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Moments with Michelle Branch

After white-hot, early ‘00s run, ‘anti-Britney’ Branch returns with new album, new tour and new perspective on life

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Michelle Branch, gay news, Washington Blade

Michelle Branch says the pop music industry is working with outdated business models that aren’t fair to artists. (Photo courtesy Verve Label Group)

Michelle Branch
 
Friday, Aug. 4
 
8 p.m.
 
9:30 Club
 
815 V St., N.W.
 
930.com
 
$58-70

In 14 years, Michelle Branch went from making radio hits to people wondering, “Whatever happened to Michelle Branch?”

Branch came out with her first hit single “Everywhere” from her debut album “The Spirit Room” in 2001 at 18 years old. Known as the “Anti-Britney,” along with fellow alternative-pop queens Avril Lavigne and Vanessa Carlton, Branch’s angsty lyrics and guitar playing were the opposite of Spears’ bubblegum pop sound. Her music videos for “Everywhere,” “All You Wanted” and “Goodbye to You” propelled her to a frequent spot on the “TRL” Top 10. 

Her next album “Hotel Paper” produced the hit single, “Are You Happy Now?,” a “You Outta Know” by Alanis Morissette for the early ‘00s generation that received plenty of radio airplay. She also collaborated with big-name artists such as Sheryl Crow. She even won a Grammy for her work with Santana on “The Game of Love” in 2003. 

Then silence. 

Branch married her bass player Teddy Landau and gave birth to their now-11-year-old daughter, Owen. Branch delved into country with her band the Wreckers, with musician Jessica Harp in 2005. After the duo disbanded, Branch found herself caught in a cycle of creating content that her label wouldn’t let her release. In 2015, the singer’s personal life also hit a rough patch when she divorced Landau.

Now finally free of her contract, Branch has released her first album since 2003, “Hopeless Romantic,” on a new label, Verve Records. The edgy, alternative sound is back but at 33 years old, Branch is no longer the angsty teen she was. This is also her first collaboration with the Black Keys’ drummer, Patrick Carney. Carney started as her music partner and went on to become her fiancé; the couple got engaged in July. 

Her first solo tour in years stops by 9:30 Club (815 V St., N.W.) on Friday, Aug 4 for a sold-out performance. 

Branch chatted with the Washington Blade right before a sound check about where she’s been these last 14 years, how much the music scene has changed and what it’s actually like being Carlton’s doppelgänger. 

WASHINGTON BLADE: Since your 2003 album “Hotel Paper” you seemed to disappear from the mainstream as a solo artist. But behind the scenes you were battling your label. What were some of the label issues you were having post-“Hotel Paper”?

MICHELLE BRANCH: Well, post-“Hotel Paper” I actually first started a band called the Wreckers. It was like a country side project of mine. We were doing really successful. We had a Grammy nomination, a number one song, we went platinum and we were on tour. So everything was going great up until about 2007. That’s when the Wreckers broke up. That’s when it started getting complicated. I followed up the Wreckers with a solo country record. I had been writing a bunch of Wreckers material but then we broke up so I just decided to record it myself. That’s when I started getting problems. I had the president of that label tell me, “You’re not country enough to do this album by yourself.” So I took the record to L.A. and they said, “No, this isn’t pop enough. It’s too country for us.” So that record got shelved. I watched like four label presidents get fired while I was there. I basically ended up being a victim of corporate restructuring. I ended up turning in a full country album and then I followed it up with a full pop record that got shelved as well. They wouldn’t let me out of my contract. So I finally got out of my contract in 2014 and that’s when I started writing this record. 

 

BLADE: On your new album “Hopeless Romantic” you collaborated with Patrick Carney of the Black Keys. How did that come about?

BRANCH: Patrick and I met at a Grammy party. But he was on my list of people to ask about producing. I wanted to find someone with more of a rock background and I liked another band that he produced called Tennis that I loved. And I walked into the party and saw him on the other side of the room and was like “Oh, this is perfect. I can actually go ask him myself.” So, we started talking and he was like, “Where have you been? What have you been up to? I love your voice. You should be making music.” When I told him what I’d been through at the record label he immediately was like, “I want to help. Send me music.” And that’s how it started. 

 

BLADE: Even though you switched labels and had a new collaborator in Patrick did you fear this music wouldn’t see the light of day like your other material?

BRANCH: Once I signed with the new label and started recording, it all felt great. Between the records and getting off my record label there were moments. Like when I was on Warner Brothers I thought, “OK, maybe I’m never, ever going to get a record out again.” But once I switched labels it just felt completely different. There was a totally different energy. 

 

BLADE: Prince used to say record contracts are like slavery and that he would tell young artists not to sign. Would you give the same advice?

BRANCH: Yeah. I mean I just think the record business is a dying business. So many of these huge companies are just following old, dinosaur methods of doing things and ultimately it’s all because of wanting to make money and the artists suffer. So I would definitely encourage younger artists to be as independent as possible. 

 

BLADE: The way music is consumed now is so different from when you first hit the scene. You tweeted the other day you noticed how people had their cell phones out at your concerts now versus the last time you toured. Do you think people have lost the ability to be fully present at shows?

BRANCH: I don’t think everyone has. Fellow concert-goers get annoyed too. I had so many people comment back saying, “Yeah I was at that show and it was so annoying. I couldn’t see because someone’s phone was in my face.” I feel like there’s a certain time and place where you should be present. The whole point of live music is to actually see it, feel it and be a part of it. It’s a collaborative effort. The audience is just as much part of a show as whoever is on stage. If you want to film the whole thing you might as well just go watch YouTube videos of the show and not be at the show. It’s not at every show but just the last few shows I’ve noticed it and it bummed me out. I think that there’s definitely a time and a place for technology. 

 

BLADE: You and Vanessa Carlton debuted around the same time and were always compared. Did it ever annoy you?

BRANCH: Not at all. She’s amazing. I think the only thing that gets annoying is that still to this day people are like, “Oh my god, will you please play that song ‘A Thousand Miles’”? I’m like, “That’s not me.” But she’s great. She gets it just as much as I do so we’ve just gotten used to being each other’s doppelgänger. 

 

BLADE: You’ve shown your support for the Tegan and Sara Foundation. Why is it important for you to be an LGBT ally?

BRANCH: It’s so important because human equality, human rights, should be for everybody. It shouldn’t be for just one type of person. Love is love. There’s a line from one of the songs on my album called “Heartbreak Now.” It says, “You can’t help who you love” and I truly believe it. I think it’s completely preposterous to discriminate against someone based on who they love or how they identify. It’s completely a human rights issue to me. 

 

BLADE: So what’s next?

BRANCH: More music. I was just talking with Patrick that the minute this tour gets done we’re going to go home and start recording a new record. My goal now that I’m free is to just make as much music as possible and be able to play shows whenever I can. 

Michelle Branch, gay news, Washington Blade

Michelle Branch says the pop music industry is working with outdated business models that aren’t fair to artists. (Photo courtesy Verve Label Group)

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D.C. LGBTQ sports bar Pitchers listed for sale

Move follows months of challenges for local businesses in wake of Trump actions

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Pitchers is for sale at an undisclosed price. (Washington Blade file photo by Michael Key)

A Santa Monica, Calif.-based commercial real estate company called Zacuto Group has released a 20-page online brochure announcing the sale of the D.C. LGBTQ sports bar Pitchers and its adjoining lesbian bar A League of Her Own.

 The brochure does not disclose the sale price, and Pitchers owner David Perruzza told the Washington Blade he prefers to hold off on talking about his plans to sell the business at this time.

He said the sale price will be disclosed to “those who are interested.” 

“Matthew Luchs and Matt Ambrose of the Zacuto Group have been selected to exclusively market for sale Pitchers D.C., located at 2317 18th Street, NW in Washington, D.C located in the vibrant and nightlife Adams Morgan neighborhood,” the sales brochure states.

 “Since opening its doors in 2018, Pitchers has quickly become the largest and most prominent LGBTQ+ bar in Washington, D.C., serving as a cornerstone of D.C.’s modern queer nightlife scene,” it says, adding, “The 10,000+ SF building designed as a large-scale inclusive LGBTQ+ sports bar and social hub, offering a welcoming environment for the entire community.”

It points out that the Pitchers building, which has two years remaining on its lease and has a five-year renewal option, is a multi-level venue that features five bar areas, “indoor and outdoor seating, and multiple patios, creating a dynamic and flexible layout that supports a wide range of events and high customer volume.”

“Pitchers D.C. is also home to A League of Her Own, the only dedicated lesbian bar in Washington, D.C., further strengthening its role as a vital and inclusive community space at a time when such venues are increasingly rare nationwide,” the brochure says. 

Zacuto Group sales agent Luchs, who serves as the company’s senior vice president, did not immediately respond to a phone message left by the Blade seeking further information, including the sale price. 

News of Perruzza’s decision to sell Pitchers and A League of Her Own follows his Facebook postings last fall saying Pitchers, like other bars in D.C., was adversely impacted by the Trump administration’s deployment of National Guard soldiers on D.C. streets   

In an Oct. 10 Facebook post, Perruzza said he was facing, “probably the worst economy I have seen in a while and everyone in D.C. is dealing with the Trump drama.” He told the Blade in a Nov. 10 interview that Pitchers continued to draw a large customer base, but patrons were not spending as much on drinks.

The Zacuto Group sales brochure says Pitchers currently provides a “rare combination of scale, multiple bars, inclusivity, and established reputation that provides a unique investment opportunity for any buyer seeking a long-term asset with a loyal and consistent customer base,” suggesting that, similar to other D.C. LGBTQ bars, business has returned to normal with less impact from the Trump related issues.

The sales brochure can be accessed here.

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Alexander Skarsgård describes ‘Pillion’ in 3 words: lube, sweat, leather

Highly anticipated film a refreshingly loving look at Dom-sub life

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Harry Melling and Alexander Skarsgård star in ‘Pillion,’ which premieres in the U.S. on Feb. 6. (Photo courtesy of A24)

Whether you’ve seen him in popular HBO series like “True Blood,” “Succession,” or “Big Little Lies,” the dynamic Swedish actor Alexander Skarsgård has that smoldering gaze that immediately draws viewers in. 

Following in the footsteps of his father Stellan, (who just won the Golden Globe for “Sentimental Value”) the Golden Globe, Emmy, and SAG winner Skarsgård continues to be an actor who is fearless in the roles he takes on. 

That courageousness is evident in Skarsgård’s latest film, the BDSM black comedy “Pillion,”which he also executive produces. He plays Ray, the handsome, hyper-dominant leader of a gay bike gang. The film was written and directed by Harry Lighton, and is based on the 2020 novel “Box Hill,” by Adam Mars-Jones. 

“This was a small film by a first time filmmaker and it wasn’t financed when I read it,”  Skarsgård told journalists at a recent awards news conference. “And I felt that, if I could help in any small way of getting it financed, I wanted to, because I thought it was such an incredible screenplay and I believe in Harry Lighton so much as a filmmaker. And it felt tonally unlike anything I’d ever read. It was such an exciting, surprising read.”

Skarsgård was blown away by the quality of the unconventional script. “When I heard BDSM relationship, biker culture, I expected something very different. I didn’t expect it to have so much sweetness and tenderness and awkwardness.”

For the sex scenes and nudity with co-star, Harry Melling — who excels in his portrayal as Ray’s submissive Colin — Skarsgård talked very early on with Lighton about how he wanted to shoot those scenes, and why they were in the film. 

“I often find sex scenes quite boring in movies because a lot of the tension is in the drama leading up to two people hooking up, or several people hooking up, as in our movie. But what I really enjoyed about these scenes — they are all pivotal moments in Colin’s journey and his development. It’s the first time he gets a blowjob. It’s the first time he has sex. It’s the first time he has an orgasm. And these are pivotal moments for him, so they mean a lot. And that made those scenes impactful and important.” 

Skarsgård was happy that Lighton’s script didn’t have gratuitous scenes that shock for the sake of just shocking. “I really appreciated that because I find that when this subculture is portrayed, it’s often dangerous and crazy and wild and something like transgressive.”

He continued: “I really love that Harry wanted it to feel real. It can be sexy and intense, but also quite loving and sweet. And you can have an orgy in the woods, rub up against a Sunday roast with the family. And that kind of feels real.”

One of the obstacles Skarsgård had to work with was Ray’s emotionally distant personality.

“Ray is so enigmatic throughout the film and you obviously never find out anything about him, his past. He doesn’t reveal much. He doesn’t expose himself. And that was a challenge to try to make the character interesting, because that could easily feel quite flat…That was something that I thought quite a lot about in pre production…there are no big dramatic shifts in his arc.”

For the film, Lighton consulted the GMBCC, the UK’s largest LGBT+ biker club, attending their annual meetup at which 80 riders were present. 

“Working with these guys was extraordinary and it brought so much texture and richness to the film to have them present,” said Skarsgård. “They were incredibly sweet and guiding with us — I can’t imagine making this movie without them. I’d go on a road trip with them anytime.”

Added Skarsgård: “To sum up ‘Pillion’ in three words: lube, sweat, and leather. I hope people will connect with Colin and his journey, and come to understand the nuance and complexity of his bond with Ray.”

This year is shaping up to be a busy one for Skarsgård. “Pillion” premieres in select cities on Feb. 6 and then moves into wide release on Feb. 20. After that for Skarsgård is a role in queer ally Charli XCX’s mockumentary, “The Moment,” which premieres at the Sundance Film Festival. HIs sci-fi comedy series,  Apple TV’s “Murderbot,” which he also executive produces, will begin filming its second season. And this weekend, he hosts “Saturday Night Live.”

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MISTR’s Tristan Schukraft on evolution of HIV prevention

From ACT UP to apps, embracing stigma-free care

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Tristan Schukraft (Photo courtesy of Schukraft)

It was not too long ago that an HIV diagnosis was read as a death sentence. In its earlier decades, the HIV/AIDS crisis was synonymous with fear and loss, steeped in stigma. Over recent years, open conversation and science have come together to combat this stigma while proactively paving the way for life-saving treatments and preventive measures like PrEP. Now, in 2026, with discreet and modern platforms that meet people where they’re at in their lives, HIV prevention has evolved from hushed words of warning into something far more sex-positive and accessible. Game-changing services like MISTR are a testament to this shift, showing our community that healthcare doesn’t have to feel clinical or shaming to work. It can be empowering and, dare I say,  celebratory.

Few people embody this evolution quite like Tristan Schukraft, founder of MISTR. With one hand in healthcare and the other high-fiving through queer nightlife, Schukraft gets that, from the bar to the bedroom and beyond,  prevention happens in person and in real life. His approach has helped turn PrEP, DoxyPEP, and testing into normalized parts of our daily queer life, reaching hundreds of thousands of people across the US.

In our conversation, Schukraft shares candidly about stigma, policy, and why the future of sexual health depends on keeping it real.

BLADE: You have one hand in healthcare and the other in nightlife and queer spaces. Can you share with us how these two spheres impact and inform each other? How do they impact and inform you? 

SCHUKRAFT: Honestly, for me, they’ve never been separate. Nightlife and queer spaces are where people meet, date, hook up, fall in love, and make friends. That’s real life. Being in queer spaces all the time keeps me grounded and reminds me who we’re building MISTR for. 

BLADE: MISTR markets sexual health in a sex-positive, stigma-free fashion. Can you share with us how you measure the impact of this approach? 

SCHUKRAFT: This year, we held the first-ever National PrEP Day.  Dua Lipa performed, and Cardi B was there.  After the event, Cardi B went on her Instagram live to encourage people to sign up for PrEP.  

When you make sexual health stigma-free and sex positive, people talk about it. We see it in how people use the platform. When 700,000 people are willing to sign up, get tested, start PrEP, and add things like DoxyPEP, that tells us we’ve made it feel safe and normal instead of scary or awkward. And then we see it in the results. Since we expanded DoxyPEP, STI positivity among our patients dropped by half.  

BLADE: How have you seen the conversation of sexual health in our LGBTQ+ community change in mainstream culture in recent years? 

SCHUKRAFT: Ten years ago, nobody was casually talking about PrEP, and if they did, it likely referenced one being a Truvada whore. Now it’s part of the culture. Popstars like Troye Sivan post pictures of their daily PrEP pill on social media. Cardi B goes on Instagram Live telling people to get on PrEP.  

For many sexually active gay men, taking PrEP is simply part of the gay experience.  For people in more remote areas, it might not be as talked about. Particularly in rural or more conservative places, MISTR can be a life-changing option. No awkward visits to the family doctor or the local pharmacy where everybody knows your business. It’s all done discreetly online and shipped straight to your door. 

BLADE: You have publicly argued that cuts to government HIV prevention funding are of high risk. Would you please elaborate for us on what those budget decisions mean on an individual level? 

SCHUKRAFT: It means real people fall through the cracks. Someone doesn’t get tested. Someone waits too long to start PrEP. Someone finds out they’re HIV-positive later than they should have. Community clinics will be the hardest hit, especially those in underserved communities. The good news is that MISTR is ready to help people who might lose their access to care. All you need to do is sign up at mistr.com, and it’s totally free with or without insurance. 

BLADE: From your (and MISTR’s) perspective, how do these funding cuts threaten ongoing efforts to end the HIV epidemic? 

SCHUKRAFT: For the first time, we have all the tools to end HIV. If everybody who is HIV negative is taking PrEP and everyone HIV+ is virally suppressed, we can end all new HIV transmissions in the United States.  We have everything we need today.  All we need is to get more people on PrEP. Cutting funding risks losing that momentum. Ending HIV requires scale and consistency. Every time funding gets cut, you lose momentum, trust, and infrastructure, and rebuilding that takes years. 

HIV transmissions don’t pause because budgets change. 

BLADE: In our current climate of decreased federal investment, what role do you feel private healthcare and business should play in sexual health? 

SCHUKRAFT: With reports that the current administration is considering cuts to HIV and prevention funding,  we face a moment of reckoning. At the same time, some employers are seeking to exclude PrEP and HIV prevention from their coverage on religious freedom grounds. If these challenges succeed, and if federal funding is slashed, the consequences for public health will be devastating. But this is where the private sector must step up to fill the gap, bridge divides, and deliver results. 

Businesses have the power and platform to normalize HIV prevention and drive measurable outcomes. At MISTR, we see firsthand what’s possible: since introducing DoxyPEP, STI positivity rates among our patients have been cut in half. But it’s not just about medication. It’s about messaging.  

Our sex-positive, stigma-free marketing speaks directly to our community, making sexual health part of everyday life. No awkward doctor visits, no needles, no paperwork — just free online PrEP and STI testing, prescribed by real physicians and delivered to your door. That kind of impact could grow exponentially if more employers embraced this approach and made HIV prevention part of their employee wellness programs. 

Employers, this is your call to action. Start by making sure your health plans cover PrEP and DoxyPEP. Partner with platforms like MISTR to give employees private, stigma-free access to care. Offer on-site testing. Talk openly about sexual health, not just during Pride, but every day of the year. This is not political — this is about protecting lives, strengthening communities, and building a healthier, more productive workforce. Because healthy employees aren’t just good for public health — they’re good for business. 

When the private sector steps up, outcomes improve. And when businesses align with platforms like MISTR, scaling impact isn’t just possible — it’s happening. 

BLADE: Has MISTR experienced any direct effects from these recent shifts in public health funding? 

SCHUKRAFT: MISTR’s unique model is totally free for patients with or without insurance, and we don’t cost the government or taxpayers a penny. We are scaling up our efforts to reach people who might be losing their access or care. 

BLADE: What would be your message to policymakers who are considering further cuts to HIV/AIDS programs? 

SCHUKRAFT: During his first term, President Donald Trump committed unprecedented resources to the Ending the HIV Epidemic initiative here at home. Bipartisan support has shown what’s possible when bold leadership meets smart strategy. To policymakers: I urge you to reconsider any cuts to HIV prevention funding. This is not the time to pull back. It’s the time to push forward. Ending HIV is within reach — but only if government, private industry, and community organizations stand together. 

BLADE: What is one perhaps overlooked win from last year that impacted you on a personal level? 

SCHUKRAFT: Seeing our STI positivity rate drop by half after expanding DoxyPEP. 

BLADE: Looking at the year ahead, what are MISTR’s most significant priorities for sexual health in 2026? 

SCHUKRAFT: Expanding access, especially in the South and in communities that still get left out. Rolling out injectable PrEP. And just continuing to make sexual healthcare easier and more normal. 

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