Music & Concerts
CONCERT REVIEW: The daffy brilliance of Sophie B. Hawkins
Icon performs at Tally Ho Theater
Washington-area fans got an uber-rare chance to hear queer icon Sophie B. Hawkins, mostly known for her ’90s monster hits “Damn I Wish I Was Your Lover” and “As I Lay Me Down,” live last Friday night when she performed a 90-minute solo set at the Tally Ho Theater in Leesburg, Va. It was her first performance in the region since a mini-set in 2017 and her first full-length concert here in more than a decade.
There was no band or accompaniment tracks; Hawkins, 57, provided all her own instrumentation, mostly on piano and guitar. Pleasantly, since she hasn’t had an album out since 2012, she performed five self-penned unreleased songs and one delightfully unexpected cover — Joan Baez’s “Diamonds and Rust” — that furnished perhaps the evening’s most poignant moments. Sitting atop a stool with her feet propped on a drum and picking gently at an acoustic guitar, Hawkins kept listeners rapt with Baez’s 1975 story song.
Appearing almost four years to the day since her last D.C.-area appearance, Hawkins was in fine form. I wrote last time that her vocals sounded a bit ragged, as though she were not properly warmed up. Thankfully this time, that was not an issue. There were several full-throttled wails throughout the evening demonstrating both Hawkins’ impressive lung capacity and the slight scratch in her voice that keeps it just shy of crystalline.
She toyed a bit with her various singles and album cuts. Opener “Right Beside You,” a single from her second album “Whaler” (1994), was slowed significantly to solid effect; while “No Connection,” “California Here I Come” and “Walk on Fire” were given more faithful readings. She indulged a request for daffy “Swing From Limb to Limb” with an impromptu, a cappella rendition.
She was also more candid than ever about “Lose Your Way,” the controversial track from her last major label effort “Timbre” (1999) that found her drawing a line in the sand with label execs and insisting on banjo accompaniment. Introducing it as “the song that ruined my career,” Hawkins offered a lovely and understated performance — on banjo, of course. She also teased a 2022 deluxe reissue of her debut album “Tongues and Tales” for its 30th anniversary. A tour is rumored as well.
Of the five new songs, three were also featured in her 2017 set at Jammin’ Java in Vienna, Va. She introduced the other two variously as a song from a musical she’s writing she called “Birds of New York,” possibly titled “I Want to Be Myself With You”; she said she wrote “You Are My Balloon” when her daughter was an infant. It was requested by a hardcore fan who drove down from Ontario for the concert. I didn’t catch his name, but he said he’d seen her many times in concert over the years and this particular night she was “truly on fire.”
All the new material sounded solid. Despite the bare-bones accompaniment, it was apparent Hawkins’ songwriting prowess has not diminished. The last time Hawkins spoke to the Blade, in 2017, she spoke of having an album in the can. It remains unreleased.
It’s hard to tell to what degree Hawkins’ often batshit crazy stage banter is her true personality or not. She says just about whatever seems to pop in her head; tells snippets of stories, the pertinence of which is not always apparent; remains unperturbed when she fumbles a piano line, etc. It has echoes of Cyndi Lauper’s stage schtick, though thankfully Hawkins spent most of her time focused on the music (Lauper sometimes rambles interminably). She cut off a second performance of “Damn” (once on piano, once on guitar) abruptly saying, “OK, that’s enough of that song.” She introduced her trademark Dylan cover “I Want You” as the encore and told the crowd to just pretend she’d left the stage and come back.
Though Hawkins has never used the “L” word, most of her public relationships have been with women and her love songs are rife with female pronouns. She has a strong lesbian fan base and there were many female couples in the crowd. I don’t know how many the Tally holds — it’s smaller than the Birchmere, but not tiny — but it appeared to be about three-quarters full.
A slightly longer set, considering we see her so infrequently in our area, would have been welcomed but that’s a quibble. Hawkins seemed in exceedingly good spirits throughout the evening; she laughed easily, often at herself, and thanked the crowd repeatedly for coming. Despite COVID, she signed autographs and posed for photos after the show. Up close and in person with no special lighting, Hawkins looks like she’s in her 30s.
Hawkins, who had a strong ‘90s run, is one of the great hitmakers of that era whose catalogue, while limited, holds up astoundingly well. She’s a sonic cousin to Tori Amos, the Indigo Girls, Joan Osborne and the like. All are still touring, writing and recording and have solid fan bases but have long been written off by mainstream pop radio and undeservedly so.
Hawkins, who got an especially raw deal from industry gatekeepers after “Timbre,” deserved way more industry recognition than she ever got. Here’s to hoping the “Tongues” re-release A. happens (Hawkins spoke of it as a sure thing) and B. reminds the industry what a talent they snuffed out when they put her out to pasture. I suppose show biz is full of similar stories, but hearing Hawkins live last weekend was a reminder of how much she has been missed and how much the world could benefit from the perspectives of queer women in music.
SET LIST:
1. Right Beside You
2. California Here I Come
3. Walk on Fire
4. As I Lay Me Down
5. I’ve Only Hungered for Love Before*
6. I Can’t Replace You
7. Better Off Without You
• drum solo
8. Lose Your Way
9. No Connection
10. Swing From Limb to Limb
11. I Want to Be Myself With You*
12. Diamonds and Rust
13. You Are My Balloon
14. Damn I Wish I Was Your Lover (piano)
15. Damn I Wish I Was Your Lover (guitar)
16. I Want You
* title unsure
8:02-9:29 p.m.
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.
213 House members ask Speaker Johnson to condemn anti-trans rhetoric
D.C. LGBTQ bars ‘hanging in there’ amid tough economy
Japan’s first female prime minister reluctant to advance LGBTQ rights
Rep. Grijalva reiterates LGBTQ support at swearing in
PHOTOS: Cheers to Out Sports!
PHOTOS: Whitman-Walker Gala
Activist hosts Diwali celebration in D.C.
Calendar: November 14-20
Harford school board appeals state’s book ban decision to circuit court
