lovely electronic accompaniment. Another powerful ballad, the album’s second single “Still It’s Not Over,” is yet another example of the depth of Erasure’s songcraft. Bell’s delivers his vocals with the gravitas and emotional power the song requires.

Perhaps even more impressive is “Take Me Out of Myself,” a wrenchingly personal track with genuine feeling in both Bell’s vocal and Clarke’s sublime retro electronic mastery. “Sweet Summer Loving” is a devotional love song with a lushly beautiful chorus that positively glows with sincerity.

“World Be Gone” closes with “Just a Little Love,” perhaps the brightest and most upbeat pop song on the album. It’s a smart move. The duo knows they’ve delivered a collection of songs that appeal to the heart and the head more than to dancing under flashing lights or singing along in the car, but almost as if to prove they can still deliver a killer pop tune, they unleash “Just a Little Love” as the perfect sendoff. It’s an obvious choice for a single at some point.

While Erasure generally stays within the lines of its melodic template of high energy synth-pop, each album has a distinct vibe and the duo isn’t afraid to allow their creativity to take them in directions fans might not expect. This fearlessness and creativity is the key to their longevity, and is often overlooked. “World Be Gone” has already notched the duo their highest debut on the UK album chart since 1994’s “I Say, I Say, I Say” became their fourth straight chart-topper, which bodes well for the album’s future.

Erasure enjoys a sizable contingent of dedicated fans in the US, but are largely ignored by mainstream radio and most music media. The typical Top 40 radio listener in America (at least those of a certain age) might be familiar with “A Little Respect,” “Chains of Love,” and perhaps “Always,” despite the fact that the duo has enjoyed dozens of international hits. “World Be Gone” isn’t likely to change that, but it deserves to be heard. It’s not an immediately impactful album and there are few obvious pop-friendly hooks, but with repeated listens, its slow and subtle power becomes evident. Sometimes Erasure is dismissed (unfairly) as lightweight; “World Be Gone” is yet another example of how this characterization is utterly and completely wrong.

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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

4 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.