As steps are put into place to limit the spread of coronavirus, the music industry, at home and across the country, is being hit with an onslaught of postponed or cancelled concerts, festivals, and tours, as, without crowds, much of its livelihood to a screeching halt. In the past week, SXSW called off its annual gathering in Austin, Coachella rescheduled for October, and stages at the likes of the Joseph Meyerhoff Symphony Hall went temporarily dark.

At SXSW, Baltimore’s own TT The Artist was set to premiere her upcoming music documentary, Dark City: Beneath The Beat, while rapper/educator MC Bravado and the Lineup Room’s Brandon Lackey were set to lead a panel on music education. And back at home, musicians are seeing the ripple effects on their own turf.

“Traditional methods of supporting one’s favorite bands, like attendance, are out the window right now, as we also need to physically socially distance ourselves to contain this virus,” says Corynne Ostermann, frontwoman of local post-punk band Natural Velvet. “But when you remove the public sphere, suddenly artists’ work becomes invisible.”

This week, Baltimore musicians such as Dan Deacon, Ed Schrader’s Music Beat, Lower Dens, Horse Lords, Super City, Cris Jacobs, and Butch Dawson (who also released a rap song—and much-needed dose of good humor—on hand-washing), to name a few, all postponed upcoming or ongoing tour dates. Others, such as Abdu Ali, Joy Postell, Outcalls, and Romantic States, have had to postpone or cancel their shows. The Baltimore Symphony Orchestra, which has already been in the midst of a period of dire economic uncertainty, is on hiatus until the end of the month.

“It’s really heartbreaking because we’ve been booking and planning [our] tour since September,” says Greg Wellham of indie-pop group Super City. “It’s sad but the responsible thing to do. We all have to keep moving forward and try to stay optimistic.”

This Saturday’s beloved Version dance party by DJ Trillnatured and rapper Kotic Couture has also been cancelled at The Crown, while the Baltimore Old Time Music Festival at Creative Alliance and the Charm City Bluegrass Festival’s Battle of the Bands finals at The 8×10 have been postponed until further notice.

Local venues, from Rams Head Live! to the Metro Gallery, have closed their doors until at least late March. At press time, venues such as the Ottobar and An Die Musik planned to remain open for certain upcoming events, with both citing enhanced cleaning and sanitation efforts.

Big and small, “All arts organizations are taking a major hit at this point,” says Josh Kohn, performance director of Creative Alliance, which, like many others, instituted a new refund and exchange policy for previously purchased tickets, and is currently brainstorming ways to support artists, such as donation-fueled front-porch concerts. “If people have disposable income and want to make a donation, by all means. If you want to support artists directly, you can always buy their product on Bandcamp. We do understand that ticket buyers are susceptible in this economy, too.”

Purchasing a musician’s music and merchandise online, through individual websites and platforms like the aforementioned Bandcamp and iTunes, is one way to help. Fans can also subscribe to their crowdfunding pages like Patreon, or donate directly. Meanwhile, Maryland Citizens for the Arts has created a list of resources for these independent artists.

“Artists, service industry professionals, venues, promoters, small-to-medium businesses and workers, and more are getting financially hit really hard right now,” wrote Charm City Bluegrass organizers on social media. “Buy merch, send some tips, ask them how you can support. It helps.”

Also check out our The Big Baltimore Playlist, where we showcase must-hear songs by local musicians.

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

 EAT

April 7: Shuckin’ in the Street

Lee’s Pint & Shell, 2844 Hudson St. 12-10 p.m. $10. 410-327-2883.

There’s a cold front coming in this weekend, but that won’t stop this rebranded Canton spot from shucking some 20,000 free oysters at their fourth blowout block party. Rain, shine, or snow, duck underneath the heated tents to slurp down all-you-can-eat oysters during the last R month of the season, with drinks from the orange crush bar and live performances by local bands like Crushing Day, DJ Nick Paros, and Philly’s beloved Kristin and the Noise. If they run out of oysters, don’t worry—food stands serving up pit beef sandwiches and burgers will be on hand to soak up the crushes.

 DRINK

April 6-7: Beer, Bourbon, & BBQ Festival

Maryland State Fairgrounds, 2200 York Rd., Timonium. Fri. 6-10 p.m., Sat. 12-6 p.m. 29-$99. 410-252-0200.

We’re impatiently waiting for weekends filled with sunny skies and backyard cookouts, but luckily, this two-day festival will have enough brews and barbecue to tie us over until then. This weekend, make your way to the Maryland State Fairgrounds for unlimited samplings of more than 60 beers, 40 bourbons, and smoky meats from local barbecue joints. While you sip on local brews from DuClaw, Flying Dog, and Monument City—or Maryland-distilled whiskey from Baltimore Whiskey Company and Sagamore Spirit—take part in a tasting seminar or compete in the stein-holding and bacon-eating contests.

 

 SEE

April 6-8: Light City

Times & locations vary. Free. 410-752-8632. 

We love seeing the way Light City’s art installations reflect off the Inner Harbor, but this year, downtown Baltimore will not be the only place illuminated by glowing sculptures and attractions. This Friday, the can’t-miss festival will kick off its third year with Neighborhood Lights, an artist-in-residence program that pairs notable local artists with community organizers to light up 14 city neighborhoods. Make your way across town to snap pictures of each location’s work of art during this one-weekend-only display.

 

 HEAR

April 7: Natural Velvet Homecoming & Ratboiler Reunion

The Crown, 1910 N. Charles St. 8 p.m. 410-625-4848. 

After two months of performing up and down the continent on their biggest tour to date, post-punk quartet Natural Velvet finally returns home this Saturday to grace The Crown with its rip-roaring sound. On Saturday night, welcome back Kim Te and Spike Arreaga’s searing guitars, Greg Hatem’s propulsive drums, and Corynne Ostermann’s howling vocals as the band perform songs from their latest album, Mirror to Make You—and hopefully their latest cover of Britney Spears’ “Gimme More.” Don’t miss the reunion performance by local heavy metal band Ratboiler (their first show together in years), as well as other opening acts like Baltimore’s indie group Pinkwench and Richmond’s disco punk band Toxic Moxie.

 DO

April 8: Baltimore Farmers’ Market & Bazaar

Beneath the Jones Falls Expressway at Holliday & Saratoga Sts. 7 a.m.-12 p.m. Free. 410-752-8632. 

It’s always tempting to sleep in on Sunday mornings, but we’ll gladly throw back our covers and brave the cold for the sweet smell of freshly-cut flowers and homemade bread wafting beneath the JFX. Now in its 41st season, Maryland’s largest producers-only market has become a true weekend ritual for farm-fresh produce, scrumptious eats, and one-of-a-kind vendors. On opening day, join in the hustle and bustle with a Blacksauce Kitchen breakfast sandwich in one hand and a Migue’s Minis made-to-order donut in the other. While there’s plenty to see, be sure to check out the 26 new vendors including Mera Kitchen Collective, The Urban Oyster, and Stupid Delicious Desserts.

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. 

Various Artists

Last Year’s Man (self-released)

One year ago, we lost a musical legend and spirit guide with the passing of Leonard Cohen. During his 50-year career, the enigmatic songwriter was an inspiration to many, from Aretha Franklin to U2, with thousands of recordings of his songs to prove it. Baltimore was inspired by Cohen, too, as shown in this spring release. Across 21 tracks, the tribute compilation pays homage to Cohen’s raspy baritone and epic lyrics with true-to-form covers and out-there adaptations. We loved the dramatic rock-opera delivery of “Hallelujah” by indie quartet Joseph & The Beasts, the lush, cello-bathed ballad of “Chelsea Hotel #2” by electro-pop duo Lake Mallory, and the eerily beautiful blues-hymn version of “Hey, That’s No Way To Say Goodbye” by folk singer Bug Martin. Produced by Natural Velvet drummer Greg Hatem, who also covers “Dress Rehearsal Drag,” the collection illustrates Cohen’s versatile, enduring, even immortal legacy.

Amy Reid

Hirsute (Friends Records)

The beauty of this album is how easy it is to get lost in. First, there are Amy Reid’s synth-suffused, bass-heavy beats. Her twinkling electronic melodies chime like ancient bells, conjuring up distant memories and faraway dreams. Then, there are her angelic vocals, which lilt with an airy depth across each song as she ruminates on love and lust. On this first solo album from one part of experimental R&B duo Chiffon, Reid’s nine tracks range from slow jams and love ballads to minimalist dance numbers. Whatever the tempo, these ethereal tunes send the listener into a cozy trance. “Redmoon” feels like looking in a kaleidoscope. “Threshold” is like staring up at the stars. “Like Laughter,” with its swirling whirls and colorful tones, ignites your imagination, as if its swimming through the clouds to outer space. Willingly give into your senses with each luxurious pulse.

In this fifth iteration of The Big Baltimore Playlist, we feature five local songs we can’t get enough of, ranging from Spanish-infused hip-hop and legendary modern jazz numbers to one rollicking rendition of Britney Spears. 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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“Sayno” by Al Rogers Jr.

Al Rogers Jr. has never been afraid to wear his heart on his sleeve, pushing his feel-good, sentimental swooz out into the atmosphere everywhere he goes. That open authenticity has allowed him to make some of the most accomplished hip-hop in the city, which we’ve raved about in the past. And yet as earnest and honest as the local rapper might be, he always manages to surprise us, from his 2015 Outkast-inspired Luvadocious to the new tracks of his just-released BrightHeartedNigga. This track, made with local producer Kariz Marcel, is our favorite surprise of Al’s thus far. It’s unlike anything we’ve heard him do yet—a cantering Spanish melody that tells the story of love lost through hushed lyrics, rhythmic finger-snaps, the quivering heartache of violin, and a final flutter of piano keys. To all of that, we say yes.

“Like Laughter” by Amy Reid

If it were possible to create a musical version of the feeling of bliss, this song would come pretty close. Airy synth swirls around every inch of this lush, lilting melody, as deep-blue-toned tribal drums pulse in and preparie Amy Reid’s lyrics for liftoff. On this debut solo project from the local singer, who also performs as half of experimental R&B duo Chiffon, each track transcends the physical realm, with this euphoric number truly sending our heads into the clouds. It loses us in our imagination. It conjures up dreamscapes and ignites distant memories that were forgotten the moment we awoke from sleep. Give into your senses and let the song do the rest.

“Flak Bait” by Calgrove

We dig the lo-fi, low-key sound of this new indie-rock quintet. The Lutherville group was formed as recently as last year, but their hazy Americana music exhibits a musical companionship that only comes from long-time collaboration, which, in this case, for most of the band, dates back to childhood. Born out of bedroom jam sessions, this warm, sunny melody is as listless as the lazy, nostalgic, humdrum days of youth, but there’s a backwoods depth that comes with the sinuous twang of lap steel guitar. The gentle talk-sing lyrics lend well to this easy-listening ditty—one fit for hot coffee on a cool dewy morning, an evening porch sit, or a sunset drive. Catch them live alongside other local talents at venues like the Ottobar, Joe Squared, and Millstone Cellars.

“Assume the Position” by Lafayette Gilchrist

If you are anything like us, you’ve been spending the last month waiting all week for Sunday night thanks to David Simon’s new HBO masterpiece, The Deuce. But beyond anticipating the next plot twist, we’re waiting for those end credits to roll, when the show fires up that funky, horn-riddled tune by local legend Lafayette Gilchrist. Simon used this 2008 track in The Wire, too, but now the Baltimore jazz pianist’s upbeat single has been infused with new life. No matter how dog-tired and dreadful we are of work the next day, we can’t help but look alive for those last few minutes, and boogie in our PJs to this bodacious instrumental groove.

“Gimme More” by Natural Velvet*

Leave it to Natural Velvet frontwoman Corynne Ostermann to create such a searing cover of the one and only Britney Spears. This chart-topping pop song came on the heels of Spears’ infamous head shaving incident of 2007, which Ostermann once told us was a source of pop culture inspiration for her own band’s rebellious music. Now, this pit-ready rendition is everything that the local post-punk quartet does best: swirling live-wire guitar, breakneck drums, and Ostermann’s playful breakdown of feminine stereotypes—each howl, growl, and guttural “more” at a time. We only hope that Britney gets the chance to hear it.

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

 EAT

September 3: La Cuchara’s Tomatina Battle & Food Festival

La Cuchara, 3600 Clipper Mill Road, Ste. 125, 1-6 p.m., $15 entry fee for tomato fight.

It’s been two years since La Cuchara first brought the Spanish and French flavors of the Basque region to Woodberry—gracing us with everything from pintxos and prosecco pairings to charred meats and calcots (grilled green onions native to the Catalan). Now, the restaurant is continuing that authenticity by putting its own spin on La Tomatina—an annual end-of-summer festival held in Buñol, Spain in which revelers pack the streets to partake in a massive tomato fight. This weekend, throw on a pair of goggles and pelt the ripe fruits at friends and neighbors in La Cuchara’s inaugural tomato battle benefitting local youth development program Baltimore SquashWise. Of course, no party is complete without eats and drinks, and there will be plenty of options from local favorites Blue Pit BBQ, Ekiben, The Local Oyster, and Union Craft Brewing. Plus, D.C.-based folk rocker Tomas Pagan Motta will be on hand to provide the soundtrack for the afternoon.

 DRINK

September 2: Labor Day Par-tay at Hysteria Brewing Company

Hysteria Brewing Company, 9570 Berger Road, Columbia, 11 a.m.-11 p.m., Free

Hysteria Brewing got off to a good start with a grand opening soiree over Fourth of July weekend, and now it’s closing out the summer in a similar fashion—with a full-blown Labor Day bash. Not only will the party toast the debut of the brewery’s new experimental series (and a few fresh batches), but it will also celebrate the brand-new 1624 Corn Whiskey from next-door neighbors Lost Ark Distilling Company. Head to the steampunk-themed taproom to explore whiskey and beer collaborations, sip Hysteria signatures (think the Idle Hands Sour Cherry Tripel, Yellow Sudmarine Hefeweizen, and Trash Panda IPA), and sample from limited-release firkins. All the while, line your stomach with food truck fare from River House Pizza Company and Anegada Delights Caribbean Cuisine. The all-day event will also feature unplugged sets from local duo Acoustic Wheelhouse and Americana jams from Columbia rockers Artistic Differences.

 SEE

September 2: 10th Annual DIY Fest

St. John’s Church, 2640 St. Paul St., 12-6 p.m., Free

Nowadays it seems like everything taps into the DIY trend. But we can’t forget that Baltimore DIY Fest was teaching locals how to take charge of tasks long before Pinterest came around. Now in its 10th year, the hands-on festival returns to St. John’s Church with upward of 15 free workshops exploring everything from vegan cooking to independent filmmaking. Learn how to plant fruit trees with The Baltimore Orchard Project, paint selfie portraits with local artist Katia Baskina, repair a bike tire with Baltimore Bicycle Works, make your own ’zine with local storyteller A. Jarrell Hayes, and more. In keeping with the event’s innovative spirit, there will also be scratch-made goods and gifts for sale by more than 25 area artisans. Following the festival, head to Baltimore Free Farm in Hampden to dance the night away at an after-party featuring the sounds of local surf rockers The Flying Faders and new-wave group PLRLS.

 HEAR

September 1: Friends Records Presents: Wing Dam, Spaceface, Natural Velvet

Current Space, 421 N. Howard St., 7-11 p.m., $10

There’s just something about the energy of a show under the stars. As the end of summer officially nears, soak up every second at this outdoor performance in the parking lot of downtown arts venue Current Space—where Friends Records label mates Spaceface, Wing Dam, and Natural Velvet will take the stage. The show doubles as a release party for Spaceface’s new LP “Sun Kids,” a model showcase of the band’s psychedelic style led by the dreamy vocals of Flaming Lips guitarist Jake Ingalls. Local post-punk rockers Natural Velvet—with their powerful lyrics and thundering sound—are also not to be missed, along with a closing set from alt-rockers Wing Dam, who return to Charm City after touring the country this past year. With plenty of rosé, cocktails, and $2 cans of Natty Boh at the bar, we can’t think of a better way to say goodbye to summer.

 DO

September 2: Charles Street 12

The Shops at Kenilworth, 800 Kenilworth Drive, Towson, 7:30 a.m., $85-90

Though to some it might seem sacrilegious to rise at the crack of dawn on a Saturday (especially during a three-day weekend), hundreds of runners will be up bright and early this weekend for this annual race down historic Charles Street. This year, the run returns with a new route that descends into Under Armour’s global headquarters at Tide Point Waterfront Park in South Baltimore. Curate the perfect playlist and lace up your running shoes to hit the pavement while taking in some of the city’s most beautiful sights along the way. Afterward, treat yourself to snacks from Upslide Down Dave and Wolo food trucks, as well as local libations from the likes of Charm City Meadworks and Key Brewing at Under Armour’s post-race party. 

Natural Velvet 

Mirror To Make You (Friends Records)

We couldn’t wait for this new Natural Velvet, and now, all 11 songs not only deliver on the expectation that it would be a big moment for the local post-punk quartet, they smash it like a glass ceiling. Where their last album featured moments of lo-fi shoegaze and hazy dream-pop, this new record is a declaration of pure rebellion and rage. The first single, “It’s All Mine,” sets the stage as frontwoman Corynne Ostermann asserts herself as a fearless female antagonist. Her voice reaches new heights, swinging between growling lows and piercing highs, and her bandmates back her up with equal zeal: Kim Te and Spike Arreaga’s wiry guitars wind like barbwire around each rhythm, and Greg Hatem’s thunderous drums knock you in the gut. With all that fury and unabashedly frank lyrics, the album addresses themes of feminine identity, as the band dissects the image and endorses the power of women without backing down or easing up. All the while, they churn and crash with cathartic emotion—even the slower songs have a raw, reverberating energy that booms like some distant war cry. “I make the rules for tonight,” howls Ostermann in “Kronos.” “I am. I choose. I chose.” In other words, I am woman. You know the rest.

Ultrafaux

Reverie (self-released)

By now, you’ve likely seen us mention Baltimore’s deep-rooted jazz community, but unbeknownst to many, the city also has a vibrant gypsy jazz scene. The French genre, started by legendary guitarist Django Reinhardt in the 1930s, has found a home at local venues like the Creative Alliance and Germano’s Piattini, thanks in large part to musical acts like Ultrafaux. A regular at both venues, this three-year-old trio carries on the tradition of fast-paced, percussive string music, combining two acoustic guitars and one upright bass to create an energetic, foot-tapping sound. Influenced not only by the genre’s Parisian roots but also bebop, funk, blues, and Balkan tunes, the band’s fingers fly at lightning speed through mostly original numbers. Lead guitarist and composer Michael Joseph Harris wrote 10 of the 11 songs on this third album, plus a special arrangement of the title track, “Reverie,” by French classical composer Claude Debussy. Across each, Harris and his bandmates—guitarist Sami Arefin and bassist Eddie Hrybyk— provide punchy harmonies and dazzling improvisations. Their expert instrumentation, commonly referred to as “hot club,” is a timeless feat that’s fit for a party, be it dinner or dance.

On the eve of their fifth birthday, Natural Velvet has released a stellar new album, their second with local label Friends Records, and it is everything we wanted and more. On each track, the post-punk quartet shows up with a pure, raw energy that’s packed with searing guitar, thunderous drums, and the wild howl of frontwoman Corynne Ostermann. 

As they tackle themes like femininity, identity, and rage, the band careens between melodies that are dark and brooding or bright and loud as a hot strike of lightning. It’s the kind of music that, as Ostermann puts it, blooms, the more you listen, even as a black rose on the vine. We talked with her about their new songs, band gangs, and villainesses like Cruella de Vil.

How long have you been working on this new album, Mirror To Make You?
Corynne Ostermann, lead singer and bassist, pictured far right: There was a natural break at the end of the last record, She Is Me, because it came out in September 2015, and by October, I had lost my long-term relationship, as well as the home I was sharing with that person, and a good friend from high school, who died overnight. I think everyone had a really rough 2016, and I would say mine started in late 2015 and I’m still just trying to push through it. The music was my natural reaction to the world trying to cut me down. 

At the end of the day, I knew what I wanted to write about. I wanted to write about this specific feminine rage, which is something that doesn’t get any play within popular culture. I wanted to talk about both the over-the-top camp aspect of that feminine rage, but I also wanted to humanize it in a way. From there, it was just fitting the puzzle pieces where they needed to go.

Was writing these songs cathartic?
Yes and no. Anytime we perform them, I’m re-experiencing that rage. I also think there are a lot of people out there, especially feminine people, who don’t allow themselves the right to anger because it’s not culturally sanctioned. Masculinity, sure—you can be angry and break things and be hardcore—but it was very much a learned thing for me. I grew up evangelical Christian and there’s a lot of unlearning that had to go with that. Allowing myself to be angry and dark and brooding took years of practice. You can still be soft and feminine and pretty but also angry. Anger and rage can be positive influences. They can signal change—like a calling to arms—where you have to express yourself but also step back and ask, ‘Okay, how do I fix this? How do I make my place right in the universe?’

I was also learning to identify with these overly camp feminine icons of film and pop culture. A lot of it was based off of me repeatedly watching Faye Dunaway as Joan Crawford in Mommie Dearest. And Sailor Moon cartoons, where the villainess is like, ‘You’ll never defeat me.’ Ultimately I’d be sad at the end when the protagonist would win over the antagonist because they were so much more fabulous and well dressed and way more fun to watch. Another great example of this is Glenn Close as Cruella de Vil in 101 Dalmations. You love it when she’s sitting in her chair yelling at her subordinates. It was super cathartic for me to watch these films and write these lyrics based within that kind of femininity because it’s pretty much private revenge fantasy. [Laughs.] 

Ultimately the goal is to talk about these realities of living while also still having fun. At the end of the day, I’m an entertainer. I want people to enjoy this record. I don’t want to make them have a bad day. But I do want there to be something for them to chew on. 

Have you always been interested in that deconstructing the concept of femininity? 

I am a trained painter and I’ve been working with the concept of aggressive femininity for years, specifically related to pop culture. Give me Paris Hilton and Britney Spears with a shaved head in 2007 or give me nothing. Painting has always been a feminist battleground from the get-go. The painting department at the Maryland Institute College of Art is also like bro-zone USA. [As a student there,] I was an out feminist, making work within this hyper masculine culture, so I had to defend myself. 

Having been raised religious in the Midwest during the Bush years, by the time I figured out that I was a feminist, I was pretty saturated in it. I was a high schooler with a copy of Simone de Beauvoir’s Second Sex. I also minored in Gender Studies at MICA.

How do you share concepts with your bandmates?
My bandmates have their own inspiration and we have our own little band culture and language, as all bands do. Bands are pretty much glorified street gangs. But my band mates are people of color and also queer people, and I have to contend with the fact that I am a white woman, writing about feminism. Ultimately I’m writing about my perspectives—nobody else’s—because I couldn’t pretend to speak for them. 

Instrumentally, we write all of the songs together. The majority of the time, they’re jammed out in the basement. We’re blessed that we’re all good friends and we hang out outside of band time. Just the other day, we went over to Greg’s [Hatem, drummer] and did a double feature of John Waters’ films that Spike [Arreaga, guitarist] had never seen. We started the band so young—I was 21—and we’ve all seen each other go through so many different phases.

Speaking of friends, Mirror To Make You is your second album with local label Friends Records. How does it feel to be a part of that musical family?
We are incredibly blessed to be able to work with Friends. Jimmy [MacMillan, owner] is one of the good guys. He looks out for each band on the label and his active roster is on the smaller side so you get a lot of individual attention. It has been instrumental in allowing us to grow.

They have nurtured such a nest of diverse local talent. 
I was at a talk last night at The Crown where they were interviewing younger artists. The word ‘artist’ had such a connotation to them. They were like, ‘We just need to be respected,’ and I’m like, you also have to understand that ‘the artist’ is the product of the community in which you’re based. Future Islands does this particularly well. They have always been very local  and have really favored working with local bands and artists. 

Like Beth Hoeckel and Lesser Gonzales for past album art, and Post Typography for their current tour posters.
They’ve always given back to the community. We would be nothing as a band if it weren’t for working with the community and playing on bills with all of these local artists and musicians. There’s accountability in Baltimore, especially with the art scene being so small. You can’t be shitty. You have to take care of your neighbors. 

Now that it’s out there, how do you feel about this new album?
I did have to give myself some distance, but when I finally came back to it, it made me extremely happy. Is it perfect? No, not by my standards at least, but there is an utter freshness that is present only in this record. It’s also sonically the most well produced record we’ve made at this point because we recorded with Martin Bisi in New York. I mean, Sonic Youth, Lydia Lunch—the giganticness of that room, the history of that room, our excitement to play, plus getting to work with Rob Girardi back here in Baltimore at WrightWay Studios. Rob is unbelievably talented; he knows how to keep a big fat sound without crushing the bloom of it. 

Do you have any favorite songs?
“It’s All Mine” is probably the most direct—I’d call it more or less the manifesto of the record. “Kristina” is probably the purest song on the record. I love that one. My friend Kristina is my BFF from college and I had not seen her for three-and-a-half years. The idea of writing a love song makes my skin crawl, like ew, barf, and I was thinking it would be way more relevant to write this song of longing and love for a friend, because those are the people who are going to stick with you longer than anyone else. 

Speaking of “It’s All Mine,” that video was so wild and fun.
That started off as a complete joke. It was born out of being stuck in a van with my band mates for too long. But it was a great shoot—I was crying and laughing the whole time. 

You’ve mentioned that it was partially inspired by the 1953 film, Gentleman Prefer Blondes.
I love Jane Russell in that film because she plays a very specific trope, which is the sassy brunette. And the script for that was written and acted out before the Hays code was reversed, so it’s loaded with innuendo, completely inappropriate for the 1950s, and unbelievably campy. I mean, you know she’s not trying to find love on that cruise ship full of the Olympic gymnastic team . . . And the beautiful part of this is, every man in that synchronized gymnast scene in flesh-toned swim trunks definitely wasn’t interested in what she was selling anyways! There’s only one instance in our entire video when I’m touched by one of the guys, and that’s when I’m thrown into the pool, and there’s a reason for that. I ultimately didn’t want to function as a sex object, where I’m being looked upon by the camera in this male-gazey kind of way. I wanted my character to function as the aggressor, the person who objectifies. I was the feminine grotesque. The anti-diva. 

It really was a feminine fantasy, with the glitter and the gold swimsuits and the aquamarine pool.
It was also really body positive in its own way. If you can at least feel comfortable enough in your own skin to drink a beer and ride an elliptical for a few hours on film, that’s great. If that makes you feel good, thank you for jumping on the trampoline.

Baltimore’s music scene has had a number of peaks—the bluegrass days of the 1950s, the hard (and hair) rock era of the 1980s, the Bmore Club nights of the 1990s, and Wham City in the early aughts—but we have to say: The city couldn’t sound better than it does right now. In fact, we’re having trouble keeping up.

For that, and thanks to always inspiring music chats with local audio authority Sam Sessa of WTMD, we’ve decided to start a big Baltimore playlist—The Big Baltimore Playlist—as a showcase and celebration of Baltimore’s growing brood of talent. Check back each month for our top five songs of the moment, and follow our Spotify playlist as we continue to build a soundtrack for our city. 

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“Chariot” by Beach House

This single, previously unreleased and now on the local duo’s upcoming B-Sides and Rarities, is a hazy slow jam that twinkles like summer stars. Lead singer Victoria Legrand’s luxurious vocals drift in and out like a cotton-candy-colored fog, and Alex Scally’s smooth, saturated guitar chords twang with our heartstrings. After more than 10 years, Beach House’s music is as gorgeous as ever.

“Soul Searching” by J Pope and the HearNow

Get lost in the funky rhythm of this title track off the brand-new debut by alt-soul sextet J Pope and the HearNow. It’s an addictive, slow-burning beat that lingers with smoky swirls of sax, plugging runs of bass, and the honey-coated, sophisticated rhymes of frontwoman J Pope—and leaves you wanting more.

“Good Thing” by Michael Nau

This velvety, vintage-tinged tune is built for warm weather. Cumberland native Michael Nau’s vocals swim softly along with his sunny-day melody, riddled with gentle jangling rhythms and an important message: forget the bad stuff, focus on the song title.

“Kronos” by Natural Velvet

There are lots of rabblerousing rock songs on the new record, Mirror To Make You, by post-punk quartet Natural Velvet, but we love the anthemic chorus of this ninth track. “I make the rules for tonight…” warbles frontwoman Corynne Ostermann, before she crescendoes into a high and brilliant, “I am, I choose, I chose!” Lady power at its most badass.

“No King” by Outcalls

Combining lush chamber vocals with a robust layering of electronic and acoustic sound, opera singers Melissa Wimbish and Britt Olsen-Ecker create their own brand of baroque indie-pop. Their whimsical pipes wind around an energetic beat that pulses in your ears long after its gone. It has us excited for what’s to come.

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

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

 EAT

June 3: Taste of 3 Cities

Patterson Park, 2806 Eastern Ave. 12-9 p.m. $15-65

If you consider yourself indecisive, prepare to be put to the test this weekend on the hills of Patterson Park. The grassy knoll will transform into a glutton’s paradise as a hoard of food trucks parks along the edge of Highlandtown. Dig into more than 40 mobile munchies hailing from Philly, D.C., and Baltimore, including hometown favorites Kommie Pig, Grr Che, Gypsy Queen, and the one-and-only Miss Twist, with beer, wine, margaritas, and crushes on tap as well. Whatever your pick and poison, set up shop at one of three stages to catch regional dance performances and, best of all, to hear live local music like headlining act Bond St. District.

 DRINK

June 2: Station North Tool Library Happy Hour

Station North Tool Library, 417 E. Oliver St. 5-8 p.m. Free.

If you’re looking to meet fellow creatives or just start your weekend with a cold beer, throw away the workweek and throw back a Union Craft this First Friday at the Station North Tool Library. The mixed-use makerspace is a community hub for everyone from amateur builders to accomplished woodworkers, with classes ranging from home repair to knife-, cutting board-, and coffee table-making. Sip a UCB can, sign up for some workshops, and scramble down the street into the warm late-spring night.

 SEE

June 2-3: Nights on the Fringe

Baltimore Theatre Project, 45 W. Preston St. 7:30 p.m. $20-35.

Charm City Fringe—best known for its 10-day fall festival celebrating untraditional, independent performance—is taking the stage early this season during its third annual Nights on the Fringe. For two nights, immerse yourself in a medley of artistic acts in the vein of vaudeville with hosts Aaron Henkin of WYPR, Umar Khan of Gin & Jokes, and Josh Kuderna of BIG Improv. On Friday, catch performances of spoken word by Baltimore’s 2015 youth poet laureate Derick Ebert, aerial stunts by In The Dark Circus Arts, and shadow puppetry by the Lantern Sister. On Saturday, stop by for hip-hop dance moves by Bmore Than Dance, slam poetry by Grim Jackson, and live music by Afro House’s Astronaut Symphony. Whether you come for one show or all, it will be an unexpected weekend to remember.

 HEAR

June 2: Natural Velvet

Ottobar, 2549 N. Howard St. 8 p.m. $10-12. 

We can’t give away how much we love the new Natural Velvet record (you’ll have to check out our July issue to find out more), but let’s just say: You don’t want to miss this local post-punk quartet. They’re one of the best young acts in town, with a fearless flair and ball-of-fire energy thanks to the wiry guitars of Kim Te and Spike Arreaga, guttural drums of Greg Hatem, and amorphous howl of captivating frontwoman Corynne Ostermann. This new album (their second with local label Friends Records) is their most fierce release to date, so see it live alongside fellow local opening acts, electronic R&B duo Blacksage, beatmaker Infinity Knives, and trance-noise group Halloween Tres. 

 DO

June 2: Good Fridays Baltimore

EMP Collective, 307 W. Baltimore St. 9 p.m. $10. 

Almost seven months ago, Baltimore arts and culture editor Gabriella Souza was on the phone with John Waters when she got an idea. The local auteur had mentioned how The Buddy Deane Show, a teen dance show that aired on WJZ in the late 1950s and early 1960s, had inspired his most mainstream film, Hairspray! Over the years, similar variety shows and dance programs, like The Shakedown, had all but disappeared. Wouldn’t it be great, mused Waters and Souza, if people could just get together today—regardless of race, class, age—and dance? With the help of PipeDreamz’s Ansar “AC” Miller-Abdullah and City Paper and Baltimore contributor Cassandra Miller, Good Fridays Baltimore was born. This Friday night, don’t miss its inaugural dance party, be it live at E.M.P. Collective in the Bromo Arts District or live-streamed on YouTube from your own home, to hear live music by rapper Al Rogers Jr., see local art by Shan Wallace, and a throwback video countdown to the main event. Best of all, be sure to get down—even abashedly in front of your computer or TV screen—during the two-hour dance party by DJ JaySwann.

Natural Velvet
She Is Me (Friends Records)

Simply put, Natural Velvet is badass. The local post-punk band is a tight interplay of four commanding forces, with two searing guitars, one crashing drum kit, and the drowsy wail and rumbling bass of frontwoman Corynne Ostermann—a kind of mesmerizing Joan Jett meets Morrissey. At times, her voice is an unembellished, magnetic monotone, like in the dreamy head bang of the first single, “Fruits.” At others, she lets loose a piercing howl, punctuating the wiry, whirling noise of songs like “Sewn Through.” The end product is always raw, rip-roaring, and unapologetic, confirming that this Baltimore band is one to watch. See for yourself at their record release party on September 11 at The Crown.

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Marian McLaughlin
Spirit House (self-released)

McLaughlin’s brand of folk music is not the Appalachian Americana so popular today—and she’s the better for it. Hers is more experimental, harkening back as it does to the Baroque, Classical, and Romantic periods of the past. The Baltimore singer-songwriter’s second album is full of breathy, undulating ballads underpinned by traditional instrumentation and troubadour lyrics with hints of orchestral chamber music. While some songs digress into more modern, percussive melodies, she’s a classic Celtic storyteller at heart, as though stranded with her dirges on some stony, sea-drenched shore. Check out her album release on September 4 at Creative Alliance.