Music & Concerts
Pink Martini braintrust Thomas Lauderdale teams up with Meow Meow for new album, mini-tour
Duo brings show to Washington March 25
Meow Meow and Thomas Lauderdale
Monday, March 25
Lincoln Theatre
1215 U St., N.W.
8 p.m.
$35
Thomas Lauderdale (the Pink Martini bandleader) and musical gal pal Meow Meow go way back. Their new joint album “Hotel Amour” took about 10 years to make.
Out today (March 22) on Heinz Records, “Hotel” features originals and international standards in French, German and more, on a mood journey through bittersweet tragedy, humor, politics and more.
They opened a 10-city mini-tour this week in California and play Washington on Monday, March 25. Lauderdale, in his first interview with the Blade since 2013, spoke by phone Monday from his Portland home. His comments have been edited for length.
WASHINGTON BLADE: I understand you and Meow have been recording off and on for several years. How did it work out that now was the time for the record?
THOMAS LAUDERDALE: At the time we started recording this, people were still selling albums, selling CDs and records and of course, as the years have passed, that landscape has changed so we decided we were going to go ahead and release it before that goes any further, before the possibility of selling a single record is lost. Also the timing seemed right in terms of all the collaborations we hoped for. They kind of came together magically in the last year.
BLADE: Will there be a vinyl?
LAUDERDALE: There will be and hopefully we’ll have the vinyl in hand by the time we hit D.C. It should be here any day now.
BLADE: Vinyl is pretty hot now. You really think the album form will eventually die?
LAUDERDALE: Yeah, I do. I think physical objects in our culture are becoming scarcer and scarcer and as the population shifts, the new generation is not used to touching things so there will be more virtual of everything. I feel like a dinosaur. All the things I like are disappearing.
BLADE: How many LPs do you own?
LAUDERDALE: I don’t know. Thousands probably. I also have 78s. I’ll take a photo and send it to you. … I much prefer records to CDs any day. This (album) sounds better on record. It was largely recorded on analog so it’s gonna sound better on vinyl than any other medium.
BLADE: How would you characterize your musical chemistry with Meow Meow?
LAUDERDALE: I’m not a songwriter … but writing with Meow Meow is the easiest of all the collaborations I’ve ever had. We just sort of sit down and start writing. I come up with a melody and she comes up with lyrics and there’s never any problem. It’s just effortless and I totally trust her taste and her aesthetic. We have different tastes but somehow it comes together in a really great way and we save each other from our worst instincts.
BLADE: What do (Pink Martini lead singers) Storm (Large) and China (Forbes) think of this? Are they jealous?
LAUDERDALE: I don’t know, I haven’t asked. … Whenever we all perform together, it never feels like a competition. We all support each other and recognize each other’s genius.
BLADE: Are you gonna perform the whole record?
LAUDERDALE: We’ll mix in other stuff. There’s a melancholy aspect to it, some are quiet and introspective, which is not really how Meow is in performance. A Meow performance is maybe the wildest and funniest show I’ve ever seen. People laugh so hard … but the album is more contemplative. If the album was like a Meow show, I think it would be like a disco record. It would have a certain shelf life.
BLADE: Is that a common concern? There are certainly raucous classic albums but what’s streaming through your house on Pandora while you’re cooking dinner isn’t necessarily the cacophony you’re down for at a live show.
LAUDERDALE: Yeah, it’s a constant sort of quandary. Over the years, I feel like I’ve always been able to sort of slow things down in recording ‘cause live, there’s a tendency to play faster and louder. On a record, that can make the listener feel anxious. It’s something I’m aware of. We need more beauty, not more noise to compete with.
BLADE: How did you and Rufus (Wainwright, who sings on the record) get so chummy?
LAUDERDALE: I met him in 1995 when he was doing his first show in Portland … and it’s been amazing to watch him progress and become more himself as the decades passed. Whenever he comes to town, if I’m in town, we have a dinner party or a cocktail party or take him berry picking on the nude beach. He’s such a genius.
BLADE: Are you still with Philip (Iosca)?
LAUDERDALE: No. Phil and I were together almost a decade. He would say I did too many drugs and I would say he was too mean to my friends so we were kind of incompatible. We tore out all the walls in my 1859 building in downtown Portland and built a new inside. This was a three-year process. At the end, he moved back in and that lasted just a few months and then he left. He won’t speak to me.
BLADE: Are you with anyone now?
LAUDERDALE: Yeah, I have a new partner named Hunter Noack and he’s a pianist as well. He’s got an incredible project where he takes 9-foot Steinways out into the wild and people listen through wireless headphones and wander the landscape. It’s really astonishing.
BLADE: Did you eve get a TV?
LAUDERDALE: No. Life is so interesting. If I turn on the TV in a hotel room, it sucks you in and there’s nothing worthwhile except maybe an animal show.
BLADE: Don’t you feel out of the loop culturally if everybody’s talking about a hot show you’ve never seen?
LAUDERDALE: No. I don’t think my friends watch TV either. There’s so much to do, to read, who has time for TV?
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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