Last spring, a collective sigh of relief spread throughout the Baltimore music community when it was announced that the Ottobar, the beloved, rough-and-tumble rock club in Remington and a local institution for the past two decades, would be purchased by its longtime bar manager, Tecla Tesnau.

Just six months earlier, it went up for sale, leaving fans of all ages wondering what it would mean for the city’s cultural landscape if that small black room and dimly lit dance floor was no longer packed with sweaty bodies. Or worse, if the graffitied walls were painted over to become just another slick venue without the same gritty heart and soul.

Behind the bar since its inception downtown on Davis Street, Tesnau had seen the Ottobar through many changes over the past 23 years, from the digitization of the music industry to the gentrification of Baltimore—none of which would prepare her, of course, for what would arrive six months after she took over, when the novel coronavirus swept around the world and left a sea of shuttered concert halls in its wake.

“After I got handed the keys, we were running full tilt, 100 miles per hour, setting records left and right, the lineup was absolutely stellar—even my accountant at one point was like, ‘Good work, kid,’ which is high praise from someone who is usually all about the books,” says Tesnau on a Tuesday afternoon in late September. “Then, boom, COVID landed, and we hit an absolute cinderblock wall. We got knocked on our ass.”

Since early March, the Ottobar stage has stood mostly empty. No crowds have gathered beneath its sparkling disco ball. No feet have dangled from the second-floor balcony. No lines have wrapped out the door, down the alleyway, and around the corner onto Howard Street. The bar is tidy, the barstools tucked in, not a drop of liquor spilled on the floor beneath them for months.

Shortly after the first case of COVID-19 arrived in Maryland, Governor Larry Hogan announced restrictions on public gatherings, first limiting groups to 250 people—half of the Ottobar’s capacity—then 50, then 10, before a statewide lockdown. For most venues, the weeks that followed meant navigating the quagmire of canceled concerts, refunded ticket sales, unemployment applications, and gathering paperwork for the Small Business Administration’s Paycheck Protection Program.

“We were literally building the airplane as we were flying it, and are still continuing to do so,” says Tesnau. “The space feels so different now. It smells better, for one—I’ve taken to cleaning it a lot. But it’s cavernous, absolutely cavernous. I can’t tell you how much I miss having music in there. Honestly, if I had known that last show was going to be our last, I would’ve been in the mosh pit, too.”

Much like restaurants, the very existence of music venues—particularly small, independent clubs that don’t have the parent companies or shareholders of those in cahoots with conglomerates like Live Nation and AEG—was upended this year as, overnight, their entire business model became virtually obsolete.

Suddenly, COVID-19 made concert-going as we know it simply unsafe, with the virus spread through respiratory droplets, be it coughing or singing, plus close proximity and indoor environments increasing the risk of transmission. Tours were called off, and venues became some of the first businesses to close.

“No one knew then what extreme toll the virus was going to take on the music industry at large,” says Tesnau. “It has absolutely decimated and devastated the music industry. And it’s this massive trickle down.”

“A lot of people don’t realize how many people work in this industry,” says Abigail Janssens, owner of The 8×10 in Federal Hill. “It goes from the artists to the bus drivers who drive them to the tractor trailers who carry the equipment to the people who load the stage to the sound engineers, the light technicians, the box-office person, the security, the bartenders. It takes many, many people to put on a show.” (Not to mention that for every $1 spent on a ticket at independent venues, an estimated $12 is generated within local economies on restaurants, hotels, transportation, and retail.)

Janssens and her husband, Brian Shupe, took over their tiny Cross Street stage in 2005, breathing new life into the live music staple that dates back to the 1980s, when it hosted the likes of Nirvana and the Red Hot Chili Peppers before they were famous. The couple added multi-night residencies and cemented the venue as a hidden gem for both local and national rock-spectrum talent. Their last show was on March 12, the same day that Governor Hogan announced his first restrictions, causing them to cancel the final round of the Charm City Bluegrass Festival’s Battle of the Bands the next evening.

“We’ve been closed ever since,” says Janssens, who called off some 100 shows through September. “Our space is so small. There’s almost no way to socially distance, and I’d be devastated if anybody came in and got sick or spread the virus to other people. No way did I think we were going to be shut down for more than a couple weeks, a few months at most.”

 

“NO WAY DID I THINK WE’D BE SHUT DOWN FOR MORE THAN A FEW MONTHS AT MOST.”

 

It has now been nine months since her staff was laid off, joining the millions of Americans who went on unemployment this year due to COVID-19. And although she received the PPP and took out a small-business loan, she has still had to take another job in order to keep the lights on at The 8×10, which was already an uphill battle prior to the pandemic, as it is for many independent club owners.

“We’re definitely not in a business to become millionaires,” says Janssens. “It’s very, very tough. There are fans that come and go, there are bands that move on from a small venue—which is great for them. Being closed, we still have to pay $12,000 a month just for bills: rent, insurance, utilities, and all the other things that go along with owning a business. Now we’re almost out of the money from our loan, and it’s starting to get scary.”

The coming months will be critical for these clubs, with cold weather forcing the world back indoors, and spiking COVID-19 cases causing cities and states to clamp down again. It is estimated that 90 percent of independent venues will close permanently within the next few months without financial help from the federal government, according to the National Independent Venue Association (NIVA), a recently established advocacy group. They are currently lobbying Congress to pass the Save Our Stages Act, which would establish a $10-billion grant program for this portion of the industry.

Locally, Governor Hogan announced state-wide emergency funding for live entertainment venues in late October, with grants up to $500,000. But even with this vital aid, without a vaccine distributed widely in the near future, and with Maryland once again in a state of emergency, the situation remains precarious.

“I feel terrible for some venues who are struggling to decide whether they should get out now or wait,” says Janssens. “Luckily, we’ve been in business for 15 years. We have good credit and were able to secure a loan. Otherwise we wouldn’t have been able to make it either. I’m saying this hoping to be open by next spring at the latest. If it goes on longer than that, then we might be in trouble.”

So far, no Baltimore venues have announced permanent closure, but the two-year-old Soundry shuttered in Columbia in July, and the decade-old U Street Music Hall went dark in D.C. in October. Several spaces, like Joe Squared, a live music respite for 15 years on North Avenue, and The Sidebar, a veteran punk club around the corner from City Hall, remain temporarily closed. As does Rituals, a DIY newcomer that opened just last summer in the former Windup Space, whose owner, Émile Weeks, described the waiting game as “moving through stages of grief.”

“Seeing so many clubs teetering on the brink of bankruptcy breaks your heart,” says Sam Sessa, Baltimore music coordinator at WTMD. “These spaces are part of what makes Baltimore’s music scene one of the best in the nation. Their loss would be a huge blow.”

Without ticket sales, not to mention food and drink—an important source of revenue for many venues—some have been able to stay afloat through alternative outlets. The Crown in Station North has shifted operations into its secondary restaurant space downstairs, with the club’s bouncer, Tony MacDonald, still checking IDs, but now also temperatures. The Ottobar, with its alleyway patio, and the Creative Alliance, with its roving Sidewalk Serenades, were able to utilize the outdoors during warm weather.

Others have tried their hands at smaller indoor concerts as Maryland entered new stages of its coronavirus recovery plan this fall. At press time, however, Baltimore City has just reverted to Phase One, with venues now allowed to operate at only 25 percent capacity, including staff. This creates an economic pickle for smaller spaces who have to decide if those numbers make any financial sense.

“Fifty people doesn’t even begin to pay a band, and is it worth it for my bartenders to come in and possibly get sick for nothing that they’re used to making?” says Janssens, whose 8×10 typically holds 250 people.

“It’s going to help us maintain, but it’s still a very big challenge to keep hanging on,” says Adam Savage, music manager at Baltimore Soundstage, which launched limited-seating concerts at its downtown venue that typically holds 1,000 people. He also works at the Metro Gallery in Station North, which has remained closed since March, as it’s difficult to social distance in a 240-person room.

Still, it is uncertain whether or not audiences will even feel comfortable coming back inside. The Keystone Korner in Harbor East and Cat’s Eye Pub in Fells Point have already had some initial success—and Ticketmaster is now toying with the idea of verifying COVID test results and vaccination statuses before admittance to shows in 2021, which may be the way of the future—but for the time being, it’s not for everyone. “It’s unfortunate, but I don’t think people feel comfortable, and I don’t feel comfortable having a band on our stage, and I don’t think that’s going to change anytime soon,” says Tesnau.

For that, there has been a sort of second digital renaissance within the industry. Several years back, albums moved onto the internet, forever changing the way we consume music. Now, artists themselves have shifted to social media, with virtual concerts becoming the new way for performers big and small to reach fans in the comforts of their own homes.

Every Tuesday since late March, singer-songwriter Cris Jacobs has taken to Facebook Live for at-home concerts, accepting online tips to support his family and out-of-work band and crew. Rapper DDm and indie-rockers Future Islands also released new records via video performances, while dozens of jazz and classical artists, like Warren Wolf and Lafayette Gilchrist, have beamed out sets via YouTube through Mount Vernon’s An Die Musik. And audiences are tuning in, not just in Baltimore, but from across the globe.

“There’s definitely a democratization that’s happened to performance during this pandemic, which is wonderful—we’re all competing for the same eyeballs,” says Josh Kohn, performance director at the Creative Alliance, whose Virtual Front Row livestream series, featuring local artists such as Lea Gilmore and Super City, has evolved into a hybrid in-person offering. “But it leaves the question: what is the role of a venue right now, when you can’t put people in a room together?”

 

“WHAT IS THE ROLE OF A VENUE WHEN YOU CAN’T PUT PEOPLE IN A ROOM TOGETHER?”

 

It also raises the question of longevity. Artists and venues are making investments into livestream technologies, like better sound and camera equipment, but most acknowledge the reality of screen fatigue, perhaps due in part to an increasingly technology-tied world in quarantine. Even more likely, it’s because online performances miss something harder to grasp or define—that kinetic electricity of a tiny room reverberating with sound.

“There’s just this vibration during a live performance that you can’t replicate in any other way,” says Kohn. “There’s an energy and a magic when something powerful happens in front of a group of people together. Personally, I came to the Creative Alliance because I love that room. I really miss it.”

Of course, the absence of venues has also had an immense impact on the musicians themselves, who use these stages to not only make a living but also hone their craft and feed off the exchange with a live audience.

“I’m used to it now, but the first few weeks, there was just silence after I played a song, which was really strange,” Cris Jacobs told us this summer. “Playing [virtual] shows made me realize just how much I do miss live music. It’s what I’ve done for so long. Until it’s gone, you maybe don’t realize all the ways it served you, and everybody.”

In recent years, one venue in particular, The Crown, has become a pivotal proving ground for a diverse array of DIY artists, with the small blue room and main red room serving as stepping stones to bigger clubs. This is where Abdu Ali started their iconic Kahlon parties back in 2013 that helped put Baltimore’s music scene on the map and launch the avant-garde rapper on a trajectory toward indie stardom.

“So many young, new artists come through there—it’s really one of the last underground venues in America, as gentrification has hit cities so hard so that places like The Crown literally cannot exist,” says Ali, who also tips their hat to Metro Gallery and mentions the important work that more venues need to do to nurture marginalized creatives. “It’s very important for artists to have the comfort of knowing they have a space where they can do their thing in their city, in their community, in their own backyard.”

For now, for the foreseeable future, most music venues will stay closed, as many states shut down, and the reopening of businesses remaining a point of national debate. In last-ditch efforts to buy more time, the Ottobar and 8×10 launched GoFundMe campaigns this fall, receiving an outpouring of community support, and perhaps a glimmer of hope.

“There is still a huge hunger for live music in people’s lives,” says Savage, who helped Soundstage put on drive-in concerts at the Frederick Fairgrounds this summer. “We’ve been gathering around drums in caves since the very beginning. Live music is part of human existence. It’s something we need on an absolute fundamental level. It just can’t go away.”

EAT

Nov. 9: All Things Apple

Union Collective, 1700 W. 41st St. 12-5 p.m. Free.

Move over pumpkin, apple is winning this round of the great fall flavor throwdown. This Saturday, Union Collective businesses will pledge their allegiance to the superior fall fruit with this first-ever apple festival, featuring everything from apple pie shakes and ice cream at The Charmery to an apple-themed climb at Earth Treks Hampden. Mosey throughout the space to sample an apple-takeover menu at Well Crafted Kitchen, a special release at Baltimore Spirits Company, and fall-inspired syrups at Vent Coffee Roasters. Plus, get a first look at new neighbor The Wine Collective, which will be open for tours during the festivities.

DRINK

Nov. 9: Fall Fling & Golden Edition Release

Old Line Spirits, 200 S. Janney St. 3-11 p.m. Free

It’s been a big week for Old Line Spirits: The distillery opened its long-anticipated cocktail and wine bar at Cross Street Market on Tuesday, and on Saturday, it will host its annual fall fling and whiskey release. Stop by the Highlandtown spot on Saturday to be one of the first people to sample Golden Edition, the nation’s oldest American single-malt whiskey made from 100 percent malted barley and aged in white-oak barrels. After snagging a bottle of this rare spirit, stick around for live music, eats from Charm’d Kitchen, beer by Monument City Brewing Company, and sips from Old Line’s fall cocktail menu.

SEE

Nov. 9: Maryland Art Place Fall Benefit

Maryland Art Place, 218 W. Saratoga St. 7 p.m.-1 a.m. $40.

Don your finest Great Gatsby-inspired garb (flapper dresses and fedoras encouraged) and head to Maryland Art Place for a jam-packed night of art, entertainment, and roaring ’20s debauchery. Watch live performances by artists from the gallery’s Tri-Annual MSAC Juried Show, including the likes of Dominique Zeltzman, Shonnita Johnson, and Stephanie Barber, before exploring the second and fifth floors to see new interactive works. In the main gallery, cheer on local cabaret singer Mariah Bonner, rockabilly band Jumpin’ Jupiter, and Baltimore drag queens Bambi Galore and Miss Calculated during this rousing all-night fundraiser for the contemporary art space.

HEAR

Nov. 8: LUXE

Baltimore Soundstage, 124 Market Pl. 9 p.m.-12 a.m. $5-10.

If there’s one local drag queen who can guarantee a turnout from all corners of the music, fashion, and entertainment sectors of the city—it’s Baby. Pack the Baltimore Soundstage on Friday night to hear beats from DJKB, Trillnatured, and Lemz, along with live shows by drag performers Betty O’Hellno, Iyana Deschanel, Pussy Noir, and Baby herself. Start planning your looks early for this all-night performance party and dance the night away alongside hosts like punk queen Alastor and musician Hunter Hooligan.

DO

Nov. 8: Lit City Baltimore

400 St. Paul St., 8-11 p.m. $40.

Although the first-ever Brilliant Baltimore festival comes to a close at the end of the weekend, the party isn’t over yet. Join hundreds of glow-in-the-dark revelers in the light tunnel on Saint Paul Street for this all-inclusive bash, featuring an open bar, snacks from local spots like SoBo Café and Refocused Vegan, and nonstop beats by DJ CoryT. Wave your glow sticks to the beat and celebrate another year of transforming downtown into a truly lit city.

It seems as if Emmanuel Williams has been working towards this album all his life. Born and raised in Baltimore, Williams, aka DDm, cut his chops on the local battle rap circuit before forming his beloved hip-hop duo, Bond St. District, honing his talented rhymes, charismatic stage presence, and bonafide swagger along the way.

Now, he’s set to release his full-length debut record, Soundtrack To A Shopping Mall—a smart rumination on the dreams he was promised as a child of the ’80s, growing up in a black working-class city, and the actual realities that emerged as he grew into a man in the post-recession era of Donald Trump. On the eve of the album’s epic release party at the Baltimore Soundstage on August 4, we spoke with Williams about social commentary, making spectacles, and spreading his wings.

Growing up in Baltimore, what was your connection to the shopping mall?
Going to the shopping mall was an event, honey. You had to dress to go to Security Square. You wore your good clothes to Westview. We hung out at the mall. The mall was like the club. I got a love for Mondawmin that is unrivaled because to me it represents ghetto fabulousness—the height of street fashion before street fashion had a name. They were selling labels. You’d see the dope boys going there and buying up those lambskin leathers.

And that’s when music was doing good because you had three record shops in one mall. It wasn’t like streaming. The Internet has made the discovery of music easier for the casual listener and it exposes artists to more potential fans, the flip side is that music doesn’t feel as special anymore. You pay your $9.99 a month and type in my name. To me, the shopping mall represents when you’d wait all week to go to Sam Goody. I remember buying Gwen Stefani’s Love Angel Music Baby and Fantasia’s Free Yourself on the same day because they both came out and I had just gotten paid.

You’ve said that this record is a celebration of the height of American capitalism, greed, and celebrity, and its ultimate deterioration.
I have a lot of political views, but I didn’t want to beat people in the head with them because I feel like that’s what everybody’s doing now. Literal isn’t fun. Literal is kind of dull. Eventually if you keep saying F Trump, F Trump, F Trump, people become numb to it. You gotta sneak in that social commentary. I can’t not have any nutritional value. I want to make a statement, but I still want people to dance. This album is not dystopian, apocalyptic kind of vibes. It’s very bright, very shiny, very brilliant. It’s cinematic. It’s hip-hop Broadway. Lin-Manuel, you need to call me, because Soundtrack To A Shopping Mall could be a play.

But when you listen to “Rude” or “Burfday Bitch” or “Try Me On,” it’s about all of the excess, because that’s what got us here, and at the same time, it’s about me coming to the understanding that that’s not necessarily the life that we’re going to get. My generation got to see the world when it was really good, and we’re starting to see it when it goes down. For that, it’s even more heartbreaking for us. We were sold a dream. We were sold a lifestyle. There’s a lot of pressure to make it. But what is making it? That’s why the album cover is a store that’s closed. It’s me looking at the past, at what was, and realizing that that’s not what it is anymore. We’re trying to hold onto whatever is left.

You’re releasing the album with a big show at Baltimore Soundstage. Why is the performance aspect so important to you?
You have to make it a spectacle. People want to feel a part of the process. The show is keeping me motivated. It’s keeping my mind dancing. There have been bumps in the road making this record, especially being self-financed. But I work like a fashion designer; once I get my inspiration, I start working on my centerpieces—my anchor pieces—and then I work outwards from there. I pull from all different types of music.

About 10 years ago, I started listening to Stereolab and discovering foreign music outside of R&B, rap, funk, and soul, and my palette is so vivid now. In “Forever 21,” I wanted to make something like Rod Stewart or Cyndi Lauper that you would hear on The Breakfast Club or any John Hughes film. “All My Life” is inspired by Duran Duran, but over a trap beat. Also, the Mary Jane Girls, the Thompson Twins Rick James, David Bowie. “Rude” and “Burfday Bitch” are definitely pulling from my Baltimore roots and Baltimore Club. “Closed” is probably the most honest song. That’s about me looking at myself as an individual, not feeling pretty or handsome, because I struggle with that—self-image—a lot.

Is it hard to balance that on-stage persona and off-stage, real-life?
It is. Right now, I’m in the season of my life where I’m struggling to figure out: is this really going to happen? Do you really have the look for this? Do you really have what it takes? I think I’m talented. I never really question my talent. I know I can perform. But being talented doesn’t always translate into being successful. The superstar of yesteryear is not a thing anymore.

That being said, at the end of the year, you’ll be moving to New York.
Baltimore was the training ground. That’s where you figure it out, and I figured it out. I’ve done Pier Six. I’ve done Rams Head. I’ve played Artscape. I’ve played the Baltimore Museum of Art. What are we going to do next, perform via satellite on the rooftop of The Walters? No—now, Emmanuel, either you’re going to die in your silo, or you’re going to elevate. I’ve been ready for the big city and those big arenas, but I’ve been scared, too. It’s gonna be tough, but I know I have to do it. The world hasn’t seen me yet. I constantly have to remind myself of that.

What do you hope listeners will take away from this album?
I hope listeners have a good time. I hope they’re entertained, I hope they feel inspired. This record is so bombastic that I want them to feel great and alive and energetic and optimistic toward the future. But it’s also a reflection. I hope it leaves them thinking, so where do we leave this? Where do we go next?

Catch DDm at Baltimore Soundstage on August 4 featuring Abdu Ali as host and guests such as TT The Artist, Kotic Couture, and his own hip-hop duo, Bond St. District.

Under a dramatic black light inside The Windup Space in Station North, MCs are called onto the small stage, two at a time. The packed crowd hoots and hollers as these novice and veteran rappers are given the task of rhyming over beats they’ve never heard before. However daunting, each rapper approaches the mic like a jazz artist, taking turns freestyling and testing new bars as if trading fours. “This is what it’s about!” shouts host Eze Jackson from the stage. “It’s about building the culture.”

This is the latest installment of the Bmore BeatClub, a hip-hop open-mic series, now in its third year. The event is a platform for emerging artists who want to step up their game, as well as for producers who are scoping out new talent and people like its founder, Brandon Lackey, who want to help the Baltimore hip-hop community grow.

“BeatClub is really a family,” says co-producer and EDM DJ Marat Buberman. “Everyone here is supportive. . . . We know what it’s like to be struggling artists.”

With the help of dedicated staff and friends, Lackey, a producer himself, and his Lineup Room Recording Studio have been producing BeatClub since it was a free, BYOB event at the now-defunct Shockwave Records store in Parkville. What began as a way for young producers to show off their beats has evolved into an open-mic with MCs rapping over tracks and drawing hordes of hip-hop fans from Baltimore and beyond.

BeatClub has grown out of its former venues, including, most recently, the basement of the Maryland Art Place—a setting Lackey describes as Cheers meets 8 Mile—and into a bimonthly series at the larger Windup Space that also includes an epic all-night dance party. “I wanted to kill it or grow it,” says Lackey. “I didn’t want it to get stale.”

The most important thing to understand is that BeatClub is not a battle. The stage acts as an even playing field, with national legends like Bobbito and Psycho Les standing alongside fresh-faced up-and-comers, some of whom have gone on to bigger things, like creating collaborative EPs, opening for big-name acts at Baltimore Soundstage, and performing at Artscape.

Those incentives create the hungry edge that keeps artists coming back. As Lackey puts it, “That’s the competition.”

Kinetic Sculpture Race 
May 5. American Visionary Art Museum, 800 Key Hwy. Sat. 10 a.m. Free. 410-244-1900. Just weeks after learning how to ride a bike at age 4, Eli Hess found himself wearing rubber gloves and goggles, peddling alongside his dad, David, as an official participant in the first Kinetic Sculpture Race. Since then, the Hesses, including David’s now 81-year-old father, George, and the rest of Team PLATYPUS have created and raced 13 human-powered sculptures, including a 25-foot-tall rocket and a cold-cut sub, in AVAM’s annual 14-mile trek around the city. This year, their team, which stands for Personal Longrange All-Terrain Yacht Proven Unsafe, will ride “the mothership,” through water, mud, and the uphill Linwood Avenue stretch on May 5 in the museum’s 20th anniversary race. “The water separates the adults from the boys,” George says with a laugh. “It’s the rough and tumble world of kinetic sculpture racing.”

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Maryland Film Festival 
May 2-6. Parkway Theatre, 5 W. North Ave. Times vary. $11-425. 410-752-8083. This year marks the 20th anniversary of Baltimore’s cinematic celebration, which has hosted thousands of novice moviegoers, flick aficionados, and renowned filmmakers such as John Waters, David Lowery, and Greta Gerwig. This cinephile’s paradise returns with a five-day jubilee of movies—from shorts to full-length narrative features and documentaries—shown throughout the Station North Arts District. In between screenings, attend Q&A sessions with filmmakers, as well as workshops and panel discussions at Red Emma’s.

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M3 Rock Festival 
May 4-5. Merriweather Post Pavilion, 10475 Little Patuxent Pkwy., Columbia. 5 p.m. $60-850. 410-715-5550. Bust out your leather pants, studded jackets, and big hair—it’s time to party like it’s 1989. Now in its 10th year, this head-banging music festival is a celebration of all things metal, with iconic bands turning back the clock for all generations of devoted fans to rock out together. Spanning two days and two stages, catch headliners including Baltimore’s own Kix and crowd favorites Tom Keifer, Ace Frehley, and Night Ranger.

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FlowerMart 
May 4-5. Mount Vernon Square, 699 Washington Pl. 11 a.m.-8 p.m. Free. 410-274-5353. Nothing says springtime in Baltimore quite like seeing the square around the Washington Monument filled with flowers, colorful hats, and classic lemon peppermint sticks. For the 107th year, Mount Vernon’s beloved celebration kicks off the spring season with arts and crafts vendors, live music and entertainment, and plenty
of festival eats. Stroll through the neighborhood to pick out the perfect plant or join in the maypole dance.

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Wham City Comedy 
May 9. Metro Gallery, 1700 N. Charles St. 8 p.m. $10. 410-244-0899. Baltimore’s favorite band of merry misfits is bringing its offbeat brand of comedy back to the Station North neighborhood that started it all.
On the final stop of their spring tour, catch Wham City Comedy’s viral, volatile performance art, as seen on Adult Swim and Comedy Central. Fingers crossed that they perform their hilarious eight-part live series, The Cry of Mann.

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The Catonsville Nine, 50 Years Later 
May 12-31. Maryland Historical Society, 201 W. Monument St. Wed.-Sat. 10 a.m.-5 p.m., Sun. 12-5 p.m. Free. 410-685-3750. The Maryland Historical Society is commemorating the Catonsville Nine, a group of Catholic men and women who, 50 years ago this month, burned nearly 400 A-1 draft records to protest the Vietnam War. Featuring artwork by Tom Lewis, who was a member, and additional photographs and materials from the period, the exhibit examines the group’s motivations amid the political chaos and conflict of the late 1960s.

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Preakness 
May 19. Pimlico Race Course, 5201 Park Heights Ave. 8 a.m. $40-720. 410-542-9400. Every year, horse-racing (and day-drinking) fans from near and far come to cheer on the country’s finest thoroughbred horses as they compete for the second jewel of the Triple Crown. Before heading to your seat for this 143rd event, partake in pre-race festivities throughout the city, or hear chart-topping rappers
Post Malone and 21 Savage take over the raucous Infield Fest. 

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Brew At The Zoo 
May 26-27. The Maryland Zoo in Baltimore, 1 Safari Pl. 1-7 p.m. $25-75. 410-396-7102. Tap into your wild side at The Maryland Zoo’s 17th annual fundraiser with beers from more than 80 breweries, including local suds from DuClaw Brewing and The Brewer’s Art. In between refilling your glass and gushing over the zoo’s newborn African penguins, listen to live music by local rockers Nelly’s Echo and The Kelly Bell Band and sample snacks from dozens of food vendors. 

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Maggie Rogers 
May 30. Baltimore Soundstage, 124 Market Pl. 7 p.m. $30-35. 410-244-0057. Since skyrocketing to internet stardom after a video with Pharrell Williams (gushing over her now-hit song “Alaska”) went viral, this Maryland native has signed a record deal, toured the globe, and released her first EP, Now That the Light Is Fading. For one night only, the singer-songwriter brings her earthy rhythms and soulful sound to her home state for a must-see performance.

Visual Art

WOKE Exhibition by Alma Roberts
Opens Dec. 8, Baltimore City Hall, 100 Holliday St. Ste 101. By day, Alma Roberts is a healthcare executive but, when she’s not working on serving her community through health initiatives, she’s enriching it through poetry, plays, and, of course, painting. Roberts brings her work to Baltimore City Hall to share pieces that communicate awareness of social, political, and racial injustices, as well as her hope for an equitable future.

James Hennessey: Enduring Concerns
Open Dec. 9, Creative Alliance, 3134 Eastern Ave. Over the 37 years he spent teaching painting at MICA, James Hennessey influenced thousands of artists. Step into the shoes of those many students as Creative Alliance takes a look back at Hennessey’s decades-spanning career in Baltimore and the large paintings that define it. For more insight into the fables and influences that emerge from his canvases, stop by for a free gallery talk on Jan. 6 at 7 p.m.

Performing Art

The Revolutionists
Opens Dec. 6, Everyman Theatre, 315 West Fayette St. A notorious queen, an assassin, a playwright, and a spy walk into a room. What could happen? Take a trip back to the French Revolution with some of the baddest babes in history: Marie Antoinette, Charlotte Corday, Olympe de Gouges, and Marianne Angelle. These French femmes are sure to have you laughing as you learn more about their incredible lives and legacies.

ArtsCentric Presents Sister Act
Opens Dec. 8, Motor House, 120 W. North Ave. Revel in the gospel vibes and hilarious twists of this classic convent caper. ArtsCentric brings the story of diva Deloris Van Cartier (Whoopi played her in the movie, but you knew that), the murder she witnessed, and her new life as Catholicism’s funkiest nun to the Motor House stage. This show is sure to be just heavenly.

Cirque de la Symphonie Holiday Spectacular
Dec. 22-23, Joseph Meyerhoff Symphony Hall, 1212 Cathedral St. Spice up your symphony experience for the holidays with a visit from aerial flyers, acrobats, contortionists, dancers, jugglers, balancers and strongmen. These cirque performers will showcase their talents through choreography set to classical scores performed by the BSO. Come early for festive fare and a visit from St. Nick himself.

Hedwig and the Angry Inch
Dec. 21, Ottobar, 2549 N. Howard St. Join East German glam goddess Hedwig and her backing band, The Angry Inch, as they rock their way through Hedwig’s glitter- and innuendo-filled story of sex, love, music, and discovering exactly who she is. She made it over the great divide, now she’s coming for you.

A Christmas Carol adapted by Ian Gallanar
Opens Dec. 8, Chesapeake Shakespeare Company, 7 S. Calvert St. You’ve seen the original by now, so why not take in a different version of this Charles Dickens classic? Opt for a uniquely regional retelling of the tale of Ebenezer Scrooge and his ghostly visitors with CSC artistic director Ian Gallanar’s adaptation, which swaps out London for Victorian-era Baltimore.

Events

We Are Baltimore Rising
Dec. 12, The 29th Street Community Center, 300 E. 29th St. Come for the screening of director Sonja Sohn’s HBO documentary, Baltimore Rising, following activists, police officers, gang affiliates and community leaders in the wake of the death of Freddie Gray. But stay for the discussion to follow with those still addressing the issues covered in the film. Strong City Baltimore, which is hosting the event, encourages “young community leaders” ages 16-30 to attend. Lunch will also be provided.

Brown Lecture Series: Paul Butler
Dec 13, Enoch Pratt Free Central Library, African American Department, 400 Cathedral St. Listen as author, professor and former federal prosecutor Paul Butler shares insights from his book Chokehold: Policing Black Men. In it, he describes a system that isn’t broken, but is instead made to manufacture fear of black men from politicians, police, and ordinary people. This frank discussion of widespread issues with crime, law enforcement, and the criminal justice system is not to be missed.

A John Waters Christmas
Dec. 19, Baltimore Soundstage, 124 Market Pl. Nativity plays and Nutcracker performances not your thing? Consider attending this one-man show from longstanding resident of Santa’s naughty list John Waters. The Pope of Trash will share his yearly holiday musings and answers to age-old questions such as, “Is Prancer the only gay reindeer?” and “What would a Gaspar Noé Christmas movie look like?” among other, filthier queries. But leave the kiddies at home for this holiday outing, this show is (obviously) for adults only.

News

Several people and projects with Baltimore ties are up for NAACP Image Awards come January. On November 20, photographer Devin Allen, author Ta-Nehisi Coates, the documentary Step, and HBO docudrama The Immortal Life of Henrietta Lacks all received nominations for the annual awards honoring outstanding people of color in film, television, music, and literature. Winners will be announced Jan. 15.

Maryland natives also have several chances to shine at the Grammys. Country duo Brothers Osborne (Deale) is nominated for Best Country Duo/Group Performance for “It Ain’t My Fault.” Rapper Logic (Gaithersburg) scored a nom for “1-800-273-8255 (feat. Alessia Cara & Khalid)” in the Song of the Year and Best Music Video categories. Father John Misty (Rockville) is looking to score his first Grammy with Pure Comedy after a loss last year. Pure Comedy is nominated for Best Alternative Music Album and Best Recording Package. Columbia’s Brent Faiyaz also as a shot at a Grammy nod for his work on DC rappers Goldlink and Shy Glizzy’s “Crew,” which is up for Best Rap/Sung Performance.

British Invasion 
Dec. 31-Jan. 1. The Hippodrome Theater, 12 N Eutaw St., 7-9:30 p.m. Prices vary. We were as surprised as you were when this irreverant British comedian became one of America’s most beloved nighttime talk show hosts. Of course, John Oliver was nothing new to the U.S. airwaves, having cut his comedic chops as one of Jon Stewart’s foreign correspondents on The Daily Show. But once he landed his own half-hour show at HBO, his brainy, sometimes cantankerous brand of comedic news took off, and, before long, he joined the ranks of Jimmy Fallon, Stephen Colbert, and Bill Maher as a titan of late night. Through charming wit and candid commentary, his Last Week Tonight delves into deeply reported topics, including segments on net neutrality, opioid addiction, and voter identification laws, the kind of coverage that has landed the show eight Emmys since premiering in 2014. And now, with the announcement that the series has been picked up through 2020, Oliver will have us laughing well into the new year and beyond. This New Year’s Eve, say goodbye to another crazy year with some much-needed, unfiltered humor with back-to-back shows at the Hippodrome that are sure to see 2017 off with a bellyaching bang.

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Night of 100 Elvises
Dec. 1-3. Lord Baltimore Hotel, 20 W. Baltimore St. Fri. 7-11 p.m., Sat. 4 p.m.-1 a.m., Sun. 11 a.m.-2 p.m. Prices vary. Slick back your hair and hop in your best flared jumpsuit for Charm City’s eclectic three-day tribute to the King of Rock and Roll. Whether you’re a fair-weather Elvis fan or a full-time Presley devotee, mingle with scores of impersonators at the new location of the Lord Baltimore Hotel for lots of live music, local brews, and the legend’s favorite snack: fried peanut butter and banana sandwiches. 

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Mayor’s Christmas Parade
Dec. 3. Medfield & Hampden. 1 p.m. Free. Bundle up and join more than 20,000 onlookers as beating drums and blaring tubas make their way through the neighborhoods of Hampden and Medfield. This festive parade will feature dozens of marching bands, dance troupes, and Harley-Davidson motorcycles all heading towards 37th Street, with Miss Yuletide, Santa Claus, and Mayor Catherine Pugh in tow. 

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Washington Monument Lighting
Dec. 7. 699 Washington Pl. 5-8 p.m. Free. 410-244-1030. For the 46th year, the cobblestone streets of Mount Vernon Place will buzz with the sounds of sizzling food, clinking cocktails, chattering passerby, and, loudest of all, the big-bang boom of fireworks during the annual lighting of Baltimore’s beloved Washington Monument. 

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Harlem Globetrotters
Dec. 9. Royal Farms Arena, 201 W. Baltimore St. 2 & 7 p.m. $19-118. 410-347-2020. Baltimore might not have its own basketball team, but every December, the star-studded roster of the Harlem Globetrotters dribbles its way into town for an epic night of tricked-out dunks, finger-spinning stunts, and awesome athleticism at the RoFo Arena. This year, watch the world-famous troupe take on the Washington Generals, and for a few hours, consider them our home team in a makeshift, courtside Battle of the Beltways.

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A John Waters Christmas
Dec. 19. Baltimore Soundstage, 124 Market Pl. 8 p.m. $44-49.50. 410-244-0057. For more than a decade, Baltimore’s irreverent filmmaker and cult-classic comedian has created a seasonal tradition out of his critically acclaimed one-man show that puts the X in Xmas. Laugh out loud to John Waters’ twisted takes on the “most wonderful time of the year,” with holiday-horror stories, cringeworthy tinsel tales, and all around merry mischief.

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Cirque de la Symphonie: Holiday Spectacular
Dec. 22-23. Joseph Meyerhoff Symphony Hall, 1212 Cathedral St. Fri. 8 p.m., Sat. 3 & 8 p.m. Prices vary. 410-783-8000. At this dazzling circus, watch as world-class acrobats dangle from the rafters, gymnasts contort into impossible angles, and dancers move to seasonal scores from the Baltimore Symphony Orchestra.

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KIX-mas
Dec. 23. Rams Head Live, 20 Market Pl. 9 p.m. $27.50. 410-244-1131. Baltimore has always had a soft spot for ’80s hair-rockers Kix. The Maryland natives blew up decades ago but never forgot their roots, and while there’s less hairspray and leather involved in their present-day performances, the group is still rocking out up and down the East Coast. This holiday season, transport back to ’89 as the band plays hits like the Top 40 power ballad, “Don’t Close Your Eyes,” as well as new numbers off of their first record in nearly two decades. No one will judge if you gently wave a lighter through the air. In fact, we highly encourage it.

JUDAH FRIEDLANDER
6/2. Creative Alliance, 3134 Eastern Ave. 8 p.m. $17-23. This Maryland native and 30 Rock castmate performs his dry and witty standup comedy in Highlandtown.

STANDUP COMEDY TO BENEFIT THE HOMELESS
6/6. The Windup Space, 12 W. North Ave. 8:30 p.m. Free. Catch more than 25 comics to benefit HashtagLunchbag, an organization working to feed the city’s hungry.  

BRIAN POSEHN
6/9. Rams Head Live, 20 Market Pl. 8 p.m. $15-20. This seasoned comedian has starred in The Simpsons, The Big Bang Theory, and The Sarah Silverman Program, and now comes to Baltimore for a live set. 

CHRIS D’ELIA
6/15. Baltimore Soundstage, 124 Market Pl. 7:30 & 10 p.m. $30-50. This comedian turned up-and-coming actor brings his raunchy humor to the downtown stage. 

LOUIE ANDERSON
6/18. Rams Head on Stage, 33 West St., Annapolis. 5:30 & 8:30 p.m. $35. Throw back some laughs with this lauded entertainer who boasts three Emmys, a nod on Comedy Central’s list of 100 Greatest Stand-Up Comedians of All Time, and a lauded new role as a woman on Baskets by Louis C.K. and Zach Galifianakis.

JOHN MULANEY
6/18-19. Joseph Meyerhoff Symphony Hall, 1212 Cathedral St. 8 p.m. $28-38. Live from Baltimore, it’s John Mulaney! Known best for his writing with Saturday Night Live, this comedic natural displays his wit and charm at the Meyerhoff.  

AWKWARD SEX & THE CITY
6/23. The Ottobar, 2549 N. Howard St., 8 p.m. $10. This New York City-based comedy group comes to Remington for just one night to tell stories about their most embarrassing sexual experiences. Be sure to attend for all the hysterical—and cringe-worthy—moments from from this group of women (and one guy!). 

CRAIG ROBINSON
6/23-6/25. Baltimore Comedy Factory, 5625 O’Donnell St. 7 p.m. $27. Though he started off as a Chicago public school teacher, Craig Robinson is now known for his hilarious roles in The Office, Hot Tub Time Machine, and his own Mr. Robinson. Expect him to blend his two passions on stage: comedy and music.

BILL MAHER

6/24. Modell Performing Arts Center at The Lyric, 140 W. Mount Royal Ave. 8 p.m. $45-305. This dry, unfiltered HBO host performs standup at The Lyric.

A Christmas Story, The Musical
Dec. 6-11. Hippodrome Theatre at the France-Merrick Performing Arts Center, 12 N. Eutaw St. Tue.-Fri. 8 p.m., Sat. 2 & 8 p.m., Sun. 1 & 6:30 p.m. $42-147. 410-837-7400. You already know the story of Ralphie Parker, a young boy in the 1940s with his heart set on Santa bringing him a Red Ryder BB gun. The 1983 cult-classic film, based on the legendary radio stories of humorist Jean Shepherd, is brought to new life in this hilarious musical adaptation directed by Tony Award-winner John Rando, with the Hippodrome even offering local auditions for two children to be featured in special roles.

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Washington Monument Lighting
Dec. 1. Mount Vernon Place between Cathedral & St. Paul Sts. 4-8 p.m. Free. 410-244-1030. If you have yet to admire the Washington Monument’s $5.5 million renovation, make your way to Mt. Vernon for a holiday season kickoff. For the 45th year, join thousands of onlookers, street party festivities, and a massive fireworks display over the heart of the city.

Night of 100 Elvises
Dec. 3. Lithuanian Hall, 851 Hollins St. 4-11 p.m. $60-90. 410-494-9558. Everyone loves Elvis, and for some odd reason, everyone seems to love Elvis even more around the holidays. Gather at Lithuanian Hall for a celebration of The King, as dozens of cover bands, tribute artists, and diehard fans pay homage with this colorful night of rock and roll.

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About Face
Dec. 8-Jan. 28, 2017. Creative Alliance, 3134 Eastern Ave. Tue.-Sat. 11 a.m.-7 p.m. 410-276-1651. Local artist Amy Sherald has skyrocketed to artistic stardom since becoming the first woman to win the prestigious Outwin Boochever competition at the National Portrait Gallery in Washington, D.C. this March. Shortly thereafter, she graced the pages of our October 2016 issue and is now the centerpiece of a new exhibit at her resident Creative Alliance. Alongside those of artists like Rozeal, Tim Okamura, and Ebony Patterson, her bright, brilliant paintings attempt to reconcile art with racial stereotypes, forcing viewers to examine a deeper understanding of black identity.

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Army vs. Navy Game
Dec. 10. M&T Bank Stadium, 1101 Russell St. 3 p.m. 410-261-7283. In this rivalry for the ages, two of the country’s best military academies go head to head for the 126th time, this month at M&T. Maryland must pick sides between the underdog Black Knights and their Annapolis Midshipmen, with Navy enjoying a 14-game winning streak and devoted fans longing to make it a lucky 15.

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Shifting Views: People & Politics in Contemporary African Art
Dec. 18-June 18, 2017. The Baltimore Museum of Art, 10 Art Museum Dr. Wed.-Fri. 10 a.m.-5 p.m., Sat.-Sun. 11 a.m.-6 p.m. Free. 443-573-1700. This stirring exhibit—the Baltimore Museum of Art’s first foray into contemporary African art––uses photographs, prints, and drawings by multiple artists to offer political perspectives on African life and its diaspora. In the 1970 photograph of singer Margaret Singana by David Goldblatt, the black-and-white still takes a quiet look at the continent’s capitalism, while other works explore themes such as slavery and racism.

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UMD Basketball vs. UNC Charlotte
Dec. 20. Royal Farms Arena, 201 W. Baltimore St. 7 p.m. $15-103. 410-347-2020. For one night only, just a couple dozen miles up I-95 from their home, the men of the University of Maryland Terps basketball team battle the University of North Carolina at Charlotte 49ers. Without a national basketball team, Charm City hangs its hat on these College Park ballers, spreading the message of “Fear the Turtle” from November through April. With guard Melo Trimble entering his third season and guard Dion Wiley returning after a knee injury, this hoop showdown is one you shouldn’t miss.

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A John Waters Christmas
Dec. 21. Baltimore Soundstage, 124 Market Pl. 8 p.m. $28-30. 410-244-0057. The legendary local filmmaker—most famous for his cult-classic, Charm City-centric cinema (Pink Flamingos, Hairspray, Cry-Baby)—hosts a critically acclaimed evening of adult humor. Far more naughty than nice, the mischievous one-man show tackles the hoopla of the holidays, from religious fanaticism for Santa Claus to terrible decorations and perverted gifts. A sharp and witty raconteur, his merry monologue calls it like it is, using shock, awe, and magnetic storytelling to point out the absurdity of the season and to put “the X in Xmas.”

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50th Anniversary Kwanzaa Celebration
Dec. 30. Reginald F. Lewis Museum, 830 E. Pratt St. 3 p.m. $5. 443-263-1800. While the thought-provoking National Museum of African American History & Culture just opened in Washington, D.C., here in Baltimore, the Reginald F. Lewis Museum has been dedicated to celebrating Maryland’s African-American history and culture for more than 10 years. This holiday season, head to the museum to celebrate the 50th anniversary of Kwanzaa. Whether you’re a practiced celebrator or simply want to learn more about the holiday, enjoy African dancing and drumming performances, partake in arts and crafts, and explore a variety of workshops

After a sold-out spring tour and awesome new album from Baltimore super-group, The Snails, we talk with drummer Snailbraham (aka Abram Sanders) about the band’s beginnings, those awesome headdresses, and what makes one a mollusk. And catch them live tomorrow, May 21, at Ottobar.

Hey Snailbraham, sorry I’m a few minutes behind. Is now an okay time?
Yeah, for sure. Snails are always late.

How are you connected to all of the other Snails?
Well, I’m Snailbraham, the drummer of The Snails. I moved to Baltimore in 2008 to play with Jana Hunter, which led to Lower Dens, and then eventually moved onto other things, like Wing Dam. I just recently moved to San Diego.

And the rest of Wing Dam is following suit and moving to California soon, too?
Yeah, eventually. They’re coming out later this year, after our big tour.

We’ll miss you guys in Baltimore.
We’ll be through as much as possible.

So did The Snails get to know each other just from being a part of the local music scene?
I went to school with two members of The Snails, Sammy Snail [Sam Herring, also of Future Islands], and Snailliam [William Cashion, also of Future Islands and Peals], at East Carolina University in Greenville, North Carolina. They needed a drummer so I just picked up and starting playing with them. We don’t play that often, but we typically get together, write a few songs, and then go do a show, over the course of like, three days. Contrary to popular belief, that sort of turnover is relatively fast.

That’s quick for a snail.
Well, this record came from a weeklong tour we did a few years back. We were playing all of these songs and they got really familiar. Immediately afterwards, we took them into the studio at The Annex in Baltimore, and the foundation recording probably took place over two or three days, but then we let it sit. Once the time was right and we could all work on other projects, we finished the album and put it out earlier this year.

How did The Snails get their start?
The band really just came together from playing funky songs. In the beginning, in 2008, they were just covering Art Lord & the Self-Portraits songs, which was William and Sam’s thing from awhile back in North Carolina, and opened up for Spank Rock on his birthday in Baltimore. But the band would just get together, play some tunes, wear some snail heads, be snails. You know, slimy and grimy.

What makes someone a snail?
Slime, grime, attitude. Willingness to take things slow. The ability to see over every blade of grass, no matter how down you might be. Willingness to take off your shell when necessary. Thinking outside of the shell is a very important part of being a snail. Remembering where you came from . . .

Who makes the headdresses? Or, um, snail heads? I don’t know what the right terminology is.
They started as stockings, or panty hose, that were stuffed with some sort of foam, with drawn-on eyes by Sammy Snail. The more sophisticated ones that we wear today were actually handcrafted by Snailpril [April Camlin, of Wume, and former, still-sometimes drummer of The Snails]. We all went out and picked out fabric.

Are they hot?
Oh yeah, they get pretty grimy. They get pretty gross. Especially Sammy Snail’s. And mine. And if you wash them, they disintegrate, so they have to be repaired after each show.

What’s the songwriting process for the band?
It’s totally collaborative. We kind of just jam a little bit. We take notes on what sounds good and then just go with it. And we try to have as much fun as possible. We try not to take it too seriously, because it’s just not that kind of project. We value our craft, but we’re not going to come to fisticuffs artistically or push our shows too hard. We’ll embrace whatever we sound like. The band is an outlet for any kind of music we want to play. We can try out things we don’t necessarily showcase in our other projects.

Seems like you don’t need to push your shows too hard. Your tour was a big success.
It was a lot of fun. We don’t perform very often, so I think people wanted to come out and see a snail do their thing. The Baltimore show at Ottobar was probably the highlight—we’re playing there again on May 21. The venue is great, they have always been super nice to its performers, the show sold out, and all of our friends were there. It’s great to be in a place where people really love what you’re doing.

Baltimore loves its Baltimore bands. How is it coming home and performing here?
The city loves its music scenes. It loves rarities. It loves—I don’t want to call it art music but . . . I think the spectacle of [The Snails] is refreshing and nostalgic, and I think Baltimore is completely open to it. Everyone on stage just loves seeing people have a good time.

When you step off and unplug and the lights go down, do you remain snails, or do you go back to being Abram, Samuel, William, Andy [Abelow], and Drew [Swinburne]?
I’d say it’s 100-percent snail attitude, all of the time. If we’re together, we’re snailing it out.

141st Preakness Stakes
May 21. Pimlico Race Course, 5201 Park Heights Ave. Doors open at 8 a.m. Race begins at 6:18 p.m. As the second jewel in thoroughbred racing’s Triple Crown, the Preakness Stakes is where champions either emerge or collapse. Over the race’s 141 years, many favorites have come to Pimlico Race Course, only to find their dreams dashed a mile and three-sixteenths later. But then there are moments like last year, when American Pharoah—on his way to becoming the first Triple Crown winner in 37 years—went wire-to-wire on a sloppy, rain-soaked track to remind us why horse racing is The Sport of Kings. This year’s race will see another promising field compete for a place in racing history. But even if the Preakness doesn’t offer the drama of American Pharoah’s run, there will be plenty to enjoy, including 10 other races and the annual InfieldFest, headlined this year by DJ duo The Chainsmokers, hip-hop chart-topper Fetty Wap, and Towson’s own pop-punkers All Time Low.—Amy Mulvihill

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Santigold
May 4. Baltimore Soundstage, 124 Market Pl. 8 p.m. $28-30. 410-244-0057. Santigold made her mark on the music scene in 2008 with a debut album of instant, indie-hip-hop hits like “L.E.S. Artistes” and “You’ll Find A Way.” Four years later, her much-anticipated second record was another success, with tracks like “Disparate Youth” and “GO!,” and now her third release is just as addictive. On 99 Cents, she still maintains her trademark balance between being contemplative and playful. You’ll be hooked to songs like “Can’t Get Enough Of Myself” and “Banshee” in no time.

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Maryland Film Festival
May 4-8. Locations & times vary. $12-375. 410-752-8083. Now in its 18th year, the Maryland Film Festival returns with more than 100 films—from full-length features to documentaries and shorts—all shown in and around Station North. While the festival prides itself on bringing together filmmakers from across the globe, it still stays connected to its Maryland roots, highlighting local talent alongside internationally known directors. And, of course, there’s always the special feature selected by our own accomplished auteur John Waters.

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FlowerMart
May 6-7. Mt. Vernon Place, 699 Washington Pl. 11 a.m.-8 p.m. Free. 410-274-5353. Over the past 105 years, FlowerMart has blossomed from a one-day flower festival into a weekend event full of flora, food, art, and entertainment. Walk through the Mt. Vernon squares to buy spring flowers, suck on lemon-peppermint sticks, and admire the recent renovation of the Washington Monument. For the first time ever, FlowerMart also will donate a portion of its proceeds to two local nonprofits: House of Ruth Maryland and the Mt. Vernon Place Conservancy.—JKC

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Kinetic Sculpture Race
May 7. American Visionary Art Museum, 800 Key Hwy. 10 a.m. Free. 410-244-1900. If you’ve been on the lookout for Chessie—a.k.a. the Loch Ness monster of the Chesapeake Bay—this just might be your month. As the 18th annual human-powered sculpture race takes its 14-mile route through the city, the streets will overflow with hordes of handmade creatures inspired by this year’s “myths and monsters” theme. Find a spot at AVAM, Patterson Park, or the Canton waterfront to watch participants compete in this eight-hour event for irreverent prizes, like the “Grand Mediocre Champion” and “Worst Honorable Mention.”

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Sweetlife Festival
May 14. Merriweather Post Pavilion, 10475 Little Patuxent Pkwy., Columbia. 12 p.m. $100-150. The sustainability-focused festival is back with a full day of food and music in the Merriweather woods. This year’s lineup features an eclectic mix, including Canadian dream-pop artist Grimes, Drake-signed R&B singer PartyNextDoor, English rockers The 1975, and New Wave icon Blondie, as well as grub from regional eateries like Toki Underground and Woodberry Kitchen.

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Kenny Chesney
May 19. Merriweather Post Pavilion, 10475 Little Patuxent Pkwy., Columbia. 7:30 p.m. $50-692. 410-715-5550. Some dismiss Kenny Chesney’s music with the term “bro-country,” but in the middle of a Baltimore spring, who doesn’t want a night of music inspired by island beaches and football tailgates? For more than two decades, Chesney has kept our attention with love songs, party anthems, and beer-tinged staples, like “Keg in the Closet” and “Summertime.” For one Thursday night, embrace his summertime sound in Columbia.

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Courtney Barnett
May 25. Rams Head Live, 20 Market Pl. 8 p.m. $23-28. 410-244-1131. It was two years ago that this introspective Australian indie-rocker made waves with the release of her double EP, catching our attention halfway across the globe. (We’ll love “Avant Gardener” forever.) By the time she dropped her first full-length debut last spring, we were all ears, and happy to find that the Grammy-nominated singer and solid guitarist continues to stay true to her witty, observational style. See her perform downtown at the end of the month.

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Matt Sesow: Shock and Awe
May 27-June 4, 2017. American Visionary Art Museum, 800 Key Hwy. Tues.-Sun. 10 a.m.-6 p.m. Free-$15.95. 410-244-1900. Opening Memorial Day weekend, this eclectic art exhibit presents works by Matt Sesow—a D.C.-based, self-taught artist—all painted with one hand, due to his left arm being severed by a plane as an 8-year-old in Nebraska. With vibrant color, raw detail, and a unique perspective, the exhibit features more than 150 original artworks, including paintings honoring the first 100 U.S. soldiers killed in the Iraq War, alongside others inspired by fantastical birds and Sesow’s own life.

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Brew at the Zoo
May 28-29. The Maryland Zoo in Baltimore, 1876 Mansion House Dr. 1-7 p.m. $25-69. 443-552-5276. Conventional wisdom says alcohol and wild animals don’t mix, but at Baltimore’s annual Brew at the Zoo, you can combine them with confidence. For one spring weekend, sample more than 80 local and national beers—including brews from Bmore favorites like The Brewer’s Art and Monument City—and listen to local music by the bluesy Kelly Bell Band and the funky, soulful Bosley. All proceeds benefit the zoo, ensuring that you can continue to visit your animal friends year-round, even after the buzz wears off.

Ah, Valentine’s Day­. The Hallmark holiday we both love and loathe is once again upon us. Maybe you have a hot date—with a lover, a friend, or your Netflix account—but whatever your plans, you can forget the pressure and feel the love with one of these sweet events.

FEB. 12: THE WALTERS’ SUPER THURSDAY PARTY
The Walters Art Museum, 600 N. Charles St. 5-9 p.m. Free. 410-547-9000. Join the Walters Art Museum for an early Valentine’s celebration, with art, cocktails, and old-school soul and funk by DJ Paul Lebelle.

FEB. 13: WINE & CHOCOLATE TASTING
Hard Rock Café, 601 E. Pratt St. 7-9 p.m. $25. At this pre-Valentine’s pairing, sample a sweet medley of Maryland wines alongside local gourmet chocolates from Parfections.

FEB. 14: KACEY MUSGRAVES
Rams Head Live, 20 Market Pl. 7 p.m. $25. 410-244-1131. ramsheadlive.com. This rebellious, rising country starlet brings her musical moxie to Rams Head for a special show, performing hits like “Follow Your Arrow” and “Blowin’ Smoke.”

FEB. 14: VALENTINE’S DATE NIGHT
National Aquarium, 501 E. Pratt St. 8-11 p.m. $80-100. 410-576-3800. aqua.org. Take your date on a romantic trip under the sea at this private, nighttime aquarium tour set to live music with cocktails and dessert.

FEB. 14: SEX AT THE ZOO
The Maryland Zoo in Baltimore, 1876 Mansion House Dr. 6-9 p.m. $80. 410-396-7102. marylandzoo.org. They say romance is for the birds, so learn all about love in the animal kingdom at this annual affair at the zoo, with an open bar, hors d’oeuvres, and live jazz.

FEB. 14: OTTOBAR VALENTINE’S DAY DANCE PARTY
The Ottobar, 2549 N. Howard St. 8 p.m. $5-10 suggest donation. 410-662-0069. Feel the local love at this dance party-cum-benefit with Baltimore musicians like Jana Hunter of Lower Dens, Williams Cashion of Future Islands, Lesser Gonzales, and Dianamatic, plus DJ sets by James Nasty and Young Coconut, with donations benefitting Moveable Feast.

FEB. 14: TASSELS & CHAMPAGNE
Creative Alliance, 3134 Eastern Ave. 7:30 & 10 p.m. $20-125. 410-276-1651. creative alliance.org. Nothing says passion like a little bit of skin, so swing by the Patterson to see Baltimore’s premier burlesque troupe, Gilded Lily, and their Roman-themed Palazzo Decadente performance.

FEB. 14: TALKING HEADS AND LOVE SONGS
The 8×10, 10 E. Cross St. 8 p.m. $15. 41-625-2000. Boogie down to the Psycho Killers this Saturday as the Talking Heads cover band presents an evening of the group’s greatest hits—like “Once in a Lifetime” and “This Must Be The Place”—as well as a set of assorted love songs.

FEB. 14: KATT WILLIAMS
Royal Farms Arena, 201 W. Baltimore St. 8 p.m. $45-125. 410-347-2020. royalfarmsarena.com. Take your date out for some hearty laughs as this outlandish comedian performs his animated standup.

FEB. 14: OFF THE CUFF: THE BACH FAMILY
Joseph Meyerhoff Symphony Hall, 1212 Cathedral St. 7 p.m. $29-84. 410-783-8000. bsomusic.org. Enjoy a romantic night of Baroque music, Bach family compositions, and insight from conductor Nicholas McGegan.

FEB. 14: CUPID’S UNDIE RUN
Luckie’s Tavern, 10 Market Pl. 12 p.m. $55. 410-223-1105. Don your lucky underwear and brave the cold for this mile-long charity run, benefitting the Children’s Tumor Foundation, followed by an after-party until 4 p.m.

FEB. 14: BALTIMORE IMPROV GROUP’S VALENTINE’S EXTRAVAGANZA
The Mercury Theater, 1823 N. Charles St. 8-10 p.m. $8-10. 888-745-8393. The Baltimore Improv Group presents a Cupid-themed comedy night in two acts, with multiple performers, music, and standup.

FEB. 14: ENCHANTMENT UNDER THE SEA VALENTINE’S DANCE
Baltimore Soundstage, 124 Market Pl. 7:30 p.m. $20-30. 410-244-0057. With the dance floor decked out like Back to the Future’s Hill Valley High, this ’50s and ’60s-themed mixer is a music-filled night for singles and couples alike, with DJs, a live band, Hawaiian fusion food, drinks, dating games, and more.

FEB. 14: BEER & DESSERTS
Phoenix Emporium, 8049 Main St., Ellicott City. 7-10 p.m. 301-694-7899. This craft beer and dessert tasting pairs a series of sweets with three Flying Dog brews, including the Kujo Imperial Coffee Stout, Bloodline Blood Orange Ale, and the just-released Mexican Hot Chocolate Stout.

TO FEB. 15: ICE SKATING
Inner Harbor Ice Rink, McKeldin Plaza, 101 Pratt St. Times vary. $3-9. 443-890-6158. This weekend is your last chance to ice skate in the Inner Harbor, so grab a sweater and take your Valentine out for a spin.