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Emily Saliers talks solo work in advance of Birchmere show

Longtime Indigo Girls’ singer/songwriter says time was right for groove-based album

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Emily Strong, gay news, Washington Blade

Emily Saliers is touring her debut solo album with a surprisingly elaborate band and stage show. (Photo by Jeremy Cowart)

Emily Saliers

‘Murmuration Nation Tour’

With Lucy Wainwright Roche

Wednesday, Oct. 11

The Birchmere

3701 Mount Vernon Ave.

Alexandria, Va.

$29.50

birchmere.com

Thirty years and 14 studio albums into the Indigo Girls, Emily Saliers has released her first solo album, and even she acknowledges the artistic paradox.

“What’s a 53-year-old woman doing making her first solo record,” she says with a laugh. Although the Indigo Girls are alive and well — bandmate Amy Ray has released five solo albums and is working on a sixth — Saliers says it was a chance to pursue some of the more soul- and groove-oriented music she grew up with. “Murmuration Nation” came out in August. She’s touring it now and plays the Birchmere on Wednesday, Oct. 11. Her comments have been slightly edited for length.

WASHINGTON BLADE: How does it feel to finally have a solo album out?

EMILY SALIERS: Well, it’s great. I’ve been talking about it for a long time and even when I found (producer) Lyris Hung … it still took three years so it was like a real labor of love. … Sometimes you look at a CD and you think, “This is holding all that time and all that work and all that stuff,” and it’s a weird feeling but the response to the album so far has been overwhelmingly positive so I feel great about that.

BLADE: The Indigo Girls’ fan base is known to be highly loyal so is that a built-in audience for this or do you feel like you have to prove yourself somewhat?

SALIERS: I don’t have to prove myself. I just think the album is fairly different from anything Amy and I have done together in the same way that some of her records are very different from what we’ve done together. … I can’t just assume poeple will find out about it and get tickets to the show and stuff like that. … Without the Indigo Girls I wouldn’t have any solo record out … but still a lot of groundwork needs to get done to reach out and get people to listen to it.

BLADE: You talk about this being a more  groove-oriented album. How hard is it to come up with a compelling groove or loop and which comes first — the music or the lyrics?

SALIERS: It’s not hard. … I could just pick up an Apple loop off my Logic program and just run that loop for five minutes and just start writing guitar parts to it and then a song gets born. A lot of the songs were written that way. They started with a loop or a beat and then that rhythmic pulse helped write the song. A few things that were written on guitar, Lyris said, “OK, we’re gonna take the guitar out of this and do this instead.” … I don’t sit down and go, “OK, I’m gonna write about guns in America right now.” I sit down and get a beat and find the chords and then the subject matter comes.

BLADE: Will you do some Indigo Girls songs on this tour too? You can’t really fill a whole show with just one album.

SALIERS: We’re gonna do mostly songs from the album. It’s a full band and a friend who’s a filmmaker has created some video images so it’s sort of a full sensory experience. A section of the show will probably be Indigo Girls songs that I’ve written, maybe acoustic, but we haven’t fully hammered that out yet. But the real purpose of the tour is to play the solo music.

BLADE: It feels like such a weird time in this country. You’ve been on the road some with Amy this year. Does it feel different at the shows or do people kinda wanna leave that at the door and just enjoy the concert?

SALIERS: It’s perceptibly different. From the first show we played after the election, it was palpable and there’s a real sense of anxiety among our fans but also a sense that we need music to galvanize us and to make us feel good. It’s a crazy fucking time in this country and not just a little — it’s a lot. It almost feels cosmic with the terrible storms, the earthquakes. We’ve been getting huge reactions to songs like “Pendulum Swinger” and “Rise of the Black Messiah.” … This country — it’s a bit of a tinderbox right now

BLADE: How much of your album was written by November?

SALIERS: All but one song. “Fly” was written in response to the election.

BLADE: When people yell out songs during the slightest lull in a concert, do you ever feel like saying, “Just chill — we have a set list?”

SALIERS: No. We try to honor as many of those as we can. We’ll look at the set list immediately and ascertain if there’s a spot where that song makes sense. Some we won’t do if they’re too rusty and we haven’t practiced them and sometimes we won’t do it if it’s something we’re tired of. Sometimes if we’re introducing something from our new album and somebody yells out, “Chickenman!,” we’ll say, “We’re gonna go ahead and do the one we were talking about.”

BLADE: The Indigo Girls were in our market in May for three shows with the NSO Pops. How did your symphonic shows come about and how were those dates?

SALIERS: D.C. was fantastic but after the third show, we were wiped because the symphony shows are the most intensive of all our performances. They’re one-offs, not typically tied to a tour, so we show up, meet the conductor, have a two-hour rehearsal and then we perform. You have to constantly be on your toes and it’s a different orchestra every time. The D.C. orchestra was phenomenal as you would expect. It got started because there’s an agency that puts artists together to arrange your songs and then you send the scores around and we got invited to do that and it’s been fantastic. … We’re doing a symphony album in 2018 that we recorded with the Colorado University Symphony so it’s become a very important part of what we do.

BLADE: Sometimes those arrangements for pop or rock acts are so lame and the orchestra is bored out of their minds. How do you feel yours turned out and was that a concern?

SALIERS: We worked with two different arrangers and then ended up sticking with this guy named Sean O’Laughlin and he’s just so creative and passionate. Amy and I both had long conversations with him about how he felt about the songs. … He put so much into them. … Often the conductor will say, “These are good arrangements, they’re interesting.” … We hired the right person.

BLADE: How many Indigo Girls songs do you have charts for now?

SALIERS: I think maybe 23. We usually do about 18 at one of those shows.

BLADE: The Indigo Girls have stayed fairly active in the studio while many other veteran acts just tour with nothing new out. Why is that important to you?

SALIERS: Yeah, I mean it’s true they’re expensive to make and nobody sells records anymore, even the type of top echelon of record-selling bands don’t really sell. We have to make a living touring, that’s just a reality, so it’s a good thing we love it and we never go out for too long. … We’re always excited to get back together and there’s always an internal push to create more new music. The only thing that keeps us from doing it more is busyness. … It just makes sense in the scope of a career to keep putting out new music.

BLADE: Do you think it’s lame with bands like the Dixie Chicks who just tour and tour and haven’t had anything new out in like 10 years?

SALIERS: Whatever anybody wants to do is fine. If people like it and they’re coming to your shows, I don’t really care. It’s just that for us, we know what keeps our fires burning and that is to create new music, to not be on the road all the time and to support each other’s independent projects. But whatever other bands want to do, I don’t have any judgement.

BLADE: How is your daughter?

SALIERS: She’s gonna be 5 at the end of November and she’s the light of my life. I never wanted to be a parent ’til I found the right person and it’s been a very happy marriage. We allow each other a lot of space and (wife) Tristin takes care of things when I go away and I take care of things when she’s involved in school or work. We love our kid and we have a really, really great life and I’m so grateful for it.

BLADE: You and Amy were so pioneering and were out when so few were in popular music. Have you ever had younger bands like maybe Tegan and Sara or whomever, tell you it was cool or inspiring that y’all were out so early?

SALIERS: I don’t recall that so much from other artists but we’ve had a lot of those conversations with fans. They’ll tell us personal stories about how the music carried them through a hard time when they were coming out or whatever and that’s really the most gratifying thing.

Emily Sailers, gay news, washington blade

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Arts & Entertainment

The very few queer highlights of the Oscars

Streisand’s live performance, a shocking tie, and more

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(Photo courtesy of AMAS)

LOS ANGELES — While Sunday’s Academy Awards saw the expected winners “One Battle After Another” and “Sinners” nab a collective 10 Oscars throughout the evening, dominating most of the major categories, there were a few moments for queer film fans to celebrate.

During the ceremony’s prolonged and emotional In Memoriam segment, which paid tribute to Robert Redford, Rob Reiner, and Catherine O’Hara, queer icon Barbra Streisand went on stage and gave a rare live performance of “The Way We Were” as a tribute to Redford, who died last September at the age of 83. Before singing, Streisand said, “Now, Bob had real backbone on and off the screen. He spoke up to defend freedom of the press, protect the environment, and encouraged new voices at his Sundance Institute — some of whom are up for Oscars tonight, which is so great. He was thoughtful and bold.”

Both “I Lied to You” from “Sinners” and “Golden” from “KPop Demon Hunters” were performed live; Alabama Shakes front woman Brittany Howard performed during the evening’s powerful rendition of “Sinners’” “pierce the veil” scene. “Golden” ended up winning the Best Original Song award.

One of the most shocking moments of the night arrived early on when Kumail Nanjiani presented the Best Live Action short category, which was a tie between “The Singers” and “Two People Exchanging Saliva” — only the seventh tie in Oscars history (one of which involved Streisand’s 1969 win for “Funny Girl”). The latter short, which is currently streaming on The New Yorker, is described as “a dystopian version of Paris where kissing is forbidden and purchases are made through small acts of violence” and follows the unexpected connection between two women.

When accepting the award, “Two People Exchanging Saliva” director and producer Natalie Musteata said: “Thank you to the Academy for supporting a film that is weird, and that is queer, and that is made by a majority of women!”

“One Battle After Another’s” editor, Andy Jurgensen (who collaborated with Paul Thomas Anderson on “Licorice Pizza” and “Phantom Thread”), kissed his husband before going on stage to accept his award for film editing. He said, “To my partner, Bill, who brings so much joy to my life every day.”

Overall, the 2026 award season did not feature many queer films or actors in the lineup, and that was reflected in both the Oscar nominees and eventual winners. Smaller award shows like the Gotham Awards and the Film Independent Spirit Awards provided opportunities for indies like “Sorry, Baby,” “Twinless,” and “Lurker” to get proper recognition. “One Battle After Another” won Best Picture and Best Director for Paul Thomas Anderson; “Sinners” star Michael B. Jordan won Best Actor; and “Hamnet’s” Jessie Buckley won Best Actress.

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Photos

PHOTOS: Awesome Con

George Takei speaks on the main stage

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George Takei was among the featured guests at Awesome Con on March 14. (Washington Blade photos by Michael Key)

The annual fantasy, comics and science fiction convention Awesome Con was held at the Walter E. Washington Convention Center on March 13-15. Featured guests included openly gay actor, author and activist, George Takei. The convention included LGBTQ panels and a “Pride Alley” with LGBTQ-specific booths in the exhibit hall.

(Washington Blade photos by Michael Key)

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Theater

A season of renewal for D.C. theater

‘Streetcar,’ ‘Hamnet,’ ‘Hamlet,’ and many more

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Ismenia Mendes plays Ana in ‘Jonah’ at Studio Theatre. (Photo by Krystena Patton)

Ideally, spring is our season of renewal – personal, emotional, and social. Lucky for those in the DMV, there’s a lot of exhilarating new theater to help make it happen. 

At Arena Stage, there’s still time to catch the world premiere production of “Chez Joey” (extended through March 22). Set around the 1940s Chicago jazz scene, this smart reboot of the Broadway classic “Pal Joey” effervesces with music by Rodgers and Hart and a terrific cast brimming with big talent (including Myles Frost, Awa Sal Secka, and out comedic actor Kevin Cahoon). 

Also at Arena, is “Inherit the Wind” (through April 5), the extraordinarily timely work based on the real-life Scopes “Monkey” Trial. It’s a courtroom drama that pits two towering legal minds against each other in a small-town battle over science, religion, and the right to think. The large, talented cast includes Billy Eugene Jones, Dakin Matthews, and out actors Holly Twyford and Alyssa Keegan.  Arenastage.org 

La Pluma Theatre, a queer Latin company housed in Dupont Underground, presents “The Ladybird of Saint John” (April 6-12), a powerful story about two sisters navigating immigration, separation, and the fragile bonds of family. @laplumatheatre – Instagram 

Great gay playwright Tennessee Williams’ “A Streetcar Named Desire” (April 20–May 4) is also coming to the Dupont Underground space. Directed by out actor/director Nick Westrate, the touring production of Williams’s classic work set in New Orlean’s steamy Vieux Carré is performed with neither set nor props. It focuses on the words. Lucy Owen and Brad Koed star as fragile Blanche Dubois and her brutal brother-in-law Stanley. Dupontunderground.org

Folger Theatre is serving up one of the Bard’s best comedies, “As You Like It” (through April 12). Staged by out director Timothy Douglas, Folger’s production “offers a love note to D.C., imbuing the forest of Arden with the familiar vibes, culture, and characters that mark the District as a singular, resilient, and redemptive place of belonging.” Folger.edu 

As part of the country’s semi-quincentennial celebrations, Ford’s Theatre presents “1776” (through May 16), a Tony Award-winning musical about the Second Continental Congress’s struggle to adopt the Declaration of Independence in Philadelphia. Directed by Luis Salgado, the show features a large cast including queer talent like Tom Story, Jake Loewenthal, Jimmy Mavrikes, and Wood Van Meter. Fords.org 

In Falls Church, Creative Cauldron presents “Twelve Dancing Princesses” (through March 29), a Learning Theater Production targeting both kids and adults. Adapted from a Brothers Grimm tale, the eerie story features Spanish language elements and original music by husbands Matt Conner and Stephen Gregory Smith. Creativecauldron.org 

The National Theatre presents “Disney’s Beauty and the Beast” (March 18–April 5). This musical “tale as old as time” is a love story involving Belle, a cursed beast, and the arrogant and famously spurned Gaston played out actor Stephen Mark Lukas, a beauty in his own right. Broadwayatthenational.com 

At Mosaic Theater Company, Michael Bahsil-Cook plays the titular activist/congressman in Psalmayene 24’s “Young John Lewis: Prodigy of Protest.” (March 26–May 3). Staged by Mosaic’s out artistic director Reginald L. Douglas, focuses on Lewis’s formative years of ages 18-28, revealing the budding humanity and heart of this mighty historic figure. Talented out actor Vaughn Ryan Midder plays legendary civil rights activist Medgar Evers and other parts. Mosaictheater.org 

At Olney Theatre Center, it’s the anticipated area premiere of “Appropriate” (March 18–April 19). Penned by Tony Award-winning out playwright Branden Jacobs-Jenkins, the darkly comic work follows a dysfunctional white family that gathers on a plantation home to liquidate their late father’s estate where they uncover a dark history of racism.

Excellent area actors Kimberly Gilbert and Cody Nickell play siblings battling over possessions as well as their father’s shady legacy. Performed in Olney’s black box Mulitz-Gudelsky Theatre Lab, the company promises a unique staging of this important American play.  Jason Loewith directs. 

Also at Olney Theatre, celebrity chef and longtime queer ally Carla Hall debuts her one-woman show, “Carla Hall — Please Underestimate Me” (June 3–July 12). Olneytheatre.org 

British imports are striding the boards at Shakespeare Theatre Company this spring. The first is “Hamnet” (March 17–April 12), the U.S. premiere of the Royal Shakespeare Company’s 2023 stage adaptation of Maggie O’Farrell’s best-selling novel about the life of Shakespeare’s wife, Agnes, and the death of their son.

And then it’s “Eddie Izzard in the Tragedy of Hamlet” (March 27–April 11), a one-woman show in which the British comedian takes on 23 characters in a unique re-telling of the renowned work. Shakespearetheatre.org 

Woolly Mammoth Theatre presents “Travesty” (March 24–April 12). Created and performed by gender fluid drag performer Sasha Velour, the one-person show is part performance art, part history, and part call to action.

Also at Woolly, out actor Justin Weaks stars in his solo piece “A Fine Madness” (June 2–21), in which the Helen Hayes Award-winning actor shares his personal experience as a Black gay man receiving a positive HIV diagnosis. Woollymammoth.net

Spring at Studio Theatre is Rachel Bonds’ “Jonah” (through April 19), an exploration of a woman’s life through relationships with three men. Directed by Taylor Reynolds, the young five-person cast includes Rohan Maletira in the title role and Ismena Mendes as Ana. Mendes is an accomplished stage and screen actor whose described as bisexual/queer in her IMBD bio. Studiotheatre.org 

In Arlington, Signature Theatre’s out artistic director Matthew Gardiner stages “Pippin” (May 12–July 26), Stephen Schwartz’s musical about a young prince searching for a terrific life guided by a theatrical troupe. The original 1972 production featured stars like Ben Vereen and Irene Ryan (best known as TV’s Granny Clampett). Signature’s production’s big names have yet to be shared. Sigtheatre.org 

Exciting stuff ahead. 

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