Art Space is a recurring element in the UpFront section of our print publication that spotlights a local artist or project making an impact in the city at large. Here’s what’s going on this month:

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Years from now, when historians want to learn about the Baltimore music scene, they should look to the books of Micah E. Wood. Over the past decade, the MICA grad, photographer, and musician himself has published two captivating collections of local artist portraits, each in his distinctive dream-like style—rich in color, light, and life force.

As in the just-published Scene Seen, these works not only document the creative spirits who craft the soundtrack of this city, but also bottle the electric essence of Baltimore itself. Consider this the perfect Valentine for a loved one’s library or coffee table, with copies available online and at local bookstores, featuring design by local artist Christopher Chester and a foreword by Baltimore Beat editor Teri Henderson.

Join the creators to celebrate the book—and pick up your own copy—at a Q&A moderated by photographer Devin Allen at Bird in Hand in Charles Village on Sunday, Jan. 26.

Best of all, there’s an accompanying playlist, too:

On his latest album, Ring Ring, local indie darling Micah E. Wood has officially hit his stride. Not that we didn’t love his other records, like 2019’s self-titled LP or 2020’s much-needed You Are Here. But after spending the better part of the last decade honing his sound, the 31-year-old singer-songwriter has really found his voice.

Here, he emerges with six new nostalgia-tinged songs that feel like the fruits of his labors, evolving from the lovelorn lyrics and digi-pop melodies of his early work into some of his most expansive songwriting and versatile vocals yet—including his first true rock song, which draws inspiration from the likes of Lou Reed and Ramones.

A prolific collaborator and charismatic performer, Wood has become a staple of the local music scene. He is also one of its most steadfast champions, working across genres and celebrating its myriad artists through his colorful photography work. Members of Super City, Ed Schrader’s Music Beat, and Outcalls appear on this record, among others. Best of all, in true Micah fashion, Ring Ring is a lot of fun. He encourages popping in your earbuds and listening to it on a walk about the city.

You’ve said that, after years of writing love songs, your self-titled album was sort of your coming-of-age record, and You Are Here was your dance record. In the Micah E. Wood catalogue, where would you put Ring Ring?
It’s funny, because I was finishing the self-titled album right around the time I met my now-fiancée. It was very much about me finally learning to love myself. Literally the week after I finished recording that record, I wrote the first song for You Are Here, which was “Something More.” I wanted someone to view me as more than just a person, but all of my intricacies, seeing me for who I am. I have that now. Ring Ring comes from a place of comfortability. There’s a lot of everyday life. There’s a lot of reflection. The first song, “Adderall,” is what I hope is the finale to songs like “Without You,” from 2017. It’s like the closing of this chapter of heartache as I move into a world of loving myself more— and being loved.

You’ve also made some sonic shifts. What have you been listening to?
I’ve been pulling a lot of inspiration from Jewish rocker icons. Lou Reed. Sparks. I didn’t grow up listening to, for lack of better words, old white rockers. My mom raised us on a lot of Prince and Earth, Wind & Fire. It was cool finding these artists later on and falling into the way they write. My lyrics have been very matter-of-fact and autobiographical. This record was a lot more like poetry—really writing it out, assessing it to the song, then retooling every line that doesn’t hit 100-percent perfect, which I heard is a method that Kendrick Lamar uses. He writes like three or four potential songs for every song.

Which is your favorite from this album right now?
Maybe “See You Later,” which is my first rock song.

I hear some Ramones in there.
Another Jewish icon. It’s funny, I sent that song to [D.C. artist] Bartees Strange a few months back, like, “Man, I hope you like this, it’s the hardest song I ever wrote,” and he wrote back like, “Bro, this is hard, you know what it reminds me of? Elton John,” and I was like, “F**k!” Like, I love Elton John, but . . . [laughs]. I’ve actually been getting a lot of Elton John comparisons recently, and I love that. It might be my stage presence, and maybe the drama. I’ve just accepted that my music has a dramatic sense to it. That’s just how I write. And I love that rock lets you be so dramatic.

Has this influenced your singing as well?
For years, I sang so deep because it was the only thing I could control. But on my last record, I realized the natural place of my voice was actually more of a [tenor or baritone]. I wrote all the melodies on synth and practiced them over and over again so I could be more melodic. So I went from having no knowledge to bettering my voice to then practicing to get my voice to be able to do more to this record, where I could be the most free. I feel the most at ease with my voice than I ever have. It’s exciting.

Sam Sessa didn’t always dream of being on the radio—at least not in the role he plays today, as a DJ with Towson’s own WTMD. “Sometimes sports writers are failed athletes, and music writers can be failed musicians—that’s definitely me,” says Sessa, who cut his teeth as a journalist before becoming the Baltimore Music Coordinator and host of Baltimore Hit Parade.

He grew up playing the accordion, eventually pivoting to the keyboard and organ bass during college at the University of Maryland, where he performed with a local jazz and cover band. Upon graduation, the journalism major went on to cover the entertainment beat at The Baltimore Sun from 2005 to 2013, which “just happened to be at a time when Baltimore’s music scene became one of the best in the country. I got really lucky,” Sessa says, pointing to the storied rise and record deals of artists such as Beach House, Future Islands, and Dan Deacon at the time.

“In the ‘90s, we had Dru Hill and Sisqó, which were incredible success stories for the city,” he says. “But we didn’t have as large of an audience, with attention being spread out on so many different bands, like it was in the mid to late 2000s. It was like your home team coming out of nowhere to win the Super Bowl.”

On Thursday, May 19 at The Charles Theater—in the first of what will be several free public screenings in Baltimore—this historic arch will be on full display in Sessa’s directorial debut, Do Whatever You Want All the Time: The Baltimore Music Scene 2005-2020. Created during the pandemic and named after an album by local art-rock band Ponytail (one of Sessa’s favorites), the short documentary film chronicles how Baltimore made its way onto the national stage, from the late aughts, when the city’s musical milieu was dubbed the best in the country by Rolling Stone, through the 2015 Baltimore Uprising, which, Sessa says, “changed the whole conversation on the local scene.”

“The uprising was a reckoning for a lot of different communities, including the Baltimore music community,” he says. “We made the film in the year of George Floyd’s death, and to compare what was happening in the rest of the country to what happened in Baltimore in 2015—that gave us chills.”

Despite the challenges, there’s an overarching theme of optimism as Baltimore’s musicianship continues to evolve. “Between artists like Micah E. Wood, Outcalls, Super City, and Modern Nomad, we’re seeing collaboration in ways that weren’t that common in the mid to late 2000s for a bunch of different reasons—that really gives me hope,” Sessa says. “The Baltimore music scene is perhaps more connected now than it has ever been.”

The film features up-and-coming indie bands like Snail Mail and Peach Face, as well as veteran artists such as Abdu Ali, Lafayette Gilchrist, and Jenn Wasner of Wye Oak (plus images by Baltimore contributing photographer J.M. Giordano and an appearance by senior editor Lydia Woolever.)

Local cinematographer Julia Golonka, who filmed, edited, and co-produced the documentary with Sessa, wanted to make sure that every topic—in particular, racial themes—would resonate with viewers.

“I hope that people feel we did the scene justice,” says Golonka, who went to the same high school as Snail Mail’s Lindsey Jordan. “Growing up in Ellicott City, I’ve been listening to a lot of these artists for a while now. My Spotify Wrapped for last year was mostly the bands that are featured in the film. I just kept listening to them as I would edit. I hope the viewers feel inspired to do that too. This was a dream-come-true project.”

The same goes for Sessa, who refers to the film as “the bookends of my career, distilled into 24 minutes.”

“In 2005, we still had yet to even realize that the scene was a scene,” he says. “But to watch it coalesce over the years has been fulfilling to me. We’re thrilled to share this little time capsule.”

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.

EAT

Aug. 3: The Charmery Turns Six

The Charmery in Hampden, Towson, & Ice Cream Factory. Hampden & Towson 12-11 p.m., Ice Cream Factory, 12-10p.m. Free.

One of Baltimore’s favorite sweet shops is celebrating its sixth anniversary the only way it knows how—by hosting a nostalgic-themed party with new ice cream flavors inspired by old-school sitcoms. Stop by any of The Charmery’s locations to sample TV show-inspired flavors such as Golden Girls cheesecake with Golden Grahams, a Cheers beer nuts flavor made with Union Craft Brewing Skipjack Caramel, and a Giligan’s Island take on a vegan coconut cream pie. To really treat your sweet tooth, visit all three locations on Saturday to win a limited-edition Charmery mug and enjoy a free baby scoop with every purchase.

 

DRINK

Aug. 3: Guinness Open Gate Brewery Anniversary Party

Guinness Open Gate Brewery, 5001 Washington Blvd, Halethorpe. 11 a.m.-10 p.m. Free-$75

Somehow, it’s already been a year since the only Guinness brewery in America opened in Halethorpe, and local fans of the iconic Irish stout are more than ready to toast the brewery’s big birthday. On Saturday, start the day off with beer-inspired treats by Charm City Cakes (think tart hibiscus wheat and tangerine cream ale flavors), down some signature brews, and then party all night with a performance by country music superstar Frankie Ballard. And don’t miss the tapping of the new, small-batch anniversary brew called Grand Cru—a bourbon barrel aged stout blended with a rum barrel-aged golden ale.

 

SEE

Aug. 3: Solange Knowles’ When I Get Home

Lexington Market, 400 W Lexington St. 11-11:45 a.m. & 12-12:45 p.m. Free.

If you haven’t stopped by the Baltimore Museum of Art’s Lexington Market branch yet, this exclusive, free screening of singer-songwriter Solange Knowles’ art film is the perfect opportunity. The 41-minute piece is an accompaniment to Knowles’ latest album “When I Get Home.” It features futurist rodeo nods to the singer’s Houston lineage, and explores the concepts of origin and evolution. Catch one of the two screenings on Saturday afternoon to see new scenes and hear musical arrangements in this exclusive director’s-cut showing.

 

HEAR

Aug. 3: Micah E. Wood

Ottobar, 2549 N Howard St. 9p.m. $10.

Baltimore producer, photographer, and recording artist Micah E. Wood is bringing his unapologetically heartfelt sound to Remington this weekend. Hear this singer-songwriter gets into his feelings with tunes like “The Truth” before getting the crowd going with “Summertime,” and don’t miss out on performances by other rising local acts including Romantic States, DYYO, Eyas, and Station North Sadboi. If that isn’t convincing enough, there will also be ice pops by CM POPS for sale during this can’t-miss show.

 

DO

Aug. 1-4: BronyCon

Baltimore Convention Center, 1 W Pratt St. Thurs. 9a.m. – Sun. 5p.m. Free-$2,000.

Friendship will turn into magic at this weekend-long extravaganza that brings more than 9,000 My Little Pony fans together from every corner of the globe. Since this weekend’s convention marks BronyCon’s swan song, don’t miss the final chance to experience screenings, a talent show, more than 20 musical acts (including HollowPoint, Eurobeat Brony, and StrachAttack) and tons of special guests during the four-day cosplay utopia

EAT

May 17: Masarap Pop-up at Suspended Brewing Company

Suspended Brewing Company, 912 Washington Blvd. 5-9 p.m. Free.

If you didn’t get the chance to try local chef Rey Eugenio’s top-notch Filipino eats during his pop-up concept’s stint at Fadensonnen or Greener Fest, head to Pigtown this Friday to sample everything on this entirely plant-based menu. From Masarap staples like charred Brussels sprouts and Filipino-style stir-fry noodles to roasted corn and oyster dumplings, this vegan lineup pairs perfectly with a few of the South Baltimore brewery’s signature pours. And, since one dollar from each pint supports the next Charm City Night Market, there’s no shame in snacking and boozing all night long.

DRINK

May 17: Maryland Craft Beer Fest

Max’s Taphouse, 737 S. Broadway. 11-2 a.m. Free.

Outdoor beer festivals may be all the rage, but there’s something about walking into Max’s Taphouse and seeing 90 taps (yes, you read that correctly) full of Maryland beer that can’t be beat. This Friday, start early and work your way through beers by more than 40 local breweries, including Charm City favorites like Heavy Seas and Diamondback as well as newcomers like Nepenthe and Mobtown Brewing. Whether you spend the day sampling new brews or sticking to your go-to guarantees, we recommend ordering some nachos or tater tots every few rounds to soak up the suds.

SEE

May 15-Dec.1: Hitching Their Dreams to Untamed Stars

The Baltimore Museum of Art, 10 Art Museum Dr. Wed.-Sun. 10 a.m.-5 p.m. Free.

If you do nothing else this spring, visit the Baltimore Museum of Art to experience this awe-inspiring exhibition that celebrates the profound work of MacArthur-award winning local artist Joyce J. Scott and her mother, Elizabeth Talford Scott. The curated collection features Talford Scott’s experimental textile pieces, including a quilt that depicts the North Star as a matriarchal beacon of freedom, along with examples of Scott’s art that responds to her mother’s textile tradition. The exhibition’s seven-month run encourages visitors to view the pair’s thought-provoking bodies of work again and again.

HEAR

May 17: Micah E. Wood Album Release

The Charmery Ice Cream Factory, 1700 W. 41st St., Suite 400. 8-11:45 p.m. $10.

We agree with Micah E. Wood: If having your own ice cream flavor at your self-titled album release party isn’t the ultimate flex, we don’t know what is. Pack The Charmery Ice Cream Factory on Friday night to hear this beloved local musician and photographer perform bare-it-all songs from his third record, as well as sets by indie-pop quintet Super City, pop-opera duo Outcalls, rapper Al Rogers Jr., and DJ Loc Spice. Grab a complimentary scoop of the singer-songwriter’s signature flavor (ginger-lemon-coconut) and bop along to brand-new tracks dedicated to introspection, self-care, and—of course—his dog, Ansel.

DO

May 18: Preakness Stakes

Pimlico Race Course, 5201 Park Heights Ave. 9 a.m. $99-720.

After months of debates and hearings about the future of the iconic Preakness Stakes, this weekend’s events will be the first time in a while that the focus will be on the actual horse race, not the political one surrounding its potential move to Laurel Park. On Saturday, start the festivities early at the ever-raucous InfieldFest, featuring the likes of EDM star Kygo, popular rapper Logic, and DJ/producer Diplo, before heading to the track for the main event. Above all else, revel in the chance to cheer on the middle jewel of the Triple Crown for what could be one of the final times at Pimlico Race Course.

In a world of bravado and swagger, Micah E. Wood’s unapologetically heart-on-his-sleeve music is a breath of fresh air. But where the local troubadour once sang about new relationships, unrequited romance, and the trials and tribulations of dating in modern times, his new self-titled record is a love letter to himself. It’s relatable for any listener, with each song acting as a sort of mantra on reflection, introspection, and self-care. Before his release show at The Charmery Ice Cream Factory on Friday May 17, we sat down with the artist to talk about owning your feelings, fending off imposter syndrome, and the love of his life—his dog, Ansel.

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Okay, here we are, let’s find out the ins and outs of Micah E. Wood.

Is Micah E. Wood nice?

Read on to find out.

I want a clickbait-y title to this interview, for sure. I’m still trying to come up with a better term for myself now that I’ve decided that I hate the term “sad boy.” I’m not sad anymore. Any time a man uses emotions, he’s deemed a sad boy. Men should be able to just use emotions.

If you’re not sad anymore, what are you now?

I’m just self-reflective. Or trying to be. There are plenty of things to be sad about, and there are some sad songs on the record, but in general, I’m just processing emotions.

On some of the songs, you seem to get pissed, in a cathartic way.

Uh-huh. And not necessarily pissed at people. Like on “I Don’t Need Your Love,” I’m not mad at anyone, I’m just screaming into the void.

How did you shift from sadness to introspection?

Two years ago, I was still figuring out what it was like to be single and how to date and I wrote pop music because it made me feel better. This new record is still pop music—it’s just not as bright and synth-heavy. These aren’t humble brags, but in the last two years, I decided to get healthier, I lost like 55 pounds, I got to perform in France, I wanted to lean into my voice, so I started taking vocals lessons, and on top of all that, I bought a house and in that house is my grandfather’s grand piano. I wrote all of these songs on that piano.

It was also the first time that I really tried not to date and just be with myself. I was trying to figure out what I needed on my own, so I could be a full-functioning person for someone else. It’s me accepting that I’m an adult and in turn taking these songs more seriously. With my last record, See Me, I’d write a song and call it done. This record is a good mix of songs that came organically and songs that I knew could be better. I’ve never done that before—really tear things apart to figure out what wasn’t working.

Do you think you were able to do that because you took that time to yourself?
I think so. I think it’s also hard to accept needing help from others. And it’s hard to accept that some things need editing. A lot of us like to think if we can’t just organically do something, then we’re not talented. I’ve been trying really hard to say “fuck off” to imposter syndrome, but it’s so hard. I still feel it every day. I’ll have two weeks like, “There’s no point . . .” And then I’ll have two weeks like, “This is minorly good.” That’s my peak excitement. “This is slightly enjoyable! I might get four new fans! My mom will like this!”

I love that she’s your number one fan.

She has not heard any of this.

What do you think she’s going to think of “Take It Slow”?

Listen, I told her that this record is PG-13. There’s no cursing, but there are suggestive themes. The funny thing is, in 2019, she won’t be at all bothered by the fact that I said weed, but she’ll definitely be uncomfortable by that song. I said to Corynne [Ostermann], my work wife, who plays bass on the entire record [and in local punk band Natural Velvet], “This is the sexiest song I ever wrote.” She was like, “Yeah, it’s really good, but it’s not thatsexy, it’s more loving.” I mean, this is all I’ve got, but it makes me feel better than she said it’s not peak sexy, it’s romantic sexy, and I think my mom can appreciate that. The song is actually about that feeling of finally being comfortable with someone. A lot of people don’t talk about how uncomfortable things like sex can be. There’s your title, “Micah talks about sex.”

There’s a much bigger sound on this record that seems to draw inspiration from previous decades.

I figured, if I was going to make a record about myself, it couldn’t just be one sound. You know the typical dating profile, like, “I listen to everything, except for country!” Well, I actually listen to everything, and still do love country. I just skipped the kind that everyone in Virginia listens to where the guy’s first name and last names are both first names. But I grew up listening to a lot of psychedelic, dream-pop Beatles and Beach Boys. At the same time, I decided that I was going to use less humor, and when I did use it, I wanted to use it so seriously that people knew it was not a joke.

My personal favorite is “Summertime.”

That song is meant to capture the experience of your first crush. The first time you really feel your heart move is the first time you have some dumb crush for someone when you’re 6, 7, 8, or 9, or you’re at Jewish summer camp—very specific, I know. You meet someone and are like, “I loveyou” and that’s the first time you truly know what’s happening, even though you don’t know why it’s happening yet. And then when it doesn’t work out, it’s the first time you feel yourself sink to the floor. When they don’t like you back because . . .

You live like three states away.

Yeah, you’re like, “It won’t work!” And they’re like, “That’s just an excuse!” But really, that song had to be the intro, because it walked you in from where the last record left off. I really tapped into how I feel about love now.

How do you feel about love now?

I feel good about it. I’m not in love, but I feel less pressure about it. And definitely some relief. I met someone who lived across the country and it didn’t end up working out, but my barber said to me, sometimes experiencing that type of emotion for a person when you haven’t felt a strong connection for a long time, it just reminds you that it does exist, and it is possible even if it isn’t that person. It’s kind of just exciting to know that I now have a point to strive for.

You know what you want.

On “Tell Me,” I’m not singing to any one person, but like in a movie when a person sits down their partner and is like, “Listen, I’m getting older. I don’t have to get married right now, I don’t want to have kids right now, but I want you to know, I do eventually want these things.” It’s a disclaimer. I write the type of songs where a girl might see me on stage and think I’m cute but then hears my lyrics and is like, “Ooooh, that’s a lot more than I’m willing to take on right now . . .” I wanted to write that song for years, but I never had the confidence to just be like, “Yeah, I want kids some day!” That’s a bold thing to say, especially in a song, especially in 2019, when everyone’s like, “Don’t you know the world’s falling apart?” I’m like, “Yeah, I do know that, but that’s their problem!” No, I’m just kidding.

Speaking of children, you have a song dedicated to your dog, Ansel.

He’s scared of almost everything in the world, but he’s always liked music. I attribute it to raising him on [Kanye West’s] Yeezus. And I put his dog bed behind my piano seat and when I play piano, no matter what he’s doing or how anxious he is, he runs over and curls up behind me and goes to sleep. He loves the piano, and I never knew. I was writing a song that could easily be a love song, but I wasn’t dating anyone at the time and felt like I can’t write what I don’t know. But then I realized, I love Ansel more than anything. He deserves his own love song.

It’s just me imagining him running in a field. I’ve sung it so many times, just looking at him dramatically, that now I just hit that first chord and he lays down, like, “Okay, sing to me, this is my jam.”

What comes next?

That’s a bold question.

Maybe it’s a nap.

I have the release show coming up and I’ve pulled together a full band for it. I’ve never been a frontman in a band and I’m sure it’s going to go right to my head.

And you’re going to have your own ice cream flavor at The Charmery, where the album is being released this Friday?

Ginger-lemon-coconut. They came up with the idea of calling it “Self-Titled.” It’s my ultimate flex. Tickets come with a single scoop. I just hope people hear it and relate to something on it. I joked the other day that I can’t be famous, because I would be just such a disappointment. Like, “Micah is at Clavel, again. Eating the same thing. He just went home at 7 p.m. to hang out with his dog, again.”

This record seemed less self-deprecating, but I’m glad to know that it’s still alive and well.

Oh yeah, don’t worry! But I did make a conscious decision to try to make music that was self-reflective but less burdening. I don’t want a pity party. I want to be like, “Here’s how I processed things, maybe you can, too.”

Micah E. Wood

Micah E. Wood (self-released)

In a world of bravado and swagger, Micah E. Wood’s unapologetically heart-on-his-sleeve music is a breath of fresh air. As with his past two releases, the local musician and photographer bares it all on this third record, examining and embracing his feelings—the highs and lows and everything in-between. In fact, this album, fittingly self-titled, as it might be his most soul-baring yet, is a cathartic rollercoaster of emotion. In contrast
to his bright, pop-fueled See Me from 2017, these tracks are more mercurial, meticulous, and effectively mighty. He asks hard questions, of himself, mostly, and others. He pushes past comfort zones. He gets pissed off. In the end, he finds a clearing, full of newfound confidence and inner peace. That same sense of discovery imbues his sound as well, with electronic beats mingling with bold instrumentation, plus lush harmonies and lofty backup vocals that we especially loved. Come for “Summertime,” perhaps our favorite song by the artist yet. Stay for the Beatles-esque crescendo of “New Dude” and the poignant piano ballad of “The Truth.”

Cris Jacobs

Color Where You Are (Blue Rose Music)

The King of Baltimore rock ‘n’ roll is back, but he’s not the same man he used to be. In fact, in the three years since the release of his last record, Dust
To Gold, Cris Jacobs has become a father, as well
as a road warrior, touring and performing extensively as his star rises, even alongside some of
his idols. All that change
is reflected in this new record—a triumphant feat that fulfills our hunger,
in these heavy times, for hope and authenticity.
It’s tried-and-true Jacobs to the core, but these 10 songs also rip his soulful sound wide open and lay down fresh terrain. They’re an unbridled amalgam of his many influences—blues, roots, country, soul, bluegrass, funk—fueled
by flurries of piano, virile guitar, and powerful vocals. Wavering between big, bright ballads and downright grooves, the veteran musician digs deep and looks ahead. Through thoughtful songwriting, he wrestles with themes of family, fame, and growing older, finding solace in these strange times and success on his own terms.

See our full interview with musician Cris Jacobs.

In the latest iteration of The Big Baltimore Playlist, we found five local songs ranging from avant garde rap and heartfelt electronic pop to outright funk. 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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“I’m Here Now (Fiyah!!!)” by Abdu Ali

This title track is the last song on Abdu Ali’s transcendent new album, FIYAH!!!, released last week, and yet, in a way, it’s a beginning. The experimental artist has spent the last several years defying all musical boundaries in honing their homegrown hometown craft, and with each new release, the Baltimore native has found new ways to fuse the genres that shaped them—Bmore club, hip-hop, jazz, soul. And now, with this fifth record, they emerge anew, presenting a truly unique amalgam of sound that only Abdu and their journey as a queer black artist born and bred in this city could create. This vivacious song, in particular, captures their intensity, ingenuity, and free-spirited live shows, now featuring the sonic elevation of a full band. The lyrical mantra—“I’m here now, I woke up today, fire in my soul, I’m here to stay”—tells you all you need to know. This is just the beginning. See for yourself when they play live tonight at the Ottobar.

“Gnat Booty” by Black Root Underground*

In Baltimore, funk is alive and well thanks to the six-piece hip-hop collective of Black Root Underground. Fusing both sounds with blues, soul, reggae, and spoken-word poetry, these multi-instrumentalists create an all-around feel-good sound, fueled by drums, didgeridoos, trombones, bass, and keys. Together, they create high-octane rhythms that propel forward Blackroot’s own energetic verses, playing on positivity, humor, and fun. Take this new single off the new album Root Canal. It’s as much an old-school James Brown show as it is a trip to Preservation Hall in New Orleans, where the lead singer refers to himself as “a large child with a really nice beard.” Be sure to check out one of their live performances, which include audience participation, encouraging the crowd, like the Godfather of Funk himself, to get on up out of their chairs.

“Grammy Speech” by Kotic Couture

There are few artists in Baltimore these days with better lyrical finesse than Kotic Couture. With a deliberate delivery and warm, husky, heartfelt vocals, the rising rap artist has become a force to be reckoned with on the local scene, drawing on their own story to honestly speak to dreams, doubts, and staying steadfastly true to yourself. “I’m at peace with my past, it can no longer haunt me,” they declare over lilting strings in this new track, featuring singer Lavon, off their upcoming album, Diary of a Dreamer, laying out a mission statement of sorts. It introduces new listeners to their lyrical prowess and storytelling swagger, and cements their ambitions and intentions for longtime fans and their future self. Fans have flocked for braggadocious party starters such as “Drippin’” and “Go Awff,” but this more reserved moment of vulnerability showcases how versatile Kotic can truly be.

“Stay Right Here” by Micah E. Wood

Leave it to electronic troubadour Micah E. Wood to turn heartache into a club-ready bop. On this track, as in much of his forthcoming self-titled third album, due out May 17, Wood’s trademark talk-sing sentimentality returns, but with a bigger, bolder, newly-baring-it-all sound. Heart on his sleeve, he embraces new emotions, reassesses old ones, and doesn’t hold back with fresh vocal highs. As the title suggests, this love song for long-distance relationships is about not wanting to say goodbye, but owning your own desires and needs, and, ultimately, letting go. As the infectious rhythm swells, amorphous local musician Josh Stokes joins in for a soulful verse and smooth backup vocals alongside his sister, R&B singer-songwriter Bobbi Rush, adding an extra dose of urgency to this fiery, fervent track.

“I See Her Face” By Outer Spaces

This first single off Outer Spaces’ upcoming Gazing Globe gives us all the warm-weather feels. It burns like early summer. It rambles like a sunset drive. It aches like the early days of a fleeting crush.
Maybe it’s the jangly strums of guitar, the steady subtle drum beats, or frontwoman Cara Beth Stalino’s low, listless vocals, but it’s all reminiscent of humid Maryland heat. A follow-up to the band’s 2016 debut, this new bittersweet indie-pop record follows the singer’s recent breakup and forges a path for finding herself again. Though you never quite know whose face she sees hiding in the sun, by the end of the searing crescendo, you think it might be her own.

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

Five things to eat, drink, see, hear, and do with your Charm City weekend.

 EAT

Feb. 10: Clues, Brews and BBQs

Blue Pit BBQ & Whiskey Bar, 1601 Union Ave. 5-8 p.m. Free. 443-948-5590. 

It might be the dead of winter, but nothing will warm your heart like downing a plate of Blue Pit’s coffee-rubbed brisket or bourbon-glazed ribs to support local rescue pups. This Saturday, Hampden’s dog-friendly bar will donate 10 percent of your final bill to Baltimore Bully Crew, a grassroots organization that helps rescued pit bulls. Come for the melt-in-your-mouth barbecue and local brews and stay for the themed escape game from Charm City Clue Room, where participants will solve a short series of puzzles to “save” a stuffed blue pit bull.

 DRINK

To Feb. 9: Sip & Shine

American Visionary Art Museum, 800 Key Hwy. 6-9 p.m. $30-35. 410-244-1900.

Valentine’s Day is right around the corner, and what’s more romantic than a night filled with wine, a scavenger hunt, and mosaic magnets? Nothing, really. The American Visionary Art Museum’s twist on a sip-and-paint night lets guests compete in an after-hours scavenger hunt through The Great Mystery Show, their current exhibit on mystical investigations and curious subjects. Grab another glass of wine or beer and dive into the museum’s treasure chest of craft supplies to make a take-home mosaic magnet for you and your valentine.

 SEE

Feb. 9-11: Constellations & Crossroads

Arena Players, 801 McCulloh St. Fri.-Sat. 8 p.m., Sun. 5 p.m. $20. 410-728-6500. 

In a theatrical collaboration like no other, Arena Players, Baltimore’s historic African-American community theatre, and Baltimore Rock Opera Society, the city’s rock theater powerhouse, present Constellations & Crossroads, a double-feature production filled with American history and live rock music. “Determination of Azimuth” follows the story of Katherine Johnson, a black NASA mathematician who performed calculations that made space flight possible. The second musical, “The Battle of Blue Apple Crossing,” depicts a fictionalized account of the legendary blues guitarist Robert Johnson. If you miss the first three shows, don’t worry, they’ll be back on the West Baltimore stage again next weekend.

 HEAR

Feb. 10: Roses

Showroom Café & Bar, 120 W. North Ave. 9 p.m. $8-10. 410-862-0930. 

We’ve watched them grow and rise in the local music scene over the past few years, and this weekend some of Baltimore’s up-and-coming artists are giving a little love back to their city. Micah E. Wood, Joy Postell, Al Rogers Jr., and Bobbi Rush will serenade the Saturday night crowd at Station North’s Showroom with their heartfelt energies and a performance that is sure to sweep you off your feet. Lose yourself in Wood’s trademark talk-sing, fall for Postell’s neo-soul rhythms, admire Rogers Jr.’s honest rap, and relish in Rush’s dreamy melodies. If you need a preview, follow The Big Baltimore Playlist on Spotify where we’ve featured our favorite songs by these talented artists.

 DO

Feb. 10: Frederick Douglass Day

Reginald F. Lewis Museum, 830 E. Pratt St. 12-4 p.m. Free. 443-263-1800.

Among the many legends born in the Baltimore region, few are more revered than Frederick Douglass. Raised on a plantation on the Eastern Shore, the freed slave turned iconic abolitionist became one of the country’s most widely-read authors and famed orators. Throughout his lifetime, he preached about universal human rights, educated other slaves, and became the first African American to receive a nominating vote for president. Celebrate his 200th birthday and honor his historic legacy at the Reginald F. Lewis Museum this Saturday with lectures by historians Dr. John Stauffer and Dr. Lawrence Jackson, readings of Douglass’s speeches by history re-enactors, and a children’s art and story hour with illustrator London Ladd.

In the latest iteration of The Big Baltimore Playlist, we found five local songs ranging from electric R&B and honey-coated indie to rabblerousing post-punk rock. Check back each month for new top songs of the moment, and follow our Spotify playlist as we continue to build a soundtrack for our city. 

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“More To Love” by Bobbi Rush

This is such a pretty song. It begins with a lush wave of synth that sweeps in as a violin lilts about and local singer-songwriter Bobbi Rush’s breathy voice seems to appear through some dream-like mist. Hushed and honey-coated, it is imbued with the familiar feelings of being lost in love—or having love lost. Produced by local musician Micah E. Wood, it is a piece of ’80s-infused R&B perfection, even as its brought into the 21st century with fuzzy layers of trap-style beats at the bridge and chorus. The melody, and Rush’s siren-esque vocals, fill your ears and consume your senses, leaving you, too, wanting more.

“Dunce” by Ed Schrader’s Music Beat

It’s been four years since Ed Schrader’s Music Beat released their last full-length album, and boy, is the experimental punk-rock duo coming back with an aggressive bang. This lead single, off their upcoming March album, Riddles, is as raw as a razor’s edge, rolling at a race pace with Devlin Rice’s heavy bass and Ed Schrader’s haunting, visceral vocals akin to a sludgy punk Billy Idol. With in-your-face production by local legend Dan Deacon, this fearless track is a rollicking tour de force, densely packed with power and rever, that culminates in one clarity: Schrader has been doggedly performing in Baltimore for more than a decade now—and we think 2018 is finally going to be his year. 

“Bad Dreams” by Hexgirlfriends*

We weren’t prepared for the impact that this song would have on us. Bewitching and boundless, it is such a gentle beautiful thing for how tough of a topic it tackles. In that sense, it’s hard to listen to, relishing in its beauty before realizing what it’s actually about. But maybe that’s the point. The “electro-femme un-pop” duo’s minimalist melody—a few plugs of bass, a touch of keys, a trill of electronics—is a rumination on the act of cutting and abusive relationships—on the ways in which we cope with emotional damage and their sometimes physical manifestations. What starts as faint lyrics pushed through tapping tonal pulses that fall like drops from a leaky faucet then builds into an echo chamber of rhythmic beats, swelling with emotion before finding a final watershed moment of peace. Keep your ears tuned to Sondra Boyle and Hannah Holt. Creating music as affecting as this—so simple yet complex—is no easy feat.

“Baby I’m Bleeding” by JPEGMAFIA

It’s been almost two years since JPEGMAFIA released his politically ripe Black Ben Carson, and his just-dropped follow-up, Veteran, pushes all boundaries with equal zeal. The Baltimore-based rapper is a force to be reckoned with, and on this first new single, he captures the frustrated, distorted feel of the current social and political climate, filled with frenetic loops that dizzily ricochet between your ears as the artist unleashes a stream of loaded (and explicit) lyrics. JPEGMAFIA approaches everything he does with unbridled intensity, and this apocalyptic noise-rap track is as unnerving as it is infectious. The New York transplant has quickly become a fixture of the local music scene, and his bold music making has our (and the nation’s—see Spin, Paper, Paste, Noisey, etc.) attention.

“Horror Movie” by Wildhoney*

Don’t let the title fool you—this track is anything but ominous. Instead, the indie-pop quintet returns after a two-year hiatus with a sweet, loud, shimmering shoegaze sound that reminds us how gorgeous unadulterated music can be. As a genre, “indie” music has become laden with digital touches—a sampled beat here, a drop of 808 there—but Wildhoney proves that less is more with its energetic guitar riffs, gated drums, and lead singer Lauren Shusterich’s weightless, golden pipes. This sunny DIY melody is a little bit ’60s girl group, a little bit ’80s punk, with a touch of psychedelia. Despite expert craftsmanship, it has an effortless feel. It makes your heart pang. And your toes tap along to the beat. It has us hopeful for a full new album in 2018.

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

As for many of us, 2017 was a year of introspection and growth for the Baltimore music community. Familiar faces returned home, launched new ventures, or released seminal albums. New artists popped out of the woodwork and made their mark on the local scene. Collaboration was prolific, emotions were liberated, and a sort of homegrown catharsis ensued. A sense of change is in the air, and with the amount of talent we saw this year across all genres, we can’t wait to see what the future has in store for 2018. We couldn’t fit them all, but here are a handful of our favorite musical moments from the tumultuous past 12 months.

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Abdu Ali launches a podcast.

This fall, Baltimore native/rapper/writer Abdu Ali got to add a new title to his resume: radio show host. In October, the local artist launched his first-ever podcast, DrumBooty Radio, in iTunes via Mask Magazine. Using his background in journalism, Ali talks with fellow creatives of color about the African-American experience. With five bi-monthly, hour-long segments now under his belt, Ali has interviewed the likes of local writer/editor Lawrence Burney of True Laurels, writer/social justice advocate Bilphena Yahwon, and writer/filmmaker Nia Hampton on topics such as the importance of therapy, being black in the DIY scene, and owning your own narrative. Through this new medium, featuring one special song per episode, Ali continues to craft compelling art in the audible form and shine a spotlight on our city.

Brooks Long sings “Blues for Freddie Gray.”

Local jazz legend Lafayette Gilchrist released a new album this spring with a powerful single titled “Blues for Freddie Gray.” Riddled with Gilchrist’s pounding piano keys, a full brass section, and the soulful vocals of old-school virtuoso Brooks Long, the song is post-2015 Baltimore in a bottle. The lively, driving number is full of energy and emotion, with audio samples from actual television footage following the death of Freddie Gray and subsequent officer trials. But despite the opening police sirens and closing whirr of a Foxtrot helicopter that both speak to the lack of closure in Gray’s case, Gilchrist ends on a hopeful note. “I want to know that there’s a day that’s coming soon and fast,” howls the ever-talented Long. “I want a justice and a peace that’s made to last and last. Don’t ya tell me that we can’t all get it done.” 

Dan Deacon celebrates Spiderman of the Rings.

A lot has changed for Dan Deacon since the release of this seminal record some 10 years ago. He’s grown from a quasi-known experimental musician to a nationally acclaimed artist. His music has become a soundtrack for the New York City Ballet; his mad-scientist compositions have scored award-nominated documentary films. And yet, to celebrate the anniversary of this record, Deacon returned home to perform at the kind of DIY space that started it all. At 2640 inside St. John’s United Methodist church, his exuberant melodies led the city’s most die-hard music lovers through a journey back in time. They danced. They sweat. They stood in awe of Deacon’s humble musical mastery, along for the ride and forever thankful that he is and maybe always will be ours.

Future Islands performs four nights at the Ottobar.

When Future Islands announced a series of shows at the Ottobar this spring to commemorate the release of The Far Field, it seemed like the whole world was vying for a golden ticket in the heart-racing online lottery. When it was all said and done, Pitchfork was there, tuning the entire country in to hear the trio’s heartbreaking new record, but Baltimore was all in tow—John Waters and a medley of other notable hometown musicians included—to welcome the boys home. Through new hits (“Ran”) and old favorites (“Little Dreamer”), frontman Sam Herring sashayed across the stage, William Cashion plugged those iconic riffs on bass, and Gerritt Welmers let that swirling synth fill the sold-out room, it felt like our old hearts—full of local love—just might explode.

Good Fridays makes Baltimore dance again. 

Over a year ago, then-Baltimore arts and culture editor Gabriella Souza was on the phone with John Waters when she got an idea. The local auteur noted that his hit film Hairspray! had been inspired by the variety and dance television shows of the mid-20th-century that had sadly gone the way of the buffalo. Wouldn’t it be great, they mused, if people could get together—regardless of age, race, or class—to just dance like that today? With the help of PipeDreamz’s AC Miller-Abdullah and Baltimore contributor Cassandra Miller, Good Fridays Baltimore was born, bringing all walks of city life together for live music by the likes of Al Rogers Jr., Wendel Patrick, and Eze Jackson, local art by Shan Wallace and Aaron Maybin, and a free-for-all dance party featuring local DJs into the wee hours of the night. As the event continues to grow, we can’t wait to see what—and who—comes next.

J Pope and the HearNow release its long-awaited debut.

After years of performing around town, this alt-soul collective released its debut in June. Produced by local beat wizard Wendel Patrick, Soul Searching captures the dynamic sound of this prolific live-performing sextet—a unique fusion of soul and hip-hop with a touch of R&B and blues. The record highlights the honey-coated lyrical flair and fast-paced finesse of frontwoman Jasmine Pope and showcases the masterful improvisations of her dexterous band mates. From the highs of frenzied funk rhythms to the lows of slow burning jazz numbers, the HearNow touches on the ups ands downs of living as a working artist. This album is Exhibit A of the talent, dedication, and hard work it takes. 

Local musicians spin at Idle Hour.

Last fall, Friends Records began a new residency at our favorite vinyl-slinging dive bar, Idle Hour, in Riverside. With the watering hole newly reopened, we weren’t sure if the famed record player would live on, but thanks to the bar owners and Jimmy MacMillan’s roster of local artists, the ones and twos are alive and well curated. Hometown favorites like Blacksage, Natural Velvet, and Surf Harp have spun handpicked selections from their various genres of electronic R&B, post-punk, and indie rock. In 2018, we’d buy the bar a round of pickle backs to hear Bond St. District’s Unkle Lulu, Microkingdom, or Peals.

Micah E. Wood makes dating easier.

Perhaps our favorite album of the year goes to See Me by Micah E. Wood. On this new record, the local songwriter and music photographer tackles the trials of modern love, pulling our heart strings as he rolls through the tribulations of 21st-century romance with honesty, humility, and humor. In the poignant “Match,” Wood candidly delves into the brutal honesties of online dating. In his first single, “Without You,” his anthemic chorus sums up the jubilant feeling of finally getting over a breakup. In the buoyant “Something,” his bubbly beat embodies the beauty of letting your guard down and liking someone again.  We especially love the additions of fellow heart-pullers Joy Postell, :3ion, and the aforementioned Al Rogers Jr. Through tender electronic melodies and charming talk-sing vocals, Wood and company make our stone cold hearts—thanks a lot, Tinder—finally feel human again.

Natural Velvet drops a timely album on feminine rage.

We couldn’t have realized how much Natural Velvet’s new Mirror to Make You would resonate in 2017. But with a strong focus on “feminine rage,” as frontwoman Corynne Ostermann puts it, coinciding with the nation’s “silence breakers” that have shed fresh light on widespread sexual harassment and assault throughout multiple industries, we can’t help but find new meaning. Each song is a rebellious declaration of feeling and fury with unabashedly frank lyrics that dissect femininity and endorse the power of the female. Whatever your gender, listening to these songs is cathartic. You finish with the full weight of three small lyrics to live by from “Kronos.” “I am. I choose. I chose.”  

Opera singers unite to form Outcalls.

We love the ladies of Outcalls. With their glittering get-ups, engaging social media presence, and ambitious attitude, Peabody grads Britt Olsen-Ecker and Melissa Wimbish have catapulted themselves onto the local arts scene and created their very own genre along the way. While the band has been around since 2015, the classically trained singers have carved out a sort of baroque indie-pop music on this debut-like record, combining the classics of shimmering synth and shoegaze guitar with ethereal soprano harmonies and robust electronic rhythms that are as hypnotic as they are awakening. Witchy, somewhat tribal, and even a little bit dusty old Spaghetti Western, “Skip to Sunrise” has become one of our top songs of the year. 

Snail Mail shoots to stardom.

It wasn’t long after the 2016 release of Snail Mail’s debut album that Lindsey Jordan and her two band mates started to get national attention. The band’s lo-fi indie rock music was suddenly in the web pages of Pitchfork and, before long, sprawled across a feature in The New York Times. The trio sold out the Ottobar, recorded a NPR Tiny Desk Concert, went off on tour with indie darlings Beach Fossils, and then signed a deal with Matador Records. (We also awarded them a Best of Baltimore for “Rising Star.”) Fresh out of high school and already well beyond their years, it’s safe to say that they are, officially, the next big thing.

Super City get synchronized in infectious music video.

This year, the Baltimore music scene has really upped the ante when it comes to music videos, with few more shining examples than that of this playful spring take on Super City’s most recent single, “Artificial Sin.” The indie slow jam gets star treatment with fresh outfits and unexpected choreography as the band’s five musicians don white jumpsuits and leather Chelsea boots and use coy dance moves to tap, twirl, and even, in one moment, drop it like its hot in a room full of turtle-necked backup dancers. Special guests include Paul Hutson of Bond St. District and Olsen-Ecker and Wimbish of Outcalls, to name a few. You can’t watch it without wishing you were there, too. 

The Cardinal Sheehan Choir performs “Rise Up.”

In September, Baltimore middle schoolers went viral after a video of their choir rehearsal featuring a powerful performance of Andra Day’s “Rise Up” made its rounds, in the millions, around the Internet. Within a couple of weeks, they were performing live on “Good Morning America,” with Day herself responding with a special message for the students: “Your video was so powerful and moved me so deeply and is moving the entire nation right now…We appreciate you so much.” One of the more heartwarming moments of an otherwise turbulent year, the students later performed for Baltimore in their Loch Raven gymnasium, while choir director Kenyatta Hardison shared the back-story of their shot to fame. This below video went viral for us, too.

The Ottobar turns 20.

Two decades is an eternity in the lifetime of a rock club, let alone one in Baltimore where it seems like every old-school establishment is quickly being replaced with a glitzy sky-rise apartment building. But this September, the Ottobar turned a whopping 20 years old. From the rabblerousing rock years downtown on Davis Street to the wide-ranging lineups on Howard Street in Remington today, our dark, dingy, perfectly-imperfect music venue has remained the go-to spot for artists of all genres, still sticking to its unapologetic, underdog guns as more massive arenas open in D.C. and across the country. To celebrate, legends of the past—J. Roddy Walston, Wye Oak, Roads to Space Travel, Candy Machine—stepped back onstage to relive, and continue, the glory days.

WTMD launches kid-friendly Saturday Morning Tunes concert series. As a young father himself, Sam Sessa saw the conundrum: what happens when music lovers grow up and have kids?  They can’t just go see a show any old night of the week anymore. They have bedtimes—and pajamas to put on. Can they not have fun anymore? Enter Saturday Morning Tunes, Sessa’s brainchild concert for both the young and the young art heart. With a smattering of sold-out shows at both the Towson studio and Senator Theatre, and future plans to include more notable Baltimore bands that are otherwise not associated with the “kindie” genre, these weekend morning shows have quickly become a new favorite family ritual. Best of all, like sifting through an old record collection with your mom or sharing that old cassette tape with your son, it’s even an better opportunity for parents—however cool they used to be—to bond with their (hopefully) music-loving kids. 

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Al Rogers Jr.

BrightHeartedNigga
(self-released)

Al Rogers Jr. has never been afraid to be himself, and his heart-on-his-sleeve authenticity has allowed him to make some of the best hip-hop in the city. But as earnest as the local rapper might be, his true talent lies in his ability to surprise, from 2015’s Outkast-inspired Luvadocious with Blacksage’s Drew Scott to the star tracks on this brand-new second record. Now, Rogers stands alone, more confident and deliberate than ever, with tight, measured rhymes and a few standout melodies. “Sayno” might be our favorite song of Al’s thus far—a cantering Spanish ballad that tells the story of love lost through hushed lyrics, rhythmic finger snaps, the quivering heartache of violin, and a final flutter of piano. To all of that, we say yes.

Micah E. Wood

See Me
(self-released)

These days, between dating apps and ex-stalking on social media, people are pretty obsessed with modern romance. Are our communication skills ruined? Is chivalry officially dead? On this new album, local songwriter Micah E. Wood tackles these love-struck conundrums head on, splaying out his heart and rolling through his emotions with honesty and humor to describe the highs and lows of love. In the poignant “Match,” he candidly delves into the brutal honesties of online dating. In his first single, “Without You,” his anthemic chorus sums up the jubilant feeling of finally getting over a breakup. In the buoyant “Something,” his bubbly beat embodies the beauty of letting your guard down and liking someone again. Through tender electronic melodies and his trademark talk-sing, Wood reminds us of all the missed connections and second-guesses. He makes our hearts feel human again.

In this fourth iteration of The Big Baltimore Playlist, we feature five local songs we can’t get enough of, ranging from glittery pop remixes and chill-wave raps to experimental electronica and lauded indie-rock. Check back each month for new top songs of the moment, and follow our Spotify playlist as we continue to build a soundtrack for our city. 

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“Sightsee” by Blacksage ft. :3ION (Moss Of Aura remix)*

Talk about a quadfecta. Blacksage’s Josephine Olivia and Drew Scott produced a pretty stellar album last fall, with its debut Shivers, featuring this sexy snaking number and a handful of other lovely, dark ballads. But in this just released remix, 2016’s “Sight See” gets a euphoric, orchestral new look in 2017. The original melody floats through the luminous mist of Moss Of Aura (aka Gerritt Welmers of Future Islands), bringing the angelic vocals of futuristic R&B singer :3ION to the forefront, wrapping the warbling coos of Olivia into a featherbed of synth, and infusing Scott’s initial, deep beat with a hefty dose of light. By the end, it transforms from a lust song into a sort of love one. 

“Dead Man Draggin’” by Butch Dawson

If you dig Kendrick Lamar, Childish Gambino, or Tyler The Creator, you’ll want to follow Butch Dawson. The local producer and frontman for Basement Rap Records is a reservoir of smart, sophisticated, slow burn rhymes, and he stands on his own as one of Baltimore’s sharpest rappers. The beauty of his beats lies in their contrast, as his tranquil melodies are studded with hard-hitting ruminations. On this number (featuring some NSFW lyrics), the jangling chill-wave beat and shimmering timber of hi-hat drums meets lyrics that are listless in their delivery yet complex and contemplative in their content. Through verse and chorus, Dawson seems to address the struggles of our city (“Something ain’t right right now, nothing can save my town”) and the predicament of being a young black man in Baltimore (“Gotta give it up, I’m just a dead man . . . Can’t do much when you’re a dead man”). In short, don’t sleep on his upcoming album, Swamp Boy.

“Wham City” by Dan Deacon

When this song first came out 10 years ago, Dan Deacon was a quasi-known experimental musician, best known for his Wham City arts collective at the Copycat Building in Station North, still years away from becoming a local household name. Now, Deacon is wedged somewhere between Beach House and Future Islands as one of the biggest and brightest acts to come out of Baltimore. At nearly 12 minutes, this recently re-released track takes you on a journey, from its exuberant bookend melodies through its race-pace electronic heart. In the end, we wind up where we are now: standing in awe of Deacon’s musical mastery. Back then, as in today, he turns the unexpected into a beautiful cacophonous symphony.

“Without You” by Micah E. Wood

Last year, we fell for Micah E. Wood’s infectious song “Go Away,” featuring the aforementioned Butch Dawson. We also adored his prolific portraits of Baltimore musicians bathed in afternoon light, like Joy Postell, Abdu Ali, and Al Rogers Jr., which seemed to be popping up everywhere. Naturally, we were extra excited to hear about Wood’s upcoming album, See Me, out September 22, and this new single, featuring a brighter brand of his trademark talk-sing electro-pop. This catchy, bass-heavy beat builds and blossoms into an anthemic chorus that pretty much sums up that jubilant moment of finally getting over a break-up: “I feel alive without you,” he sings, drawing that five-letter adjective out into eternity. Even if you’re in a relationship, this song makes you feel like you are full of life.

“Thinning” by Snail Mail

This song has been around for a year, but we’re adding it to the list anyway in celebration of Snail Mail’s badass inclusion in last week’s New York Times. In a rad roundtable titled “Rock’s Not Dead, It’s Ruled by Women,” frontwoman Lindsey Jordan keeps it real and, as in her music, comes across as well beyond her 18 years. Over the past few months, this breakout single has caught the attention of everyone from Pitchfork to SXSW to, now, the Gray Lady. It’s potent and pure, and its lush, lo-fi melody is laying forth the groundwork for a new era of indie-garage rock. It’s everything you felt at that coming-of-age moment before your twenties—her openhearted lyrics read like your internal diary, those gritty guitar chords pull at your heartstrings—and yet it continues to resonate, whatever your age might be today. 

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