IN: Soft yellow.

OUT: Burgundy and camel of seasons past.

—Ray Mitchener, owner of Ruth Shaw

IN: Effortless, boho-inspired peasant blouse.

OUT: Teeny tiny going-out tops.

—Brittany Parry, owner of Match Made Boutique

IN: Simple sustainable skin care routine that you can keep up with.

OUT: A 20-step skin care routine you learned off of TikTok that costs most of your paycheck.

—Annie Demczak, @anniedemm

IN: Shopping small and vintage, and repeating outfits that you love.

OUT: Fast fashion and only wearing things once.

—Rachel Mulherin, jewelry designer

IN: Disposable cameras.

OUT: Capturing every moment on your phone with no real intention.

—Hilton Carter, plant and interior stylist and author

IN: Tried and true T-shirt dress.

OUT: Floral, flashy sundresses.

—Kalilah Wright, founder of Mess in a Bottle

IN: Nike Air Max shoes—95 or 97 will do.

OUT: Nike Dunks—they were cool until they weren’t.

—DDM, musician and rapper

IN: Home decor that lightens the mood.

OUT: Stuffy status tchotchkes.

—Julie Lilienfeld, owner of Wishbone Reserve

There are few artists in the history of Baltimore music who have so captured the city in their sounds as rapper DDm, aka Dapper Dan Midas. From cutting his teeth on the local rap battle circuit to his role as frontman of beloved hip-hip duo Bond St. District to his star-power solo career, the Park Heights native is a hometown cheerleader, using his captivating stage presence and charismatic verses to speak to the city in all of its struggle and joy.

Most notably on his new album, The Ballad of Omar, dropped this spring, DDm takes a deep look at his own life experience growing up Black and queer in Baltimore City, presenting the complexities through the lens of his title character, the infamous stick-up man from HBO’s The Wire. Along the way, he writes his own narrative for the city and delivers his most powerful record to date, showcasing himself as a mighty, dynamic artist that the labels should sign already. Across raw rap tracks, club bangers, and poetic ballads, DDm writes a work of essential listening for everyone who calls this city home.

Where did the concept for The Ballad of Omar come from?
I came up with this concept about eight years ago. At the time, I wasn’t artistically advanced enough to deliver it. It would’ve been so surface, such a caricature, none of the nuance it really needed. But when I revisited it in the fall of 2019, I was comfortable enough in my life, in who I was an artist and a person, that I was able to really sit down and tap into telling not only my life story, but using this character as a mascot for everything that I stand for.

What does Omar, the infamous character from HBO’s The Wire, represent to you?Omar represents respect, on both sides of the fence, and living by a code, which is something that I would like to think that I have always done. We’ve had so many stories about The Wire, so many stereotypes because of that show. I wanted to take that and turn it on its head. I want to really change people’s perceptions of who the Omar character is, and what The Wire is. I wanted to tell people the story behind it, what causes people to think the way that they think, or feel the way that they feel here.

As a lover of pop culture, what was your relationship with The Wire?
I was really just somebody who watched it. Of course, I heard all the jokes. But Baltimore doesn’t have a million TV shows like New York or L.A. Season four gave me flashbacks. They were spot on, the way they showed the evolution of how children travel through the Baltimore City school system, how they graduate into real life, the different routes they take. That was the crown jewel of the series to me. Are there certain things they’re going to get wrong? Absolutely. It’s Hollywood. You take it more personally because you live here. I didn’t necessarily take it personally.

You’ve said this is your most personal album yet. What was it like writing it?
It was very dark. For the most part, I like to be positive in my music, but that’s not what my life has been a lot of the time. I don’t really trouble the public with my personal life, because honestly they don’t really care, and it’s really none of their business. But it’s a challenge to show other parts of who you are. That means you have to tap into those emotions. It was very dark, very reflective, but very therapeutic at the same time. It definitely changed how I view certain things.

Who is this album for?
This record is really for queer Black men like myself. I’m not turning anybody away, but this is probably the most selfish I’ve been in my songwriting process. This time, I didn’t care if it had a single or enough club records. For me, the most important thing was making sure that the experience was covered in a real and nuanced way…I think it has helped fill a void. I have heard from a lot of men that, wow, I felt really seen, I felt really touched, like you made this for us.

What are the most important songs to you?
There are two songs that I think have touched people the most. They humanize the queer Black experience, for the guys who are in the hood, in the streets, who don’t really go to things like Pride parades. That’s “Boys Don’t Cry,” the first song I wrote, which is very personal. And “The Ballad of Dontay,” which was probably the song I was the most nervous to put out. I don’t write love songs. But I wanted to show people the nuance and the sensitivity. Those two songs matter the most.*

What do you hope your fellow queen Black men will take away from this record?That their story is of value. That they are seen and documented. The Ballad of Omar, in a lot of ways, is a census of the lives of so many queer Black men, from the ghetto or hood or streets, whatever you want to call it, who oftentimes are not counted or are only met in hotel rooms or cars or parks at 2 o’clock in the morning. This album is the first flag in the ground, saying, hey, these people are here, these people have a voice, and these people matter.

As is true in many American cities, black artists are the heartbeat of Baltimore, and perhaps nowhere is that pulse louder than in our world-renowned music scene. Across myriad genres, musicians of color turn out the type of songs, albums, and live events that could only be born in this city. They’re bold, they’re ground-breaking, they’re rich in experimentation, exploration, and vivid storytelling about the black experience. Five years after the death of Freddie Gray, as the nation breaks out in protest and unrest over the death of George Floyd, there’s never been a better time to listen to and learn from what these vital creatives have to say. Here are 25 of the many talented local acts to get you started.

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Abdu Ali
From their all-inclusive Kahlon dance parties at The Crown to their latest album, FIYA!!!, Abdu Ali is without a doubt a leading voice of the music community, as well as for queer artists and creatives of color in Baltimore and beyond. With a backbone of their hometown genre, Baltimore Club, with brushstrokes of fervent jazz, their music is an idiosyncratic amalgam of futuristic punk-rap poetry that packs a powerful message about oppression and identity. Kudos are also due for their As They Lay arts initiative, whose recent fundraiser helped raised mini grants for artists of color impacted by COVID-19.
Listen Now: “I’m Here Now (Fiyah!!!),” “Did Dat,” “Chastity”

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Al Rogers Jr.
When it comes to spreading positivity, Al Rogers. Jr makes it his mission, even creating his own expression—“swooz”—for the good stuff: joy, happiness, and love. The trendsetting hip-hop artist imbues that optimism into every song—be it a heart-on-his-sleeve ballad or a funky, feel-good experimental rap track—using smart wordplay, infectious beats, and messages of inspiration. That said, he doesn’t shy away from hardships and hurdles either. Combining jazz, hip-hop, and R&B, the beloved rapper is a go-to for exploring emotions, digging deep, and finding a silver lining.
Listen Now: “Crystal Geyser,” “Bright Hard,” “Sayno”

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Brandon Woody
The past of Pennsylvania Avenue’s rich and revered jazz history is being shepherded into the future thanks to local musicians like Brandon Woody, a rising twenty-something trumpeter in the city’s resurgent jazz scene. He’s performed brass with local legends of the genre like Eric Kennedy and Jeff Reed, as well as DIY rappers like Abdu Ali and Al Rogers Jr., led open-mic nights at the Motor House, and performed regularly with his ensembles at An Die Musik. An alum of Peabody Preparatory’s Tuned-In program and the Brubeck Institute in California, he’s a highly talented, expressive instrumentalist who brings a fiery flare to every set.
Listen Now: “Woodallou,” “Miking Trumpet to Whammy Pedal,” “Real Love Snippet”

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Brooks Long & the Mad Dog No Good
When you first hear the songs of Brooks Long, you will simultaneously think you’ve known them forever and that you’ve been waiting for them all your life. The local singer-songwriter pays homage to the old-school sounds of eras past—particularly mid-20th century soul, funk, blues, and R&B—while adding his own flair, humor, and heart to every mellifluous lyric and smooth melody. Long is also a strong advocate for documenting Baltimore music history, from the present and past, with his Creative Alliance “Songster Series” highlighting both beloved and underdog artists.
Listen Now: “Got Soul,” “Heavy Petting,” “Have You Been Getting Too High?”

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Butch Dawson
It’s no secret that Butch Dawson is a name to know now in Baltimore. Over the past few years, the local rapper has emerged from underground rap staple to a front-of-the-pack headliner, carving out his own lane through a formidable fusion of hip-hop, chill wave, and punk with the potent spirit of DIY. Many of his tracks are about surviving the “swamps,” as he calls the West Baltimore streets where he grew up, and the fortitude that comes with it.

Listen Now: “Feel Nobody,” “Trigger,” “Division Street Blues”

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Dapper Dan Midas
There might be no greater Baltimore cheerleader than Dapper Dan Midas, aka DDm. From his days on the local rap battle circuit to his role as frontman of beloved hip-hip duo Bond St. District to his star-power solo career, the charismatic, dynamic rapper has carried Baltimore on his shoulders and imbued the city, in all of its beauty and struggle, into all of his buoyant and hard-hitting verses. Most notably in his latest The Ballad of Omar, DDm critically examines the black experience of growing up in Baltimore and along the way bares his own soul. It’s a must listen for everyone who calls this city their home.

Listen Now: “The Ballad of Omar,” “Swivel, “Hooray”

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Deetranada
When you finally discover Deetranada, you, too, will ask yourself: “Under what rock have I been living?” This 18-year-old wordsmith and one-time star of Lifetime’s The Rap Game (she placed second) has already garnered a serious fanbase in Baltimore and beyond (think hundreds of thousands of followers and millions of views). And for good reason: as shown on her first two albums, Deetranada has some of the most impressive, bravado-filled flows and sharpest, hardest-hitting rhymes about coming up in Baltimore around.
Listen Now: “Attitude!,” Box,” “Know Me”

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Dyyo
In the endless quest to find the next great artist, Baltimore music fans can look no further than the force to be reckoned with that is Dyyo. This alternative rap artist has a singular, shapeshifting sound founded in potent energy, explosive experimentation, and hearty nods to influences like punk rock and improvisational jazz. His latest Live! record bottles that exploratory sound with the clashing drums, driving guitar, and serpentine brass of a full band with Dyyo’s own kinetic vocals at the forefront. As he continues to evolve as an artist, make sure you’re there to follow, and headbang, along.
Listen Now: “Raspberry,” “Checks in the Mail,” “Fight or Flight?”

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:3ION

We hope that in the distant future, there will always be love songs, and we imagine that they will probably sound something like the avant-garde R&B of Elon Battle, or :3ION. Come for the dark, romantic melodies and digital dance beats, but stay for the singer-songwriter’s luminously moody falsetto vocals that float like a feather—swinging low, soaring high, and always speaking to the deepest desires of the heart. :3LON has become a stalwart of the local scene, appearing on many a genre-crossing lineup in Station North, and recently touring nationally with acclaimed Baltimore indie duo Lower Dens.
Listen Now: “Haven,” “Aria of Resilience,” “Many Moons”

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Eze Jackson
One of the most iconic, indispensable voices in Baltimore music is undoubtedly that of Eze Jackson. Over the last decade, the hip-hop frontman has been a dogged creative force for the local arts scene—putting on powerful performances as an MC through solo projects and his powder-keg alt-hip-hop group Soul Cannon, uplifting up-and-coming artists through the Bmore Beat Club rap series, constantly collaborating, and always speaking honestly about black inequality and empowerment. His recent “Be Great” was played over a loud speaker as marchers knelt in unity on Monday’s youth-led protest.
Listen Now: “Unapologetically Black,” “Be Great,” “You Need Some”

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J. Pope

Listen to Jasmine Pope and hear her roar. From her bands the Funk Friday to the HearNow, the alt-soul singer-songwriter’s compellingspoken-word delivery and captivating stage presence has become a stalwart of the local scene over the last decade, capturing the attentions of diverse audiences, beloved by all corners of the city’s scene. Riding on the up-tempo funk and blues-infused, jam-band-style melodies of her bandmates, Pope is a modern-day poet at the core, delivering vigorous verses with rapid-fire flow, honeyed vocals, and powerful messages of truth and positivity.

Listen Now: “Soul Searching,” “Confusion,” “Check Your Soul”

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James Nasty
When considering any of the city’s local concert, festival, and event lineups, one thing is for certain: If James Nasty is on the bill, it’s going to be a good time. This veteran DJ and Bmore Club producer has become a household name in Baltimore for his high-energy mixes that master the genre’s rapid pace and patchwork sound but with a nod to the greats who came before him. Even those who think they haven’t heard of him likely have, as his hits have been regularly spun on local radio stations. Over the last nearly two decades, he’s incited instant dance parties at places such as Paradox, Ottobar, Light City, and most recently The Crown, and been a prolific musician performing hundreds if not thousands of sets across the city.
Listen Now: “Them Do It Horns,” “Pop,” “Dynamite”

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Josh Stokes
Over the last few years, Josh Stokes has been a quiet pillar of the Baltimore music scene. The drummer-singer dynamo has performed in live bands, recorded backup and feature vocals, and been an opening act for other beloved names across the city—all while working on his own exceptional, experimental tunes, making him undoubtedly one of the most hardworking musicians in the city. But his trippy new-age take on funk is worthy of its own consideration for a textured, throwback sound and Stokes’ own ethereal, gospel-tinged croons.
Listen Now: “Focus,” “Thank You,” “14 Daze”

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Joy Postell
Singer-songwriter Joy Postell broke onto the scene with her heart-wrenching recording of “Hands Up, Don’t Shoot” in the aftermath of the death of Freddie Gray and the subsequent Baltimore Uprising, asserting herself as a mighty voice to be reckoned with. Her follow-ups, “Consciousness” and “Water,” and the entire album Diaspora, would continue her socially minded music, in which she speaks to injustices faced by the African-American community and incorporates influences of jazz and soul into her hip-hop and R&B. On her latest EP, more personal than political, Postell continues to showcase her ability to speak truth to power.

Listen Now: “Consciousness,” “Water, “Back and Forth”

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JPEGMAFIA
He might have moved to the West Coast a few years back, but JPEGMAFIA continues to rep Baltimore, writing songs about his local days, collaborating with local artists, and showing up to perform shows at local venues where the crowds came out in droves. The bicoastal artist’s avant-rap, rooted in dystopian soundscapes and provocative rhymes, is an act of artistic defiance. He refuses to stay inside the lines, to appeal to mainstream audiences, to be bound by genre. For that, from sets at Coachella to rave reviews in indie music publications, all eyes are on JPEG to see what comes next.
Listen Now: “Free the Frail,” “1539 N. Calvert,” “Cutie Pie!”

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Kotic Couture

It’s hard to straddle both the poignant and the party, but up-and-coming rapper Kotic Couture excels at both, approaching their music with confidence and vulnerability, tipping a hat to their journey from a small-town upbringing to being a new leader on the Baltimore music scene. Whether it’s an outright club banger, bare-bones ballad, magnetic live solo performance, or their much-loved Version queer dance party with DJ Trillnatured at The Crown, Couture showcases a creative, colorful versatility that’s all their own—speaking honestly to dreams, doubts, and staying true to yourself.
Listen Now: “Grammy Speech,” “Growing Pains, “Drippin’”

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Lafayette Gilchrist

Over the last 25 years, Gilchrist has earned legend status in the Baltimore arts community. A winner of the prestigious Baker Artist Award, this Washington, D.C. native, longtime Baltimore resident, and piano guru has cemented himself in the city’s artistic history through his jubilant jazz compositions. They’re fueled by propulsive rhythms and seamless improvisations that effortlessly capture the essence of Baltimore—its energy, its joy, its struggle—as well as serve as iconic scores to David Simon’s HBO series The Wire, Treme, and The Deuce. Be sure to catch one of his upcoming livestreams through An Die Musik.

Listen Now: “Assume the Position,” “Bmore Careful,” “Deep Dancing Suite”

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Mighty Mark
Baltimore truly has a soundtrack to the city with the homegrown genre Baltimore or Bmore Club, born here in the 1980s by the likes of Miss Tony and Scottie B with a breakbeat sound that fuses hip-hop, house music, and staccato samples to create a pulsating, frenetic dance party. In recent years, Cherry Hill’s Mighty Mark has been the torchbearer, producing bass-fueled beats for his own tracks, collaborating with other club-minded creatives like TT The Artist, and appearing on national TV, all to assure that the genre continues to make its mark on history.

Listen Now: “Be More,” “Payroll,” “Don’t Want None”

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QueenEarth
The music of QueenEarth is like a salve for the soul. With faint touches of influences like India Arie and Lauryn Hill, the acoustic vocalist makes melodies all her own, using expressive beats and soulful vocals across tracks that range from textured, meditative instrumentals to jazz-infused R&B melodies. Through both her mindful tunes and her community education efforts, QueenEarth has made it her life’s work to share a message of empowerment for women of color, LGBTQ pride, social justice, and spiritual uplift.
Listen Now: “Dear Love,” “Quarantined Sax,” “Game”

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RoVo Monty
Modern love is complicated, but putting it into song seems effortless for RoVo Monty. The electronic R&B songwriter celebrates black queer romance in his effervescent music, asserting his desires, unpacking his fears, ultimately creating a lush musical environment for self-expression and self-empowerment. Inspired by fashion, dance, and disco, rife with irresistible hooks, bouncy beats, and velvety vocals, each track is club-ready and impossible not to bop along to. Monty is also a choreographer; be sure to check out his accompanying videos to learn a thing or two from his knock-out dance moves.
Listen Now: “Pretty in Pink,” “Pretn’d,” “Fix It”

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Rufus Roundtree and Da B’more Brass Factory
A Baltimore institution and high-energy music collective, Rufus Roundtree & Da B’More Brass Factory is hands down one of the most fun, feel-good shows in town, fusing funk, hip-hop, blues, and jazz into a Baltimore-meets-New Orleans get-down that could spark a second line. As the name implies, it’s a brass-heavy sound performed by some of the city’s most talented instrumentalists and led by the smoky, spirited vocals of bandleader Roundtree in his signature chapeau (said to have been a surprise gift from George Clinton).
Listen Now: “Me Think Me Love You,” “In Dem Streets,” “Get Up Live”

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Trillnatured
The lack of safe spaces for people of color and the LGBTQ community has long been a point of contention in Baltimore City, but each month, upstairs at The Crown, Jessica Hyman, aka DJ Trillnatured, creates a welcome, feel-good environment in her monthly Version dance party. Since 2017, these events have been a free, feel-good, second-Saturday night ritual full of Hyman’s dynamic mixes, Kotic Couture’s charismatic emcee, and all-out, sweat-drenched dance-offs into the wee hours of the morning. She’s also lent a hand in teaching the next generation of black Baltimore DJs as a former instructor at Baltimore Youth Arts.
Listen Now: “Use a Damn Coaster,” “True Laurels Show Live,” “This Side Up”

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TT The Artist

She may have relocated to Los Angeles last year, but it goes without saying that TT The Artist will always be Baltimore. The MICA grad has played a pivotal role in bringing Bmore Club onto the big stage, performing at Coachella, collaborating with Diplo, landing tracks on TV shows like HBO’s Insecure and Comedy Central’s Broad City, starting her own woman-of-color-forward Club Queen Records, and now releasing her debut documentary film on the city’s homegrown genre, Dark City: Beneath the Beat, which should have premiered at SXSW this spring. With vivacious energy, fierce lyrics, and undeniable beats, we hail the club queen that is TT.

Listen Now: “Thug It Out,” “Diamonds,” “Off the Chain”

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Warren Wolf

From the Baltimore School for the Arts through Peabody Preparatory to recording and performing with the likes of Wynton Marsalis, Cyrus Chestnut, and Robert Glasper, Warren Wolf has made a name for himself, at home and abroad, as a young great of the modern jazz scene­—all while keeping Baltimore’s rich history with the genre alive and well. The West Baltimore native is an in-demand virtuoso on the vibraphones, performing at local concert halls like An Die Musik and prestigious venues around the globe. It’s the sound of another era, made, with groove and gusto that is positively contemporary.
Listen Now: “Montara,” “Soul Sister,” “For Ma”

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Wendel Patrick
Wendel Patrick is a man of many hats: rapper, composer, producer, co-founder of the Baltimore Boom Bap Society improvised concert series, co-creator of WYPR’s esteemed Out of the Blocks radio show, and Peabody Conservatory professor of hip-hop, to name a few. The multi-talented, classically trained artist has a gifted ear and is a master at collaboration, winning the 2015 Baker Artist Award and being referred to as “David Foster Wallace reincarnated as a sound engineer” by the former Urbanite magazine. Simply put, everything he touches turns to sonic gold.
Listen Now: “A Tale of Two Producers,” “Time,” “Producer”

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Every year, we’re seriously impressed by the amount of artistic talent in Baltimore, and 2019 was no different, with top-notch music coming out of the city—making its way onto both the local and national stage. It also felt like a year where the musical community came into its own. No, Rolling Stone didn’t name us the best music city in America again (not that we need that recognition to know that we are), but there were numerous moments of reckoning, if you will. Rising artists finally got their due. Established acts performed epic homecoming shows. Hallowed institutions wrestled with their futures. There were both losses of legends and celebrations of lifetimes, and each reminded us of the great impact this city has had, and continues to have, on the musical form. Here, we round up some of the most memorable moments of 2019. And we recommend keeping your ears perked for all that is to come in 2020.

Ethel Ennis passes away.
This past February, Baltimore’s “First Lady of Jazz” passed away at age 86. During the late 1950s and 1960s, the West Baltimore singer recorded for major labels, toured Europe, headlined the Newport Jazz Festival, and performed regularly with the likes of Louis Armstrong, Miles Davis, John Coltrane, and Duke Ellington. As a child, she learned to play piano at the Ames United Methodist Church in Sandtown-Winchester and later became a mainstay at the Red Fox on Pennsylvania Avenue. Disillusioned by the music industry, Ennis ultimately eschewed national stardom and returned to Baltimore for a more simple life, where she performed until her later years. Her mark on the greater musical world remains.

Dan Deacon performs with the Baltimore Symphony Orchestra.
It felt like fate had somewhat of a hand in the moment when Dan Deacon first took to the Joseph Meyerhoff Symphony Hall stage with members of the BSO this spring. At the time, the orchestra was in the midst of a contentious contract dispute that would eventually lead to a summer-long lockout of the musicians by the organization’s management (see below), while the electronic artist—15 years after moving to Baltimore and forever changing the local music scene—was quietly working on a new record about overcoming doubt, and reckoning with age and death and time. For a few hours, the two iconic musical acts, seemingly from opposite of the sonic spectrum, though Deacon studied composition in college, came together for a night that would become a gift to the city. The musicians filled the halls with hope, as concertgoers got out of their seats, ran down the aisles, and started an impromptu dance party in front of the venerable stage.

Abdu Ali releases FIYAH!!!.
Over the last several years, few musicians have been as influential and integral to the Baltimore music scene as Abdu Ali. From the glory days of their all-inclusive, underground Kahlon dance party at The Crown to national coverage by the likes of The New York Times, The New Yorker, and NPR more recently, the avant-garde rapper has helped put Baltimore’s DIY culture on the map, remaining deeply rooted to their hometown city along the way. This spring, the release of their studio debut, FIYAH!!!, took their artistry to a new level, fusing hip-hop and Baltimore Club music with jazz and punk. The record and its release solidified Ali’s star power with a full-band lineup, led to a sold-out show at the Ottobar, and helped them nab a well-deserved “Artist of the Year” award from City Hall.

André De Shields wins his first Tony.
As a cherry on top of a 50-year acting career, 73-year-old Charm City native André De Shields took home his first Tony Award in June, winning best featured actor in a musical for his performance of the god Hermes in Hadestown. De Shields grew up in West Baltimore, one of 11 children, and graduated from City College before moving from regional theater to Broadway. He would go on to gain renown for his roles in shows like The Wiz and The Full Monty. A few weeks after the Tonys, he was also presented with a mayoral salute and key to the city by Mayor Jack Young. “This is what you get when you blow them out of the water,” he said during his acceptance speech, showing the crowd his Tony. “I did it the only way you could—the Baltimore way.”

Jeremiah Lloyd Harmon slays on American Idol.
If you don’t watch American Idol, you might have missed, in our opinion, one of the most special stories of the television show’s history. If you do watch American Idol, you’ve already been a Jeremiah Lloyd Harmon fan for months. The Catonsville singer-songwriter placed sixth in the competition, wowing judges and viewers with his sensational falsetto, his original song “Almost Heaven,” and his backstory, the son of a Baptist pastor who discovered he was gay at age nine. This fall, Harmon released his debut album and this winter, graduated from Towson University, where he studied vocal performance.

Beach House gets sentimental at the Hippodrome.
In June, dream-pop duo Beach House returned to the city for their first big hometown performance since the Windjammer music festival at Pier Six in 2015. Taking over the hallowed stage of the Hippodrome Theatre at the France-Merrick Performing Arts Center, singer Victoria LeGrand and guitarist Alex Scally put on a powerful show to promote their latest album, 7, with some old favorites thrown in along the way. Typically stoic performers, they both spoke sentimentally about the city, even referencing the Orioles. Opening acts were also must-see sets by Dan Deacon and Future Islands’ William Cashion.

The Ottobar persists and, as The Windup Space closes, Rituals opens in its stead.
Two big changes took place at local music venues this year, with the announcement of sales and closures stirring fear for a scene that already lamented a dearth of creative space. But a few months after the Ottobar announced that its longtime owners were selling the business, it was revealed that longtime bar manager Tecla Tesnau would be taking over the Remington rock club in late summer, keeping it in local hands, and it seems that little has changed. And just weeks after word surfaced that The Windup Space would be closing its doors, news broke that the location would be reopened as Rituals, a bar and venue that would keep the same all-inclusive, DIY tradition alive and well, allowing the arts community to let out a collective sigh of relief. There, lineups have included local favorites like Lower Dens, Eze Jackson, and Chiffon.

TT The Artist pays homage to Baltimore Club.
This summer, TT The Artist made her directorial debut with the sneak peek premiere of her upcoming music documentary, Dark City: Beneath The Beat. Despite relocating to Los Angeles, the beloved rapper has long been a fierce advocate of, and an active participant in, the city’s hometown musical genre, Baltimore Club—the story of which she tells in her unique, colorful film. Featuring cameos and music by fellow local artists such as DDm, Eze Jackson, Mighty Mark, and Rufus Roundtree, it now enters the finishing-touch and fundraising stages in hopes of joining the festival circuit in 2020.

DDm drops Beautiful Gowns.
This summer, DDm released his debut full-length album, Beautiful Gowns, which, unsurprisingly, turned out to be one of the most fun, infectious records to come out of Baltimore this year. That’s thanks to the pure showmanship of the city-born rapper who has brought bravado, wit, humor, and heart to his music and live performances across the city for years, from the local battle rap circuit through his Bond St. District duo and now in his solo career. A year after his planned debut, Soundtrack To A Shopping Mall, was nixed, these 13 tracks stood testament to DDm’s determination and dauntless creativity. Self-released, locally produced, and spread without the help of local radio, singles like “He Say She Say” and “Pull Up”garnered thousands of listens on Spotify and views on YouTube all on their own. We personally love the bright, buoyant ballads of “Hooray” and “Forever 21.”

Future Islands rocks out at Union Collective.
In early September, thousands of Baltimore City music lovers packed into the parking lot of Union Collective for a night to remember by local dream-pop darlings Future Islands. Much like their impromptu Hampdenfest performance in 2014, the band’s free live show took place outside as the sun set, featuring both new material off their upcoming album and fan favorites like “Seasons” and “Balance,” with frontman Sam Herring’s mercurial dance moves out in full force. Opening acts included Baltimore artists Smoke Bellow, Joy Postell, and DJs Jason Willett and Jay Buim, and the brewery’s neighbor, The Charmery, sold three Future Islands-themed flavors of ice cream to support city non-profits.

The BSO survives a tumultuous year.
It was a long, strange trip around the sun for the century-old Baltimore Symphony Orchestra: ongoing contract negotiations that tumbled into labor disputes, the cancellation of the summer season, a highly publicized lockout of the musicians by BSO management, followed by months of player protests outside the Meyerhoff Symphony Hall. But this fall, both parties reached a one-year agreement that resulted in the meeting of many players’ demands and the on-time opening of the fall schedule. The organization has also since launched their newly formed vision committee and brought in outside help from arts-org “turnaround king” Michael Kaiser, so things are looking up. (Except for maestra Marin Alsop hinting at her departure.)

JPEGMAFIA continues to soar.
It’s been another big year for JPEGMAFIA. The alternative rap artist, known as Peggy, toured the U.S., to many sold-out crowds. He performed at the likes of Afro Punk, Firefly, and Coachella, where rolling stone called his set one of the best of the festival. He opened for big-name acts like Vince Staples and Flume. He garnered national press and profiles by the likes of Billboard, The Guardian, and Paper. And this fall, he released his latest album, All My Heroes Are Cornballs, to national acclaim— a colorful, cacophonous collage that takes us on a trip into his beautiful, manic, often NSFW dream world. All the while, even though he has since relocated to L.A., Peggy always gave love back to Baltimore, his former city, selling out two nights at the Ottobar, hopping on Abdu Ali’s latest record, and bringing fellow rising local rapper Butch Dawson along on his tour. For that, for as long as we can, we’ll continue to claim him as our own.

Morgan State’s marching band leads the Macy’s Thanksgiving Day Parade.
The holidays came early this year when it was announced that Morgan State University’s Magnificent Marching Machine would be leading the iconic procession of marching bands in the 93rd annual Macy’s Thanksgiving Day Parade in New York City, making MSU the first of Maryland’s historically black colleges to perform in the parade’s history. Ahead of a giant Snoopy balloon, the college band, led by band leader Melvin Miles Jr., marched triumphantly in blue and white uniforms for nearly three miles from the Upper West Side, around Central Park, and down to the famed namesake department store on Herald Square. Millions of viewers watched from the city streets and on their television sets at home.

A star is born in Maggie Rogers.
In the 12 months of 2019, Eastern Shore native Maggie Rogers released a debut album via Capitol Records, starred as the musical guest on Saturday Night Live, sold out her U.S. tour, performed at the likes of Coachella, attended the Met Gala, and garnered her first Grammy nomination for Best New Artist. While still a student at NYU, the singer-songwriter got her first taste of fame serendipitously, when a video of Pharrell Williams going ga-ga for one of her songs went viral. But everything that came next, and all that lies ahead, has undoubtedly been the result of her own talent and star staying power.

Check out our Spotify playlist below for Lydia’s Top 30 songs of 2019.

In the latest iteration of The Big Baltimore Playlist, we found five local songs to listen to now, ranging from eclectic art rock and anthemic rap to a catchy surf-infused tune. Check back each month for new top tracks of the moment, and follow our Spotify playlist as we continue to build a soundtrack for our city.

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“Goddess of The Baltimore in Your Mind” by Boister*

In the history of Baltimore music, there have been many leading ladies, and one, undeniably, over the last two decades, has been that of Anne Watts. Frontwoman of art rock collective Boister, the singer-songwriter, alongside her seven bandmates, to make eclectic, transcendent music—yes, boisterous, imaginative music—all for music’s sake. Across eight album, she has ruminated on heady themes like life, death, war, peace, and love, while the band’s new ninth, Goddess of The Baltimore in Your Mind, is a timely collection of songs for and about women. With backing vocals by War On Women’s Shawna Potter, this title track is like a Second Line rallying cry for women everywhere to fearlessly come together, find their inner strength, and rise up. Even Baltimore itself is personified as a goddess. We couldn’t agree more.

“Pull Up” by DDm

Beautiful Gowns was definitely one of the most fun records out of Baltimore this year, and local rap star DDm is keeping the party going with a just-launched video for this big, bold song, featuring captivating dance moves by local R&B artist Rovo Monty (see for yourself in the link above). The bouncing, club-ready beat and confident, commanding rhymes are pure swagger, speaking to swatting away haters, playboys, and punks, and never backing down. It’s an infectious anthem that makes one thing clear: in the streets or on the stage, don’t mess with DDm. Oh, and that, as his star continues to rise, the Baltimore-born artist won’t be shying away from his local roots.

“For The Go Go” by Lafayette Gilchrist

Speaking of important figures in Baltimore music history, Lafayette Gilchrist is high up on that list. The piano master is well-known for his iconic compositions as heard as the score of David Simon’s HBO series The Wire, Treme, and The Deuce, but those in the know are also keenly aware that his music runs far deeper in a lively fusion of jazz, blues, and funk with a touch of go-go acting. Earlier this year, the 2018 Baker Artist Award winner released his second solo album, Dark Matter, recorded live and rooted in sense of place for his main cities, his home of Baltimore and his native Washington, D.C. This buoyant track might be about the latter, where the genre was invented, but in the midst of ballads, it is a clear star for its jubilant energy and virtuosic keys.

“Oh No” by The Dune Flowers

New band alert! And just as we discover the catchy tunes of The Dune Flowers, they’ve already up and left us for Nashville, Tennessee. But the Westminster-bred duo makes music that is noteworthy, and also well beyond the twenty-something years of songwriters Tyler Drager and Oscar Schoenfelder. It’s a 1960s-inspired, early-rock-and-roll sound, founded in fuzzed-out surf guitar, steady drums, and vocal play. A perfect example: this mellow melody that evolves into a rollicking, retro first track off their self-titled, second album. Speaking of young love, night drives, and city lights, it’s an addictive song, at any age.

“Fortune” by Wye Oak

And just like that, Wye Oak comes crashing back into our lives with this turbulent standalone single. It’s a moment of reunion after a period of focused energy on the bandmates’ own respective side projects, with drummer Andy Stack releasing his first solo LP as Joyero this summer and frontwoman Jenn Wasner becoming a part of Bon Iver’s live band. After years apart, they also have come together again in the same city—sadly not Baltimore—but Durham, North Carolina. The moody melody builds, churns, and burns out in a fiery blaze, while, as on their last record, The Louder I Call, The Faster It Runs, Wasner’s labyrinthine lyrics address change, considering both the joy and the struggle that come with it.

*Not yet on Spotify. We will add when it becomes available.

About halfway through summer, many of us, especially with temperatures steadily in the nineties for a few weeks now, are readily looking toward fall. And with that, this week, comes the announcement of the hottest Halloween party in Baltimore, when Believe in Music teams up with the Maryland Science Center for its annual October bash.

For one evening, the exhibits—kid-friendly learning experiences on the likes of dinosaurs, space, and physics—transform into a full-on music festival on the Inner Harbor, featuring more than a dozen bands, a wild costume contest, and overflowing craft beer, all to benefit the educational center and local arts nonprofit.

The event, now in its eighth year, has just announced its 2019 lineup, featuring familiar faces who have performed at past parties, as well as exciting new acts. On Saturday October 26, some two dozen Baltimore artists will perform across multiples stages, from the planetarium to the rooftop to beneath a gigantic Tyrannosaurus Rex.

The main stage will feature big-name headliners: head-banging rock band J. Roddy Walston and The Business, beloved rap star DDm, and Talking Heads tribute group, Psycho Killers. Meanwhile, the Friends of Friends [Records] Stage will highlight rising DIY acts—post-punk duo Ed Schrader’s Music Beat, alt-hip-hop collective Soul Cannon, indie-pop singer Eyas, and electro-femme pair HexGirlfriends—while the planetarium will host a handful of techno and house, and dance music artists. As in years past, the Charm City Bluegrass Stage will be dedicated to Americana musicians, such as bluegrass rebels The Dirty Grass Players and folk-pop septet Haint Blue. And both DJs Rob Macy of Save Your Soul and James Nasty will be back on the ones and twos into the wee hours of the nights.

Exhibits will be open throughout the evening, as will the IMAX theater, where Future Islands bassist William Cashion and psychedelic electronic artist DeltaNine will curate immersive experiences.
Tickets usually sell out and are now on sale for general admission ($42) and VIP ($80).

In the latest iteration of The Big Baltimore Playlist, we found five local songs ranging from joyous hip-hop to nostalgic synthpop to otherworldly instrumentals. Check back each month for new top songs of the moment, and follow our Spotify playlist as we continue to build a soundtrack for our city.

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“Raiments” by Ami Dang

In a city of idiosyncratic artists, few Baltimore musicians make more of an original mark than Ami Dang. Using sitar, voice, and electronics, she creates a transporting sound experience that weaves together the North Indian classical music of her heritage and the ambient DIY sounds of her home, Baltimore City. Get lost in this dreamy east-meets-west fusion in this early single off her upcoming album, Parted Plains, which draws inspiration from the epic folktales of South Asia and the Middle East, such as One Thousand and One Nights, letting your imagination tell a mythical tale of its own.

“Hooray” by DDm

This bright, bouncy sparkle of a first song off of DDm’s new album, Beautiful Gowns, very well might be our favorite song of the year. It’s the song we need in the world right now—a positive proclamation for finding some joy in these strange, turbulent times. It captures the affirmative approach that this Baltimore born rapper has decided to take in his music making, forging his own path and finding his own infectious beat, haters be damned, along the way. Give it a listen, add it to all of your playlists, and follow the chorus mantra: “Don’t stop, keep on dancing.”

“Be Great” by Eze Jackson

It’s hard to envision the Baltimore music scene without prolific rap artist Eze Jackson. From fronting alt-hip-hop collective Soul Cannon to emceeing the Bmore Beat Club rap showcase to collaborating with myriad artists, Jackson has been a potent and vital creative force for this city, a legacy that’s bottled in his latest solo record, Fool. Debuted last weekend during Artscape, it’s a dynamic mix of feel-good beats, hard-hitting verses, club bangers, smooth love songs, and poignant ballads, like this first track. Sparse and soaring, it’s an inspirational piece of poetry, on survival, on success, on self, and always, Baltimore. Call it an unofficial anthem, only solidifying that Jackson will go down as one of our city’s own greats.

“Not A Riddle” by Hunter Hooligan

Last month, on the 50th anniversary of the Stonewall Uprising, Baltimore singer-songwriter Hunter Hooligan released this celebratory piece of house music to mark the historic anniversary of Pride. Its message is one to consider any day of the year, that love is love is love, with its funky, buoyant melody and Hooligan’s mellifluous vocals tipping a hat to 1969 as much as they are looking ahead to the future. “What divides us? Inside us, we’re one and the same,” he sings. Whoever you happen to love, this feel-good dance number is an instant summer jam.

“I Drive” by Lower Dens

This veteran indie-pop band has written and released some of the city’s most acclaimed and accomplished albums over the course of its nearly 10-year run in Baltimore. But their upcoming album and first in four years, The Competition, is shaping up to be their most powerful yet. This second single reveals an intimate look at family through the LGBTQ lens. “Like a lot of queer and trans people, I’ve learned that real family is made, and it isn’t necessarily blood,” wrote singer Jana Hunter, who identifies as he/him, on Facebook. “This song is about leaving behind obligations to people who don’t love or care about you, being with and about people who do.” That is the driving force behind the title, and its urgency is heard in this gorgeous, nostalgically 1980s synthpop song, backed by the ethereal vocals of Baltimore R&B singer :3ION.

EAT

July 4: Independence Day Deck Party

Historic Ships in Baltimore, 301 East Pratt Street. 7-10 p.m. Free-$75.

Celebrate our country’s independence and all its history aboard a historic American Treasure—the USS Constellation. Get the best birds eye view of the Harbor above the crowds and enjoy the sparkling fireworks close up. And, of course, spoil your stomach with an all-you-can-eat menu by The Classic Catering People. Guests will enjoy all-American eats including hot dogs, veggie burgers, rotisserie chicken, seafood paella, salads, and nachos.

DRINK

July 4: Dogfish Head 4th of July Takeover at Sandlot

Sandlot, 1000 Wills St. 2-11p.m. $5-10.

What’s a Fourth of July celebration without ice cold beers? At this beach takeover, sip delicious Dogfish Head brews including SeaQuench, Slightly Mighty, Super 8, Namaste White, and the 60 Minute IPA. Join the Delaware-based brewery for a day full of live music by Joi Carter, Nelly’s Echo, and Raindeer, along with games and food vendors like The Charmery. Be sure to bring your own blankets and beach chairs to take in the view of fireworks bursting above the water.

SEE

July 4: AVAM’s July 4th Visionary Pets On Parade

American Visionary Art Museum, 800 Key Hwy. 9a.m. Free.

It’s time for your furry friends to strut their patriotic stuff at this annual July 4th pet parade and talent show. Prizes will be awarded for Best Costume, Most Patriotic, Most Visionary Pet, Owner & Pet Lookalikes, Visionary Pet Tricks, and more. Whether you participate, parade, or just watch, it’s all free and in loving memory of supreme animal lover, Ellis Rosen.

HEAR

July 6: DDm Album Release

Metro Gallery, 1700 N Charles St. 8p.m. $10-12.

Hometown favorite Emmanuel ‘DDm’ Moss works his way up with fresh confidence and energy as he introduces his bravado, wit, humor, and heart in his solo debut album “Beautiful Gowns.” The abrasive yet pleasing voice of this hip hop/rap artist is now coming to Metro Gallery to show off his newest big, bold, and colorful beats. This Soap Powder event hosted by Eze Jackson and Ellen Gee will also feature artists Life on Planets and Nnadagi.

DO

July 4: Cherry Hill Arts & Music Fourth of July Waterfront Festival

Middle Branch Park, 3301 Waterview Ave. 1-10p.m. Free.

Celebrating the cultural vibrancy of South Baltimore through performing and visual arts, this event is sure to entertain families all day long. Come enjoy interactive arts and crafts and live music from Kerq Band, The Joe Cooper Project, Paula Campbell, and Sister Carol, who will all be activating the green spaces at Middle Branch Park. Offering a clear view of the Baltimore City skyline, the park is also an ideal fireworks-watching spot.

DDm

Beautiful Gowns (self-released)

Over the past several years, DDm has been crowned an all-time hometown favorite, rising from the battle-rap circuit to beloved hip-hop duo Bond St. District to a star solo performer in his own right—the Beyoncé of Baltimore City. This solo debut serves as an introduction for the rest of the world, bottling the local rapper’s bravado, wit, humor, and heart into one original package full of big, bold, colorful beats. A year after his planned debut, Soundtrack To A Shopping Mall, was nixed, this new record reveals it was all worth the wait, capturing his artistic range through the mastery of both braggadocious bops and introspective ballads (as well as one vogue-inspiring, house-music stunner). “Now I’m living in my own vision, cooking in my own kitchen,” DDm declares in the first track, “Hooray.” With fresh confidence and creative energy, he is creating his own lane for success, looking forward by knowing where he comes from. Luckily, we think he’ll always remember this city when he takes over the globe.

Outer Spaces

Gazing Globe (Western Vinyl)

This new record from Baltimore band Outer Spaces is a slow-burning beauty. It sears like early summer. It rambles like a sunset drive. It aches like the early days of a fleeting crush, or flickers out like the end of a long one, hanging airy yet thick as a Maryland July. A follow-up to the band’s 2016 debut, these bittersweet indie-pop songs follow the temporary breakup of frontwoman Cara Beth Satalino and her both bandmate and longtime partner Chester Gwazda, who also appears on the album. Through listless vocals, persistent, drums, and a thick tangle of jangly guitar, she forges a new path, dreamily wandering between ennui and emotion to find herself again. For that, it’s deeply human and relatable. Though you never know for sure whose face she finds hiding in the sun in the first (and our favorite) track, by the end of the searing crescendo, you realize it might be her own.

In the latest iteration of The Big Baltimore Playlist, we found five local songs ranging from flavorful hip-hop to punkish slow jams to psychedelic indie-pop. Check back each month for new top songs of the moment, and follow our Spotify playlist as we continue to build a soundtrack for our city.

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“He Say She Say” by DDm
The first track off DDm’s much-anticipated solo debut is finally here, and unsurprisingly, it’s a truly addictive bop that bottles the rap artist’s bounty of bravado, wit, and humor into one tight package. We’ve come to know and love this Baltimore-born rapper as an all-time hometown favorite, but this track serves as an introduction for the rest of the world to Emmanuel Williams—his creative vision, his flavor, his fashion sense, his downright fun. It’s a taste of what’s to come with the rest of his upcoming Beautiful Gowns, due out later this summer. The title chorus says it all: DDm is ignoring the industry hubbub and any and all haters to forge this path on his own. This swaggering single is just the first step.

“World in Blue” by Hexgirlfriends
We love when Hexgirlfriends get loud, as they do in many moments on the electro-femme, pop-punk duo’s early spring record, Call Your Mom. In fact, on a few songs, they get downright pissed, calling out the patriarchy—shitty boyfriends, bad dads, creepy dudes. But maybe the band’s most powerful moments lie in the quiet ones, like this dreamy tune originally released in late 2017. With single pangs of guitar and flutters of synth, it’s a song about the end of love, capturing that feeling of the all-consuming, ocean-like depths that follow. But even in the wake of loss, it’s not a sad song. This swimming melody leaves room for renewal and hope.

“One Night” by Modern Nomad ft. Not Charles
This song is a taste of dry California summertime amidst the spring thunderstorms and rising humidity of the East. It makes sense as frontman Tom McLean has spent some time making music on the West Coast, but back in Baltimore, he and his bandmates have carried over the good vibes, imbuing this unhurried groove with hushed vocals, golden harmonies, and rich, aching guitar. With hints of inspiration from ’60s psychedelia and ’70s funk, it’s a jangly slow jam worth adding to your warm-weather playlists, while the band itself is one to keep on your radar for releases to come.

“Moon” by Post Pink*
Three years since their last record, post-punk quartet Post Pink has returned with a bang on their new No Problem, Probably EP. On first listen, this steady song might seem like the release’s sleeper hit among the other more rough-and-tumble tracks. But we hear it as pure rolling thunder—an undulating, almost-meditative melody of low-lying bass, live-wire guitar, and persistent drums that gain momentum with each gravely coo or howling cry by frontwoman Angela Swiecicki. “I am howling at the moon,” she repeats like a mantra with vigor and varying volume, almost inspiring you to do the same.

“Diamonds” by TT The Artist
We find it fitting that the Club Queen herself has finally released a song about these sparkling jewels. But TT The Artist’s latest track, released earlier this year, isn’t a braggadocious rap about riches or fame like some of her best past work. Instead, it speaks to finding one’s inner-worth and letting it shine, just as she has left Baltimore to further pursue her career on the West Coast. Fitting with the Sunshine State, it’s an unfalteringly feel-good tune for all ages and listeners, full of positive affirmations and approachable rhymes with effusive production by local beatmaker Mighty Mark.

*Not on Spotify. We’ll add it to the playlist when it becomes available.

EAT

March 24: Pig Parts and Pancakes

Foraged, 3250 Chestnut Ave. 11 a.m.-3 p.m. Free.

Nothing says Sunday morning like the smell of fresh bacon, and this seasonal eatery’s pork confections will have you out of bed in no time. Join Foraged for its second annual walk-in-only brunch featuring pancakes, a wide variety of pig parts, farm-fresh eggs, as well as mimosas and their slightly more adventurous cousins “beermosas.” Eat fresh from the earth at this Hampden hotspot and be sure to pour some locally sapped maple and black walnut syrup over your pancakes to achieve that perfect local breakfast.

DRINK

March 22-24: Full Tilt Brewing Co. Opening

Full Tilt Brewing Co., 5604 York Rd. Fri. 3 p.m.-12 a.m., Sat. 11 a.m.-12 a.m., Sun. 11 a.m.- 10 p.m. Free.

From artisan craft mead to IPAs named after revered macabre master Edgar Allen Poe, there are plenty of local beer options in Baltimore. And personally, we believe that there’s no such thing as too many breweries. This weekend, celebrate the official grand opening of Full Tilt Brewing Co. with a three-day-long bash to christen this new brewery and taproom on York Road. With new beer releases, arcade games, and live music, this Govans brewery will be a contender for your favorite hangout spot after this weekend.

SEE

To March 31: B&O Best in Service

B&O Railroad Museum, 901 W. Pratt St. Free.

The B&O Railroad has always been a point of pride for our city, but, as with many chapters in history, the service of African Americans and their contributions to the railroad is largely unrecorded. Through the end of the month, visit the downtown railroad museum to take in paintings by artists Dan Content and Roy Speter that depict prominent African Americans like Thurgood Marshall and Maggie Hudson, as well as many unsung workers, who helped build arguably the most revolutionary railroad in our nation’s history.

HEAR

March 24: Kotic Couture with DDm, RoVo Monty & Chiffon

Metro Gallery, 1700 N. Charles St. 8 p.m. $10.

You may have seen this rising rapper playing MC with DJ Trillnatured during the Version dance parties at The Crown or making a cameo in local singer-songwriter RoVo Monty’s iconic “Pretty in Pink” music video, but you don’t know this fearless artist until you see them perform live. Hear them seamlessly flow between high-energy hits such as “Get Ya Life” and smooth, swaggering rhymes in “Drippin,” before sharing the stage with rapper DDm, R&B duo Chiffon, and RoVo Monty during this much-anticipated show at Metro Gallery.

DO

March 23-24: Baltimore Wing Festival

Power Plant Live, 34 Market Pl. Sat. 2 p.m.-8 p.m., Sun. 2 p.m.- 8 p.m. $14.95-49.95.

This weekend, dare to step into the carnival frenzy of the first annual and soon-to-be-notorious Baltimore Wing Festival. In between chowing down on the festival’s namesake snack, spend the afternoon throwing axes, playing tailgating games, and enjoying a brew in the outdoor beer garden. With more than 60 styles of wings to choose from and every kind of contest to you can think of (mega hot-wing eating, bleu cheese dipping, and French-fry eating), you’re guaranteed to leave with spicy lips and a full stomach.

This was a big year for Baltimore music. A decade after Rolling Stone dubbed our city the best music scene in the country, local artists continued to make great music—in some ways better than ever—and they got recognized for it, both through local listeners and on the national stage.

Locally, Baltimore artists released a record number of highly anticipated albums over the course of the last 12 months, and in doing so, also treated us to a heap of had-to-be-there concerts on our hometown stages, from Snail Mail making her debut at The Parkway to DDm transforming the Soundstage into a fashion runway to one very memorable night starring TT The Artist at Union Collective during our first-ever Baltimore magazine Music Festival. (Be on the lookout for its return in 2019.) Nationally, it seemed as if every time we went online, another local musician was being recognized by a top tastemaker, from The Fader and Vice (both thanks in no small part to True Laurels’ Lawrence Burney) to, yes, Rolling Stone, plus NPR, Billboard, and The New York Times, with one especially deserved piece on local artists of color. Hearing this music, seeing these concerts, and reading these headlines amidst the chaos of 2018 gave us a glimmer of hope.

Picking favorites from this past year has felt nearly impossible—we simply didn’t know where to begin, or end—so to help narrow our focus, we’ve chosen 20 songs off those aforementioned new albums, which includes everything from fresh-faced folk and up-and-coming hip-hop to the rebirth of indie veterans and the solidification of new rock stars. Hear for yourself, via our Spotify playlist below, but in this age of quick consumption, we encourage you to listen to these records in full, and to find your own favorites. And to continue to follow the local music scene, these artists and others, into 2019 and beyond.

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“Dive” by Beach House
We’ve learned to no longer sit on the edge of our seats for a Beach House album as over the last few years the duo has continued to drop a sudden new song here or full-blown record release there without so much as a whiff of Internet buzz. But their seventh record, aptly titled 7, did serve as a solid reminder of the band’s ability to surprise us. It’s a hazy, haunting evolution in their decade-long perfection of shimmering, fuzzed-out dream-pop, with the new songs bringing a fresh sense of urgency and innovation, as heard in this second single. It builds in Beach House’s signature slow-burning way before erupting in a potent moment of thunderous live drums and lustrous guitar. This newfound clarity only further cements Victoria Legrand and Alex Scally as indie rock royalty, in Baltimore and beyond.
Honorable Mentions: “Lemon Glow,” “Drunk In LA,” “L’Inconnue.”

“Feel Nobody” by Butch Dawson

One of the biggest breakthroughs of the year might belong to Butch Dawson (and one of the biggest oversights of the year likely belongs to leaving him out of our Music Issue’s list of top 50 bands to watch). This mosh-ready single off the West Baltimore rapper’s autumn debut, Swamp Boy, was undoubtedly one of the most beloved songs in 2018, bringing his punkish, smoke-swirled brand of hip-hop to the forefront of the local music scene. Dawson’s unbridled fire was also recognized by The Fader and that aforementioned article in The New York Times.
Honorable Mentions: “Division St. Blues,” “Liberation,” “Distances.”

“Hollow Imitation” by Caleb Stine
Long before the birth of the Charm City Bluegrass Festival and the region’s recent folk music renaissance, there was Caleb Stine, stoking the flames of his genre and its deep ties to Maryland through Americana tales over the course of the last two decades. But Moon, the rustic raconteur’s first new solo record in some time, turns its attention away from the road and religion, toward the ground-shaking, all-consuming power of love. This reverential ballad is Stine’s storytelling at its very best, with saturated imagery unfolding like an old film.
Honorable Mentions: “Higher Ground,” “Garden,” “Bodhi Tree.”

“Rude” by DDm
Okay, so we know this record hasn’t officially dropped, but anyone who’s seen DDm perform over the last several months has already fallen for the new tracks off his upcoming Soundtrack To A Shopping Mall, due out in the new year. DDm, aka Emmanuel Williams, aka Unkle Lulu, aka the Secretary of Shade, is the master of bona fide swagger, side-splitting braggadocio, and Beyoncé-worthy production, as showcased on this track. We can’t think of many (or any) other local artists who put on a performance quite like DDm; he brings it to everything he touches.
Honorable Mentions: “Ready To Wear,” “Try Me On,” “Forever 21.”

“Riddles” by Ed Schrader’s Music Beat
After a decade of cutting their chops and gaining a loyal following on the local scene, Ed Schrader and Devlin Rice finally got their national due this year, with the post-punk duo’s spring album, Riddles, via Car Park Records, lauded by the likes of NPR, Spin, and Rolling Stone. We could say it’s about time, but those years allowed ESMB to find new footing in this cathartic triumph, produced by friend and fellow local institution Dan Deacon. Out of 10 bold songs, this twinkling title track is the unrivaled star—swelling in synth-fueled emotion and ’80s-pop euphoria—speaking to facing your fears and, in turn, yourself. Just be sure to watch its Best of Baltimore-winning music video as well.
Honorable Mentions: “Kid Radium,” “Dunce,” “Tom.”

“Knock the Man Down” by The High & Wides
Yes, the city’s bluegrass scene has been growing like kudzu over the last few years, but few new bands have caught our eye—and ear—quite like this Baltimore-by-way-of-Eastern Shore string quartet. Their spring debut, Lifted, was met with critical acclaim for its reverence to, revolution from, and revival of the Americana genre; thought rooted in tradition, the band reimagines bluegrass for the 21st century. This track is all grit and gumption, from its jangly melody to its howling vocals and expert instrumentation—a back-woods boot-stomper for modern day.
Honorable Mentions: “Rake Out The Nails,” “Ballad of Caulk’s Field,” “Dark Blues.”

“Water” by Joy Postell
Diaspora, the full-length debut by Joy Postell, only affirmed what we already knew: the twenty-something soul powerhouse is a forerunner of the local music scene and a force to be reckoned with. Drawing inspiration from legends of the past (Nina Simone, Billie Holliday, Sarah Vaughn), Postell looks toward the future as a black woman in America in 2018, and each of the album’s tracks tackle the African-American experience, from freedom to love. With a rippling jazz melody and the singer’s mighty vox, this second single is an especially poignant portrait, presenting young black minds as the seeds of future change. Indeed Postell, also featured in the summer New York Times feature, is one herself.
Honorable Mentions: “Consciousness,” “North Star,” “Free Black.”

“1539 N. Calvert” by JPEGMAFIA
Heading into 2019, JPEGMAFIA is definitely one of the city’s—and country’s—top wavemakers, thanks to a record year riding on the success of his boundary-pushing spring Veteran, with fiery live performances at the likes of Afropunk and spots in a slew of end-of-year best-of lists from Stereogum to Pitchfork sold. Though he now lives in L.A., we continue to claim the rap provocateur as our own. After all, this first track off the sophomore record is an ode to the former Bell Foundry art space in Greenmount West that abruptly closed after the Ghost Ship fire in California. The murky melody is a no-holds-barred stream-of-consciousness, best listened to alongside its dystopian Last Supper music video featuring other fellow Bell regulars.
Honorable Mentions: “Baby I’m Bleeding,” “Rock N Roll Is Dead,” “Macaulay Culkin.”

“Assume The Position” by Lafayette Gilchrist & The New Volcanoes
There are few living legends left in Baltimore quite like Lafayette Gilchrist. The Baltimore-by-way-of-D.C. jazz and 2018 Baker Artist Award winner is revered by critics and listeners alike for his dynamic domination of the keys, easily recognized on his iconic scores in David Simon’s HBO series, from The Wire to The Deuce, but the. On his latest EP, Deep Dancing Suite, Gilchrist and his 10-piece New Volcanoes bring back the uncontainable energy of jazz-era improvisation with a dose of modern danceability. Notably, this long-held hit gets new life at nearly double its original length, where keys, brass, and percussion take part in a lively jive. The reinvention stands testament to the artist’s freestyle fluency and finesse.
Honorable Mentions: “Deep Dancing Suite,” “Ping Pong,” “Return of the Inchworm.”

“Where I’m Bound” by Letitia VanSant
In her spring album and follow-up to 2015’s Parts & Labor, Gut It To The Studs, folk singer-songwriter Letitia VanSant crafts a thoughtful opus on new chapters and change, with this first melody being a love letter to that of personal growth. On it, VanSant’s mellifluent voice rolls bright and clear along a hearty river of acoustic guitar, upright bass, and old-school fiddle, setting the stage for the rest of the record and embracing the yet-to-be-seen discovery that still lies ahead of her. In the end of both this song and the entire record, she emerges newly powerful and perceptive. We’ll be anxious to see how she channels that newfound purpose on her next release.
Honorable Mentions: “Gut It To The Studs,” “Wild Heart Roam,” “Sundown Town.”

“Winning” by Peso Da Mafia
Last summer, Northeast Baltimore rap group Peso Da Mafia launched onto the local airwaves and, shortly thereafter, national stage with their come-up single turned viral dance video “Money Man.” It would be a tough act to follow, but by early 2018, the trio would drop this sneak peek off their debut Never A Drought via Warner Music subsidiary Asylum Records. With more than a million Spotify listens and YouTube music video views for this track, it’s safe to say that their slow-burn beats, confident rhymes, and catchy hooks are in anything but short supply. And with slots at SXSW and the BET Awards preshow, plus shout outs in Complex and XXL, it seems the big-wigs are watching, too.
Honorable Mentions: “Money Man,” “TSAY,” “About Us.”

“Homeward Bound” by Sean K. Preston & The Loaded Pistols
We’ve heard this ballad around the Fells Point dive bars for a few years, but newly produced on the fall full-length, Forgive, by Sean K. Preston and his band The Loaded Pistols, the country blues number has taken on new meaning. This song details the heartache, hard luck, and hungry dreams that it takes to be a full-time musician, and in term, captures the essence of one of Baltimore’s most dogged performers and true-blue, truth-speaking storytellers. After more than a decade on the local scene, this ballad and its accompanying record not only document but put on full display the hard-earned talents of Preston and his bandmates.
Honorable Mentions: “Last Call,” “Barnburner,” “Life’s a Bitch.”

“cherubim” by serpentwithfeet
This spring, the unexpected sound of serpentwithfeet, aka Baltimore native Josiah Wise, brought the country’s top music critics to their knees. The avant-R&B artist’s debut soil was considered a singular tour de force—absorbing in its theatricality, moving in its occult spirituality, liberating in its effusive emotion—transcendent of all boundaries. In short, it’s unlike anything anyone had heard, as showcased in this devastatingly intimate devotional. The holy roller brings the multitudes of love, specifically queer black love, to light, melodically marching uphill to the pedestal upon which we humans put our lovers, chanting a declaration of dedication through an intricately layered chorus of Wise’s vibrato vocals and soaring tenor with every step along the way.
Honorable Mentions: “whisper,” “bless ur heart,” “mourning song.”

“Play Hard” by Soul Cannon
Seven years is a long time for any band to not release new music but still maintain its relevancy in the music business. But rules don’t apply to the hip-hop collective of Soul Cannon, which remains a vital force on the local scene for its explosive experimentation and fiery live shows. And MC Eze Jackson and his three classically trained comrades have only solidified that status through this winter’s self-titled record on which the quartet continues to break new ground through old tracks and new. Exhibit A: this agile sprint of a song that we can’t get enough of, founded in the tight tango of Jackson’s urgent, poetic vocals and his bandmates’ wily, propulsive instrumentation. The band is a well-oiled machine that inspires any listener—music, writer, whoever you are—to play harder, too.
Honorable Mentions: “Hospital Records,” “F Sharp,” “Talk Less.”

“Pristine” by Snail Mail
We wish Snail Mail had been around when we were in high school. Has there ever been a band that so perfectly bottles the essence of the teenage heart? Have there every been any lyrics—“Don’t you like me for me?” or “I know myself and I’ll never love anyone else”—that so captured and catapulted out into the world the hidden thoughts and emotions of that tumultuous time of life? Maybe that’s why this has been the year of Lindsey Jordan, with the Ellicott City 18-year-old, her debut Lush, via Matador Records, and this first single featured in nearly every noteworthy publication and best-of end-of-year list on record. And rightfully so—Jordan is the brooding, heart-on-her-sleeve rock star we needed in 2018. And next year, too.
Honorable Mentions: “Heat Wave,” “Golden Dream,” “Full Control.”

“Vulture” by Super City
To get a dose of the infectious energy and undeniable chemistry of Super City, pick any song off their fall Sanctuary—the indie (or “freakwave,” as they’ve been called) quintet’s new fall record. Though not one of the band’s first singles, we find this breakneck anthem to be a good starting point. Co-frontman Greg Wellham commands the mic on this pop-punk-go-go melody, riddled with livewire guitar, punchy drums, and one epic buildup starting at the 2:25 mark as they swat away negative energy. For the full effect, see it live for their fancy, fame-worthy footwork. We’ve said it before and we’ll say it again: these are the local rock gods you need to know now.
Honorable Mentions: “Sanctuary,” “Artificial Sin,” “Ghosts of Love.”

“I Lost You” by Surf Harp
Eighties kids will feel instantly drawn to Surf Harp’s Mr. Big Picture. Maybe it’s because of the indie quintet’s visuals, reminiscent of the early Macintosh computers and MTV music videos of our youth. Likely it’s their post-punk-meets-new-wave sound, as creative and off-kilter as a Talking Heads hit. This band finds their own lane, though, with each of this spring record’s 10 songs keeping their own unruly pace. For us, this shadowy ballad felt like the album’s diamond in the rough, building from windswept melancholia into a swirl of momentum, spinning out before the story ends, leaving you wanting more.
Honorable Mentions: “D.I. Cig,” “Catholic Glass,” “Homework Program.”

“Payroll” by TT The Artist
We’d like to put it on record: Baltimore Club queen TT The Artist is one of the hardest working musicians in the business. In 2018 alone, she premiered the trailer for her upcoming directorial debut, Dark City: Beneath the Beat, a full-length documentary on the city’s music and dance genre of Bmore Club; she moved to L.A. and launched her all-women Club Queen Records, still with frequent stints back east for filming and fiery performances; and she dropped the label’s first Club Queens EP with New Jersey’s UNIIQU3. But one listen to her label’s first single—full of unabashed bravado, electric beats, playful creativity, and featured on heavy rotation this summer on 92Q—and you’ll see that TT is just getting started.
Honorable Mentions: “Off The Chain,” “Freaking in the Club,” “Fall Back.”

“It’s Okay” by Wume
We knew we couldn’t wait for new music from experimental duo Wume after their mesmerizing 2015 EP, Maintain, but this fall, their new full-length record left us completely dazzled. In a quest for deeper truths, Toward the Shadow, via Northern Spy, offers a moment of reflection and introspection. Combining sparkling electronics by keyboardist Albert Schatz and newly prominent vocals in the form of philosophical incantations by drummer April Camlin, the band takes listeners on a trip into even more immersive soundscapes, urging them to dig deeper, to push further, to shift and breakthrough, just like the band has. This track is a rejuvenating listen in the chaos of our modern times.
Honorable Mentions: “Shadow,” “Walled Garden,” “Ravel.”

“The Louder I Call, the Faster It Runs” by Wye Oak
We could feel something stirring in Wye Oak’s 2016 release of Tween. A transition. A simultaneous closure and commencement. A reawakening. And now, with this gorgeous spring record, it all makes sense, as the band has emerged as a stunning new version of itself—and yet after 12 years, we’ve maybe never felt more in tune with music by Jenn Wasner and Andy Stack. Out of a dozen deeply human songs, this title track is an illuminating crescendo, revealing the beauty of the journey toward yourself. We still find ourselves pouring over its lyrics for answers, ultimately finding some sort of solace in the song’s—and life’s—elusions. As Wasner concludes, “Sometimes it takes a long, long, long time,” and if Wye Oak’s long game is any indication, the wait is certainly worth it.
Honorable Mentions: “The Instrument,” “It Was Not Natural,” “Lifer.”

EAT

Dec. 16: Refugee and Immigrant Arts Feast

Space 2640, 2640 Saint Paul St. 4-7 p.m. Free.

Mera Kitchen Collective has been bringing locals of all ethnicities, heritages, and apetities together, and this Sunday, the worker-owned co-op will host its second annual arts feast to celebrate the culinary talents of its newest members. Following the collective’s mission of empowering refugees and immigrants through cooking, this festival for the senses will feature eats by first-time female refugee food vendors along with craft and art vendors from around the world.

DRINK

Dec. 15: Christmas Pajama Brunch

Don’t Know Tavern, 1453 Light St. 10 a.m.-2 p.m. Free.

Break out your candy cane onesie and snowflake slippers and head to Don’t Know Tavern for a Christmas morning-inspired brunch, featuring all-you-can-drink Bloody Marys, mimosas, and select beers. If you need an extra incentive to take on this Federal Hill pajama party, there will be presents under the Christmas tree for brunch-goers who indulge in bottomless drinks as well as a Toys for Tots gift drive.

SEE

Dec. 15: Old Goucher Design Open House

2219 Saint Paul St. 11 a.m.-4 p.m. Free.

We look forward to snagging signature prints and concert posters by local design powerhouse Post Typography every December during their annual studio sale. This year, they’ve upped the ante by inviting neighboring shops to help turn the one-day tradition into a full-blown shopping crawl. Spend the day in Old Goucher checking out the latest local designs and gifts at stores like Co_Lab Books, Fadensonnen, Baltimore Print Studios, Kelmscott Bookshop, Made in Baltimore Holiday Store, and, of course, Post Typography.

HEAR

Dec. 15: The Holiday Slay

Metro Gallery, 1700 N. Charles St. 8 p.m. $10.

Whether he’s rapping songs like “Burfday Bitch” and “Rude” to a sold-out crowd or reading chapters of Omarosa Manugault Newman’s tell-all book on Facebook Live, DDm slays everything he does. This Friday, the local rapper and self-proclaimed Secretary of Shade will host this one-of-a-kind social with Christmas-inspired performances by opera-pop duo Outcalls, RoVo Monty, Randi & Infinity Knives, and beats by Trillnatured and DJ Sean J. For the main event, hear DDm give live readings of stories like A Charlie Brown Christmas and How The Grinch Stole Christmas as well as his own soon-to-be-classic—The Holiday Slay.

DO

Dec. 15: Baltimore SantaCon

E. Cross St. 12 p.m.-10 p.m. $8-15.

Santa Claus is coming to town a few weeks early this year. Don your fluffiest white beard and follow the crowd of St. Nick look-a-likes to East Cross Street in Federal Hill, where the neighborhood’s bustling main street will be filled with pop-up bars, drink specials, and tons of holiday cheer. Spend the day practicing your best “ho, ho, ho” and celebrating the season of giving during this one-day festival that benefits the Kamryn Lambert Foundation.

“Honey, let’s get into this chapter here,” is how Baltimore-based rapper DDm began his Facebook Live video Tuesday night as he began his latest live reading of Omarosa Manugault Newman’s tell-all book, Unhinged: The Omarosa Story. For the past few weeks, DDm, who was born Emmanuel Williams, has been reading in his living room with his cat Taco Bell by his side—with plenty of colorful commentary—to his thousands of followers.

Williams, who is very much into politics, planned to read Manigualt Newman’s book just for leisure but he says that when she revealed that she had tapes of White House conversations, he just knew that he wanted to take it to social media.

“I didn’t think anybody was going to care,” he said. “I just thought that me and a few of my friends would just laugh and ki-ki and then move on with our lives. I had no idea it would be all this.”

Viewers tune in Tuesday through Thursday as he reads various excerpts from the book and discusses it in the only way he knows how—very candidly. Tuesday night, Manigault Newman even commented on his live stream saying that she wanted to meet him.

“I wasn’t expecting that at all,” Williams said of the comment from the former reality star and Trump political aide. “I’m gagging! I was so shocked. I didn’t even know until someone pointed it out to me.”

Williams’ videos come at a time when plenty of whistleblowing and controversy is surrounding the Trump administration and the rapper says he’s happy to be part of the conversation.

“I get so many emails and messages from people who were completely tapped out with the whole situation in the White House,” he says. “They say I’ve reinvigorated their interest in what’s going on politically.”

After receiving an overwhelming amount of support from his more than 20,000 Facebook followers, Williams has decided to expand his reach by launching a new YouTube channel, a Christmas special, and a podcast Secretary of Shade set to debut on September 4.

“People are telling me that they watch it like a TV show,” he said. “If they like it, I’ll keep doing it. It’s a great way to showcase all that I do. People aren’t tuning in because I have a hot record, or they love the video. They just like to hear me read a book.”

DDm

Soundtrack To A Shopping Mall (TBD)

We’d been waiting on the edge of our seats for this first full-length record from Emmanuel Williams, aka DDm. From one of the city’s most spirited performers, it promised to be swimming in swagger and subtle wit, and DDm’s solo talents—honed on the battle-rap circuit before forming his beloved duo, Bond St. District—are on full display. But this album is so much more than its fearless energy, irreverent humor, and abundant pop culture references. The creation of an ’80s child born and bred in Baltimore, it takes a thoughtful look at capitalism, celebrity, and excess in an age of ever-growing economic disparity in America. Across 14 tracks, it shines brightest in its buoyant, braggadocious moments, such as “Ready To Wear” and “Try Me On.” But its true strength lies in the final tracks, like “Forever 21” and “Closed,” in which he removes his armor of bravado to reveal a complex portrait of growing up as a young black boy in a generation of broken promises. With an uncanny awareness of city and self, DDm stares down those lost hopes and uses his own ambitious talent as living proof that you should never give up.

See our full interview with rapper DDm.

Charm City Junction

Duckpin (self-released)

Over the years, Charm City Junction has become an integral part of the city’s swelling Americana music scene. Following their stellar 2015 debut, this new sophomore release showcases the quartet’s genuine chemistry and growth. Rooted in the acoustic traditions of their old-time genres, these 11 tunes are a tight display of passion and precision, using hearty melodies to flaunt their intuitive instrumentation, whether they’re harmonizing on vocals or strings—fiddle, mandolin, banjo, upright bass, and even one achy-breaky, breathy accordion. From Celtic jigs and coastal ballads to Appalachian stomps, each song unfurls with an organic momentum. Sometimes, they roll like a train, big and bold and building in tempo, while at other times, they’re more like a river, gentle and lush with a lilting rush of emotion. It’s the kind of music that can only be made by old friends—and old souls—and is best listened to outside in the open country air. Hold onto the season with personal favorites “Duckpin” and “Farewell Tennessee.”

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.

In the latest iteration of The Big Baltimore Playlist, we found five local songs ranging from game-show gold and unrivalled rap to the-next-big-thing indie rock. Check back each month for new top songs of the moment, and follow our Spotify playlist as we continue to build a soundtrack for our city. 

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“Come On Down” by DDm* 

If we weren’t already excited for the upcoming release of DDm’s Soundtrack To A Shopping Mall, this high-spirited single has turned our anticipation up to an 11. Who knew that The Price Is Right theme song could be so much fun? Leave it to Manny Williams, who you might know as one part of hip-hop duo Bond St. District, to transform this iconic game-show jingle into a hater-swatting dare. With the ’60s-tinged tune turned into a sparkling, staccato loop, the boisterous rapper and lover of pop culture takes Bob Barker’s trademark line and declares, “If you want to steal my crown, I told ya’ll hoes to come on down.” We wouldn’t recommend it; Williams is royalty on the local music scene.

“Box” by Deetrenada

With the help of Baltimore arts mag True Laurels, we just caught wind of Deetranada, and when we did, we had to ask ourselves: Under what rock have we been living? This young rapper—a mere 16 years old—has some of the most sharp, sophisticated rhymes we’ve ever heard, on both the local and national scene. Last year, she placed second on season three of Jermaine Dupri’s Lifetime Channel The Rap Game and released her debut mixtape, Adolescent Swim, which included this breathless flow. Watch its new music video and prepare to hold up your jaw.

“Foxglove” by Gideon Gallows

Before Drew Scott joined electronic R&B duo Blacksage, he was a respected solo artist, known for skilled raps and masterful production across both his own and his friends’ beats. With his new Critter, he now returns as Gideon Gallows, and the results are as bewitching as ever before. This deliriously springtime song, fittingly named after the bell-shaped flowers that sprout up this season, stands out among the album’s other murky melodies. Over an off-kilter, almost tango-esque rhythm, Scott’s distorted vocals tangle with the background coos of his fiancée, Pale Spring, for a hazy love song, fit for the warm, tempting days that lie ahead.

“Two Stop Train” by Pocket Bells

We dig the way this song builds like the subject of its title, with the indie-rock seven-piece’s pounding piano, thunderous drums, and urgent guitar gaining momentum before Piper Greenbaum’s mighty, earthy vocals peak at the anthemic chorus. The rolling melody makes you want to follow along, undulating toward some unknown destination, knowing that some sort of consolation awaits at the end of the line. Let its expert instrumentation build—and then expect to hear this number on WTMD’s heavy rotation all summer long.

“Pristine” by Snail Mail

Boy are we rooting for Lindsey Jordan. The 18-year-old Ellicott City native has shredded her way to indie stardom, with her now four-piece rock band’s debut Habit making waves across the national scene. Last year alone she played SXSW, graced The New York Times, and recorded an NPR Tiny Desk concert, and, if this new single off next month’s Lush is any indication, she’s just getting started. With heart-on-her-sleeve vocals and jangly ’90s guitar, Jordan’s lo-fi sound ignores the modern trappings of auto-tune and electronic touches to create something that, in its outright authenticity, feels completely new. Keep your eyes peeled for their full-length record, out June 8 via Matador Records.

*Not available on Spotify. We’ll add it when if/when it comes online.