Arts & Entertainment
Staying in tune
Emily Saliers on the economics of recording circa 2013, caring for guitars on the road and more

The Indigo Girls are Amy Ray, left, Emily Saliers. (Photo by Jeremy Cowart; courtesy Propeller Publicity)
Indigo Girls/Joan Baez concert
Wolf Trap
1551 Trap Road
Vienna, VA
Wednesday
8 p.m.
$28-$42
wolftrap.org
indigogirls.com
It’s easy to take the Indigo Girls for granted. They keep the albums coming every couple years, play the D.C. region often and despite their insistence on keeping things fresh, still manage to feel — and sound — like sonic comfort food.
From her home in Atlanta on the eve of embarking on a 10-date mini-tour with Joan Baez (sandwiched between a slew of other dates), Emily Saliers took a few minutes with us and was as unpretentious and down-to-earth as she’s always been. They play Wolf Trap Wednesday night. Her comments have been slightly edited for length.
BLADE: Why Joan, why now?
SALIERS: Our manager knows Joan’s and we’ve been friends for about 10 years and have toured with her before. The timing was just right and Joan was wanting to do it.
BLADE: Full band?
SALIERS: Yeah, we’re bringing the Shadowboxers with us. They’re a great group of young guys and an up-and-coming band. Usually they open for us but since this will be a full show with two sets, they’re the house band. We call Joan our matriarch and then these guys are younger so I really like the intergenerational aspects of the tour.
BLADE: Will you be collaborating with Joan on anything or is it separate sets?
SALIERS: We’ll do ours first, then Joan, then we’ll do a handful of songs together.
BLADE: Picked the songs yet for the collaborations?
SALIERS: We know we’ll do “Don’t Think Twice It’s All Right” but the others are still in the works. We might do a couple Indigo Girls songs and a couple of Joan’s. There’ll be others we might do some nights and others on other nights.
BLADE: For some musical acts — perhaps even most — the general public tends to heavily identify the band or singer with the era in which it had its biggest commercial success. This would be true of both Joan Baez and Indigo Girls. Yet fans know there’s usually so much more to an artist than one era. Does this bother you?
SALIERS: I know that kind of typecasting musically exists. It doesn’t really bother me although I wish people would be a little more broad minded when it comes to such things. We continue to put out new records every couple of years and we’ve had our fingers all over the board in all kinds of genres. I think our discography proves we’re still viable and relevant. For a long time we were just the lesbian band or people just thought of the skits on “Saturday Night Live.” But Amy and I would be so bored if that’s all we were and we feel we’ve done our very best work since then. It’s the same thing in many ways with Joan. She was and still is a tremendous activist and it just goes on and on and on. She’s been very brave and courageous in dangerous times and she’s been true to her vision of social justice. It’s not just old stuff from the ‘70s. She’s that kind of person to us and hopefully we can inspire people the same way.
BLADE: So many acts now are just touring on their catalog or might do an EP here or there yet the Indigo Girls, like you said, have kept up with adding to your discography. Has there been any sense that they’ve yielded diminishing returns in some ways or are they creatively satisfying enough for you to have kept at it?
SALIERS: We really don’t make any money selling records, I’ll tell you that. Those days are long, long gone. But I get so fucking excited when an artist I love has a new album out so we try to think of the fans and approach it that way. It’s important for the fans and also for our own musical growth. And yes, we have to think economically, which is a total bummer. There were some glory days when we didn’t have to. It does suck sometimes. Like just recently we were going to do a symphonic record and right in the middle of planning it, the union law changed for the musicians and the studio scale just took it totally out of our league. It’s a shame because we were dying to make that record, but of course we’re also not going to go in the hole for tens of thousands of dollars to do it. It’s just a very different landscape than we came up in so we make a lot of tactful decisions based on economics while also honoring our belief that we have to keep making new music.
BLADE: You play D.C. regularly. How are audiences here different from other comparable-size regions?
SALIERS: D.C. audiences are really distinctive. Like Florida in the sense that, well, it’s just so different from anyplace else. Just kind of this strange, exotic place. D.C. has been very loyal to us and we love playing Wolf Trap which in some ways I can’t believe we can still play it because it’s one of the larger venues but we always do well there and we have such a great time. With many amphitheaters the spacial difference can really sop up a lot of the energy but that doesn’t happen at Wolf Trap.
BLADE: There are many, many lesbian singer/songwriter-type musicians who have and have had loyal followings in certain circles but never cracked the mainstream zeitgeist in any way. How do you think you and Amy managed to do that?
SALIERS: I think a lot of it was really just timing. We were signed in the era when you had people like Tracy Chapman and Melissa Etheridge and Jewel and Suzanne Vega and a slew of women with acoustic guitars selling a bunch of records. We got signed at that time and radio was friendly to us then. REM gave us a leg of their tour which really helped with visibility. If we came out now, we’d just totally be swimming upstream to maintain successful long careers. I also think because Amy’s music is different from mine, there’s kind of two musical lives playing out here, people don’t get bored by it. We don’t just think of it as music with acoustic guitars. I mean Amy rocks hard. But the reality is it’s a male-dominated business and most women artists have to sell their sexuality to be successful. For men it’s true to a degree but not the same extent. Rock and roll is a male genre and that’s really its power structure.
BLADE: How many guitars do you travel with?
SALIERS: We have these massive guitar coffins, they’re called, these travel cases where a bunch can fit in rather than having to line them all up individually. Let’s see, probably about 15-20 including banjo, mandolin and classical guitar, which we use for a few songs.
BLADE: Some folks — perhaps the less musically inclined — have asked if it’s really necessary to keep changing guitars every song. Is it because different tunings are used for different songs, overall sonic variety or what? I’m sure you have a guitar tech, right?
SALIERS: It’s all those things, yes. It may seem a bit absurd but trust me, if we didn’t do that or have a guitar tech, which is a very necessary luxury. Our guitar tech Sully has been with us 17 years and really is part of the fabric of the Indigo Girls. But yes, we’d spend half our set just tuning if we didn’t have her. It really contributes a lot to show flow. It really disrupts the flow of things if you have to stand there and keep tuning. So part of it is keeping things interesting for the audience, too. Doing some on mandolin or some on banjo varies it up. If it were all the same sonically it would be very boring.
BLADE: Did you have to learn good pitch, both with the guitar and vocally, or did that always just come natural for you? Are there ever times where you go back and think, “Yikes, we went a little flat there.”
SALIERS: Oh yeah, it happens all the time but I grew up in a very musical family and singing in choirs so we were taught to be very mindful of pitch and learned all the little tricks you can do to stay on pitch. I have a good ear and can always tell if something’s a little flat or sharp. I’m very mindful of that, especially on records. In fact, that’s one way Amy and I differ a little. Her feeling would be if a take catches the vibe but is a little pitchy, she’d be more inclined to go with it. I have a little different approach. If the pitch is off, I just can’t live with it.
BLADE: How long of a set do you have planned for next week?
SALIERS: Probably an hour to and hour-15 then about four songs with Joan.
BLADE: Thanks for your time!
SALIERS: Thanks, take care.
Books
Laverne Cox, Liza Minnelli among authors with new books
A tome for every taste this reading season
Spring is a great time to think about vacations, spring break, lunch on the patio, or an afternoon in the park. You’ll want to bring one (or all!) of these great new books.
So let’s start here: What are you up for? How about a great new novel?
If you’re a mystery fan, you’ll want to make reservations to visit “Disaster Gay Detective Agency” by Lev AC Rosen (Poisoned Pen Press, June 2). It’s a whodunit featuring a group of gay roommates, one of whom is a swoony romantic. Add a mysterious man who disappears and a murder, of course, and you’ve got the novel you need for the beach.
Don’t discount young adult books, if you want something light to read this spring. “What Happened to Those Girls” by Carlyn Greenwald (Sourcebooks Fire, June 30) is a thriller about mean girls and a camping trip that goes terribly, bloodily wrong. Meant for teens ages 14 and up, young adult books are breezier and lighter fare for the busy grown-up reader.
If you loved “Boyfriend Material” and “Husband Material,” you’ll be eager for the next installment from author Alexis Hall. “Father Material” (Sourcebooks Casablanca, June 2) takes Luc and Oliver to the next step. First was dating. Then was marriage. Is it time for the sound of pitter-patter on the kitchen floor?
Maybe something even lighter? Then how about a book of essays – like “The Terrible, Horrible, No Good, Very Bad Gay” bycomedian and writer Eliot Glazer (Gallery Books, Aug. 11). It’s a book of essays on being gay today, the irritations, the joys, and fitting in. Be aware that these essays may contain a bit of spice – but isn’t that what you want for your reading pleasure anyhow, hmmm?
But okay, let’s say you want something with a little more heft to it. How about a biography?
Look for “Transcendant” by Laverne Cox (Gallery Books, June 9), or “Kids, Wait Till You Hear This” by Liza Minnelli (Grand Central Publishing, March 10), and “Every Inch a Lady” by Audrey Smaltz with Alina Mitchell (Amistad, July 14). Keep your eyes open for “Without Prejudice: My Life as a Gay Judge” by Harvey Brownstone (ECW Press, May 26) or “The Double Dutch Fuss” by Phill Branch (Amistad, June 2).
Then again, maybe you want some history, or something different.
So here: look for “Queer Saints: A Radical Guide to Magic, Miracles, and Modern Intercession” by Antonio Pagliarulo (Weiser, June 1) for a little bit of faith-based gay. Music lovers will want “Mighty Real: A History of LGBTQ Music, 1969-2000” by Barry Walters (Viking, May 12). Activists will want “In the Arms of Mountains: A Memoir of Land, Love, and Queer Resistance in Red America” byformer Idaho state Sen. Cole Nicole LeFavour (Beacon Press, May 26).
And if these books aren’t enough, then be sure to check with your favorite bookseller or librarian. They’ll have exactly what you’re in the mood to read. They’ll find what you need for that patio, beach towel, or easy chair.
Music & Concerts
Gaga, Cardi B, and more to grace D.C. stages this spring
Shake off your winter doldrums at a local concert
D.C. shakes off its winter blues this spring as the music scene pops off. We all know the big star is coming: Lady Gaga will perform at Capital One Arena on March 23. But plenty of other stars, big and small, will grace D.C. stages, including many LGBTQ and ally artists.
March
3/15, 9:30 Club, St. Lucia – Indie electronic music project known for its synth-pop sound, which blends ‘80s influences with electronic and indie rock elements.
3/31, Lincoln Theatre, Perfume Genius – Indie/pop singer/songwriter Mike Hadreas, also known as Perfume Genius, has toured with a full band, but he is stripping things back for this tour.
April
4/8, Capital One, Cardi B. Cardi B, from New York, unapologetic and proud, is the first solo female artist to win the Grammy Award for Best Rap Album. This year, she’s on her Little Miss Drama Tour, in support of her second studio album, “Am I the Drama?”
4/13, Lincoln Theatre, The Naked Magicians. Australia’s The Naked Magicians are two performers who deliver live magic and laughs while wearing nothing but a top hat and a smile.
4/18, Capital One, Florence and the Machine. Longstanding indie rock back from Great Britain, much-loved for lead singer Florence’s powerful vocals. On their Everybody Scream Tour.
4/16, Capital One, Demi Lovato. Singer/songwriter from Texas, who came out as nonbinary, is traveling on her “It’s Not That Deep Tour.”
4/21, The Anthem, Calum Scott. Platinum-selling gay singer/songwriter Calum Scott released his latest project, Avenoir, last year. Scott rose to fame in 2015 after competing on Britain’s Got Talent, where he performed a cover of Robyn’s hit “Dancing on My Own“.
4/26, Atlantis, Caroline Kingsbury. American queer pop musician from Los Angeles. She released her debut album in 2021, and has two additional EPs. She’s played Lollapalooza 2025 and All Things Go 2025, as well as gone on a co-headlining U.S. tour with MARIS. Shock Treatment is her latest EP.
4/26, Anthem, Raye. This bisexual artist, known for her current chart-topping “”Where Is My Husband!” single, blends pop, jazz, R&B, and more.
4/30, Union Stage, Daya. This bisexual singer/songwriter is on her “Til Every Petal Drops Tour,” touring the album of the same name that was released last year.
May
5/1, The Anthem, Joost Klein. Eurovision comes to D.C. in Joost Klein: Originally a Youtuber, he was selected to represent the Netherlands at Eurovision in 2024 with his song “Europapa.” He released a new album on New Year’s Day.
5/1, Fillmore, MIKA. MIKA is on his Spinning Out Tour. Born in Beirut and raised in both Paris and London, MIKA sings in multiple languages and has co-hosted Eurovision.
5/7, 9:30 Club, COBRAH. Clara Christensen, is a Swedish singer, songwriter, record producer, and club queen, making electronic dance music.
5/19, Atlantis, Grace Ives. New York-born singer/songwriter, known for her high-energy synth/electronic, bedroom-pop-style music.
June
6/2, The Anthem, James Blake. English crooner got big from his self-titled debut album in 2011. He won two Grammys and just released his 7th album,Trying Times, in March.
It’s surely a sign of the times that this year’s spring preview of upcoming screen entertainment doesn’t hold nearly as much boldly out-and-proud queer content as we would like – but then again, there are only a small handful of noteworthy titles overall – especially on the big screen, where, just like any year, the top-grade content is being saved for summer.
Even so, we’ve managed to put together a list of the movies and shows on the horizon that offer a much-needed taste of the rainbow; a mix that includes returning favorites, “don’t-miss” events, and a few promising big screen crowd-pleasers, it should keep you occupied until the summer season brings a fresh new crop of (hopeful) blockbusters with it.
Scarpetta (Prime Video, March 11). Proving once again that she’s on a quest to accumulate more screen appearances than any other actor in history, Nicole Kidman returns for another star turn by way of this true-crime-ish mystery series, adapted from the bestselling “Kay Scarpetta” novels by lesbian author Patrica Cornwell, as a “brilliant and beautiful” forensic pathologist who uses her knowledge to solve murders. If that’s not enough to draw you in, her co-stars include fellow Oscar-winners Jamie Lee Curtis (as her feisty older sister) and Ariana DuBose (as her nosy lesbian niece), as well as Bobby Cannavale and Simon Baker.
It’s Dorothy! (Peacock, March 13). Filmmaker Jeffrey McHale first won our attention with his fun and insightful “Showgirls” documentary, and now he’s back with a look at perhaps the ultimate queer icon in popular culture: none other than Dorothy Gale, that Kansas farm girl who taught us all that “there’s no place like home” in L. Frank Baum’s classic novel “The Wonderful Wizard of Oz” and its sequels – and of course, in a certain movie adaptation starring Judy Garland. Charting the journey of the fictional heroine across a century of cultural reiterations – on the page, the stage, the screen, and beyond – with a mix of archival material, artistic interpretations, and commentary from queer and queer-friendly voices such as John Waters, Rufus Wainwright, and Lena Waithe, it’s sure to be required viewing for every “Friend of Dorothy” – and all of their friends, too.
The 37th Annual GLAAD Media Awards (Hulu, March 21). Sure, it’s already happened and you already knew (or can find out with a few quick taps of your phone screen) who and what the winners were – but, hey, we already know that the Oscars aren’t going to offer much in the way of queer victories (since there are only a small handful of queer nominees), so why not plan to watch the GLAAD ceremony (recorded live on March 5 for later streaming)?
The Comeback: Season 3 (HBO Max, March 22). Another returning gem is this inventive “mockumentary” style sitcom-about-a-sitcom, starring Lisa Kudrow as a “B-list” television star trying to revive her own faltering career. Slow to catch on in its first season (which originally aired in 2005), it won acclaim (and new fans) when it was rebooted in 2014 by Kudrow and collaborator/co-creator Michael Patrick King (former executive producer of “Sex in the City,” and now returns after a 12-year hiatus for another installment, which tracks “never-was” has-been Valerie Cherish through yet another attempt to make stardom happen. If you like cynical, sharp-edged satire, especially when it’s aimed at the behind-the-scenes world of show-biz, then you’ve probably already discovered this one – but if you haven’t, now’s your chance to jump on board.
Heartbreak High: Season 3 (Netflix, March 25). Fans of this imported Australian teen “dramedy” series – itself the “soft reboot” of another popular Australian series from the ‘90s – will be thrilled for the arrival of its third and final installment, which picks up where it left off in the lives (and sex lives) of the students and teachers of a suburban high school. As always, it can be expected to push the envelope (and some buttons) with its irreverent treatment of issues of class, race, and sexuality – and to deliver another season’s worth of the colorful and striking costume designs that have been acclaimed as a highlight of the show. And yes, it includes a refreshingly significant number of variously queer characters, so if you’re not already on board with his hidden gem of a streamer, we suggest you should give it a shot – you can probably even catch up on the first two seasons before this one drops.
Pretty Lethal (Prime Video, March 25). Fresh from a March 13 debut at the SXSW Film and TV Festival, this girl-power fueled action thriller from director Vicky Jewson and writer Kate Freund centers on a troupe of ballerinas who, while en route to a prestigious ballet competition, are stranded by a bus breakdown and must take shelter at a remote roadside inn run by Uma Thurman as a ruthless crime boss. Needless to say, the girls are forced to adapt their dance prowess into combat skills before the night is over. With a cast that includes Maddie Ziegler, Lana Condor, Avantika, Millicent Simonds, and Michael Culkin, our bet is that it’s sure to be campy fun with a feminist twist.
Forbidden Fruits (Theaters, March 27). Adapted from the play “Of the woman came the beginning of sin, and through her we all die” by Lily Houghton (who co-wrote the screenplay with director Meredith Alloway), this comedy/horror film about a group of young witches who operate a “femme cult” out of the basement of a mall store called “Free Eden” looks like another campy treat, full of witchy wiles and bitchy rivalries, but something about its theatrical pedigree tells us it will also be more than that. Even if we’re wrong, though, we’ll be perfectly happy; why would anyone say no to a delicious piece of camp, especially when it has a cast led by Lili Reinhart, Lola Tung, Victoria Pedretti, and Alexandra Shipp, with creator/influencer Emma Chamberlain in her film debut and heavyweight talent Gabrielle Union thrown in for good measure? We’re ready to join the coven.
Club Cumming (WOW Presents Plus, March 30). Queer icon Alan Cumming (currently riding high as host of “The Traitors”) takes us inside his NYC East Village gay bar, nightclub, and showplace for a behind-the-scenes reality series that spotlights the talent, fashion, and fabulously queer vibe that makes the establishment one of queer New York’s most iconic nightspots. Cabaret singer Daphne Always, go-go dancer and drag performer Michelle Wynters, Drag queen Brini Maxwell, Drag king Cunning Stunt, and Comedian Jake Cornell are among the many reasons why this little slice of the queer New York scene is reason enough alone to become a subscriber to World of Wonder’s streaming platform – though if you’re a “Drag Race” superfan, chances are good you already are.
The Boys: Season 5 (Prime Video, April 8). Amazon’s violent superhero satire, complete with its divisive and deliciously challenging emphasis on queer storylines and its in-your-face caricature of contemporary American “culture war” politics, returns for its fifth and final season, along with all the thorny issues of racism, nationalism, and xenophobia it has showcased all along, and an ensemble cast that includes Karl Urban, Jack Quaid, Antony Starr, Erin Moriarty, and the rest of the usual players. A decidedly queer-informed game-changer in the mainstream fan culture, it’s a show that will be sorely missed – but with several spin-offs already in existence (including the even-queerer “Gen V”) and another (“Vought Rising”) on the way, we can take comfort in knowing that its influence will live on.
Euphoria: Season 3 (HBO Max, April 12). The controversial Sam Levinson-created drama that is HBO’s fourth most-watched series of all time is back after a lengthy hiatus, rejoining the lives of its dysfunctional characters – queer struggling addict Rue (Zendaya), trans teen Jules (Hunter Schafer), abusive sexually insecure football star Nate (Jacob Elordi), and the rest – a full five years later, away from the social traumas of high school and settled into what we can only assume is an equally-dysfunctional life as young adults. Renowned for its cinematic visual styling and its no-holds-barred treatment of “triggering” subject matter, this long-awaited return is likely to be at or near the top of a lot of watchlists – and ours is no exception.
Mother Mary (Theaters, April 17). One of the most promising (and queerest) offerings of the season is this psychological thriller set in the world of pop music, helmed by acclaimed filmmaker David Lowery (“A Ghost Story,” “The Green Knight”) and starring Anne Hathaway (“The Devil Wears Prada,” “Les Misérables”) as a pop singer who becomes entwined in a twisted affair with fashion designer Michaela Cole (“I May Destroy You,” “Black Earth Rising”). Besides its two queer-fan-fave stars, it features trans actress Hunter Schafer (“Euphoria”), FKA Twigs, and Jessica Brown Findlay (“Downton Abbey”) in supporting roles, and to top it all off, it includes a soundtrack full of original songs. With a celebrated director behind it and an award-winning pair of leading ladies, this one has all the potential of a future classic.
The Devil Wears Prada 2 (Theaters, May 1). Meryl Streep is back as Miranda Priestley, need we say more? We know the answer to that is “no,” but we still need to remind you that Anne Hathaway, Emily Blunt, and Stanley Tucci are all part of the deal, too, as this hotly anticipated sequel hits the screen just ahead of the summer rush. Along for the ride are Kenneth Branagh, Justin Theroux, Lucy Liu, B.J. Novak, Conrad Ricamora, Sydney Sweeney, Rachel Bloom, Donatella Versace, and Lady Gaga herself. We trust that will be sufficient to ensure that you will show up on opening day – dressed accordingly, of course.
The Sheep Detectives (Theaters, May 8) Rounding out our roundup with a fun-for-the-family treat that blends live action with animation for an inter-species “whodunnit” with an all-star array of talent, this adaptation of Leonie Swann’s 2005 novel “Three Bags Full” centers on a flock of sheep as they attempt to solve the murder of their beloved shepherd. Boasting onscreen performances from Hugh Jackman, Emma Thompson, Nicholas Braun, Nicholas Galitzine, and Molly Gordon, along with character voices provided by Julia Louis-Dreyfus, Bryan Cranston, Chris O’Dowd, Regina Hall, Patrick Stewart, Bella Ramsey, Brett Goldstein, and Rhys Darby, this one might be just the kind of lightweight entertainment we all need as we move deeper into the confounding year of 2026.
And if not, stay hopeful – the films and shows of summer will be here soon enough.
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