Wendel Patrick’s first memory is actually a dream. It was a recurring dream that he had for years, well into adulthood. It started when he was about 2, maybe even younger. The dream had no people in it. No light. But there was a steady sound—a beat. Something about that beat made Patrick realize he wasn’t alone.

“And then at some point, the rhythm—the thing that was repeating—became more intense and rapid, and then it stopped,” Patrick says. “And there was nobody else. I knew I was by myself.”

When he could find the words, maybe he was 3 or 4 by then, he asked his mother about the dream. She burst into tears.

Years later he would find out that he had a twin who died in childbirth. The twin’s name was…Wendel Patrick Gift.

This all becomes a little less confusing when you learn that Wendel Patrick was born Kevin Gift. For the first part of his life, everyone knew him as Kevin. He studied classical piano and earned a master’s degree in piano performance from Northwestern University School of Music. But he also started experimenting with electronic music, improvisation, and hip-hop. He bought mics and drum kits and samplers.

When he released his first hip-hop album, folks who knew him only from classical music were confused. He felt a need to distinguish the two sides of his musical life. So for the hip-hop persona, he would go by Wendel Patrick, after his brother, whose presence he always intuitively felt. His classical music persona would stay Kevin Gift.

At the time, he didn’t realize how blurred those two identities might become. That he would become a famous hip-hop producer and musician. That he would bridge the two worlds by bringing hip-hop into the hallowed halls of Peabody Institute. And that it would be a very long time before he would play classical piano again.

Another one of his earliest memories involves the piano. He and his family were living in Venezuela. His father was a diplomat, so they moved around a lot. His mother wanted his older sister, Deena, to start taking piano lessons. She brought Deena and Wendel to the studio of a well-known teacher. Young Wendel, then just 4, also played for the teacher, banging on the keyboard with glee.

“I’ll teach the girl but only if I can teach the boy as well,” the teacher said.

And so his musical journey began.

Patrick, now 51, showed an enormous aptitude for classical piano and it was one of the things that grounded him as his family moved from D.C. to Venezuela to Jamaica. Whenever they would stay at a hotel, his mother would make arrangements for her two children to practice the piano in the lobby or the lounge, if they had one. It was a source of continuity and comfort in his life.

But when he was 14, he stopped playing. He was a teenager—he had other interests: sports, girls, popular music, especially hip-hop. He loved Public Enemy and Eric B. & Rakim. A friend turned him onto the reggae-tinged hip-hop of Boogie Down Productions, which he couldn’t get enough of.

“I still loved classical music,” he explains. “But I just didn’t listen to it that much.”

He went to college, undergrad at Emory University. He majored in political science, figuring he’d be a diplomat like his dad, or maybe a lawyer. One day, a girlfriend asked him to play piano. He demurred at first but finally agreed. She was impressed with his talent, but he was stunned. He sounded terrible, at least based on his own high standards. He had assumed the facility would always be there, but he now understood he needed to use it or lose it. It bothered him, more than he expected.

He began studying piano at Emory and realized that music was his true love. He went on to get that master’s in piano performance at Northwestern. But his love for hip-hop was still percolating. It was the ’90s, so you couldn’t record things on a computer. You needed physical equipment. Mics. Recorders. Turntables.

He began experimenting with different electronic and hip-hop sounds, all while studying to become a concert pianist. In 1997, he moved to Baltimore, where his mother was living (she and his father had divorced by then). He got a small, grubby apartment in Mt. Vernon—by far his biggest and most expensive piece of furniture was his Steinway piano.

Then, in 2005, he had just come home from playing a Mozart piano concerto in Bolivia when he realized that his index finger on his left hand felt strange. He figured he just needed rest. He took two weeks off from playing. When he tried again, the finger felt worse—weak, almost like he had no control over it. He went to a clinic that specialized in hand injuries. The doctors asked him to play. Afterwards, the room got very quiet.

“You’re making me nervous,” he said.

The doctors told him he had a nerve condition called focal dystonia. It was the same condition that Peabody’s most famous professor, the pianist Leon Fleisher, had suffered from. It effectively ended Fleisher’s career as a concert pianist.

This was obviously very depressing news—existentially depressing, in some ways. But Wendel Patrick (who was then still only known as Kevin Gift) has the kind of restless creative spirit that can’t be extinguished. He got more involved in photography, a pastime he had picked up while on tour with a band. He started experimenting more with electronic music. He made that first hip-hop album. And Wendel Patrick was born.

“I DON’T THINK HIP-HOP NEEDS ANY VALIDATION OF ANY KIND. THAT’S NOT WHAT THIS IS ABOUT FOR ME AT ALL.”

If you live in Baltimore, you might know Patrick in any number of ways. Maybe you took piano lessons from him at Music & Arts in Timonium or Ellicott City back in the day. Maybe you’ve attended one of his Boom Bap Society concerts—a series of lively, improvised hip-hop jam sessions that he started with his friend, the composer and DJ Erik Spangler, 14 years ago. Maybe you’ve watched the Maryland Public Television series he hosts, Artworks, where he interviews fascinating members of the local arts community. Maybe you’ve listened to his albums or his collaborations with the likes of spoken word artist Ursula Rucker or Baltimore’s own Eze Jackson.

Quite possibly, you know him through Out of the Blocks, the podcast he co-produced with Aaron Henkin. Patrick wrote the ineffably cool, jazzy scores that accompanied the podcast, which produced intimate audio profiles of city blocks and their people.

When Henkin approached Patrick about collaborating on Out of the Blocks, he was simply hoping to use some of Patrick’s pre-existing music. He had been a fan of the musician since he interviewed him for a WYPR show called “The Signal.” But Patrick had another idea: What if he wrote customized soundtracks for each episode, incorporating the natural soundscape—the sizzle of the deep fryer, the whir of a dry-clean machine—into the music? Henkin was blown away.

“It was like asking to borrow someone’s used pickup truck, and then them saying, actually, let me build you a brand new Maserati from scratch,” he says with a chuckle.

Patrick became a co-producer of the show. He also got in the habit of taking striking black-and-white photos of the subjects featured on the pod. He and Henkin would hand deliver a print of the photograph to the interviewee, a way of saying thanks and staying connected.

Henkin says the photos also served as an icebreaker. “Like, everyone understands what a photo portrait is, but maybe not so much an audio portrait,” he explains. “It was almost like the pictures were easier for people to wrap their mind around than the audio.”

Henkin describes his partnership with Patrick as the most “productive, satisfying collaboration” of his life.

And now, Patrick is about to embark on one of his biggest challenges yet: heading up Peabody Institute’s new hip-hop program. Peabody will become the first conservatory in the world to offer a hip-hop degree.

It’s an overcast day in November and Patrick is sitting in his two-floor apartment in the Bromo Arts District, reflecting on his career and life. Downstairs is a rather elaborate studio with all manner of microphones, video equipment, turntables, mixers, as well as that beautiful grand piano. His bedroom is upstairs. (He moved into this larger space in 2012.)

Patrick is dressed simply, in a dark gray thermal top, black jeans, and bare feet. He has an elegant way about him—a calm voice, a thoughtful stillness.

He says he’s excited about the prospect of building this hip-hop department from scratch—in what can only be described as a coup, Grammy Award-winning rapper and producer Lupe Fiasco will be joining the faculty—but he wants to make something very clear.

“I don’t think hip-hop needs any validation of any kind,” he says. “That’s not what this is about for me at all. I think Peabody and institutions of higher learning are going to learn a tremendous amount by having hip-hop. But entering into this space is not somehow a badge of honor.”

Fred Bronstein, Peabody’s dean, agrees. “Hip-hop was the logical next step for us,” he says.

He notes that Patrick had been an adjunct and then assistant professor at the conservatory since 2016—teaching hip-hop ensemble and Hip-Hop Music Production: History and Practice. And in general, the school has expanded its technology programs to prepare its students for an increasingly digitized world.

Today’s Peabody students are learning about film and video game scoring, computer music, sound design, musical engineering, and more, along with studying the established classical masters. They’ve had a jazz major since 2001. Bronstein feels that Patrick was uniquely positioned to teach at the school.

“One of the great things about Wendel is that he was trained as a classical pianist at a high level,” he says. “And he found his way into these other disciplines, most obviously hip-hop. I think he brings a breadth of knowledge and an understanding of how hip-hop fits into a wider musical context and relates to other disciplines.”

Bronstein also wants to dispel the stereotype of a Peabody student who is monomaniacally focused on classical music. They are young people who love music. And like most music-loving young people, they love hip-hop. “Kendrick Lamar won a Pulitzer Prize,” he points out.

So if Peabody is ready for hip-hop, the question remains, is hip-hop ready for Peabody? Eze Jackson, the local rap artist and impresario who has collaborated with Patrick on a variety of projects, welcomes this development.

“I think it’s exciting for hip-hop,” he says. “It’s exciting for Baltimore.”

He says he wishes that, back when he was a young man, a degree like this had been an option for him. “When I got out of high school, I was an emcee, but there was no place to study hip-hop. So I went in the Navy, pretty much to try to find myself,” he says. “I studied hip-hop on my own, as a student of the culture and the craft. But if I could have stayed home and gone to Peabody instead of going to the Navy, hell yeah!”

And Jackson thinks that anyone who sees this as somehow a sell-out of hip-hop culture is being painfully shortsighted.

“Hip-hop is such a limitless art form that I don’t think it gets credit for, so I think it’s dope that Peabody is taking this jump to be the first conservatory to offer it. It shows respect for a craft that we’ve always respected.”

What’s more, Jackson says Patrick is the perfect man to bring the subject to academia. “His knowledge of hip-hop is unmatched,” he says.

“IF I COULD’VE GONE TO PEABODY INSTEAD OF THE NAVY, HELL YEAH!” JACKSON SAYS.

Patrick is already receiving applications and he’s excited about the caliber of students who are applying to the major, which will officially launch in September. He envisions the program starting out small—maybe six to eight students in the first cohort—and growing from there.

“Peabody is an institution that is filled with very skilled students,” he says. “And that’s exactly what I want for this program. I want top level turntablists, MCs, beat boxers, and producers to come. And I’m excited to see what this first group of students is—it’s gonna be exciting for all of them, as well as for the new faculty.”

Meanwhile, there’s been another positive development in Patrick’s musical life. About 15 years ago, after accepting the fact that he may never play piano again, he started attending these “Out of Your Head” jazz improv sessions at the Windup Space. (Those sessions would ultimately become the inspiration for the Boom Bap Society.) He would play the electronic keyboard. And much to his surprise, he found that he could play. His index finger was still hard to control, but less so.

“That was pretty mind-altering for me,” he says. Apparently, the intuitive motion of improvisation—as opposed to the highly formal movement of classical performance—rewired his brain a bit. “And that’s when I started to approach [my focal dystonia] as more of a curiosity and a problem to be solved,” he says. “As opposed to, ‘I hope this thing just goes away.’”

Since then, it’s gotten better. Not perfect. But he’s making progress.

It’s not a coincidence that it was improv that brought on this revelation. It was the world of improv, of hip-hop, of electronica that saved him in a way, when he lost his ability to play Mozart and Chopin. He was able to thoroughly immerse himself in that music, reinvent himself—it brought him friends, fans, collaborators, incredible musical experiences across the world, all culminating in this new program at Peabody.

And now, in a perfect merging of Kevin Gift and Wendel Patrick, it had brought him back to the piano, his first love.

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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EAT

Dec. 20: Creole Soul Grand Opening

R. House, 301 W. 29th St. 3:30-8:45 p.m. Free.

There’s been plenty of buzz about R. House this month as we said goodbye to two longtime staples at the Remington food hall—Arba Meditteranean and Little Baby’s Ice Cream—and prepared for the arrival of newcomers Creole Soul and Taharka Bros. Ice Cream. To kick off the New Orleans-style soul food concept’s first weekend in its new digs, stop by the stall for an on-theme grand opening party, featuring Mardi Gras-inspired face painting, a King Cake, and live jams by Rufus Roundtree. Don’t leave without indulging in some of chef Que Neal’s specialities: shrimp and grits, seafood gumbo, oyster po-boys, and “Mee Maw’s Famous” banana pudding.

DRINK

Dec. 22: Holiday Pawty

The Bluebird Cocktail Room & Pub, 3600 Hickory Ave., 3rd Floor. 5 p.m.-2 a.m. Free.

This holiday shindig combines two of everyone’s favorite pastimes—drinking artisanal cocktails and gushing over puppy photos. After grabbing one (or a few) of Bluebird’s specialty drinks from the cocktail bar, mosey over to the Christmas tree where photos of the 10 “cutest pet photo” finalists will be on display. Vote for your favorite with cash or tickets earned with each cocktail purchase, with one dollar from every drink being donated to the Maryland SPCA.

SEE

Dec. 20: The Nightmare Before Christmas Kiki

Rituals: Bar & Venue, 12 W. North Ave. 9-11 p.m. $7-10.

According to the folks at Stillpointe Theatre, this show at Rituals in Station North takes the phrase “gay happy meeting” from the song “The Most Wonderful Time of the Year” to a whole new level. Pack the club for a night of lewks and performances by some of Baltimore’s best drag performers, including Venus Frastrada, Washington Heights, and Dee Dee Dereon, as well as a visit from Santa Claus himself. Bring plenty of singles to support your local drag performers this holiday season—the true gift that keeps on giving.

HEAR

Dec. 21: Eze Jackson’s Dirty Christmas

Metro Gallery, North Charles Street. 7 p.m. $10-15.

Nothing says holiday cheer quite like local rapper Eze Jackson’s anti-Christmas party, and that’s not even sarcasm. Break out of the ugly sweater party rut and spend the night jamming out at Metro Gallery with special guests including rapper DDm, 11-piece brass band Bedlam Brass, and the veteran host himself along with The Backwudz Band. Don’t worry: That Mariah Carey song will be nowhere near this show.

DO

Dec. 21: Druid Hill Winter Solstice Celebration

Rawlings Conservatory & Botanical Gardens, 3100 Swann Drive. 7-10 p.m. $10-15.

This Saturday marks the winter solstice, and to celebrate the darkest day of the year, the Rawlings Conservatory & Botanical Gardens is hosting a fun-filled night complete with hay rides, a roaring fire, and solstice-themed music. With all the proceeds benefiting the Druid Hill Farmers Market, spend the evening sipping hot cocoa and creating “winter solstice resolutions” by the bonfire or duck into the conservatory to escape the cold and admire the festive poinsettias.

EAT

Nov. 30-Dec. 24: Christmas Village

501 Light St. Sun.-Thurs. 11 a.m.-7 p.m., Fri.-Sat. 11 a.m.-8 p.m. Free.

Between Thanksgiving and Christmas, the Inner Harbor will transform into an authentic German Christmas market. Starting on Saturday, Baltimoreans can stroll along rows of vendors selling traditional German food and drinks, as well as handmade crafts, toys, and ornaments. With live Christmas music and an atmosphere of cheer, the market is sure to stoke your holiday spirit.

DRINK

Nov. 27: Thanksgiving Eve

Locations, times, and prices vary.

Over the past few years, the night before Thanksgiving has become known as a night of late-night revelry as Baltimore natives return to their old stomping grounds to reconnect with friends from near and far. This Thanksgiving Eve, make your way through the crowds at mainstay neighborhood haunts like the Waterfront Hotel, Cross Bar, and Looney’s for all-night drink specials and live music, or catch up over rounds of beer at Jailbreak Brewing Co. and Black Flag Brewing Co.

SEE

Nov. 30-Dec. 22: Men On Boats

Baltimore Center Stage, 700 N. Calvert St. Times vary. $20-74.

A one-armed man makes his way through the American West on—you guessed it—a boat during this hilarious play opening this weekend at Baltimore Center Stage. Follow the journey of an explorer John Powell and learn about the untold history of the Grand Canyon, as well as the trials and tribulations of traveling through uncharted lands. Return for performances on the 12th, 15th, and 19th to join the artistic staff of Center Stage for AfterThoughts, a post-show discussion with company members.

HEAR

Nov. 29: Planned Parenthood Fundraiser with Eze Jackson, Wume, and Joe Keyes

Rituals: Bar & Venue, 12 W. North Ave. 8 p.m.-12 a.m. $10.

Whether you spent Black Friday scoring deals on holiday gifts or recovering from a turkey-induced food coma, make your way to Rituals on Friday night to support this annual Baltimore Planned Parenthood fundraiser. With a can’t-miss lineup of local acts like hip-hop legend Eze Jackson, Joe Keyes and The Late Bloomer Band, and synth-drum duo Wume, as well as appearances by a host of rising visual artists, this do-good concert brings together some of the city’s best talent in support of a worthwhile cause.

DO

Nov. 23: Cross Street Holiday Market

Cross Street Market, 1065 S. Cross St. 11 a.m.-5 p.m. Free.

If you haven’t yet visited the newly revamped Cross Street Market and experienced the historic market’s wide range of local food and drink purveyors, this annual holiday shopping extravaganza is the perfect opportunity. Get into gift-shopping mode and browse through wares by more than 40 Baltimore makers and vendors, and, after snagging something for everyone on your list, stick around to grab lunch from Cross Street favorites like Pizza di Joey, Gangster Vegan, Phubs.

The first-ever Brilliant Baltimore—the lovechild of the Light City and the Baltimore Book festivals—will kick off this weekend with 10 days of free activities along the Inner Harbor. From November 1 through November 10, catch local musicians performing live outside at the main Brilliant Baltimore Concert Stage adjacent to the Maryland Science Center, as well as other locations throughout the neighborhood. Here are more than a dozen not to miss.

Marian McLaughlin
11/1, 12 p.m., Brilliant Baltimore Concert Stage
Start things off with a mid-day set by this dynamic chamber-folk singer-songwriter. Combining acoustic instruments, stream-of-consciousness storytelling, and a focus on the natural world, her poetic music is a meditative listen in this fast-paced world.

Afro House
11/2, 8 p.m., pop-up performances
This inventive performance art group (and Best of Baltimore winner) brings its Astronaut Symphony—a futuristic fusion of beat box, opera, punk, and funk—to the city streets with roaming performances around the harbor on Saturday evening.

Rufus Roundtree & Da B’More Brass Factory
11/3, 4:30 p.m., Brilliant Baltimore Concert Stage
Keep the Sunday scaries at bay with an afternoon powerhouse performance by this funk-fueled Baltimore institution, always bringing a Charm City-meets-New Orleans get-down that should incite a second line.

Outcalls

11/3, 7:30 p.m., Brilliant Baltimore Concert Stage
Behold the vocal power of Britt Olsen-Ecker and Melissa Wimbish. The two classically trained opera singers make up this pop-opera duo, as they’ve called it, bringing ethereal harmonies, synth-power ballads, and all-around female empowerment to every stage they play.

Abdu Ali

11/3, 9 p.m., Brilliant Baltimore Concert Stage
This avant-garde rap artists first captivated the city’s art scene as the MC of their Kahlon dance parties at The Crown. Years later, Abdu Ali’s talents have only continued to grow, as has their stage presence, with their live performances now backed by a full band and more fiery energy than ever before.

Clarence Ward III & Dat Feel Good
11/6, Brilliant Baltimore Concert Stage, 7:30 p.m.
On Wednesday, this skilled Baltimore brass player takes to the stage with his full band for, as the name rightfully implies, a feel good show filled with influences by jazz, hip-hop, and funk. Ward himself commands the horn and saxophone, while his bandmates keep the vibes high on keys and drums.

MovaKween
11/7, 9 p.m., Brilliant Baltimore Concert Stage
This New Age R&B singer offers a smooth way to slide into the weekend, with jazz-infused melodies, earthy vocals, and an empowering message for all listeners, especially women, on Thursday night.

Wendel Patrick
11/8, 5 p.m. Brilliant Baltimore Concert Stage.
It’s hard to know exactly what type of music this composer, producer, rapper, radio host, and more will be bringing to this Friday evening set. But we do know, no matter what, this Baltimore music veteran and mad scientist is sure to be a showstopper.

Super City

11/8, 7:30 p.m., Brilliant Baltimore Concert Stage
A perfect way to kick off your Friday night, this infectious indie-pop band puts on one of the best live shows in the city with high-powered hits (new go-tos like “Stay” and old favorites like “Artificial Sin”) and killer choreography (fancy feet, low-low dips) that make it impossible to not dance along.

Billy Price & The Charm City Rhythm Band
11/9, 6:15 p.m., Brilliant Baltimore Concert Stage
This veteran blues-and-soul singer brings his six-piece band for an old-school sound and Saturday night shakedown fit for all ages. A newcomer to Baltimore, Price brings funky grooves, rollicking rock-and-roll numbers, and soulful, belt-out ballads.

Joy Postell
11/10, 6:15 p.m., Brilliant Baltimore Concert Stage
One of the most soulful voices in the city, Postell packs a punch on every song she performs, be it socially minded hip-hop tracks, jazzy neo-soul croons, or old-school R&B slow jams. Prepare to be mesmerized.

Patrick McAvinue

11/10, 7:30 p.m., Brilliant Baltimore Concert Stage
This young musician is quickly becoming one of the most regarded bluegrass fiddle players with national awards and a regular gig at Nashville’s Grand Ole Opry. Expect a Sunday set of fast-flying, feel-good tunes when he comes back to his Baltimore roots.

Eze Jackson & The Backwudz Band

11/10, 9 p.m., Brilliant Baltimore Concert Stage
A guiding force of the local music scene, this dynamic rap artist and front-man of hip-hop collective Soul Cannon will perform with his Backwudz band for a Sunday evening set of high-octane energy and only-in-Baltimore rhymes.

EAT

Sept. 14: Baltimore Seafood Festival

Canton Waterfront Park. 12-7 p.m. Free-$100.

What better way to honor Baltimore’s undoubted love for seafood than a full-blown festival with crustaceans as far as the eye can see? Head to Canton Waterfront Park for this sixth annual extravaganza as local seafood spots—including favorites like Jimmy’s Famous Seafood, Mason’s Famous Lobster Rolls, Nick’s Fish House, and The Local Oyster—serve up crab cakes, shrimp salad, oysters, and steamed crabs. Indulge in the only large-scale seafood festival in Baltimore City and spend the day trying new drinks, listening to live music, and taking in cooking demonstrations.

DRINK

Sept. 14: WTMD’s Rock and Rye

South Point, 101 W. Cromwell St. 6-9 p.m. $65.

With five cocktail tastings and unlimited samplings of 75-plus hand-crafted spirits, Rock and Rye is the idyllic goodbye to summer. Sip the night away while enjoying DJ Who’s soundtrack. In between glasses, hear from representatives of 18 Maryland distilleries—including local favorites like Sagamore Spirit and Old Line—which will offer insights into the trade and how to best serve their whiskey, gin, and vodka at home.

SEE

Sept. 14: Central Library Grand Reopening

Enoch Pratt Free Library, 400 Cathedral St. 11 a.m.-4 p.m. Free.

After three years of top-to-bottom renovations to the Enoch Pratt Central Library, the city’s 86-year-old institution will celebrate its grand reopening on Saturday with a block party and open house featuring some of the best performers, musicians, and authors Baltimore has to offer. As you take a virtual tour through the library to see its new additions and expansions, take in the host of activities going on in each section, including a performance by The Ellen Show-famous drummers A1 Chops, a Black Cherry Puppet Theater show in the Children’s Department, and readings by revered local authors like Laura Lippman and Kondwani Fidel in the Wheeler Auditorium.

HEAR

Sept. 13: Eze Jackson & The Backwudz Band

Baltimore Soundstage, 124 Market Pl. 8 p.m. $20-25.

If you haven’t yet tuned in to local legend Eze Jackson’s latest record, Fool, start binge-listening ahead of this Friday’s can’t-miss show at Baltimore Soundstage. Joined on the downtown stage by a packed lineup of up-and-comers—including FUNSHO, Apex Tha Genius, Dre Thompson, MC Bravado, and Christen B, as well as rising comedian Ivan Martin—the frontman of beloved hip-hop collective Soul Cannon will take the audience through new songs like “Unapologetically Black” and “Be Great” in the same fiery, high-energy way that he’s known and loved for.

DO

Sept. 15: Abell Community Street Fair

Abell Ave. 12-5 p.m. Free.

Whether you’re a longtime Abell resident or new to the neighborhood, spend Sunday afternoon exploring the sights and shops along its main avenue during this annual street fair. After grabbing a bite from local food trucks like Farm to Charm and cm.pops, browse through free books from The Book Thing of Baltimore, snag some fall-inspired pieces from The Clothing Swap’s free collection, and jam out to live music from 13 local acts including Bobbi Rush and School of Rock Baltimore. There is something for everyone at this fun-in-the-sun event, including a parade and game booths for the kiddos, as well as beer from Peabody Heights Brewery for the grown-up set.

Lower Dens

The Competition

For nearly a decade, Lower Dens have been making some of the city’s most acclaimed, accomplished albums, joining the ranks of Future Islands and Beach House as Baltimore-based artists with indie-darling status on the national stage. And all the while, lead singer Jana Hunter has forged his own path, taking the dream-pop genre to a new level with music so steeped in 1980s synth and nostalgia that it almost unfurls like an art-house take on a John Hughes soundtrack. This new album, the band’s first in four years, might be their most powerful yet, reckoning with modern society through deeply personal (“I Drive”) and political (“Young Republicans”) songwriting. Even in these dark times, these big, bold, Wall-of-Sound melodies could inspire you to dream or dance.

Eze Jackson

Fool

It’s hard to envision the Baltimore music scene without Eze Jackson. From fronting beloved hip-hop collective Soul Cannon to emceeing the Bmore BeatClub rap showcase to collaborating with myriad artists across all pockets of the city, Jackson has been one of its most hardworking musicians and vital creative forces over the last decade-plus—a steadfast champion of this city, breathing its stories, streets, and soul into every verse. That legacy is bottled in this latest solo record, featuring a dynamic mix of hard-hitting rhymes, funky and fiery beats, club bangers, and even smooth-crooning love songs. Pay particular attention to his powerful anthem, “Unapologetically Black,” his poignant ballad, “Be Great,” and the a capella ode, “Thank You.”

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.

This weekend, Baltimore’s largest free arts festival, Artscape, returns to Mount Royal Avenue and Charles Street with the theme Discover inspired by the 50th anniversary of the Apollo 11 moon landing. In between dancing along at the festival’s live concerts and snapping pictures of the interactive exhibits, venture into neighboring parts of the city for more entertainment.

EAT

July 19: North Avenue Market Pop-Up with Big Softy and Le Monade

North Avenue Market, 30 W. North Ave. 8 p.m.-2 a.m. $10.

While there will be tons of great eats at Artscape, we recommend starting the weekend off with a Big Softy special during this pop-up at the newly renovated North Avenue Market. Stop by the latest event in the Night Brunch series to sample an incomparable menu of fried green tomatoes with crab salad, a Parisian sandwich with country ham and soft scrambled eggs with truffles, and soft shells on croissants. Wash down your meal with drinks crafted by Charm City’s beverage boutique, Le Monade, and jam out to DJ Impulse’s picks in honor of his birthday.

DRINK

July 19-21: Wet Cityscape

Wet City, 223 W. Chase St. Times vary. Free.

Since Wet City’s anniversary falls on the same weekend as Artscape, the Mt. Vernon bar is throwing a weekend-long party that celebrates both craft beer and local artists. The festivities begin Friday night, when local rapper DDm will host a mixer in honor of his latest album, Beautiful Gowns. (Of course, he will be in charge of the evening’s soundtrack.) Be one of the first people to try the hazy IPA “He Say She Say”—named after DDm’s catchy single—as well as a new IPA “Like Whoa!” brewed in collaboration with Peabody Heights Brewery.

SEE

July 19: Station North Artscape Art Crawl

Locations vary. 6-9 p.m. Free.

Everyone loves a good ol’ fashioned bar crawl, and this 15-stop tour around the Station North Arts and Entertainment District puts an arts-centric spin on that fan-favorite concept. Whether you start at Baltimore Print Studios, Motor House, or Gallery CA, each participating location will have something fun for visitors to do, see, play, or drink. Spend the evening exploring the wide range of creative organizations and businesses in Station North before heading to Rituals (formerly the Windup Space) for a boozy after-party, hosted by BmoreArt and North Avenue Art Market.

HEAR

July 20: Eze Jackson’ Album Release

Metro Gallery, 1700 N. Charles St. 9 p.m. $8-10.

It seems like every time we blink, Eze Jackson is doing something new. This local MC and longtime staple in the city’s music scene has a full resume as the front man of Soul Cannon, the host of Lineup Room’s Bmore Beat Club, a co-host of Bmore Hip Hop Karaoke, a frequent collaborator with Baltimore Boom Bap Society, and, this Saturday, he’s releasing his third solo album, Fool. Be among the first to hear the hip-hop artist perform songs from the new album during this Artscape after party following sets by Konjure Collective, Aus Taylor, and Illimite World.

DO

July 19-20: Artscape After Hours

1700-1800 block of N. Charles Street. 9-11 p.m. Free.

While some visitors may head home at dusk, the Artscape festivities continue on for hours after the sun sets. Whether you spend Friday and Saturday night dancing the night away to the sounds of techno artist Juana, a.k.a. Discwoman, and DJ Tzeech on the Johns Hopkins University Station North Stage, or laughing until your stomach aches during LOL@Artscape, take advantage of these free events that keep the party going all night long.

The hottest concerts of the summer are once again upon us, and that’s not just because they always coincide with the season’s warmest temperatures. With the mercury climbing to the high nineties, the 38th annual Artscape festival returns to Mt. Vernon, Bolton Hill, and Station North this weekend with three full days of free art. Every year, we wait on the edge of our seats for the musical lineup, and this year’s headliners don’t disappoint. Each one offers a throwback to different decades—from the local James Brown Dance Party featuring Fred Thomas of the Godfather of Soul’s own 1970s band on Saturday night, to the 1980s British ska-punk of the English Beat on Sunday, to the groundbreaking 1990s R&B trio of SWV on Friday.

But for us, the main event really lies in the festival’s trove of Baltimore talent, with dozens of homegrown acts playing on various stages throughout the weekend. From promising up-and-comers to local scene veterans, we’ve rounded up eight sets not to miss.

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Astronaut Symphony
Afro House is one of the most inventive arts groups in the city these days, with their unlikely musical experiences breaking down any preconceived notions of what concerts can and should be. See for yourself with this futuristic fusion of beat box, opera, punk, and funk, led by AH co-founder, pianist, and composer Scott Patterson. Saturday, Lyric Opera House, 6 p.m.

Caleb Stine & Friends
There might be few better ways to spend a warm summer night than listening to the hearty folk sounds of the city’s Americana spirit guide, Caleb Stine. With more than 10 records under his belt and more than two decades on the local scene, the poetic songwriter draws a loyal crowd and puts on a powerful show, full of heartfelt ballads, toe-tapping ditties, and rolling-thunder road songs driven by acoustic instruments. Saturday, Johns Hopkins University Stage, 8 p.m.

Eze Jackson
From his role as frontman of alternative hip-hop collective Soul Cannon, to emceeing the recurring Bmore Beat Club, to regular solo and collaborative sets across all pockets of the city, Eze Jackson has undoubtedly been one of the most steadfast and hardworking musicians on the Baltimore scene over the last decade. And every third weekend of July, he has hosted an Artscape after-party in Station North, which he’s doing again this Saturday with a release party for his upcoming album, Fool. Tickets start at $8—a surefire steal for what will be a raw, red-blooded set. Saturday, Metro Gallery, 8 p.m.

Kotic Couture
With rapid-fire flows, honey-coated vocals, and a fierce stage presence as seen during the monthly Version queer dance party at The Crown, Kotic Couture has quickly become a rising star of the local rap scene. Escape the heat in the air-conditioned University of Baltimore Student Center for an infectious set as part of the Worlds In Collusion lineup by the High Zero Foundation. One verse in, and we promise: you’ll be hooked. Saturday, University of Baltimore Student Center, Wright Theater, 8 p.m.

MovaKween
This sultry soul singer’s songs are fit for the extreme heat and humidity expected to hit Baltimore this Sunday. Her earthy vocals flit and flutter, snaking around slow, smoldering melodies rooted in R&B, jazz, and soul. Just pay attention to her lyrics, which speak to the cosmos, creative freedom, and feminine energy and empowerment. Sunday, Johns Hopkins University Stage, 1:30 p.m.

Ratscape
Last summer, this DIY music festival returned to Station North after a three-year hiatus, and this weekend, it’s back for another three days of local bands at The Ynot Lot and The Crown. Among dozens of acts, be sure to check on punk quartet Baklavaa and rapper Toyomansi on Friday, hip-hop artists Josh Stokes and DYYO on Saturday, and soul singer Randi, R&B singer Bobbi Rush, and indie bands Shinji and Romantic States on Sunday. Times & locations vary.

Rufus Roundtree & Da B’More Brass Factory
Push off the Sunday scaries with an afternoon powerhouse performance by Baltimore institution Rufus Roundtree & Da B’More Brass Factory on the Main Stage. This high-energy music collective is one of the most fun, feel-good shows in town, fusing funk, hip-hop, soul, and jazz into a Charm City-meets-New Orleans get-down that should incite a second line. Also catch trumpeter Clarence Ward III’s skillful Sunday set on the Morgan State University stage at 6 p.m. Sunday, Main Stage, 1 p.m.

Super City
We regularly rave about the need to see this Baltimore indie-pop band live, and now is your chance, as the well-clad quintet finally takes to the festival’s Main Stage on Saturday afternoon. Stand in awe of their choreographed moves, but also bring your own dancing shoes and prepare to bop, if not outright mosh, along. They’re likely to bring both old favorites, like catchy slow-jam “Artificial Sin,” and new hits, like “High,” to this don’t-miss show. Saturday, Main Stage, 4:30 p.m.

In a way, the zig-zag-printed stage at the Windup Space is symbolic of the programming that the arts venue has become known for. One night you could be there to see a local band or comedy show, and the next you could be sketching live models or screening episodes of Twin Peaks in the dark.

This week, the haven for local creatives will celebrate 11 years of offering inclusive arts showcases in Station North. But, sadly, owner Russell De Ocampo recently announced that the space won’t be around for year 12.

“We’ve had the pleasure of sharing our love for the strange and beautiful things that Baltimore has to offer with our own special blend of programming,” De Ocampo said in a statement announcing a closing date of June 1. “We hope you found the things you were looking for and discovered some new things that you will never forget.”

Discovery was a huge aspect of the Windup ethos. Whether packed in shoulder to shoulder for a show or mingling freely at a gallery exhibition, regulars appreciated the versatility of the venue (which Baltimore named a “Best Bar” in 2010), and its ability to open their eyes to obscure art forms.

“Since Russell was so willing to bring in just about anything that people could get down to, we really leaned on the space for availability,” says Derek Vaughan Brown, a local singer and actor who performs at Windup monthly with the groups like the Baltimore Rock Opera Society and psychedelic punk trio Patterson Trash. “It wasn’t necessarily about monetizing for him, but about drawing all of those people in and letting them express themselves and use their voices.”

Veteran rapper Eze Jackson says that De Ocampo has been welcoming him “with open arms” for nearly a decade. Back when his band Soul Cannon was just starting out, Jackson struggled to find performance spaces in the area.

“At that time, it was hard for us to get booked and even harder for us to put together our own bills,” he says. “Other venues had trouble understanding us being on bills with punk bands or rock bands, and Russell was one of the first people to be open to any ideas that we thought were cool.”

In the years since, Jackson has appeared in front of the iconic red curtains countless times. Among the many Windup memories that stick out in his mind is a show that he curated with J. Pope and the late Derrick “OOH” Jones of hip-hop and reggae group Brown Fish in 2010.

Jackson has also performed there with the Baltimore Boom Bap Society, whose founders Wendel Patrick and Erik Spangler first met at one of the venue’s many free improv events. The duo later established a home for their live collaborative hip-hop showcases on the Windup stage.

“We just had one on Saturday and didn’t know that it was our last one,” Patrick says. “We’ve done individual shows at many places many times, but Windup has been our home for almost eight years and we’ve been proud to call it our home. I can’t really think of a space that I’ve been sad to see close like that.”

Brown sees the closure as yet another hit to the DIY arts scene, especially after the loss of The Bell Foundry, whose tenants were evicted in 2016, and Single Carrot Theatre—which recently vacated its Remington home.

“Those experiences are starting to vanish a little bit,” he says. “Something that Russell was always keen to support was this idea that you don’t need to figure out how to make money off of a project, as long as you’re not spending money to make it. For art kids in Baltimore, that’s perfect. There is something really beautiful about a small theater performing something in an inexpensive space.”

Now faced with the impending closure at the end of the month, regulars are beginning to contemplate what the local landscape will look like without the North Avenue gathering spot.

“There will never be another Windup Space,” Jackson says. “After you’ve been on the scene for so many years, you start to realize that’s the reality. Venues come and go, but I hope whoever gets that space understands its history and at least tries to keep up what it brought to the scene.”

De Ocampo’s Station North neighbor and close friend Sarah Werner, who owns Metro Gallery around the corner, took to Facebook to share her thoughts on the void that Windup will leave behind: “I can’t really imagine Station North without Russell,” she said. “Every bit of the Windup Space was an outpouring of his love for the artists and people of Baltimore.”

Even still, artists remain hopeful that Windup has paved the way for other spaces throughout the city to welcome works of all genres.

“I’d obviously love for other places and venues to maybe try to follow suit, but I don’t think it’s really a model that one would necessarily follow—it was just Russell,” Patrick says. “He had this place that he really wanted and he’s just such a caring and thoughtful individual. It really came out in the space.”

To give the club a proper send off, the next two weeks will be jam-packed with the diverse entertainment that Windup has become known for. Specifically, the final 4 Hours of Funk will happen this Friday, the Baltimore Record Bazaar is scheduled for May 19, one last “Whose Roll Is It Anyway” performance will happen on May 26, and Brown’s band Patterson Trash will host a “Living Wake” (complete with blacklight table tennis) on May 29. Locals are making plans to stop by in the coming weeks to have one last drink and honor the community that the Windup Space has built.

“I grew up watching Cheers,” Jackson shares. “And when Windup first opened, I actually lived right around the corner on Maryland and LaFayette, so I used to joke and say that Windup was my Cheers. I was Norm, and I would be over there every night. I’m sad to see it go.”

EAT

Feb. 2: Valentine’s Pajama Brunch

Miss Shirley’s Café, 513 W. Cold Spring Lane. 7:30-9 a.m. Free-$27.99.

Valentine’s Day might not be for another few weeks, but we’ll take any excuse to indulge in cheesecake-stuffed French toast or red velvet pancakes on a Saturday morning. Keep your pajamas and slippers on from the night before and treat the whole family to this two-course brunch, featuring special breakfast boxes for the kiddos and tons of sweet and savory entrees for the grown-ups. Stick around for crafts, balloon art, and Valentine’s Day-themed activities that will leave everyone ready for a mid-morning nap.

DRINK

Feb. 3: Super Bowl Sunday

Locations, times, and prices vary.

Let’s face it: It’s hard to find a reason for a Baltimore fan to get hyped for this year’s Super Bowl. But luckily, local watering holes around the city are throwing watch parties with enough drink specials to give us something to cheer about. Spend Super Bowl Sunday booing the New England Patriots with bottomless brews at Mother’s Grille, knocking back $3 cans of Natty Boh at R. House, or bellying up to the bar at any of our best places to hate-watch the game. And remember: There’s always next year for the Ravens.

SEE

Feb. 2: Groundhog Day on Groundhog Day

The SNF Parkway, 5 W. North Ave. 7-9 p.m. $8-10.

After a week of fighting the chill of the polar vortex, we’re practically begging Punxsutawney Phil not to see his shadow on Groundhog Day. Whether the all-knowing groundhog declares six more weeks of winter or not, celebrate this hair-brained harebrained tradition by watching Harold Ramis’ 1993 comedy of the same name this Saturday night. Settle into the (warm) Parkway Theatre and laugh along with the inimitable Bill Murray as he relives Groundhog Day over and over in this crowd-favorite flick.

HEAR

Feb. 1: Live at the Hive

Charm City Meadworks, 400 E. Biddle St. 9 p.m.-1 a.m. $5.

Not only is Charm City Meadworks known for its wide range of still and sparkling meads, but the Mt. Vernon space also draws crowds for its one-of-a-kind events like gear swaps, video game tournaments, and this Friday’s multi-genre concert series. Pack the meadery to sip $5 drafts and slushies while jamming to a headline performance by standout local MC Eze Jackson, along with DJ Mac Hewitt, Ring WorldØØØ, and Revvnant—a new project from local songwriter Elias Schutzman.

DO

Feb. 1: Earth Treks Rendezvous

Earth Treks Hampden, 1700 W. 41st St., Suite 400. 6-10 p.m. $20.

Whether you’re a first-time climber or just taking advantage of the discounted day pass, stop by Earth Treks Hampden on Friday night for its monthly community climbing meet-up. Get to know other local enthusiasts, sip on free cider and beer from Union Craft Brewing, and check out equipment and accessories from vendors like Buddy Boulders and Banjo & Bean.

While the shenanigans of New Year’s Eve are right around the corner, there are plenty of things to do this weekend. Before you pop the champagne Monday night, start the long weekend with these bar specials, glitzy performances, and cultural happenings.

EAT

Dec. 29: Wing Festival

Delia Foley’s, 1439 S. Charles St. 12-4 p.m. $25-30.

Baltimore is no stranger to outrageous food challenges (think the El Toro Grande burrito at Blue Agave or the Seafood UFO at Jimmy’s Famous Seafood), but Delia Foley’s wing-tastic festival takes it to a whole new level. Along with all-you-can-eat wings and drink specials, an entry ticket to this third annual event admits attendees into the speed-eating competition (yes, there is a trophy), a “facemelter” challenge featuring the highest sauce heat allowed per law, and a create-your-own sauce competition.

DRINK

Dec. 30: Ravens vs. Browns Watch Party

Lee’s Pint & Shell, 2844 Hudson St. 3 p.m. Free.

There’s a lot riding on a Baltimore Ravens win against the Cleveland Browns this weekend: The chance to clinch the AFC North for the first time since 2012, a postseason spot in the playoffs, and, most importantly, an open bar at Lee’s Pint & Shell. Watch the regular season-finale at this Canton corner spot, knock back a few three-dollar drafts and five-dollar Smirnoff bombs and crushes during the game, and celebrate with a one-hour open bar with Miller Lite and Smirnoff if the Ravens head to the playoffs after Sunday night’s game.

SEE

Dec. 29: Glitter Ball

Creative Alliance, 3134 Eastern Ave. 8 p.m. $25-28.

New Year’s Eve may be known as the most glitz and glam-filled night of the year, but thanks to hosts and local burlesque performers Betty O’Hellno and Jacqueline Boxx, this Saturday’s Glitter Ball is making a run for the coveted title. Get dressed to impress (and sparkle) and head to the Creative Alliance to experience a winter wonderland-themed affair filled with circus performers, a Sparkle Market to add even more shine to your look, and an all-out dance party. For the main event, cheer on noteworthy performers like New York City’s Perle Noire and Poison Ivy during one of the most extravagant burlesque shows of the year.

HEAR

Dec. 29: Eze Jackson’s Dirty Christmas

Metro Gallery, 1700 N. Charles St. 7 p.m. $5.

As much as we love the holiday season, the annual agenda of attending one ugly sweater party after another and listening to the same Christmas carols gets old. Luckily, veteran local rapper Eze Jackson is throwing his annual anti-Christmas party in time to break you out of your post-holiday funk. Head to Metro Gallery on Saturday night to hear performances by rising rapper Locus, singer-songwriter Omnia Azar, and, of course, Jackson with The Backwudz Band. Pro tip: Bring a coat to donate and receive a free Flying Dog Bloodline beer.

DO

Dec. 29: Kwanzaa Celebration

Reginald F. Lewis Museum, 830 E. Pratt St. 12-4 p.m. $5.

Whether you’re a practiced celebrator or simply want to learn more about the week-long holiday, devote the third day of Kwanzaa to this all-out celebration at the Reginald F. Lewis Museum. Visit the downtown museum to take in traditional African dance and drumming performances, learn more about the holiday’s rich history during workshops and lectures, and browse locally made goods in the African Marketplace.

When veteran rapper Eze Jackson was brought on as a producer for The Real News Network in August 2016, he pitched the idea to host an interview series that brought local performers together to address social and political issues. The twist? In true Charm City fashion, he wanted the conversations to happen around a newspaper-covered table with a pile of steamed crabs in the center.

“One of my favorite things to do as a Baltimore boy is eat crabs,” says Jackson, also the frontman of experimental hip-hop group Soul Cannon. “For me growing up, those were some of the best bonding times. I’ve seen family beefs squashed because people sat down at the table together to eat crabs. You start talking, and if somebody doesn’t quite know the right way to do it, you show them. It’s just such a great Maryland pastime.”

The quasi-talk show and crab feast taped its first episode two years ago and has since featured a handful of Baltimore greats (think TT the Artist, J Pope, Micah E. Wood, Shodekeh, Mike Evenn, and JPEGMAFIA), who perform in-studio and discuss everything from feminism in the arts to the perception of violence in hip-hop culture.

This summer, The Whole Bushel transformed into a live recording event held at Ida B’s Table—which is under written, in part, by The Real News Network. The first live show occurred in June with vocalists Bobbi Rush and Brooks Long, and the second in August featured soul performers Jonathan Gilmore and Ama Chandra. Guests were invited to hear the conversation and performances first-hand while cracking crabs alongside the artists at the restaurant.

“One of the things I kept hearing from people was, ‘When can I come eat crabs with y’all?’” Jackson says. “So I was like, ‘Let’s make it a live event.’ At the last one Jonathan Gilmore got everybody up dancing and they called me up there to freestyle a couple times. It was a lot of fun.”

The live iteration will continue at Ida B’s Table on Wednesday, October 24 from 7-10 p.m., when Jackson will be joined by brass legend Rufus Roundtree and QuiQui Martin—Jackson’s former Baltimore School for the Arts classmate who went on to become the lead singer of R&B girl group Isyss.

Jackson says that the talks have become a great platform for artists to address the issues that often inspire their work.

“You go on the road and everybody asks you the same interview questions,” he says. “‘How do you describe your sound?’ ‘Who are some of your influences?’ But for this show, I don’t give a shit about any of that. There are so many artists in the city that do community work outside of their music.”

For example, Jackson cites J Pope advocating for HIV awareness, local emcee Greenspan leading the fight against city food deserts, and Jonathan Gilmore’s work as a special education teacher in addition to his musical career.

Looking back at the show’s nearly two-year run, Jackson says one of the most poignant episodes was the first that aired, which featured Chandra alongside rapper Ashley Sierra and spoken word artist Neptune the Poet.

During the talk, Chandra shared her experience of surviving an assault in her home after the Baltimore Uprising, Neptune the Poet spoke candidly about two of her uncles who she lost to gun violence, and Sierra addressed corruption in the Baltimore City Police Department, saying: “It’s not just a few spoiled apples. What you have going on is a messed-up barrel. You need to restructure what you’re putting the apples in.”

“That episode gave me the most chills when we were done,” Jackson adds. “We covered so many heavy topics, so I knew I wanted to put that one up first. I also thought it was really important to start the show off hearing black women’s voices.”

On a personal note, Jackson says that he has enjoyed how the show has strengthened his relationships with other local performers. Especially with the upcoming live tapings—which will take a hiatus during the winter season and pick back up in the spring—he says he is looking forward to bringing more voices to the table.

“I love the culture of bringing people together around food,” he says. “Especially when it’s with artists who I didn’t know before. It’s been a great bonding experience. That’s the joy I get from it.”