With postponed or cancelled concerts being announced across the city, we’ve expanded the latest edition of The Big Baltimore Playlist to include 10 songs by local musicians to listen to right now, ranging from punk-infused hip-hop and dance-worthy pop music to meditative soundscapes. Check back each month for new top songs of the moment via our Spotify playlist and continue to support hometown acts by purchasing their music or merchandise.

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“Woke Me” by Chiffon
This beloved experimental R&B duo (now trio with the addition of bassist Will Ryerson, also of Other Colors) is back with their first new single in five years off their upcoming four-track EP. It’s a dreamy, seductive slow jam featuring sparkling layers of digital beats and singer Amy Reid’s ethereal vocals speaking to long-distance romance. All the more fitting a listen in an era of social distancing.

“Become A Mountain” by Dan Deacon
This might be the most inspiring song of 2020, with electronic maestro Dan Deacon guiding us toward a triumphant awakening on his new album, Mystic Familiar. Amidst swirling synth, building piano, and orchestral peaks, it’s chock full of advice about opening up your imagination and finding your inner strength, making it one we’ll likely turn to for a long time to come.

“Our Pathetic Age” by DJ Shadow ft. Samuel T. Herring
Somehow we missed this song when it was released last fall, but earlier this week, thanks to WTMD’s Baltimore Hit Parade, we discovered what instantly became one of our new favorite tracks of spring. The Cali-based DJ Shadow enlisted Future Islands frontman Sam Herring for this nostalgic dance track, with a steady funk-infused disco beat grooving beneath his distinctive vocal croons. All we can say is, thank you.

“Raspberry Gun” by Dyyo
We told you last fall that this up-and-coming experimental rapper was one to watch, and his new exploratory album, featuring a full live band, drives that very point home. It’s a powder keg of kinetic tracks that fuse hip-hop with genres like grunge, punk rock, and jazz in an improvisational way. We particularly like this sixth track for its old-school flavor, free-flowing vocal play, crashing drums, and the occasional flutter of brass.

“Sweet June Nectar” by Jeremiah Lloyd Harmon
Listening to Jeremiah Lloyd Harmon’s original “Almost Heaven,” which garnered him national attention via American Idol, you knew the Catonsville singer-songwriter had staying power, and this second single off his upcoming debut album, Namesake, proves exactly that. With raw piano, reverberating strings, and soaring vocals, the feel-good anthem captures the essence of youth, young love, and warm weather—all things we’ll gladly repeat in our minds like a mantra for weeks to come.

“Black-Eyed Susie” by Ken and Brad Kolodner
This weekend, father-son acoustic duo Ken and Brad Kolodner released their new album, Stony Run, named for the Baltimore waterway that runs between their respective homes. It’s full of energetic originals and inventive takes on Americana classics, like this seventh bluegrass-inspired track. As Brad’s warm vocals move to the forefront, an unlikely combination of instruments, the hammered mbira and gourd banjo, craft a hard-driving tune that gives a glimpse into what could be the genre’s future.

“Day2Day” by Micah E. Wood ft. Bobbi Rush
Baltimore’s resident troubadour Micah E. Wood returns with a new single and love song we’ve been waiting for all along. With an infectious pop melody and airy R&B backup vocals from singer-songwriter Bobbi Rush, two of the local scene’s up-and-coming artists tackle the overwhelming uncertainty of new romance, rejecting the doubt induced by former heartbreak, embracing the healing powers of love. Through groovy guitar chords and an uptempo dance beat, its final lyrics leave you with an unwavering sense of hope.

“Cry Like A Baby” by Movakween
Singer-songwriter MovaKween makes music for spiritual guidance, and this new slow jam feels especially timely for its message: giving everyone the space to handle hardship in their own way and time. Speaking to love, specifically, she humanizes the pain that comes with its loss, as her honeyed powerhouse vocals reach new peaks over a smooth, sultry R&B melody that gives homage to the genre’s greatest hits. If you don’t already, consider Movakween an artist to know now.

“Mother” by Outcalls
This new track by Britt Olsen-Ecker and Melissa Wimbish contemplates a dynamic topic: motherhood, with distant, dream-like vocals asking a big, ambiguous question—“Better now, but better when?”—ultimately leaving the answer, too, up to listeners. Made in collaboration with singer-songwriter/producer Jennifer Pague of L.A.’s. Vita and the Woolf, it’s a spacious, surreal melody that builds with a staccato beat, lush synth, and the ladies’ always-impressive operatic pipes.

“We” by The Soft Pink Truth
Looking for a song to get lost in? Consider this new track from The Soft Pink Truth, the solo project of Drew Daniel from celebrated local experimental duo Matmos, a meditative gift in these strange times. Off the upcoming album, Shall We Go On Sinning so That Grace May Increase?, it’s a soft, sparse, sparkling soundscape, dancing between sublime minimalism and a trance-music rave, inspiring listeners to find moments of self-care and healing. It couldn’t have arrived at a better time.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

News

Theater Renovations on the Horizon for Arena Players

On Dec. 4, the Maryland Board of Public Works approved a $300,000 grant for improvements to the Arena Players theater—the oldest continuously operating African-American theater in the country. Designated for “the acquisition, planning, design, construction, repair, renovation, reconstruction, site improvement, and capital equipping of Arena Players theatre,” the funds will go toward infrastructural updates to the beloved local cultural space.

Hamilton Returns to the Hippodrome

There’s good news for those that missed their shot to see Hamilton during its first visit to Baltimore this fall. The Hippodrome announced this week that the hit musical will return in summer 2021, taking the Eutaw Street stage from June 8-July 3.

Visual Art

Necessity of Tomorrow(s): Future Histories

Filling in the blanks in the stories of our past can help us create a better informed future. Nikole Hannah-Jones, creator of The New York Times’ “The 1619 Project,” will explore this idea alongside activist and art collector Pamela J. Joyner and Baltimore artist Zoë Charlton at this latest installment of the BMA’s groundbreaking conversation series. 6-10 p.m. Dec. 17. The Baltimore Museum of Art, 10 Art Museum Dr.

Current Space’s 7th Annual Art Market

The holidays are creeping up quick, but this annual market featuring dozens of local artists and crafters can help you find the perfect thing for the art-lover on your list. Meet the people behind the works and browse items from talented local creators such as Press Press, Dana Bechert, and James Bouché. Dec. 14. Current Space, 421 N. Howard St.

Literature

Book Signing: Lost Restaurants of Baltimore

Restaurants come and go so quickly that it’s often hard to keep track of what used to be where. Some places, however, stick with us. Stop by Eddie’s of Roland Park to pick up a signed copy of Suzanne Loudermilk and Kit Waskom Pollard’s exploration of the places and plates that helped build Baltimore into the food city it is today. 2-4 p.m. Dec. 14. Eddie’s of Roland Park, 5113 Roland Ave.

Music

The High & Wides Album Release Show

This rip-roaring group from the Eastern Shore is back with a brand new album, Seven True Stories, and they’re ready to celebrate with Baltimore’s bluegrass-loving crowds. Pack into Creative Alliance to hear live renditions of new tracks such as “Reverie” and “Real America,” then grab your copy of this DIY collection of mostly true tales. 7:30 p.m. Dec. 19. Creative Alliance, 3134 Eastern Ave.

Jeremiah Lloyd Harmon with Amy Reid and Infinity Knives

Catch up with Catonsville’s Jeremiah Lloyd Harmon post-American Idol at this full night of local talent. Settle in and enjoy the good vibes from electronic artists Amy Reid and Infinity Knives before Harmon takes the stage with dreamy tracks such as “Almost Heaven” and “Learn to Love.” Doors 6 p.m. Show 7 p.m. Dec. 17. Ottobar, 2549 N. Howard St.

Theatre

The Wiz

There really is no place like home. Celebrate ArtsCentric’s new space by joining the company for their first show in Remington, a fitting trip to the land of Oz with The Wiz. This retelling of L. Frank Baum’s classic tale featuring an all-black cast swaps out the 1939 movie’s show tunes for a soul, R&B, and pop soundtrack you’ll be humming all the way home. Dec. 13 through Jan. 12. ArtsCentric, 2600 N. Howard St.

Film

Beyond Video Anniversary Party

Celebrate your friendly neighborhood video store’s first birthday with a party at Ottobar featuring vintage dance tunes and tons of giveaways from cinephile favorites such as A24 and Criterion. A few dollars gets you entry to the festivities, but generous partygoers can bring in a movie or two off the wish list in exchange for admission and raffle tickets, as well. 10 p.m. to 1:30 a.m. Dec 13. Ottobar, 2549 N. Howard St.

Jeremiah Lloyd Harmon brought Katy Perry to tears last night.

The Towson University vocal performance major, who lives in Catonsville, has made quite the impression on American Idol with a run of stellar performances. He’s tackled emotionally heavy belters that his falsetto is more than suited for, including his latest performance, a rendition of Elton John’s “We All Fall in Love Sometimes” that made Perry burst with pride. Harmon, 26, has been extremely open in telling his story on a national stage: As a preacher’s kid in a tight-knit, religious family, he came out to his parents last November. He’s acknowledged his struggles of the last several months—his parents have yet to come to a performance, but should he continue to advance, they have plans to attend.

Harmon, one of two Idol connections to Baltimore this season—Dimitrius Graham is also still in the running—wowed the judges in his first audition with an original song. Lionel Richie to compare him to Billy Joel.

Harmon frequents Catonsville’s Atwater’s and Farmhouse Greens—he’s currently a music director at Babcock Presbyterian Church, and does counseling work at BACHS Health Care. He’s lived a lot of life in a short span—a whirlwind of television fame and personal and emotional growth. On the eve of a results show that will determine if he makes Idol’s Top 10, Baltimore spoke with the singer-songwriter about his journey thus far.

What’s your relationship with Baltimore like?

I’ve moved around a lot throughout my life, but Baltimore’s kind of been the place that [my family has] gone back to a lot. I’ve lived in Baltimore this time around for a little over two years. I was working on my music degree at Towson University up until [Idol] and I’m taking a semester off now, but I’m still working on graduating hopefully this year.

What do you like most about Towson and the area?

One of the things I like about Towson and the school of music in particular, it’s small like a conservatory but it doesn’t feel competitive and cutthroat like you would expect from a top-notch conservatory. It’s a very welcoming environment. I feel like I have extended family there. It was just a really positive experience for me. Especially as a transfer student. I still keep in touch with the faculty. I’m actually living with my academic advisor right now, renting out a room there.

Going from an environment like Towson to a competition like American Idol where the purpose is to eliminate performers and crown a winner has to be a bit of a shift.

That’s one of the things that I appreciate about the music program at Towson. It’s not super competitive, even though we are challenging each other to be our best musicians. I think I would say the same about American Idol. It doesn’t feel like we’re against each other. It feels like we’re there for each other and rooting for each other. We’re all getting close at this point and we’ve had a lot of time to bond and hang out. It’s kind of a family environment.

You said in a recent interview that as an artist, you feel you have a responsibility to communicate your experience through music. What did you mean by that?

I think any artist has an opportunity to portray their emotional experiences and their relationships through their art in different ways. At the end of the day, we’re all human and we go through some of the same experiences, but we all have different ways of communicating that. As an artist, I feel a responsibility to maintain a certain level of transparency about my experience because I know that, for me personally, I used to listen to other artists to help me contextualize my own experiences. You become kind of like this voice for other people through your art, and it’s a way of connecting.

Do you think that this process has provided a lens for [your parents] to see where you’re coming from that might not otherwise have been there?

I can’t answer that in full confidence. I’m hesitant to speak on anyone else’s behalf. But what I would say is that I hope whatever I’ve done so far on the show has just shown not only my parents but everyone else that I’m just a human being and struggling through my emotional experiences as imperfectly as anyone else. And I’m trying to do that on this platform and succeed musically, and I hope that at the end of the day, they can see that and understand that I love them and this is just me owning my story. I think I’ve done that to the best of my ability.

You have been very transparent throughout this whole process. As you’ve continued to do so, has it emboldened you further?

One thing that I’ve experienced is that when I open up to people and kind of say, “This is who I am and I’m proud of it,” then people respond in a similar way. You treat other people with respect and kindness, then you’ll get that back. If you’re open and vulnerable with people, I’ve discovered that people tend to be the same way with you. The support that I’ve received has been really amazing. People have reached out to me and shared their stories. It’s just a further confirmation that nobody’s alone in their experiences.

Is there a story in your mind that sticks out?

I’ve heard from a bunch of people that say they also grew up in a conservative environment, and to see someone going through that process of coming out and all the struggles that can come with that, a lot of people have said, “Oh, I feel less alone,” or [that they have] more power to share [their] story with people. At the end of the day, that’s what it’s all about. Your music or your artistry is just a vehicle to connect to people, and I think that’s been the most amazing part of this experience to me. You kind of get the sense that you’re a part of something bigger than yourself.

It seems like your song choices are very deliberate, like when you dedicated “Landslide” to your parents. Is that something you’re doing consciously?

All the songs that I’ve covered so far have been songs that I think have spoken to me personally. That’s kind of my goal with each performance is to bring the most feeling and the most that I can to the stage and to give that to other people. I’ve been fortunate enough to have those songs available to me—we have a list to choose from certain rounds. I think what I try to do is reflect on what the song means to me personally and apply that to whatever my circumstances look like at the time, whether it be about a relationship in my life or an emotional experience that I’m going through. And once I’ve connected to the song in that way, that’s the energy that’s going to send it out that people are getting.

What’s the moment just before you’re about to open your mouth and sing like?

That’s a really interesting moment, because up until you sing, you’re thinking about everything that’s happening around you. But then once you start the music, at least for me, that’s all that there is.

Has the thought of winning crossed your mind yet? How do you control the voice in your head that says you can win while also staying in the moment?

I think the closer that I get to the finale, that thought comes up more often. I just try to say that I know that I can win this, I think that I have as good of a shot as anybody. At the same time, this is just the beginning of my journey, no matter how American Idol ends for me. I think I’ve embarked upon something that transcends any reality show or music competition.

What lesson have you learned from this experience so far?

I’ve never done self-promotion at this level. However, I am an independent artist, and I’ve been doing my music for several years now. And I think I’m just learning how to take it to the next level. At the end of the day, I sort of realized that it’s not totally about me. I represent what people believe in and I’m kind of this symbol for people, and I’m just pushing for an ideal.