A star has been rising on the national music scene, and he hails from Baltimore. Serpentwithfeet, aka Josiah Wise, grew up in the city, nurturing his talents in the church and public-school choir before landing gigs at the likes of Coachella and attention from Billboard, Rolling Stone, and Vogue. His ethereal brand of R&B expands on his second record, Deacon, evolving from haunting soundscapes to buoyant melodies that speak to Black queer love, with a few hometown shoutouts along the way. We spoke with Wise about how the city shaped him.

Growing up in Baltimore, you were raised in the church and were part of the choir from a young age, with gospel coming through in your work today. Was that where you fell in love with music?
Church choir was definitely my earliest musical memory. From the time I was a kid, rehearsal was a big part of my life. It taught me how to work with others. I’ve always been interested in the arts—theater, dance, writing, all those things—but music just electrified me. There was so much gravity to it. It was something I couldn’t shake.

You attended Baltimore City College. How did your time there influence you as an artist?
We had such a rich education as teenagers. We had such wonderful arts programs, dance teachers, an incredible marching band. The choir was incredible; we traveled and competed internationally. It just really opened my eyes and widened my perspective and made me incredibly proud of being a Black artist. They never shied away from talking about Blackness.

During school choir, you performed a lot of classical music. What was it like working with so many pieces written by a bunch of old white guys?
We learned the Handel, the Schubert, the Bach, but we also learned a lot of music by Black composers, from Moses Hogan to Nathaniel Dett to H.T. Burleigh. Our teachers were preparing us to be strong, independent thinkers. It definitely changed me.

Any there any particular artists that had a big influence on you?
Sisqó, for sure. We all knew he and Dru Hill were from Baltimore. He was our legend. He was such a wonderful, charismatic singer. Through and through a great performer. And just what he did sartorially, with the way he presented himself with fashion and in his stage presence. I often think about how brilliant he was.

What was your relationship to Baltimore Club music as a kid?
I think a lot about just how connected to the rhythm we were as kids. Anything could turn into a club song. Somebody could start making a beat on the lunch table and we had a song. It was a lot of fun, but it was also incredibly functional, with great storytelling like Rod Lee’s “Dance My Pain Away” or Miss Tony’s “Storybooks” or “Living In The Alley.”

Did your city having its own genre inspire you to carve out your own unique style?
Absolutely. Baltimore artists are so brilliant, so innovative, and they gave me a lot of courage once I decided to start making music. I saw people push the needle.

Do you still consider Baltimore home?
I do. I love Baltimore City. I am so thankful that I was nourished and nurtured by so many people there. A lot of the tools I needed, I got in Baltimore. There was no creative lack, no spiritual lack, no intellectual lack in that city. Baltimore equipped me with everything I needed, and by the time it was time for me to go, I was ready. I’m still ruminating on those lessons.

J Pope and the HearNow 

Soul Searching (self-released)

One of Baltimore’s most anticipated albums finally dropped this summer. After years of performing around town, this alt-soul collective has released its debut, bottling a dynamic sound that we weren’t sure could be captured outside of a live setting. But on this new record, produced by local beat wizard Wendel Patrick, the soulful sextet, led by frontwoman Jasmine Pope, leaves us wanting nothing but more. Fusing a medley of genres—blues, funk, soul, hip-hop, R&B—Pope showcases her lyrical flair and finesse, zigging and zagging between honey-coated verses and fast-paced rhymes, all delivered with a sophisticated swagger. On each track, her voice is only amplified by her bandmates and their masterful improvisations, filled with heavy runs of bass, the pitter-patter of hand drums, and smoky swirls of sax. Most songs are slow-burning, jazz-influenced numbers, but there are also swift, somewhat-frenzied rhythms, like “Let Them Come” and “Spaz Out,” which truly stand out. The latter is a freestyle feat that’s so pure and raw, it could almost pass as punk rock.

J. Roddy Walston and the Business

Destroyers of the Soft Life (ATO Records) 

It’s been four long years since J. Roddy Walston released new music with his hard-rocking band, the Business. It’s been even longer since they all lived here in 2010—but since their pre-breakout days were spent in Baltimore, we still consider them our own. The years have been kind to the quartet. In a way, this fourth full-length album is a coming-of-age moment for the soulful Southern rockers, as they find more clarity and balance in their giant sound, returning bigger and bolder than ever—but also far more full of light. Walston’s soaring vocals come to the forefront, while the blazing guitar, nimble drums, and pounding ivories balance their time in the sun. Across 10 songs, they confront the past and imperfections with brutal honesty. A new father himself, Walston addresses an estranged dad in “The Wanting,” as well as smoking-and-drinking sins in “I Called You” and “Bad Habits.” Through valleys and peaks, his gospel upbringing shines through, and he finds some sort of acceptance along the way. The band concludes each anthem—be it a raucous rock number or wistful melody—standing powerful and triumphant, somewhere  between the old and new versions of themselves.

See our full interview with J. Roddy Walston and The Business.