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.”

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EAT

Aug. 1-9: Maryland Vegan Restaurant Week

Multiple locations including The Land of Kush. 840 N Eutaw St. 12-3 p.m.

On the heels of Baltimore Restaurant Week, Maryland Vegan Eats is bringing back its vegan version of the dining-out promotion, which encourages our favorite restaurants to promote healthier menus with plant-based food options. To celebrate the start of the week—which will host events and specials from participating spots like Golden West Cafe, Larder, Gangster Vegan Organics, and Great Sage—one of Charm City’s premier vegan restaurants, The Land of Kush, will be hosting a pop-up with The Bakers Nasir, Friend of Vegans on August 1 from 12-3 p.m. Stop by the restaurant to sample homemade dairy-free desserts such as bread pudding, banana bread, and bean pies.

DRINK

Aug. 1-2: Guinness’ Second Anniversary Weekend

Guinness Open Gate Brewery. 5001 Washington Blvd. 11 a.m-10 p.m. 11 a.m.-9 p.m.

As crazy as it seems, Guinness Open Gate Brewery is already turning two in August. And the team at the Halethorpe facility is pulling out all of the stops to celebrate right—starting with two new beer releases. An homage to one of Baltimore’s favorite summer treats, the 2nd Anniversary Lemon Peppermint Stick Golden Ale is a mix of a kettle sour and a golden ale that has been aged in bourbon barrels and finished with lemon and mint. (To sweeten the deal, all guests who purchase a six-pack of the new beer will receive a private Zoom code to join a guided tasting on August 13.) The commemorative 2nd Anniversary Honey Pale Ale—made with local honey from Apex Beer Company and barley from Maryland’s Dark Cloud Malthouse—is also set to debut this weekend, and District Donuts will be on hand with flavors inspired by the beer releases. Find a spot on the spacious outdoor lawn, which is currently open with significant social distancing precautions, to raise a glass to the brewery’s the big birthday.

SEE

Aug. 2: Phoenix Art Yard Art Market

1320 Bayard Street. 12-6 p.m. Free.

While we are used to shopping for fresh produce and flowers at our favorite open-air markets, this weekend, switch things up with a visit to the Phoenix Art Yard. The new Sunday event hosts local artists, live music, and food vendors in Pigtown. Spend your Sunday browsing one-of-a-kind works from makers while engaging with the community from a safe distance. Organizers are still accepting vendor applications, so if you’ve got some art of your own that you want to share with the city, head to their Facebook page to get in on the action.

HEAR

Aug. 1: Super City Virtual Front Row

Creative Alliance Streaming Portal. 8- 9:15 p.m. $5-15.

Creative Alliance is ready to launch its new streaming portal, and what better way to celebrate than with a virtual concert? Indie quintet Super City will be taking the Patterson Theater stage to broadcast their old-school showmanship live for you to enjoy in the comfort of your homes. A portion of the proceeds from the concert will benefit the Equal Justice Initiative, which works to stop mass incarceration, excessive punishment, and racial inequality. Super City’s heavy, guitar-driven pop music and danceability combined with Creative Alliance’s HD stream will make you forget you aren’t dancing along in the front row.

DO

Aug. 1-2: Drive Thru Peach and Blackberry Festival at Weber’s

Weber’s Cider Mill Farm. 2526 Proctor Lane. 11 a.m.-5 p.m. Free.

Summer is the best time to snap up your favorite freshly-picked fruit, and Weber’s Cider Mill Farm won’t let COVID-19 stop them from serving up their juicy, sweet peaches and blackberries. The Parkville farm will be hosting a drive-thru festival so you and your family can safely get your hands on their sweet treats, including a peach-and-blackberry sundae, peach slush, peach creamsicle, and their famous cider donuts. You can even call ahead for curbside pick-up.

The first-ever Brilliant Baltimore—the lovechild of the Light City and the Baltimore Book festivals—will kick off this weekend with 10 days of free activities along the Inner Harbor. From November 1 through November 10, catch local musicians performing live outside at the main Brilliant Baltimore Concert Stage adjacent to the Maryland Science Center, as well as other locations throughout the neighborhood. Here are more than a dozen not to miss.

Marian McLaughlin
11/1, 12 p.m., Brilliant Baltimore Concert Stage
Start things off with a mid-day set by this dynamic chamber-folk singer-songwriter. Combining acoustic instruments, stream-of-consciousness storytelling, and a focus on the natural world, her poetic music is a meditative listen in this fast-paced world.

Afro House
11/2, 8 p.m., pop-up performances
This inventive performance art group (and Best of Baltimore winner) brings its Astronaut Symphony—a futuristic fusion of beat box, opera, punk, and funk—to the city streets with roaming performances around the harbor on Saturday evening.

Rufus Roundtree & Da B’More Brass Factory
11/3, 4:30 p.m., Brilliant Baltimore Concert Stage
Keep the Sunday scaries at bay with an afternoon powerhouse performance by this funk-fueled Baltimore institution, always bringing a Charm City-meets-New Orleans get-down that should incite a second line.

Outcalls

11/3, 7:30 p.m., Brilliant Baltimore Concert Stage
Behold the vocal power of Britt Olsen-Ecker and Melissa Wimbish. The two classically trained opera singers make up this pop-opera duo, as they’ve called it, bringing ethereal harmonies, synth-power ballads, and all-around female empowerment to every stage they play.

Abdu Ali

11/3, 9 p.m., Brilliant Baltimore Concert Stage
This avant-garde rap artists first captivated the city’s art scene as the MC of their Kahlon dance parties at The Crown. Years later, Abdu Ali’s talents have only continued to grow, as has their stage presence, with their live performances now backed by a full band and more fiery energy than ever before.

Clarence Ward III & Dat Feel Good
11/6, Brilliant Baltimore Concert Stage, 7:30 p.m.
On Wednesday, this skilled Baltimore brass player takes to the stage with his full band for, as the name rightfully implies, a feel good show filled with influences by jazz, hip-hop, and funk. Ward himself commands the horn and saxophone, while his bandmates keep the vibes high on keys and drums.

MovaKween
11/7, 9 p.m., Brilliant Baltimore Concert Stage
This New Age R&B singer offers a smooth way to slide into the weekend, with jazz-infused melodies, earthy vocals, and an empowering message for all listeners, especially women, on Thursday night.

Wendel Patrick
11/8, 5 p.m. Brilliant Baltimore Concert Stage.
It’s hard to know exactly what type of music this composer, producer, rapper, radio host, and more will be bringing to this Friday evening set. But we do know, no matter what, this Baltimore music veteran and mad scientist is sure to be a showstopper.

Super City

11/8, 7:30 p.m., Brilliant Baltimore Concert Stage
A perfect way to kick off your Friday night, this infectious indie-pop band puts on one of the best live shows in the city with high-powered hits (new go-tos like “Stay” and old favorites like “Artificial Sin”) and killer choreography (fancy feet, low-low dips) that make it impossible to not dance along.

Billy Price & The Charm City Rhythm Band
11/9, 6:15 p.m., Brilliant Baltimore Concert Stage
This veteran blues-and-soul singer brings his six-piece band for an old-school sound and Saturday night shakedown fit for all ages. A newcomer to Baltimore, Price brings funky grooves, rollicking rock-and-roll numbers, and soulful, belt-out ballads.

Joy Postell
11/10, 6:15 p.m., Brilliant Baltimore Concert Stage
One of the most soulful voices in the city, Postell packs a punch on every song she performs, be it socially minded hip-hop tracks, jazzy neo-soul croons, or old-school R&B slow jams. Prepare to be mesmerized.

Patrick McAvinue

11/10, 7:30 p.m., Brilliant Baltimore Concert Stage
This young musician is quickly becoming one of the most regarded bluegrass fiddle players with national awards and a regular gig at Nashville’s Grand Ole Opry. Expect a Sunday set of fast-flying, feel-good tunes when he comes back to his Baltimore roots.

Eze Jackson & The Backwudz Band

11/10, 9 p.m., Brilliant Baltimore Concert Stage
A guiding force of the local music scene, this dynamic rap artist and front-man of hip-hop collective Soul Cannon will perform with his Backwudz band for a Sunday evening set of high-octane energy and only-in-Baltimore rhymes.

In the latest iteration of The Big Baltimore Playlist, we found five local songs ranging from old-school R&B and girl-power country to dance-inducing, pop-infused rock-and-roll. 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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“Trigger” by Butch Dawson
Over the past several years, blurring the lines between hardcore hip-hop and head-banging punk rock, Butch Dawson has created his own lane, crafting tracks with underground spirit and unbridled confidence in a murky musical no-man’s-land of his own creation. Enter Ollieworld, his latest record and the follow-up to last year’s fawned-over Swamp Boy, where elements of his past work permeate—eerie melodies, gallows humor, lackadaisical swagger. This first song, riddled with NSFW lines, shows off Dawson’s mastery of catchy chorus rhymes and addictively heavy beats before devolving into an outright mosh pit. We wouldn’t be surprised if, any time now, he makes a national hit.

“Checks in the Mail!” by Dyyo
Music fans are always looking for the next great act that they can then tell all their friends they discovered first, and if you haven’t yet caught Dyyo performing around the city, consider the artist found. There’s no one in Baltimore, or beyond, for that matter, quite like this up-and-coming alternative rapper. Each of his songs has a singular, shapeshifting sound from the next one, like this wavy, jazz-infused hip-hop track with clever wordplay, crashing live drums, and a smoke-swirled storyline (as well as all of November’s People Are Scared). Appearing on many a diverse local lineup, his explosive energy fits any bill while always remaining uniquely his own.

“Ten Year Town” by Emma White
For the last decade, Baltimore native Emma White has been hard at work on her music career, attending Berklee College of Music, cutting her teeth in Nashville, and now, this bare-it-all ballad, which might just be the song that steers her into the spotlight, garnering buzz by the likes of Billboard and Rolling Stone. With honeyed vocals, hearty strums, and smart songwriting, this first single off her upcoming EP speaks openly about the many roadblocks and heartbreaks that aspiring musicians—especially women—run into in this industry. In a moment when fearless females are gaining traction for bucking the genre’s old-fashioned ways, White introduces herself as an artist to watch.

“Back and Forth” by Joy Postell
Last fall, Joy Postell’s debut Diaspora EP was met with critical claim for its socially minded singles, seeming to cement the 26-year-old singer-songwriter as a voice for political change. But Postal is not one to be pigeonholed, and now she shows us that her truth-to-power approach to music is equally impressive when applied to more intimate topics, such as the dealings of the heart. With some of last year’s most popular tracks lying in her love songs, this new EP is confidently rooted in the throwback sounds of 1990s and early 2000s R&B. With knocking bass, self-assured rhymes, and a message of personal empowerment, this title track only has us on our toes for what’s to come.

“High” by Super City
With searing guitars, soaring vocals, and a can’t-help-but-sing-along chorus, it’s official: the boys are back. Not that they ever went anywhere, with Super City continuing to be one of the most infectious and just plain fun live acts in the city, with more new music on the way. But riding off the good vibrations of their 2018 Sanctuary, this summer track is a rocking roller coaster with a breakneck melody made for dancing with abandon—just follow the chorus and “don’t care, don’t care, don’t care” what others think. Come for the big, brilliant vocal harmonies. Stay for the two-minute-mark crescendo that would make The Beatles proud. While you’re at it, give a listen their other recent single, the sunny, jangly, toe-tapping tune, “Too Right.”

The hottest concerts of the summer are once again upon us, and that’s not just because they always coincide with the season’s warmest temperatures. With the mercury climbing to the high nineties, the 38th annual Artscape festival returns to Mt. Vernon, Bolton Hill, and Station North this weekend with three full days of free art. Every year, we wait on the edge of our seats for the musical lineup, and this year’s headliners don’t disappoint. Each one offers a throwback to different decades—from the local James Brown Dance Party featuring Fred Thomas of the Godfather of Soul’s own 1970s band on Saturday night, to the 1980s British ska-punk of the English Beat on Sunday, to the groundbreaking 1990s R&B trio of SWV on Friday.

But for us, the main event really lies in the festival’s trove of Baltimore talent, with dozens of homegrown acts playing on various stages throughout the weekend. From promising up-and-comers to local scene veterans, we’ve rounded up eight sets not to miss.

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Astronaut Symphony
Afro House is one of the most inventive arts groups in the city these days, with their unlikely musical experiences breaking down any preconceived notions of what concerts can and should be. See for yourself with this futuristic fusion of beat box, opera, punk, and funk, led by AH co-founder, pianist, and composer Scott Patterson. Saturday, Lyric Opera House, 6 p.m.

Caleb Stine & Friends
There might be few better ways to spend a warm summer night than listening to the hearty folk sounds of the city’s Americana spirit guide, Caleb Stine. With more than 10 records under his belt and more than two decades on the local scene, the poetic songwriter draws a loyal crowd and puts on a powerful show, full of heartfelt ballads, toe-tapping ditties, and rolling-thunder road songs driven by acoustic instruments. Saturday, Johns Hopkins University Stage, 8 p.m.

Eze Jackson
From his role as frontman of alternative hip-hop collective Soul Cannon, to emceeing the recurring Bmore Beat Club, to regular solo and collaborative sets across all pockets of the city, Eze Jackson has undoubtedly been one of the most steadfast and hardworking musicians on the Baltimore scene over the last decade. And every third weekend of July, he has hosted an Artscape after-party in Station North, which he’s doing again this Saturday with a release party for his upcoming album, Fool. Tickets start at $8—a surefire steal for what will be a raw, red-blooded set. Saturday, Metro Gallery, 8 p.m.

Kotic Couture
With rapid-fire flows, honey-coated vocals, and a fierce stage presence as seen during the monthly Version queer dance party at The Crown, Kotic Couture has quickly become a rising star of the local rap scene. Escape the heat in the air-conditioned University of Baltimore Student Center for an infectious set as part of the Worlds In Collusion lineup by the High Zero Foundation. One verse in, and we promise: you’ll be hooked. Saturday, University of Baltimore Student Center, Wright Theater, 8 p.m.

MovaKween
This sultry soul singer’s songs are fit for the extreme heat and humidity expected to hit Baltimore this Sunday. Her earthy vocals flit and flutter, snaking around slow, smoldering melodies rooted in R&B, jazz, and soul. Just pay attention to her lyrics, which speak to the cosmos, creative freedom, and feminine energy and empowerment. Sunday, Johns Hopkins University Stage, 1:30 p.m.

Ratscape
Last summer, this DIY music festival returned to Station North after a three-year hiatus, and this weekend, it’s back for another three days of local bands at The Ynot Lot and The Crown. Among dozens of acts, be sure to check on punk quartet Baklavaa and rapper Toyomansi on Friday, hip-hop artists Josh Stokes and DYYO on Saturday, and soul singer Randi, R&B singer Bobbi Rush, and indie bands Shinji and Romantic States on Sunday. Times & locations vary.

Rufus Roundtree & Da B’More Brass Factory
Push off the Sunday scaries with an afternoon powerhouse performance by Baltimore institution Rufus Roundtree & Da B’More Brass Factory on the Main Stage. This high-energy music collective is one of the most fun, feel-good shows in town, fusing funk, hip-hop, soul, and jazz into a Charm City-meets-New Orleans get-down that should incite a second line. Also catch trumpeter Clarence Ward III’s skillful Sunday set on the Morgan State University stage at 6 p.m. Sunday, Main Stage, 1 p.m.

Super City
We regularly rave about the need to see this Baltimore indie-pop band live, and now is your chance, as the well-clad quintet finally takes to the festival’s Main Stage on Saturday afternoon. Stand in awe of their choreographed moves, but also bring your own dancing shoes and prepare to bop, if not outright mosh, along. They’re likely to bring both old favorites, like catchy slow-jam “Artificial Sin,” and new hits, like “High,” to this don’t-miss show. Saturday, Main Stage, 4:30 p.m.

EAT

June 28: Maryland Food Trucks Foodie Bash

Baltimore Museum of Industry, 1415 Key Hwy. 5-9 p.m. Free.

We can’t think of a better way to celebrate in National Food Truck Day than by indulging in tasty treats from rows and rows of local mobile kitchens. Join fellow foodies at The Baltimore Museum of Industry for a night of sampling delicious bites from 13 area purveyors, including fan favorites like Dough Boy Fresh Pretzel Co., Baltimore Crab Cake Company, and Deddle’s Mini Donuts. Best of all, the proceeds from this gut-busting event benefit Meals on Wheels of Central Maryland.

 

DRINK

June 29: Drag Me to the Beach

Sandlot, 1000 Wills St. 11a.m.-1 p.m. $20.

Sun, sand, drinks, and a drag performance by Bombalicious—what more could you ask for? Head to Charm City’s “beach” bar in Harbor Point to watch this Drag Wars All-Star winner sashay around the waterfront, with a brunch cocktail or frozen drink in hand, of course. Whether you spend you two drink tickets on Bloody Marys, champagne, or canned beer and wine, you’re sure to be throwing dollar bills all afternoon long.

 

SEE

June 28-July 21: Hamilton

The Hippodrome Theatre at the France-Merrick Performing Arts Center, 12 N. Eutaw St. Fri. 8 p.m., Sat. 2 & 8 p.m. $217-2,250.

After months of anticipation, the rapped musical phenomenon that has transcended Broadway and mainstream culture has finally made its way to Baltimore. Watch in awe as the historic story of founding father Alexander Hamilton’s life comes alive on the Hippodrome Theatre stage, featuring inspiring (and ridiculously catchy) songs. While open seats for the musical’s 32-show run are hard to come by, enter into the lottery drawing for the chance to win $10 tickets.

 

HEAR

June 29: Super City, Manners Manners, Peachface

Ottobar, 2549 N. Howard St. 8 p.m. $12-14.

Be sure to stretch before heading to the Ottobar on Saturday night, because this all-local lineup of acts will have you dancing until last call. Bop along to a set by Baltimore indie-pop band Super City, featuring the group’s searing guitar solos, thunder-and-lightning drums, and synchronized moves, as well as performances by noise-pop band Manners Manners and alternative indie-pop artist Peach Face.

 

DO

June 29: Yearfest

Earth Treks Hampden, 1700 W. 41st St., Suite 400. 10 a.m.-6 p.m. Free.

In honor of its one-year anniversary of bringing the mountains to Medfield, Earth Treks is throwing an all-out party for its community of climbers. Stop by the climbing center’s birthday bash, which will be hopping with local food vendors, live music from Munk and Water Cycle, and free drinks from Union Craft Brewing and Wild Kombucha. Kick off this spot’s second trip around the sun with a game of giant beer pong, a few rounds of cornhole, or a chance to hit the wall for a quick climb.

 

It’s not every day that a brand-new band so quickly captures the sound of its home city, but in the case of Chaunter, you could say these songs have been nearly a decade in the making.

Founded by Station North stalwarts Brooks Kossover, on vocals and flute, and Jenghis Pettit, on guitar, the duo’s debut record, Dream Dynamics, is a celebration of the DIY scene in a Baltimore, and its idiosyncratic spirit is fleshed out by guest appearances from a league of local musical legends. Think electronic artist Dan Deacon, Future Islands’ Samuel T. Herring, Lower Dens’ Jana Hunter, guitar-pop group Super City, and rapper 83 Cutlass, to name a few.

Swirling in synth and smoldering with live-wire guitar, the songs harken back to the days when Rolling Stone named Baltimore’s music scene the very best in the country, but the bandmates follow the sound of their own woodwind into a sort of deep, dark, mythical dream world.

Before their release show at the Metro Gallery on March 29, we talked with the duo about friendship, freakwave, and finding inspiration in Baltimore.

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How did Chaunter come to be?

Brooks Kossover: Jenghis and I have been friends for a long time, but we really bonded over music. We hit it off over this shared love of prog-rock and you almost never meet anyone, especially our age, who is into, like, Jethro Tull. I specifically remember seeing him in a Rush t-shirt and being like who is this kid? From there, he introduced me to visual kei, this Japanese form of rock from the 1990s that really influenced Chaunter. The music is very thematic and dramatic and not just one particular sound. When you see us live, you know what I mean. We wrote this album and rehearsed it for half a year before ever playing a show.

Anyone from outside of Baltimore might wonder how this brand-new band got all these legendary local musicians on their debut record. But as regulars in the local arts scene, they just so happen to be your friends. How did the album come to be?

BK: It kind of all started with my paintings. In making these large portraits, I met all of these different artists and musicians and ended up collaborating, and even living, with some of them. Putting out music together just felt like the natural next step. . . . I wanted this first album to be a testament to the Baltimore arts scene. We wanted to come out strong like this is who we are, these are our friends, this is Baltimore music, and make as big of an impact as possible. Our first album is a concept album in a weird way. I wanted it to be like waking up in a dream, and in the end, you fall back into reality.

Jenghis Pettit: No matter what the genre is, a lot of the different sounds out that come out of Baltimore have this dreamlike quality to them.

BK: Moving forward, our music will be much more band-driven—Jenghis and me—and later in the year, we’ll be putting out an EP that will have a finer scope that truly defines us. We just want to put out cool songs and hopefully put Baltimore and freakwave on the map.

Ah, freakwave—the new Baltimore genre. Also used by local quintet Super City.

JP: It’s his favorite word. [Laughs.]

BK: Hey, I’ve only said it once this whole interview! [Laughs.] It’s a very performative, melody-driven form of music. Just one of those things you need to see live to really feel the energy of it. I just love the idea of another genre being born out of Baltimore. I know I’m not from here, but I’ve lived here for about eight years now, and it’s changed me so much.

Jenghis, you grew up in West Baltimore. How did you got involved in the DIY music scene?

JP: My freshman year of high school, one of my friends gave me a guitar. I taught myself how to play by sitting and playing along with the radio. I went straight into metal and prog rock. Later on, I was living at Bell Foundry with Qué [Pequeño] and we started the band Melanin Free, which took on a life of its own. Melanin Free is a form of activism for me. After 2015, the Uprising was something I felt I needed to bring into my music. Even in certain places with Chaunter, it comes out in certain ways and I’m not going to try to hide it. It feels good to be able to show my Baltimore and put my two cents in. For me, this first album revolves around old memories from when I first started doing the whole art thing.

Are there any songs that are particularly meaningful to you?

BK: For me, it’s “The Copycat.” Jenghis lives there now, I lived there for a long time, we started [the art gallery] Terrault there. All the time spent in that building, what that building has meant to the city, the music that’s come out of it. I wanted this song, and the first album, to be an ode. I wanted them to be reminiscent of all those different sounds and people and memories and experiences coming together into one place.

JP: It has a lot of backstory. Frank, the superintendent of The Copycat, who is my landlord right now, is featured on the intro as well. It’s just a really good song.

In celebrating the past, where do you find inspiration in this city today?

JP: A few years back, there was a lot of hype, and then it kind of disappeared. But everyone just decided to focus on making good work, and through that, we’re starting to get real, genuine recognition that I think is a lot more sustainable. Looking at friends like Butch [Dawson], Joy [Postell], and Al [Rogers Jr.] putting out these insane projects—it’s just like, alright, I have to really go hard to try to keep up with them. I think if we can all stay together and continue to collaborate, we can make something for ourselves here that can’t disappear.

EAT

Jan. 27: Brunch N’ Chill

Prime Corner, 3400 Chestnut Ave. 11 a.m.-2 p.m. $25.

From sleeping masks and bath bombs to chocolates and coffee, products infused with CBD oil (aka cannabidiol, the second-most abundant compound found in marijuana plants) are all the rage. This Sunday, trade your usual mimosa-filled brunch for a plant-based breakfast at Hampden’s Prime Corner, and then spend the afternoon sampling CBD-filled treats from local purveyors, including lattes from Vent Coffee Roasters, donuts from Full Circle Artisan Palace, and ketchup from Secret Sauce Co.

DRINK

Jan. 25: Nepenthe Brewing Co. Opening

Nepenthe Brewing Co., 3600 Clipper Mill Rd. 4 p.m. Free.

After months of delays, this new Hampden hangout officially opens to the public on Friday. The facility (which includes a 160-seat taproom, a 10-barrel brewhouse, and an attached home-brewing shop) is an expansion of Nepenthe Homebrew, the beer-making supply shop that husband-and-wife owners Brian Arnold and Jill Antos operated in Woodberry for five years before moving to their new home on Falls Road. Joined now by Brendan Kirlin (formerly of The Wine Market and Le Garage), the co-owners are ready to open their doors. This weekend, fill a flight with samples of Nepenthe’s starting lineup of IPAs and saisons.

SEE

Jan. 25-27: Raoul Middleman: Watercolors & Monoprints

C. Grimaldis Gallery, 523 N. Charles St. Tues.-Sat. 10 a.m.-5:30 p.m.

At 84 years old, this born-and-raised Baltimore artist continues to create innovative artworks that exhibit renewed inspiration for his lifelong passions and subjects: burlesque, horses, and Charm City. Visit the C. Grimaldis Gallery to take in this longtime MICA professor’s latest series of inked mono-prints and impressionist watercolors, which will be on display at the Mt. Vernon gallery until February 16.

HEAR

Jan. 26: Super City, Chaunter, and Soul Cannon

Ottobar, 2549 N. Howard St. 9 p.m. $12.

If we had to make a wish list concert lineup of some of our favorite up-and-coming local acts, it would look a lot like this Saturday’s roster at the Ottobar. With “freakwave” band Super City home from their nationwide tour and ready to rock the Remington club with tracks from their latest album, Sanctuary, along with sets from songwriting duo Chaunter and experimental hip-hop collective Soul Cannon, this is the definition of a can’t-miss show.

DO

Jan. 26: Baltimore Orioles FanFest

Baltimore Convention Center, 1. W Pratt St. 11 a.m. $6-12.

As the saying goes, there is no offseason in baseball. Put last year’s abysmal season in the past and kick off the Orioles’ 2019 season with a day-long celebration at the Baltimore Convention Center. Celebrate all the new changes the front office (and the players themselves) will bring to 2019 while enjoying Orioles-themed games, press conferences for kids, one-of-a-kind memorabilia for purchase, and autograph and Q&A sessions with select players from the team.

Visual Art

Raoul Middleman: Watercolors & Monoprints
An artist’s passions are explored with frenetic mono-prints and impressionist watercolors in this new show from Baltimore native Raoul Middleman at C. Grimaldis Gallery. From his studio 19 floors above the city streets, Middleman has documented the changes in daylight as well as changes in the skyline itself. Back on the ground, his inky depictions of horses and burlesque capture motion and beauty in two distinctly different venues. Opening reception 6-8 p.m. Jan. 17; on view during gallery hours Jan. 17-Feb. 16. C. Grimaldis Gallery, 523 N. Charles St.

Art and Healing with WombWork Productions
Explore The Walters Museum’s historic property at 1 West Mount Vernon Place, and enhance your experience of this storied residence with a performance from local social change theater group WombWork Productions. One of WombWorks’ goals is to use art as a method for healing, and this new work will seek to connect the present to stories from 1 West Mount Vernon Place’s past. 7-8 p.m. Jan. 24, The Walters Art Museum, 600 N. Charles St.

Music

BSO Pulse: Dan Deacon
Two forces of Baltimore’s music scene will combine their talents for one night only during the next iteration of the BSO Pulse series. Come early for Deacon-curated entertainment from Jamal Moore, Amy Reid, Stewart Mostofsky, Alex Silva, and Amanda Schmidt in the Meyerhoff lobby and stay to hear the world premieres of new compositions blending acoustic and electronic sounds. 6-10 p.m. Jan. 17, Joseph Meyerhoff Symphony Hall, 1212 Cathedral St.

Kentavius Jones Album Release w/ Brooks Long & Mad Dog No Good
An Eastern Shore native releasing his long-awaited album and the return of Brooks Long & The Mad Dog No Good? Count us all the way in. Join singer-songwriter Kentavius Jones as he celebrates his new album, The Bohemian Beatbox, at Creative Alliance. He’ll be joined by CA curator of special projects Brooks Long and his rock and soul band for a full night of homegrown hits. 8-11 p.m. Jan. 25, Creative Alliance, 3134 Eastern Ave.

Super City, Chaunter, and Soul Cannon
Embrace the “freakwave” sound of Baltimore’s Super City as they return home after dancing their way through the south. You’ve probably heard tracks off the band’s latest project, Sanctuary, by now, but nothing compares to experiencing these guys’ rock anthems and expert choreography live. Local acts Chaunter and Soul Cannon will also join the party at the Ottobar. Doors at 8 p.m., show at 9 p.m. Jan. 26, Ottobar, 2549 N. Howard St.

Theater

Thank You, Dad
His twisted legacy has been immortalized by filmmakers, songwriters, authors, and poets. Now revisit Jim Jones’ deadly Peoples Temple with the world premiere of this collection of three plays by Aladrian C. Wetzel. Performed by Rapid Lemon Productions Artistic Director Lance Bankerd, this trio of works based on the life of Jones will kick off RLP’s 2019 season, which explores the power of belief. Jan. 11-20, Baltimore Theatre Project, 45 W. Preston St.

Roald Dahl’s Charlie and the Chocolate Factory
Dive into a world of pure imagination with Charlie, Willy Wonka, and the rest of Roald Dahl’s colorful characters in this musical based on the beloved work of children’s fiction. With colorful costumes, classic songs, and plenty of twists and turns, this tale is sure to be a delight for all ages. Just be sure not to slip Slugworth any trade secrets on your way out of the theater. Jan. 22-27, The Hippodrome Theatre, 12. N. Eutaw St.

Film

Who Will Write Our History
When lies and hate took over their world, a group of journalists, scholars, and community leaders fought back with the only weapons they had left—their words. This new documentary from Roberta Grossman exposes the secret band of writers known at Oyneg Shabes, who documented life under Nazi rule in the Warsaw Ghetto.

Drawing from the group’s writings, new interviews, dramatizations, and archival footage, Grossman has crafted a film that carries on the legacy of this brave group determined to ensure their stories would survive. The Who Will Write Our History screening at Landmark Theatres, Harbor East is one of several around the world that will take place as part of International Holocaust Remembrance Day. 1 p.m. Jan. 27, Landmark Theatres, Harbor East, 645 President St.

Literature

Roxane Gay With One N
Loyola University’s annual Martin Luther King Jr. Convocation always brings incredible personalities with powerful stories to Baltimore, and this year is no exception. For the 26th annual event, author Roxane Gay will discuss feminism, body image, and social justice at Reitz Arena and end the evening with a book signing. Though the event is free, you’ll want to register early to secure your seats. 7-9 p.m. Jan. 22, Loyola University Maryland, 4501 N. Charles St.

Polar Bear Plunge
Jan. 26. Sandy Point State Park, 1100 E College Pkwy, Annapolis. 9 a.m.-5 p.m. Prices vary. Ever since Stephan Timchula adopted his “Major Offense” superfan persona 10 years ago to honor the Baltimore Ravens’ (sometimes) strong offense, it has become his way of reminding fans that sports go beyond wins and losses. A longtime member of the Ravens Roost 115 and the Pro Football’s Ultimate Fan Association, Timchula shares the Special Olympics Maryland’s creed—that sports create new opportunities for people with disabilities—and he’s supported the nonprofit by proudly wading into the chilly waters at Sandy Point State Park for the past five Polar Bear Plunges. “Most importantly, it’s a day dedicated to the Special Olympic athletes, and watching them have fun rubs off on everyone else,” says Timchula, who will take the plunge again on January 26. “It makes jumping into the icy-cold water worth it.”

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Martin Luther King Jr. Day
Jan. 21. 830 E Pratt St. Times vary. $5. In honor of what would’ve been Martin Luther King Jr.’s 90th birthday, commemorate the life and legacy of one of the most influential civil rights activists in American history at the Reginald F. Lewis Museum’s annual remembrance. Bring the whole family to the downtown museum to celebrate King’s powerful vision of freedom and peace through music and dance performances by local acts, readings by Baltimore-based author Kevin Shird and Baltimore Center Stage actors, and kid-friendly activities.

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Between Spirits and Sisters
To Feb. 2. 2224 N Charles St. This month at Galerie Myrtis, view works by mixed-media artist Delita Martin that explores womanhood and the power of narrative impulse. Inspired by oral traditions and vintage photographs, this Texas-based artist uses printmaking, drawing, sewing, collaging, and painting techniques to bring portraits of African-American women to life.

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Black & White Party
Jan. 19. The Assembly Room, 316 Guilford Ave. 8 p.m.-midnight. Since the Pratt Contemporaries’ first Black & White Party a decade ago, this all-night affair has become one of the city’s most anticipated see-and-be-seen parties of the year. This year’s theme of Studio 54 will transport guests back to the disco days of the iconic ’70s nightclub with live music, festive eats, and themed cocktails flowing all night long. Pro tip: Mark your calendar for January 4—the day tickets go on sale—as general tickets typically sell out within minutes.

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Baltimore Restaurant Week
Jan. 11-20. Prices vary. After a whirlwind year of openings and closings in the area dining scene, the city’s winter restaurant week is the perfect time to try out new spots, revisit neighborhood standbys, and get your foodie fix without breaking the bank. Nearly 60 local spots will be on board for this 10-day deal, which offers prix-fixe menus priced between $12-20 for brunch and lunch and $20-35 for three-course dinners. Map out your must-try meals, make your reservations early, and take advantage of this annual culinary celebration.

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Super City
Jan. 26. 2549 N Howard St. 9 p.m. $12. After playing their latest album, Sanctuary, to audiences in every corner of the country, this Baltimore-based “freak wave” band is back home and ready to remind us what we were missing. Pack the Ottobar to hear this rising indie-pop group play showstopping hits such as “Artificial Sin” and “Find You,” and get there early to catch sets by homegrown acts including songwriting duo Chaunter and hip-hop collective Soul Cannon.

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BSO Pulse: Dan Deacon
Jan. 17. Meyerhoff Symphony Hall, 1212 Cathedral St. 8:30 p.m. $25-55. The Baltimore Symphony Orchestra has collaborated with acts ranging from big-name indie artists to up-and-coming groups for its BSO Pulse series, but this month’s joint performance with local legend Dan Deacon is a can’t-miss marriage between two iconic figures in the city’s music scene. Hear this genre-defying artist debut several new joint compositions with the BSO during this electronic-acoustic performance.

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Dr. Martin Luther King Jr. Parade
Jan. 21. Locations vary. 12 – 2 p.m. Free. For the past 18 years, the city of Baltimore has commemorated Dr. Martin Luther King Jr.’s legacy with an all-out parade that starts on King’s namesake boulevard and winds down to Baltimore Street. Find a spot along the parade route to wave to local community bands, color guards, dance squads, and other civic organizations as they pass by.

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Charlie and the Chocolate Factory
Jan. 22-27. 12 North Eutaw Street. $72-199. Times vary. Gather your everlasting gobstoppers, Oompa Loompas, and golden tickets for the sweetest production of the season. For six days, the Hippodrome Theatre will transform into Willy Wonka’s Chocolate Factory for this family-favorite musical that brings new life to songs from the original film such as “The Candy Man” and “Pure Imagination.”

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Baltimore Orioles FanFest
Jan. 26. 1 W Pratt St. 11 a.m.-6 p.m. $12. As the saying goes, there is no offseason in baseball. Put last year’s abysmal season in the past and kick off the Orioles’ 2019 season with a day-long celebration at the Baltimore Convention Center. Orioles FanFest offers games and press conferences for kids, one-of-a-kind memorabilia for purchase, and autographs and Q&A sessions with select players from the team.

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

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

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

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

“Feel Nobody” by Butch Dawson

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

EAT

Sept. 30: The Big Ice Cream Social

The Ynot Lot, 4 W. North Ave. 12-5 p.m. Free.

For the past five years, Taharka Brothers Ice Cream’s hot pink “Change-Maker Mobile” has traveled around Baltimore selling countless cones and promoting a message of equality throughout the city. The Clipper Mill-based company’s socially conscious message caught the attention of ice cream behemoth Ben & Jerry’s, which is teaming up with Taharka Brothers to throw a one-of-a-kind ice cream social featuring free scoops, live performances by local legends DDm and Martina Lynch, and Q&A sessions with area leaders about politics and culture. Don’t miss this Station North block party that will bring people from all corners of the city to enjoy sugary-sweet treats and community discussions.

DRINK

Sept. 29: Patterson Park Brew Fest

Patterson Park, E. Baltimore St. & S. Patterson Park Ave. 12-7 p.m. Free-$65.

We love Patterson Park for its picturesque rolling fields, tail-wagging dog park, and annual autumn brew fest that invites beer-lovers to crack open local beers and enjoy live entertainment in the crisp September air. On Saturday, spend the afternoon sipping on local offerings from The Brewer’s Art, Union Craft Brewing, Heavy Seas, and Monument City; sampling eats from area food trucks; and jamming out to sets by Baltimore-based folk quartet Charm City Junction, indie band Cara Kelly & The Tell Tale, and beach band Sons of Pirates.

SEE

Sept. 28-30: Baltimore Comic-Con

The Baltimore Convention Center, 1 W Pratt St. Fri-Sun Noon-7:00 p.m. $25-500.

This weekend, the Baltimore Convention Center will transform into a comic book-lover’s paradise, complete with a costume contest, tons of comic books to peruse or purchase, and the chance to rub elbows with fellow nerds and famous cartoonists alike. Come decked out as your favorite superhero or villain during this 19th annual festival and take advantage of art exhibits, panels, and autograph sessions. Stick around for the chance to meet Maryland-born graphic novelist Frank Miller, the creative force behind the late-era Batman comics, or actor Zachary Levi, the future Shazam and voice of Flynn Rider in Tangled.

HEAR

Sept. 29: Super City

Ottobar, 2549 N. Howard St. 9:30 p.m. $12.

Since the release of its first album, Again Weekend, back in 2015, indie-pop band Super City has garnered a following throughout the city—and we’ve been eagerly waiting to see what they’ll do next. To kick off the multi-city tour of their latest, self-released album, Sanctuary, the “freak wave” boys will put on an all-out show for their hometown fans before hitting the road. Pack into the Ottobar on Saturday night to sing and dance along to new songs like “Vulture” and “Nice Person (DOA).” Head there early to hear an opening set by indie band Vita and the Woolf.

DO

Sept. 28-30: Baltimore Book Festival

Locations vary. 11-7 p.m. Free.

Although our city’s slogan is no longer “The City That Reads,” that hasn’t stopped locals from embracing this annual weekend-long literary extravaganza. Stretching from the Inner Harbor to the American Visionary Art Museum, this locally-loved festival features readings, demonstrations, and panel discussions by prominent regional and national authors, as well as more than 100 book exhibitors, kids’ projects, and live entertainment throughout the weekend. Expect to see the likes of Baltimore native and White House correspondent April Ryan, local cookbook author John Shields, New York Times best-selling authors A.J. Jacobs and Justina Ireland, as well as performances by local acts like soul singer Joi Carter and indie-pop duo Outcalls on the Music Stage.

Super City

Sanctuary (self-released)

Within the first 20 seconds of this new album from Super City, you know one thing for sure: it’s going to rock. The five members of this indie-pop (or “freak wave,” as they’ve recently been dubbed) band have the trappings of real-deal rock stars, and this second full-length record shows how ready they are for the big stage. Cue the lights for 10 sensational songs that are pure, infectious fun. Frontmen Dan Ryan and Greg Wellham take turns in the spotlight, shifting between gentle croons and soaring cries, but each bandmate gets his time to shine across playful anthems and power ballads. With undeniable chemistry, they imbue every inch of this record with a magnetic luster, filling each corner and crevice with shimmering sound via cascading drums, searing guitars, golden harmonies recorded on their iPhones, and Wall of Sound choruses that rattle your soul. You can hear the influences—’70s and ’80s idols including Freddie Mercury, David Bowie, even Prince, with a touch of hair metal—but Super City’s ferocious energy, as shown in their live shows, is uniquely their own. Wherever you are, whichever song you listen to, just make like the band and dance.

serpentwithfeet

soil (Secretly Canadian)

It’s not often that an artist comes around who has created something completely new. It would be easy to call singer Josiah Wise, aka serpentwithfeet, experimental or avant-garde, but his music refuses to stay inside even those lines. Instead, he creates his own hauntingly beautiful brand of R&B, combining the gospel roots of his choir-boy childhood in Baltimore with a goth aesthetic and atmospheric soundscapes honed in his new home of Brooklyn. This debut album is a body of work to be listened to from start to finish, as each song paints a vivid scene, toying with themes of good and evil, lust and loss, darkness and light. His singular voice plays a cast of characters—a scorned heart, a feverish lover—that layer and multiply into an intricate chorus, all ruminating on the multitudes of love. Across serenades, spirituals, and devotionals, his tenor flitters and flutters, soaring in height and free falling with abandon. The result is an otherworldly collection of songs that are both tranquil and tempestuous, devout and dubious, resolute and wayward all at once. With fame at the fringes of his coattails, this chameleon of an artist is one to know now. Or yesterday.

Maybe you’ve seen the video: All-white jumpsuits. Chelsea boots. Infectious dance moves. And, of course, the jangly slow jam melody of their single, “Artificial Sin.” But local indie-pop band Super City is so much more than last summer’s quasi-viral mini-film.

The band’s second full-length record, Sanctuary, out later this month, shows off their staying power. Its 10 sensational songs are the kind of rock-star-worthy anthems and power ballads that just don’t get made anymore, featuring searing guitar solos, all-out soprano vocals, thunder-and-lightning drums, and full-blown shimmering fun.

Earlier this month, we sat down with frontmen Dan Ryan and Greg Wellham to talk about the new album, the band’s friendship, and, of course, their fancy footwork. Catch their record release show at the Ottobar on September 29.

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I hear the two of you go all the way back to high school.
Dan Ryan: We met in biology class.

Greg Wellham: Dan sat right behind me. We first connected by playing music on our desks together. Dan would start tapping a pencil and I would hear it and then tap my fingers. We would transfer beats back and forth and then get yelled at by our teacher.

D: We eventually played some random gigs together, like someone’s house party at an indoor pool, but we were never in the same band.

G: All throughout high school, and even into college, when we both went to Towson University, we never had a band. We didn’t start writing music together until our senior year and the first song was actually “Find You” off our first EP.

D: I think it worked out though. We developed our own individual styles and skillsets and then finally brought the two together.

Speaking of styles, what were some of your initial influences? We definitely hear some ’70s icons in some of your songs.
D: Definitely. My dad was a trumpet player at the Kennedy Center in Washington, D.C. He was a huge influence. After my parents split, my brother went off to college, so it was basically just me and my dad, hanging out, talking about all kinds of music all the time together. I think I always knew I wanted to be a musician. I would fantasize about performing in front of people. I played trumpet and also had this little Cassio keyboard that I would put on the guitar setting and use to write little riffs before I ever learned how to play the real guitar.

G: My dad was really into classic rock. Sabbath and all that. My mom introduced me to a lot of Light FM stuff—Patsy Cline, Whitney Houston, Gloria Estefan. I played saxophone in middle school but coming into high school, I discovered the guitar and realized that was all I ever wanted to do from there on out. The singing came way later for both of us.

Is it hard having two frontmen?
D: It’s a constant clash of power! [Laughs.] No, we’re a unit.

G: In writing our songs, we take turns, which keeps things interesting. One of the hardest parts about being in a band is just getting along. I don’t want to jinx it or anything, but we really just enjoy each other’s company and respect one another. Everyone is a full-time musician so we’re all on the same page with professionalism and work ethic and just honing our craft. Plus these guys are really funny—we’re constantly making each other laugh.

With your live shows, Super City exudes an old-school level of showmanship. Where does that come from?
D: Nowadays people see it as a gimmick, but dance is a very integral part of music and the arts, and it’s the best thing in the world to do. We don’t tell people that we’re a dance band so there’s always this element of surprise at the beginning of the set where the audience is questioning: “Do I like this?” People have expectations of what a rock show is going to be, but there are no rules to our set.

G: And why wouldn’t you want to dance? We just really like the feeling of bringing people together. There’s nothing more exciting than when you finally catch the audience’s attention and then you see it start to spread. By the end of the set, the entire place is sidestepping, which is really fun to watch.

How did you come to include choreography into your shows?
D: I started incorporating dance moves because we had a lot of pedals and it was too hard and awkward to keep switching them over from section to section. Out of that, I thought, wait, everyone needs to dance! We then went and saw St. Vincent who was doing her own kind of David Byrne thing, and by our spring tour in 2016, we had our first two moves. Now they’re incorporated into almost every song.

How did it feel after your “Artificial Sin” video took off the way it did last summer?

D: I don’t think we expect things often. We always hope it goes well, whatever that means, but we just wanted to make a cool video and share it with our friends. It’s weird sending yourself out into the world like that and seeing what people will think of this version of you, especially wearing all white and spinning around with your guitar. I think that single was also really exciting because we finally had something that really represented the direction we wanted to go.

And where is that?

D: There’s this certain thing that we have live that’s hard to capture in a recorded song. It’s kind of this grittiness—these well-polished songs but with an edge. But now we’re letting ourselves open up and do crazy things, like we’re going to have more guitar solos and we’re going to dance and do all this stuff that we were kind of afraid to do before.

What freed you up to do that?

D: Honestly, recording most of our songs on our iPhones.

G: On the first album, we were constantly trying to recreate the demos, which proved to be impossible. It was so frustrating to try to recreate some single guitar solo or special vocal, but then we realized that we lived in an age where we didn’t have to. Coming to that realization was a game changer.

D: Recording on our phones, we’re capturing the first point of raw inspiration, which is not something you get to do often in the recording process.

G: I definitely feel like the first album was us trying to figure out what we’re all about, and on this second album, we have such a good idea of who we are, and where we want to go. I think it’s a really accessible album. I’m really looking forward to having all types of musicians listen to it. I think there’s something for everybody on it.

In the latest iteration of The Big Baltimore Playlist, we found five local songs ranging from soulful hip-hop and smoky blues music to dreamy indie-pop and galactic R&B. 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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“Water” by Joy Postell*

We’ve been anxiously awaiting new music off the upcoming Diaspora EP by local singer-songwriter Joy Postell. We’ve said it before that Postell is one of the most soulful voices in Baltimore, but she is also one of the city’s most sophisticated poets and visual storytellers. Exhibit A? Her fierce “Consciousness” from 2016. Exhibit B? This stunning new single and its equally inspired music video. The song and its accompanying art paint a poignant and powerful portrait of being black in America in 2018. The murky jazzy melody floats slow and steady—a pitter patter of hand drums; the echo of snapping fingertips; a searing line of saxophone—and on it, like a wave, rides Postell’s husky, honey-coated vocals, speaking truth to power and standing resolute in history’s wake. With a sampling of words by one of her idols, Angela Davis, she connects past and present racial injustices—gun violence, police brutality, outright oppression—and presents young people, like those notable Baltimoreans featured in the video (rapper Al Rogers Jr., singer :3ion, artist Malaika Aminata Clements, culinary entrepreneur Krystal Mack, to name a few), as the future seeds of change.

“All To Come” by June Pastel

Pick any song off the new debut album of this young band led by Salt Lake City native artist Anthony Peña, and you’re bound to get lost in its dreamy indie-pop. Crafted by a quartet of Peabody students that call themselves June Pastel, Collages is a lush, hazy feat, fit with tender, seeking vocals and lustrous surf guitar. Next to “Into a Spell” and “En La Vida,” this track stands out for its subtle motions. With a rush of synth and ripple of saxophone, it rhythmically zigs and zags before building into a bright and textured ballad. All the while, the lyrics seek for certainty in the future, and toward the end of the song, Peña and his bandmates reach a sonic clearing. To us it feels like finding faith in the unknown.

“Saturn Returns” by Pangelica*

Move over, Grimes. There’s a new cosmic pop princess in town. Meet Pangelica, Baltimore producer, cofounder of the GRL PWR arts collective, and creator of otherworldly beats. With a singular sound founded in futuristic melodies, she brings a powerful presence to the local music scene, landing somewhere between electro-punk and experimental R&B, and her new debut album might just be worthy of the national scene. On its title track, she speaks to modern romance, using her lush electronic brew to move through the heart’s complexities—lust, heartbreak, healing—and along the way lay bare the ways in which we are pushed and pulled by power and desire. With heart-on-her-sleeve awareness and addictively glittery production, Pangelica is a local artist to closely follow.

“Let’s Ride” by Quinton Randall*

In Baltimore, we often talk about the DIY scene and the indie, hip-hop, and electronic genres that go along with it. But outside of Station North, often down in Fells Point, another form of music flourishes—blues—thanks in part to Quinton Randall. This young guitar virtuoso has been gigging around the city for years now, performing at Artscape, the Creative Alliance, and the Ottobar, as well as releasing two EPs. He’s become a Charm City staple, and yet this soulful new song seems like the starting point for what’s to come. On it, Randall’s trademark axe is in tow, undulating in propulsive waves, waiting in turn for its occasional electric guitar solo, but it’s his raw, reverberating vocals—stronger and more soulful than ever before—that rock you to the core. We always knew he was a rising star, just waiting to be discovered, and if this song is any indication, his upcoming Halfway To Midnight record might do the trick.

“Sanctuary” by Super City

When a song goes viral, it’s always a little unnerving for a band. What will come next? How will they follow up? But this first new single—the title track of Super City’s forthcoming sophomore album—takes the energy still simmering from last summer’s infectious “Artificial Sin” and uses it to skyrocket toward the Bowie-filled stars. We’ve had the luck of listening to the new record from the high-fashion, fierce-dancing indie-pop quintet, and we’ll just say that this soaring power ballad sets the stage for the entire collection. Just like this melody, it is playful, sprightly, confident, and outright fun. Its golden harmonies, crashing drums, and fuzzy grunge guitar will keep you hooked from the first to very last note. Give this one a listen (and check out its just-released video) and try not to nod, bop, or outright rock along.

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

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

 EAT

March 11: Pig Parts & Pancakes

Foraged Eatery, 3520 Chestnut Ave. 10 a.m.-3 p.m. Free. 410-235-0035.

For many of us, Sunday brunch is a must-do weekend ritual, so naturally we were excited to hear that this new farm-to-table eatery would be debuting its inaugural service this weekend. On Sunday, head to the tiny, trendy Hampden spot for a hyper-seasonal brunch menu featuring chef  Chris Amendola’s trademark pig parts and made-to-order mimosas (and beermosas!). While it sounds like an unconventional pairing, let your adventurous weekend self be pleasantly surprised by crispy pig ears and fluffy pancake stacks drizzled with a local delicacy—black walnut and red maple syrup, harvested from Whistle Pig Hollow and Third Way Farms.

 DRINK

March 9: End of Prohibition Party

Chuck’s Trading Post, 1506 W. 36th St. 3-11 p.m. Free. 410-366-0178.

Baltimore has a long, storied history with Prohibition, with speakeasies and hidden stashes of booze fueling the city’s best parties in the 1920s. Now, almost a century later, this Hampden hideaway will break in its new liquor license and celebrate its own end to Prohibition with free-flowing Union Craft brews and an all-afternoon party. For the first time ever, pair Double Duckpins and Old Pros with Best of Baltimore-winning skillet dishes and cured meat sandwiches as you raise a glass to our country’s hooch-filled future.

 SEE

March 10: Adam Davies ‘Reroutings’ Exhibition

Creative Alliance, 3134 Eastern Ave. 6-9 p.m. Free. 410-276-1651. 

This month, Creative Alliance resident artist Adam Davies will transform the Highlandtown gallery into Reroutings, a brand-new exhibit featuring his large-format photographs of ordinary public structures, such as overlooked bridges or tunnels, that have served another purpose as accidental civic forums. During the opening reception on Saturday, LA-based musician Alex Zhang Hungtai, known largely for his lo-fi electronic project Dirty Beaches, will perform the soundscapes that helped influence the artist’s photos. Listen as the waves of sound fill the room and immerse yourself in Davies’ monumental photographs of graffiti-covered walls in this dark, intimate space. 

 HEAR

March 9: March 9: Super City/:3ION/Raw Silk

Metro Gallery, 1700 N. Charles St. 8 p.m. $10. 410-244-0899. 

If you weren’t hiding under a rock last year, you probably caught wind of Super City’s infectious music video for its even more addictive single, “Artificial Sin.” If you didn’t, Google it now and you’ll instantly know why you need to be at The Metro Gallery this Friday night. Watch the indie-pop-rock group perform their choreographed dance moves and hear new music off their upcoming 2018 album. Local electronic R&B singer (and Best of Baltimore winner) :3ION will be opening the show with his bewitching pop music, as will New York City’s dance band Raw Silk.

 DO

March 9: Intercambio

The Baltimore Museum of Art, 10 Art Museum Dr. 7-10 p.m. $25-30. 443-573-1700.

With the U.S. immigration debate at the forefront of national news, there’s never been a more important time to come together and hear stories from Baltimoreans about their experiences with exchange and inspiration across the U.S.-Mexico Border. As part of Stoop Storytelling’s “Stoop Special Engagement” series that coincides with The Baltimore Museum of Art’s Crossing Borders: Mexican Modernist Prints exhibit, listen to seven storytellers share their personal, deeply human anecdotes, including local artist Alfonso Fernandez on re-discovering his Mexican heritage through art and Clavel’s chef Carlos Raba on his father’s murder and growing up in Culiacán, Sinaloa. While you’re there, take advantage of after-hours access to the modernist print exhibit before it closes on Sunday.

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

 EAT

Feb. 3: Fifth Annual Chili Cook-Off

The Wharf Rat, 801 S. Ann St. 1-4 p.m. $5-10. 410-276–8304

When the weather dips below 40 degrees, there is really only one remedy: a fireside bowl of chili at a neighborhood pub. Enter The Wharf Rat, which has been asking its patrons to make their favorite chili recipe to see who can be crowned cook-off king or queen. Whether you prefer yours mild or hot, with beans or not, vegetarian or full of meat, head down to Fells Point this Saturday to sample all that these local cooks have to offer. In addition to the English-style ales on tap and in the cask, Wharf Rat will be pouring beer by Bell’s Brewery, so you can have a couple Two Hearted IPAs to wash your chili down. The best part is the event benefits BARCS and its mission to care for homeless and unwanted animals in Baltimore City.

 DRINK

To Feb. 3: CiderCon

Locations, times & prices vary.  

Move over craft beer and local cocktails—cider is having a moment in the sun. In fact, the crisp apple beverage has been on the rise for years now, and this week, CiderCon is in town to unite enthusiasts, makers, and curious crowds over this age-old concoction. This weekend, participate in activities throughout the city—from tastings of more than 75 ciders at the B&O Railroad Museum to a cider social at Charm City Meadworks. Just don’t miss out on the cider parties at Wet City, where you can try Graft Cider’s latest release of Cloud City and enjoy a food pairing led by Vermont’s Shacksbury Cider. 

 SEE

Feb. 2: Groundhog Day

The SNF Parkway, 5 W. North Ave. 7:30-9:10 p.m. $8-10. 443-438-6144.  

There’s no better way to celebrate Groundhog Day than watching Harold Ramis’s 1993 comedy of the same name. After 25 years, Groundhog Day still a crowd favorite with the lovely Andie MacDowell and the inimitable Bill Murray at his very best. On Friday evening, a few hours after Punxsutawney Phil dictates our future forecast, either celebrate or abate your sorrow with a screening of this cinematic treat inside the historic Parkway Theatre, hoping that spring comes early and Saturday starts anew. 

 HEAR

Feb. 3: SZA

Rams Head Live, 20 Market Pl. 8-11:30 p.m. $25-30. 410-244-1131.  

At only 27 years old, R&B singer-songwriter Solána Imani Rowe, aka SZA, has quickly become a name to know. Her most recent album, Ctrl, hit number one on the charts and helped her become the most-nominated woman at the 2018 Grammys, though unfortunately, she didn’t take any accolades home. That being said, we’re fairly certain we’ll see her back there next year, and until then, hear the Jersey artist’s hits for yourself during her Saturday performance at Rams Head. 

 DO

Feb. 2: Groundhog Day Party and Fundraiser

Congress Hotel, The Marble Bar, 306 W. Franklin St. 5:30-10 p.m. $30-100. 410-625-2585. 

Before there was the Ottobar, Baltimore had the Marble Bar. In the late ’70s and mid-’80s, this underground club in the old Congress hotel was the place to be for punk and new wave music, even attracting then little known acts such as the Psychedelic Furs, Talking Heads, and Iggy Pop. The iconic venue has been collecting dust for years, but now the Baltimore Architecture Foundation is giving it new life for their annual Groundhog Day celebration. For one night, experience a legendary part of Baltimore’s music history with eats by La Cuchara, drinks by WC Harlan, records spun by Baby’s on Fire, and live music by Baltimore’s own rising indie-pop-rock band Super City, all to support the BAF’s goal of upholding the city’s architectural legacy. 

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. 

Too Big World
Bumper Jacksons (self-released)

This D.C. sextet might officially belong to the District but they play here enough—as with their June 5 album-release show at the Creative Alliance—that we feel we can claim them. If you’re unfamiliar, the band fuses jazz, blues, and country swing into a hootin’, hollerin’ party, full of brass, strings, and backwoods instruments like washboard and kazoo. Their New Orleans-by-way-of-Appalachia sound is stronger than ever on this fourth record, stacking flirty ragtime; mountain ditties; and smoky, Southern soul into a rich revival soundtrack, perfect for a back-porch boogie on a hot June night.

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Again Weekend
Super City (self-released)

Put on Super City’s debut album and you might do a double take: No, you’re not listening to Alt-J, Arctic Monkeys, or The Strokes, though lead singers Dan Ryan and Greg Wellham sound uncannily similar in their pretty minimalism. This young quintet, formed by recent Towson grads, is as good as any of those bands, but seems poised to blaze its own trail. Their tracks amble between hyphenated rock genres but remain confident and catchy throughout. Whether its shimmering pop-rock, sedated folk-rock, or rough-and-tumble alt-rock, they fully commit, and so do we.