DJs – Baltimore Magazine

Pop Goes The . . .

Jess Mayhugh — Tue, 26 Mar 2019 08:30:00 +0000

The first time Mahala Morefield met Weasel, aka Jonathan Gilbert, she was a law firm receptionist posing as a music writer from the Lone Star Dispatch. It was 1975. Morefield had relocated to Washington, D.C., from Austin and stumbled across a high-pitched nasal voice spinning records on an eclectic midnight to 6 a.m. show at a 3,000-watt station with the call letters WHFS (“High-Fidelity Stereo”).

Little Feat, the Stones, Frank Zappa—a Romani-French jazz guitarist named Django Reinhardt with only eight good fingers—somehow it all fit together each night. “I had a musical crush on Weasel,” recalls Morefield. “I set up a phony 5 a.m. meeting and held on to the cassette tape of that ‘interview’ forever.”

Fast-forward almost 45 years. The WHFS days—including the later years when the station moved to Annapolis and blasted its new 50,000-watt signal toward Baltimore—are long past. The station’s epic HFStivals, of course, are gone, too. But Weasel, whose nickname was bestowed by an American University classmate who thought he resembled the creature on the cover of the Zappa-produced 1970 album Weasels Ripped My Flesh, is still on the air, spinning now for Towson University’s WTMD.

Because Gilbert doesn’t drive—he still lives in the same Bethesda building where the old WHFS studio was located and where its transmitting tower remains impaled on the roof—a revolving band of 50-plus volunteers, fondly referred to as Weasel’s Wagon Train, takes turns transporting the unlikely D.C.-Baltimore cultural icon to Towson to record his once-again, organic, free-range shows on WTMD. (Passionate, engaging, witty at the microphone, Gilbert isn’t quite a recluse off air, but he’s not on Facebook or other social media, either. “Why would I do that? I want to listen to music and I want other people to listen to music.”)

A Long Island native, Gilbert’s extraordinary curatorial gifts begin with a great natural ear, followed by a deep curiosity and impeccable memory. “It started with a transistor radio when I was 10 years old,” he says. “I’d stay up all night, covers pulled over my head, not wanting to miss a thing—sometimes that was one of the great jocks from WBAI in New York, sometimes it was a baseball game—on a good night you could get Bob Prince from Pittsburgh. I listened to Chuck Thompson from WBAL long before I came to Baltimore.”

An older brother introduced him to Chuck Berry and Little Richard. He heard the records his uncles, aunts, and parents played, their personal interests skipping from folk to jazz to Sinatra and big band. Singing in the school choir, playing clarinet through 12th grade, and graduating high school in 1967 when album-oriented rock was transforming radio, Gilbert absorbed everything.

To this day, his playlists pop with surprises and style as he juxtaposes songs in the same key and effortlessly raises and lowers the tempo. “You create a narrative, an emotional journey,” he says, thumbing through a tattered notebook during a recent set that spanned gospel, early civil rights-era, and black-power soundtracks on Martin Luther King Jr. Day. “Music is visceral first.”

In between, he provides the kind of nuggets and backstories that music lovers geek over. “When I hear something new that I like—and it could be something that’s old—I’m still that 10-year-old kid,” he says. “I want to hear it 10 times. And, like a guitar player figuring out the chords, I want to slow it down and see how they did what they did.”

By coincidence, Morefield, who moved back to Texas in the late ’70s, returned to the area shortly before Gilbert joined WTMD nine years ago. After not conversing since her “interview” when both were in their mid-20s, she’s now a friend and occasional Wagon Train driver. A whole lot and nothing has changed. “He plays your soul, your heart,” she says of his Weasel Wild Weekend shows. “A maestro of the radio. One song vibrating off the next.”

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Lineup for Preakness Stakes 2019 Announced

Jess Mayhugh — Mon, 25 Feb 2019 15:49:00 +0000

In one of the most high-profile lineups of recent years, DJ and producer Kygo, Grammy-winning DJ Diplo, and Grammy-nominated rapper Logic will be headlining the 2019 Preakness Stakes. Also joining them on the InfieldFest stage at Pimlico Race Course on May 18 will be breakout hip-hop artist Juice Wrld, DJ and producer Fisher, and rising star DJ Frank Walker.

Since I.M.P. began programming Preakness’ music in 2009 and The Stronach Group began operating Pimlico in 2011, the middle jewel of the Triple Crown has been trying to attract a younger audience with its musical acts. Past performers have included Post Malone, Lorde, Bruno Mars, and The Chainsmokers.

“This year’s InfieldFest represents the evolution of our entertainment program at The Stronach Group and carries out our mission to deliver world-class entertainment experiences with outstanding talent,” said Jimmy Vargas, the group’s EVP of entertainment. “This year’s InfieldFest lineup brings the excitement of the race track to the stage and encourages a new generation of race goers to experience The Preakness Stakes.”

This comes at a time when Baltimore Mayor Catherine Pugh has been blasting the Stronach Group for proposing legislation that would permit funding for one big “super track” in Laurel, not Baltimore.

In a letter to Governor Larry Hogan and General Assembly leaders, Pugh wrote: “Certainly, before throwing away the racing tradition of the Preakness Stakes, the annual ‘Super Bowl’ of Baltimore city, and a generator of significant revenue for Maryland, [The Stronach Group] should be required to demonstrate that they have the bandwidth to create their recently announced ‘super track,” referring to the family being embattled in multiple lawsuits.

When profiling chairman and president Belinda Stronach last year, she made it all but clear that their sights were set on that super track they are now pursuing.

“For us, if we’re going to make the investment, it’d be better to have one track that caters to everyone,” Stronach told us. “Having said that, we totally respect the tradition of the Preakness at Pimlico. It’s a complicated question. We don’t know how this will unfold, but we’re going to do what’s best for the sport and the fans.”

For this year, at least, the horses will be running in Baltimore and the musical acts will take the stage at Pimlico. Particularly exciting is Gaithersburg native Logic, who has been nominated for three Grammys and shot to stardom with critically acclaimed mixtapes and whose third studio album Everybody was certified platinum.

Diplo has become a global superstar in his own right, working with some of the top artists in the industry like Beyoncé, Justin Bieber, and The Weeknd and has toured the world solo, as well as with Skrillex and as one third of Major Lazer. Norwegian DJ, producer, and songwriter Kygo has taken the world by storm, hosting the world record for fastest 1 billion steams on Spotify and is known for his performance during the closing ceremonies at the Rio Olympics.

Tickets can be purchased online now and start at $59 for general admission, with VIP packages featuring an elevated viewing platform, bottle service, and private bathrooms available. Certainly a far cry from the infield debauchery of yore.

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Change of Scene

Aaron Hope — Thu, 01 Nov 2018 08:00:00 +0000

When Station North became the city—and state’s—first official arts district in 2002, the neighborhood’s blighted streets did not yet reflect the scrappy arts and music community that was brewing under the surface. At the time, creatives of all cloths were cutting their teeth in grassroots and underground venues, but in just a few years, that DIY scene would boil over and help put Baltimore’s art on the map.

“Baltimore always had a reputation for being gritty and this history of great big warehouse spaces,” says Tony Shore, chair of the MICA painting department. “That’s where the charm is. But when you start making places like the Copycat [Building] more ‘desirable,’ to me, it becomes the opposite.”

The scene almost fell apart before it truly started. In 2012, the Load of Fun artists’ space closed, and tenants such as the Single Carrot Theatre were told to vacate the premises. Other arts venues soon followed: the decades-old Hour Haus, the beloved Bell Foundry, and, just last January, the Post Office Garage studios, while the iconic multi-use H&H Building has been put on hold. Safety issues were often cited within the buildings, and Mayor Pugh’s Safe Arts Space task force—though well intentioned—failed to thoroughly address the issue. Meanwhile, an influx of investment flooded in from MICA, Johns Hopkins, and the Deutsch Foundation’s Baltimore Arts Realty Corporation.

Of course, these changes reflected the eternal paradox of arts districts: “As we try to make shaky areas safer and attractive to artists, we make it unaffordable to them,” says former Baltimore Museum of Art director Doreen Bolger, who is still a regular patron of the local art scene. “But if you want to make a city unique, the arts are the way to do it.”

As spaces shut down, artists moved their work into more mainstream venues such as the Metro Gallery or, more recently, The Crown, even finding homes in other arts districts in Highlandtown (Creative Alliance) and Bromo (Maryland Art Place). But as the scene has dispersed, there has been a silver lining.

Keepers of the Flame

Local art groups keep the city’s creative spirit alive.

FLUID MOVEMENT

For nearly 20 years, this aquatic crew has bolstered Baltimore’s quirky side through glittery costumes and LOL choreography across our city pools.

AFRO HOUSE

Forget your traditional concert venues during these intimate, salon-style house concerts, which are committed to creating innovative music experiences outside the box-office lines.

submersive productions

This three-year-old troupe turns traditional theater on its head, reimagining the audience experience by encouraging them to immerse themselves in another world.

mind on fire

The future of classical music lies in the hands of this full chamber orchestra ensemble, evolving the genre through unconventional compositions.

BALTIMORE rock opera SOCIETY

Only in Baltimore could hard rock and high art collide, and this decade-old theater company brings down the house with their raucous performances.

In a majority-black city with an arts scene that had long been seen as predominantly white, the shift has helped make way for artists of all races, genders, and backgrounds to have their work more widely seen and heard. Joy Davis of Waller Gallery sees more diversity in music and performing arts specifically. “But it’s still an issue, highlighting black local visual artists,” she says. “It’s still a challenge to figure out how.”

Newer venues—including Impact Hub, Motor House (in the former Load of Fun space), and the outdoor Ynot Lot—have made it their mission to feature more inclusive programming. To some, these repurposed buildings still represent the scourge of gentrification, but others see them as safe, affordable spaces for artists to work, network, and show off their talents. Meanwhile, artist-curated events, like the Bmore BeatClub hip-hop shows and the Version LGBTQ dance nights, pictured, have become monthly rituals.

Major institutions continue to play a role in strengthening inclusivity, too. Bolger placed a major emphasis on exhibiting Baltimore artists at the BMA, a tradition that continues with Christopher Bedford at the helm. (She also instated free admission, which The Walters Art Museum adopted, making their world-class collections accessible to all.) The Reginald F. Lewis Museum increased its inclusion of local artists, such as Devin Allen, Megan Lewis, and Wickerham & Lomax. And performing arts centers like the Baltimore Symphony Orchestra and Baltimore Center Stage have also continued to support the city’s actors and musicians while expanding community outreach.

The best part? As the landscape widens, artists of all mediums are deciding to stay rooted in Baltimore, even as they become nationally (and internationally) known. They include writers D. Watkins and Kondwani Fidel, visual artists Amy Sherald and Stephen Towns, and musicians such as Abdu Ali, whose Kahlon parties sparked the city’s hunger for diverse, dynamic lineups, and Dan Deacon and Future Islands, who can be found at local venues between world tours.

They’ve each expressed the intention to sustain and build the energy here and usher in the next generation. Maybe they’ll be our next Joyce Scott, Anne Tyler, or John Waters, who all still live here. More likely, they’ll be something completely new.

ART AND SOUL

By Jess Mayhugh

When a vibe doesn't change in nearly 40 years, you must be doing something right. Artscape, the annual blisteringly hot arts festival, is one of the few things Baltimore can always count on. Every July, it's a chance for the city to break down its barriers of age, race, and gender for one giant, sweaty party. Whether fanning yourself to the beat at the train-station-turned-amphitheatre, staring wide-eyed at a rollerblading troupe on Charles Street, sucking down a lemon-peppermint stick or cold light beer at Mt. Royal Tavern, or admiring the amazing artisans on the streets of Bolton Hill, you'll feel charmed all weekend long.

HIDDEN FIGURES

By Michelle Harris

Baltimore’s charm has long been rooted in its one-of-a-kind centers of culture. And before D.C. had its acclaimed museum of African-American history, we had the National Great Blacks in Wax Museum—the first of its kind in the country. For over 35 years, this best-kept secret has evolved from an Afro-centric Madame Tussauds, housing 100-plus life-size replicas of prominent African-Americans, from Frederick Douglass to Barack Obama, into a veritable black Holocaust museum, with compelling portrayals of racism and slavery, and plans for a major expansion. Today, it serves as “not just a place for people of color,” as one Yelp reviewer put it, “but a place for people of hunger and understanding.”

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The Music Issue

Jess Mayhugh — Mon, 07 May 2018 08:30:00 +0000

Edited by Lydia Woolever
Written with Lauren Bell, Christine Jackson, Lauren Larocca, Jess Mayhugh, and Sam Sessa
Photography by Micah E. Wood
Poster & Lettering by Nolen Strals
Illustrations by Alex Fine

Arts & Culture

The Music Issue

We celebrate 50 local artists to know right now.

Edited by Lydia Woolever. Written with Lauren Bell, Christine Jackson, Lauren Larocca, Jess Mayhugh and Sam Sessa. Photography by Micah E. Wood. Poster & Lettering by Nolen Strals. Illustrations by Alex Fine.

When this story hits stands, it will mark exactly one decade since Rolling Stone dubbed Baltimore’s music scene the best in the country.

At the time, in 2008, DIY spaces spread across the city like kudzu, and Dan Deacon was the rabble-rousing ringleader of the underground arts community, with his eclectic Wham City collective propagating wild festivals like Whartscape, where a fledgling Future Islands—fresh off the bus from North Carolina—performed some of their very first shows. Local indie music was on fire, as Wye Oak inked their first record deal and Beach House finished their first world tour. Meanwhile, Baltimore Club music had made a comeback, with young producers like Blaqstarr and K-Swift carrying on the frenetic dance legacy of legends like Miss Tony and Scottie B. And even the Baltimore Symphony Orchestra, with its new leader, Marin Alsop—the first female head of a major American symphony—was looking toward the future.

All of that to say, Baltimore was the epitome of cool.

Then, as now, it was the artists—working, creating, breaking boundaries (or never letting them get in their way in the first place)—who transformed this city into a nexus of ferocious creative energy. Then, it was a bunch of ’80s kids, raised on punk rock and hip-hop, who channeled their youthful angst into art. Now, it is a genre-blurring blend of veterans and rookies, from rappers to rock bands, who are upholding and evolving things, even finding inspiration through some of our city’s darkest hours following the Baltimore Uprising in 2015.

Today, Deacon is still here, expanding his repertoire and supporting the local scene. As is Future Islands, when they’re not starring on late-night television shows or gallivanting across the globe. The rap scene is at full tilt, with fiery talents like JPEGMAFIA and Lor Choc leading the pack, and Bmore Club is back, again, blossoming outward with the help of TT The Artist and Abdu Ali. Even Baltimore’s bluegrass music might be the most popular it’s been since the 1950s.

Biggest of all, “the scene” is no longer seen as just a bunch of hip, young, white dudes; it is a cornucopia of ages, races, genders, and orientations, culling together their distinctive stories and styles into the musical petri dish of Baltimore.

In the same vein as the past decade’s era of unruly experimentation, these days, it seems like some new talent or original sound is born every time we blink. On any given night, you can find a dozen acts of all genres performing their hearts out across the city, now with the help of legitimate venues like The Crown. And at each of these shows, there is a muster of other musicians, either playing on the same bill or dancing with abandon at the foot of the stage.

It’s that sense of community that will sustain the music scene’s momentum this year, and next year, and for the foreseeable years after that. The scrappy, fearless heart of things is as strong as it was a decade ago, but with all walks of Baltimore life exchanging ideas and letting their freak flags fly, we would argue it’s even stronger.

Of course, always, it also comes back to Baltimore—our underdog city, which, for better or worse, has long been unafraid of its own reputation, let alone anyone’s outside opinion. Like the local music scene, this town prides itself on its unapologetic authenticity—one that hotspots like New York City, Nashville, Austin, or Los Angeles could never touch.

As Matmos’ M.C. Schmidt once told us, “In places like New York or San Francisco, there are a lot of folded arms, like, is this really cool enough? There’s very little of that in Baltimore. People here don’t care if it’s ‘cool enough.’ It’s like, I’m deciding for myself. I came here to enjoy myself, or be illuminated, so I’m going to give it the benefit of the doubt, which is very fertile ground to be in as an artist.”

In short, Baltimore isn’t trying to be the next Brooklyn; it is totally and uniquely itself.

For that, we’d like to celebrate the local music scene—right now, in this very moment. We’ve rounded up 50 artists who are demonstrating the kind of raw talent that keeps us on our toes. There are singers who are soaring to new heights, bands on the precipice of stardom, and a few who have already made it but never forget that Baltimore is the place where it all started. And this list is just the beginning. We encourage you to get out there. Go see a show, even if you’ve never heard of a single soul on the lineup. Try out a new genre, even if you’re intimidated or afraid of being bored. Open yourself up to the amazing sounds of this city, and we guarantee, you’ll surprise yourself. Most importantly, though, we urge you to support this remarkable group of musicians who continue to keep music alive and well in Baltimore. Thanks to them, the country’s best music scene is only getting better.

The Music Issue Playlist

Experimental Rap

Abdu Ali

With a backbone of Bmore Club and a brushstroke of jazz, Ali’s music is an amalgam of futuristic punk-rap. He’s become a fierce leader for queer artists and creatives of color in Baltimore and beyond, and his FIYA!!! mixtape is sure to be exactly that.

Listen to: “DaWon,” “Did Dat,” “Keep Movin’.

Hip-Hop

Al Rogers Jr.

This beloved hip-hop artist imbues optimism into every inch of his heart-on-his-sleeve songs. With playful wordplay and infectious melodies, there’s a buoyancy to Al’s beats, reminding us that bright days lie ahead.

Listen to: “Sayno,” “Choozyluva,” “Luvadocious.”

POP-PUNK

All Time Low

These Towson headliners have given us New Found Glory vibes since they were in high school. Now, they’ve joined the big leagues, bringing their new hits to this summer’s final Warped Tour.

Listen to: “Missing You,” “Good Times,” “Dear Maria, Count Me In.”

ELECTRONIC R&B

Amy Reid

Last fall, this DIY habitué and one part of experimental R&B duo Chiffon dropped her solo debut to much fanfare. With twinkling tones and ethereal arias, her euphoric electro-pop sends listeners into a welcome daydream.

Listen to: “Like Laughter,” “Only Tonight,” “Threshold.”

Even as big, shiny venues become commonplace across the country (hello, The Anthem in D.C.!), here in Balt, our favorite spots are still a few small, stellar stages that we hope play on for years to come.

Tap to Expand

POWER POP

Andy Bopp

This dedicated performer’s magnetic pop-rock music has won over local audiences across multiple bands and decades. Last year’s melodic solo single, “Shadow,” was named WTMD’s top song of 2017, and his new album, Wherewithall, drops this month.

Listen to: “Sure and True,” “Shadow,” “Cannibal.”

ROCK

Arbouretum

This committed quartet is revered for its meandering medley of fuzzed-out folk-rock. Each song is a world unto itself, with poetic frontman Dave Heumann offering heady meditations on the likes of mythology and nature.

Listen to: “Song of the Rose,” “The Highwayman,” “Renouncer.”

EXPERIMENTAL HIP-HOP

Boom Bap Society

Every third Tuesday, The Windup Space transforms into this boisterous brainchild of Wendel Patrick and Erik Spangler. The 7-year-old collective turns hip-hop into an onstage jamboree, inviting artists to join in and break new ground.

A debut record is slated for this year.

Dream Pop

Beach House

For over a decade, the haunting vocals of Victoria Legrand and hypnotic instrumentation of Alex Scally have given us all the feels, with the superstar indie duo always sending us down a sepia-toned memory lane. But on their new album, 7, they reinvent that sensation—his guitar more urgent, her synth more staccato and swift—as if they’ve awoken rejuvenated from their velvety sonic slumber, still the same blissful Beach House, but ready to start anew.

Listen to: “Lemon Glow,” “Dive,” “Myth.”

SOUL

Brooks Long

Whether strutting his stuff solo or fronting The Mad Dog No Good, this dynamite soulman takes us back to a bygone era. Now a Creative Alliance fellow, he hosts the intimate Songster Series to highlight the region’s talents.

Listen to: “Got Soul,” “The Runaround,” “Heavy Petting.”

AMERICANA

Bumper Jacksons

Capturing the sounds of New Orleans to Appalachia, this skilled septet is a ball of Americana energy, weaving zydeco jazz, folk, and blues into one of the most funky, feel-good shows around.

Listen to: “White Horse,” “Many Paths,” “Trouble In Mind.”

Roots Rock

Cris Jacobs

With the chops of Sturgill Simpson and the jam-band genius of the Grateful Dead, this hometown hero has been rocking solo or with The Bridge for nearly two decades. He recently toured with Steve Winwood and was named a 2017 country artist to watch by Rolling Stone. We’re excited for his future (and upcoming album), but we’re going to miss the days when he was our best-kept secret.

Listen to: “Jack the Whistle and the Hammer,” “The Devil or Jesse James,” “Turn Into Gold.”

FOLK

Caleb Stine

As the shepherd of the local folk scene, Stine is one of the city’s most celebrated storytellers, with his country-tinged tunes chronicling journeys, physical and spiritual, that are fundamentally human. Moon is just the latest chapter.

Listen to: “Higher Ground,” “Spirit,” “Ain’t Nobody.”

ELECTRONIC R&B

:3ION

This R&B singer (pronounced “Elon”) has the voice of an angel—his falsetto floating like a feather across his luminous nocturnes and sultry slow-jam beats. Hear him live on a bounty of genre-crossing lineups.

Listen to: “Many Moons,” “Floating,” “Ronin.”

PSYCHEDELIC ROCK

Fractal Cat

If Sgt. Pepper took a quick trip to The Dark Side of the Moon, he’d come back as this kaleidoscopic seven-piece. Whether they’re gigging in West Virginia or Patterson Park, the band is dedicated to spreading good vibes to the entire family.

Listen to: “Have I Lost My Way,” “Be Careful What You Dream,” “Tryptide.”

Electronic

In a way, Dan Deacon is the founder of Baltimore’s modern-day music scene. When he moved to the city in 2004, the electronic artist and his zany Wham City arts collective began cultivating a DIY community where no rules applied. There might be a madness to Deacon’s exuberant music, but there’s also a clear and thoughtful vision. While he continues to find personal success—his full-length Gliss Riffer getting national renown; his playful NPR Tiny Desk concert inducing serious FOMO; his composer side hustle setting the sparse, sensational score for acclaimed documentary films—he still terribly wants this city and its musicians to succeed. There’s no ETA, but we’ll be waiting with open arms for his eighth album.

Listen to: “When I Was Done Dying,” “True Thrush,” “Wham City.”

Post-Punk

Ed Schrader’s Music Beat

We can’t think of many artists more deserving of the spotlight than Ed Schrader and Devlin Rice. This rebellious post-punk duo has been a staple of the DIY scene for years, but it wasn’t until now, with the spring release of Riddles (produced by Dan Deacon), that the guys are finally getting their due. (Hello, Rolling Stone!) The record is a robust revival that has us revved up for what comes next.

Listen to: “Dunce,” “Riddles,” “Kid Radium.”

Hip-Hop

Whether he’s rapping on the battle circuit, performing with his beloved hip-hop duo, Bond St. District, or emerging as a serious solo artist, Manny Williams, aka DDm, or Unkle Lulu—whatever you choose to call him—is one of the city’s most charismatic acts. (Not to mention just one of our all-time favorite humans.) And it doesn’t matter how many times you’ve heard swift and witty rhymes—this dapper dynamo will always manage to surprise you. Who else could drop a The Price Is Right-themed banger called “Come On Down”? His June record, Soundtrack To A Shopping Mall, is guaranteed to dazzle.

Listen to: “Try Me On,” “Mondawmin,” “Show Me Your Hands.”

INDIE ROCK

Future Islands

Few, if any, bands have made bigger waves out of Baltimore than this treasured indie trio. With the help of frontman Sam Herring’s illustrious dance moves, their Letterman performance brought the band viral fame in 2014, but it’s their trademark sound—anthemic, synth-studded, with a flurry of fury and passion—that has made them rightful stars.

Listen to: “Ran,” “Doves,” “Balance.”

There are more ways to experience music than just mosh ready rock shows and fancy symphonies. Break out of those convetional scenarios with these seven noteworthy series.

Tap to Expand

AMERICANA

The Herd of Main Street

At the crossroads of country and rock, this down-to-earth quintet transports you away from the hubbub of city life. Any track off 2017’s Heyday will have you sipping tea on a front porch or flying down a back road—outlaw style.

Listen to: “Never Look Back,” “Next Weekend,” “July.”

NOISE-RAP

JPEGMAFIA

This bicoastal provocateur is not for the faint of heart, but take one listen to his spring Veteran and find yourself unable to turn away. Across dystopian soundscapes, his anarchistic rap liberates frantic beats and in-your-face lines that have the national media completely hooked.

Listen to: “Baby I’m Bleeding,” “1539 N. Calvert,” “Does This Ski Mask Make Me Look Fat?”

Neo-Soul

With one of the city’s most soulful voices, this singer-songwriter’s sound is well beyond her 25 years. Through husky, honey-coated melodies and fierce, sophisticated rhymes, Postell fluently speaks to serious matters. Exhibit A: “Consciousness” (and its must-watch video), in which she channels her idols to challenge systemic oppression, poignantly capturing her fury and frustration toward past and present racial injustices with an agile, jazz-like flow. Through her cri de coeur, she exudes a passionate warmth, using her music to inspire self-awareness, self-love, and growth—both personally and as a society. Expect more socially charged songs on her forthcoming Diaspora EP.

Listen to: “Consciousness,” “Hands Up, Don’t Shoot,” “Keep It Movin’.”

ALT-SOUL

J Pope and the HearNow

For nearly a decade, the former Funk Friday has been putting on some of the most dynamic shows in town. On last summer’s debut Soul Searching, this spirited sextet bottled that live energy—their masterful improv laying the groundwork for Jasmine Pope’s lyrical prowess.

Listen to: “Soul Searching,” “Breaking Point,” “Let Them Come.”

OLD-TIME

Ken & Brad Kolodner

The family that plays together stays together, and this father-son duo has become a pillar of the local folk scene, combining traditional instruments into tight, timeless tunes that conjure up simpler times. Brad’s other gig, Charm City Junction, releases a new album this summer.

Listen to: “Steel Rail Blues,” “Sap’s Rising/Dull Chisel,” “Tippin’ Back the Corn.”

ROCK

Kurt Deemer Band

With earnest vocals and guitar-driven gumption, this WTMD Artist of the Year nominee plays the kind of good, ol’ American rock music that would make the ’90s proud. Be on the lookout for a new album by fall.

Listen to: “Fire Escape,” “Stockholm Syndrome,” “Stick Around.”

SOUTHERN ROCK

J. Roddy Walston & The Business

We’re glad these Southern rockers, led by a sort of punk-rock Jerry Lee Lewis, call Baltimore one of their two homes (sorry, Richmond—we had ’em first). Wherever they are, their rowdy anthems remain in our constant rotation.

Listen to: “The Wanting,” “Sweat Shock,” “Brave Man’s Death.”

JAZZ

Lafayette Gilchrist

For 25 years, this high-powered jazz pianist has wowed listeners with his lively arrangements, as heard on The Wire. Last spring’s “Blues for Freddie Gray” struck a poignant chord. His band, The New Volcanoes, drops Deep Dancing Suite on May 11.

Listen to: “Assume the Position,” “Blues for Freddie Gray,” “Rumble.”

FOLK

Letitia VanSant

As the Joan Baez of the local folk community, this sage songstress uses hearty vocals and acoustic strums to honor her roots. In Gut It to the Studs, she confronts complicated questions, moving gracefully between the personal and political.

Listen to: “Where I’m Bound,” “Gut It to the Studs,” “Sundown Town.”

Indie-Pop

LOWER DENS

Helmed by the heavy-hearted vocals of Jana Hunter, this indie-pop group’s nostalgic sound hits you like a John Hughes film. Hope mingles with despair as ruminative lyrics join aching guitar and uplifting synth in an ’80s tour de force. When she’s not singing, catch this fearless frontwoman discussing important issues with outlets like CNN.

Listen to: “Real Thing,” “Maneater,” “To Die in L.A.”

RAP

Lor Choc

This 20-year-old rapper is on the cusp of something big, with last summer’s skyrocketing single, “Fast Life,” making Spin’s top rap songs of 2017. With a genuine flow informed by her West Baltimore streets, we’re all ears for her next release.

Listen to: “Fast Life,” “Run Up On Me,” “No Favors.”

CLASSICAL

Manuel Barrueco

As the Eric Clapton of classical guitar, this Cuban-born Peabody professor is known as one of the world’s finest players. Instilled with international influence, he dances between standard and contemporary compositions, steadily pushing the possibilities of his instrument.

Listen to: “Cavatina,” “Estrellita,” “Odeon.”

ELECTRONIC POP

Micah E. Wood

We swoon over the lovestruck pop music of this electronic troubadour (and featured photographer). On See Me, he navigates the maze of modern romance, candidly combining minimal, melancholic melodies to aid any aching heart.

Listen to: “Without You,” “Something,” “Match.”

EXPERIMENTAL

Matmos

They’ve collaborated with Björk, made an album solely from washing machine sounds, and once performed live for 97 hours inside a California arts center. This electronic duo, made up of mad scientists Drew Daniel and M.C. Schmidt, is the wonderful epitome of Baltimore weird.

Listen to: “Ultimate Care II,” “You,” “For the Trees.”

NEO-SOUL

MovaKween

This young siren’s earthy vocals swing like freestyle jazz from lilting lows to urgent highs. Get lost in her soothing vibes, but pay attention to her messages of creative freedom and female empowerment.

Listen to: “Florescence,” “Peachy,” “FreKweency.”

ELECTRONIC POP

Outcalls

Opera and pop don’t usually go hand in hand, but Britt Olsen-Ecker and Melissa Wimbish ingeniously united the unlikely two on last fall’s No King. Their feminist follow-up should be nothing short of stunning.

Listen to: “No King,” “Skip to Sunrise,” “Pillcauzbee.”

All-Time Greatest

In the past century, this city has been home to some of music’s brightest stars, who conjured up whole new styles and sounds. Each notable in their own right, these eight legends are all undeniably Baltimore.

By Sam Sessa. Illustration by Sean McCabe.

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POST-PUNK

Natural Velvet

Searing guitar, feminine rage, and killer outfits? This punkish quartet has it all. Since last June’s reverberating Mirror to Make You, they’ve set out on their biggest tour, recorded a wily Britney Spears cover, and delivered the glittery badassery of our dreams.

Listen to: “Fruits,” “Kristina,” “It’s All Mine.”

BEATBOX

Shodekeh

This gifted beatboxer has defied all logic when it comes to making music. Without instrument or song, he’s performed with the BSO, taught workshops at Peabody, and founded the must-see Embody series, using stamina and originality to flaunt the wonders of the human voice.

RAP

Peso Da Mafia

Fresh off SXSW, this tenacious trio shows no sign of slowing down. With nearly 4 million YouTube views, their viral “Money Man” separated them from the rap pack, but their upcoming Never A Drought has them ready for their close-up.

Listen to: “Money Man,” “Winning,” “About Us.”

Indie-Pop

We hope that by now you’ve seen Super City’s quasi-viral music video for “Artificial Sin.” Wearing white jumpsuits and Chelsea boots, this indie quintet launches into their jangly slow-jam single and then unleashes choreographed dance moves that make you want to throw on a turtleneck and join in on the fun. This music, crafted by Towson and Peabody grads, is simply that—playful, sprightly, confident fun. Guitar is laid on thick, undulating in waves or searing in like a 1970s hair-metal solo, while frontmen Dan Ryan and Greg Wellham shift between low croons and outright cries. Every inch shimmers; every melody shines. Keep an eye out for their stellar new record, Sanctuary, which is slated for later this year.

Listen to: “Artificial Sin,” “Find You,” “Easier.”

Indie Rock

Snail Mail

Last year, Lindsey Jordan became a buzzed-about indie darling with her rock band’s debut, Habit. Full of scrappy guitar and vulnerable yet mighty vocals, it landed the Ellicott City 18 year old in The New York Times and behind an NPR Tiny Desk, but she’s not just the next young artist at the edge of stardom. There’s a depth to her lo-fi sound that, with June’s already-lauded, axe-slaying Lush, will carry her well past her teenage years.

Listen to: “Pristine,” “Thinning,” “Slug.”

COUNTRY WESTERN

Snakes

This rockabilly band’s vintage tunes could make the perfect score for a dusty Western. On No More Songs About Wildflowers, they use pedal steel, old-school organ, and fuzzed-out guitar to tell tall tales of drinking, cowboys, and the law.

Listen to: “Flora,” “Young American,” “Preaching to the Choir.”

EXPERIMENTAL HIP-HOP

Soul Cannon

Eze Jackson and his Peabody-trained bandmates have been breaking rap boundaries since 2008. On their summer album, they’re ready to blow minds again with their NWA-meets-Rage Against The Machine fire.

Listen to: “Dilapidated Buildings,” “2010 A.D.,” “Hands High.”

INDIE ROCK

Surf Harp

This rambunctious quintet makes us want to grab a guitar, pot, or pan and rock along. Their spring Mr. Big Picture fuses New Wave, post-punk, and krautrock into a boisterous beast that’s all its own.

Listen to: “D.I. Cig,” “I Lost You,” “Catholic Glass.”

We all love a good dance party. Whether its a heart-pounding club jump-off or John Waters-worthy soul shakedown, the city's DJ scene will get your adrenaline pumping with its bounty of boogie nights.

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4 Hours of Funk 12 W. North Ave.

Looking to work off that lingering winter weight? Every third Friday, this sweat-inducing funk party will have you moving and grooving for literal hours as DJs Fleg and Graham turn the clock back to the 1970s at The Windup Space.

James Nasty

Anytime you see this Bmore Club producer and veteran DJ on a bill, be sure to check out the show. With high-energy mixes and hard-hitting percussion, we can guarantee that, wherever he goes, be it Light City or The Crown, a party will follow.

Emo Nite Bawltimore 2549 N. Howard St.

Nineties kids, rejoice! Every second Friday, the Ottobar opens up the emo floodgates with this pop-punk pick-me-up, featuring DJ sets of My Chemical Romance, Blink 182, and even Towson’s own All Time Low.

Friends Records DJS 201 E. Fort Ave.

Every so often, the South Baltimore dive bar Idle Hour turns its turntables over to local label Friends Records for a night of picks by Baltimore bands like Bond St. District, Natural Velvet, and Surf Harp.

Save Your Soul 851 Hollins St.

On first Fridays, the basement of Lithuanian Hall in Hollins Market transforms into a carefree dance fest with DJs Rob Macy and Baby Alcatraz spinning vintage vinyl into the wee hours of the night.

Skin Tight Soul Party 1910 N. Charles St

There’s never a dull moment with DJ Landis Expandis. Every third Saturday, throw on your fliest threads and head to The Crown to shimmy, shake, twist, and shout to the last century’s best soul.

Take Me Out 2549 N. Howard St..

The aughts is one of the most underrated music eras. But a few minutes into this indie night, and DJs Craig Boarman and Matt Walter will move Le Tigre and LCD Soundsystem back to the top of your playlist.

Version with Trillnatured 1910 N. Charles St.

Every second Saturday, this free queer dance party from lauded DJ Trillnatured is an energetic, all-encompassing celebration of music and the LGBTQ community at The Crown, with MC Kotic Couture on the mic and an always-stylish, ready-to-party crowd at the foot of the stage.

CLASSICAL

Symphony Number One

Featuring pieces by women and people of color alongside “dead white guy” classics, this classical collective uses their unique repertoire to bridge the future, present, and past.

Listen to: “Baltimore Prelude,” “Light Cathedral,” “Saxophone Concerto 2.”

JAZZ

Todd Marcus

On his new On These Streets, this seasoned bass clarinetist uses freewheeling arrangements to capture the beauty, struggle, and promise of his Sandtown-Winchester neighborhood.

Listen to: “On The Corner,” “Ground Zero,” “Pennsylvania Avenue Hustle.”

INDIE ROCK

Us and Us Only

This indie slowcore quintet begs to be listened to in some quiet, comfortable space—their thoughtful songs evoking hazy summer days of yore. Listen to their national debut, Full Flower, and let it blossom like the title.

Listen to: “Kno,” “Sun4u,” “Hex.”

BMORE CLUB

Tedra Wilson is the new queen of Bmore Club. As a rapper, producer, filmmaker, and style icon, the MICA grad is both a fixture and a breath of fresh air for our hometown genre with its up-tempo breakbeats, staccato loops, and defiant danceablity. Her style is bold and fun, bringing a high-energy vibrancy wherever she goes. And the world is watching. Her tracks “Lavish” and “Real Bitch Problems” have appeared on HBO’s Insecure. She’s played Coachella. She’s collaborated with Diplo. And Johns Hopkins just awarded her a $75,000 grant to direct her own documentary, Dark City: Beneath the Beat, which tells Baltimore’s story through its club music. She’s even launching her own digital label, Club Queen Records, on May 3.

Listen to: “Lavish,” “Cut It Up,” “Gimme Yo Love.”

HARDCORE PUNK

War On Women

There couldn’t be a better time for this hardcore feminist punk band. Leaving no female issue behind, spring’s riotous Capture the Flag shows that frontwoman Shawna Potter is not backing down anytime soon.

Listen to: “YDTMHTL,” “Predator In Chief,” “Servilia.”

JAZZ

Warren Wolf

Following in the footsteps of local jazz legends, this virtuoso has made a name for himself on the vibraphone. Part of the distinguished SF Jazz Collective, the newly minted Peabody professor has returned home a star.

Listen to: “Montara,” “Soul Sister,” “Cell Phone.”

EXPERIMENTAL

Wume

Albert Schatz’s labyrinthine synth rolls out like a digital road, and then April Camlin’s building drumbeats and vocal incantations urge you to follow. Do so, with new music from this mesmerizing duo on the horizon.

Listen to: “Gold Leaf,” “Control,” “Ostinaut.”

Indie Rock

Wye Oak

Jenn Wasner and Andy Stack may no longer live here, but the beloved indie duo will always be part of Baltimore. After 12 years, one of the city’s biggest bands has emerged on the cusp of new beginnings, with their gorgeous spring record, The Louder I Call, The Faster It Runs, evolving their signature rock into sweeping synth-pop that cascades like a dream.

Listen to: “The Instrument,” “Lifer,” “Civilian.”

Kings of the Road

Future Islands makes it big but sticks to its Baltimore roots.

Variations on a Theme

Local institutions make classical music accessbile—and relevant—in the 21st century.

For the Record

The resurgence of vinyl culture is on full view at the Arbutus Record Show.

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Best in Show

Jess Mayhugh — Fri, 15 Dec 2017 08:30:00 +0000

If only these walls could talk. With its panoramic views of the colorful Howard Street Bridge and the changing Station North landscape, the building at 120 West North Avenue has seen a lot through the years. Home to a Ford dealership in the early 20th century, the space subsequently housed Lombard Office Furniture. Then, when artists flocked to Station North, it was sold and some its sign letters were rearranged to spell Load of Fun. For nearly 10 years, the venue hosted arts groups like Single Carrot Theatre until the owner couldn’t afford to bring it up to code and closed it in 2012.

The space has now been rebranded as The Motor House, owned by nonprofit developer BARCO, and features 14 artist studios, space for seven nonprofits, a gallery, a performance venue and Showroom, a new café, bar, and performance space that’s open for every meal and mood of the day. The 2,800-square-foot space is industrial with a dining area and bar on one side and venue space separated by sliding wooden doors on the other. The floor-to-ceiling windows make bustling North Avenue feel like part of the space itself.

Bar manager Ben Yager, who cut his chops at Sugarvale in Mt. Vernon, has created a simple and straightforward cocktail menu. Numbered 1-6, the drinks are a playful combination of spirits with inviting descriptions. We were partial to the No. 2, a well-balanced mix of smoky Pelotón de la Muerte mezcal, spicy Goslings rum, and ancho chili, sweet tamarind, lime, and soda. Like the names, cocktails are understated, served in simple glassware with minimal garnish.

That simplicity is a nice counterbalance to the rest of the excitement at Showroom. The menu has myriad options, but focus on the bolsitas, or tacos in a bag, with ingredients such as sweet coconut braised pork shoulder and house-made plantain chips. Clearly, chef Daniel Horwitz wants to keep your taste buds on their toes.

There’s dancing most nights at Showroom, too, and things really rev up on Thursday during Turntabliss Happy Hour, when DJs spin ’90s hip-hop and R&B. As guests shimmy their way back and forth between the dance floor and the bar, three letters from the original signage mounted overheard say it all: “F-U-N.”

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