Lady Gaga’s MAYHEM Ball has finally hit London, giving the gays everything they want and need – and it couldn’t arrive at a bigger moment in her career.

Her acclaimed album MAYHEM has dominated the charts and earned widespread praise. Her Grammy-winning collaboration with Bruno Mars, ‘Die With A Smile,’ continues to break all-time records, while ‘Abracadabra’ still ranks as the most-streamed solo song by a female artist this year.

Gaga also headlined Coachella and drew an estimated 2.5 million attendees at Rio de Janeiro’s Copacabana Beach, making history as the largest free concert by a female artist. So, naturally, news of an accompanying tour was met with rapturous applause from fans.

The MAYHEM Ball, spanning 87 shows, stormed across the United States and Canada throughout July, August and September before landing in London on 29 September.

As 20,000 Little Monsters descended on the iconic O2 Arena for the first date of her four-night residency, Gaga took fans on a journey through some of her biggest hits – as well as deep cuts and fan-favourites from across her glittering 17-year career.

Audiences can expect everything from 2008’s ‘Just Dance’ to 2025’s ‘Abracadabra’ in an action-packed, 2.5-hour, 30-song, five-act spectacular that will keep you on your feet from start to finish. Bending genre and defying convention, Lady Gaga has continued to prove she is a master of her craft as a live performer.

As theatrical and visually sumptuous as ever, the show opened with Act I: Of Velvet and Vice. A short film saw both Mother Monster and the Mistress of Mayhem, each played with relish by Gaga herself, reading out their manifesto, the dark, swirling prologue declaring: “The chaos in your heart will never cease.” From that moment, we were plunged into a gothic fairytale rock opera.

Samir Hussein/Getty Images for Live Nation

Gaga emerged for ‘Bloody Mary’, clad in an Elizabethan-inspired gown that split open to reveal a cage of dancers within, before ‘Abracadabra’ drove the crowd wild. Hearing the future Grammy winning anthem transition into ‘Judas’ live is an experience few will forget. As if her soaring vocals weren’t enough, the superstar reminded us she can also play guitar with an electrifying rendition of ‘Garden of Eden’.

After that heart-pounding introduction, Act II: And She Fell into a Gothic Dream plunged the audience into a sandbox-turned-grave as Gaga belted out ‘Perfect Celebrity’, surrounded by dancing skeletons, before tearing through a rightfully extended version of ‘Disease’. At that point, I realised this might be the closest I’ll ever get to a rock concert (until Beyoncé drops Act III, of course…).

The show, as Lady Gaga has proven throughout her time in the spotlight, was truly a sanctuary for the LGBTQIA+ community. During her performance of ‘Paparazzi’, the singer donned a cape lit up in the colours of the Pride flag before diving into arguably her campest hits, ‘LoveGame’ and ‘Alejandro’.

@gaytimes We love you, Mother Monster! Lady Gaga celebrates the LGBTQ+ community at the opening night of The MAYHEM Ball Tour at London’s O2 Arena 🌈 #ladygaga #mayhem #ladygagaedit #mothermonster #ladygagafan ♬ original sound – GAY TIMES

Act III: The Beautiful Nightmare That Knows Her Name saw Gaga return to the darker aesthetic and deliciously maximalist tint that has come to define the MAYHEM era. ‘Killah’ was a standout here, Gaga’s bold delivery rattling the walls of the O2.

Then came the earlier-than-usual performance of ‘The Dead Dance’, one of the night’s many surprises, with Gaga’s Wednesday co-stars Emma Myers and Evie Templeton joining her onstage for a gloriously camp recreation of their Nevermore Venetian Gala dance. It was camp, spooky and utterly joyous.

The concert’s penultimate Act IV: Every Chessboard Has Two Queens delivered a tender change of pace, pivoting towards themes of community and identity, with the set melting into twinkling lights as Gaga took to the piano.

Samir Hussein/Getty Images for Live Nation

Before launching into ‘Shadow of a Man’, the visibly emotional songstress told the crowd: “My first big arena show was in the UK… thank you for believing in me then.” Reflecting on her almost 20-year career, she asked: “If I come back 20 years from now, will you come to the show?” before assuring teary-eyed fans that she’s here to stay: “I’m just gonna roll up with a keyboard and I’ll be playing on the street… I’ll be here no matter what!”

That reflective energy carried into a stunning performance of ‘Born This Way’. “You are so special, and so beautiful, in every way. And I bet you didn’t need me to tell you that, did you? You already knew!” Gaga told the crowd. Though the song has become synonymous with Pride parades and can sometimes feel overplayed, witnessing it live – surrounded by thousands of queer fans – was transcendent. I couldn’t help but think of my closeted 13-year-old self, who once found so much comfort and hope in it.

By now, you’ve likely seen it across your feed: Lady Gaga then gifted fans a moving piano performance of ‘Speechless’, her first live rendition since 2017 (and we don’t know why, the song was deservedly included on Billboard’s list of the 100 Best Deep Cuts by 21st Century Pop Stars), and its return did not disappoint.

@gaytimes We’re not crying, you are! Lady Gaga performed ‘Speechless’ for the first time since 2017 at the first London show of The MAYHEM Ball ❤️ #ladygaga #speechless #mayhem #gaga #concert ♬ original sound – GAY TIMES

By the time Finale: The Eternal Aria of the Monster Heart arrived, the O2 had screamed, danced, and wept – but the show wasn’t over yet. ‘Bad Romance’ ripped the roof off the arena, soaring into a jaw-dropping crescendo. If it didn’t look so ugly on the page, I’d write the rest of this review in all caps – it really was that incredible.

As the credits rolled and Gaga left the stage, fans had a brief moment to breathe before the screen lit up once more and a much more casual artist appeared. Backstage, with her makeup and wig off, wearing a beanie and sweatshirt, Gaga strutted back into the arena and closed the show with ‘How Bad Do U Want Me’. While social media may undersell this low-key finale, believe me: as tempting as it was to leave early to avoid the tube crush, this moment made staying worth it.

Samir Hussein/Getty Images for Live Nation

Did I cry? YES. Did I scream? YES. Was I on my feet the whole time? ABSOLUTELY. Who else is doing it like Gaga? Nobody. This wasn’t just another pop show – this was the pop show.

Seventeen years into her career, this feels both like a celebration of everything fans have come to love about Gaga and the beginning of a new peak in the Grammy winner’s already historic career. It’s also clear that she’s loving every second. Part concert, part performance art, The MAYHEM Ball is a resurrection, a reinvention, and a reminder that Lady Gaga is still at the very top of her game.

GAY TIMES rating: ★★★★★

Lady Gaga continues The MAYHEM Ball in London until 4 October, before heading to Manchester from 7-8 October. Find out more and grab your tickets here.

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From creepy animatronics to killer clowns, Universal Orlando’s Halloween Horror Nights 34 is bigger, bolder and bloodier than ever.

WORDS BY MALIK HADDINGTON-AHMED
SPECIAL THANKS TO KEVIN GIBSON, JAS WILKINSON, CAT PRACOWNIK AND MATT SKEELS

If there’s one thing the gays love more than a triple-threat pop girlie, it’s a decuple-threat Halloween spooktacular. Universal Orlando Resort is back once more with its 34th annual Halloween Horror Nights. Prepare to be shook!

Taking place over select nights from 28 August to 2 November, HHN 34 is set to be bigger and more bloodcurdling than ever before. Guests will encounter 10 all-new haunted houses, based on gruesome IP and haunting original concepts; four scare zones that bring the horror to the streets; a circus and a light show that will knock your socks off; and two all-new street experiences, zombie carhops at Mel’s Die In and undead DJs at Club Horror.

As if there weren’t enough reasons to visit Universal Orlando Resort, with theme parks, hotels and restaurants galore – including the five immersive worlds that make up their incredible brand-new Epic Universe – Halloween Horror Nights is the bloody cherry on top of the viciously delicious cake.

This August, Gay Times was invited to explore the haunts for ourselves. Here are all ten houses ranked, from spooky to down-right terrifying…

10) Five Nights at Freddy’s

Can you survive Five Nights at Freddy’s? Kicking off the list, Universal perfectly recreates Freddy Fazbear’s Pizzeria, right down to the unsettling animatronics of Freddy, Bonnie, Chica and Foxy (chillingly recreated in collaboration with Jim Henson’s Creature Shop). Whether you’re familiar with the games, films or this is all new to you, it’s sure to give you the creeps – however, it just doesn’t pack the biggest punch.

9) Fallout

The vaults can’t save you in this post-apocalyptic wasteland inspired by the classic game and Prime Video’s hit series. Brought to life with impressive sets and grotesque irradiated ghouls, Universal and Amazon worked closely together to bring the game to life with easter eggs for eagle-eyed fans, as well as a teaser for the show’s second season.

8) Dolls: Let’s Play Dead

Perhaps the campest of all this year’s attractions, the Dolls house welcomes you to the toybox of terror. You’ll shrink down to doll-sized proportions and run for your life as you witness the unnatural creations of a twisted little girl. Burnt and mutilated playthings stalk you at every turn as you try to escape this house, where you control some of the scares thanks to a few strategically placed buttons. Will you come play with us?

7) Grave of Flesh

Ever wondered what it would be like to attend your own funeral? Look no further than Grave of Flesh. This one gets points for sheer gross-out factor – the gore is unrelenting, with skin masks and rotting cadavers to name but a few. Get ready to enter your grave and pass through the gates of the underworld as claustrophobia-inducing soil walls begin to cave in. With SFX makeup and costuming that feels a bit too real, this is not for the faint of heart.

6) Hatchet and Chains: Demon Bounty Hunters

All hell is breaking loose in this Old West town. Possibly the closest any of the actors will get to you in all of the HHN houses or scare zones, Demon Bounty Hunters sees lava demons trying to possess everyone while melting everything in their path. This spaghetti-western-turned-supernatural-horror is campy fun that will leave you shaking.

5) Jason Universe

Evil doesn’t stay dead as the iconic Jason Voorhees makes his return to Camp Crystal Lake. Inspired by a number of the Friday the 13th films, this nightmare-come-to-life sees a different Jason around every corner – culminating in a terrifying jump scare-heavy corridor chase that will leave you gasping for air. This is a house that fans of the classic slasher will be sure to eat up.

4) El Artista: A Spanish Haunting

One of the year’s strongest original concepts, this hauntingly beautiful 19th-century Spanish manor becomes the canvas for an artist possessed by his own work. Immerse yourself within the world of Sergio Navarro, with striking visuals and ghostly brushstrokes that bleed into reality. This house could easily rank at number one if this list was based on worldbuilding and set design alone.

3) Gálkn: Monsters of the North

Try to escape the belly of the beast in this original concept rooted in Norse mythology. Another visually stunning house, Gálkn stands out with its detailed wintry sets and folklore-inspired creatures that break out through the blizzard and build up to a terrifying finale. If you’re into the stuff of legend, this is the one for you. And if not, the house’s icy temperature – which lovingly recreates the Nordic climate – makes this a welcome break from the Florida heat, even if you will be petrified in the process.

2) Terrifier

Undoubtedly the most talked about house of the year, Terrifier more than lived up to its name. Art the Clown is everywhere, grinning in the shadows, jumping out from where you least expect him and recreating iconic kills from all three of Damien Leone’s iconic slashers (alongside a few new ones that will live on in your nightmares). The funhouse aesthetic combined with buckets of gore makes this one of the scariest IP-based houses Universal has pulled off in years. With 35 bodies and six gallons of blood, prepare for carnage. Are you brave enough to take on the bloodbath?

1) The Horrors of The Wyatt Sicks

Fear is the main event at the surprising number one entry on this list. The Wyatt Sicks’ dark and theatrical lore translates perfectly into haunted house form, with cultish rituals, unsettling chants and disturbing visuals – complete with eerie gusts of wind that were much scarier than they should’ve been – which built a ridiculous amount of tension. It’s immersive, creative and left us completely rattled in the best way, with some absolutely top-tier jump scares. The Wyatt Sicks edges out the competition not by being louder, but by being smarter. Even if, like myself, you’re neither a fan of WWE or wrestling in general, this is one you definitely don’t want to miss.

Of course, this ranking is purely personal opinion – we highly recommend you check out the scares for yourself. Whether you’re here to see familiar faces like Freddy Fazbear and Jason Voorhees, or to step into worlds you’ve never experienced before, Halloween Horror Nights 2025 proves Universal is still at the top of their scare game when it comes to blending blockbuster IP with ambitious originals. HHN 34 is bigger, bolder and bloodier than ever.

Why not grab your ghoulfriends and splash out on a guided RIP walking tour, complete with Priority VIP entry to haunted houses and participating attractions. (Huge shout-out to Tati and Grace for being the best guides a gay could ask for!)

Beyond the houses, HHN 34 also boasts scare zones, including The Origins of Horror, Masquerade: Dance with Death and The Cat Lady of Crooked Lane, alongside standout shows such as Nightmare Fuel: Circus of Decay and the lagoon spectacular Haunt-O-Phonic: A Ghoulish Journey. And don’t skip the themed food and drinks to fully immerse yourself in the horror – this year’s menu includes a Five Nights at Freddy’s cupcake and Terrifier’s Clown Café Bloody Popcorn.

For more information about Universal Orlando’s Halloween Horror Nights and to purchase tickets, visit www.universalorlando.com/halloween.

Universal Orlando Resort has teamed up with Virgin Atlantic Holidays to offer some scarily good deals this spooky season. Don’t sleep on it (or maybe do, if you want nightmares).

7 nights in Orlando from £1383 per person

7 nights in Orlando with Virgin Atlantic Holidays, including scheduled Virgin Atlantic Economy flights direct from London Heathrow to Orlando. Room-only accommodation at Loews Sapphire Falls Resort. Price is based on two adults travelling and sharing a Standard 2 Queen Room and includes all applicable taxes and fuel surcharges, which are subject to change. Price is based on a departure on 17 September 2025.

With Virgin Atlantic Holidays, customers can reserve Universal hotels up to 730 days in advance and access Virgin Atlantic flights before they go on general sale. While Virgin Atlantic flights go on sale 11 months ahead, Virgin Atlantic Holidays customers can book them up to 12 months in advance as part of their package. They can also pre-select their seats free of charge from seven days before departure or choose to pay and select seats at the time of booking.

Customers benefit from the Attraction Ticket Price Promise (matching any cheaper official price) and pay no extra deposit on tickets purchased via Virgin Atlantic Holidays. Backed by expert travel agent knowledge and voted Number 1 to Florida from the UK, Virgin Atlantic Holidays is ABTA-membered and ATOL-protected. Book online at www.virginatlantic.com/holidays, via the Customer Centre on 0344 557 3859 or at any of its 35 retail stores.

Prices subject to change and availability. Virgin Atlantic Holidays terms and conditions apply.

The post Halloween Horror Nights 2025: All 10 haunted houses ranked, from Five Nights at Freddy’s to Terrifier appeared first on GAY TIMES.

I hope she plays ‘Hot To Go!’ On 22 August, Chappell Roan made a triumphant return to British soil – delivering her first-ever UK festival headline performance at Reading. For an artist whose persona is rooted in queerness and unapologetic self-expression, her place on the festival’s famously straight-coded main stage felt profoundly symbolic.

Less than a year ago when The Midwest Princess last toured the UK, she was playing venues with capacities under 5,000. Fast forward to summer 2025, and she’s commanding attention of one of the country’s largest festivals, performing to a sprawling audience of around 100,000. The leap is staggering, but also a testament to her incredibly well-earned rise, which has been almost a decade in the making.

Clocking in at approximately 90 minutes, Roan’s set spanned 17 songs and wove together dark-fantasy visuals with her signature theatricality and bold pop bravado. She took fans on a journey from Saskatchewan to the Pink Pony Club, mixing tracks from her iconic debut album, The Rise and Fall of a Midwest Princess, with selections from her eagerly awaited sophomore effort – most notably ‘The Subway’, which was released on 31 July and debuted at number one on the UK’s Official Singles Chart. Hearing tens of thousands scream its outro made it clear that the song is already an anthem.

Chloe Newman / Reading Festival

The setlist comprised a compelling selection of favourites, including ‘Femininomenon’, ‘Casual’ and ‘The Giver’, showcasing the breadth of her creative world – from glitter-soaked pop numbers to vulnerable ballads tinted in heartbreak – each delivered with the intensity of someone staking her rightful claim to a stage of this magnitude.

From the moment Chappell emerged from her gothic castle in a brand-new costume that served vampire realness (giving Dragon from Shrek in the best possible way), the festival erupted. Her voice was almost swallowed by the roar of thousands of fans in the type of communal experience that defines the best live music, where artist and audience become one unstoppable energy.

Luke Dyson / Reading Festival

Yet amid all of this, her vocals were flawless. Chappell’s signature lilting delivery shone in the hypnotic yodels of ‘Picture You’, while her forceful belts during the climax of ‘Good Luck, Babe!’ rang out strong across the field. She is, without question, among the most capable vocalists in pop music today.

One of the evening’s most joyous moments came with ‘Hot to Go!’ The track has become inseparable from its viral dance routine, which Roan took a moment to teach the ready-and-waiting crowd. Watching tens of thousands of hands rise in unison, flames bursting behind the stage, the field became a carnival of camp joy in a moment that’s destined to live on in the minds of everyone who observed it.

Never one to shy away from the drama, Chappell even took a moment in the show to dedicate ‘My Kink is Karma’ to her ex, who just happened to be in the crowd – drawing gasps and cheers from the audience.

@gaytimes Chappell Roan dedicates ‘My K*nk is Karma’ to her ex who is in the crowd during her headline set at Reading Festival 👀 #chappellroan #readingfestival #chappell #chappellroantour #subway ♬ original sound – GAY TIMES

As the show reached its finale with ‘Pink Pony Club’, the emotional weight of the song was undeniable. What began as a cult favourite has since become a cultural touchstone, cementing Chappell’s place as an icon within the LGBTQIA+ community. At Reading, it became something even larger, a festival-wide celebration of queer joy, acceptance and self-expression. Bathed in rose-tinted light, surrounded by a crowd who sang as if their lives depended on it, the track transformed the field into a sanctuary. As the band played out the final chords, thousands of fans in pink cowboy hats and bandanas were left in awe.

Luke Dyson / Reading Festival

In short, Chappell Roan didn’t simply headline Reading Festival – she took it over. Her set was a mystical blend of spectacle, vulnerability and pop craftsmanship, executed with the confidence of an artist fully stepping into her power. This landmark performance solidified her as one of the defining voices of her generation and reaffirmed her as a formidable force in music. No wonder she’s your favourite artist’s favourite artist.

GAY TIMES rating: ★★★★★

Chappell Roan will perform at Leeds Festival on 23 August and Edinburgh Summer Sessions with special guest JADE on 26 and 27 August. Find out more and get your tickets here.

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With ‘KFC Santería’, Cain Culto rewrites the hymnbook with LGBTQIA+ flair – fusing the sounds of the South with a reimagining of the sacred.

WORDS BY MALIK HADDINGTON-AHMED
PHOTOGRAPHY BY JORDAN KIRK

Cain Culto is making fearless, unapologetic music that confronts the institutions that once tried to contain him.

Since breaking out with the genre-bending ‘KFC Santería’ – and its joyfully defiant remix with Sudan Archives – Culto has been pushing pop into bolder, gayer and more spiritually subversive territory. Blending Appalachian grit with New Orleans bounce, his work is equal parts political statement and personal celebration – a sound that refuses to be ignored.

As he embarks on the release of his debut album, Culto speaks exclusively with Gay Times about queering sacred symbols, building community through authenticity and why offending the right people can be a true act of liberation.

Congrats on your ‘KFC Santería’ remix and stunning COLORS Studios performance! How does it feel to see the song connecting with such a wide audience?

It’s been so pleasantly unexpected! I assumed that because the topics in the song are so niche, it wouldn’t reach as far as it has. It’s taught me to continue prioritizing authenticity over relatability – there seems to be more space for boldness when it comes to storytelling in music now more than ever.

You’ve said the original takes inspiration from the sounds of the Kentucky Appalachians and your upbringing in Florida. What inspired your remix with Sudan Archives and how did the collaboration come together?

The production on the remix draws from New Orleans Bounce – there’s something so joyful about that genre. I felt we needed protest music that had resistance wrapped in this sound of hope and celebration. I wanted everything to feel more in your face, pushing the production to hit harder while making the political and spiritual themes that exist in the original more overt.

I’ve been a big fan of Su for a while, and we connected over socials after ‘KFC’ dropped. I think the collaboration made a lot of sense with both of us growing up in the South and experimenting with the fiddle in the way we do.

As we’ve come to expect from you, the track is very gay, with lyrics such as “I only f**k with gay boys, theys, bad b**ches and d**es.” How does your unapologetically queer self and your unfiltered lyrics help you connect with your fans?

Growing up Christian, for so much of my life, my self-expression had to take forms that were palatable for my church community and family. I was conditioned to place so much importance on piety, politeness and being proper. Perception mattered more than intention.

Now, in an attempt to liberate myself from that way of thinking, I try to intentionally say the polarizing things that feel truest to me. I think queer people are drawn to the unapologetic nature of my lyrics. They know where I stand on issues, so it’s easier to connect with them on a deeper level.

We’re seeing lots of love for you right now on TikTok and Instagram! Can you tell us more about your fans, and what that relationship looks like? On and off stage?

It’s been so beautiful bonding with fans – I welcome all the kindness and connections. I’ve often felt rejected by my community – it’s been a huge theme in my life. I had to learn to be okay standing on my own with little support. So now that I feel all this love from fans online, I’m very grateful.

You’ve described Cain Culto as a persona that allows you to explore your queerness in ways you weren’t able to before. How has this character helped you in your creative process?

I’m bolder as Cain. In my personal life I’m very much an introvert – my natural demeanor is comfortable taking up less space. I don’t need to be the center of attention in social settings. But when I’m Cain, I am looking to command a space. When I have something to say, something of value to contribute, I let Cain take over.

You’re as much a visual storyteller as a sonic one, often reclaiming cultural symbols that tie into your own history. Why is this important to you?

Symbols carry so much power. They can inspire and activate change. Sometimes, they represent aspects where our culture is stagnant or actively rejecting progress, and I’m interested in the queering of these archetypes and symbols to move us towards a more liberated future.

I want my heritage and identity to be represented in pop culture in a specific way, and if I don’t see it, I feel the responsibility to become it. Specifically, fashion is one of the main mediums I use to communicate these statements of cultural reclamation. Sometimes style, with the intentional use of symbolism, can impact in a way words cannot.

Your stage name is a nod to religious rebellion. Growing up between evangelical and Catholic spaces in the South, how has your background influenced your artistry?

I’m a mystic at my core. I think religion was just the most accessible vehicle for me to explore those spiritual inclinations. I became religious with good intentions – to become a better person and lessen the suffering in the world, but I quickly realised how destructive religious institutions are on the inside. I had to fully immerse myself in it with all sincerity before I felt qualified to critique it.

That included getting a degree in biblical studies and devoting years of my life to prayer and community church service. I tried so hard to reform my evangelical communities from the inside, but it became clear my perspectives were unwanted. My motivation for creating art still comes from that same intention I had for embracing religion. My desire to stand with the marginalised in society ultimately forced me out of American evangelicalism.

Through Cain, you seem to have broken free of shame and guilt around your identity. Do you have any advice for LGBTQIA+ people – especially young people or those raised in religious environments – who may be struggling to stand in their power and live authentically at this turbulent time?

Trust the quiet knowing within yourself. I was so conditioned by religion to ignore my gut instinct. Making yourself small and powerless for the sake of keeping the peace rarely leads to anything good. Our lives are so short – so think of your life as a movie and pick the most exciting plot.

I could have saved myself so many years of pain by just choosing myself sooner and getting comfortable with the feeling of letting others down. The people you lose along that journey will be replaced with deeper and more profound family and friendships. When you confront the fear of being alone, you find that somehow, the right people always arrive at the right time.

Don’t be afraid to offend others. The presence of a truly empowered person is offensive to those who hold tight to their position of disempowerment. Underneath all that offense is simply fear and resentment for their inability to access the bravery you have. Don’t internalise the problems they have with themselves.

For those who are unaware of you and your music, what do you want them to know? Why should Cain Culto be their new favourite artist?

I intend to make art that is so hyper-authentic that only I could truly release it. With my new songs, I’m trying to explore sounds in pop music that I’ve been craving to hear for a while. I hope my music brings joy and connection to people, but I also place equal importance on writing my truth unapologetically – regardless of whether it ostracises some of my listeners. I believe the political climate of our time demands that kind of raw artistry.

Last but not least: what’s next for you? What are you manifesting right now?

I’m rolling out my debut album. I’ve been putting so much work into this concept record for the last two years, and I’m so excited to get it out in the world. I’m also playing a lot more shows now and want to keep expanding the scale of my live performances. I want to travel outside of the US as soon as possible.

I’m manifesting collabs with my favorite artists. I want to write with, and for my heroes. I’m feeling very ambitious with my goals, and want to continue devoting myself entirely to my art. I’m ready to go full-throttle-popstar-machine-mode these next couple of years and push this artist project as far as possible.

‘KFC Santería’ (feat. Sudan Archives) is out now.

The post The Queer Gospel according to Cain Culto appeared first on GAY TIMES.

“It’s tiiime!” After a five-year wait (insert the obligatory “It’s been 84 years” Titanic meme here), songbird supreme Mariah Carey made a dazzling return to the UK on Saturday 2 August for her headline concert at Brighton Pride.

Originally slated to appear in 2020, the superstar’s appearance was delayed due to the COVID-19 pandemic, making this long-awaited performance feel all the more special. As the sun dipped below Brighton’s horizon, 50,000 fans gathered at Preston Park to witness the legendary diva’s show stopping spectacle.

With over 220 million records sold, 19 Billboard Hot 100 number ones (the most by any solo artist) and five Grammys to her name, it’s rare to see an artist of Mariah’s calibre at a Pride event – this felt like a celebration of her enduring bond with the LGBTQIA+ community, making it clear that she’ll always be there for us.

Defrosting earlier than usual this year, the Queen of Christmas traded snowflakes for sequins in anticipation of her upcoming 16th studio album, Here For It All. Already spawning two singles – the sultry R&B banger ‘Type Dangerous’ and the dancehall-hued ‘Sugar Sweet’ with Shenseea and former Gay Times cover star Kehlani – Brighton Pride got an early taste of what’s to come.

As the lights went down, Chappell Roan’s ‘Pink Pony Club’ blasted over the speakers, setting the tone perfectly before a montage of MC’s most divalicious moments played onscreen, soundtracked by her underrated album track ‘Thirsty’. The audience was, indeed, thirsty for what was to come.

Opening with ‘Type Dangerous’, the icon said “Protect The Dolls” in a trans pride flag-inspired mini dress and jacket by Julian Mendez Couture, a moving statement of solidarity that received rapturous applause from the crowd.

@gaytimes Mariah Carey said “trans rights” with a Protect The Dolls jacket during her headline appearance at Brighton Pride 🏳️‍⚧️ #mariahcarey #mariah #brighton #pride #lgbtqia #trans #protectthedolls ♬ original sound – GAY TIMES

Performing a tightly packed 24-song, 90-minute set, Mimi drifted effortlessly through a glittering catalogue of fan-favourites, deep cuts and remixes that spanned her 35-year career – complete with four costume changes and countless shirtless dancers. From the whistle notes of ‘Emotions’ to the heartache of ‘We Belong Together’ and the pure pop joy of ‘Fantasy’, almost every era of her career was honoured. This was the ultimate Mariah Carey experience.

The elusive chanteuse’s vocal performance, too often underestimated, was strong and self-assured. This is the most lively and confident we’ve seen her all year. The gays love MC, and she loves us just as much.

Before launching into a soaring rendition of ‘Hero’, Mariah dedicated the ballad to the rainbow community. “The LGBTQ+ family, both as a community and as individuals, have been there for me for so long, supporting me through good times and bad,” the songstress told the crowd. “I just want you to know that I’ll always, always be there for you.”⁠

Mariah Carey’s Brighton Pride performance wasn’t just a concert, it was a love letter to her queer lambily – a testament to the role music plays in connecting and uplifting our communities, and a reminder of the warmth and joy found among fellow fans (hi Cat and Sallie!). After five long years, we were shown that good things really do come to those who wait.

Mariah Carey continues her Celebration of Mimi tour in the UK at the Royal Sandringham Estate on 15 August. Find out more and grab your tickets here.

The post “Protect The Dolls!”: Mariah Carey dazzles at Brighton Pride appeared first on GAY TIMES.

From fan-favourite bops to festival anthems-in-waiting, these are the eight tracks that need a spot on Chappell Roan’s Reading & Leeds setlist.

WORDS BY MALIK HADDINGTON-AHMED

Last December, it was announced that Chappell Roan would be making her first UK festival headline appearance in August 2025 at Reading and Leeds Festivals.

The Midwest Princess has had an astronomic rise to fame over the past 12 months, with a slew of top 10 hits (including a UK number one with ‘Pink Pony Club’) and a Grammy for Best New Artist to her name, becoming one of the most in-demand artists of 2025.

Following the release of her hotly-anticipated single ‘The Subway’, which was first performed at the Governor’s Ball in June 2024, here are eight songs we can’t wait to hear when Chappell makes her triumphant return to UK soil at Reading and Leeds.

‘Pink Pony Club’

The unofficial LGBTQIA+ national anthem, ‘Pink Pony Club’ is a glitter-soaked ballad that speaks to the community’s defiance. It’s already a rallying cry, and seeing it live with a crowd of tens of thousands? Absolutely unmissable.

‘Good Luck, Babe!’

This breakup-anthem-turned-self-love-mantra became a viral hit for a reason. With its theatrical vocals and biting lyrics, ‘Good Luck, Babe!’ promises a show-stopping moment that will have the fans going wild.

‘Red Wine Supernova’

The “gay girl version” of Oasis’ ‘Champagne Supernova’, this synth-drenched, late-night escapist dream blends ‘80s nostalgia with modern heartbreak. Expect big vocals and even bigger feelings.

‘HOT TO GO!’

5, 6, 5, 6, 7, 8! Chappell’s most explosive track to date – and a TikTok dance favourite – ‘HOT TO GO!’ is pure chaotic pop joy, and the high-energy choreography (yes, the whole crowd will do the dance) makes it a guaranteed festival highlight.

‘The Giver’

Chappell’s highly anticipated foray into the country genre, which debuted on Saturday Night Live in November 2024, ‘The Giver’ is a sapphic crowd-pleaser. We can’t wait to call out all of the audience’s ex boyfriends who couldn’t get “the job done”.

‘Casual’

A song for all the situationships you feel way too strongly for, ‘Casual’ has us all in our feelings. Thousands of fans will be sobbing their way through the chorus and shouting the bridge into the late-August golden hour.

‘The Subway’

Whilst audiences have heard ‘The Subway’ a number of times, this show will mark its first time being performed in the UK after its release as an official single from Chappell’s upcoming sophomore album. With its heartbreaking lyrics and soaring outro, it feels tailor-made for a dramatic, scream-it-back festival moment.

… a new song?!

Okay, we know Chappell just released ‘The Subway’ – however, we all saw the yellow cab with a license plate reading “8X22” on the set of the song’s music video. Could this be tied to another single or her next album coming on 22 August (the same day as her first UK festival headline show, no less)? Whatever it is, we can’t wait to hear more from CR2!

Reading and Leeds Festivals are running from Thursday 21 to Sunday 25 August 2025. Find out more and grab your tickets here.

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Last weekend, pint-sized pop princess Sabrina Carpenter dazzled a 65,000-strong crowd at London’s BST Hyde Park, delivering not just one but two sold-out shows that cemented her status as one of the defining voices of the moment.

Despite 2025 marking the 10th anniversary of Sabrina’s debut album, the last 12 months have seen her career reach stratospheric heights, proving it really does take 10 years to become an “overnight success.”

Supported by a lineup of powerhouse women, including Amber Mark, Olivia Dean and Clairo, this show felt like a celebration of everything Carpenter has been working towards.

Sabrina opened the show with ‘Busy Woman’, which was especially fitting – she’s been on the road since 2022 (with the Emails I Can’t Send Tour, The Eras Tour and the Short n’ Sweet Tour) and is releasing her new album Man’s Best Friend in August, just a year after her Grammy-winning, universally acclaimed hit, Short n’ Sweet.

The 17-track setlist took us on a journey through Carpenter’s two most recent albums with a look ahead to her next offering, which is arguably her most eagerly anticipated – and controversial – yet. The crowd (mostly teen girls and their parents, admittedly making me feel old at 28) knew all the words and made sure everyone around them knew it.

Chart-toppers ‘Taste’, ‘Please, Please, Please’ and ‘Manchild’ undoubtedly made fans go wild, whilst an acoustic version of ‘Sharpest Tool’ and ‘Because I Liked a Boy’ later in the show allowed for a change of pace – the lyrics of which felt particularly reflective given the conversations surrounding Carpenter’s upcoming album.

Ever the theatrical performer, Sabrina didn’t let that emotion sit for too long. The show was laced with her signature nod-and-wink interludes and crowd interactions. A “parental discretion” warning blazed across the screen as the final act of the show began.

That alert was related to ‘Bed Chem’, which is known to be one of the more risqué parts of the show. This time, the audience was treated to a special Pride-themed outro that saw Sabrina and two of her dancers recreate that scene from Challengers, before jokingly falling back onto the bed behind closing curtains and receiving rapturous applause from fans. This may have been a playful blink-and-you-miss-it moment, however on the last day of Pride Month, it was revealed that the gay-icon-in-the-making has raised over $1 million for LGBTQIA+ rights, mental health initiatives and animal welfare – all in less than a year.

@gaytimes It’s giving Challengers… Sabrina Carpenter wished London a happy Pride with her performance of ‘Bed Chem’ at BST Hyde Park 🔥 #sabrinacarpenter #bsthydepark #bedchem #pride #sabrinacarpenteredit #sabrina #concerts ♬ original sound – GAY TIMES

And the LGBTQIA+ representation didn’t end there. During ‘Juno’, where Sabrina “arrests” a member of the audience for “being too hot,” Ayo Edebiri and Clairo made a hilarious appearance, recreating Charli xcx’s now-viral ‘Apple’ dance, before being told “that’s a different show” by the songstress, making light of the similarities to a segment on the Brat Tour.

For her penultimate song, Carpenter made her way through the crowd (where she seemed genuinely excited to be amongst her fans, some of whom she even recognised) and onto a moving crane for an emotional rendition of ‘Don’t Smile’.

Sabrina closed the show with a dynamic performance of her biggest hit, ‘Espresso’, which began with the superstar downing a coffee-infused martini and reminding us all just how eagerly we’re awaiting 2025’s song of the summer (please, it’s almost August!). Proving the ‘S’ in ‘BST’ stands for Sabrina, fireworks shot out above the stage as swathes of fans in summer dresses and bows took in the final moments with their main pop girlie.

Without a doubt, Sabrina Carpenter is on her way to becoming an icon. This Disney starlet has evolved into a defining voice of music – one that’s unapologetically her own, deeply self-aware, and above all else, so much fun.

The Short n’ Sweet Tour is back in the US later this year. Find out more and grab your tickets here.

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‘Twas the night before Pride in London, and all was not quiet. Thousands of flower-crowned, boho chic, Tumblr-core fans descended on the 90,000-capacity Wembley Stadium to behold the wonder of the Sparkle Jump Rope Queen herself, Lana Del Rey.

The anticipation was palpable. With a career that has spanned more than a decade, Lana has cultivated her own aesthetic and sonic identity – equal parts faded Americana, tragic romance and Southern Gothic surrealism. The final stop on her UK and Ireland stadium tour on 4 July fittingly seemed like a celebration of all that and more.

For me, this show felt incredibly full-circle. I missed out on Lana’s gig at the 3,500-capacity O2 Apollo Manchester back in 2013, and to now witness her command a stadium over 10 years later was moving in more ways than one. As a depressed teen, the singer-songwriter’s melancholic melodies spoke to me deeply, and as a depressed adult, they still do.

Of course, the performance started fashionably later than billed, but as the saying goes, a queen is never late… everyone else is simply early. And besides, from the moment Lana Del Rey stepped on stage, it was clear: the wait was worth it.

In an age of three-hour-long, 45-song, larger-than-life stadium shows, Lana’s more languid, poetic approach felt somewhat refreshing. Clocking in at just 90 minutes with a concise 17-song setlist, this was the calmest stadium concert I had ever attended – and yet, it was no less magnetic. Most tracks were performed in full, with many given space to breathe and unfold with added instrumental flourishes and cinematic extensions. The crowd hung on her every haunting word.

The stage was set as an old wood-panelled house, complete with a porch, swing and willow trees. The front door became Lana’s entry and exit point from the stage, with the upper floor window playing host her hologram for a pre-recorded performance of ‘Norman f**king Rockwell’ and ‘Arcadia’. The homey Southern tableau gave the stadium a strangely intimate feel, as if we were peering into a dreamlike diorama.

Lana’s vocals were sublime – smoky, otherworldly and reminiscent of a different time and place. If that wasn’t enough, her backing vocalists were given their own time to shine, especially during a spellbinding outro of ‘Did You Know That There’s a Tunnel Under Ocean Blvd’, which became easily one of the most mesmerising moments of the evening.

Speaking of the setlist, the 11-time Grammy nominee performed songs from across her decade-long career, a treasure trove for longtime fans and newcomers alike. Lana offered up highlights from her expansive discography, from early-career anthems like ‘Born to Die’, ‘Video Games’, and ‘Young and Beautiful’ to newer tracks from her recent projects, such as ‘Chemtrails over the Country Club’ and ‘57.5’.

She also surprised the audience with a selection of country covers, deep cuts and unreleased tracks, further underscoring the Americana tilt of the evening. Even if you didn’t know every song, Lana’s intriguingly demure stage presence kept your attention. Her movements were minimal but intentional, each glance piercing through the crowd.

The show’s production itself felt hugely different from the stadium spectacles we’ve come to expect from the likes of Taylor Swift. However, with a sold-out venue and a floor packed like sardines, it was clear that Lana doesn’t need a dozen costume changes, choreography or fireworks to captivate a stadium (just a vape break or two).

One of the liveliest moments came when Lana was joined onstage by her opener Addison Rae, who she introduced with great excitement, for a rendition of the already LDR-coded ‘Diet Pepsi’, which the crowd went wild for, injecting a burst of fun, pop-infused energy into the show.

The concert came to a close with a communal singalong of John Denver’s ‘Take Me Home, Country Roads’. The choice, while surprising on paper, made perfect sense in context. It was a tender, nostalgic ending that felt simultaneously warm and wistful, leaving the audience swaying in a shared moment of joy.

Whilst Lana Del Rey may be a quieter, more understated performer, this show reminded us that grandeur doesn’t always come from loudness or extravaganza – sometimes, it comes from stillness, storytelling and the sheer power of presence.

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Beyoncé. Queen Bey… Mother, whatever you want to call the 35-time Grammy winner, we can all agree that nobody is doing it like she is. And just when you think Beyoncé can’t get any better, she raises the bar.

In her hotly anticipated return to the UK, Queen Bey brought the Cowboy Carter Tour to the nation’s capital on 5 June, opening her record-breaking six-show run at London’s 62,850-capacity Tottenham Hotspur Stadium – becoming the first act to schedule six shows at the venue on a single tour.

Whilst it’s no secret that I am an absolutely humungous Beyoncé fan (I was in her top 0.05% of listeners worldwide on Spotify in 2024), even I wasn’t ready for just how transformative this show would be. The Cowboy Carter Tour feels as enormous as it does intimate – a reclamation of country music’s deep ties to Blackness and its place within the fabric of American culture. If Renaissance was joy as resistance, Cowboy Carter is legacy as persistence.

The 40-song seven-act show runs to almost three hours, but never drags or feels ill-paced, and will keep you on your feet the whole time. Opening with ‘Ameriican Requiem’ and closing with ‘Amen’, the set mostly runs to Cowboy Carter’s tracklist (it is the Cowboy Carter Tour, after all), with a few nods to previous eras, most notably Renaissance, along the way.

Beyoncé somehow has a way of improving upon the perfection of her studio recordings in a live setting – a feat not many artists can accomplish – and she’s done it again, turning high-energy tracks like ‘Sweet Honey Buckiin’’, ‘Ya Ya’ and ‘Texas Hold ‘Em’ into even bigger, stadium-shaking bangers. Not to mention the criminally underrated ‘Flamenco’, which was rightfully given more time to shine. And we can’t forget when the entire stadium ascended during the crescendo of ‘II Hands II Heaven’ (which received the extended CD version treatment) – a collective out-of-body experience we felt like we’d been waiting our whole lives for.

This tour – as we’ve come to expect – is also a visual spectacle. Everything from the lights to the pyro to the giant screens is perfectly choreographed. There’s an LED dress, a piano that sets on fire, a robot bartender, a flying horseshoe, and even a golden mechanical bull. When Beyoncé isn’t onstage, fans are even treated to finely crafted mini-films that have us all asking “WHERE ARE THE VISUALS?!” The most exciting of the bunch sees the 30-time VMA winner reaching new heights (literally!) as a 400-foot glamazon interacting with some of her tour stops’ most iconic landmarks, followed later in the show by an incredibly heartwarming look back at the megastar’s almost three-decade-long career.

She may be one of one, but Beyoncé has some serious competition right now in the shape of her daughter (and manager) Blue Ivy Carter. After a handful of cameos during the Renaissance Tour, Blue is now a permanent fixture in Beyoncé’s dance troupe, and rightly so. She’s grown into an assured, capable performer who doesn’t look out of place amongst the pros she’s sharing the stage with, and more than holds her own in a tribute to her mother’s 2006 hit ‘Déjà Vu’. (Blue remains the only nepo baby I will ever root for.)

And if that wasn’t enough, the internet’s favourite IDGAF seven-year-old, Rumi Carter, joined her big sister and mum onstage once again for a heartfelt rendition of ‘Protector’ – a moment that had the entire stadium welling up.

That sense of legacy extended beyond family, too, in what was surely a highlight for many queer fans in the stadium. Towards the end of the show, Beyoncé delivered a powerful tribute to her critically acclaimed Renaissance album. Inspired by ballroom culture, house music, and her late Uncle Johnny, Renaissance holds deep significance within the LGBTQ+ community. This penultimate act of the show – featuring archival footage of the 20th-century US ballroom scene, the Pride flag and a photo of Uncle Johnny himself – made one thing clear: Beyoncé hasn’t left Renaissance behind. Cowboy Carter continues the story, building on its themes of identity, resilience and the radical act of reclaiming space.

But the show wasn’t over yet. We even got our first “mute challenge” of the tour, with Beyoncé incorporating ‘Energy’ to the setlist. Sadly, the crowd – undoubtedly overwhelmed at the prospect of this new addition – was not mute.

After failing her, Beyoncé would’ve been well within her rights to stop the show right there, but she graciously took us to a higher plane with a finale that saw her soar above the crowd in a red Cadillac Eldorado, belting out ‘16 Carriages’, before closing the show with a transcendent, almost spiritual performance of ‘Amen’.

Whilst there’s no improving on the queer euphoria of the Renaissance Tour, the Cowboy Carter and the Rodeo Chitlin’ Circuit Tour doesn’t need to – it’s its own chaps-wearing, rhinestoned, boots-the-house-down beast, in a lane of its very own. The setlist is seamless, the vocals are flawless and the visuals are marvellous. Yeehaw!

GAY TIMES rating: ★★★★★

Beyoncé’s Cowboy Carter Tour is in London until 16 June, before heading to Paris and back to the US later this summer. Find out more and grab your tickets here.

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On 3rd June at approximately 8:30pm, a 7.0 magnitude motherquake hit The O2 as Kylie Minogue brought her history-making four-night London run of the Tension Tour to an electrifying close.

Having already impressed audiences across Australia, Japan and the US, Kylie returned to UK soil with a show that felt both incredibly polished and deeply personal. From the moment she stepped on stage, it was clear: this pop superstar is absolutely in love with what she does, and she’s not slowing down.

With a career spanning almost four decades, Kylie took the crowd on a journey through time and space. From 1987’s bubbly breakout ‘The Locomotion’ to 2023’s slick, synth-drenched ‘Padam Padam’, nearly every era was given its moment in the spotlight. Her ability to evolve with the times while staying unmistakably Kylie is part of what makes her such an icon.

This was my first Kylie show – and I’ll admit, I didn’t know every single track – but best believe I was on my feet every time Kylie hit that stage. Her energy was infectious, and her presence was nothing short of magnetic. From lifelong fans singing every word to newcomers soaking in the spectacle, the entire arena was along for the ride.

If you’re from the UK, it’s nearly impossible not to have a connection to Kylie. Whether you’ve danced to her chart-topping hits at a wedding, watched her memorable stints in Neighbours or Doctor Who on a rainy evening, or toasted with a glass (or bottle!) of her best-selling prosecco rosé, Kylie has become part of our cultural fabric. And this show truly felt like a full-circle moment – a homecoming.

Halfway through the night, the Grammy winner was presented with a commemorative plaque marking her 21st performance at The O2, making her the first female artist to reach this milestone, joining a select group that includes Take That and One Direction. This moment felt particularly poignant as the star struggled to hold back tears as she reflected on her incredible career so far.

One of the most touching points came during the acoustic set. Stripping back the production and walking through the crowd, Kylie took live requests from fans, performing acapella renditions of ‘2 Hearts’, ‘Midnight Ride’, and ‘I Believe in You’. The segment ended sweetly when one lucky fan was invited on stage and presented with a rose as Kylie serenaded her with ‘Where the Wild Roses Grow’, before diving back into the high-octane dance tracks we all know and love.

From that point on, The O2 transformed into London’s hottest LGBTQIA+ club, which felt especially fitting for Pride Month. The queer joy in the crowd was palpable. Couples, groups of friends and solo concertgoers reveled in the glow of their number one pop diva, with one eager fan of the rainbow variety making their love for Kylie clear, shouting “Mummy!” across the arena.

There’s something beautiful about the way live music brings people together and breathes new life into familiar songs – and Kylie does this masterfully. Her stagecraft, vocals and charisma came together in perfect harmony to give us powerful performances of crowd pleasers like ‘Tension’, ‘Can’t Get You Out of My Head’ and LGBTQ+ anthem ‘All The Lovers’, before rounding off the unforgettable two-hour extravaganza with ‘Love at First Sight.’

All in all, the Tension Tour that doesn’t just deliver – it dazzles. Kylie Minogue, once again, proves she is the ultimate showgirl, embodying the very essence of pop perfection.

Kylie is taking the Tension Tour across Europe and South America this summer. Find out more and grab your tickets here.

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