Bills, Bills, Bills

On May 16, 2025, PJ Yarosh and the Rainbros ensemble of the Gay Men’s Chorus of Tampa Bay delivered one of the sassiest, most crowd-pleasing numbers of the evening with their energetic performance of “Bills, Bills, Bills” by Destiny’s Child, during the chorus’s concert “Tyler’s Suite / I Love the 90s”, held at the joyfully affirming Allendale United Methodist Church in St. Petersburg, Florida.

Originally released in 1999, “Bills, Bills, Bills” was Destiny’s Child’s breakout #1 hit—a fierce, funky R&B anthem about self-worth, boundaries, and not being anyone’s doormat. With its sharp lyrics, tight vocal harmonies, and unstoppable groove, it became an instant classic—and a favorite in LGBTQ+ circles for its blend of empowerment, sass, and no-nonsense attitude.

PJ Yarosh, stepping into the Beyoncé-adjacent spotlight, led the number with charisma, flair, and razor-sharp timing. His vocals sparkled with equal parts vocal polish and playful shade, effortlessly channeling the song’s iconic attitude. Whether delivering a side-eye-worthy line or hitting a groove-perfect run, Yarosh commanded the audience’s attention, oozing confidence and charm.

Supporting him was the Rainbros, a sub-group of the chorus known for their dynamic stage presence and tight ensemble work. They brought fire and precision to the harmonies, backing up Yarosh with crisp vocal lines and synchronized movements that gave the number a polished, boy-band-meets-girl-group feel. The performance was as much about theatrical storytelling as it was about vocal delivery—turning the church sanctuary into a full-on ‘90s dance party, complete with struts, finger wags, and audience giggles.

The number worked on multiple levels: it was a clever nod to 1990s R&B feminism, a playful critique of toxic relationships, and, above all, a celebration of queer artistry and joy. It highlighted how the chorus infuses fun and camp with skillful musicality—proving that high art and pop attitude are not mutually exclusive, especially in a community where performance is also empowerment.

In the larger context of the evening—which began with the emotional resonance of Tyler’s Suite and then transitioned into a colorful tribute to 1990s pop culture—“Bills, Bills, Bills” offered a moment of levity and liberation. It reminded the audience that while choral music can honor, grieve, and reflect—it can also slay.

Performed in the inclusive embrace of Allendale United Methodist Church, a faith community known for its outspoken support of LGBTQ+ individuals, the performance stood as both a joyful nod to the past and a fierce celebration of the present. “Bills, Bills, Bills” didn’t just bring the house down—it paid the rent in fabulousness.