Letitia VanSant

Circadian

There’s a movement afoot in the Americana music world, and Baltimore songwriter Letitia VanSant has been ready for it for years. From Brandi Carlile to Kacey Musgraves and Margo Price, female musicians are singing truth to power, telling authentic stories from an underrepresented perspective across their respective country-tinged genres. VanSant has long fused the personal and the political, but on her sophomore album, she steps confidently forward as an artist to watch, armed with plenty of her own tales, all worth listening to (see “You Can’t Put My Fire Out” and “Tin Man,” for starters). In fact, she’s recently caught the attention of national outlets like Paste, American Songwriter, and Rolling Stone. Across nine songs, she emerges with a rich new depth to her mighty vocals, magnetic melodies, and mindful lyrics. Even in her quiet moments, she packs a powerful punch. Definitely keep an eye out for her in days and years to come.

Caleb Stine
& The Revelations

Mystic Country

For nearly two decades, Caleb Stine has been a shepherd of the Baltimore music scene, leading listeners toward an appreciation of genuine Americana music long before his genre found itself in the midst of a major revival. It’s no surprise, then, that the singer-songwriter and his latest band, The Revelations (an expansion of his original Brakemen), have made a concept album that encourages us to follow along. We do, willingly, instantly captivated by this soundtrack to a dreamed-up road trip across America. It’s a rambling, rapturous work, fusing the likes of folk, rock, jazz, and psychedelia across both sparse interludes that sprawl out like open country roads and bursts of colorful energy that evoke the characters you meet and towns and cities you stop in along the way. In the end, Stine captures, and celebrates, the spirited diversity that can be found across this great nation, an undeniable response to its current state of deep division. Snippets of GPS and radio fuzz (featuring WYPR’s own Aaron Henkin) make it feel like you’re riding shotgun.

EAT

Jan. 3: Water Song Pop-Up at R. House

R. House, 301 W. 29th St. 11:30 a.m.-10 p.m. Free.

As the weather turns chilly this weekend, curl up with a bowl of authentic rice noodles to get a taste of Yunnan, China. During its final weekend in the R. House pop-up stall, Water Song will be serving up its signature combination of Mixian rice noodles, a tasty broth, a touch of meat, and tons of chili oil, along with fan favorites like spicy wonton soup and crispy pork chunks. If you still need a bit of convincing, check out Water Song’s drool-worthy Instagram photos to seal the deal.

DRINK

Jan. 3: Foam Fridays

Diamondback Beer, 1215 E. Fort Ave. 12-11 p.m. Free.

If your New Year’s resolution was to make 2020 the year of beer, this lager-loving night at Diamondback Brewing is the perfect way to kick it off. Every Friday, the South Baltimore brewery celebrates its growing selection of crisp lager beers with half-liter pours at only $4.50. Belly up to the bar to try this week’s featured brew: A 4.0 percent Czech pilsner with, of course, a healthy layer of foam on top.

SEE

Jan. 3-5: Baltimore Crankie Fest

Creative Alliance, 3134 Eastern Ave. Times vary. $18.

Rediscover the art of storytelling through crankies—scrolls that are hand-cranked to show one illustrated scene at a time—during the seventh annual Baltimore Crankie Fest. Head to Creative Alliance for this celebration of the niche visual medium, featuring four performances with handmade crankies accompanied by musical guests. Watch as these hand-drawn stories unfurl before your eyes and participate in workshops on how to make your own crankie.

HEAR

Jan. 3: Letitia VanSant and Arty Hill

True Chesapeake Oyster Co., 3300 Clipper Mill Rd. 9-11 p.m. Free.

There’s been plenty of buzz going around about True Chesapeake Oyster Co., the new farm-to-table concept inside Whitehall Mill in Hampden. This Friday, in between slurps of half-shell oysters, hear local songstress Letitia VanSant and country singer Arty Hill serenade the late-night crowd with original tunes and classic covers. Or, as Hill puts it, it’ll be a night of he and VanSant “singing harmony and making fun of each other near delicious seafood.”

DO

Jan. 3-12: Pajama Party Palooza

Port Discovery Children’s Museum, 35 Market Pl. Times vary. Free-$17.95.

Let’s face it: We all get a little stir crazy during the holidays. Luckily, Port Discovery Children’s Museum is hosting the perfect opportunity to get the kiddos out of the house with this daytime pajama party, featuring pillowcase races, sock “skates,” and oversized games. Your little ones will spend the final days of winter break making jammies, watching movies with new friends, and participating in tons of indoor activities at the downtown museum.

Visual Art

Hitching Their Dreams to Untamed Stars: Joyce J. Scott & Elizabeth Talford Scott
Joyce J. Scott is a national treasure, but Baltimore gets the joy of claiming her as one of our own. With this new exhibition featuring both the work of Scott and her mother, Elizabeth Talford Scott, visitors to the Baltimore Museum of Art have the chance to experience the decades-long artistic conversation between mother and daughter through quilts, sculpture, and intricate needlework. May 15-Dec. 1. Baltimore Museum of Art, 10 Art Museum Dr.

Mental Health Awareness Month Art Show
Mark the 70th Annual Mental Health Awareness Month by supporting both local artists and the Brain & Behavior Research Foundation at this multi-week art show. Stop by opening night for live painting, poetry readings, glassblowing demonstrations, and live music, then peruse works by the likes of Annie Howe Papercuts, Suburban Avenger Studios, Gilah Press + Design, and more. Opening May 17 at 7 p.m. UNION Craft Brewing, 1700 W. 41st St.

Music

Letitia VanSant + Goodnight Moonshine feat. Molly Venter
Songstress Letitia VanSant’s personal and political lyrics have earned her both local and international acclaim. Don’t miss your chance to hear her powerful, Americana-inspired arrangements alongside lush, folksy tunes from Goodnight Moonshine. May 10 at 8 p.m. Creative Alliance, 3134 Eastern Ave.

Theater

Welcome to Shakesville
Boogie on down to Zion Church for this latest spectacle from Baltimore Rock Opera Society. During the birth of the psychedelia, one girl, Betty, is on a quest to solve the mysterious disappearance of Jimmy Graves in the colorful and crazy world of Shakesville. Travel back to 1965 with this BROS crew during this nod to all things groovy. May 24-June 16. Zion Church of the City of Baltimore, 400 E. Lexington St.

A New Brain
In 1992, award-winning author William Finn suffered a brain seizure shortly after the opening of Falsettos (which he co-wrote with James Lapine) and was hospitalized. The experience inspired this latest Iron Crow Theatre production, the poignant and surprisingly funny story of children’s TV composer Gordon, who dreams of writing a Broadway hit but is blindsided by a life-threatening brain tumor. May 31-June 9. Baltimore Theatre Project, 45 W. Preston St.

Film

Maryland Film Festival
Christmas for cinephiles has come again. The Maryland Film Festival returns for four days and five nights of films, special guests, and great experiences for movie lovers of all stripes. Catch some new documentary screenings, join John Waters to watch a Nicolas Cage rampage, or just pick a time slot and see what’s new with some friends. May 8-12, Various Station North locations

Literature

Meet Matthew A. Cherry and Vashti Harrison
Gather the kids and head to The Children’s Bookstore for this visit and book signing with the author and illustrator of Hair Love. Born from a lack of representation in animated projects and the desire to promote hair love in kids, this sweet father-daughter tale of love and self-acceptance is sure to become a favorite among both children and parents.

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

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

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

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

“Feel Nobody” by Butch Dawson

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Surf Harp

Mr. Big Picture
(Friends Records)

I rarely inject myself into music reviews, but as a child of the ’80s, I couldn’t help but wildly relate to this new album from indie quintet Surf Harp. With its off-kilter electronic touches, lo-fi instrumentation, and playful vocals, it takes us back to the very best of that unruly, experimental decade. Where the band’s 2016 Peel felt like an homage to the psych-rock of the 1990s, this record is imbued with a stellar fusion of post-punk and New-Wave pop influences from the years that came before. At times, it’s a little Devo, Talking Heads, maybe even a hint of the Buzzcocks, though mostly it’s a jubilant sound all their own. As in the last album, each song is in and of itself a little independent masterpiece, meticulous in its layering of multiple melodies and fitting imperfections—the fuzzed-out guitar, the fluctuating vocals, the outside-the-box arrangements, the in-your-face creative energy. I particularly fell for the shadowy ballad “I Lost You” and the rhythmic, rolling avalanche of “D.I. Cig.” Surf Harp refuses to stay inside the lines, making this—yes, we’ll call it now—one of the most exciting releases of 2018.

Letitia VanSant

Gut It to the Studs
(self-released)

There’s a subtle depth to this new album by Letitia VanSant. In the great tradition of Americana music, these songs are so much more than just pretty melodies and honey-coated harmonies. Whether it’s expressing a personal journey or a political one, this fourth record is a coming-of-age moment for the Baltimore singer-songwriter. Start with the first track, “Where I’m Bound,” to see what we mean. A few hearty pats on the body of an acoustic guitar slowly meld with the belly-deep tugs of upright bass and the heart-aching runs of old-school fiddle, building and blossoming like a moment of clarity—an awakening—that goes on to permeate the entire album. Born out of great change, this record marks a transformation for VanSant, who recently quit her 9-to-5 job to become a full-time musician. Her mellifluous voice stands bright and dynamic as ever, as does her vivid, masterful storytelling. But in the quiet corners, like “Wild Heart Roam,” “Dandelion,” and “Sundown Town,” VanSant embraces the power of her own emotions, asks the important, at-times difficult questions, and reveals an unshakeable artist who knows exactly where she wants to go.

Read the full interview with musician Letitia VanSant.

It’s been almost three years since your last record, Parts & Labor, in 2015. What have you been up to between then and now? 
Shortly after I released that album, I had some things happen with my family that made me realize I want to spend my time differently. I left my full-time job in D.C. and moved back up to Baltimore. For a while, I lived at the H&H Building with my fiancé, and then he ended up buying a house in Mayfield that needed a whole lot of work. So around that same time that I was going through a lot of change, we were literally knocking down walls and dealing with holes in the roof. That was a big part of where the inspiration for the title came from.

Did those parallels reveal themselves immediately?
I can’t actually figure out when I wrote “Gut It to the Studs.” Sometimes I write a song and a couple months later I realize the messages it has. When I first wrote it, I meant it as more of a political song, and then later realized the personal notions it had. 

You’ve had political undertones to your songs for years now. Was there a new emphasis on that for you with this new record, also named Gut It to the Studs, because of the current political climate?
I recorded this album last November, and I wrote a lot of these songs well before the election but many of the same messages are still relevant today. I believe that, for many of us, what’s going on inside has big implications for who we are as people and how we choose to operate in the world, which brings a lot to bear on what happens politically. 

For myself, I felt for a long time that I needed to get somewhere in my career—that I really wanted to have something to show for myself. I didn’t even know what ladder I wanted to climb, or who I was trying to prove something to, but that’s kind of just baked into our culture. Our sense of self-worth is tied to something external. D.C. culture has this inherent competitiveness and insecurity, so when I left, it was partly me being like, ‘Okay, screw that!’ I’m not going to base my sense of self on where I am in my career. There are lots of ways to look at life. 

Was it scary to let go and give up those ghosts?
Yes. I turned to music, and in my mind, it was this place that was free of all those things. And then I discovered that music also has competitiveness and insecurity. At its best, there’s a lot of camaraderie, mutual support, and inspiration. At its worst, there’s some of the opposite. So I learned that those feelings just follow people wherever they go. It’s an unseen hand and it’s really easy to go through your whole life without really realizing that you’re trying to prove something to somebody who doesn’t exist. For me, I didn’t want those things to be the factors driving me forward.

Is writing music cathartic for you? How do you use your art form to process emotions?
I often write songs from a purely creative standpoint, just to see what phrases and words come out and what concepts emerge. Later on, I can take a look and see it was trying to say. There are some strands of indie-folk that have a lot of abstraction, but I kind of follow the country vein in that you know exactly what that song is about. It’s clear what the point is. 

What is the point of this new album?
If I had to put it in one sentence, let’s get our priorities straight. 

Is there a seminal song on the album for you? 
I’d say the first track, “Where I’m Bound.” That originally came out of learning about an early abolitionist, John Woolman, who went around asking people to free those that they were enslaving. In his journal, there were times where he expressed real doubt, because it was difficult for him to see that things were changing, and he didn’t know if he was doing the best he could. It’s easy for us to look at the leaders of the past and think that they were very certain and surefooted, but leadership is terrifying and uncertain. That’s a big spiritual hurdle for any of us to contend with—not really knowing what the right way forward is but proceeding with faith, in spite of those things.

There’s a cover of Buffalo Springfield’s “For What it’s Worth.” What’s inspired you to include this 1966 song in 2018?  
The people who were part of the civil rights movement in the ’60s and ’70s are huge inspirations for me. I so admire what those folks were doing, and specifically in Baltimore, there’s this woman named Betty Robinson who is kind of a mentor for me here. It is just as important for us to be really active in this moment in time. I wanted to bring up that the same struggles continue today.

You also have a very important song about Baltimore called “Sundown Town.” Tell us a little bit about its inspiration.
It’s about segregation in Baltimore. In 2008, I was in Detroit canvassing for the Obama campaign, and I was paired up with an older black man. One day we were canvassing in a white suburb that to me kind of typified what I grew up to feel like was a safe place. It started to get dark, and I was having trouble finding my canvassing partner, and then when I found him, he was visibly shaken. He said that when he was growing up, that neighborhood was a “sundown town.” I had never heard that term before, but it basically meant that black people were not allowed to be there after dark, and if they were, they might get picked up by police or beat up—whatever it was, it would be bad. After that, I read this book called Not in My Neighborhood and discovered that this wasn’t just small rural towns that had that policies of segregation, but also a lot of urban neighborhoods, like in Baltimore. Some of the suburbs where I grew up still had these racist housing covenants on the books. That was when I first got the idea for the song.

Then during the Baltimore Uprising, I went to some of the protests and I remember a lot of my white friends being afraid to go and using phrases like “stay safe.” But there are some people in this city who don’t ever have the luxury of feeling safe. Growing up in the suburbs, it’s really easy for white people like me to live pretty obliviously to some of the problems that low-income black communities face. If we’re only thinking about our own safety, it’s really a hindrance to the whole movement going forward. And what I hope that we move towards is really seeing that no one is safe until everyone is safe. That’s one of the big messages that I felt the Uprising was trying to tell us: If we want peace, we have to work towards justice—for everyone.

I would also add that, of course, in this conversation, the people who should be at the center of it are the people who are most directly affected by it, like artists who are people of color. But I also think it shouldn’t always be entirely up to them to raise these issues. White communities need to be talking about it, and I do have a platform that reaches, well, a lot of white people. And I don’t think it’s right for a white person to make a profit about any song about oppression, so any proceeds that I make from this song will be donated to people-of-color-led organizations that are working on these issues in Baltimore.

Why now for this nationally distributed debut?
When I left and started really looking at what it takes to be a more serious musician, this was what I decided was the next move. I’m a little old to be doing my first one, but I’m not getting any younger. I write a lot and have a lot of material I hope to release in the future.

Is your old house finished in Mayfield?
Pretty much! Old houses are never done, but we’re very happily settled in.

In this next iteration of The Big Baltimore Playlist, we found five local songs we can’t get enough of, ranging from star-quality country music and jazzy R&B to experimental instrumentals with a touch of spoken-word poetry. 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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“Not That Into You” by Emma White

It’s not often that a Baltimore singer makes it big in Nashville. For starters, we’re just barely below the Mason-Dixon line, and our music scene is better known for its bluegrass roots, hip-hop heritage, and DIY devotees than its country stars. But Towson native Emma White has changed all that, with her pop leanings and stellar pipes leading her to be dubbed one of the “10 New Country Artists You Need to Know,” according to Rolling Stone magazine. White breaks the mold of heartbroken love songs and odes to Mr. Right with this righteous number about skipping games and not settling for anything less than what she wants. With fresh vocals, original lyrics, and hearty acoustic strums, she has all the trappings of a future—though all her own—T. Swift.

“Stay On It” by Horse Lords

We’re a few months behind on Horse Lords’ latest Mixtape IV, out this past May, but when we finally heard this compelling number, we were completely mesmerized. The experimental quartet takes their instrumental grooves to a new level with this adaptation of “Stay On It,” created by composer Julius Eastman in 1973. With its original political undertones and brazen departure from the mainstream, this homage couldn’t be timelier, and Horse Lords carries on those same themes as it transforms Eastman’s minimalist layering of vibes, strings, and brass into a sax-funked, festive dance number. Moving from syncopated rhythms to a beautifully dissonant chaos, it questions the norms and rethinks the very nature of sound. Best of all is the introduction, as Eastman’s program notes are turned into spoken-word poetry by the one and only Abdu Ali.

“Gut It to the Studs” by Letitia VanSant

It’s been five years since we’ve heard new music by Baltimore’s Americana darling, Letitia VanSant, and boy are we glad she’s back. The folk singer-songwriter returns with a full-length follow-up album (out February) that quietly rivals her already accomplished debut. On this rich single, VanSant announces a sort of rebirth—having quit her job to become a full-time musician, watching the world and her city change along the way. This title track uses her trademark harmonies, heartfelt storytelling, and authentic acoustic sound to start over, to reemerge with fresh eyes, to expose and embrace her truest self. It arrives just in time for the New Year, reminding us to do the same—gut it to the studs—while showcasing how the tumultuous times of 2017 have led to the creation of some pretty great art. 

“FreKweency” by MovaKween

One of the smoothest voices to come out of the woodwork this year is that of MovaKween. The local singer-songwriter has just released her first full-length debut, featuring this infectious single. The slow jam doubles as a freestyle jazz number, with MovaKween’s voice swinging between cooing neo-soulful lows and urgent hip-hop highs. In the vein of Erykah Badu or Jill Scott, she uses her honey-coated vocals and sharp rhymes to tackle larger topics, like the importance of female empowerment, creative freedom, and feel-good vibrations for the hardship-riddled city of Baltimore. Mark her down as an artist to watch. 

“Spiral/Wave Is Not the Water” by Wye Oak

Wye Oak might no longer live here full time, but they’ll always be a Baltimore band to us. The indie duo came home for the Ottobar’s 20th birthday this fall, and lead singer Jenn Wasner’s solo Flock of Dimes show before that. And who could forget their performance at BSO Pulse. (We know we never will.) It’s been a long year since their last album, Tween, but the band now gives us a possible sneak peek of its upcoming record with this new double release. Sure, they’re essentially two separate songs, but they compliment each other like no one might have guessed in the five years between their creations. “Spiral,” circa 2012, is a rolling, chord-running number that stems from the band’s early days—back when they first started adding electronic touches to their rock-forward sound—while “Wave Is Not the Water” is a song of 2017: blossoming, powerful, introspective. If it’s any indication of what’s to come, we can’t wait for 2018. 

Dan Deacon
Gliss Riffer (Domino)

Over the years, Deacon‘s music has evolved from frenzied party noise to the sort of expansive compositions that complement a long drive on a wide-open road. This self-produced album chips away at the nervous chaos and social themes of his earlier work and in turn delves deeply and earnestly inward. Lyrics confront life’s quandaries and intrinsic anxieties; melodies drift between a yearning energy and lilting dreamscapes. Meanwhile, Deacon builds his complex layers and seamless transitions with a newfound urgency and emphasis on vocals, all of which are his own. You can hear old influences in the ecstatic tribal beats and whirling rush of “Sheathed Wings” and “Meme Generator,” but there’s a new, brimming nostalgia in the lovesick lyrics of “Learning to Relax,” the pastel synth-pop of “Feel the Lightning,” and the driving jungle chant of “When I Was Done Dying” that we haven’t quite heard before. In the end, the album fades out with two instrumentals that burn off and disappear like taillights in the night. Overall, it feels like a heroic search, as Deacon continues to hone his once-frantic sensibility into sweeping electronic symphonies. We don’t want his search to end.

Read our Q&A with musician Dan Deacon.

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Letitia VanSant & the Bonafides
Parts & Labor (self-released)

Letitia VanSant and her bandmates have been trucking their folk-singing, string-riddled sound around Baltimore for a few years now—together, in other groups, on their own——but this album marks their official, full-length debut. It was worth the wait. It’s a pretty, soulful record, full of rich, multi-part harmonies; tight, Southern twang; and authentic, Americana storytelling. Songwriting has always been a strongpoint for VanSant, who tells backwoods tales through heartfelt, confessional lyrics. Meanwhile, the quartet, which includes Tom Liddle and brothers David and Will McKindley-Ward, blends acoustic and electronic instruments to infuse their rootsy folk melodies with a dose of indie rock and roll. Moving between sunny stomps like “Rising Tide,” heavy-hearted blues like “Master Plan,” and smoky hymns like “Promised Land,” their songs have a timeless feel, like these young musicians have been at it for ages.

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Panda Bear
Panda Bear Meets the Grim Reaper (Domino)

The title suggests this album would be different from Panda Bear’s previous album, 2011’s blissful, Beach Boys-esque Tomboy. But surprisingly enough, Panda Bear Meets The Grim Reaper is not all darkness and gloom. Instead, the Baltimore native and Animal Collective member takes the saccharine, sepia tones of his last record and adds depth, color, and a hefty dose of digital pop to create something more edgy, energetic, and full. Tempos speed up, samples mix heavily, reverb is laid on thick, and vocals act as both staccato break-beats and pretty, echoing melodies. The songs are a mix of surreal soundscapes: some eerie, like the monastic, swampy noises of “Sequential Circuits”; some dreamy, like the harp-heavy “Tropic of Cancer”; some synth-riddled and trancey like “Principe Real.” Others are churning cacophonies, like “Mr Noah.” It’s introspective, inspired by his own experiences with relationships, change, and growth, and yet it feels closer to the poppy past of 2007’s Person Pitch or even the lush, layered teamwork of Animal Collective’s best.