Music & Concerts
P!nk’s new album ‘Hurts 2B Human’ features only momentary flashes of greatness
Surprisingly mediocre release marred by banal lyrics that sound like they could have been crafted by anyone
Punk, independent, rebellious — these are just a few of the adjectives that P!nk brings to mind. From “Just Like A Pill” to “U+Ur Hand” and “So What,” her music has been synonymous with a defiant, feminist attitude that is refreshing in the predictable romantic intrigues of most pop songs. But with her 2017 album “Beautiful Trauma,” P!nk’s music has taken a softer turn. Her newly released “Hurts 2B Human” continues in this direction, making this her least rambunctious album so far.
Of course, it’s normal for artist to go through major changes over the course of their careers, and P!nk has already had several distinct stylistic periods. The earliest album “Can’t Take Me Home” (2000) has strong R&B influences, as does “Missundaztood” (2001), though it begins to turn toward pop/rock. By the release of “I’m Not Dead” (2003), especially on albums “I’m Not Dead” (2006) and “Funhouse” (2008), her music had taken a seeming definitive turn toward rock.
With the “Beautiful Trauma” in 2017, however, her music becomes decidedly more self-reflective, a change that was well received by fans — the album landed at the Billboard no. 1 spot. But charts are not, of course, correlated to quality, and P!nk seems to be losing much of what makes her music distinct.
The new album opens with “Hustle,” an uptempo pop track that has some of the attitude of the older P!nk albums. Her vocals are still top-notch, but the music is without its usual edge. “(Hey Why) I Miss You Sometime” is a mediocre dance-pop track with banal lyrics, almost to the point of absurdity: “Big time Johnny Cash kind of love/McDonald’s type of love/Can’t find my clothes kind of love/We dominate this love.” It’s a mostly meaningless wash of pop culture references.
The lead single “Walk Me Home” is standard pop fare, but works well nonetheless. It’s incredibly catchy and destined for significant radio play. And it’s certainly one of the better tracks on the album. The same could be said for “Hurts 2B Human,” another inoffensive pop cut.
“Can We Pretend,” one of the more danceable tracks on the album, is unlikely to earn her any political points. It espouses a kind of escapism at the opposite pole from Barbra Streisand’s music activism, and equally clunky: “Can we pretend that we both like the president?/Can we pretend that I really like your shoes? Hell yeah/Can we pretend? ‘Cause honestly, reality, it bores me.”
The unfortunate part about P!nk’s new album is its commonality. Most of the songs could be sung be absolutely anyone. And this has never been the case with P!nk. A rendition of “U+Ur Hand” by any other artist is unimaginable. The album is not bad so much as disappointing in its mediocrity. One of the most distinct voices in pop music is starting to sound like every other.
“Courage,” another of the inoffensive yet predictable tracks on the album, repeats a vocal hook quite similar to the one in Katy Perry’s “Chained To The Rhythm,” and indeed, it sounds like a pop song that is already two years old.
The album has a few happy exceptions, mostly in the way of semi-acoustic tracks. It makes one think a mostly acoustic album would have worked much better. “My Attic” is among the happy few. Her vocals are excellent throughout and musically, it’s one of the more harmonically complex songs on the album.
The best song is without a doubt her duet with country singer Chris Stapleton. It’s a surprisingly good country song, one that may well find its way to country radio. It’s a bold choice and a testament to P!nk’s versatility as an artist. And the song is beautiful, even if she goes a little carried away with the country accent. Likewise, the song “Circle Game,” which talks about motherhood and her relationship with her daughter, is a touching, well-crafted track. But if the album takes a turn for the better around the last four songs, it’s too little too late.
The path to mediocrity is well trodden. Nonetheless, it is a shame to see such a singular voice head in that direction.
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.
LGBTQ legal leaders to Supreme Court: ‘honor your president, protect our families’
Suicide and the policy crisis facing trans Americans
Nancy Pelosi: an LGBTQ appreciation of the retiring House speaker emerita
Gala Hispanic Theatre’s Flamenco Festival returns
Calendar: November 7-13
‘Sandwich guy’ not guilty in assault case
Gay speedskater racing toward a more inclusive future in sports
Jonathan Bailey is People’s first openly gay ‘Sexiest Man Alive’
New York City mayoral race gets nasty but Mamdani will win
FBI thwarts Halloween terror plot targeting Mich. LGBTQ bars
-
District of Columbia1 day ago‘Sandwich guy’ not guilty in assault case
-
Sports1 day ago
Gay speedskater racing toward a more inclusive future in sports
-
Celebrity News3 days ago
Jonathan Bailey is People’s first openly gay ‘Sexiest Man Alive’
-
Opinions4 days ago
New York City mayoral race gets nasty but Mamdani will win
