The raw, pulsating energy of Miami bass—with its thunderous 808 kicks and crisp, rapid-fire hi-hats—is a sound that resonates deeply, even if its name remains unfamiliar to many. This distinctive sonic signature, a hallmark of the genre, recently experienced a resurgence when JMSN’s “Soft Spot,” though released over a year prior, exploded on TikTok and Twitter. Listeners instantly recognized—and tweeted about—its sonic kinship with Ghost Town DJs’ “My Boo,” highlighting the indelible impact of the Miami bass sound.
Born from the vibrant club culture of 1980s Miami, this genre, also known as “bass music” or “booty music,” is an ode to uninhibited dance and pure, unadulterated fun. Emerging from the electro-funk, electro, and early hip-hop tracks by artists like Afrika Bambaataa and Egyptian Lover, Miami bass evolved into a distinct sound, driven by DJs and producers who masterfully wielded the Roland TR-808 drum machine. This sound became synonymous with skating rinks and strip clubs, places where brown and Black people would congregate to hear the music reverberate through the bass-heavy sound system.
This sound became synonymous with skating rinks and strip clubs, places where brown and Black people would congregate to hear the music reverberate through the bass-heavy sound system.
Groups like 2 Live Crew, JJ Fad, and the 69 Boyz propelled Miami bass into the mainstream, creating club and party anthems that were, ultimately, summer soundtracks. Beyond these legendary groups, the genre also fostered the development of early club music trends, cementing its place as a pivotal force in southern music. As we approach summer, and the need for communal joy grows stronger, Miami Bass gives us the perfect soundscape for celebration.
JaySwann is an electronic artist, producer, and DJ making waves in Baltimore’s music scene and helping to champion a distinct Miami bass boom here. Also a budding event curator and promoter, his events around Baltimore guarantee dancing and fun. Swann is deeply rooted in the city, with his family’s history here spanning generations. When asked to describe his artistic practice, JaySwann prefers the term “electronic artist.”
“I identify the most as a producer/DJ, but [it’s] not just like one thing or the other. The two kind of coincide and go together, and electronic artist is the best way to describe that,” he says.
His journey as a musician has traversed into a genre that you’ve definitely heard but might not have had the name for: bass music.
“I first started producing in 2015. That was the first creative endeavor I ever had,” he recalls.
DJing followed in 2016, almost by accident. The artist recounts being part of a collective that was organizing a show:
“We didn’t have a DJ, and because I was like, the main producer in the group…I kind of just took it over,” he says.
His first set wasn’t a traditional DJ set, but rather a mix crafted in his production software. The experience, however, sparked a desire to learn the art of DJing.
Looking back on his projects, JaySwann considers his recent release, “BOOTY BASS INFINITI,” to be his best work yet. His previous album, “Lou Dolph,” released in 2023, was more in the electronica vein, which he describes as “cool if you just want to chill.”
Since then, JaySwann has been leaning more into his DJ practice, wanting to create music that fits into his sets and that his peers can also play.“Booty Bass Infiniti” represents a significant step in that direction. He explains the inspiration behind the project:
“The thing about doing what I do and living in Baltimore is that there’s so many DJs…like everybody DJs and everybody is good,” JaySwann says.
“The thing about doing what I do and living in Baltimore is that there’s so many DJs…like everybody DJs and everybody is good,”
electronic artist, producer, and DJ, Jayswann
To carve out a niche, he started exploring Miami bass, inspired first by artists like Ghostwhip.
“I think it really started with me getting super into ghetto tech…It really opened up the floodgates for me to get more into Miami bass and Atlanta bass,” he recalls.
The more he listened, the more he appreciated the genre’s energy and its potential to stand out in Baltimore’s scene.
“I really like playing this out loud, like for crowds. The music itself is really fun, and I like it because nobody else really plays that type of stuff here,” JaySwann says.
His EP, released on all streaming platforms on March 27, is a 10-track project that the artist has been working on since last summer.
“I knew that I wanted to take a minute before I put out another project. I’ve been really trying to figure out what my sound is, but I feel like with this, with “BOOTY BASS INFINITI, I’m grasping that a little bit more,” he says.
To complement the EP, JaySwann is also bringing back his “booty bass” parties.
“I definitely wanted to pair it with the rollout for the album, just because the two go hand to hand,” he says.
While the first party will be local, he has plans to take the concept to other cities like New York, Philadelphia, D.C., and Miami.
When asked about staying inspired, JaySwann credits his love for what he does and the support of his peers.
“I genuinely just love what I do,” he says.
“Where I’m at in life, I have a pretty fun, very enjoyable life. I like the things that I do, and I feel like it’s a privilege to be able to do the things that I do. I just draw a lot of happiness from it.”
Seeing his friends’ dedication also fuels his own drive.
“All of my artist friends are extremely hard working, I’ll see what they’re doing. And it kind of makes me want to go harder,” he says.
Now in its third year and returning on April 24th, Garden Hours is the result of JaySwann’s hard work and dedication. The residency began as a way for him to gain visibility as a DJ.
“When I first started doing Garden Hours, I felt I wasn’t really getting booked like that. It’s kind of hard to get booked when people don’t really see you play,” he explains.
So he decided he’d like to establish a residency and approached the co-owners of Current Space, an artist-run art space in Bromo Arts District, with the idea. They gave him the green light.
“I like the venue a lot,” JaySwann says. “At the time, nobody was really doing DJ nights. It felt like a really untapped thing that I’m kind of surprised nobody else has hopped on.”
The first few Garden Hours were low in attendance, with five or 10 visitors tops. Today, they are typically packed. Despite a slow start, he stuck with it, and the residency has grown into a Baltimore staple.
“I just trusted the process, and then everything just kind of started to grow,” he explains.
“You know, shit just takes time. That’s another big thing that I learned.You can’t rush anything. And if you have a good idea that you know is good, and you stay intentional about it, you got to stick with it, even if you feel like it’s not working.”
Garden Hours typically runs from late April to October. JaySwann usually begins the night, DJing for the first hour and a half before passing the torch to a guest DJ. The event is also free, something he considers important.
Garden Hours typically runs from late April to October. JaySwann usually begins the night, DJing for the first hour and a half before passing the torch to a guest DJ. The event is also free, something he considers important.
For the past two years—or, really, every other Thursday, and a few Saturdays—folks have been able to visit the garden bar and leave all of their stresses on the dance floor. He also held a listening release party on March 28th for his latest release at Peabody Heights, a brewery located in Waverly (where the Baltimore Beat will be having our beer release event on May 17).
When I asked the artist if he had any advice for upcoming creatives in the city, he said “trust the process.” With faith in his talents, creativity, and strength—and the help of a cadre of creative collaborators—JaySwann has built Garden Hours into a platform for emerging talent to play to a captive audience and get paid to do so, giving Baltimore a chance to dance. For him and his audience, it’s all about the music.
